Over the last few days, I've been asking friends how they feel about New Year's celebrations, and from my small sampling (mostly of writers and artists) this is what I've learned:
The vast majority answered with the equivalent of a shrug: The New Year's holiday? They could take or leave it. A smaller (but emphatic) group detest it for a variety of reasons: the social pressure to be happy on New Year's eve, the guilt-tripping nature of New Year resolutions, the arbitrary designation of the year's end in the Gregorian calendar, or simply the bad timing of yet another celebration on the heels of Christmas. I found just a small minority who genuinely love New Year's Eve and Day, and I am one of them. In fact, it's my favorite holiday (despite spending it in bed with flu again this year), and so I've been thinking about the reasons why -- especially since I generally mark the changing of the seasons by the pagan, not the Christian, calendar.
I grew up with the Pennsylvania Dutch traditions of my mother's large extended family: nominally Christian, but rich in folklore, folk ways, and homely forms of folk magic. One of those traditions was my mother's practice of taking down the Christmas tree on New Year's day, cleaning the house from top to bottom, and then opening the kitchen door (with a great flourish) to sweep the old year out and welcome in the new: my mother, my great-aunt Clara, and I each taking turns with the broom. Christmas was a hard time for my mother and always ended in tears, but she would rally by New Year's day, relishing the act of making order out of chaos: a woman's ritual, shared only with me and not my brothers. (Boys doing housework? Unthinkable in that time and place.)
At some point in the midst of all that cleaning, my mother and I would sit down at the kitchen table, eat the last of the kiffles (a traditional cookie made only at Christmas; it is bad luck to eat them past New Year's Day), and talk about plans for the year ahead. These were not New Year's resolutions, exactly; no lists were made, nothing was written down. It was more like a verbal conjuring, a vision of what we'd do differently and better, spoken at the right folkloric time when words held the power of an incantation: the pause between the old year and the new when anything seemed possible.
My mother was a great believer in new beginnings, in a way that was both painful and brave. We moved around a lot when I was young, in search of work for my stepfather, whose alcoholism and violent temper ensured that employment never lasted long. In each new place my mother would mentally sweep her troubles out the kitchen door and make a brand new start: each house, each job, each new school for my brothers and me would be different and better, she insisted. We would finally settle down.
Since the new house was usually worse than the last, she would set herself to transforming it, ingeniously making small amounts of money go a long, long way: she'd paint our rooms in surprising colors (dictated by the paint choices in the bargain bins); make new curtains in cheap, cheery fabrics edged with bright Ric Rac and Pom Pom trim; scour yard sales for pretty new dishes and lamps (constantly broken in my stepfather's rages). For a while she'd be happy and fiercely optimistic...until the usual troubles caught up with us. There would be fights, and tears, and everything would shatter. My mother would collapse, her husband disappear to the bar. Then she'd pick herself up, we'd move again, and she'd start afresh with quiet courage.
As a kid I moved even more often than my mother, bouncing between her, my grandparents and other relatives, with a couple of stints in foster care -- and so I needed my mother's lesson in embracing change rather more than most. Many people from peripatetic childhoods react with a deep dislike of change. My own reaction is a mix of opposites. My childhood has left me with a soul-deep need for home, place, and community -- yet I also love stepping into the unknown and using the act of relocation as a catalyst for transformation and renewal. In this I am my mother's daughter. I like transitions, beginnings, the changing of the seasons, the turning of the calendar's pages. As I wrote in a previous New Year post:
I have a great affection for those moments in time that allow us to push the "re-set" buttons in our minds and make a fresh start: the start of a new year, the start of a new week, the start of a new morning or fresh endeavor. As L. M. Montgomery (author of Anne of Green Gables) once wrote, "Isn't it nice to think that tomorrow is a new day with no mistakes in it yet?"
The American abolitionist Henry Ward Beecher advised: "Every man should be born again on the first day of January. Start with a fresh page." Some people, of course, find a blank page terrifying...but that's something I've never quite understood. I love the feeling of potential inherent in an untouched notebook, a fresh white canvas, even a new computer folder waiting to be filled. It's the same sense of freedom to be found at the start of a journey, when all lies ahead and limits haven't yet been reached.
My mother died from cancer sixteen years ago, at roughly the age that I am now, and she never managed to turn those new beginnings into the calm, stable life she craved. The determined optimism she practiced wasn't always entirely admirable. Optimism can also be blind or foolish, and prevent the solving of problems through the refusal to accept reality. A fresh start can only tranform a life if it is followed by the hard and clear-eyed work of making substantive change: leaving the violent husband, for example, rather than putting fresh paint on walls that will soon be bloodied once again.
But there were reasons my mother couldn't make those harder changes, so I'm not going to sit in judgement of her now. I'm just going to love her for who she was. Acknowledge her quiet bravery. And appreciate the gifts that she's passed on: kiffles and a broom on New Year's Day. And a love of new beginnings.
Yesterday I swept the house. Today I am the sweeping the studio. I'm thinking about what I'll do differently, and better.
The world is full of possibilities.
Pictures: The photographs today are from Queen's Wood, an ancient woodland in London's Muswell Hill: 52 acres of oak and hornbeam trees, abutting Highgate Wood. The pictures were taken during the Christmas holiday, which we spent with our daughter in the city. I recommend "The History and Archaeology of Queen's Wood" by Michael Hacker if you'd like to know more about this beautiful place: a tranquil, magical piece of wild preserved within a bustling cityscape. (Tilly loved it.) The last photo was taken by Howard.
Words: The poem in the picture caption is from Tell Me by Kim Addonizio (BOA Editions, 2000); all rights reserved by the author.