Ellie Forgotson

Postnuptial blues

After the wedding bells stopped ringing, she wanted nothing but sleep.

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It’s summer again, which means wedding season, which means thousands of clenched-teeth brides-to-be across the country are pacing their offices, living rooms or kitchens with a cordless in one hand and a bridal checklist in the other: Trial run wearing dress, shoes and lingerie? Check. Make sure extra bobby pins are in delicate seed-pearl evening bag? Check. Gifts for bridal party? Check, check, check. It’s a niggardly, ruthless list and it’s way too long, I know, but I have one more thing to add: Prepare for post-nuptial depression.

Maybe it was just me, but for about two weeks following my own wedding last June, I couldn’t get out of bed. I felt overwhelmed, agitated and drugged. I could accomplish nothing but sleep. Granted my apartment is conducive to sleeping, what with its crib-like proportions, its lack of windows and the constant presence of a warm and cuddly dog, but this wasn’t your regular sleep. This was an every-time-I-open-my-eyes-I-can’t-face-reality-so-I-go-back-to-sleep sleep. And according to the Eli-Lily advertisements, this meant I was depressed.

But what on earth was I depressed about? I adored my new husband (still do), I was happy about our marriage and excited to embark on this new life. What was the deal?

Before I attempt to answer this question, I’d like to say I’ve always had a pretty casual (read: phobic) attitude toward marriage. I never pushed any of my boyfriends for proposals or diamond rings, never gave them ultimatums or moved out if I didn’t “see marriage in the future.” When I finally did get married, I was (still am) in my 30s, and had already turned down two previous proposals. I guess I’ve always looked at marriage as an event in my life, not the event.

But once you start to plan a wedding it slowly begins to assert itself as The Event and you have no choice but to bow down to it and pray.

After the engagement, not one day went by when I didn’t imagine myself floating down the aisle in the Dress of my Dreams. But then I’d realize I didn’t know what the Dress of my Dreams was, so I’d make notes to visit Wearkstatt and Vera Wang, Bloomie’s and Bendels, all the thrift shops, Milan, and then I’d realize I didn’t know what kind of aisle I wanted, or if I wanted an aisle, or even a church, with all its heady religious implications. So perhaps a Nantucket beachfront would do, if I only knew someone who had one … but wouldn’t all that sand ruin my satin shoes?

Knowing that I can be kind of a borderline obsessive-compulsive person, and because our budget was tight, my fianci and I decided to keep the wedding as simple as possible. There would be no band, no limo, none of that bouquet-and-garter stuff. There would be no video recording equipment and we wouldn’t take our honeymoon until the fall. There would be no three-story cake because I knew if we had a cake I’d have to see and smell and taste every single wedding cake in the country before narrowing it down to maybe 10 and then I’d spend hours, days and weeks agonizing over which one to pick. Then, my fianci would say, “Just decide already,” and we’d get into an argument and finally, just to settle the matter, I’d have to select any old $900 cake which, at the reception, would be gone, eaten by a pack of 4-year-olds, in about 60 seconds. No, there would definitely be no cake.

And you know what? The simplicity really paid off. We had a manageable number of guests (50 people), a manageable setting (a New England farmhouse) and unpretentious food. Because we had no fanfare, my husband and I could act more like guests at the reception, not vaudevillians. And, best of all, everyone seemed to have a good time, including me.

I was told by millions of girlfriends that I would not remember the day itself, but I remember every second of it. I remember waking up to sunlight and a beautiful blue sky (something blue!) and realizing I’d forgotten to even obsess about the weather. I remember spending the whole gorgeous morning getting ready with my sisters and nieces, applying eye shadows and lipsticks, pinning flowers into hair. I remember laughing as we tried to fit me and my dress into the back seat of my brother-in-law’s old Taurus and checking my mascara in my compact mirror about 800 times as we drove to the church. I remember said mascara running down my face the minute I made eye contact with my father, who was waiting proudly at the entrance for me to take his arm. I remember the sharp, sweet scent of my bouquet as we “proceeded” up the aisle, and knowing that the bouquet in my hands was shaking, but not wanting to look down, and looking instead at the faces of aunts and the uncles, the grandmothers and girlfriends, and finally, him, all smiling at me, some with tears. I remember the profound beauty of the ceremony, most of which we had written, and the almost palpable vibe in the room as we repeated our vows. It was the energy of 50 happy people in sync with one another, all of us believing at that moment in the power of love.

So why, after all this perfection, did I spend so many days afterward feeling so depressed? Why did I feel like I had failed somehow? What was suddenly so alluring about my bed? I decided to poll some of my newlywed friends to see how they’d survived their weddings. “I remember waking up the next day and saying, ‘That’s it?’” my friend Anne said. She designs missiles for the government. “Twelve months of planning and now this, just your basic hangover?”

My younger friend Mary, a Harvard entomologist, had this to say: “It’s like when, you know, you kill an ant while it’s eating something and its jaws remain clamped on the food. That’s how I felt after my wedding. Like my jaws were still clamped onto something.” She rubbed her chin. “I had to go down to Chinatown and get herbs.”

Melinda, an aspiring actress, said her reaction was identical to how she felt after the closing night’s performance of a play, or at the end of a movie shoot. “After spending six months becoming a character, it’s not like you can just abandon that person overnight. You need some time to adjust.”

Hmmm. So, like, a bride is a character and putting together a wedding is like producing a film? I tested this analogy on my new husband, a producer himself.

“Um,” he said, perplexed. “I think you were just tired. That was a lot of work.”

My sister said, “Stop trying to analyze so much.”

Would that I could. It’s an extraordinary event, a wedding. And after it was over I got to thinking that my own life, in comparison, was, well, ordinary. The curtains had closed, the makeup artists and hair stylists had moved on to real clients and I was no longer a bride. I began to suspect that my wedding really was the most elaborate gala I’d ever attend. Never again would I be the center of attention like that. Never again would I be told how beautiful I look for six straight hours. Never again would I get to spend so much time conspiring with my stepmother, an extraordinarily busy woman I adore. Never again will I be allowed to throw away ungodly sums of money on a dress, a headpiece, a makeover. In other words, never again would I get to live a day in the life of Gwyneth Paltrow.

I’ve heard it said — mostly by men — that it’s more stressful to be engaged than to be married. It’s as though they are saying that it’s more challenging to head toward an unknown than to be in the midst of it. And normally I would agree with this as I, too, stress out much more during the journey. But why the exception in this situation? Why did I not show any signs of stress until after I’d said my vows?

I’m thinking it was because of the planning. Planning, in some perverse way, must have helped to alleviate some of my stress. Granted, the planning produced small anxieties of its own, but nothing I couldn’t handle. That bridal checklist, asinine as it was, provided a series of tasks I had to accomplish — tasks that were logical and sequenced. As I moved through the list, it gave me a sense of accomplishment and forward motion that I guess my fianci didn’t feel. Those not involved in concrete issues like what hors d’oeuvres to serve have more time to dwell on the abstracts. My soon-to-be husband, for example, walked around for months holding his head and saying, “My God! What have I done?” while I concentrated on Martha Stewart Living, which told me I must wrap fresh moss around my centerpieces to give them a rustic look.

It wasn’t until after the dress had been put away, the moss donated to the compost and our bank accounts dredged that the searing reality of what I’d just done really hit me: I’d gotten ma-ma-married. I would remain married for the rest of my life. I think it was the enormity of this concept that kept me in bed.

“You could have avoided all of this post-nuptial depression stuff if you’d done one thing,” my friend Judith, the med student, said over the telephone. I expected her to recommend a chemical cure like Zoloft or Xanax.

“You should have taken a honeymoon right away,” she said.

Ah, yes, the honeymoon. I thought of all those advertisements in the backs of the bridal magazines showing vibrant, energetic, and incredibly evenly-tanned couples riding horseback or frolicking in the sea. The looks on their faces always suggest a smoldering passion, as if they’d just left the heart-shaped bedroom or are on their way back. Too bad there were always about 800 of these ads beckoning you to choose among 800 luscious destinations.

“I just figured having to plan a honeymoon on top of everything else would have added to the stress,” I said.

“You could have used a travel agent,” said Judith. “Don’t you live in New York? Don’t you people pay other people to stress out for you?”

“Well yes, but … ” I started to think of my friends’ photo albums and realized their honeymoon pictures were nothing like the honeymoons of advertisements. No, they seemed to have spent most of their days passed out on beach towels. “Don’t you just end up taking your post-nuptial depression with you to some place expensive?”

“Some place tropical,” Judith said. “And of course you take it with you, but if you drink lots of piqa coladas, you won’t notice it as much.”

Let it be known: The doctor has spoken.

Not talented enough

A "promising" writer finishes her first novel and faces her worst fear.

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When I was in grad school, working toward an MFA in creative writing, one of my professors read us a touching story. I don’t remember the author or the title of the story — only that it contained pumpkins and a woman who had cancer. This woman’s husband commented on how skillfully she had carved the pumpkin, and what a talented artist she was, and his comment made the woman very sad. She — bald and dying — said something to the effect of: It’s better to have no talent at all than to be mildly talented, because with no talent your disappointments in life aren’t so great. As the teacher read this passage she began to cry, and then some of the other students began to cry, and I remember feeling a little left out because I didn’t think the story was poignant enough to cry about.

But I was green then and I believed jubilantly in my newly discovered talent. The whole idea of writing — as a living, as a life — was new to me, and I was basking in its delights. I had only recently discovered that not only could I write fairly decently, but that I loved it. Until then I had never really been certain what I was going to do with my life, and then there it was: writing, reading, editing, teaching. It was a world of words and stories, of ideas and character, and I knew I wanted to stay in that world for the rest of my life. I loved, when my own life was in turmoil, to switch on the computer in the morning and spend my day with solid characters who enjoyed great loves and great conquests. And I didn’t care so much that I wasn’t getting published in the New Yorker because as a student I was in the process of Becoming; I didn’t yet have to Be.

About a year ago I finished writing my first novel. And although I knew from the start it wasn’t going to be the Great American Novel, I thought it was at least decent. And earnest. And a little daring. I had spent five years on it, and in those five years I poured everything I had ever learned about writing, craft, style, imagery, multiple narrators, life and love into its 500 pages in what I thought was a readable, entertaining and coherent way.

So I set out to find an agent. There were the established agents I had queried years earlier (prematurely) who said they would be happy to take a look at the finished product. There were the agents who had solicited me back when I was in grad school because I had won some awards and appeared in a fiction anthology. And there were the eager, young agents I knew — or at least knew of — from my job at a well-known magazine, agents who were reportedly “hot for fresh new talent.” I sent my manuscript to about 18 of them all at once, and all of them — in carefully phrased letters, e-mails and/or phone calls — eventually turned me down.

Meanwhile it was the spring of 1998, and surreal things were happening in the literary market. Publishers were suddenly paying huge sums of money for literary fiction — short stories; dense, cerebral novels — and the reaction in the industry was electric. There were auctions, headlines. Every week Publishers Weekly ran another story on another unknown short story writer whose first book went on the block for a six-figure deal. Authors such as Heidi Julavits, Jon Billman and Melissa Bank — all writers of dedication and talent — were plucked from relative obscurity and placed at the crest of this wave. Agents were absolutely frothing at the mouth. In my case, the agents seemed to froth at the idea of me, at least at first. I had emerged as one of the most promising writers in my graduate program. I was young, I was eager, I had drive and I had product. Sure, my novel was a little experimental, they cautioned after seeing the synopsis, and some of the topics were almost passi, but I guess we all wanted to believe I could pull it off.

The rejection letters I received all began with a generous amount of praise and a reference to my talent. As in, “We think you’re very talented, but …” Then they would get vague. Some of the letters finished the “but” off with something generic: “this doesn’t suit our needs.” Or: “this is not what we’re looking for right now.” And because no one came right out and said it, I began to assume the very worst: We think you are talented but you are not talented enough. You’re talented for an amateur, for a writing school graduate, but …

After my novel got rejected for what came to be the final time, I went through a strange mourning period. It was almost as if I had gone through a loved one’s death. I cried frequently. I stopped listening to music that would remind me of my book. At family gatherings, my siblings carefully avoided all subjects related to writing, novels, stories, books. My father, who used to inquire about my novel with kindness and interest (and perhaps, I
always hoped, some pride), now asked me about my husband’s work. “So how is Ed liking his job, Ellie?”

And in many ways it was a death, my novel had died, my characters were stillborns, and I, worst of all, had been deemed “talented, but …” In my worst moments, I saw that term as the death of the writer-me.

I began to ask big questions. I began to reevaluate my life and myself as a writer. Could I call myself a writer if I wasn’t getting published? Was I just fooling myself? What kind of “talented” person could spend five years on the same 500 pages, revising and editing, reevaluating and recasting, without ever once realizing that it might not work? For months I felt stupid and naive and incredibly ashamed, the way I felt after coming out of a long, bad, emotionally tortuous but sexually satisfying relationship, where everyone but me had recognized about three years earlier that Mr. Right was sinister and unstable and totally, completely wrong. And no one had had the heart to tell me.

“But I loved this novel,” I wanted to say to these agents, my family, my husband. You don’t understand! I was blinded by love. Or ambition. Or need. Or whatever it was that made me spend five years believing in something, making efforts every day to make that something work. I just kept writing, sacrificing my social life, an income, the well-beings of my new husband and dog. I wrote to finish and I wrote for love. And in the end it was all wrong.

But there was another reason I was writing, I now see, and that was to get the thing published. (Here I think of Steven Spielberg accepting his Oscar for best director this year, when he tipped the microphone toward his mouth almost shyly and said, “Is it wrong to say I wanted this?”) I never realized how ravenous I was for publication, and how modestly certain I was that this would happen, until it didn’t. And my hopes and dreams and needs fell far and hard.

“Relax,” was the advice that came from a writer friend I admire. “Don’t beat yourself up about this. Your only competition is you. Go out and write another book and make it the best book you can write.”

“But I can’t write,” I said. “I haven’t written, since, you know.”

“So go out and immerse yourself in the arts,” he said. “Go to movies and museums. Listen to music, read the classics. Do whatever you can to get your brain going again. And trust that it will.”

Because I could do nothing else, I did this. Every day I’d venture out to dark movie houses or obscure museums, studying the chain mail on a suit of armor or the way the sunlight passed through a panel of stained glass. Any time my stomach started to flutter and my brain started to whine, “I’m not a writer, I’m not writing,” I’d plug it up with another Kurosawa video or blast of the Smashing Pumpkins, full volume, channeled straight into my ears.

Slowly, but surely, I began to miss the act of writing — especially because I was reading good books. I read Cheever again and Fitzgerald and Flannery O’Connor’s “A Good Man Is Hard to Find.” I remembered what it was like to read these stories for the first time in grad school — that feeling of inspiration and discovery. That feeling of awe followed by, “maybe I could try that, too.” I remembered why I loved reading in the first place, and why I loved writing in the first place — because it’s the best possible way for me to spend my time.

So I’m back, still wounded and slightly chastened, but back writing again. It’s a new story, and each time I sit down to the computer I still feel shy and nervous, as if I were going on a date after a long hiatus from love.

Another former writing professor — not the one who cried — always used to say to us: Success comes from 10 percent talent and 90 percent applying the seat of the pants to the seat of a chair. I always liked that saying and, in the best of times, always want to believe it. Because it says, quite obviously, that even if at the beginning you are just a little bit talented, you can still mold this and shape it and develop it into a greater thing. I’ve realized that what I’ve come away with in the end of writing my first novel is not the disappointment of not having sold it, but the memory of five wonderful years spent doing what I love best: writing. It was my little bit of talent that took me there, and I wouldn’t trade that for anything.

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