A Smell for the End of the Year

I don’t remember myself as being an overly girly little girl. Mostly, I was a show-off. So, if a dress or other frilly thing helped me show off more effectively, then that was great. But I don’t recall gravitating to any certain activity or hobby or way of presenting myself simply because it was specifically feminine.

Who knows how my self-presentation would have continued to develop if my mother hadn’t died when I was eight. But, not only did I lose my primary female role model, I also then instinctively but unconsciously began to align myself with my father. I’m sure it partly stemmed from a child’s need to imitate her elders in order to experiment with how to be a person in the world, but, in my case, it was also a strategic way to figure out how to avoid my father’s hot temper. If I could match him, then hopefully I wouldn’t end up doing anything to set him off, because I would be acting as him in some sense.

And so my energy became more and more boyish as I gained weight (thanks to genetics, uncontrollable stress-eating, and my father’s lazy habit of feeding us a steady diet of fast food) and marched toward puberty.

In high school, I delighted in being one of the guys, especially among my theater friends, and once wore a tuxedo to host a local musical variety show. I thought it was cheeky, to be a 17-year-old girl with a voluptuous figure dressed like a boy. In reality, I just kept distancing myself further and further from my own femininity.

Around the same time as that variety show, I was performing with a coed show choir that required the girls to wear formal dresses for our many concerts during the holiday season. I’d found an old black velvet halter dress that had belonged to my mother and had it altered to fit my measurements. My best friend and I, dressed up in our finery and walking through the school one afternoon, on our way to some performance or other, ran into two middle-aged women teachers in the hallway near the cafeteria. They asked us to twirl around and show off our dresses, and one of them, in reference to me, drawled to the other, “god, if I had a body like that. . . .” I remain shocked by the comment to this day. Not because it felt threatening or inappropriate, but because, with all my insecurity about my weight and all the ways I felt more like a boy than a girl, I couldn’t conceive of my very obviously female body as being anything for anyone to envy.

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I’ve done a lot of work in therapy and meditation and energy healing over the past ten years, and I’ve started to feel more OK about my body and my gender presentation. One of the most effective ways I’ve found to play with persona is through perfume. Though I’d always been obsessed with scent, perfume became a more intentional hobby for me in late ’09, initially as a distraction from a breakup that wounded me more deeply than I had expected it to. And as my perfume collection grew beyond the point where it was possible to have only a handful of default scents (say, one for work, one for fancy occasions, one for winter, and one for summer), choosing a daily scent became an exercise in asking myself, “how do I want to feel today? What kind of person do I want to be? How can a perfume help me perform the version of myself that I most want to present to the world on his occasion?”

One of the sweeter aspects of my father’s personality that has become part of my own is his ability to get sentimental about anything and everything. Which means that I’m not only always looking backward in time at the things I used to do and be, I’m also always projecting myself forward and wanting to make sure that I do right by my future self in making sure I’ve done enough to memorialize whatever experience I may be living through at the moment. And since scent is so inextricably tied to memory, I’m perhaps overly fixated on finding the “right” perfume to wear on any given day.

I know I’m not alone in this, especially among other smell obsessives that I read about via the many wonderful perfume blogs being published online, but it’s extra freighted for me as I seek to retrain my childhood instincts away from a more masculine default that no longer serves me toward a femininity that I’ve long suppressed and find myself hungering for. All this is bad enough on a daily basis, just going about my regular workaday life. But the decisions are extra-intense on holidays or other special occasions. So today, New Year’s Eve 2013, the first thing I thought after getting out of the shower was “oh god, what perfume should I wear to say goodbye to the old year and ring in 2014?”

I’d just received a handful of decants in the mail that I wanted to test, but committing to one of those for the full day was way too risky. What if I picked something that didn’t work with my skin’s chemistry or inadvertently stimulated some dormant memory of an unpleasant experience? Better to go with something I already knew that I liked.

But, should I go with an old standby—with emphasis on the old? Would an old standby, because of its familiarity, not retain enough magic to mark the specialness of the day? So, that eliminated what felt like dozens of options.

And though I’ve made peace, despite everything that I’ve written above, with my attraction to scents that fall toward the more masculine end of the spectrum (particularly the smoky, leathery, boozy ones), perhaps obviously I felt like it was best to steer clear of those today as well. As I was pawing through my perfume box, my fingers touched upon the perfect thing: Arquiste’s Anima Dulcis. Anima Dulcis

It’s sweet and sultry and just a bit naughty; my favorite description of it would have to be Denyse Beaulieu’s evocation of “a series of embedded stories and/or spaces. In Mexico: a convent. In the convent: a cell. In the cell: a nun. Under the nun’s habit: a lace skirt. Under the lace skirt: pimiento, vanilla and chocolate. The holy of holies: a noble virgin’s body.”

The warm, chocolaty yet slightly sweaty embrace of this perfume pushes me to reimagine myself as a more unguarded, boldly erotic and unapologetic woman. Which, I feel, is as good a reason as any to leave this scent here, on this day, like a bookmark for me to glance back at from some future time, maybe less out of nostalgia and more as a marker of the declaration, “it was from here that I began again.”

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Why Scorsese and Stiller Are This Holiday Season’s Most Meta Directors

I enjoyed The Wolf of Wall Street a heck of a lot. Sure, I feel a little dirty about it, and worry a bit about what Rachel Syme in The New Yorker calls its potential for winning “bad fans” (“watch closely as Scarface posters in frat houses are quietly replaced with Wolf ones,” she says), but when I think about my experience of watching it, I know that I was having fun.

And, one of the most fun things about it was DiCaprio’s performance. Not just because it was an insane, shameless, fearless, Oscar-worthy, can’t-tear-your-eyeballs-away tour de force (which, pretty much any review you’re going to read right now will likely agree on), but because it was so pointedly referring back to his whole prior body of work as an actor.

I’m not enough of a fangirl to be able to get chapter-and-verse comprehensive about it, but, for example, tell me that wasn’t a Titanic joke in the scene when they were on the ship in the storm and he was standing behind the actress playing his wife, his arms around her, while gripping the railing and looking (in this case, fearfully) into the distance. And, even if DiCaprio insists his Quaalude-induced slug crawl from the country club to his car was a reference to a viral YouTube video, I think it’s also a piss-take on his “I’m a serious actor because I’m portraying a character with a handicap” Oscar-bait performance from What’s Eating Gilbert Grape. As the hopelessly starry-eyed newbie in thrall to Matthew McConaughey at the beginning of the film, he could be gesturing toward any of his former ingénue characters—an out-of-his-depth Romeo, perhaps? I’m sure there are other examples.

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Another instance of “did that just really happen?” meta-commentary in this year’s crop of holiday films was the Benjamin Button sequence in The Secret Life of Walter Mitty. Some critics seem to have thought it was hilarious; others, predictably thought it was a tonal misstep. But I was primarily fascinated with the way the joke was directly referring to another movie based on another early 20th century short story that took the story’s title and basic concept as a jumping off point, disregarding everything else.

Even however many years after its release, I stand by my assertion that casting Brad Pitt as Benjamin Button is the most intriguing part of that needlessly bombastic film. There’s no way that, without him, the film could evoke the emotional resonance of watching a person age in reverse. It requires an actor who’s been so famous for so long for being so beautiful that our own nostalgia for that person’s youth will filter back through the film we’re watching. (I guess maybe Johnny Depp could have worked the same trick? Or, can you even imagine some alternate-universe version with Elizabeth Taylor?) It was a genius bit of casting, in league with DiCaprio in Wolf as I just mentioned above.

But, that’s where the brilliance in The Curious Case of Benjamin Button stops. There’s almost nothing in Fincher’s turgid film that resembles the playful, snotty smarminess of the short story. (And, I say “smarminess” as a huge Fitzgerald fan! It’s just that his fixation on his own youth is both why he’s awesome and why his writing often reads as overly self-satisfied and insufferable.)

In much the same way, both film versions of Mitty (I’ve seen bits of the Danny Kaye movie and found it nearly unwatchable) have taken Thurber’s sad, sick-feeling short story that’s centered around anxiety about masculine ineffectuality and turned it into a man-child’s fantasia about Living Yr Dreams! or Becoming the Hero of Yr Own Life Story! or somesuch hokey Hollywood garbage.

And, getting back to my whole point here, does Ben Stiller actually realize that’s what he’s doing with this Mitty adaptation? I think he does! I think he’s admitting it with the Benjamin Button parody! I think he’s essentially saying, “look, y’all, the movie version of Benjamin Button pissed all over the Fitzgerald short story and no one seemed to care, so this is my fair warning to you that I’m going to do the same thing now with Thurber. Don’t say I didn’t tell you in advance how it was going to go down. Peace out.” I’ve always had a lot of respect for him as an actor and a comedian and, despite the almost bone-chilling cynicism of this little hat-tip, I have to say, it’s pretty brilliant.