Hard To Get Over Lonely People By Sean Murphy

*Featured Image: Only, from “Frontier Town” By Alice Aida Ayers

Hard To Get Over Lonely People

By Sean Murphy

Denial is like a dyke—the water is wide, waiting, impassive. You’re never certain but most of the time you know, you sense the security of that invisible shield; it’s only when you stop and look that you see the cracks, circling up slowly from all sides, that you become concerned. It’s only then that you look at the stranger in the street and struggle to avoid his eyes, because you’re actually seeing yourself.

I am not alone.

I have a best friend, who happens to be a dog. He’s really good for me, reminding me to eat, sleep, go to the bathroom and generally making sure that I get out a few times a day. He walks me whenever he gets the chance. Our favorite time is after work, when we reenter the building and the walls and halls come alive, warm with the savory smells of home-made meals (I can never smell fast food, although that scent lingers in the elevator, as if ashamed to be associated with the honesty, the effort and industry of these prepared productions).

No one sits down to dinner anymore, but all around me, people are sitting down, eating meat loaf, or some sort of roast that has simmered on low heat all afternoon. Maybe there is even a pie prepared for dessert. Maybe, inside someone’s kitchen, it’s still the 1950s.

Vater By Norton Pease
“Vater” By Norton Pease

(If I had lived in the 50s, I would eat an egg for breakfast each morning with either bacon or sausage or sometimes both, I would also eat pastrami sandwiches, drink whole milk and smoke endless streams of cigarettes, I would be father to as many children as God (most certainly a Capitalist God) saw fit to provide, I would live closer to my parents, I would miss church service seldom on Sundays and never on Holy Days of Obligation, I would know how to fix my toilet and sink if they dripped, I would never have had a shirt professionally pressed, I would drive an American car and never wear a seat belt, I would have a job that I could actually describe in one or two words. I would be, quite conceivably, content.)

I remind myself that someday, if my cards play me right, I will enjoy a real meal around a table, and experience all that I’ve been missing during these efficient years of isolation. I will clear the table and clean the dishes, I will sit on the couch and take a crack at the crossword, or catch a made-for-TV movie, or go run errands or consult a book of baby names for the offspring on the way, and eventually I will work on improving my bad habits and attempt to overlook my wife’s inadequacies (the quirks that were so endearing in those early days). I will, at last, learn to communicate openly and as an adult. Mostly, I will not be alone.


I’m listening to the old woman again.

Author Sean Murphy
“I As Immigrant” By Alice Ayers

This is another part of my daily routine: every time I enter the building after walking my dog, or if I’m stopping to get the mail, or anytime I am anywhere between my front door and the main entrance, this woman (I have no other option but to say she is an old woman) whose name I of course cannot remember, appears like a mosquito at a campsite.

She is there every time—every time—if I’m walking out (I’ve learned not to step out of my door in only my boxer shorts) to throw my trash down the chute, she’s there; if I am coming or going to work, she’s there; if I open your door (I’ve learned not to open my door without my boxer shorts on) to get the newspaper, she’s there; and especially if I’m returning with rapidly cooling carry-out food, she’s there.

I had half-seriously begun to consider whether or not she had rigged my door to some sort of homing device, and then I slowly started to notice, over time, it isn’t just me (of course it isn’t just me)—it’s even worse than that. It’s everyone, it’s anyone: anyone she can see or talk to, anyone she can make that human touch with, however fleetingly, any excuse she can find to escape the oppression of her immaculate isolation.


Hard to get over lonely people.

That is a line from a very famous song, although those are not the correct words. Those are the words I heard, which sounded and seemed real enough, until my older ears eventually understood that I had in fact been making a great song even better—in my mind anyway.

Ah, look at all the lonely people, I think. To myself.

A vision:

Cats are everywhere.

Cat By Imelda
Cat By Imelda Hinojosa

How did this happen? When did that slippery slope of sentimental turn from simple companionship to disconcerting, then beyond even that? It’s not your fault: you could see the other cats coming, waiting out there in the evening; and yourself, inside, able at any time to make it all better. All of these overlooked lives, are they the symptom or the antidote for that feeling you cannot constrain? Are they serving a separate purpose, a preemptive action against isolation? An excuse to keep connected, in some small way? A strategy to keep from slipping, to stave off starvation? Or the streets, which are always hungry, always eager to be kept company when nights bring the cold comfort of winter?

All the lonely people, where do they all come from?

Yes, you think (to yourself again): it could be all of those things, eventually. Inevitably. But mostly (you know), any effort you might someday make would be driven by the fear of becoming that person. The person who everyone knew, the one who had patrolled the same city corner for as long as anyone was able—or wanted—to remember. The man with his hand-scribbled signs, capital letter screeds against the machine, words that sought to explain who he was and why he was here. His message, excusing himself from any culpability, of course, and allowing everyone who took the time to try and make sense of it all that they were either with him or against him; if they did nothing to intervene, they were abetting the not-so-secret society that could snap a finger and take everything you owned, including your identity. He stood at the intersection for years, outlasting several politicians who recycled themselves in public office, sworn to uphold the status quo and ensure that the have-nots would not, and keep everyone else safe from the crimes committed by people who could not close their eyes.

And then, one day, he was no longer there. He had just disappeared.

How does this happen?

All the lonely people, where do they all belong?


"Resolutions" By Alice Ayers
“Resolutions” By Alice Ayers

You’ve seen some things, of course. You’ve heard them, read about them. The things people talk about when they talk about crazy people. The sort of people who, after numerous squabbles with long-suffering neighbors, finally had to have it out with Johnny Law over the piles of junk spewing out from their cellars, piling out from inside, forming extensions of the hand-me-down universe they’d created (in their own image?)—misguided gods of an always-imperfect world. These people who would holler and curse, and show up in court, when convicted, to protest that there was a method to their madness (they wouldn’t call it madness at all), a purpose to their paranoia, that it was no one else’s business if they found some sort of salvation in other folks’ debris, redeemable lives otherwise left for dead. Exasperated landlords, forced to take pictures in order to appeal to the proper authorities, having to prove that they weren’t capable of fabricating this sort of insanity: carpets pulled up from the floors, the linoleum in the kitchen removed, presumably by hand, the stacks of unread newspapers, the insects. And the pictures, of course, only half told the story, since pictures don’t move, pictures don’t stink, pictures only imitate what they are programmed to report. The stories that go far beyond the obligatory shit-smeared-on-the-walls sort of psychosis that always seems so overdone in bad movies (because the movies are bad; because truth always outpaces our best efforts to expose it). 

Then what happens?

You are (of course) left asking questions that always better unaddressed. Who could explain the motivation behind behavior like that? Who would want to? Who could comprehend where a mind has been, or is going, to find sense or security in this imitation of living?


I’m listening to the old woman again.

The fast food fiasco in its bag has already gone cold, but this time I don’t care. This time I don’t mind putting in the time; this time I’d do anything to be of some use to this woman who obviously has no one who can console her when she cries.

She is crying, now, in the hallway and I’m not sure if I should hold her, if just hearing her will suffice, or if there is simply nothing, at a moment like this, that a child like me can conjure up in the way of commiseration that a woman like her has not already heard and seen through in her not inconsiderable life experience and the unfair share of hurt and harm this world is all too eager to hand out to all of us, over time.

“Why?” she asks, again, and I can’t answer for at least two reasons: I don’t know (the answer, or what she’s asking about), and it’s obviously not me who she is really asking anyway.

I may not know what she’s talking about, but she is still holding the letter, a scene that makes me remember that all those melodramatic moments in badly made movies have their roots in reality. I don’t know what the letter says, or who it is from, and perhaps I’m not supposed to know; it’s not important that I know, only that I am here, at this particular moment, to provide a brief, human buffer against the knowledge that in the end, all of us, whoever we are, will be alone.

“Why?” she asks, again, and again I have nothing I can hope to say.

It’s a long time before I realize she has left and I’ve been standing out here, alone, still unable to find anything useful to say. To her. For myself.


"Legal Tender" By Alice Ayers
“Legal Tender” By Alice Ayers

Denial is like a dyke—the water is wide, waiting, impassive. You’re never certain but most of the time you know, you sense the security of that invisible shield; it’s only when you stop and look that you see the cracks, circling up slowly from all sides, that you become concerned. It’s only then that you look at the stranger in the street and struggle to avoid his eyes, because you’re actually seeing yourself.


If I had lived in the 50s, I would have taken a real job right out of college, or I may not have gone to college. I would have had to start earning a living to support my family: married at twenty-two, a father within the year. That’s just the way it would have been.

Maybe I’d like my job; maybe I would be content. Maybe I would consume so many steaks and cigarettes and whiskey sours that nothing could touch me. I’d be obese, an impenetrable fortress of flesh, and no pain could get past me.

Or maybe I would work and eat and smoke myself into a muddled mess and punch the clock prematurely—another casualty of the Cold War. Maybe I’d be smart enough to leave my family something, and maybe my wife would remarry and live off the fat of my labor and I wouldn’t begrudge her because I was in a better place, drinking Bloody Marys on the great golf course in the sky.

Or maybe my wife, being of her time, wouldn’t wish to remarry and instead focus her energies on the grandchildren and church functions and the increasingly mundane exigencies of old age. Maybe she’d wish to meet another man but her prospects would be poor—after all, she was once married to a big slob whom she somehow stayed devoted to and still mourned. Plus, there were always the kids to contend with.

Maybe she would solider on, alone, oblivious to the insanity of the 60s and 70s, indifferent to the surreal psychosis of the 80s and 90s, and grow into her shrinking body the way a spider’s web settles into a windowsill.

"Room With A View" By Alice Ayers
“Room With A View” By Alice Ayers

Maybe she would eventually understand that the family home—the house in which she lost her virginity, raised her children, cleaned a thousand rooms, cooked a million meals—had outlasted her, and embrace the inevitable.

Maybe, in the end, she would be a lot like the woman across the hall. She’s had a good life (please allow her to have been happy: in my mind if not in actual fact). She, at least, once had a husband, and maybe a son and daughter whom she dotes on and who love her dearly, but they live so far away and are so busy with work and kids and life and time just slips away and so it goes.

Or maybe it is even worse than that: maybe she was never married, never found exactly what she was looking for, or the right ones overlooked her until it was too late. Maybe she was cursed with the burden of being always apart, in all the important ways, from the utterly average, anonymous faces she came into contact with day in and day out, and like almost no one else she knew, she was unaware of it.

I want to walk out my door, but I can’t.

And this time, for once, it’s not because I don’t want to, it’s because I’m desperately certain that she won’t be outside waiting for me.


Sean Murphy has been publishing fiction, poetry, reviews (of music, movie, book, food), and essays on the technology industry for the last two decades. He has appeared on NPR's "All Things Considered" and been quoted in USA Today, The New York Times, The Huffington Post, Forbes and AdAge. He writes regularly for PopMatters, and his work has also appeared in Salon, The Village Voice, The New York Post, The Good Men Project, All About Jazz, AlterNet, and Northern Virginia Magazine. He has been nominated for the Pushcart Prize, and was the writer-in-residence at Noepe Center at Martha's Vineyard. He is now Founding Director of the Virginia Center for Literary Arts. To learn more, please visit seanmurphy.net/.

"As an arts activist I create images which reflect the word around me. The pieces in this submission are a reflection of life in the border town of El Paso, Texas. With the current political climate, the immigration and racism issues, I feel compelled to express my distaste artistically." Alice holds a BA in Fine Art and an MA in Arts Education. A performance artist (living history, acting, directing), visual artist, (painting, sculpture, glass works), she is the author of the children's book, “Tomorrow’s Garden”, and a book of poetry called “Chronicles of a Black/Brown Woman”. You can find her at: http://aidaayers.blogspot.nl.

Artist Norton Pease's images reflect the theme of "human transformation or interaction with their environment or emotional landscape." He is a Professor of Art and Graphic Design, as well as the Chair of the College of Education, Arts & Sciences, and Nursing at Montana State University-Northern. Find out more at: http://nortonpease.com/

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