I’m a sleeping penguin

As soon as I crawl into bed, I set my watch to sleep mode. Every morning, somewhere between Le Monde and the puzzles in The Independent, I check my health app for my previous night’s sleep scores.

At first, seeing how much sleep I really got, and how much was deep sleep, light sleep or REM sleep, was fun and mildly interesting, but nothing to be taken too seriously. That is, until I started to notice patterns. On nights where I haven’t had any alcohol, I tend to sleep better. I also noticed that the day following a night of more deep sleep, I tend to write and edit more quickly, and I’d like to think with better results.

Armed with this information, I’ve changed some habits. I generally drink less alcohol, and when I do, it’s early in the evening and never close to bedtime. I’ve also started doing a short spell of yoga (twenty minutes) in the late afternoon. Before you think I’m tooting my own virtuous horn, I should point out that this is less about virtue and more about being extremely self‑competitive and goal‑oriented – the health app feeds off people like me. And there’s a downside – my tendency to spin into self-loathing when I haven’t achieved my goals. I’m trying to re-wire my brain on that score.

I’ve also taken from this the idea of identifying with the sleep patterns of animals. In its whimsical way, after the first week of recording my nightly sleep, the app describes what type of sleeper I am. Instead of the boring old ‘levels’, the watch wearer is assigned an animal from a typology of eight. I’m a penguin. According to the app, ‘To protect their eggs, penguins remain alert and watchful even while they sleep and keeping a regular schedule, but they tend to wake up too often at night.’ This is me to a T – minus the eggs. Since I’ve left fulltime employment and am no longer writing to someone else’s deadline, I’ve kept a regular schedule of getting to bed around eleven most nights. Waking up often during the night goes back to my earliest memories. Night‑time guard duties probably began with childhood fears, including a bout of neighbourhood arson attacks that always happened at night. Later came wakefulness over being criticised at home (my family’s preferred mode of communication), and in my working life, the buzzing after a busy day or the disentangling of a problematic one. I confess that the troubled world of recent years has also interrupted my z‑time.

Despite these human differences, I welcome the penguin metaphor. They’re adorable creatures – birds that can’t fly, but they’re great swimmers. I also like the idea of zoomorphising (the opposite of anthropomorphising) as it stems from shared characteristics and unites living creatures. While many sports personalities have been called sharks and tigers and other ferocious animals, I prefer the gentler analogies – according to a collection of letters between Virginia Woolf and her sister Vanessa Bell, Virginia was a monkey, Vanessa a dolphin and their younger brother Adrian, a wombat.

I don’t know what science these health apps are based on. I suspect it’s a bit of peer-reviewed research mixed in with folk medicine. Nonetheless, the importance of sleep cannot be overstated. Long before medical science and digital technology, Shakespeare had the right idea:

 ‘Sleep that knits up the ravelled sleeve of care,

The death of each day’s life, sore labour’s bath,

Balm of hurt minds, great nature’s second course,

Chief nourisher in life’s feast.’ (Macbeth, Act 2, Scene 2)

I know I’m not alone in this interest, this somnophilia. Only last week, I heard someone on radio say that sleep monitoring was the latest health craze. I guess, even this penguin can be trendy.

What I’ve been reading

Ali Smith never disappoints. Set in a dystopian near future, her novel Gliff follows the lives of two sisters in their early teens as they navigate alone in a fractured society. This society is a totalitarian Britain, where the girls’ family has been categorised as ‘Unverifiable’ – a cultural underclass. As such they have had their home outlined with red paint and later bulldozed. The story is narrated by the older sister, Bri, who is resourceful and rebellious, but most importantly (for this linguist-reader) she’s curious about language in a geeky way that helps to frame our disjected understanding of this brutal, bureaucratic and surveillance obsessed world. Gliff is the name of a horse the sisters manage to acquire. Gliff has many meanings including a brief glance, a sudden fright or a fleeting moment. The horse becomes a metaphor for freedom and resistance, and at the same time – because the word carries so many meanings – it gestures toward the polysemy of our possible futures. It’s a warning of what may come if technology is used in such ways.

Though not intended, it seems this blog has an animal theme. Whether imagined or real, literal or metaphorical, they live in symbiosis with us.

The Pauline Boty Coincidence

I first came across the artist Pauline Boty in Ali Smith’s Autumn, where the protagonist, Elisabeth, is working on her PhD in art history and discovers Boty’s work. She is so struck by the artist’s quirky paintings, popular in their time but now obscure, that she changes her thesis topic rather late in the game to Pauline Boty.

Elisabeth describes Boty’s paintings and collages as joyous, inventive and bold. Traits not allowed for women artists in the 1960s. As Smith’s book reminds us, when Pauline Boty attended the Royal College of Arts, there weren’t even toilets for women students. Naturally, this piqued my interest, and I found online a cache of Boty’s works, most depicting the personalities and popular culture of the 60s. Several sources refer to her as one of the greatest British female artists of the 20th century. She’s also credited as a founding member of the British Pop Art Movement. On top of that, Boty enjoyed a brief career as an actor in film and television and as a radio presenter. So, how did this celebrity artist pass me by?

In Autumn, Elisabeth thinks Boty’s present day obscurity is owed to her being female and the fact that she had a short life, dying of cancer at the age of 28. Yet, her legacy includes some 50 paintings, hundreds of drawings and several stained glasses – one of which can be found at the Stained Glass Museum of Ely Cathedral – that’s a five-minute walk from my house!

But that’s not the coincidence I started this with. About two weeks ago, when I was three quarters into Smith’s novel that refers to Boty’s life and work, my Sunday paper had an article about a new Boty exhibition at the Gazelli Art House in London. An artist I had never heard of is suddenly coming at me from different angles. I don’t see much in this coincidence. It’s not a calling to become an art historian or that I must have a special connection to Boty. Life is too random to think that way, but I enjoyed the coincidence all the same. It put a magnifying glass on this experience of discovery.

Of course, the article mentioned that Boty has been forgotten and how popular and outrageous she was during her brief lifetime. According to Rob Walker of The Observer, this exhibition will introduce Boty to a new generation. Maybe so, but will this woman artist enjoy the posthumous recognition of other modern artists who died young? Aubrey Beardsley and Jackson Pollock come to mind.

When Elisabeth tells another character that her thesis is about Pauline Boty, she soon finds herself explaining Boty’s brushes with fame after her death: ‘Ignored. Lost. Rediscovered years later. Then ignored. Lost. Rediscovered again years later. Then ignored. Lost. Rediscovered ad infinitum.’

It appears I have jumped into one of these cycles.