Updated: Jun 24, 2019
I have always wondered what it is about escape that makes it so inevitably attractive.
I thought I was a Carrie as I sat writing and smoking cigarettes full of tar in the balcony of my expensive sea-facing room. But after a long walk and intense reflection in front of a mirror, I feel more like the old man from Iris Murdoch’s The Sea, the Sea – the sixty-year-old, retired ex-playwright who moves into a little cottage by the sea and begins to pen down his memoirs, yet drifting, always drifting from the storyline and looping back to begin over, and finally letting his past drag him back.
I think it is the city that brings out our vices and our insecurities. The city me is awkward, clumsy, angry, depressed, spiteful, egoistic, weak, helpless. Back home, I die a little every day. Back home it is always night, and the night brings no sleep, and there’s darkness hanging from the ceiling and descending onto your fingertips. Back in the city, mirrors are magic; selfies they are called and they cover up blemishes, haze over the corpulence, and reflect distortions of the truth.
The seaside me is, well, happy. The ocean has been a far better mirror. I can hear the chirps in my head again, I can even dance to the brass beats of my mind. I may still be dying, but I am living a little as I die. I may still hate myself, but I am letting the ocean, the wind and the solitude love me just a little.
Continue reading Part 2