captain! captain!

The cluttered sitting room is dominated by a large, brightly lit vivarium along the wall and two ornate bird cages in the window alcove. The canaries in the cages hop and chatter wildly as I come into the room, but the vivarium seems empty.
‘Don’t worry. He died, he didn’t escape,’ says Malcolm.
‘I’m sorry to hear that.’
Malcolm sighs.
‘Tarantulas,’ he says. ‘Not the easiest.’

Malcolm’s wife Sara is sitting with her back to the vivarium – a weird contrast, not just because the fierce light on the stones and the stark blue background throws her into a kind of unbalanced neon shade, but because she holds herself so completely still, as motionless as the tank is empty.
‘Hello,’ I say, reaching out to her. She’s so fragile, if I shut my eyes I could imagine I’d shaken the wing of one of the canaries instead.
‘The doctor was round this morning,’ says Malcolm. ‘He did some tests so we’re waiting on them. He said you’d be coming round to see what else you could do.’
We go through the story, Sara nodding in agreement from time to time but not offering much else. She’s not in pain. She doesn’t feel unwell as such. She has a few, minor, long-running issues, but nothing’s particularly worse. She’s just lacking in energy and not feeling herself.
‘Six months ago everything was fine,’ says Malcolm. ‘Well – you know. We were taking the bus up town. Going to the garden centre for bird seed and crickets. Going on holiday. We went to Lanzarote. Here’s us on the Yellow Submarine,’ he says, handing me a photo.
‘What’s that, then?’
‘It’s a submarine, my friend. And it’s yellow.’
‘Like the Beatles?’
‘Who?’
‘You’re kidding.’
‘No. Look. It’s a submarine! It doesn’t go down far, but you get to look out the window and see all the fish.’
‘Sounds great.’
I look more closely at the photo. They’re standing side by side, Malcolm with his arm round Sara. He’s looking red-faced, sunburned, the flash from the camera making his face greasy and over-inflated. Ironically, it seems to have the opposite effect on Sara, ghosting her out. Her eyes are dark, intense, like she’s focusing on the moment the submarine surfaces again, the hatch unwound, and she can step back out into the open air.
I hand the photo back.
‘Once or twice she’s gone off and been brought back by strangers.’
‘Oh?’
I smile sympathetically at Sara. She smiles back in an approximate kind of way, shrugs her shoulders.
‘If you say so,’ she says.

the creation of uncertainty

The Babylonians believed that Tiamat, the goddess of chaos and the oceans, lay with Abzu, the god of fresh water, and from their union the unnamed world was born. The Ancient Egyptians believed in a primordial craftsman called Ptah, who was so accomplished all he had to do was think about making something and it was instantly done. For the Kuba of Central Africa, the sun, moon and stars were vomited up by the god Mbombo after a spell of nausea. In Norse mythology, Odin, Vili and Ve kill the frost giant Ymir by cutting him to pieces. His brains become the clouds, his blood the oceans, his hair and bones the trees and hills, and his eyebrows become Midgard, where humans eventually live.

Despite the eternal claims of these stories, nothing stays the same. Civilisations come and go, and so do their creation myths. Cultures merge, absorbing one another’s icons and totems. What was once a powerful pagan earth goddess becomes a gargoyle to ward off evil spirits, a mask to hang on the wall.

IMG_0537And these creation myths play out on a smaller, more domestic scale. Each family will have its own version; we’ll all be well rehearsed in the specifics – the love notes in the office, the scratched pram in the hall of the flower shop, the book reading on the riverbank – and we’ll busily extend them with tropes of our own, working them into a weave that feels like something, a verifiable connection between the past and the future, a richly illustrated truth. It isn’t, of course. It’s just another way of imposing order on the world. And like any myth, one day it will have to change. Parents will die or become old, facts will emerge that don’t fit the narrative, affairs, abortions, revisions, elisions, things done and not done, dates that don’t work, things that trip the flow of it all and leave you wondering how you could ever have been so naive.

sig

five short chapters from the age of gods & mortals

I.

prometheus was generous / he was basically alright / he leaned down from the clouds to the ground / to give all the smokeless mortals a light / and if his punishment was a bit over the top and livery / for such a naive and unauthorised delivery / still, the laparotomising eagle always took flight / and the poor guy’s liver grew back each night

II.

the medusa / was a serial user & abuser / every day a bad hair day / (the classic gorgon confusion / any new relationship a foregone conclusion) / but perseus got the heads up / on the practicalities of this particular pre-nup / wore cool mirror shades / that paid off in spades / and just as he practised in rehearsal / did all his sword fighting in reversal / ended up tossing her hissing head in a sack / and whistling heroically, sauntered back

III.

scylla and charybdis / a couple of mean-minded sisters / who took a terrible maritime toll / one a monstrous snake and the other basically a hole / they lived either side of the strait of messina / guarding the water inbetweener / royally and orally destroying / anything buoyantly annoying / until odysseus / stealthy & inconspicuous / taking the line of least resistance / managed to / find a way through / and okay – so a half dozen heros got eaten by scylla / but at least the boat made the homebound flotilla

IV.

labyrinthitis is rarely fatal / except if you’re a cretan youth or neonatal / because that’s where a bunch of them got sent / every year as punishment / the labyrinth was this crazy maze / built by daedulas in happier days / before icarus and his fickle attitude / to altitude / failing so spectacularly in his fatherly devotion / by hurtling curls-first into the ocean / so anyway / the labyrinth / basically a plinth / in the middle / of an underground puzzle / with a griddle / for the minotaur to get snacky with the kiddle / until down came theseus / muscles gleaming with greaseus / who straightway cut him to piecius / lopping off his head / and then winding his way back with a ball of thread

V.

the chimera! the chimera! / most terrifying creature of the antic era / body of a goat and the head of shakira / and the tail from a snake / and fiery breath that would burn and bake / and giant paws that would pound the ground and make the houses shake / which the general population found pretty hard to take / until – step forth bellerophon! / ripped & ready for the slay-a-thon / he leapt up onto pegasus, his horse / tough as a rhinocerorse / but aerodynamically better of course / together they swooped on the hapless creature / and ran it through with his most prominent feature / (a long & lethally lead-tipped spear / which pretty much did the trick, I hear)
medusa

 

 

the feral dream girl

‘Peter died six years ago, but it may as well be six minutes.’
‘I’m so sorry for your loss.’
She shrugs and shakes her head.
‘Oh, well. I had a long time to get used to the idea. Poor Peter. He was a long time sick, you see. But that’s all in the past. D’you know what I miss the most? The conversations we had. About the silliest things, any time of the day or night. He was a fascinating man, Peter. That’s why I married him, I think. Or one of the reasons. He would always go to great lengths to understand the other person’s point of view. His hospital bed was just there, where you are now, and I was off to the side, reading or dozing or running backwards and forwards to let the carers in, the nurses and so on. The number of people who came and went through this room. I could’ve written a book. Should’ve. And now it’s just me, sitting on my own, staring out at the birds, thinking about not very much.’
‘Do you have family?’
‘No. Not really. All my brothers and sisters are gone now and we didn’t want children. There are some nieces and nephews dotted about. I see them from time to time, which is lovely, but they’ve got busy lives and what have you and I don’t want to burden them. I don’t mind. I’m perfectly content. No – we didn’t really want children, and I never gave it any thought. I did have a strange dream about it, though. I’d fallen asleep in this chair, and I woke up inside the dream, so to speak. I could tell, because even though everything was much the same, the light was different, more – I don’t know – electric. And there was a wild infant child standing to the side of me. A girl. She was standing right there, just about where you are now, rocking from side to side and staring at me. I wasn’t frightened or anything. I just held out my hand, and eventually she came forward, and let me stroke her hair a while. Then something startled her, and she ran out through the open window into the garden, which was so thick with trees it was like a tropical jungle. And she ran off into all that, and I watched her go. But I wasn’t worried for her, because I knew she would be safe out there, among all the animals, the bears and the wolves and so on. You read about those children, don’t you? The feral ones, the ones who run off into the forest and get brought up by animals.’
‘I remember something about that. It’s difficult to know whether it’s a story or just neglect. Probably a bit of both.’
‘Yes. There is that. People often make up stories when the truth is too painful.’

a scarcity of goats

‘Can I see some identification?’
‘Of course’
I pull my ID card as far out on its elasticated string as it’ll go; Maud grabs it and pulls it closer, and I’m forced to step forwards, caught off-balance, like a fisherman surprised by a particularly feisty trout. She presses the card to the end of her nose and scrutinises it with her eyes shut, squeezed so tightly in fact that a little tear appears in each corner. ‘Well. That all seems to be in order,’ she says, letting it go with a snap. ‘So sorry about all that,’ she says, flapping her hands and lifting her chin in the air. ‘But one cannot be too careful. Especially these days.’
‘Absolutely.’
‘Please. Go through to the living room. And do excuse the mess. I’m not normally such a slattern.’
‘I wouldn’t call it a mess. Or maybe only a creative mess.’
‘You’re kind. But no – let’s face it. Let’s call a mess a mess. And if any creativity comes of  it, I’ll be the proverbial monkey’s uncle. Or aunt, in this case.’
Maud feels her way to the armchair and plants herself squarely into it.
‘There!’ she says. ‘Good. Lovely. Now then. What can I do for you?’

Maud is as sharp as you could want in a ninety-five year old. When I ask her to demonstrate how she’ll put the eye drops in after her cataract operation, she shows me a faultless technique, tipping her head back and using the bridge of her nose to brace her hand against.
‘There!’ she says, blinking hard and rolling her eyes. ‘Happy?’
I tell her how impressed I am.
‘I’ve never seen anyone use their nose like that. Just out of interest – what line of work were you in?’
‘Originally? Well – I started off as a goatherd!’ she says, carefully placing the tube of eye drops on the table next to her, then lacing her wrinkled hands together in her lap. ‘Not London, of course. Yorkshire. There was a scarcity of goats in London after the war.’

letterboxes and the fine art of surviving

It was just after nine / I’d come to see Maureen, a patient of mine / suffering self-neglect & cognitive decline / her niece / Denise / met me outside the flat / we buzzed and rang but had no luck with that / we shouted through the letterbox / the hallway resounding with our pounding and our knocks / but the flat was quiet & the door stayed locked / Denise / had no keys / because her aunt wouldn’t give her a set / even though she was prone to forget / whether to eat or not / and left things on the stove when it was hot / and needed reminding to take her medication a lot / but – you know – this whole thing was a long time in the making / (Denise was pleased for the trouble everyone was taking) /

we stood there in the hall / wondering what to do, who to call / Denise was realistic / she said this behaviour was characteristic / Maureen was definitely home / but just wanted to be left alone / the risk was low she was on the floor / so we probably didn’t need to kick down the door / it would’ve been too destructive / counter-productive / so instead / I said / I’d talk to the GP / quite urgently / actually / because we needed to see / that Maureen had capacity / to say the hell with the world and other curses / and no to a visit from the district nurses

I shook Denise’s hand, said goodbye / picked up my bags, walked outside

back in the car / eating an energy bar / planning my visits / I listened to a professor of theoretical physics / it was compelling / there was still no way of telling / he said / the essential difference between alive and dead / no experiment yet devised / that could have the matter verified / it was somewhere in the realm of chemical & electrical causation / in DNA packed full of coded information / software / versus hardware / somewhere deep in there / and if that wasn’t enough / he went on to talk about all this other stuff / how space & time came into existence / how early bacteria showed a strange resilience / there, at the beginning of multicellularity / moving and evolving with marked singularity / tackling insults to their integrity

I thought about Maureen, locked in her flat / and what I was going to do about that / and I heard our efforts echoing down the hall / all the way back to the start of it all / to the shore at the dawn of Time’s Big Bang / the very moment when it all began / that drenching, wrenching, cataclysmic spasm / that flash of heat in the heart of the chasm / that revolutionary, evolutionary phantasm / of subatomic ticks and tocks / to Denise and me, shouting through a letterbox

something good is just about to happen

Harold doesn’t just suffer with anxiety – he’s anxiety incarnate. He is fret and worry and apprehension and dread, bound together with chains of despair. He is one hundred percent uneasiness, with a side order of foreboding. Anxiety has invaded his body, worn him thin as a pier post submerged by the tide, the black water rusting out the bolts, leaving just a pair of drilled holes for eyes.

‘But how do I know you’ll come?’
‘I will come, Harold. I promise. I’ll be there in about twenty minutes.’
‘But what if you don’t? Who would I call?’
‘You could call the office. The number’s in the folder. But I should be there in twenty minutes, traffic permitting.’
‘What do you mean, traffic permitting? You mean you might not get here at all?’
‘Well – sometimes the traffic’s a bit sticky, Harold. But twenty minutes should do it.’
‘But it might not do it. It might not. And then where would I be?’
‘I think you just have to trust that things will work out.’
‘But you can’t guarantee it.’
‘No. I suppose when it comes down to it, I can’t.’
‘So you can’t promise me you’ll come?’
‘I can promise I’ll try.’
‘And you you’re not lying to me.’
‘No. I would never lie to you. I’ll always be honest. Even though it might not help sometimes.’
‘Because I don’t want to be told one thing and then something else happens.’
‘No. That’s not nice at all.’
‘So you’ll be here in twenty minutes?’
‘Twenty minutes. Try not to worry.’
‘But it could be longer?’
‘I’ll see you in a bit, Harold. Take care.’

I ring off. Take a breath.

Take care? Why did I say take care? It sounds too final – the kind of thing you say when you don’t think you’ll see someone for a while. Certainly longer than twenty minutes.

Even over the phone I can feel the glittering mycelia of anxiety reaching out to me. I shake them off. Take a breath. Drive more positively than normal. Get there in ten.

*  *  *

When Harold comes to the door it’s like someone throwing a curtain aside on a  monologue.
‘I was worried I’d caused a stain on the road.’
‘A stain Harold? What do you mean?’
‘A stain. I could see a black patch on the road outside, and I was worried my milk had leaked from the bottle. There was a workman outside and I asked him about it.’
‘What did he say?’
‘He said it wasn’t the milk, it was the repairs they’d made to a hole. He said if it was milk it would’ve dried by now. But it could’ve been the milk, couldn’t it? The milk could’ve leaked and caused damage to the road? And then what would I have done?’
‘It definitely wasn’t the milk.’
‘You’re sure?’
‘Positive. There are many things I’m not sure about, Harold, but I can absolutely guarantee your milk hasn’t leaked and damaged the road surface.’
‘But it was all black and shiny.’
‘That’ll be the bitumen.’
‘Bitumen?’
‘Yep. I would think.’
‘What’s bitumen?’
‘It’s a tarry substance they use to resurface roads.’
He frowns.
I take the opportunity to redirect his attention.
‘Would you mind if I came inside, Harold? The doctor wants me to take a little sample of blood…’
His round eyes deepen.
‘Blood? What on earth for?’
‘Let’s go inside and I’ll tell you all about it.’
‘But why does the doctor want you to take my blood? Am I ill?’
‘It’s nothing to worry about, Harold…’

It carries on like this all the way in to the living room. I put my right hand lightly on his shoulder, hoping the human weight of it might reassure him a little. When we reach the living room he hitches up his trousers, lowers himself with enormous care into a ruined armchair, then sits with his hands gripping the armrests, his spindly legs close together, his slippered feet flat on the floor. Only when all this is safely done does he turn his drilled gaze onto me.

I try the usual tactics. I ask him about his family, what job he used to do. I ask casual but specific questions about his daily routines. What he eats. How he sleeps. I ask about his bowel habits. How he’s managing. I make banal comments about the weather. I make him tea, and so on. But despite adopting the conversational profile of a pebble, every last thing gets turned into evidence of imminent ruin and disaster.

I settle back.

The walls are covered with pictures: kitsch, mini motivational posters, one of a kitten in a boot saying I hate Mondays; some with blocks of text saying stuff like Only I can change my life… or something good is just about to happen – but the one that really catches my eye is a copy of the Mona Lisa with a photoshopped spliff in her hand.

I look back to Harold and smile.

‘Am I ever going to be well?’ he says. ‘And don’t lie to me.’

the old courtier & the pug

Even Jenny’s pug makes me anxious. There’s something about the way he trolls over to me, waggling breathlessly from side to side like an antique footstool that’s somehow learned to walk. And when he finally arrives at my feet, he’ll stop and slowly look up at me, panting in his tight fleece waistcoat, like he’s expecting me to do something, and if I don’t do it soon he’ll explode, and there’ll be pug everywhere, and it’ll all be my fault.

I pat his head (which isn’t what he wants), and I wait.

Jenny comes striding over the hill, waving.

To be honest, I’ll often try to avoid Jenny. She’s nice enough, but like her dog, she makes me anxious. And I say that despite having tried over the last year through meditation to understand that’s it’s not other people or events that make me feel anything but how I react to them. I suppose it’s the difference between accepting that spiders are essentially harmless, that it’s an irrational fear rooted in family experience & conditioning, and actually picking one out of a box and putting it on my head. So even though I fully understand that wanting to avoid talking to Jenny is really just an indication that I’ve a lot more work to do on myself, still I can’t help looking for the exit.

One mistake I often make is to try to preempt the pessimism. It’s the conversational equivalent of bending down to pick up a box you think is full of books but turns out only to have a duvet and a pillow, so you end up throwing it in the air and falling over backwards.
‘Hey Jenny! How are you? What a lovely day it is today! So Spring like! Everything powering up! God – we’re lucky…’
Jenny stares at me through her lavender tinted glasses.
‘Did you hear about the boy in the high street the other day?’ she says.
‘Boy? What boy? No…’
‘Carrying a machete.’
‘A machete? Oh my god…’
‘Look,’ she says, opening Facebook on her phone and showing me the picture – a weapon that looks more like something a Klingon would use in a ceremonial fight.
‘Bloody hell!’
‘I don’t understand kids these days,’ she says, putting the phone away again, carefully, so she doesn’t cut herself on the picture. ‘I mean – we never had half the things they’ve got. Ferried around from place to place like little princesses. They have the best clothes. The best shoes. I suppose it’s all these violent games they play. But you see they just don’t have any respect. And they seem so angry all the time.’
‘Well. They certainly get a lot of peer pressure on social media. I’m glad I didn’t have that when I was growing up.’
‘I worry about the future. I really do. I worry for the world my grandchildren will live in.’
‘Knife crime’s terrible,’ I say, struggling to stay objective. ‘Horrible. Really awful. But one thing struck me the other day. You know some kids think they have to carry a knife because the other kid’ll have one? Isn’t that the same as our foreign policy? You’ve got to have nuclear weapons because the other country’s got them? I mean – aren’t they just doing what the government’s doing?’
Jenny pushes her glasses back onto her nose.
‘They’ve been smashing car mirrors,’ she says. ‘For no reason. Car mirrors. Just walking along and smashing them off.’
‘That’s terrible.’
‘And I tell you something else. I’ve had my car ten years, and last night the alarm went off! Twice! It’s never done that before.’
‘That’s worrying.’
‘I mean – these kids. They’re so angry!’
‘It’s interesting that all this comes at a time of reduced public spending. Do you think that’s got anything to do with it?’
‘I don’t know about that. All I know is, I’m glad I’m not a child growing up in this world…’

The conversation splutters on like this for a while. She’s not enjoying it. I’m not enjoying it. It’s like we’re wrestling with the controls of a little plane that’s stalling over a chasm. I’m tempted just to embrace my fate, put my arms in the air and try to relish the plummeting – except – I can’t afford to let myself think of life this way. It’s too bleak and soul-sapping. It would feel like surrender.

I look around for Lola. She’s way up the hill, heroically silhouetted against the sky, staring down at me with an expression that – even from this distance – I can read as pity.

Back at university we studied an early Renaissance book by Castiglione called ‘The Book of the Courtier’. Written at the beginning of the 16th century, it was an early kind of How To guide for members of court, but it digressed lightly and beautifully into conversations about social philosophy, religion and so on. The book was surprisingly contemporary in feel. I remember one bit in particular, where the subject of ‘it wasn’t like this in my day’ came up.

“I have often considered not without wonder whence arises a fault, which, as it is universally found among old people, may be believed to be proper and natural to them. And this is, that they nearly all praise bygone times and censure the present, inveighing against our acts and ways and everything which they in their youth did not do; affirming too that every good custom and good manner of living, every virtue, in short everything, is always going from bad to worse.”
(from the beginning of the second book)

He wrote that over five hundred years ago. But despite all his balance and courtly wisdom, all his sprezzatura, I bet even old Castiglione would’ve changed direction when he saw the pug.

sig

well honestly sometimes i feel like

:::::: well honestly sometimes i feel like the dumbo stamped red rubber band stretched round the trembling right hand of Ernest Hemingway
:::::: or the butterfly engraved beard trimmers catastrophically used to lever open a rusty can of paint thinners by Claude Monet
:::::: other times, i feel like the bent EPNS gecko wedged in the neck of a bottle of prosecco in the second-best fridge of Reggie & Ronnie
:::::: or the poisonous snake receipt shredded in the chaotic christmas present deceit in the glitzy LA retreat of Jay Z & Beyonce
:::::: mostly i’m just the duck handled shoe horn overlooked in the elephant foot umbrella stand of Hubert de Givenchy
:::::: or the half-eaten wild turkey canape at the adoption ceremony welcoming Johnny Depp into the worldwide tribe of the Comanche

:::::: and there aint nothing i can do about it