My connection to my former selves is sometimes so tenuous that I feel compelled to reach across the years. I inspect old photos and journals, and even conduct tests, eager to discover if the me that I seem to be now can still do what previous versions of me learned to do. As a youngster, I played sports, and the trumpet. I wrote short stories, explored old libraries, and shot black and white film. Where did that person go?
My first bout with this cheap, new-used trumpet, bought a few years ago, was a little rough. I sputtered and panted, and my tone was so poor I wondered if the instrument was stuffed with spiders’ eggs. Even so, I was surprised to find that my lips and fingers slipped automatically into the chromatic scale. I moved up and down the rickety steps with difficulty, as if I’d just had a knee replacement, but I moved. And my improvement has been rapid. In fact, I think I’m already better than I was as a diffident junior high school band kid.
On the one hand, there is nothing interesting about this. It’s just muscle memory and motivation, a simple case of never-forgetting-how-to-ride-a-bike. But my deeper question is still tangled up in there. How can it possibly be that this fifty-something version of me is still the same person that I used to call me? Back then I was, or so I now recall, intense, cynical, and more than a little nihilistic. Today I am often hopeful, energized, and as imbued with meaning as a poem spilling from the page. I simply do not feel like the young me who pushed through the world like a dull razor, constantly sorting, assessing, and finding lack.
So, yes, it has been shocking to find out what these hands, wrapped around this cold brass instrument, can do. I study them with interest: an arthritic finger that I broke playing basketball, a barely concealed map of veins, and incipient age spots that I should probably just start calling “age spots.” Rarely out of my view, these hands are evidence of continuity between me and that young person from long ago, the one who peers at me from photographs. She who is innocent of all she will face and inflict in the decades to come, ignorant of the fact that one day she will turn out to be me.
My fingers, lungs, and lips are here to tell me what my eyes and intellect cannot always fully accept: “You are still her.” And in the wake of this announcement, the bleat of my humble trumpet seems suddenly appropriate. Because though I can sometimes accept that I am her, I refuse to fully do so, and the result feels delightfully queer. I can acknowledge that, in one sense, I am the baby in those pictures, but I was not born as the person who writes these words. She who sits here now is a practiced achievement and an accident, not fully comprehensible by the “nature/nurture” binary or by the stories I, and others, tell about who I am and have been.
If I were more like my students and young friends, then, and more inclined to resist “labels” or claim “fluidity,” it would be because of the delightfully weird distance and proximity of who I am to who I’ve been, and the wide open window of who I might still practice becoming in middle age, in old age, and beyond. There is a thread connecting me back to who I was then, but it is like a line of musical notes on a page, merely the result of some dead composer’s whims, subject to revision and improvisation.