on the dangers of kissing

Last night I fell asleep to the sound of my neighbors arguing. I don’t really know them, though they’re friendly on the rare occasion Roscoe and I meet them in the hallway. They are never noisy. Until last night, they were a practically invisible presence in my life. But when I heard her crying, the kind of crying you only do when you think no one is listening, when you find yourself in that strange, desperate place between love and frustration, I felt…sad and a bit sick.

I’ve spent the summer blissfully removed from that feeling. Even as I have tried to remember, to write about the moment J and I finally decided to move apart, I’ve failed. The dialogue sounds tinny, the tone melodramatic. All I could come up with was a single, strange image: the moment the ball breaks through the glass instead of bouncing off of it. Something broken, something changed that can’t be repaired. Maybe I can’t tell the story, I thought, because it just wasn’t as momentous as it felt. Because the argument was barely an argument, just a disagreement about how we’d spend our Saturday. And maybe I shouldn’t explain it, I told myself, because in the end isn’t it always the mundane that drives us apart?

Though I couldn’t even hear their words, the tones of my neighbors’ voices validated the feelings which just last week had seemed so distant and overwrought to me. I lay in bed reading and trying not to listen, and thinking how grateful I was not to feel like that.

I spent yesterday afternoon reading about the brain. The research on the literal, physiological chemistry of love is too complex for a single blog post. Several chemicals and neural systems are involved and new research is always amending what we think we know about the mysteries of the heart, which in fact all reside in the brain. But understanding a little bit about it helps us to understand a lot about how love stories function in our lives.

Neuron, by Roxy Paine

First there are mirror neurons, the cellular basis of empathy–at least that’s the most popular theory at present. They appear to be far more complex than most brain cells, which respond to a single frequency, sound, or image. The same mirror neurons fire when we pick up a mug to drink from it, when we see another person drink from a mug, when we think about drinking, and when we say the word “drink.” Some scientists believe mirror neurons explain why we love fiction, and, by extension, movies, songs, stories of all kinds. So it’s likely then that when we hear a midnight argument and feel a kind of unbearable empathy, that’s our mirror neurons at work. They’re why when, in Dirty Dancing, Patrick Swayze says, “No one puts Baby in a corner,” we grin goofily, as if he’s speaking those words to us. They might explain why we love love stories: our brains feel temporarily like we’re the ones in love.

Which brings me to dopamine. Continue reading

27,766 words

I’ve been away. And for good reason. I’ve been writing, not quite every day but almost. All those strands of thought I’ve spent the past two-plus years collecting are weaving together into an imitation of an honest-to-god manuscript.

At present, I’ve got exactly 27,766 words. If we’re being technical, I’ve got about a bazillion more words than that, but 27,766 is the number of words that fall in order, one after another, into sentences and paragraphs and pages. In Microsoft Word terms, that’s about eighty double-spaced pages. And while I’m happy, thrilled even, about this sense of forward progress, the evolution of a bunch of disparate passages into a single, coherent thing brings its own unexpected anxieties.

Mostly, I worry about being a woman writing about love. I try hard to be smart and unsentimental, to be honest in a way that occasionally makes me uncomfortable. But I sometimes wonder about being dismissed as a girl who’s writing for other girls about their favorite girly subject. I am well aware of how writing anything that falls within the sphere of domesticity (or, even worse, romance) can relegate a women to the genre of chick-memoir or win her the label of myopic navel gazer.

And I worry about how slowly I write. I have, more than once, spent hours on a just few sentences. I’ve had the idea of this book for four years now, and have been writing it for at least two and a half. I try to think of Marilynne Robinson, who published her first novel (the truly excellent Housekeeping, which you must read if you are at all interested sentences) in 1980, and her second, which won the Pulitzer Prize, nearly twenty-five years later in 2004. In fact, each of her three novels has won a major book prize. She is not prolific, but profound, I tell myself.

Once I’ve got that Pulitzer nomination under my belt, I too can be less anxious about tangible productivity. For now, though, I am my usual, cautious self. I do not trust my sentences. I third- and fourth-guess them. It is better, I think, to trust in the writing process (that is, showing up at the computer every day for as much time as I can manage) than to trust in my own words. If you think something is good, give it a couple weeks. Things change.

An odd by-product of being cautious in writing about love, and of training yourself to doubt your initial instincts, to let them sit awhile before acting on them, is that you may also become doubtful of your instincts when it comes to love itself. Continue reading