Acceptance

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Meg Ryan as Kathleen Kelly in Nora Ephon’s delightful 1998 film, You’ve Got Mail.

People are always telling you that change is a good thing. But all they’re saying is that something you didn’t want to happen at all… has happened.

I find my mind revisiting this quote more often than ever recently. As with many things that the late, great Nora wrote (particularly under the guise of her charming, timidly brave little bookseller character struggling to make sense of her “small life,” Kathleen Kelly), it resonates with me deeply on a personal level, while simultaneously serving as a reminder for something I’d do well to be more conscious of.

There’s been a lot of change in my life of late, and not all of it of the kind I have liked much at all, but it is all equally inescapable, because that is simply how change works. One of my greatest projects this year, in terms of scope and difficulty, has been practicing something more akin to what is often called “radical acceptance,” because really the only surefire way to tackle the heart of anxiety is to surrender as much of the illusion of control as possible. In reality, all I can control in my life — and even then, it’s a pretty tenuous concept of control — is my own reactions to whatever I encounter while living it, both mentally and emotionally. It’s a daily struggle, as is everything else when laboring under anxiety and various other fun little neuroses, but it’s the best anyone can do, including myself. Part of being gentler with myself on the whole includes accepting these things, rather than pretending I’m supposed to, for some inexplicable reason, be stronger or tougher or more capable than anyone else. As my favorite musician once sang, “I will do what I can do.”

Besides, as another great writer, Junot DĂ­az, once wrote, “I guess it’s true what they say: if you wait long enough everything changes.” When I’m being overly critical of myself, I often like to paint hope as foolish, but the truth is, waiting on changes of a more positive type, perhaps even for things I still dare hope might happen (however unlikely they may be at the moment) — so long as it’s not the only thing I’m doing — is far from the most ridiculous way of spending some of my mental energy. Better that, than concentrating on talking myself out of hope. That makes it far too easy for other negative thoughts to creep in, especially those about myself, and in learning to fend those off better, too, I’m just less inclined to entertain them.

I have a whole little list of reminders saved on my Keep (notes) app on my phone, and I’ve found that taking a moment to re-read it every day has been a rather helpful habit to get into — along with others I’ve been stricter about lately (exercising, standing up straighter, being more consistent about my skin care, watching my breathing patterns, meditating before bed, being more mindful of my anxious thoughts whenever they might start to rear their heads, etc.). They are fairly short, though the full list is about 30 items long. Then again, it does seem to be the simplest things that, in the end, are making change a bit easier to deal with. As ever, one day at a time.

Bumper

The afternoon sun slants through the blinds; sometimes there is a birdcage hanging in the window, a towel covering most of it, obscuring a wildly excitable parakeet, and other times there is not. I sit in the stuffed chair, and the boy sits between my feet, on the floor, in front of the coffee table and the television, Toonami on the screen and a bowl of Rice Krispies cereal buried in brown sugar in front of him. He finishes off his after-school snack and his episode of Ronin Warriors, and heads upstairs to work on his homework. I’m left alone in the family room, waiting for Sailor Moon to come on, doing homework of my own. He is either in grade school, or junior high. I am in the latter; at other times, high school. Later, he’ll ask to go play outside at the round, dead-end of our cul-de-sac, by the communal basketball hoop, where I can keep watch from the living room window, while reading on the couch. Few of these details will change much, from one day to the next, year to year. The shadows fall and move across the wall as the day wears on, until his parents come home later, before dinner. The curtains are always open. No matter how familiar it might become, there is a certain kind of quiet that only surrounds your ears in someone else’s house.

Looking back on afternoons like these, I can’t possibly count how many there were. I babysat him for years. He was very quiet, and so was I; at his age, I spoke even less. His older sister played “Hummer” for me off her Siamese Dream cassette — by which I mean she let me hover in the doorway of her bedroom upstairs while it played, and she ignored me. When you are so habitually quiet, this is easy for people to do. Their parents let me use the internet on their home computer, years before we had one in ours. His father called me Nori. I’d sit in his office and chat with my best friend Matt on AIM while we played goofy online games. I possess — always have, still do — a very odd sort of sentimentality about things, and in a binder somewhere packed away, I still have a few printouts of some of those chat logs. (I couldn’t tell you why I printed them out then, nor now. I just did.) So much, of so little.

Maybe things have always felt as if they may slip away from me at any time, even when I was young, and I’ve always attempted to capture what memories I could in whatever strange places I could enmesh them. I’ve never been able to justify this feeling, but I think it must always have been with me. I have a very sharp visual (and aural) memory, almost eidetic. I have a couple of boxes hidden away in my room even now, in my 30s, associated with certain people, filled with such random objects and pieces of paper. When processing crime scene photos in college, I often morbidly wondered what a stranger would make of all the tiny, seemingly random little nothings that comprise a life and litter my small spaces in the world, when I would one day inevitably leave them behind; the things that shaped and tethered me, removed from context in death, left with nothing more to do but be thrown away, forgotten, to gather dust. There is a bittersweet little matchbook sitting one of my shelves of knick-knacks at home, and I can tell you exactly who gave it to me, and when, and how it felt to me then to receive it. Considering what a nothing object it is, long forgotten by anyone but me, this can seem awfully absurd. I have no explanations or excuses for my brain doing these things. I often wish it wouldn’t.

Slow afternoons as a child and young adult feel so different to look back on, let alone compare to what slow days feel like in adulthood. I suspect this is mostly to do with the same reason why any other passage of time feels so different the older you get, why time seems to fly through an hourglass the more it passes. When you are a child, an afternoon represents a much larger chunk of the time you’ve lived up to that point than it would today. Birthdays, holidays, vacations, they all seem so much further apart; and to you, at that time in fact, they are, in a way they never will be again. I don’t remember afternoons dragging, to me, as a child — but I’m sure that they must have! children can be some of the most impatient beings on earth — I only remember them now as if they are warm, quiet, heavy moments, like flies suspended in amber. This effect, which can only exist in hindsight, may also be tied in to the general lack of obligation that children can enjoy, up to a point — we do usually have to go to school, but until I began working at 15, that was the main structure around which my whole life existed; everything else was flexible, open, and so free to be wasted. I must have whiled away hundreds, if not thousands, of afternoons in that living room, with that little boy, with very little changing. And yet then, just as now, time was passing; my gawky limbs were lengthening and lines were already beginning to form on my face — we were growing up, growing older. Growing old. These days, any slow passage of time takes work to appreciate and enjoy, if my head is not in the right space. I can easily look at it as wasted, stagnant, lonely, and with regret. What other things could I have been doing? Productivity is such an ugly word. I imagine this may be one of the great things that kills so many artists once they begin to grow up. Productivity is where daydreams flatten out into nothing, where mindless doodling goes to die.

Summer is here now, which is a largely meaningless season outside the construct of school, as work doesn’t have an off-season (or at least, not for most of us). The air is heavy with heat, and the light is golden and sharp on the eyes. I wish I had grown to accept and thrive more in isolation then than it seems I ultimately did — it is a much more uphill battle now, sometimes, particularly as my solitude increases of late. This uncomfortable place between a restless mind and a peaceful one is likely the biggest place for my anxieties to hide and thrive. Whatever losses I did — and still do — mourn recently, I am much better at tackling it than I have been in several years, to be sure. There was definitely some adjustment necessary, learning to be alone in a much bigger, darker, more wide-open city. Walking around it alone is essential, and I always should be doing more of this. But there will probably always be a part of me that envies my younger self — she will crawl out of dark corners like a snake — and her ability to pay far less attention to time passing, most of all to those countless hours passed alone.

Some of us will always stay behind

This has been a strange year, and as it drags on with so little being accomplished, I feel more and more things slipping away from me. Living with anxiety as I do makes feelings like these into a very cruel sort of game (and a very difficult one to express): which ones are real, and which ones are all in your head? You can never quite answer correctly, either, because you will worry either way. It will either be justified worry, or it won’t, but either way, it still steals my energy, my hope, my time, and leaves me feeling sore and defeated.

Some of these things, I know, are real. Neither of my parents’ lives have any stability left in them, even as they near the age when you are supposed to retire. In reality, I have no idea what will happen to either of them, nor do they. My father ignores this, and my mother just accepts it. I do envy her ability to cede all illusion of control, but perhaps that’s something that can only come with age, and too many years of life disappointing you. My roommate seems to enjoy regularly reminding me that there is no stability in mine, either, in all sorts of thoughtless ways. Projects, relationships, hopes, all seem to be falling away from me, on all sides. My mind used to dare to give me the occasional hopeful dream, but these days I just have regular, obvious, exhausting nightmares about falling off bridges or buildings or through floors, getting swallowed up by tangles of dark things I cannot see. I have gotten much better at managing my anxiety this year, it’s true, and that is a hard-fought victory. But at my core, I remain the same difficult person I’ve always been, the one who does not fit anywhere. If she says otherwise, she is a liar.

This may be a darker part of the reason why my experience with drowning never scared me much. Apart from the lack of pain, and the fact that both my breathing and my flawed little heart stopped within just a few minutes — this is an easier fate for your body to accept than you might expect, at least when you’re enveloped by something as powerful and ambivalent as the ocean — it felt somehow appropriate to me, even then. It’s not a particularly violent death, and if one were allowed to choose what eventually removes them from life someday, I’d opt to just lose to the ocean again. (There are certainly far worse ways to go, and I know too much about most of them.) I have a lot of dreams about that day lately, too. The familiar, inevitable feeling of the endless water surrounding me at all sides until I could no longer struggle or see — like everything else in life, like my mother, I fought it until I had nothing left with which to fight — until I simply slipped away.

Always held close in your fear

After several months of sitting on it, taking forever to finish it off (and only 36 exposures! amazing what the cost of printing will cause you to be stingy about), I finally had a film roll developed at my nearby lab. I had not shot a roll in nearly a year, and before then, not in about a decade. I had never shot in black and white at all, before the winter before last.

I was far more encouraged by the results of this set than the one from last year. Perhaps last year’s pieces were tied too closely to emotions that were difficult to process, tied up in too much pain. I’m not sorry I took them — I’ve taken millions of photographs in my life, having picked up my first camera over 25 years ago — I will never be sorry to have taken a photograph. But the keep ratio on that roll was embarrassingly low, and I had set too high a bar to challenge myself with, after so long away from the unforgiving, changeable, wonderfully unpredictable nature of film. I shot nearly an entire roll late at night, wandering alone out on the streets of the city, with an old, persnickety steel tripod and a handheld shutter release shaking in my hands in the coldest weeks of winter, losing the feeling in my fingers, wishing I still owned a pocket watch to properly time the seconds of my long exposures. The camera body itself is 10 years older than I am, and made of steel, too. Its heft is reassuring and dependable, but must be adjusted to. I stumbled a lot, on that roll.

This second batch is certainly not without its errors, and not just because I’m not the only one to use it — a couple of friends picked it up, at my urging, for a few shots. I ended up, somehow (too many months have passed to be sure how), with a few double-exposures, one is entirely underexposed — so much so it took me a few minutes to decipher where I had taken and what it had been of. A few are not a good mix of aperture and shutter speed, and came out sadly flat as a result — black & white film is completely unforgiving to a failure in getting those elements talking to one another smoothly, and will wash most all detail away in mid-range grays as punishment.

And yet… the ones that do work, this time, outnumber those that do not. And the ones that work rather stunned me. It has been such a long time since I felt so moved by any of my own work. I am reminded how much more deeply film carries a feeling of place and memory for me, in a way that digital never has. It’s not that digital photographs I’ve taken (which still greatly outnumber those I’ve shot on film, sadly) hold no meaning or value to me; quite the contrary. But no digital photograph has ever given me the feeling of sudden and deep transport back to a place I once was and exposed a frame to light in the way that photos like these do. And the places (the poppy fields, Hollyhock House) and things I most hoped to capture — to freeze in time, as Susan Sontag once described us photographers as constantly, vainly fighting to do — were right there before my eyes, almost as if I had been transported directly back into those very moments again. I’ll even admit to audibly gasping at one or two, they exceeded my expectations so completely. The warmth and texture, the true depth of space, the contrast and purely imprinted light… I have scrolled through the lot of them several times already, and with a sense of deep contentment with my work I have not felt in perhaps many years. This is how you want a photograph to make you feel, but it’s been long enough since I last achieved this, I had forgotten what a powerful feeling it can be. I’m sure some will be posted here, or elsewhere, soon. I can feel proud to place my name under them. I also can see better what my margin of error will be with this particular film I’ll have to work within for a series I’ve been planning to shoot for years, and will begin work on soon. But looking through these, I can also see — within those limits — what I am capable of capturing, within those limits, and it is encouraging.

One photograph in particular — and it is not even one of the technically “successful” ones; it is underexposed and not fully in focus, though I knew the moment I took it I would be lucky if anything in it would come out discernible at all — captures a treasured memory, a very precious moment in time. I surprised myself, at the time, in even daring to take it. And it is fairly dark, and somewhat blurred, but… it is there. My happiness in that moment, my peace and contentment, are right there within it, alive still.

Seeing any sort of hope realized, for once, even a relatively small one, feels so rare to me, or possibly it just seems that way of late. Looking at it reminds me how I still long for another moment like it, but seeing it preserved better than I dared hope I might be able to makes that feel not quite so impossible now, somehow. I did not know even a slice of my own face could look as beautiful as it does there, and that is a hopeful thing to see, too.

Exoskeleton

17934563_440062826327421_3878326052056989696_nI’ve spent too many years, mostly in the half of my life spent at work, sitting with my legs crossed, and some of the many marks on them now attest to that. I hate them about as much as I hate all the other myriad marks on my problematic skin, and yet entering my thirties I am coming to accept that they will go nowhere, no matter how much I hate them, and I must simply do my best to — at worst — ignore or not see them, and — at best — learn to love them. I don’t love much about how I look, so this is a large task to ask of myself, but it would be irresponsible of me not to ask it, simply because it is unpleasant and difficult.

Summer is almost here; the time of year in which I can indulge most often in lovely walks around my neighborhood and my city, but in which I cover the least amount of skin, thanks to just about the best weather in the world, and this always presents a conundrum. I want to walk up the hill to the park near me that overlooks the city I love, I want to lie on the beach and swim in the ocean that I once took to like a fish; I want to stretch my long legs out in the sun, the grass, the water. I want to do these things unselfconsciously. I want to do these things without the back of my mind whispering to me — sometimes yelling — how much I hate the skin I inhabit. I want to not care. I want to be free of the vision of myself that is ugly, flawed, marked, imperfect. I want to ghost through the water and the air as freely as I did when I was young, before these marks came to me, before I realized, desperately and angrily and painfully, they would never leave. I want to believe that those who say I am beautiful just as I am are not keeping the exceptions to that beauty to themselves out of misguided kindness, that they mean what they say, that I am beautiful as I appear now, and not as I wish to. I want to no longer feel aching envy in my chest when I walk behind all those beautiful girls with their flawless skin who have no idea how lucky they are to not have to think of it at all. I want to walk and sit and be, and to like what I see when I look down and observe myself, which — as the late John Berger once so eloquently described it — all women must do, in some way, every moment of our lives. I wish I knew how. But summer is almost here; it will arrive whether I am ready for it or not.

It is a surprisingly late week of cold weather at the moment. It’s both a reprieve in that I can hide behind extra layers for another week, at most two or three, but it will end, of course. I am working on not seeing what is there, mapped on my skin, which no one has been able to explain the presence of, nor fully heal or erase. I am working on pretending no one else sees it. Eventually I hope I will no longer consider these marks a burdensome, ugly thing to carry; that they will simply be there, and I will no longer care.

Tattoos, in my life, have served as expression, reminders, declarations, and challenges to myself. When I think of them, all of which I have chosen very carefully, I see my body as a canvas. I’m trying to focus more on that, and less on the rest.

“Tugging at the darkness, word upon word…”

“I am beautiful/ Molding my own world/ The old me is behind/ I will march ahead anew.”

Eschscholzia californica

The past couple of months put me through the wringer somewhat, nearly crushing me under the one-two boots of February and March. The first brought unanticipated money trouble, the second an avalanche of work. They marched on and trampled me fairly well, leaving me physically and mentally exhausted, which in turn left me vulnerable to things in my head I typically can keep at bay much more easily. I came home from work countless times feeling as though I’d been beaten up, but still could not sleep well. Stress over paying bills and staying afloat became fixations, and I didn’t eat all that well for a while, both because stress had been robbed me of my appetite, as it often does, and because I simply couldn’t afford to. The older I get, the harder it becomes for me to accept the precariousness of my situation, as though age is any sort of qualification for stability.

But: they passed. I’m getting by, though of course nothing in my life is ever truly stable. The most exhausting and demanding of the work is over, at least for now. I’m not covered in (quite so many) bruises now.

Normally, I’m the sort of anxiety-ridden cynic who thinks, if I go somewhere unusual on one of my days off (not very typical in itself): “It would take days for anyone to realize I’m gone,” were I to just disappear. I live a small life, and apart from those who pay me to be somewhere specific at predetermined times, my presence (or absence) affects very few. So, I went away for a while.

I drove further out of town than I have — within the state — for any other reason than visiting my home town. I told no one that I was going anywhere, let alone where or when. I didn’t know if there would be any phone service once I reached my destination for anyone to reach me, but had no expectation that anyone would try, so I didn’t think twice about it. I had no plan, and simply stayed until it felt like time to drive home. I knew the fields would be full of my favorite flower in bloom, I had never been there, and I wanted to see them. I grew up a Girl Scout in Southern California; I know how to dress for and tackle hiking through rattlesnake country in the hot, dry sun. I wandered around alone until my legs grew tired. Fortunately, almost in tune with the turning of the month, my mind had finally eased. I felt able to be open and fully relaxed. And so, I drove.

I’ve always harbored a secret desire to someday take a road trip somewhere, though circumstances — an old car I can’t afford to risk, and inability to leave work for anywhere near long enough to get very far — have always deemed it impossible. But this much, I could do. Growing up in California, you can easily forget how massive it is, though that shouldn’t be possible; that you can fit entire European countries into it, with room to spare. I’ve lived here 30 years, but have seen relatively little of it. I’d never been out to Antelope Valley, either, where I ended up yesterday.

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Antelope Valley Poppy Reserve (3 April 2017 © Eleanore Studer)

The Poppy Reserve was lovely — fields upon fields carpeted with my favorite flower; they began to peek at me from the roadside in patches over seven miles before I even reached the turnoff into the park… those silken petals that almost appear permanently wet, were you to touch them. They are a particular shade of slightly reddish-yellowish-orange that makes them unmistakable from any other blossom. How unbearably nerdy, for the state flower to be one’s favorite… And yet.

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Antelope Valley Poppy Reserve (3 April 2017 © Eleanore Studer)

I could have pulled over well ahead of my destination, as many others had, and still come upon thousands of the bright blossoms with miles to go, but I wanted to pay my respects and dues to the park properly (will state parks even survive this horror show of an administration?). If I hadn’t made the full drive, besides, I’d have missed the creaking metal signs and tinkling glass of the antiques yards, the crooked wood and sleepy-eyed cows of the small farm, the nearly blinding, rippling, almost mirage-like glare of the photovoltaic power stations.

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Farm, Antelope Valley (3 April 2017 © Eleanore Studer)

I lost count of how often I pulled over to the shoulder to take another moment alone, another photograph, or five. That particularly satisfying sound of gravel crunching under my boots as I hoofed my way beneath the looming pylons and gently humming power lines; the near-silence of so much open space so (mostly) devoid of people, everything wiped away by the wind but the birds. The gusts were so strong they roared in my ears, made me glad I was alone; I couldn’t have heard anyone else speak, anyway. It pushed any last negative thought or remnant of sadness I might still be worrying away at like a pearl cleanly out of my head, as though it could blow straight through my ears, my brain not there at all. Though I ended up feeling almost more cleansed and enchanted by the drive than anything else, to my surprise.

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Antiques at the Barn, Antelope Valley (3 April 2017 © Eleanore Studer)

There is a palette to a California highway — its dusty browns, forest green signs, chaparral brush, and small riots of wildflower color. It was easier to recognize yesterday, driving a highway (the 14) I’d never put tread to before, feeling it lock into place among all the others I’ve driven so many times in the past. It is warm — all the colors I can’t pull off wearing as clothing — and in its wide open expanses, announces itself as both recognizably “Americana,” and yet slightly separate from it in its sprawling beauty and characteristic touches. All of America has shared, iconic imagery — roads that appear to stretch on forever, hills and valleys, rivers and rocks — but California’s particular little fingerprints jump out to me more clearly when observing them through a windshield, from the road.

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Antiques at the Barn, Antelope Valley (3 April 2017 © Eleanore Studer)

I can’t recall the last time I saw so much green in the hills, after all these rains. Of course, having grown up here, I know they may be a portent of a catastrophic fire season as the year grows hot and dry; how easily all that green can turn to kindling… a child’s nightmares in this state are filled with fire and earthquakes shaking homes to dust and ash. But you see, too, how we move our precious water around — the runoff  lanes carved sharply into the hillsides like veins, pipes sloping down from faraway water towers; now and then, the shock appearance of a full reservoir, that unexpected blue nearly tricking the eyes. The abandoned gas stations and junk cars left to rust; the long haul trucks sharing the road with you (a baffling concept to my Swiss father, whose homeland subsists almost entirely on transport by train); how the wind can seem to bully your car across lane markers in the open trenches, reminding you of your smallness. The dark mountains, knobbly and delicate in their slopes down to their valleys, like an old woman’s fingers; the single houses built precariously on high hilltops, little me wondering if they were lonely, so high and alone above all the others; the messages spelled out, helicopter-font-size, in bleached rocks amid the dark brush. Outlet malls and noise walls; Joshua trees and still-black old scars from burned out acres scorched in prior seasons; windmills turning lazily in the breeze. The sheer rock faces, whole mountains seeming cleaved clean through for the road to push still onward, the scrub brush still stubbornly growing through at sideways angles; crooked white wooden crosses staking old memory and loss along the sides of the highway. Pockets of bare new houses being built everywhere you can imagine (building always building, California will build itself to death); nearly every house that dusty, nondescript, unfortunate salmon color. Here and there the hawks and crows diving and scavenging, wheeling through the sky, a single startling puff of bright white cloud in the otherwise uninterrupted painfully blue ceiling of the world.

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Pylons and power lines, Antelope Valley (3 April 2017 © Eleanore Studer)

California looks like this to me, and even in driving over one hundred miles through a part of it that was new to me, it remains forever familiar even in its newness. I passed an abandoned prison, with its lonely guard towers looming over only shadows, fences weeping rusted barb wire, and chased the sun home.

I drive off in my car

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1969 Oldsmobile Cutlass (Hollywood)

I may not be doing a damn thing when it comes to actively shooting the photo series I’ve been talking and talking about shooting for easily three years now, but I do spend quite a lot of time thinking about things that I recognize are elements connected to what it might eventually become; what I want most for it to somehow express. (If I ever turn thought into action, of course, as the caveat goes. As an engine myself running almost entirely on varying types and degrees of anxiety, this is one of the greatest hurdles of my life, no matter which problem of non-action you apply it to. Choose any one thing: if I have not done it, I am vibrating silently in anxiety over both it, and the 500 invented reasons why I have yet to do it.) Maybe I’m simply doubtful I could ever, at this point, create work that could even begin to communicate such a concept. Moving from concept to execution: the bane of my existence.

I think about it when I’m sitting at stop lights, inevitably, because the idea first arrived in my mind while watching strangers doing the very same thing. I think about it because, in my ideal world of action, I should be somewhere out on the sidewalk, capturing it, rather than participating in it. I think about it when I watch people pull into the gas station I always use from the wrong direction; they’re operating from within the bubble I want to document. I think about it when I’m doing the very private things in my own car I want to catch strangers doing: singing… crying. Particularly the latter, though I usually save that for nighttime, when other drivers can’t really see into other cars. I think about it a lot.

Aimless driving is one of those many things, too. It’s something I’ve engaged in ever since I was able to drive, once I finally had a car of my own (as two years passed between the two). In my hometown, it was an easy habit to engage in, both because I was largely miserable, and because there is nowhere to go there. I would simply get into the car, usually when my mother was already asleep (i.e. any time after 9PM), and drive. Typically north, but always along the coast. I would do it simultaneously very aware of having nowhere to go, and not caring. Gas was much cheaper when this habit formed, but I still do it now. Being as desperately broke as I am (and apparently will forever be) cannot stop me from doing it even now, as long as there is gas in the car already. I don’t even attempt to justify it to myself, both because I know this isn’t possible, and also because it’s the rare thing in my life about which I could give a fuck regarding its justification to myself.

I was aimlessly driving around just last night, which was a poor choice; it was a Friday night, in and around Hollywood; peak traffic time for those with actual lives who have concrete destinations and plans to get to and from, which felt both annoying and exclusionary. When I do this, in a city as large and busy as this one, I typically allow traffic to direct me, because there is nothing else to decide where I will go, or which route I will take to get there and back. If the roads are not so packed, though, I’ve found that I sometimes will — without meaning to, of course — dissociate slightly, here and there. I will lose focus on where I am, and what I am doing. I will follow blurred head- or taillights more closely than more immediate indicators. I put absurd trust into my sense of where exactly on the road I am, simply because I have learned over many years that I can. (My mother would kill me, if she knew.) I have good instincts in a car — mainly thanks to the manner in which I was taught to operate one, and my generally good reflexes — and am not overly concerned about my control over the vehicle, but at the same time, I’m rather amazed I’ve never gotten into an accident; my concentration is not at 100%, any time that I am doing this, because I am going nowhere.

This ever-developing project inevitably came to mind again last night, because it is mostly about the strange space we enter into when we are inside cars, and how deeply they alter our behavior. They become protective bubbles we feel we have absurdly more control over than we actually do (and this doesn’t even take into account the thousands of other drivers, even less predictable than ourselves, we are sharing those roads with); these bizarre, heavy, sharp, mechanical, deadly extensions of ourselves. Or rather, we behave and feel as though this is what they are.

People often express outrage, dismay, and helpless confusion as to why and how it is that human beings treat automobile accident fatalities — which occur in astronomical numbers — so casually, but I am sure all these psychological elements are a part of that. We accept that cars can kill us — are more statistically likely to kill us than any other entirely separate entity or object we regularly engage with, by far — almost casually, because some part of us sees them as an extension of our bodies. We feel protective of them, react to traffic transgressions as personal slights; gas and brake pedals can feel like extensions of our legs, the turning wheels a greater reach of our hands steering them. (This is, when you examine it closely, something like a shared lucid state of all drivers, flirting a bit with mild insanity.) Maybe we associate cars and driving so deeply with escape because merely driving one is skirting more closely to death than just about any other activity we ever participate in on a regular basis. Of course a car can kill you; cancer can kill you, too. It feels more akin to that than an outside element acting upon us, as with homicide, which we react to with far more visceral horror. Until, of course — potentially, likely when you least expect it — they fold in onto you like a metallic accordion — because you are just a small, soft animal, precariously housed in a glass and metal cage full of gasoline several times your size — crushing you to death.

I think about these things while driving around, rather than about where I am going, sometimes slightly dissociating, all the time.