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Digging out of a slough

Tricks to get myself moving when the body says ā€˜I want a nap.ā€™

Striping, by Carol L. Douglas

I felt fine when I got home from Scotland. Two days later, I wasnā€™t so sure, and I spent most of our lovely holiday weekend in a lawn chair with a book (except when canoeing, of course). This week, I ran an errand to Bangor with a painting student. By the time we came home, he was concerned enough to suggest that maybe he should drive.

I canā€™t decide if Iā€™m suffering from a cold, allergies, fatigue or the ennui that sometimes settles in when Iā€™m shifting gears and restless. The barrier between our mind and our bodies is whisper-thin. Like many Americans, Iā€™m so trained to keep moving that itā€™s hard to recognize when Iā€™m sick.
Parrsboro sunrise, by Carol L. Douglas
The only way I can tell is by testing my body. Over the years Iā€™ve developed strategies for catapulting myself out of a fog. Most important is routine. Every morning I write this blog, make my bed (so I canā€™t crawl back into it) and fold clothes. These tasks wake me up. Then I go down to my studio. My brain and body are conditioned to start concentrating at the same time every day.
I cannot overstress the importance of this; itā€™s why your lawyer, doctor, and insurance adjustor donā€™t have anxiety attacks every time they approach their desks. The human body loves settled routine, and thrives on regular sleep, exercise and work habits.
Tricky Mary in a Pea-Soup Fog, by Carol L. Douglas
My mother believed you would start moving if you heard a machine working, so she would start a load of laundry while she drank her morning coffee. Iā€™m afraid it doesnā€™t work for me, but it might for you.
Often what stops me is not knowing where to start. To overcome that, I play a game of ā€œput ten things away.ā€ This is win-win, because youā€™re either going to force yourself back into motion or youā€™re going to have a very neat workspace. Ten is about my limit for being thoughtful about sorting, and itā€™s better than making a commitment to clean.
Water is our bodiesā€™ principal component. It comprises about 60 percent of our body weight. We can live a surprisingly long time without food, but not without water. Fatigue can be caused by dehydration. None of us drink enough fluids when traveling, so when I come back from being on the road, I try to bring up my water intake as quickly as possible.
Marsh, by Carol L. Douglas
Current wisdom says that the basic equation for determining how much water you need is to divide your body weight in half. So, if you weigh 200 pounds, you would need 100 ounces of water per day. (I donā€™t know if this is scientifically justified.) When I drink that much, I never have the luxury of zoning out; Iā€™m always planning my next toilet stop.
My last mental jog is a brisk walk. Exercise is a proven anti-depressant and makes us more alert. Walking also gives me the mental space to plan out my next steps.
What if I do all these things and I still donā€™t feel up to working? Thatā€™s a vivid warning sign that what Iā€™m feeling isnā€™t temporary malaise but a true physical problem. I do what any sensible person would: I take some time off to recover.

What works to get you out of the doldrums?

In the drawing room, drawing

The social role of 19thcentury artists was ambiguous, just as it is today.
Heads of Six of Hogarth’s Servants, 1750-55, William Hogarth, courtesy of the Tate Gallery
William Henry Fox Talbot was an English scientist and inventor. He helped create the modern photo developing process. A classic 19th century polymath, he was also an avid Assyriologist and a Minister of Parliament.
Talbot lived for many years in Edinburgh. His longest stay was in the house where Iā€™m working. He lived here with his wife, two unmarried daughters, a visitor, a butler, a footman, a ladyā€™s maid, a cook, a kitchen maid, two upper housemaids and a lower housemaid. Thatā€™s eight servants to wait on five people.
A good part of my day yesterday was spent resolving a drawing problem with the floor-to-ceiling shutters. Those in the drawing room are not the same as those in the music room. Itā€™s possible that Iā€™ve stared at those shutters more intensely than since they were last dusted by a Victorian housemaid.
George Clive and his Family with an Indian Maid, 1765, Joshua Reynolds, courtesy GemƤldegalerie, Berlin
ā€œA visitorā€ may have been a euphemism for a professional assistant, a worker who would have been neither upstairs nor downstairs but occupying the netherworld between classes. An artist employed to paint a portrait of the mistress of the house was of uncertain status. Had I the reputation of Sir Edwin Landseer, I might have been in a guest room on the fourth floor. More humble artists would have been squashed in with the senior servants on a lower floor.
Only a handful of households were able to employ the vast array of servants weā€™ve seen on television. ā€˜Upper’ servants were the butler, footmen, cook, housekeeper, senior maids and governess. ā€˜Lowerā€™ servants were the kitchen and scullery maids, laundresses, nursemaids, housemaids, and outdoor help.
To afford a maid-of-all-work, a household needed an income of around Ā£150 per annum, or the very bottom of the professional classes (Ā£18,000 in modern money). This poor skivvy worked terrible hours doing dirty workā€”cleaning and restocking the heating grates, emptying chamberpots, scrubbing, washing dishes, doing the laundry, and even cooking.
I needed a t-square to draw those shutters properly.
Male domestics were taxed, so they were a sign of a wealthier household. Talbot did not employ a housekeeper, so managing the household would have fallen within the butlerā€™s remit. By the time a man could afford a butler, he had an income of more than Ā£1000 per year (Ā£120,000 in modern money).
The garden floor retains its original layout under its slick new surfaces. Thereā€™s a large kitchen with scullery and pantry behind. There would have been a ā€˜coal holeā€™ somewhere along an outside wall. The next floor up would have been the domain of senior servants. It might have included a box room where the master could conduct his experiments in photography.
Walking young Poppy in Moray Gardens.
Iā€™m upstairs, working in the drawing room. These are long days behind the easel, if Iā€™m to finish this portrait in a week. At noon I walked down to Princes Street to find a t-square. Then I worked until the natural light had turned sour. My subject was at the symphony, so I snagged her dog and walked through gardens and along the Water of Leith as twilight rose.
Now I must catch her for a few moments before sheā€™s off to St. Andrews and golf. But first, she made me porridge and left it in the Aga, because I’m actually an honored guest. Our 21st century social roles would have seemed inscrutable to Henry Fox Talbot.