When It Comes To Labels, Selma Blair Will Write Her Own
When Blair's paths cross, his book loses some of the magic that the first part gives. In one, he uses the phrase "all the charming people I've shared in my life in Hollywood"; such is the atmosphere of these pages. Blair occasionally performed drunk in public. He went through the phase of biting people to say goodbye or love; Kate Moss held it.
Now he looks at this behavior through the prism of his illness; it was also an expression of his awkwardness. People don't always want to see Blair. As he settled into his career, directors continue to portray him as just another version of the evil kid. But the fashion photographers who shoot go beyond the label. Blair is meticulous about her clothes and tends to draw wonderful analogies to designers: the black lace she wore as a child is laced down the middle, "a bit like Gaultier, like a Madonna bump"; “The giant butterfly sits out its years in the pool later. "whirlwinds" a.)
As Blair approaches 40, the symptoms he has experienced for years worsen - nerve pain, dizziness, depression. "I'm in a lot of pain," she wrote on Instagram, and her friend Elizabeth Berkley saw the messages and invited Blay to see her brother, a spinal neurologist. He sends him an MRI. And finally, someone actually sees Blair - inside his skull. The figure shows brain injuries associated with multiple sclerosis. The scan is his "new predictor", the diagnosis is his new label that "fits this time".
The rest of the book chronicles Blair's life with multiple sclerosis, including a commitment to share in detail his experiences with the disease, including punitive am-cell transplantation. At the beginning of his memoirs, Blair quotes the famous saying of Diodion: "We tell stories from life." Today we tell stories from life on different platforms. Blair also recently told her about it in the documentary Introducing Selma Blair, an intimate movie that has things the books don't. Reading the memoirs did not give me a sense of Blair's symptoms, which was sometimes an accomplishment even when climbing stairs.
When Didion wrote Why We Tell Stories, he reflected on the need to make sense of our experience - "to impose a narrative line in different ways." This is the line that MS Blair sets for Mean Baby. It is a disease that affects the spine, giving the spine perspective and even the structure of its history. “I can't organize myself. I can only pick one memory at a time,” Blair wrote of how he works today.
“People with multiple sclerosis spend a lot of time at home,” Blair said. And at the end of this voluminous and exciting book, he returns there. He moves intuitively and confidently between the present and the past. Reflecting on bathing, diving, and feeling "fresh and young", Blair recalls how he loved his mother's bath, and ordered his mistress to always leave an "Ajax footprint" in the bottom of the tub. But Blair's mother was also afraid that she would die in the bath, especially during a storm. According to him, he asked Blair to wait outside the bathroom, where Blair would stay "door to ear". He writes: "This is my life: to prevent lightning."
In the film, Blair points with his mouth at his brain and says, "He's losing access to my speech from my brain to bring you in." Although Blair described a symptom of multiple sclerosis, an illness I did not have, the sensation was symbolically familiar; I often feel like I have a false connection between the brain and language, and this is one of the reasons why I write. For years, Blair has turned to astrologers, psychics, and doctors to tell his story. He was "looking for the right person to talk about the drama of my life". He is right. When he made this gesture from the brain to the lips, I thought: this is also a symptom of the writer.
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