333: Frightened Rabbit // The Midnight Organ Fight
The Midnight Organ Fight
Frightened Rabbit
2008, FatCat (Bandcamp)
Not long after he killed himself in 2018, I started working on a long poem about Scott Hutchison and suicide that I called “The Wrestle.” I fiddled with it for about a year before abandoning it. Much of the writing was sentimental and overwrought, trying to pull in too many clever allusions to Hutchison’s work, but reading back now I can see that the real issue was how much I wanted to center myself in the proceedings. I wrote about Scott, and about friends of mine who had struggled with suicide, and about the old sex-death dyad, but also a lot of mostly stolen valour about burning myself with cigarettes and cutting, forms of self-harm I’ve only very briefly experimented with. The poem reflected where I was at then: a callow young man who’d been moderately miserable much of his life, grasping for a means of ennobling his own pain. Pain cannot be observed or measured; we can only witness its effects, and, at the time, those who attempted or completed suicide seemed to me to have the dignity that comes from having the reality of their pain affirmed, made concrete. If I couldn’t be one of them, I at least wanted to be their Virgil, a poet tour-guide through the experience of despair.
In the time since I put “The Wrestle” away, I spent two years volunteering on a suicide line, or roughly 400 hours talking to anonymous callers in crisis. None of that makes me an expert on the subject, but the pressure of having had to make so many quick assessments of callers’ likelihood of imminently harming themselves has helped me better understand in retrospect what the experiences of suicidal ideation I was grappling with in my writing were. There have been extended periods in my life where I have felt so lost that I fantasized on a daily basis about the bliss of not having to wake up in the morning. And I have had periods where my self-loathing has been so intense that I have wanted to physically destroy my own body. I have been so tired of it I’ve even called a line. But my ideation has never moved from the realm of abstract desire to practical planning or, beyond that, to an attempt. This doesn’t mean that my pain hasn’t at times been as “real” and intense as that of some who have committed suicide—what it means is that, even at my lowest, I have been lucky in so many respects. That I experienced love and did not suffer abuse at a formative age; that I have nearly always had many supportive friends around me; that my socioeconomic circumstances have never truly crumbled even when I’ve had little money; that the chemistry of my brain, while prone to gloom, is not in a perpetual state of panic and civil war.
I don’t know that I would’ve found my way to volunteering on the line if it hadn’t been for the way Scott’s friends and family reacted to his suicide. They had clearly lived with the possibility that this might be how he would go for long enough to educate themselves on what depression really is, and to understand, as much as anyone outside Scott’s head could, what he was struggling with. Despite their shattering grief, they understood that his was not an act of selfishness; they didn’t trot out any lines about how it made no sense for someone of his talent and relative fame to throw it all away so young; they didn’t try to spin it as an accident. They just talked about how sorry they were that no one had been able to reach him and hold him until this latest attack of his illness had passed. They treated his drowning as they would’ve a cardiac arrest in a man known to have a heart defect—the sort of condition even the most rigorous safety planning can’t guarantee won’t strike at the wrong moment. None of them were ashamed of him for doing what he did or of each other for failing him. They simply grieved him, and their sorrow was like a river and that river was love. Virtually from the moment his body was identified, if you were a Frightened Rabbit fan you were instantly immersed in this flood of fond recollections, funny stories, and tributes to his artistry, the way his music gave people the tools to deal with situations just like this one.
I have known and loved people who, like Scott, have lived with the presentiment of their own suicide for decades. At times, it looms so large over them they can see nothing else. Other times, it hangs distantly over their horizon like a small grey sun, and though they catch sight of it each morning when they gaze out the window, it doesn’t prevent them from making what they can of their days. I hope for them that someday they look up and find that hard sun has disappeared completely. I feel fortunate to have known and learned from them.
These days, I feel okay. And if “The Wrestle” never ended up being a publishable poem, working on it was part of some thinking I needed to do. There are even a few lines in it where I think I got at something real, and perhaps someday they’ll find themselves in something else I write. This bit from the end’s just about Scott though, and I’d like to leave it here for him.
Can you see in the dark? Can you see the look on your face?
Somewhere, a girl who walked the margin of nothingness
is sculpting her own likeness in granite;
thousands are sitting bolt upright on their gurneys
with their breath crashing in their ears;
and a singer in a club is telling an audience
to remember how funny his friend was,
how good, to treasure the songs.
No matter how alone you may be now,
there is still this place in which your body exists.
Lamps shine on you,
whether anyone sees it or not.
In time, though, these bright lights
will all be turned off.
For a margin, however thin,
it will be in nearing death
as it was to near birth—
a world of closeness to the self, of sound.
Wanting nothing, we will be denied
nothing.
Being seen no more, we will be seen to lack
nothing.
We will no more have to endure the reaching,
being sufficient in ourselves
to at least
this final purpose,
going.
From our perspective,
Scott’s body has been identified,
under the signs of the fists
which held him down
and beat him all his life,
which will be recorded
as having been his own,
by the marina, by the cold
Scottish water
from which emerged
his dreams of disappearance
and encounter.
The poets, they know nothing while they live,
the living poet Mary Ruefle once said,
and they know everything the instant they die.
Dry of eye and wet of lung,
Scott knows more now than Mary does,
more than any of us trying to wring meaning
from his sodden clothes.
What he knows is not in his body
but in the shape stirring beneath it,
that which quickens our blood
and promises no answers, only changes.
333/365
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Playlist! this is a random vibe, so no worries if it just doesn't work for you rn, but um coyote/canid survival playlist? Coyotes are a much-hated "pest species" and not as charismatic as wolves due to their solitariness and smaller size, but they're survivors, they're clever and they adapt to all situations and it just gets me, man... city coyotes surviving despite all odds... doesn't have to be songs *about* coyotes specifically, just... the wild dog... <3
S/C/A/R/E/C/R/O/W by My Chemical Romance
Up the Wolves by The Mountain Goats
The Foundations of Decay by My Chemical Romance
Zombie by The Cranberries
Desert Song by MCR
Sound + Fury by Ella Mine
Bones Don't Rust by TMG
Burn Bright by MCR
Immortals by Fall Out Boy
Hello Cold World by Paramore
The Modern Leper by Frightened Rabbit (there's also a cover by Julien Baker that's very good but I feel like the instrumentation of the original will be very up your alley considering that you like TMG)
Optimism (As a Radical Life Choice) by Spanish Love Songs
The (After) Life Of The Party by Fall Out Boy
The Killer Was A Coward by Dermot Kennedy
I See Fire by Ed Sheeran
You First by Paramore
Love From the Other Side by Fall Out Boy
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