This is the book I’ll be reading over the easter break, The lonely City by Olivia Laing. I heard about it C/- of that wonderful site ” Brainspickings”
” You are born alone. You die alone. The value of the the space in between is trust and love ” Louise Bourgeois”
How to break free of that prison and reinhabit the space of trust and love is what Olivia Laing explores in The Lonely City: Adventures in the Art of Being Alone (public library) — an extraordinary more-than-memoir; a sort of memoir-plus-plus, partway between Helen MacDonald’s H Is for Hawk and the diary of Virginia Woolf; a lyrical account of wading through a period of self-expatriation, both physical and psychological, in which Laing paints an intimate portrait of loneliness as “a populated place: a city in itself.”
After the sudden collapse of a romance marked by extreme elation, Laing left her native England and took her shattered heart to New York, “that teeming island of gneiss and concrete and glass.” The daily, bone-deep loneliness she experienced there was both paralyzing in its all-consuming potency and, paradoxically, a strange invitation to aliveness. Indeed, her choice to leave home and wander a foreign city is itself a rich metaphor for the paradoxical nature of loneliness, animated by equal parts restlessness and stupor, capable of turning one into a voluntary vagabond and a catatonic recluse all at once, yet somehow a vitalizing laboratory for self-discovery. The pit of loneliness, she found, could “drive one to consider some of the larger questions of what it is to be alive.”
There were things that burned away at me, not only as a private individual, but also as a citizen of our century, our pixelated age. What does it mean to be lonely? How do we live, if we’re not intimately engaged with another human being? How do we connect with other people, particularly if we don’t find speaking easy? Is sex a cure for loneliness, and if it is, what happens if our body or sexuality is considered deviant or damaged, if we are ill or unblessed with beauty? And is technology helping with these things? Does it draw us closer together, or trap us behind screens?
Bedeviled by this acute emotional anguish, Laing seeks consolation in the great patron saints of loneliness in twentieth-century creative culture. From this eclectic tribe of the lonesome — including Jean-Michel Basquiat, Alfred Hitchcock, Peter Hujar, Billie Holiday, and Nan Goldin — Laing chooses four artists as her companions charting the terra incognita of loneliness: Edward Hopper, Andy Warhol, Henry Darger, and David Wojnarowicz, who had all “grappled in their lives as well as work with loneliness and its attendant issues.”
She considers, for instance, Warhol — an artist whom Laing had always dismissed until she was submerged in loneliness herself. (“I’d seen the screen-printed cows and Chairman Maos a thousand times, and I thought they were vacuous and empty, disregarding them as we often do with things we’ve looked at but failed properly to see.”)
Warhol’s art patrols the space between people, conducting a grand philosophical investigation into closeness and distance, intimacy and estrangement. Like many lonely people, he was an inveterate hoarder, making and surrounding himself with objects, barriers against the demands of human intimacy. Terrified of physical contact, he rarely left the house without an armoury of cameras and tape recorders, using them to broker and buffer interactions: behaviour that has light to shed on how we deploy technology in our own century of so-called connectivity.
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