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44 pages 1 hour read

Katherine May

Wintering: The Power of Rest and Retreat in Difficult Times

Nonfiction | Autobiography / Memoir | Adult | Published in 2020

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Symbols & Motifs

Hibernation

Hibernation, the process in which animals sleep and retreat for winter, is a key motif in May’s novel. While this period of apparent stasis and recuperation during the harshest time of year is considered natural and even inevitable in the animal world, it is little-understood in the industrialized human sphere. By introducing the reader to a hibernating dormouse, May brings nuance to her discussion of this state. With the sleeping walnut-sized dormouse in her palm, May observes that it is “surprisingly cold, but also soft and slightly squishy,” and that “you couldn’t mistake it for dead. It is in the deepest of sleeps, drowsing until the summer” (90). The sensory contrast of a corpse-like cold with a lively softness is surprising and continues the book’s dominant idea that wintry coldness is a time of great vulnerability. That the dormouse is definitively asleep and not dead underscores May’s argument that vital processes occur in states of rest and recuperation. From Hazel Ryan, May learns that a dormouse’s hibernation patterns are tailored to the severity of the winter, as they ensure that the animal has accumulated enough body fat to survive and that it wakes up every ten days to bring its metabolism up to speed. The notion of hibernation as an adaptable state suggests an active, intelligent condition, rather than the passive uniform slumber that humans might imagine. It can thus be a metaphor for wintering, which must be adapted to the needs of the individual human and their crisis.

Just as with wintering, hibernation is a state that requires ample preparation. During the relatively temperate month of September, dormice begin to layer on fat, attempting to double their bodyweight. In the human realm, people from Nordic countries perform the equivalent of hibernation when they stock up their resources and undertake home repairs before winter, as they seek to make their homes the equivalent of a dormouse’s nest. When it comes to surviving metaphorical winters, May also shows that preparations are essential to survival. At the end of her memoir, she reveals that her book was written while she was beset with successive winterings; however, she was able to contend with doubt and depression and complete the book anyway because “I recognized winter. I saw it coming […] and looked it in the eye” (269). A practiced winterer, May treated herself like a hibernating dormouse, ensuring that her needs were met, especially with regard to food, sleep, and contact with the natural world. Like the dormouse, she did not deny winter but prepared herself for the changes. Thus, May shows that a state of flexible hibernation is valuable for humans too.

Nordic Winters

The Nordic winter, pertaining to Scandinavian countries, Finland and Iceland, is a dominant motif in the book. These countries, which must contend with extremes of cold and darkness that are unknown to May’s native England, are set up as role-models for how to winter. Their residents make elaborate preparations and transform their lifestyles just as the snow transforms their landscapes. For May, both the Nordic winters and the natives’ approaches to them have a purity that is absent from the Southern English experience. Although England sees a seasonal change after Halloween, it does not get cold or snowy enough to legitimate drastic lifestyle changes. While the Nordic experience of winter seems clear-cut, with harsh but simple rules for navigating the inconvenience, the English winter is murkier and more unpredictable. Its lackluster weather variations mirror May’s confusion, depression, and feeling that she is torn in several directions.

May uses her fascination with Nordic winter as an escape from the uncomfortable ambiguities of the English one. She writes, “[I]n moments of helplessness, I always seem to travel north. I have a kind of boreal wanderlust, an urge towards the top of the world where the ice intrudes. In the cold, I find I can think straight; the air feels clean and uncluttered” (41). The North symbolizes for May a kind of minimalism and singularity, where all the confusion that plagues her is wiped away. The immediate sensory appeal of the cold air clears her thought processes and brings her into the present moment.

While May idealizes Nordic winters, she never loses sight of the fact that she is a tourist in that culture. She writes candidly of how her attempts to fit in with its habits, such as going to the sauna, are futile, and that her time is much better spent dealing with her issues. However, she does find affinity with the Nordic practice of cold-water swimming and uses this as a basis from which to build a community. The power of this practice is not an escapist attempt to be more Nordic; rather, it is grounded in May’s local landscape and people. She thus takes the Nordic habit of collectively witnessing winter and customizes it to the winter—literal and metaphorical—faced by her and her peers.

Books

Part of May’s wintering is her transition from an academic worn down by “perpetual stress and [the] noise of the contemporary university” to a more authentic version of herself (6). As May is an avid reader and writer, books have always been part of her life, and her changing approach to them symbolizes her transition. After May quits her job and feels all the shame and guilt of not being able to cope, she neatly packs up her academic books, “most of them scholarly tomes containing theoretical positions that I suspect I’ll never need to adopt again,” and brings them into an already cluttered home (112). She finds that she cannot get rid of these old relics “while I wait to find out what my new life will be” (112). As May cannot yet clearly envision her new life devoid of academia, she is reluctant to get rid of the remnants of her old life. It is only at the end of her memoir, in springtime, when she becomes comfortable with giving books away, finding that she will gain a sense of renewal from whittling down her collection “to the kernel of what I truly love” (272). The image of the kernel suggests May’s authentic self, cleaned of all irrelevant excess. Lightened of her duties to the past, she will have more time and energy for future creativity.

Part of May’s quest to discover an authentic self through books comes from indulging her love of children’s literature. When she finds herself unwell on a trip to Iceland, she ignores the presumably more adult stack of books she brought with her and rereads Philip Pullman’s Northern Lights, a children’s book that features magical fantasies of the North. May writes, “I often turn to children’s books at times like these, when I’m yearning to escape into a world that is beautifully rendered and complex, and yet also soothingly familiar” (44). While her real-life trip to the North in Iceland proves disappointing due to her sickness, Pullman’s ice-world meets her craving for wonder and an animate universe of “hidden cities in the aurora” (44). Such books, with their celebration of snow and the creative ways of navigating it, give May hope and inspiration for her own wintering. Moreover, the link to children’s literature indicates May’s connection to a primal version of herself: the young girl who loves getting swept away by the inconveniences of winter and is unfettered by the expectations of the adult world.

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