What does radical self-love look like?
Sometimes it looks like moving your family across the world so you can finally write a memoir.
For people living with mental illnesses, the emphasis on self-love and some of its assumed performances can be alienating. For people who have C-PTSD or have grown up in dysfunctional homes of continuously traumatizing incidents, the term self-love can ring hollow. As one friend recently said, it simply doesn’t penetrate.
And that’s ok.
In the times when we are stuck in our own programming, even when we have the dual awareness to recognize we are stuck but we can’t do much about it, it is important to realize that putting one foot in front of the other, or even just longing to, is self-love.
It is not actively destructing.
It is still you in there.
For me, a big part of practicing self-love has been doing things for myself, even when I don’t feel the love: booking therapy appointments in advance (even when my brain is telling me it’s hopeless so why bother), booking home support like cleaning services (even when my brain is telling me I am worthless because I need help to do basic things), or any other steps (small and large) I might take towards helping myself continue to survive.
It is a common thing among folks living with mental illness that we can only feel in memory, never in the present moment. Our nervous systems have been trained expertly to shut down in the here and now as a protective mechanism.
And that’s ok.
That is your body loving yourself.
A big part of healing is in rolling one’s consciousness forward to now. In building one’s own safe spaces and then allowing one’s self to feel in those spaces. Even if little by little.
Radical self-love looks like such commitments to survival, even when your brain tells you that you do not want to survive. Radical self-love even looks like simply yearning to take these steps, even when your brain tells you that you cannot go on.
This is an act of radical self-love.
I am set to begin a sabbatical or leave of absence from my advocacy work with Alberta Muslim Public Affairs Council (AMPAC) on August 1st. The community work I have set in motion will graciously be continued by my committee of dedicated directors and volunteers. This leave will entail me and my family moving to Morocco for six months to visit family and make space for the research and writing of a creative non-fiction memoir
About the project:
Why do you want to enter? Simon Levy asked me outside the entrance of the Casablanca Jewish Museum he founded and directed as of 1997. An armed Moroccan military officer stood close by, listening to our conversation. When I replied that I wanted to see the Moroccan Jewish artifacts inside, he seemed surprised, and gestured to the hijab covering my head. He said, it is not often that we have your people visiting the museum, before waving for me to follow him inside.
Five years later, I was sitting in Levy’s old office with the new museum director, Zhor Rehihil, who took over primary curatorship after Levy’s death. We were talking about my research project and dropping names of historians doing work on the departure of Jews from Morocco between 1948 and 1968. I was explaining my interest in the silences of its memory, particularly the anxieties brought on by the Holocaust and a host of other issues largely absent from both Jewish and Muslim memories.
The Holocaust had nothing to do with Morocco, she protested. I let her finish without agreeing or disagreeing, wrapping up our conversation with a promise to keep in touch and update her when my work was completed. As she was walking me out, she looked at my hijab and said, you know, that headscarf will make your research very difficult. Trust, in this field, is a complicated thing.
It was only in wading through the multivocal, emotionally-charged and often painful memories of the departure that I would come to recognize the truth of her observation and how my own work might come to be perceived because of my identities. I also came to notice patterns of belonging and rootlessness in my own story as a convert to Islam, living in a foreign country, descendant from immigrants and married to a man who also gave up his place of origin as a Mediterranean migrant.
The pursuit of homelands, both literally and figuratively, shape my experiences – both a physical and an internal migration echoed in the movement of the people I have studied and how the memory of their journeys is expressed.
What does it mean to search for home as a Muslim convert, wading through established communities? What does it mean to exist as a racialized Muslim woman in Canada, in an era of rising Islamophobia? What does it mean to immigrate to another land in pursuit of the familiar? For myself, my ancestors, my spouse?
Deeper than this, what does it mean to look for home as a wandering soul? I can hear the revolutionary chants of the Arab Spring protesters on the television my first time in Morocco: Jannah, jannah, jannah, Jannah al-wataniya. Paradise, paradise, paraside, Paradise the homeland.
The project that I am working on is a creative non-fiction memoir, a true novel of sorts, that will braid together these stories of migration and homeland, combining my academic research with stories from my life and those close to me. I am unsure yet if the writing I am making space for will become a graphic novel script that I will commission an illustrator for, or it will remain a work of prose.
I am asking for support while I take some time off from my advocacy work to travel back to Morocco for visual research and to conduct additional interviews for the writing of this work. As I said, my sabbatical begins August 1st and will continue for 6 months. I hope to return to Canada with a complete first draft and have set up a mentorship relationship with a Professor of literature and writing to ensure I achieve this goal.
All I have to offer is my participation. All I am able to do is take each voice in the turbulence of remembering and listen to them equally. I cannot do this without your support.
To learn more about this act of radical self-love and this project, to support it and to access exclusive benefits that I am providing for my supporters, please visit my Patreon account: https://www.patreon.com/homeland/
Nakita Valerio is an award-winning writer, academic, and community organizer based in Edmonton, Canada.
The Drawing Board 