It’s only been four days since the official concession—the end of Daylight Savings Time (DST) that shifts the world backward an hour, that throws up our collective hands to the cosmic reality that daylight is contracting around us.
Sure, time is arbitrary, and today’s 5 o’clock being yesterday’s 6 o’clock means little except in the bureaucracy of it all. But for some of us, this is catastrophic and overwhelming.
As I have recently written, I am equal parts unhappy and sad—and it is significantly connected to the time change, the waning daylight, and the coincidental multiple days of clouds, rain, and chillier temperatures.
Anxiety, depression, introversion—these I can keep at bay a bit better when the sun is warm and still just above the horizon at 8 and 9 pm. By November and the godawful month of December, however, I am reduced to this—equal parts unhappy and sad.
I am moving closer to the one-year anniversary of an accident also, one that has qualitatively changed my life, and I fear, somehow triggered a frailty in me that lingers, that is permanently who I am.
I am now living, it seems, in the midst of that life I have been fearing and anticipating, a life I have dreaded and that most people call “old age.”
And some of it is simply the accumulation of life—the weight of family and obligations at polar ends of my existence, from an infirm mother to grandchildren as well as everyone in between. To be poetic and to paraphrase, The world is too much with me; late and soon.
The 25th anniversary release of R.E.M.’s Automatic for the People haunts me now, especially “Nightswimming”:
You, I thought I knew you
You I cannot judge
You, I thought you knew me
This one laughing quietly underneath my breath
More personal, I think, and ultimately more beautiful, “Nighhtswimming” wades into familiar ground, confessing similar pain to the personae witnessed in “That’s me in the corner/That’s me in the spotlight/Losing my religion.”
We who are anxious and introverted have a refrain:
I’d rather walk all the way home right now than to spend one more second in this place
I’m exactly like you Valentine, just come outside and leave with me
As I watched the extended video for “Nightswimming,” I had to resist crying as I sat in my office; this is what we do, we who feel ourselves and the world around us too deeply, too vividly.
I am doing the best I can between how I feel and knowing that the world is watching me.
So daylight contracts toward the Winter Solstice, and Stipe’s voice echoes in my mind: “I’m not sure all these people understand.”