What the Mirror Knows

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I stopped fighting it somewhere around fifty-three.

Not with any drama. Not with a declaration or a decision I can point to. It was more of a slow unclenching, the way a hand releases something when the holding of it finally costs more than the letting go. I had been holding the face I was supposed to have, the younger one, the smoother one, the one that fit the cultural idea of a woman who had not yet been accumulated by her own life, and one morning I looked in the mirror and just stopped. Just looked. Just let it be the face it was.

The lines are from specific things.

That is what I have come to. Not that the lines are beautiful, not the tiresome affirmation that aging is a gift, though I do believe it is a gift compared to the alternative, but that the lines are specific. The ones at the corners of my eyes are from squinting at the sea in February. From twenty-five years of laughing with students who surprised me. From crying in parking lots when no one was watching. They are not abstract. They are an itinerary. A record of a specific woman in specific light doing specific things for reasons that mattered to her.

I do not love the face I see without condition.

I want to be honest about that. Some days I look at it and feel entirely neutral and some days I look at it and feel the thing I was trained to feel, which is that it is not enough, that it needs to be corrected, smoothed, made more presentable for the world that still expects a certain kind of visible compliance from a woman’s body. I feel that and I choose not to do anything about it and the choosing itself is the practice, the daily small reclaiming of a face that belongs to me and not to any idea of what a woman my age is supposed to look like.

The mirror knows things my younger face did not yet know.

I am trying to let that count for something. I am trying to look at it and say: yes. This is the face that earned those lines. This is the face of a woman who showed up and stayed and worked and loved and grieved and is still here. That is what a fifty-something face looks like. That is what a face that has been somewhere looks like.

I am trying to look at it and not flinch.

Some days I manage it. Those days feel like a small victory I want to count.

Author: Amy Tucker

Amy Tucker is a graduate of the Master of Human Rights and Social Justice program at Thompson Rivers University on Secwépemc territory. Her work develops alonetude—intentional, positive aloneness—as a counter-frame to loneliness, across personal, somatic, and structural registers. 30 Days by the Sea is her digital thesis.

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