What Does it All Mean – III

Crossing a Bridge

It is late in the third year of medical school that we watch a screening of a live birth. Until this point in my life, film was always smaller than life, an image, a series of images, fictive or documentary, but extracted, never fully real or fully human, let alone monumental. But this was a video of the eruption of life. I might have been witnessing the Big Bang so enormous was this, the advent of a human.

I remember feeling electrified, thrilled, struck and struck again by a cascade of philosophic thoughts, intense joy, a sense of being a guiltless voyeur upon the utterly intimate that was utterly universal. I was witness, by invitation, to creation. I remember too, my naive amazement that a woman would allow a camera (that shockingly lacked any sense of modesty) to show her fully naked self in this way. I looked around with a wild surmise. But my friends, more worldly, more mature? – showed no shock.

It is only a year or so later that I will deliver a baby. Between the videotape and that event, my father decides I’m ready to go to Labour Ward with him. This entails walking out the back door of our house, past the rhubarb growing in the back garden, to the side gate that opens onto the lane. Dad would hasten across the lane with me at his heels. Through a second gate and we are in the grounds of the Oakleigh Community Hospital. Here Dad frequently invites me along, to watch as he performs surgery, administers General Anaesthetics, treats heart attack and pneumonia and fracture. Dad’s patients welcome me: Dad is their idol, his son would be a godling. Today my presence will demand inordinate trust on the part of a woman of her doctor. What I will share is a series of events, of unmediated sensory experiences – the rich colour of placenta and the same colour in a woman’s face, the odour of amniotic liquor, the sounds and lack of sound, of wordless breathtaking, grunting, pushing, the sight of a calm and immensely calming doctor, his movements graceful as ballet, his stillness, his attention, his kindness and his firmness – and the huge feelings of a new mother, the joy reflected on the faces of nurses, and my own sensations, intense and too many, crammed into climactic moments, and I unable yet to unpack them and describe them calmly. For now I know only awe and thankfulness.

Perhaps a year later, I stand at the side of a young woman through hours that become a full day, during which she approaches a bridge in her life. Today I’ll cross a bridge of my own. Surrounded by calming midwives, veterans in this arena, I watch as the woman pushes. The woman pushes hard, pushes long, gasps, pushes again. Her face reddens deeply, now a beetroot, now a plum. I peer hard: is that hair? Is that scalp we’re seeing? I move into place to catch a baby.

The Delivery Room encloses the birthing mother, a couple of midwives and a nervous medical student. This room, this world comprises all animal humanity as a life spills free into air. Our air, cold upon wet skin, evokes a gasp, a cry. The cry tells a young woman she has crossed the bridge. The student gropes, grabs a slippery cord, which yet dances and writhes. He applies a clamp which slips and falls to the floor. The baby cries, the mother cries; I suppose I’m tearless, but I know I have crossed too. This is one meaning that I catch instantly.

Six weeks later I travel, as directed, to a Victorian terrace house situated next to a rail crossing in Brunswick. In the house a new mother and her young husband live with their baby. The idea of the visit is for a student to learn the consequence of those climactic events six weeks earlier; that consequence is the fact of parenthood. The mother welcomes me, the stranger who crossed with her, the intimate male who usurped the father. That father welcomes me, thanks me! It occurs to none of us three that he should have been there in my stead. A bond exists, forged in the sweat and blood and urine and shit of birth giving, in the gasping and the heaving of giving birth, in the shock and the cry of being born, in the spreading flood of love for a human child.

I never visit the family again. I would not recognise the mother today. Yet every time I drive past the terrace – which happens to stand on my preferred route to the airport – whenever I pass, I remember, through all the decades that follow. I remember that day, I feel that bond.

The birth leaves me changed. I feel called.

For the first thirty years of my working life I deliver babies. It never stales. Nothing else in a life in Medicine will rock me with that astonished joy as I witness the advent of a human. When suburban GP Obstetrics eventually dies, a part of my own life is extinguished.

Long in the Tooth

To celebrate our wedding anniversary (tantrum warning; see footnote) my wife and I arranged to spend an intimate weekend in a sleepy coastal village an hour or two from Sydney. At our advanced stage of life our offspring seek to protect us from any reckless or imprudent intimacy, and so it was our Sydney family joined us in the seaside cottage.
Annette and I married forty-six years ago, when she was twenty years of age and I was twenty three. We were children, who did not know each other; in fact we did not know ourselves. 
I did some arithmetic recently and realised we have been married for 66.66*% of my life. Annette’s percentage is even higher. We thought the marriage a good idea at the time and I think it a good idea still.
After so many years it is delightful to make fresh discoveries of one’s bride. On Day One of our anniversary weekend I disturbed Annette in the bathroom after lunch. I saw she was brushing her teeth. I said, ‘I didn’t know you brushed your teeth after lunch. I thought I was the only person in the world who did that. If I had known I’d have spread toothpaste on your brush when I did mine.’

With her sweet mouth foaming dentrifice attractively , Annette replied, ‘I always brush after lunch.’

On Day Two I went to the bathroom to perform my midday oral toilet and found my toothbrush, freshly spread with toothpaste. 
From brusher, with love.   
FOOTNOTE: TANTRUM.
THIS IS OUR FORTY SIXTH ANNIVERSARY. IT IS NOT NOT NOT OUR ‘FORTY SIX YEAR ANNIVERSARY’. THERE IS NO SUCH THING. THERE CAN NEVER BE SUCH A THING AS A ‘ONE YEAR ANNIVERSARY’ OR (HEAVEN FORBID) A ‘HALF-YEAR ANNIVERSARY’ OR (SAINTS AND REBBES PRESERVE US) A THREE MONTH ANNIVERSARY’. WHY NOT?

BECAUSE ‘ANNIVERSARY’ MEANS ‘TURNING OF A YEAR’; HENCE FORTY SIX YEAR ANNIVERSARY IS A TAUTOLOGY AND AN OFFENCE AGAINST LOGIC AND MEANING.
END OF TANTRUM.

The Boringest Cliché

1510472_366538920155302_968766595_nWe have all seen too many movies, read too many stories and attended too many plays where some person (always male), his hair thinning, his relationship failing, struggles endlessly to start his novel. Or to get over his writer’s block. Or to complete the bloody thing. Or to get it published.

 

Great writers have whinged greatly on this theme. Jonathan Franzen (The Corrections) and Nam Le (The Boat) have fretted memorably. The world has now read, seen and heard enough on the theme.

 

Yet, four and a half years of my (how much?) remaining time have disappeared in the creation of my own novel, “Carrots and Jaffas”. I watched and saw the sands of my time trickle profitlessly as through an hourglass. I wrote a masterpiece each morning and re-read lines, dead and drear, each evening. I took six months off work ‘to finish the novel’. Those months passed and a further draft joined the previous six in my waste paper basket.

 

For the past four and a half years I have lived that cliché. My wife and family have experienced that neglect.

 

Now Carrots and Jaffas poke their red heads (slab-shaped due to their premature arrival, ironically polar to the postmaturity of their story) out from the beautiful, bright covers that bear their names and Hybrid Publishers commissioned for them. The twins’ struggles to survive, their unnatural/supernatural/utterly natural intimacy, their delayed individuation, their painful discovery of separated self – all these have lived within me; and now Carrots and Jaffas face the world naked and without.

 

They tremble before you.