One day last week I looked around me at the piles of newspapers, manila folders, books and binders scattered over the floor in my bedroom/study and took a deep breath. I’ve been sleeping, working and eating in this room for the past few months.
My brain is a lockdown-induced jumble of broken resolutions.
The freedom of working from home has turned me into a combination of jellyfish and goldfish – lacking in backbone and unable to retain a plan for more than three seconds. I can’t put it off any longer. I need order in my life.
Kids, I’m going to IKEA. If I’m not back by midnight, send out a search party.
Since lockdown began six (or is it seven?) millenia ago, I have begun to realise how reliant I am on the companionship of sound, and of classical music in particular.
I wake up to Russell Torrance and his gentle Scottish brogue on Classic FM, then move on to my late father’s classical music CD collection for the rest of my working-from-home day. Once meticulously filed in alphabetical order in his study, it’s now a jumbled pile in his old bedroom – my current retreat. I sift through it for old favourites – the B for Bach, H for Handel and M for Mozart sections were always heavily weighted on Dad’s shelves – and spend hours every day of this 21st century pandemic immersed in 18th century music.
Regular readers may have seen this story on various social media platforms but it is reproduced here in celebration of the new-look DIY Woman, becoming a grandmother and the light at the end of the lockdown tunnel.
Being a long distance grandmother has its compensations. Every morning since corona-lockdown, I’ve woken to images of my son and his young family managing their splendid self-isolation in northern NSW. There are five of them and they’re in this together: mother, father, toddler, newborn and Norman. (Norman is a greyhound but try convincing him.)
Love was a terrible thing […] Not perhaps my cup of tea.
So says Mildred Lathbury, self-proclaimed spinster and one of the ‘excellent women’ of Barbara Pym’s 1950s novel of the same name. The setting is post-war London – the start of the baby boom – when early marriage and motherhood are the norm. Little wonder that thirty-something Mildred thinks she’s missed the (love) boat.