Maternal Dementia

I used to be somebody.

I had a job – okay maybe not a big fat job, but a little fat job – with an uplifting title and a salary that seemed to me handsomer than I’d expected for that stage of my life. I had a secretary, employees who wanted to please me, colleagues who cared what I thought, and a few fans in the business who were happy to run into me at conventions. I left a tiny mark on an industry – a pinky print on a short period of its history, but nonetheless, I did one or two notable things.

Because my neck and shoulders used to hurt from too much telephone time, I wore a headset, making it impossible for my staff to know if I was actually on the phone or not. I preferred to keep my office door open, so my assistant made a changeable plaque for my desk that read NOW or NOT NOW, to silently inform people of my availability to converse. My office was a corner one, not as large as the other older executives – and admittedly it came with a view of a depressed New England city – but it was a light, bright office, and I was happy for all the glass, which I used to tally the performance of the sales people in the division on what we called the Window of Opportunity.

But the wanderlust started singing its siren song, rustling up the restlessness in me, beckoning me to quit my job and the up-and-coming life I had perfunctorily choreographed for myself. “You’ve got the coolest job,” people said, “how can you leave?” It was hard to explain that the consequences of not leaving had surpassed those of leaving, as scary as it was.

What followed was weird and wonderful; to stow my belongings and move to Europe, to be in my thirties and yet footloose, like a college student without a college. No job. No man. No itinerary. No dependents. I was a professional vagabond. Or at least that was my response to people asking that rather uninventive question, “and what do you do?”

I did this flittering about thing for just enough time to run out of money, and then (luckily) found myself in career-step again, in the same industry but on a different (and desired) coast of the Atlantic, bouncing around European capitals. But then, like Ground Hog Day, once again the restlessness took hold. So I stepped off the hamster wheel, again.

And well here I am. I don’t have to go to an office every day. I am more in control of my time than my friends with regular full-time jobs. I schedule long vacations when I want. I choose to accept assignments, or not. I work with a cool network of colleagues, so I still get the best of the team thing, but sans all the baloney.

I’m a working mother on my own terms; I was home when they were babies and now I’m home – more often than not – when the kids come home from school. I witnessed all the firsts, first hand (well except this one). Plus there’s this: I have time to fart around. You know, the sort of puttering not really doing anything but kind of reading maybe daydreaming, thinking about whatever, Walter Mitty-ish, distracted way of wasting time? I actually get to do a bit of that.

This is the part where I’m supposed to crow about how leaving the corporate grind was a redefining, liberating moment from which the good fortune of my life has been launched. I’m supposed to brag about how I’m so much happier now, without those external pressures, the full-on job, the bullshit of the corporate world. I’m supposed to say my life is exponentially improved and that quitting that job was the best thing I ever did, for me and well certainly – cue the trumpet fanfare – for my children.

Except there isn’t a week that goes by that I don’t wonder if it was the right choice. I miss some parts of that previous incarnation of me, despite my smug satisfaction about how sweet things have turned out. God knows I miss the secretary. But I also miss the brain-jolt that comes from working with a cohesive team, every day. I miss the camaraderie of pulling together to meet that weekly deadline, or face a tough first quarter, or celebrate a we-pulled-it-off performance. I miss the status – there I said it – of having a few initials by my name and the doors that opened to me as a result. I miss the truly disposable income that comes from a steady and hearty paycheck, you know, higher thread-counts and other little luxuries of life that aren’t must-have but sure are nice-to-have.

So did I make the right choice? Have I made a mistake? Or is this questioning simply a natural reaction, at this middle-ish point of my life, to reflect upon the choices I’ve made and experience the reward and regret associated with paths both chosen and un-chosen?

I have friends who’ve done well. They get profiled in the Alumni magazine. They appear in stories above the fold on the front page of the New York Times. They’ve made a major lasting impact in their fields. They live in apartments with foyers larger than my bedroom, or designer homes built with the profit from stocks I opted to sell so I could move abroad. Funny that it’s often when I think about these more traditionally successful people that the pangs for what I didn’t do seem fiercer. Then I saw this thoughtful post by Tim Kreider for the New York Times’ Blog, Happy Days. He calls this phenomenon the referendum, a (mostly, but not entirely) midlife examination, driven by the realization that time and choices are running out and as we take a measure of ourselves, we can’t help but make a comparison to our peers.

It’s exacerbated by the far greater diversity of options available to us now than a few decades ago, when everyone had to follow the same drill. We’re all anxiously sizing up how everyone else’s decisions have worked out to reassure ourselves that our own are vindicated — that we are, in some sense, winning.

Satisfaction alternating with dissatisfaction passes over me like ocean waves. One day I’m winning, perfectly delighted with the quasi-bohemian freedom of my life. The next day, I wonder if having and doing those other things would have made life easier or more enjoyable.

And some days I wonder if I wouldn’t have been better off without kids. About this, Kreider writes:

Judging from the unanimity with which parents preface any gripe about children with the disclaimer, “Although I would never wish I hadn’t had them and I can’t imagine life without them,” I can’t help but wonder whether they don’t have to repress precisely these thoughts on a daily basis.

I can imagine my life without them. I can imagine the things I’d do on a whim. I can imagine empty, quiet weekends and uninterrupted conversations. But I didn’t choose a childless life, just as I didn’t choose the corporate life. And though I keep doing it, I know that looking back to evaluate these choices is not a particularly productive use of my time. There’s no do-over, Kreider reminds us, “Life is, in effect, a non-repeatable experiment with no control.”

So I march forward, an anonymous person with a busy-lazy life, with two children who fill me up as much as they wear me out. In the end, I suppose it doesn’t matter which choices I made, as long as I own up to them and play them out fully, without the nagging voice of remorse – just the occasional, curious, mindful glance in the rear view mirror.

But let me just say this: I really really miss my secretary.

This could be just another case of the Emperors new clothes, I told myself, riding up the escalator to see an art exhibit about nothing. De-facto took the girls to the Centre Pompidou to see it at last weekend –- a gesture to give me a few hours of coveted quiet. They returned from the museum, boisterous and enthusiastic. “There were big, empty rooms, and we ran all around,” said Buddy-roo. I gave De-facto a scratching-my-head look. “Go see it,” he said.

“Nothing seems to me to be the most potent thing in the world.” This quote from Robert Barry, an artist featured in the exhibit, “Voids. A Retrospective.” He’s one of nine “radical” artists so fascinated with nothing that they all created exhibitions made up of completely empty spaces.

The exhibit is just that: nine consecutive empty rooms. In the corridor, large panels of text describe the story of each artist’s dance with nothing. My favorite was Laurie Parsons, who in 1990 decided not to present anything for her third solo exhibition. She sent out invitations with the gallery address, but without her name or the date of the show. Eventually, she even deleted this show from her resumé, nearly erasing any trace of its existence. To respect her intentions, the exhibit literature reads, “the room devoted to her exhibition has no label.”

Because there is nothing to absorb the sound, a room with nothing in it is filled with a great quantity of noise. My footsteps echoed brightly against the empty walls. A row of spotlights hanging from the ceiling pointed at nothing along each wall. Without paintings or fixtures to absorb or deflect the light, it was almost blinding. I noticed, for the first time -– and I’m no stranger to this museum — the raw pattern of the parquet floors. Without anything in it, I saw the room for real: small imperfections in the walls, scuff marks on the floor, a lonely wire hanging from the ceiling.

I looked around at all the nothing. And then, something came to me.

A memory of another room –- an almost empty one -– in a building I once inhabited a long time ago, a renovated schoolhouse with long windows and cathedral ceilings. The rooms of the apartment were open to each other and filled with light. I remember just days after moving in, the man I lived with surprised me with a silver ten-speed bicycle for my birthday. We had only a few pieces of furniture, a handmade Shaker table, sideboard and a desk. I jumped on the bike right away and rode it around inside the apartment, a thin imprint from the tires marking a trail in the new carpet. When he wasn’t looking I took off all my clothes and rode the bicycle around in a circle again, in the nude, just to make him laugh. I remember how when he saw me, his head fell back and bounced upright again with a wide smile.

Well there’s a memory that came out of nowhere.

Whenever I walk through a museum, a blanket of quiet concentration wraps around me. As my eye is drawn to each work of art, the clutter of the day-to-day recedes from view, and a calm, focused state of mind sets in. It’s
like drinking a dose of culture, a thick and nourishing, aesthetic milkshake.

I found myself again in that art-altered state, but it was different. With nothing on the walls or in the empty room to draw my attention, my attention turned inward, to my own things, to my own empty.

The four bare walls in the next room stared me down, and even though they were of the same chalky white plaster as the first room, and the wood was the same strip-floor pattern, this empty room was different.

I thought about joining the empty room with my empty head. But I could not — as someone more disciplined at meditation would — turn away all the images that came to me. They seemed too precious, little gifts presented to me in empty boxes. Like the one I gave to my sister, when I was old enough to think of giving her a present for her birthday, but too young to have the means to purchase anything. I rummaged through the store of boxes my mother had stacked in the back room and found a small, square, white box with a thin bed of white cotton inside. I wrapped the box. My sister opened it, guessing, probably, as she tugged at the ribbon, that it was empty. How she marveled at the imaginary item, treating it as though it was the most treasured gift she’d ever received.

Given the excess of this decade, fueled by the shallow economy of obsolescence and the coercive vanity-inducing power of the media, an art exhibit about nothing feels like a vacation from the obligations of consumerism. Without the clutter of things, there is room to think, or room to unthink. And room to remember. There is room to count what matters. There is an unburdening.

Robert Barry described nothing as a way to be “free for a moment to think about what we are going to do.”

Another one of the empty rooms reminded me of a moment last summer. We’d cleared out our apartment – no small task with two small children – to re-plaster and re-paint after a particularly grueling roof repair that had lasted too long and damaged the ceiling in every room. When the painters were finally done, De-facto and I laid on the floor of our empty living room, holding hands and staring up at the pristine ceiling while the children ran around us in wide, noisy circles. Only the largest pieces of furniture remained in the room, draped in plastic. All the carpets had been rolled up and the little side-tables and child-sized chairs had been evacuated. An entire wall of shelves had been cleared out, all the books and pictures and objets d’art packed away in brown cardboard boxes. I felt no urgency to move the furniture back, or to unpack those cartons and restore the room to its cluttered, lived-in state. I liked its new wide-openness.

Later, two friends happened by, in the neighborhood taking their fresh new baby for a walk. We got the idea to call another couple and an impromptu pasta dinner party ensued. I remember sitting at that festive table –- set up smack in the center of what was an otherwise empty room -– watching my children and listening to my friends. I remember wondering if I had the courage to never unpack those boxes, if I could just leave them and let the room rest. Empty of all the objects that I’ve acquired, there’d be nothing to distract me from what is most essential: family, friends, food and wine. Nothing beats that.

Understanding the brain is an important step for coping with the dementia.

Quick head-nod to The Hub, where I stumbled upon this illuminating video.