If you drive past my place, which is on one of the busiest roads in Sydney, you wouldn’t imagine that there are two gateways to the bush within walking distance of that river of traffic. These are the Lane Cove National Park and the Berowra Valley Regional Park, each with intricate networks of bush tracks that open up in all directions. Some head hundreds of kilometres north, to Newcastle, others 30 kilometres south, to the city. Others wind through the creeks, gullies, valleys and heights of the local bushland, with its giant gum trees, lush ferns, makeshift bridges, rocky staircases and sandstone overhangs.

I have been living in the area for seventeen years and over time I have explored many of these tracks, sometimes alone, and sometimes with company. I have taken the wrong tracks a few times; I have started on one track and ended up on another, or lost the path altogether and emerged in the streets. Notwithstanding my lack of sense of direction, as soon as I enter the bush, I am overcome by a sense of tranquility. Smelling the eucalyptus trees, hearing the frogs and the birds chirping, the wind rustling the leaves and the water flowing in the creeks. Feeling the branches breaking and the pebbles crunching under my feet, and occasionally catching the sight of a lizard or brush turkey.

Recently, I was on holidays for two weeks and it ended up being a walking holiday in my own neighbourhood. I had booked a short trip away with my partner, and planned to have several catch ups with friends and family, which I always do around my birthday. However, Greater Sydney went into lockdown due to an outbreak of the Delta strain of Covid-19 just before I was due to take my leave, and all plans had to be cancelled.

So I made a long list of things to do during my break, from tasks such as wiping out the hard drive of my old computer to preparing my tax papers; projects that ranged from writing a blog post to reading at least two books; treats such as sleeping in every day and having a long relaxing bath; and a challenge: to do 14 different walks in the 14 days of my break, of five to seven kilometres each. 

Every morning during those two weeks, I set off after a late breakfast, feet clad in hiking shoes and walking pole in hand, and walked for up to two hours. In my travels, I discovered tracks and fire trails I didn’t know existed; revisited paths I haven’t walked for over a decade; completed walks I have been wanting to do for years, and hiked familiar, well-trodden paths I have done many times before. I saw the city from the lookout near Lorna’s Pass, caught a glimpse of a Kangaroo – or a very large Wallaby – hopping on a hill near Thornleigh, and snapped a photo of the Whale Rock in Devlin’s creek. Amazingly, I did not get lost once.

I also walked the steep streets of my neighbourhood, finding a public garden, hidden passageways and brief corridors of bush behind the houses. I was blessed with great weather for walking. It was windy but sunny, and in 14 days I only wore my rain gear once, though the grey skies never opened. I couldn’t go very far – we could not travel beyond 10 kilometres from home – but having a walking holiday for two weeks, even if it was in my own backyard, qualified as a “dream holiday” for me.

Since the start of the pandemic, walking has been my salvation. When we had to start working from home last year, during the nation-wide lockdown, I didn’t take to it immediately. I missed the interaction with my colleagues, and the five kilometres I covered every day, walking to and from train stations, and sometimes walking all the way home from our Hornsby office, which is six kilometres away. The walk was not as spectacular as crossing the Harbour Bridge, which I used to do every day after work when my office was based in the city, but it had seven steep hills that used to increase my heart rate and make the endorphins flow.

On my very first day of working from home in March 2020, I only walked a few hundred metres, and mostly in the corridors of my apartment building because it was raining outside. I promised myself I would not let that happen again, and every day, no matter how busy I was, how low my mood or how bad the weather, I got out of my home office and walked. Sometimes I did it in three bursts – mid morning, lunch time and after work, which meant that in winter I had to walk in the dark. Walking got me out of my head, and helped dissipate the worries and uncertainty caused by the pandemic.

I have never been very adventurous or sporty, but have always been an avid walker. Growing up in the city of La Paz, Bolivia, with its congested streets and haphazard public transport system, I used to walk everywhere. The CBD was only five kilometres from my house (as opposed to 30 kilometres in Sydney) and it was quicker to walk there than to wait for a bus that arrived packed to the brim, with a few people hanging on for their lives on the outside steps. This was decades before they installed a sophisticated cable car system which has improved transportation enormously – something I am keen to try the next time I visit, when the world opens up and we can travel again. Back in the 1980s, I would walk to university, in the southern suburbs, and to the conservatorium of music in the heart of the city. But all these walks were strictly urban.

Bushwalking is something I started doing more seriously only about thirteen years ago, when I had been living in Sydney for nearly two decades. I bought a book called “Sydney’s best bush, park, and city walks”, which took me to all corners of my adopted city, as I explored all the walks with my partner and friends, methodically ticking them off as I went. I then moved into the “Sydney’s best coastal walks” book, and soon after attempted my first multi-day walk, the Milford Track in New Zealand. I have since done the Inca Trail in Peru, the Three Capes Track in Tasmania, parts of the Great Ocean Walk in Victoria, and the last 120 kilometres of the Camino a Santiago in Spain.
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I probably wouldn’t have done any of this without my walking pole. The pole allowed me to find a sense of adventure I didn’t know I had, stopping me from falling when I ventured out on to harder, uneven tracks, and from slipping when I crossed creeks. Ironically, the two occasions on which I fractured bones, were as a result of tripping and falling on the flat street.

At the end of my walking holiday in lockdown, I thank my lucky stars for living where I live, where I don’t even have to drive to enter another world altogether. I’m also thankful for having two feet that take me places, far and nearby, my footsteps often falling in line with those of the walking companions with whom I share these experiences.

In one of my first memories, I am nauseous at the back of a truck, which is precariously descending from the glaziers of La Paz to the tropics of the Yungas on the narrow, winding ‘road of death’ in Bolivia. My mother is holding a plastic bag under my chin and I am emptying the contents of my stomach into it, repeatedly, whilst other passengers throw us looks of pity. At the best of times I am a scrawny looking child with forlorn eyes, thin limbs and unusually pale complexion, so our fellow travellers look genuinely worried. I truly feel I am about to die, but more from embarrassment than from motion sickness.

We are making the trip to visit my father, who is a doctor doing his year of country practice in Irupana, a little town in the Yungas region known mainly for its coffee plantations. We board a bus in the early hours of the morning, while it is still dark and misty, but as we reach the cumbre, the highest and coldest point of the journey, the bus breaks down and we are shepherded into the back of a passing truck, our teeth chattering with cold and our breath condensing as it leaves our mouths.

At this time I don’t comprehend that I am travelling on one of the most dangerous roads in the world, a two-way dirt road that in some places is no wider than one lane, stretching for 90 kilometres, carved on the side of the mountains at over 4000 metres of altitude, with twists and turns so sharp it is often impossible to see any cars coming the opposite way. There are no barriers to stop vehicles from falling over the edge onto cliffs so deep and sheer that the passengers have no chance of surviving. As it is heavily used, up to 300 people lose their lives on this road every year and the way is peppered with crosses in memory of those who perished. In between bouts of nausea I count the crosses as they fly past, thinking that this surely is something that only happens to others.

A few years later, when I am perhaps seven and my brother is two, I come close to becoming one of those crosses when we find ourselves inside my father’s car, swaying on the edge of the cliff after he miscalculates the angle of a bend and two of the wheels end up off the road. If any of us moves as much as an inch, we will precipitate down to our deaths. So we sit tight, afraid to even breathe, avoiding looking at the precipice stretching below us, until other drivers stop their vehicles to come to our rescue, and pull the car back on to the road. As though staring at death in the face is something that happens to us every day, my father thanks them, gets back behind the wheel and we get on with our journey. Nobody speaks about what has just happened.

When I am in my thirties and living in Australia, a friend emails me a slideshow of the “most dangerous roads in the world” where the Bolivian death road features prominently. I show it to my mother, and she confesses that when I was aged two, I had travelled this road at high speed on my father’s motorcycle, squeezed between him and her and wearing no protective gear. Knowing my mother, who is the personification of cautiousness, it is hard to believe that she would have agreed to make that motorcycle trip not once, but several times with her infant daughter, but I have to take her word for it, as I was too young to remember.

When I am three, old enough to recall the endless bends, the precipices, the landscape morphing in front of our eyes from arid to lavish, and the beautiful ‘Bride’s Veil’ cascade, we make that treacherous trip several times; until my mother too finishes her medical degree and starts her own country practice in the same hospital as my father, and we move to Irupana for the duration.

It is the early seventies and Irupana, like many other regional towns in Bolivia, hasn’t yet caught up with the rest of the world. There is no electricity, no television, no telephone. My mother reads me books by the light of oil lamps and we listen to battery operated radios. The hospital is one of the few buildings that has electricity magically produced by a generator. We gorge on strawberries from our neighbour’s farm, and drink unpasteurized milk freshly squeezed from their cows, with a deliciously thick layer of cream. At night, we pluck oranges from the trees in our backyard and my father roasts them in a bonfire. My first movie is projected on a white sheet hung on the wall of an improvised theatre in town, where we sit on folding chairs scattered on the dirt. The movie is Walt Disney’s Pinocchio and I enjoy it immensely until Pinocchio gets swallowed by the whale. This seems completely unfair and I cry, kick and scream as though it is the end of the world, and we have to abandon the screening to pacify the other movie goers; it is not often that they get to see moving pictures.

The edges of my first memories are soft and dreamlike and they start in this tiny, backward town where everything seems to take place in slow motion. Irupana is surrounded by rolling green hills, plantations and tropical valleys. At only a few hours’ distance from the barren, high-altitude, noisy La Paz city, this is a completely different world.

Some of the memories are not as soft though. I am stung by a bee and attacked by two different dogs – though one of the attacks, from our own dog (Jackie) is entirely my fault. As the two dog attacks happen under the watch of two different babysitters, my parents give up on the idea of having me looked after by nannies and decide to send me to school.

The nearest school is an all-boys school. Neither my gender nor my age (I’m just over three years old) deter the principal, and I am allowed to join the kindergarten class. Not only am I the only girl at the school, but I am the youngest by almost two years. I am also the palest, as most of the inhabitants of Irupana have the copper skin tone of the Amerindians. Although there are some European immigrants in this area, most of the population is indigenous. Even in the city, my skin is unusually white in comparison with most Bolivians as a result of having some French and English blood somewhere down the line. At kindy I am not teased or ignored because of my differences - quite the contrary, I am the centre of everyone’s attention, from the teachers to the kids, and I bask in it.

We present a theatrical version of Snow White and the Seven Dwarfs at the end of the year, and I am given the title role - it would have been quite ironic if I didn't’ get the part, being the only girl in the troupe; even the witch is played by a boy. My mother makes me a beautiful pink dress for the performance and newspapers are carefully laid on the dusty stage floor to avoid ruining my outfit when I fall to the ground, after taking a bite of the enchanted apple.
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Despite the dog incidents, this is a magical year, but twelve months fly and return we must, to the big city at the other end of the road of death.

Images from: ​http://www.ssqq.com/archive/vinlin27b.htm 

​"Two roads diverged in a wood, and I – I took the one less travelled by, and that has made all the difference." - Robert Frost. 

How many times have you found yourself at a fork in the road and no matter how impetuous or carefully considered your decision was, you couldn’t help but wonder (either at the time or further down the track) what course would your life have taken had you chosen the other path?

Some such decisions might be momentous, such as a career change, moving to another country, saying ‘yes’ or ‘no’ to a business or a marriage proposition. Some might be deadly, as was the case of Alberto Dominguez (the first Australian to die in the September 11 attacks), who at the last minute decided to delay his plane back from the US to Australia by one day, and ended up aboard American Airlines flight 11 when it plunged into one of the towers of the World Trade Centre. And conversely, I remember reading the stories of people who were meant to be in the towers at the time of the attacks, but had missed their bus, or woken up with a cold, or decided to spend the day with their lover instead of going to work – and had no idea of what happened until they received frantic calls from their family (or their wife!) wanting to know if they were alive.

In the movie ‘Sliding Doors’ it is not even a conscious decision, but the simple fact that she misses a train that sets the main character’s life in a different direction. We get to see both futures taking place, and in both futures she finds her way to Mr Nice Guy and out of the clutches of her cheating boyfriend. The German film “Run, Lola, Run” explores three variations of one story, in which minimal things, such as brushing someone’s arm in the street by accident, can cause not just your own future but the other person’s to change in radical ways.

Moving countries from Bolivia to Australia in 1988 was one of the most distinctive forks in the path of my lifetime, and I often wonder what would life had been like if I stayed in Bolivia and pursued a career as a concert pianist. Among the friends who stayed some became renowned opera singers, directors, composers, and one even an internationally famous rock star; whereas I abandoned my career in music when it became too difficult to pursue it in a country where musicians were light-years ahead of me in their training. Admittedly many of my musician friends in Bolivia were not as successful as the others, and struggled to make ends meet; and even some of the successful ones often had to supplement their income doing other jobs.
But even before that, straight out of school, I studied two years of psychology at university. Had I stayed, would I be writing articles for research journals and transforming people’s lives through counselling, as many of the graduates from my class are doing now?

The internationally successful rock star happened to be the young man I was dating before I left the country. At the time, he didn’t even have enough money to buy his own guitar. If I stayed in Bolivia, would I have gone onto marry the rock star? Would he had become a rock star at all, with me pulling him back, perhaps with one or two children in tow? He never married, although I heard that he had a child ‘out of wedlock’ with another celebrity, a television presenter.

I also wonder sometimes whether, if I had married a different man 26 years ago – freshly arrived in Australia - instead of my ex-husband, would I now have the happy family, the kids and the white picket fenced house in the suburbs? Somehow, I think not. Even back then, in my early twenties, I don’t remember ever dreaming this ‘Arcadian’ ideal...

I do remember however sitting for the public service test within months of my arrival. Sometime later a letter arrived offering me a job in the public sector, but by then I had already obtained employment in a private company. I dismissed the letter, not knowing how difficult it would be to enter the public service if you were not already in the system. Many a time in the years that followed I applied for government jobs and didn’t’ even get as far as the interview. Who knows, had I accepted that job offer, I could now be in the Senior Executive Service of Australia…. or, on the other hand, I could be working as a teller at the post office. Either way, I most probably wouldn’t have met the friends and colleagues I now have, I wouldn’t have achieved the things that I’ve achieved in the private and later in the not-for-profit sectors; I would not be working for a highly respected charity, helping disadvantaged people transform their lives, and using my writing skills for a great cause.
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Having faced another distinctive fork in the road recently I asked a friend: “how can I know the decision I am making is right?” And she said, whether it is right or wrong, you have to “make it right”. Once you follow one course, you have to decide that this was the right course, and make it work, without looking back. I thought that was pretty sound advice. What is the use of dwelling on what could’ve, should’ve or would’ve have been?

Argentinian writer Jorge Luis Borges tackled this subject in his short story “The Garden of the Forking Paths”, in which one of the characters analyses Ts’ui Pên’s fictional masterpiece, a novel that is apparently nonsensical, contradictory and chaotic, and explains that:

“In all fictional works, each time a man is confronted with several alternatives, he chooses one and eliminates the others; in the fiction of Ts'ui Pên, he chooses - simultaneously- all of them. He creates, in this way, diverse futures, diverse times which themselves also proliferate and fork. Here, then, is the explanation of the novel's contradictions. Fang, let us say, has a secret; a stranger calls at his door; Fang resolves to kill him. Naturally, there are several possible outcomes: Fang can kill the intruder, the intruder can kill Fang, they both can escape, they both can die, and so forth. In the work of Ts'ui Pên, all possible outcomes occur; each one is the point of departure for other forkings.”

Each time I am confronted with a fork, or even a branch in the road, this is what I would like to believe: that another version of me has chosen each of the other paths; and thus, there is one of me who is a concert pianist, another an eminent psychologist, another a bohemian artist, another a happy stay-at-home mother, another a senior government executive, another a rock star’s groupie… and so on. In all the versions, I am, and will always be, a writer.

Left: My home-town, La Paz (Bolivia) at dusk, 2012. Right: My adopted home, Sydney (Australia) on a stormy night, 2014 (both images taken by the author - click to enlarge)

According to Peter Read, in his book Returning to Nothing (1996), 'home' can be a city, a suburb, a house, a room in a house, or a single plant in a garden. 
Home can be a physical or geographical place, but it is also a place inside our hearts and our minds. It could be a person, an object, or a collection of memories, individual or shared.

During my first years as a migrant, whilst I still lived with one foot on the vast island known as Australia and the other firmly placed on the soil of landlocked Bolivia, I remember finding myself continuously exploring the concept of home, perhaps as a way to understand and overcome my feelings of dislocation.

When I was studying the subject of Australian History at university, as a mature student, I wrote an essay exploring the concept of ‘home’ from three different perspectives: Home ownership, Home country, and Home land. To my delight, the essay received a high distinction. In this blog I revisit those ideas more succinctly and subjectively, as well as bringing them up to date. The fully referenced essay (1998) can be downloaded at the bottom of this page.

Home-ownership: The Great Australian Dream

The Great Australian Dream of owning a detached house in the suburbs, on a quarter acre block, has its origins in colonial times, when British colonists arrived here escaping the poor and overcrowded conditions of the cities in Britain. They were pursuing the ‘agrarian myth’ of owning a cottage and a bit of land in the vast Australian countryside. When the agrarian myth failed, and people had to leave the land to move back into the cities, they brought with them their ‘rural arcadia’ ideal, which reached its height in the post-war years.

By the 1960s, Australia became one of the nations with the highest rate of home ownership in the world. This however, had consequences: young families became committed to debts for most of their working life; there was a growth in inequality between those who could afford the dream and those who could not; suburbia began to sprawl, and Australians developed a culture of home centeredness.

In recent years, ‘the dream’ has been cut short for many, particularly in Sydney which in 2015 has officially become the most expensive city in the world, due to the skyrocketing of property prices. The size and composition of Australian households has changed dramatically since the post-war years. Younger generations have a busier lifestyle, are more focused on having a career than on having a family, they don't have the time to care for a house with a garden, nor do they have the means to buy said house.

Despite of all this, the Australian Housing Survey conducted by the ABS 1 at the start of the millennium, demonstrated that the overwhelming majority of Australians still prefer to own a detached house on a plot of land – regardless of the material, social or emotional costs that this might bring.

Home-country: stories of migration

In April 2013, my family and I celebrated a quarter of a century in Australia. Reflecting upon this milestone, I realised that most of the time, I no longer feel painfully divided between two cultures. The transition has taken a long time, but I have embraced this country, its language and its people, and they have embraced me back.  And yet… when I speak about my country of origin, Bolivia, I still find myself calling it ‘home’.

In the almost three decades that I have been living in Sydney, I tackled the subject of ‘belonging’ with many fellow migrants from a variety of backgrounds. The metaphors of reincarnation, of living two parallel lives, of having been forever divided into two halves (before and after leaving our countries of birth), of being perpetually trapped in a kind of limbo, illustrate some of the ways we express ourselves when we think about belonging or feeling 'at home'.

Many migrants hope that their Australian-born children, still referred to as ‘migrants’, (second generation migrants) will finally establish roots in their parents’ adopted home. But for some of these children, ‘belonging’ is even more complex. Many years ago I spoke with one of my mother’s colleagues who had been born in Sydney in the 1950s to an Orthodox Greek family. She said she never felt at home growing up in Australia, and still had memories of being called a ‘WOG” at school; but when she visited Greece for holidays she didn’t feel at home there either. She looked at me, almost with envy, and said, 'at least you know where you come from; you have roots.'

When you put it that way, perhaps home is where your roots are, or as T.S. Eliot put it, ‘Home is where one starts from’. What happens then, when your roots are taken away from under your feet, in your own country?

Home-land: Indigenous Australians, migrants in their own home

The concept that indigenous Australians have of ‘home’ is not easy to explain, not only because of cultural barriers but also because of language limitations.  Perhaps the words of W.H. Stanner express this language difficulty more adequately:

“There are no English words good enough to give a sense of the links between an Aboriginal group and its homeland.  Our word 'home', warm and suggestive though it be, does not match the Aboriginal word that may mean 'camp', 'hearth', 'country', 'everlasting home', 'totem place', 'life source', 'spirit centre' and much else all in one. Our word 'land' is too sparse and meagre...To put our words 'home' and ‘land’ together in 'homeland' is a little better but not much”. 2

Without pretending to understand the multifaceted meanings of home in Aboriginal culture, as a migrant I found myself comparing some of the indigenous people’s experiences to that of unwilling migrants: the dispossession of their land meant the dispossession of their identity, and they became displaced persons, strangers and exiles.  The difference is that they experienced, and continue to experience, all of these whilst they are still in their own home.

The story of Aboriginal families that had to leave the town camps to move to the cities is also a story of forced migration. Similarly to overseas migrants, aboriginal people who emigrate to the city tend to "identify themselves with their country of origin, choosing places to live and work where they can relate to kin and homeplace." 3 Many return to their home country after decades of living in the city; others finally identify themselves with their new home, as in the case of many migrants, only when their children are born in their new land. 

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1    Australian Bureau of statistics, 1999
2    Cunnen, C. and Libesman P. Indigenous people and the Law in Australia, Buttersworths, Sydney 1995
3    Goodall, Heather Invasion to Embassy – Land in Aboriginal Politics in NSW, 1770-1982, Allen & Unwin, 1996


TO DOWNLOAD THE FULL, REFERENCED ESSAY, CLICK ON THE BOTTOM RIGHT CORNER OF THE PDF BELOW

The movie 'Hector and the Search for Happiness' (based on the book by François Lelord), whilst not a cinematic masterpiece, was for me one of those thought-provoking, laugh-inducing and, at times, tear-jerking films that made me consider, long after we had left the theatre, one of the age long questions - What Is Happiness?

In the spirit of 'Eat, Pray, Love', Hector (Simon Pegg), a psychiatrist, leaves the perfectly organised, regimented life he shares with his girlfriend Clara, and sets out to find the meaning of happiness; a journey that will take him to a monastery in China, a hospital in Africa, and to a reunion with his old university 'flame' in Los Angeles. 

Wherever he goes, he takes a journal where he writes down the lessons learnt from all the people he meets along the way. These characters range from a hideously rich businessman, to a penniless young prostitute, an old wise monk, a dangerous drug dealer, an African grandmother, a world expert in happiness, and a terminally ill woman who is undertaking her last journey.

As to be expected, Hector discovers that Happiness means something different to everyone. In the case of the African woman, happiness is as simple as cooking a pot of sweet potato stew and sharing it with her large family. He also discovers that happiness encompasses a range of emotions, including those considered negative; such as sadness, fear and pain.

When I think of the elusive concept of happiness, I always remember the lines uttered by Clarissa Vaughan, a character from another movie, 'The Hours' (based on the book by Michael Cunningham) when she admits to her daughter that she hasn’t been happy in a very long time:

I remember one morning getting up at dawn, there was such a sense of possibility. You know, that feeling? And I remember thinking to myself "this is the beginning of happiness. This is where it starts. And of course there will always be more." It never occurred to me it wasn't the beginning. It was happiness. It was the moment. Right then...

The Hours was not a happy movie, according to the half a dozen people who came with me and who cursed me for months for choosing it; in fact some of them are still holding it against me. But a decade on, I still remember the lesson I took away from it, and find myself constantly catching and enjoying that fleeting moment, which is not the beginning of happiness, but happiness itself, before it’s gone.

There are days when I experience several such moments, because happiness lies in the simple, everyday things that we often take for granted.

For several years I worked in an “office” which once used to be a garage. It was dark, with the windows painted shut and the walls painted a sickly shade of green. It was hot in summer, cold in winter and generally a depressing place to spend eight hours a day in. My workmate and I used to call it 'the cave' or sometimes 'the dungeon’. One day she had the brilliant idea of sticking a laminated piece of white paper on the door, and we used a black marker to make a list, accompanied by child-like drawings, of all the things that made us happy. Whenever our gloomy surroundings started ‘getting’ to us, we would look at our list and remember the many wonderful things we had in our lives, and we always ended up with a smile on our faces, which in turn made the room brighter.

The items contained in the list were amazing in their simplicity: Family, the kindness of strangers, sunrises, sunsets, rainbows, sunny winter days, chocolate, themed birthday parties, writing, air drumming, dancing, singing, holidays, bush walking, gardening…

Some people - as Hector finds out - see happiness as permanently in the future; a goal to constantly strive for, which is by default unattainable. Others, like Clarissa Vaughan, feel that their happiness belongs in the past. When Clarissa tells her daughter that the last time she felt genuinely happy was decades ago, her daughter replies ‘what you are saying, is that you were once young.’ I was once young too, and know what it is like to experience that kind of earth shattering happiness. When I was eighteen and in love for the first time, this is what I wrote about it:

I am so happy that I even feel angry; I am so happy that I feel like crying out aloud, that my lungs feel like bursting out like a balloon, so happy that I feel impotent at the sight of so much beauty, the nightfall of December, the Christmas lights at the windows, and the music - the ever blessed music - so happy, that I feel dumb in the presence of so much life, that the singing of the birds amongst the leaves is deafening, as deafening as the protest of those who cannot feel this madness.

… and so it went for two whole pages. But was this really happiness? Or was it euphoria? We all know what it is like to be 'high'; some people take drugs, others take extreme risks in order to experience that euphoria. I have been high in love, high in lust and even high in anger many a time. But is that happiness?

This morning, I woke up with a spring in my step, with that subtle yet exciting feeling of having butterflies in my stomach, for no particular reason. Yes, I had a good night sleep, and it was a beautiful day. But was that enough reason to be happy? I hadn't achieved or acquired anything overnight; nothing was different from yesterday. I decided not to question it. I held onto that feeling and managed to get to the end of the day with ‘it’ still inside me, despite a couple of incidents which generally would have been enough to make my mood plummet. 

When all is said and done, if we can look back and remember the hours spent enjoying a good book, writing a poem, or gardening with the sun on our backs; and the times of laughter, of joy and even of tears shared with lovers, family and friends, then we can say we have lived a life filled with happiness.

Recently a friend invited me to her grandson’s christening. It had been a long time since I attended a mass, and I found the sermon extremely stimulating, although not necessarily from a faith perspective. The priest started by showing the infamous ‘selfie’ that President Barack Obama, British Prime Minister David Cameron and Denmark’s Prime Minister Helle Thorning Schmidt took of themselves at Nelson Mandela’s Memorial service (photo credit: AFP PHOTO / ROBERTO SCHMIDT/Getty Images). Even on that solemn occasion, they couldn’t help themselves and succumbed to the temptation of taking a selfie. And they were caught in the act, by another camera!

The priest then showed a ‘selfie’ he took of himself at the Wailing Wall in Jerusalem. He said that the ‘selfie’ is our modern way of showing the world that “I was there”, with that famous person, or at that famous place, and I have the photo to prove it. It is our way of ‘witnessing’ events, landmarks, encounters, and, more often than not, trivial moments in our lives.

Before the invention of cameras, and more recently, digital cameras, people documented their encounters, travels and experiences by writing them down. The priest referred to the gospels, particularly the gospels written by John and Matthew, who were two of the twelve apostles*, and as such witnessed first-hand the life and deeds of Jesus, the most famous and enduring ‘celebrity’ of all. The gospel writers couldn’t take ‘selfies’ of themselves with Christ, so they wrote everything they saw to document it, and their stories spread like lightening – or in modern terms, they went ‘viral’.

Nowadays, with everybody carrying a camera in their pocket, selfies and photographs documenting our lives minute by minute are overloading the media landscape. Facebook posts that don’t include a picture, don’t receive as many ‘likes’. Images are much more likely to be re-twitted than plain text. Media releases with photographs have a much higher chance of being published. We live in a visual era, and words without pictures are often overlooked. People take thousands of photographs of their every trip or special occasion, but how often do they look at, or even download those pictures?

When I travelled to Europe in 2003 – still in my 'pre-digital' age – I took a grand total of 144 photographs: six rolls of 24. Nowadays that is a laughable quantity for a three-week tour, but when I returned home and developed the rolls I could hardly remember what photo was taken where. Fortunately, I had taken a comprehensive travel diary as well, describing the places, their history, the people I met at every stop, and other interesting facts. I was able to marry the words and the pictures and the resulting illustrated story was much more detailed and effective in conveying my adventures than the digital photo albums I produce these days, which have a one-line caption per photo and sometimes not even that.

A few months ago I was driving back home after work and I witnessed the most incredible rainbow. I thought of taking a photo, but my phone was in my bag and thankfully for the other motorists, I am not very good at multitasking when driving. I felt frustrated at first, but then realised that sometimes we miss the moment by trying to capture it with a camera. I captured it with my eyes, committed it to my memory, and that was enough.

I still remember the highlight of my first trip to Adelaide, South Australia, in 2001. In my diary, I recorded Womadelaide (the music festival at the botanical gardens) as one of the highlights; also the day tour to Hahndorf and Victor Harbour, and a cruise down the Murray River. But the biggest highlight of that trip didn't cost a cent: it was the sunset over West Beach on the night of our arrival. It was a hot afternoon and we walked to the beach to cool down. While we were there, the cloudy sky turned into an incredible canvas with a mixture of colours, textures and shapes in constant motion. The sea became a liquid mirror of the sky, reflecting the silver, blue and pink hues of the clouds, and the effect of the sun setting over the water was nothing short of miraculous. People quickly began to arrive, sensing that something momentous was taking place; some of them were even carrying champagne bottles and glasses. We all stood there, in awe, clinking glasses and taking in the landscape with jaws dropped. I cursed myself for not having my camera with me (pre-digital / smart phone era), but then again, a photo would have never paid this moment justice, so I wrote it all down as soon as we returned to our hotel. We went back to the beach at the same time the next day hoping to repeat the experience, with some friends who joined us in the morning, but unfortunately for them the sunset was nothing more than ordinary.

Thirteen years later, I don’t remember much about the Hahndorf and Victor Habour excursions or the cruise on the Murray, even though I took copious pictures of those places. But when I read my travel diary, I can instantly recall that sunset, which remains in my mind as one of the most spectacular I have ever seen.

To be able to conjure a visual image like that, after all these years, by painting it with words, demonstrates – to me – the supremacy of words against pictures. It might take an hour to write a thousand words (as it did to write this 1000-word blog post), and less than a second to take a picture, but it is time well spent.

* Mark and Luke, who wrote the other two gospels, were not part of the twelve apostles – in fact Luke joined the Christian movement after Jesus died; but they researched their stories by interviewing sources who had met and been close to their subject.