Monday 12 December 2011

Some thoughts on stationery (by C Hazell)

Stationery can feed the imagination with its plethora of writing materials, clean adhesives and eye catching neon’s.

It also, one must add, reigns it in and tidies it away.

---

I order stationery on Fridays.

An office has an insatiable appetite for stationery. Along with the regular weekly consumables are the special requests from my co-workers.

On this particular Friday there was a Blue Colarado Foolscap Box File amongst other items.

I flipped through the thick glossy stationery catalogue – ‘box file yes’...’colarado... yup’....’blue...ok’

With one index finger simultaneously pinning down the vast publication and underlining the item’s code, I used the other to type:

-           9021367, return tab, a click of the mouse and the box is ordered.

A seamless unity between man and machine!

 What followed next was something of an ‘eureka’ moment. This blue file and a piece of writing I had read earlier in the day about an ant attack had now become united by the term Foolscap.

Foolscap.

Forgive me for misunderstanding but I had assumed, carelessly I admit, that the Foolscap signified a fool’s cap in this particular writing blog?  

Yes? No? Who knows. But this is far more likely: -

-          Foolscap: an archiving brand.

therefore

-          Foolscap Files: an archive of writing.

 The image of the dunce’s cone- shaped hat has now been replaced with a dignified filing system. A hush of embarrassment ensues while the change over takes place.

---

 

Utility_sciss

Power Scissors

 One would be foolish in thinking that a pen is simply a pen.  Here are some of my favourite products that seem to belie the common notion that stationery has a limited capacity:

 

Pens – A LIFESTYLE CHOICE 

BIC Atlantis Stic Ballpoint – Underwater cities, ancient Greece...this is the pen for dreams, adventures and historians

Bic Soft Feel Clic Grip

Uni Jet Stream SX-101 Ballpoint – be blown away by the force!

Penac Soft Glider Ballpoint – Sunday afternoons, letters to friends, time and a pot of tea

Penac Chubby 10 Retractable Ballpoint

Penac Sleek Touch Retractable Bullpoint – the Carte Noir of pens

 

 

Post – TO GUARD AND PROTECT

New Guardian Gusset Envelope

Paper Tyger Security Envelopes – the scarecrow of the urban jungle

Plempix Damper

 

 

 

Accessories – INNOVATIONS IN THINGS YOU NEVER  KNEW YOU NEEDED

Tipp ex Pocket Mouse Correction tape – now you never need be without your correction fluid

Rapesco Puffa See Through Half Strip Stapler

Lipped Paper Clips – clamping down on the document like hunger bites into its favourite sandwich (granary bread, mature cheddar, mayonnaise, tomato, black pepper)

Fellows Earth Series Stackable Letter Tray – the desk is an ocean, awash with adrift papers like lost souls. Cultivate! Build! Give the papers a home, a stackable one.

 

--- 

Stationary. Stationery.

Stationary = static, still, like a latent car.

Stationery = paper, office supplies and the like.

e becomes opposed to a

Stationery is rarely stationary.

Stationery has migratory characteristics.

 

---

 

Monday 28 November 2011

Renmark - Plastic (by Jon Mann)

Renmark

Rosa sits opposite me at the table, facing away - side-saddle on the short bench, her dark curls falling one way, just one shoulder favoured with the weight of her hair. The swaying, the rising and fall, mirror the curves of her head, its elegant, youthful, lilting moves. She gazes absentmindedly at Clive in his cot to her side. I flick the paper to contrive a movement of her head towards something else, but it stays put, and rests in free-fall. I drop my eyes back to the paper, not part of her now. A few blocks of text hover on the page, glazed, and lay undisturbed, a few more, then I stop and look up again. Her head is down now, in that curiously overt, introspective way - she has left her daydream and wants to be seen to be daydreaming now - I know the difference, I am cunning this way. I glance at the boy as he dozes indifferently and decide it would be good to have her eyes away.

“They say he may be Nordic... His features...”

She looks up and seems pleased this was directed her way. A child still - I can see the wall through her rib-cage.

“The Somerton man. Norwegian, they say”

I knew a Norwegian once, or at least a Norwegian looking one, and it seems like him, it must be him. He was a soldier, and by my side or thereabouts in those wet, hot lands. I remember him sweat like us, and fall the same way we fell, be a loving home to those piercing, siren swarms. His white Caucasian neck ageing quick with the red-brown burn, thickening because it needed to, a wet ham joint ready for its turn, ready to go. Well, weren’t we all! ...and did I see him lying there, apart? No, because he dressed up nice and felt like lying down, and that spot on the beach is far away from our green and beautiful, humid surrounds, where we tried to fight so well.

“Have you seen the photo? ...Though you may be better off not... I think I know him”

From Renmark. It was green and beautiful there, the paradised fields of fruit, row on row. God’s hand is in this work, the orchardist knows - his warm damp land and soil, and the abused river at the centre of it all. The Norwegian was there too - I'll recall his name in time. We worked parallel lines, at the same rate. There are never-ending views in this country, some make the head bow or force sight away, some mean you’ll not last long if you can't escape, but, caught alone, the repeated, regular lanes of that place - so much good! - are piled so high and wide that the good itself is pushed away. No horizon line, the same limitless lanes each way and the uneventful sky, atom dust or galaxy-high - your notched edges and wrong insult this rigid, scaleless trap. Get back to the Norwegian and his centre-parted hair, keep your eyes on his face through the gaps in the leaves and the sweet air.

He was at Nadda too, that scrub maze - he found me there, after my afternoon nap, and I'm grateful for this. I was annoyed at first, because I liked it there, it was warm and comfortable, and a dream of clear, mountainous air was broken by his Scandinavian face, his recognisable call, his gentle touch on my shoulder and the crisp, blistered skin layer.

“Wake up now, it's the best thing to do”

“It's not too late for food and... Your axe is still with you I see! Let's get back shall we”

I'll do the same, return the favour, touch him gently on the shoulder to avoid a scare and repay his words of kindness over so many a year. Karl... Karl! Let's get back shall we? Ah yes, that's his name, I'm sure I'm right. Karl Gudmonsson is the one lying down, this good friend of mine - we fought in tropical and desert climes, saved eachother’s lives more than once before and walked green, god-favoured lanes in Renmark even before the war. I must see him quickly, and show the truth - I think some people, for a reason I cannot know, are saying he is from some other foreign land, but this can't be true, for the man is Karl, he is not from Wales or even England, that confusing place! An Englishman named Carl with a K - no it cannot be. I must visit him in his shirt and tie and closed eyes... tensing though, somehow, as if he is hanging upside down - maybe they did, for he was never as puffed up as that, not holding his breath and waiting to die.

“I'll take the bus down the coast, down Military Road... Although... I could wake early on and walk - it can only be two hours or so...”

I become agitated and stand up quickly, move to the windows and crane my neck to the side to peer through the narrowed frame. I can see the sea from here. I catch Roma looking at me, and I shift my eyes but keep my face on the sea. Both her tiny pale hands are on the table, clasped - her index finger distractedly flicks the webbing of its twin - what can she be worried about that silly girl? She doesn't say a thing! I reply with the same, simple nothings. She traps me in this - my unthinking agitations have changed, through her absent, silent gaze, to an awkward pause - I'm stuck with the end motions of their stuttering forms. I stay by the window to show that I'm formulating a plan, when I know I have one anyway - I'll be up early, claiming a trek, then go somewhere safely far and take the bus to Somerton Town. That way I'll have time to walk around, sit in the spot where he laid down, remember the long orchard shade and the wandering shadows that formed on our arms. My deception pleases me and I play at being calm - I smile at the morning light, look back to her and change the subject to something unattached. Yes, I'll visit him once more, cool and calm.

--

I follow the man four paces behind, trying not to match step. His shoulders drop to the left, just so, as if ducking under a shelf - low, flat strides he floated on, seemingly trying to hold his eyes at a fixed height. The hips and below were all that moved, even the arms in tow were unusually still - weakly interacting halves of composite craft! His split form wound down the dark and lime green hall, the sparsely placed lights showing barely anything at all, save the old wooded panels like splintered bark, soon ready to fall. A sight to see, maybe - a dust cloud in this forlorn grid and its unmoving dead air would be like a frozen, small war in hallway lights, photographic time transferred to life.

The more I see the back of this man, the more I have to fight his style of walk, I hold my shoulders straight just in case and bounce high, low, high, to show that I'm not. The more I think of it, the more I'm enjoying this walk - there's not much of it, of course, and we’re heading for a frozen corpse, but the clean and dull decay of this place and my knowledge of a secret thing to make me the one who solved it right is enough. These are the times when I feel less dead myself, when I can, I think, switch between layers and peek out, see the view around and about - from darkened cell to windowed room, with a view to roll up and eat just out of grasp.

“This way please. Watch the step”

His uniform is ragged and he seemed annoyed, but my army pension keeps him polite. He said as I arrived I'm the one hundred and fifty-first one - one hundred and fifty truthless before the truthful one! I understood his weary eyes, I have those eyes too - I showed him my card and he raised them to mine, placed both tan hands flat on the page and dropped his brow, then back up - an almost imperceptible forward dip of the skull. Two tours. I'm sorry to take your time, I say - he looks back to the form.

“The paper mentions us again today, mentions the lady we had in yesterday. You'll forgive me for earlier? It's becoming quite strange”

I gesture it's nothing, ask the lady’s name - he swivels the paper a neat turn, shifts it my way - Thompson? Funny, the man you have there is Thompsen, you have my word...

He reaches for the door - a different one now, metal I think, with a curved chrome handle I've seen before. It's a windowless thing - I suppose it has to be - and there are two distinct clunks as the handle is pulled up. A slide and a snap, then a weightier fall of some mechanism probably sat in the wall - come in! it seems to say, I have something for you. The words pass me by and head back up to where we’ve been - I turn around to catch them move but all I see are the spheres of evenly spaced lime green, not quite touching, interrupting the straight hall with their swollen and diffuse forms. The man stands calm by the door, handle poised, with a look that equates to mine in his shaded eyes. I stand too, hold his patient gaze, and it seems as though we could stay this way forever - there is wisdom in this wait, I'm sure there is wisdom in silence and nothing while we wait.

I think I know now what I'll see. It peaks around the corner at me, from a distant place. I can't quite make it out but I know it's there. It's the haze at the far line of those green lanes. The indeterminate edge of those Arab sand plains - it calls me then as now and I pause before I move, but I know that I will keep going on. The door fans out as I pass through and the cold air is like a thick layer scared to leave, I feel it move from my leading leg to the back of my head. It's a soothing, cool balm on my face, but it soon moves my mind to realise that I'm home again - this is the inevitable way, the warm is not even real... not real at all. The cold swallows my all, and I feel a hole open up in my forehead - the skin and bone peel back fine and dry, there is no bleeding in this room. The fat organ exposed recoils at first from the fluorescent light but soon adjusts and aims its narrow beam at the white cloth in the near-centre of the room, draped over curious peaks of toe and belly and head - as it hangs still on the edge, the arm is suggested for a tiny part of its length. My forehead hole lets in the rigid, freezing air, and the pink brain starts to struggle, and tremble away - it knows its path though. The man mumbles something - this way? but the increasing shudders make my ears dull and fade. It knows its path and I follow slow, arcing towards the peaked sheet and its glowing shape.

The man curves around the opposite way and meets me at the flat metal table where my friend lays, it's funny, I think, that they found him this way - politely preparing himself for this room and the day I would come and see him, and give them his name. It's a nice thing to do, to know the rigour coming and be as thoughtful as you, to be aware of how you'll look as a corpse, to think things through. I smile an endearing smile his way, aim it at the face and its draped, white shade - my brain through its window of peeled skull case looks intently as well but the unease and increasing vibration of its pink flesh alarms, it shakes loose a bitter, metal taste that filters slowly through my nose and throat like metal filing dust. The spit thickens and seals my tongue slow with a gluey and useless clicking paste, but this stupid face stays set in the previous shape. They seem to exist in different states and I look at them both in astonishment - what this makes for the man to see must be a sight and he seems to be thinking that something isn't right - motions the corner of cloth he has raised back to the clear metal table edge and makes to step back round to the door, his eyes fixed on mine. I manage to raise a hand and force the features of my split face to reform calm. I think I say I'm fine but the gummy air in my ears and around makes only my heartbeat and sick stomach loud - they both work fierce to an awful time and heat up my insides, bring the temperature driving up and sweat to my broken brow. It sits and freezes in its place, plasma soup in a shell of ice. The open brain makes its nauseous signal louder and louder now, it seems, shines its straight beam to the covered face of Karl... Karl Thompsen in his polite sleep. The man, now back facing me, moves his mouth to shape something I cannot know, but it seems from his moves and eyes that he is asking me if I'm alright, or do I want to carry on or something along those lines. I nod, and quickly withdraw the full move, trying not to let my brain fall out, and he reaches for the cover again - the corner by the head - he sends a final look in a questioning way and as I agree he adds a hand and pulls the sheet down. The beam snaps off and the view reframes.

Oh grace no. A fragment passes and with a click my gluey tongue is wet again, too wet, the spit starts to pool under it, a pool of oily sick warning, and I gulp it back - no time to breathe. I see a thin grey mask of face shape but no face is there, heat and cold co-exist, but at the place where they meet... my forehead snaps shut with an icy crack, I feel my eyelids twitch as it does and look to the man to check this is real, but he doesn't move at all - the lights start to dip low from the edge of the room to the faceless grey and as they do, the mask starts to slip and fall. The cold is my home and I'm being shown the way back there. So slowly though... I can't take this withering, crushing pace, the dark gets ever close and I worry that it will end and I'll be left in the dark and cold with... The mask drops to the floor, quiet and slow, and I'm clear about it all now. I feel sleepy, shut my eyes and go.

Renmark - Plastic is part of a larger work in progress.

Monday 14 November 2011

Workplace Fire Safety (by Matthew Breen)

 

As the fire safety video entered its thirty-ninth minute, Brian started to reassess the meeting room they’d been in all day. It had a high corniced ceiling, walls a pale buff colour, and plenty of space all round for the purposes of the training session. Brian thought about where the room was, in a converted townhouse, on a street in the middle of Spitalfields. Altogether it was much less drab than he’d thought it would be, which led him on to their facilitator.

The facilitator was a flash and bright young man called Wyn, W-y-n, which Brian knew to be spelt so as it had appeared in the first slide of the morning’s presentation. Wyn: he’d typed it out in big purple Comic Sans for their benefit. Brian initially guessed he’d done this just to deal with any doubt or indeed merriment they might have harboured on the peculiarities of his name, but at lunchtime, as Brian had sat in the sunshine, he had realised that it was Wyn’s way of poking fun at the fact that everyone went into these training days expecting them to be horrendously corporate and dull. In Wyn’s hands, the day’s programme had become this weird, self-loathing thing. When going through his flipchart of statistics, Wyn forewarned that this was the part where he’d bombard them with meaningless facts and figures; and when bulletpointing the fire evacuation procedures essential to every workplace, he’d said he hoped they were listening at the back, or else they’d have to do some role-play to liven things up. This was met with titters, or at least good-natured exhalations, though in reality there was no back. It was just the four members of the sales department, all sat around the oval table: Carl, Sunita, Brian, and Liz, who was head of department.

 

‘…I know what you’re thinking at this point,’ said the presenter in the video in his dour, Estuary way. He was fiftysomething, smart-suited and tieless and with salt-and-pepper hair across his head and chest. The top three buttons of his shirt were wide open. The video’s subtitles had introduced him as Grant Neasden, Media & Entertainment Personality. Brian wasn’t good with names, but better with faces, and almost certain he’d never seen him before.

'…Fires, surely they’re just something that happens to other people at other workplaces, right?’ Course that’s what you’re thinking, because that’s what everybody thinks.’ A sombre pause. ‘Right up until it happens to them.’

Grant Neasden, Brian noted, kept referring to himself in the script. ‘I want you to…’ ‘…so keep that in mind for me,’ and suchlike. It made Brian think about Liz, and how she delegated tasks in the department. It was known as the three-faceted approach. When giving instructions, she would explain 1) who the task was for, 2) why it needed doing, and 3) how it would benefit their shared workplace. Liz also tailored the way she spoke to each individual in the department. Brian had been observing this for months. Girlish camaraderie with Sunita; a kind of familiarity—not flirtation, at least not a discernible flirtation that might reflect badly on her—with Carl. And with Brian, Liz reserved a respect particular to him and only him. She had a habit of ccing him into emails that he really didn’t need to be cced into. He’d concluded some time ago this was her way of saying, ‘I value your experience, which is of course far greater than mine.’

Brian flashbacked to his last catch-up with Carol from HR, when she’d asked him how he’d found his (then) new line manager. What he’d done, without any premeditation, was tap a hand down on Carol’s desk, and make an emphatic point about what a fantastic manager Liz was. Carol had nodded eagerly. In fairness to Brian it was hardly a lie. Everyone knew Liz was good with her staff, something her predecessor Gordon certainly hadn’t been, which was why Gordon had been got rid of, and she’d been promoted. Liz didn’t hide in her office or insult people like Gordon. Liz was a people person. She knew how to handle people, how to motivate them, how to direct them, how to reprimand (but only when necessary, which was hardly at all with ‘her fabulous lot’), how to address issues, and how to focus on key zones of potential development in each of them. Even after the 2009 Christmas party, when she drank too much, kicked off her shoes, and danced across the three tables they’d all pushed together in the corner of the Pitcher & Piano at four in the afternoon; the way she openly discussed her antics the next day, and joined in with everyone’s mirth in the staffroom—

A stray cough led Brian back to his colleagues, who were all watching the DVD. Carl was leant back, and had given in to his habit of opening his mouth, baring his teeth in a weird animalistic freeze-frame, and using his tongue to prod at each tooth in what seemed to be an order meaningful to Carl alone. Molar, canine, molar, incisor, incisor. Carl’s tongue tapped at them like piano keys. For reasons unknown, Brian’s imagination was hearing the five-note melody from Close Encounters. Bah-bah-bah-baah-baaah. Sunita was chewing her hair. This, she always did, but having now absolved herself of all self-consciousness she’d worked enough of it into her mouth that it ran taut along her jaw. As she did this she also pulled her necklace around her chin. The little locket at the end twitched beneath her lower lip. Liz had her jotterpad out, and was writing page after page of notes. She wore horn-rimmed glasses, like Brian’s father had done in the Sixties. He registered the seat she’d chosen, the one closest to Wyn—and saw Wyn was looking straight at him. Brian pretended he hadn’t seen, and went back to the DVD.

Grant Neasden was now in conversation with a woman of forty or thereabouts. As the camera closed in on her face, Brian’s first assumption was that she was a burns victim. Then he felt bad, as he realised she simply possessed the shapeless, waxy features of an obese person struggling under the heat of a studio lamp. The subtitles reappeared, reading Valerie Gough, Workplace Fire Survivor.

‘We're a family business,’ said Valerie Gough. ‘Me. Me brother, Richard. Me dad. His brother Trevor...’

She spoke with a broad Lancashire accent. It was the sort of earthy, prepossessing burr that Southerners like Brian dearly wished they had because it would’ve made them sound more trustworthy, and in Brian’s case would probably have bagged him more accounts over the years. She also spoke in such a way that it seemed she’d never heard of conjunctional words such as ‘and’ or ‘with’ or ‘then.’ Was she incapable of stringing complete sentences together, he wondered? He felt guilty about thinking this, given that something tragic had happened to her, as she was no doubt about to explain. And he was feeling bad already about the burns victim thing anyway. The Northern accent, Brian thought, was probably only trumped by the Irish accent in terms of implicitly bestowing moral integrity upon its speaker. He then started to consider if he could categorise all the various Northern sub-accents in order of charm and insinuated decency.

After a half-minute of her backstory, the camera zoomed in on a still photograph of Valerie Gough and three men. They were all sat or stood in a cluttered Portakabin office, on whose wall a vinyl banner read GOUGH FAMILY FIXTURES & FITTINGS. Zooming in on a still photograph was a technique known as the Ken Burns effect. Brian had learnt this from watching the extra features on the DVD of Ken Burns’s documentary on the American Civil War his son had given him for his birthday. His thoughts ricocheted to the picture inside Sunita’s locket, which was of her twin sister, who’d died of leukaemia when they were twelve.

 

Brian came to the abrupt conclusion that the reason Grant Neasden kept referring to himself in the video was to suggest he (Grant) was personally invested in teaching them four of them about fire safety; that he wasn’t just an individual of alleged celebrity parachuted in to breathe life into a corporate video. This took Brian on the same mental segue into Liz’s delegation method. The reason he knew it was called the three-faceted approach was because they’d both gone to the same training day, when she hadn’t been head of department. He hadn’t been angry with Liz, when she’d got the job over him. He knew his age would either work for or against him, and, as it turned out, it worked against him.

Valerie Gough explained that an electrical fire had started on their premises in December 2006. They had overloaded a mains socket with an electrical heater, a paraffin heater, various computer cables, and the fairylights that ornamented their artificial Christmas tree. The fire spread across the carpeting, and reached some overalls draped over a chair that were soaked with oils and solvents… The crux of the story was that Valerie’s uncle Trevor had fallen asleep inside the Portakabin, and died of smoke and toxic fumes inhalation in his sleep, and Brian assumed that was the end of it, but—wait a second—Valerie explained that her brother Richard, returning his van to the yard, had dashed in to try and save his uncle. Richard Gough’s instinct had been to fill a bucket of water, and throw it over what had at that point been a small and localised fire. He electrocuted himself.

A sequence of blurry reconstructed scenes that Brian found hard to follow were overlaid by Valerie Gough’s strangled, clucking sobs. He felt bad a third time, because as her story progressed, and the more upset she became, he just grew more and more irritated. He knew that right now he was supposed to be feeling sorry for her because her brother and uncle were dead. But plugging three adaptors into one mains unit and leaving flammable material lying around was stupid. He knew that already. He hadn’t learnt it that day. He’d learnt it before that day. He didn’t need a crying woman in a video to tell him that. Brian balked at hearing his internal voice’s choice of ‘crying woman’ over ‘crying person,’ and suspected he was channelling all his ire towards Valerie Gough as it was now 5.04pm and she was obliquely responsible for the training running late.

Glancing to either side to see if anybody else might have looked irritated about running overtime, Brian became aware of a change in events, which had been nagging at him, but not consciously until now. It was the absence of the sound Liz’s fountain pen made as it moved across her pad. She’d stopped writing. And in the flesh visible between her revolting glasses and the corner of her mouth, Brian noticed a twitching spasm, like the aftertremors of a twanged elastic band; and as she closed a hand over her mouth, and searched for something out of sight beneath the table—a tissue from her bag—she started to cry. Not wanting to react, and reveal that he’d noticed, Brian kept his head motionless, and swivelled his eyes over to his other two colleagues, to watch a chain reaction in progress. By the time Liz was dabbing at her eyes and nose, in full snotty flow, tears were dribbling down Sunita’s cheeks, and she was sniffing and staunching them with her fingers so as not to smudge her mascara, whilst Carl, Carl didn’t seem to be actually weeping, but his face was pink and crumpled as though he were a little boy, his face arranged in such a way that Brian felt was something he oughtn’t ever to have seen, and Wyn had his arms crossed, hands tucked under armpits, expression fierce if simultaneously compassionate, as if to say, ‘They need to go through this.’ Brian now understood why all the flippancy earlier had been worth it, and why Wyn had left the video until the end of the day when everyone was tired and listless. The dilemma, he realised, was whether to ask Liz for a tissue and join in, or to make what he could only interpret as some kind of a stand, and not cry. But all he could do was vacillate, and return to the DVD, to find Grant Neasden nodding at nothing in particular.

 

Monday 7 November 2011

Eigg Story or This place where nothing happens (by Rosie Carr)

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Everything is so clear, now, standing on the edge of this place. One way there is nothing but thick green sea, silent and bristling, open. On the other side are the crofts, tumbling neatly down the valley, hollow plunks on a skeleton xylophone. From this spot, old Tom can squint and see the ferry nearing the mainland. A dog is barking at seals, fat and oily skins rubbing rocks, and slipping through green water. Down on the pier someone is whistling. Tom sees the mouth pushed forward into a round ‘oh’ but the sound of it is carried off on the wind, blown into a tumble of gulls that shriek at the dog. Tom turns from the ferry and the dog to observe his valley once more. He thinks he will always stay here, and his sons and daughters will live here, and he will die here too.

Deep down in the valley, at the slow crunch of the skeletons backbone is Tom’s Croft. Protected from the wind that whips and cracks at the hills there is smog starting to crawl out of the chimney and a flamboyant sunset peels across the sky, gaudy next to the grey house. The smog drifts towards him; it is gloomy, falling thicker than air. Tom begins his decent. He forces a rasped sigh as his boots sink into the ground.

 

On the peak of the cliff a stone cottage hides behind high grass. A woman waits by the window for Tom. She is stepping from foot to foot impatiently waiting for him to do something, and balances on one leg to lean a little further out. She is like a spy, she thinks, hidden behind the glass, peering out at Tom. Her skin is filmy and pallid, from not washing today or the day before. One grubby toe idles in the dust, tracing the indents in the stone beneath. Even old Tom has forgotten her, she thinks. She lets out a hiss through clenched teeth. It is meant as a regretful sigh, but with not a soul to tut and nod in approval the noise slowly expands and then fades around her. The woman thinks how she is part of this place, how she is rooted in the earth just the same as those fine threads of grass that bluster outside her window. Slight and airy in the breeze, but great long stems that fill the earth so far down they are more underground then above it. Out of the window the light is fading, she can see a wisp of dark smoke above the hill, and the fields remind her of dough that cracks as it rises.  

The gentle fields end at the cottage, where the high grass begins. Here the land starts to curdle with the sea. A sharp vertical fissure the length of a skyscraper falls away to deep water. A trawler rests sleepily on the tide down there, a wide rusty barrel of iron rolling over the water. Gulls swoop as a brazen catch of herring pours across the deck. The glossy body of muscle flaps and pelts at its net, one lucky sliver escapes through a hole in the side and the boy who is watching frowns and memorises the little hole, picks up the sliver and drops it back on top of the rest. The boy watches with taciturn satisfaction as the fish quails and grinds to a slow stop. Now it only spasms occasionally, a nervous echo of animation. The quivers unnerve the boy, who likes things to always be one way or another, not this in-between-life he sees with the fishes.

Once he caught a fish, a beautiful rainbow of colours mixed like petrol on its scales, and it seemed it didn’t belong this far north, and it was somehow lost. He’d watched its hot colours fade as it drowned in the air, which also seemed upside down and spooky because air is what makes you live, not drown. He thought about throwing that one back, that lost fish.

 

It’s darker now; twinkles of electric light appear on the distant hump of mainland as the fishing boat slips into its little bay on the island. Everything is so still, so very quiet, thinks the boy. The hushed water here is just as silent as he imagines the very darkest inkiest fathom of the sea must be, so far down it is through to the other side of the world, this furthest deepest place.  

Monday 31 October 2011

August (by Michael Lawton)

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Seemingly every year in our country sometime in August the weather changes dramatically and we get a window onto wintertime; a week or more of really nautical weather flapping and soaking us. But it doesn’t take; although the trees samba in the wind the leaves aren’t ready to swoon and more often than not it is followed by a warm Indian summer in September.

But when this inclemency is eventually blown away some of the silliness of summer goes with it and we appreciate any remaining sunshine in earnest. We ignore the start of autumn; the equinox and the incipient winter is forgotten or put to the back of our minds as we talk and walk about in shirtsleeves.

Perhaps this ‘winter-glimpse’ in August is the real start of winter - the vanguard - and though we love the sun some of us are refreshed by this. Some see something romantic in the fisherman’s weather, and relish seeing the clouds bolt across the sky.

Emilia was one of these people who liked the cooler weather. The predictability of rain in England was comforting. She had started jogging this summer and she loved running through the damp air, the mizzle invigorating her as she went. She was three months experienced and had graduated from jogging to running. Having found her rhythm she could skim along fairly quickly. Ignoring everything around her and the men looking, some sheepishly sidelong, some unashamedly, at the sway of her breasts.

Running had also aided her adaptation to contact lenses. She’d previously resisted her mother’s urges to switch from spectacles but as she now had a practical reason for doing so she had made the change easily.

She listed this in the benefits of running as she ran, focussing her mind on why she was doing it whenever she felt like stopping. This benefit went hand in hand with another; that she had argued a lot less with her mother since starting running; her frustration was stamped into the pavement rather than spat out in cattish comments. Indeed the air between them was as peaceful as at any time since the death of her father.

As you would expect, this traumatic event, the result of a gnawingly typical gnawing cancer, had far-reaching effects. Emilia’s was a sea of grief and after the tidal wave of sorrow that begot it, it continued to break in waves, as unremitting as the tide, and dominating her fledgling adulthood.

Her mother realised that it was since her husband’s death that Emilia had (probably subconsciously) decided to spend little time worrying about her appearance. Most of her decisions were made, like the switch from glasses to contacts, on the basis of pragmatism. Yes she still was attracted to certain colours or patterns but she cared little as to whether or not they glorified her appearance. Her mother knew she couldn’t explain this in these terms to her daughter, (though she had tried to get Emilia’s older brother to say something). Instead she simply chided her about ‘going about unnoticed’ which simply irritated Emilia.

In simple terms Emilia was petite with bobbed dark hair, and spent most of the time in her glasses. Her fringe fell down straight, tucking itself behind the frames. And as she spent most of her life looking through glass and hair she had a permanent look of mild curiosity.

Unbeknownst to Emilia, not only were there fewer arguments because she was less angry after a run but also because her mother had understood the running as Emilia taking an interest in her looks and reflected a wish to ‘tone up.’

This was wrong. In fact Emilia had started running as some sort of homage to her father who had been a keen runner, and also perhaps as an acknowledgement that she needed to control her grief. She was twenty and because of four years of blind sorrow had arrived at this age unsure of where her life was going.

The running then, was a constant tribute to her father while also allowing thoughts of him to be slightly separated. She had begun the task of restructuring her life. She thought about her dad and she thought about what she could and should do with her life. She had sleep-walked through the rest of her schooling and after earlier promise had done well but unspectacularly so. Since then she had a variety of jobs but none stuck, her sadness had given her a daydreaming aggressiveness that many of her colleagues had not taken to.

On her stereo, onto to which she’d emptied all the music off of the family computer she found herself listening to soft-rock, though she wouldn’t admit this to her few friends; she’d claim to be listening to something edgier. A lot of it was to her dad’s taste, which was one reason for listening to it. But also because it seemed to fit; the pedestrian emoting seemed to suit the pedestrian weather in this pedestrian summer.

She had just started a second job working in a pub; she was now keen to save as much money as possible. She wasn’t sure which direction she wished her life to take but wanted to be able to afford it when she made a decision.

At work Emilia is sitting outside the back of the pub talking to one of her male colleagues, he is smoking. She isn’t, but is taking a break with him. They had helped themselves to glasses of lemonade from the tap and are perched on the barrels that, along with empty gas canisters are awaiting collection by the brewery. This area has been half hidden by a wooden trellis with some desultory shrubs leaning affectedly on its base. It is a pretty wooden structure but within the tarmacadam ground is split where dandelions wrest through, it looks like one of those patches of land that are resolutely not meant to be looked at.

This is their first shift together and they are getting to know one another, dealing in the banal questions about their lives away from work. Her colleague is called Simon. At first he had that familiar tightness in his chest and a higher vocal range because he was talking to an attractive female but in the course of the conversation this has eased a little. He still has a blank whenever he has to think of a topic. He is five years older than her, and though he is trying not to, cannot help but offer advice on her life.

‘I respect your decision not to go “travelling”’

He said, coating the verb with derision.

'I hate that fucking word. Just say you are going on holiday. People talk about finding themselves. It’s daft. You’re just as likely to find yourself nipping to the twenty-four garage to buy fags as you are suffering culture shock on some beach in Thailand.’

‘Yeah…’

She says, deciding not to tell him yet why she hasn’t been away and that she will happily go if she wants to when she has the money. Simon, in an effort to stop pontificating, asks Emilia about her other job.

‘Where else did you say you worked?

‘In The Museum’

She said referring to the local Victorian museum in their suburb on the outskirts of South London. Everybody who had grown up in the locality referred to it simply as ‘The Museum’ Simon had been puzzled by this when he’d first moved down here, arriving from the north of England, but now understood it.

‘Oh yeah? That sounds alright.’

‘So far yeah, but everybody there has been so nice that every time you meet someone new you think; is he going to be that fucking guy?’

‘What fucking guy?’

‘You know, the arsehole, the jobsworth, the one that you check on the rota to see if he is working at the same time as you.’

‘Well, have you met him yet? Does it have to be a him?’

‘Not yet, and no, it could be a women but I was working with this weird guy yesterday; listen to this.’

She explained to Simon how she worked in the museum’s shop which had the big wooden, glass-panelled doors that you’d expect of a Victorian institution. Lighter and better oiled than every visitor expected, the doors swung back and forth throughout the day and as they did so the rubber seals would kiss repeatedly, filling her days with a puckering sound. Her colleague there, the ‘weird guy’ had observed: ‘Those doors sound like they are kissing.’

Emilia turned to Simon;

‘That’s what he said; do you think he’s flirting?’

‘I dunno; I’m not sure I even know how to flirt.’

‘Ha. Come on, you must do.’

‘Well maybe but I don’t think so.’

I don’t, otherwise I’d flirt with you, he thought, a little nauseous with desire. And he fucking hated ‘that fucking guy’ at that moment, he exhaled smoke deliberately and looked at her; she talked so easily she seemed oblivious. He couldn’t read her windblown conversations as a nervousness she thought was obvious. Despite not really wanting to know he asked the question;

‘Well do you want him to be flirting with you?’

‘No.’

‘Right’

Relief released throughout him. ‘In that case let’s not talk about him.’

‘Right’ she said smiling and he became aware how happy he felt. Their grinning was broken by her,

‘Did you go to university?’

‘I started a Fine Art degree... but I left; I realised it wasn’t what I wanted to do. I was spending money by the bucket load and not getting anything done… Or anything I really believed in. I was more interesting in other things, I was making a film. I’m still trying to do things now, when I’m not working here, or anywhere else.’

‘Will you go back; you can do film degrees can’t you?’

‘Yeah maybe… I’m not sure I’m still into film that much… I’ve got things I want to accomplish first.’

He had a list of these things taped to the wall above his bed. This list was constantly changing as items were added and items erased. He had had to re-write it at least a dozen times in the last three years, each time printing from a master copy on his PC. This list encompassed projects; photography, art, writing. Things he wanted to buy; ‘leather jacket’ was the last thing added in this category. And more ephemeral things, the most non-tangible being a list of mixes of music he wanted to make. The fourth thing on the list between ‘photograph windows’ and ‘regular self-portraits’ was ‘get girlfriend.’

He thought about this list but decided against telling Emilia about it, instead he simply crushed his cigarette beneath his foot;

‘We better get back to work.’

-

Later that afternoon during their flickering conversations, Simon walking down from his station in the top bar into the bottom bar, to her station. He walked down with a piece of paper in his hand. How do you pronounce this, he asked her. Writing ‘Brakhage’ on an answer sheet left over from quiz night.

‘Like breakage.’

‘Yeah brack-age, not brack-har-gay. It’s a bloke’s name. Stan Brakhage. He did a film called Anticipation if the Night.’

‘Cool title.’ She said nodding her head. ‘Why do you want to know? I mean why are you not sure?’

‘I was having an argument with my flatmate about it… We argue all the time. I don’t know why I live with him.’

‘What do you argue about?

‘Everything really: He’s become a bit of a cock since he started going out with his new girlfriend. He’s even started to dress differently. He wears these long coats and classic sunglasses like an American teenager about to go postal on his class mates.’

She laughs appreciatively so he continues, opens up a little.

‘The last time, I know this sounds ridiculous, but the last time we argued was about the band Belle & Sebastian. He says it is wet nonsense, has no edge. I reckon that a band who write songs that your nan can dance to as well as you at a wedding or somewhere like that, and also be ‘modern’ whatever that means. Well, they're a rarity and have a place… Do you know what I mean? Wanting everything to be edgy is ridiculous.’

‘I know what you mean.’ she said, thinking of the music she listened to while running. ‘Does your Nan really dance to Belle & Sebastian? How long have you known him?’

‘Nah, but I can imagine her doing so… Err, five-odd years, we met at uni, he stayed on when I left. He said that we weren’t supposed to be doing anything we believed in at that stage; maybe he was right.’

‘Anyway we kept in touch and now he’s finished and moved to London; because that’s where the art is, you know. I moved in with him because I was living with these wankers before and he is a good friend, just irritating recently.’

‘Actually I’m meeting them tonight; do you want to come along? You can offer moral support if we get into an argument.’

Though she didn’t hesitate, not really, his words to her seem to hang in the air, repeating like an echo, until,

‘Yeah okay.’

His head was pounding as he had asked her, asking her out in effect.

‘Now I’m anticipating the night.’ He said and walked to the toilet, inwardly cringing at this clumsiness, this is how I flirt he thought. God. For her part Emilia simply smiled, which confused him further and made him wonder whether she picked up on what he’d said.

Forgetting about their inner nerves, Simon and Emilia spend the rest of their shift idly chatting, probing at one another's interests, Simon trying to be as amusing as possible, Emilia trying to be as amused as possible. Simon talked about Stewart and Amanda preparing Emilia for any caustic reception. Their shift ended at four and after leaving Emilia at the bus stop, having arranged to meet again at eight, Simon headed toward home. He walked whenever he could, finding relief to be outside, travelling at his own volition in London, a city in which movement is often stifled and shunting.

He was buoyed more than he could credit by Emilia's agreeing to meet him. He
walked with a grin and a bounce, enjoying the unseasonably breeze, he browsed
every shop window he passed.

As Simon wanders home in a state of beatification, he sends a message to his flatmate Stewart, who has just had sex with his new girlfriend Amanda. Stewart was smug and recumbent as Amanda pulled a towel around herself in readiness for a shower. She was taller than Stewart and looked down on him: Now whilst standing over him, but also whenever they talk, and in life in general.

‘I just got a text from Simon. He’s bringing some girl from work to the pub.’

‘Really? I bet she’s some crazy artist goth or some ultra-mild film geek.’

Amanda emphasised this statement by letting it hang in the air as she swaggered into the bathroom.

She’s cold and a bit scary thought Stewart but he revelled in the fact that she had chosen him. He thought her uncompromising rudeness evidence of a discriminating nature and integrity, and the fact that she had chosen to go out with him meant he was special. He lay there basking in self-satisfaction, feeling the semen crispen on the soft hairs on his gut.

-

A couple of miles away Emilia is setting off on a run, the coolness still hanging in the air, hoping to exercise some of her nerves before meeting Simon later.

Tuesday 25 October 2011

Mistakes (by Sue Jung)

Bird

A bird was singing outside my window at night.

I hated it.

I got flu.

I had a high fever.

The bird was singing.

I couldn’t sleep at all.

I loathed it.

I got over the flu.

The bird was gone.

I waited for it.

I denied that I was waiting for it.

There were nights.

I was there.

A Mistakes

I wrote about the bird.

I decided to make an installation using this experience.

The bird wasn’t there.

I made a document about 19 days with the bird.

I wasn’t confident with my English.

I asked Huw Greenwood to correct the English mistakes in the diary.

He was my classmate.

I displayed the correct version of the diary in a group show.

Sam Bunn

In the group show, Sam Bunn told me that there were few mistakes in the document.

He was my classmate, too.

I told him that is weird.

I told him that I asked Huw to correct English errors.

Then he precisely pointed out some errors.

I was puzzled.

I didn’t understand why mistakes were still there.

Huw Greenwood

I told Huw that Sam indicated the mistakes in the text.

He wasn’t surprised.

He said that he deliberately left the mistakes.

I couldn’t understand his intention.

He told me that he left it because he thought it showed my personality.

I laughed.

I asked him what my personality is.

He didn’t say anything.

Steve Klee

I had my tutorial for my work.

Steve Klee was my tutor.

I showed him the work about the bird.

We talked about many things.

He asked whether the mistakes in the text were intended or not.

I said it was intended, but by another person not me.

I told him the story.

He laughed.

He said my works had some kinds of humor.

It was the first time that I heard it.

I liked it.

Huw Greenwood

I forced Huw to correct it again.

He said that it would remove my personality in the document.

I said I didn’t care.

He corrected it.

There were many mistakes indeed.

That was a bit sad.

Huw Greenwood

I asked him to correct the errors once again.

I wanted to know whether this one can be the same as the last correct version or not.

He corrected it.

It was quite different from the previous one.

I was satisfied somehow.

Flora Whiteley

I had my tutorial for my work.

Flora Whiteley was my tutor.

We were talking about the work and the document about the bird.

I told her there were many mistakes.

She was surprised.

She said she couldn’t find any mistakes.

I was surprised.

She said even if there were few mistakes it wasn’t important.

I agreed.

We didn’t talk about it.

I liked that she didn’t notice the errors.

I disliked that she didn’t notice the errors.

I don’t know what is right and what is wrong.

Tuesday 18 October 2011

Mallaig (by Rosie Dunnet)

Massing over the pier as we approach is a great swarm of seagulls fighting over a fish head.

They are big, aggressive animals, and we are intimidated. These birds are particularly large and sleek, fat on rejected catch and restless with easy living. This, and not hunger, is the source of their bickering, which we at first mistook for a bitter struggle. After one of the flock, appearing to emerge triumphant, drops the fish, it is only to begin the fight all over again once another bird picks it up. This bewildering performance is repeated several times before we understand that the gulls are not hungry, only bored. The point is driven home by the boxes of fish, left open and with their contents exposed to the sky, at the end of the pier.

 After the pantomime bloodlust of the seagulls a more eerie scene awaits us next to the fish crates. A scatter of dogfish laid out on the granite like murder victims , with their mouths gasping and their gills bloody and eaten out.

The seagulls are not the only wild animals to have gotten fat hanging around the fishing boats. As we pass her on the way back to the road, a woman, another tourist passing through, holds her finger to her lips and gestures toward the stone steps that lead to the sea. There, in the shadow of the dock, is a grey seal, staring up at us with expectant eyes. After a while it sighs deeply and rolls over and out of sight. It’s not long before it’s back again, with a partner hanging like a ghost just beneath the surface. This second animal has a much more plaintive look on its face, and its eyes, staring up through the water, are almost completely black. It looks mad. The bigger one is bulkier, with bloodshot eyes. It seems benevolent enough, but I feel, irrationally I expect, a palpable menace emanating from it for all that it appears from some angles like nothing more than an amphibian hound, dopey and benevolent. I notice its tail fins, pleated like a concertina, mobile and ragged like grasping hands- not at all like the velvety protuberances in illustrations I remember. Webbed, rather than finned, with long grasping fingers of bone between. I am reminded of something I saw in the Cambridge Zoological museum that I, for the moment, cannot put my finger on.

No wonder. The Zoological museum has the old fashioned feel of a public educational facility; it has escaped the careful curatorial attention evident in more well established museums of Science and Natural History. In those places everything is laid out in bite size chunks, with the clearest and most useful specimens on show. They are labelled clearly. The Zoological museum reeks of formaldehyde and under the glass top of every vitrine and display case is a riot of dead matter in various stages of decomposition, decay, neglect. The little cards which explain the name and source for the specimens are printed in different fonts and handwriting. Something bottled a hundred years ago sits next to a plastic cell structure mock up which looks like it was modelled in the seventies by a bored microbiologist. Some of the smaller organisms are pinned under magnifying glasses for better appreciation of the details, the rings, the claws, the mouthparts, the sexual organs. Some are not, and languish, inscrutable, in their plexiglass coffins. Darwin’s collection of stuffed birds are there, and the nightingale with its beak wired open. My favourite are the skeletons.

The first time I tried to visit the museum it was dark, and hours past closing time. But what I and my companion had come, really, to see, was hanging in the car park. The skeleton of a finback whale, already dead when it was washed ashore at Pevensy, has had its baleen teeth stamped back in with metal staples, and wallows by the entrance suspended from wire cables. Behind the windows in the roof of the museum proper hang its cousins, the dolphins and the smaller whales, paused as if in flight, following each other in a circle across the ceiling. You can stand in the yawning ribcage of the finback, arms held out, nipped in the embrace of a great, fleshless chest. Let your eyes stray a little to the side and you can see the cigarette butts, stubbed out on the ground beside it. Even before I went in I had seen the skeletons of the zoological museum, the calcified hulk in the car park and the mysterious boiled up configurations through the windows. It was the sea lion which freaked me out though. The skeleton looked like a man forced into its elbows in a gruesome display of supplication. There was something very enslaved about the sea lion skeleton. And it was this which came back to me, looking at its relative, bobbing in the grey waters of the harbour and contriving, so it seemed to me, to look cuddly. Probably, I thought darkly, it would jump at the chance to up and massacre us all, even that little child there hanging over the railings, fascinated but (rightly) too afraid to come down the steps. Rebecca leaned close to me and spoke in my ear ‘It’s amazing isn’t it, their expressions. But at the end of the day, just animals. They just want a bit of fish’.

A local boy rides by on a bicycle and stops to show us how, with a fish picked out of the crates, he can entice the seals out of the water and a little way up the steps. The boom and swish of the water as the bigger one lunges up out of the sea make us all move back, except him. I wonder how many times he has done this with the passing tourists. At first I thought he might be showing off to us, three older girls gasping and whispering as he gets the animals to do tricks, but he seemed, truly, more absorbed in the task itself, in the seal rather than those who were watching it, even though all the locals must have done this often enough that the seals have grown fat off of it. I wonder if this is his pride, in a small village on the coast of Scotland with terrible weather and nothing to do but ride your bmx up and down the waterside after school. We are silent and respectful while he, never taking his eyes off it, tempts the seal, inch by inch, towards us.

Standing in the cavity of the  ribs of the Pevensy corpse was an experience which echoed back to me on subsequent occasions, an experience which, perhaps because I was distracted by the conversation of someone else, I did not predict would have the force and resonance it did. It seemed to me at the time pretty special that it should be possible to position myself inside the skeleton of another animal. I was impressed, in an organic sense, by the size of the creature whose generous proportions, in death, admitted me. I was both fascinated and a bit disgusted by the curiosity of humankind, and also by our strange objectivity when set off against a sentimental regard for animals. That we would happily boil and hang the remains of a corpse, and put it in with the cars, and commit the double sacrilege, curatorial and spiritual, of hopping over the scant barriers surrounding the skeleton and stand inside it. This amazed me. But what I would notice after that time most frequently was our astonishing and apparently unconscious desire to replicate, architecturally, the experience of having been eaten.  

Look up in a church of impressive size, or in a high ceilinged gallery. Look up as you walk down a corridor in a place of power, or along, even, an avenue of trees. You will see a processing corridor of ribs, receding behind you and proceeding before you. It must be said that no one has on record been known to have survived the process of being in a living whale, and as such it is only fair to acknowledge that the way it looks to have been ‘eaten’ can only be said to have been produced using the faculties of imagination and perhaps experiences such as I have had, a copy or a mime of the real thing, enacted in a grisly puppet. Of course also it must be acknowledged that the whole reason that ribs, of any size, look like they do, is because the design is one which is structurally sound and can also be seen, inverted, in the bows of boats, the rotting remains of which, found on shorelines, do look like those of a huge and decomposing animal, sticking up out of the sand . Even if ribs were, at one time, an inspiration, it seems fatuous to suggest that the designs of our buildings and our ships reflect a hidden desire to hunker down in the hot insides of giants, to worship in caves of flesh, to explore the seas in great, bobbing, welling bellies. But this is what I have done.

Eventually the boy breaks the spell of desire, and starts chucking the fish into the water.  Another of the seals has by now appeared, a much smoother customer than the bullish and the ghostly pair by the stairs. It does flips and rolls in the water, keeping a casual distance and a sharp eye out. Eventually, sighing deeply, they all turn over and disappear into the grey water. I stick my head under the dock where I can hear the wind singing through the brine softened wooden staves. Brown and dark and shadow, interspersed occasionally with the faded neon pink of a buoy. A seagull floats languidly down one of the dark avenues. I bring my head back out into the last of the sunshine and we head back to the hostel to make dinner.

The next day we take our time over breakfast almost miss the ferry and pay for it with a humiliating run towards the gangway, huge rucksacks bobbing up and down and all the other passengers looking on. ‘Next time we remember’ Rebecca says once we are safely on ‘when it says it leaves at ten, it means it leaves at ten’.

 

Mallaig is part of a larger work in progress.

Monday 10 October 2011

Monday 3 October 2011

This is a love story (by Sue Jung)

 

This is a love story

 

A hooker

 

There was a hooker.

There was a guy.

The hooker loved the guy.

The guy might have loved her or might have not loved her.

 

 

 

 

 

 

 

 

 

Too much

 

A bunch of strangers

Too much happiness

Too much laughter

Too much hope

Too much disappointment

She knew what she was doing.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Big Window


When she lied down on his bed, while he was sleeping,

she was looking over the window.

The wind was coming from out there, the clouds were flowing.

She blinked.

She blinked.

She blinked.

He was snoring.

 

 

 

 

 

 

 

 

 

 

 

 

No kiss

He didn‟t like kissing after having sex.

No kiss

No smooch

No school girl‟s peck

 

 

 

 

 

3 Slices of Pizza

 

She went to his house

He gave her 3 slices of pizza.

She ate all.

He fucked her several times

She came back to home by bus.

It took 1hour.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Preference


“Which one do you prefer, mountains or sea?”

“I like woods.”

 

 

 

 

 

 

 

 

 

 

 

Nobody

 

You know, I am nobody.

That‟s why I can be here with you.

If you don‟t have me, you wouldn‟t lose me.

 

 

 

 

 

 

 

 

 

 

 

 

A joke

 

The guy told her he could lose his good friend for one joke.

If the joke is great, he would happily lose his friend.

She didn‟t know how the joke could be that great.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Scabs

On the way to his house, she fell over.

So she hurt her knees.

It was bleeding.

It left marks on his blanket and pillow.

The blood dried.

Scabs left.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Jumping

“If you choose how to suicide, what would it be?”

“Jumping”

“Then somebody would need to clean up your body”

“Oh, yes. I want someone mopping my blood, flesh, eye balls.”

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Stupidity

“What are you thinking about?”

“I‟m thinking about stupidity”

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The end

Where does everything go?

Elsewhere

That‟s it.

That was it.

It ended elsewhere.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

What he let her knew that she hadn't known

1. When you have an ulcer, honey is good for that.

2. Human‟s sacred sacrifices, such as Samaritans dead for other people, are actually gene‟s selfish instinct for its own reproduction.

3. Sleeping too much is one of the symptoms of depression.

4. Moron‟ means „Idiot‟

 

 

Monday 26 September 2011

Singin’ in the Rain and Bill Leaves the Agency. A Film in 2 Acts (by Colin Clark)

Act 1. I’m Singin’ in the Rain.

 
 
Opening Shot. Static and lingering.
 
An empty room in an apartment. On the opposite wall are two windows, evenly spaced within the camera’s frame. It’s morning and the sky is pale with brightness. It’s summer. There are no furnishings, curtains or carpets. The floorboards are not polished but neither are they raw wood. Sunlight fills the vacant room with potential. It doesn’t feel barren, only awaiting redecoration and renewal.
At the top centre of the frame hangs a bare light bulb. It is not switched on. Out of view a door buzzer buzzes once.
 
Next Shot. Static and lingering.
 
At the sound of the buzzer, there is a hard cut to a tighter shot of the light bulb. It hangs down the central axis of the camera’s frame. The curve of the light bulb almost touches the lower edge of the frame. There is dust collected on the light bulb. Out of view somebody rises from a chair and moves across the floor. The sound of their gait tells us he’s a man. There is a momentary pause before a door is opened.
Still out of view, a second person wheels a trolley into the apartment. They exchange a few words.
Man1. No. Okay, through there.
Trolley is wheeled into the vacant room, but still out of view.
Man2. Anywhere?
Man1. Yeah. In the middle.
Man2. Okay. You’re the boss.
Something heavy and solid is deposited on the floor. The man with the trolley now leaves the room and the apartment, followed by the sound of the door being closed.
 
Next Shot. Static and lingering.
 
Momentarily after the door closes, the film cuts to the centre of the floor in the vacant room. There is a large cuboid block of ice. It stands approximately 18” tall and about 12” square. Condensation runs down it’s cloudy surface. This shot compositionally mirrors the last. The ice is central to the frame, the camera is slightly elevated above it showing it’s topmost surface.
Out of view, the man enters the room and puts down a box containing tools and opens a stepladder. The man climbs the ladder and there is the sounds of him using a hand drill. Dust falls and lightly coats the top surface of the ice block.
Next Shot. Static.
 
Hanging from the ceiling is a noose, it is tied from a rope of black hemp with a decorative  white cord wound around it. The noose enlarges and mimics the form of the light bulb. The light bulb has vanished, replaced with this symbolic other. Out of view the man re-enters the room. The sounds of his footsteps are of metal on wood. He is wearing tap shoes. The sound of each step is doubled giving his cadence a comic timing and pace.
 
Next Shot. Static and lingers for a long time.
 
When we hear the man stop walking, the film cuts back to the block of ice beside which he stands. The shoes are of black patent leather. They have a reflective sheen, an inhuman perfection against the organic frozen fluidity of the ice. Around the base of the ice block has collected a small amount of melt water.
With care he steps up onto the block of ice, and steadies himself. The shoes raise up onto tip toes, a slight pause and wobble, and then settle again. After a small amount of time the tap shoes shuffle slightly, then stand still. The film pauses for a while.
 
Next Shot. Static.
 
Hard cut to the shoes standing in a large puddle of water. The light in the room is now the gold tinged low angle light of a summer evening. It has been a long day.
The shoes have lost none of their shine, and the puddle gives the floorboards a varnish, a twinkle that was absent earlier in the day. The toe of one of the shoes taps and shuffles slightly at the puddle. Inspecting it, as if unanticipated.
Muffled, but audible, music starts from another apartment. ‘I’m singing in the rain, just singing in the rain. What a glorious feelin’, I’m happy again. I’m laughing at clouds, so dark up above...’
 
 
End of Act 1.
 
 
 
Act 2. Bill Leaves the Agency.
 
Act 2 is told in close up, with only two exceptions. It is exclusively silent save for one small noise.
 
Opening Shot. Static and lingering.
 
In the centre of the camera’s frame is a glass light shade hanging from the ceiling. It is round and approximately 12” in diameter. It is the colour of creme caramel and shares a similar edible opaque lustre. It is spotless. Around it is a large patch of damp. The camera lingers here to enjoy the relative fluid qualities of the light shade and the damp. If the light shade was less immaculate, it could appear to have sweated out the surrounding damp patch.
 
Next Shot. Static and lingering.
 
With this shot, it becomes apparent that the room is bathed with a golden evening light. It has an almost physical presence. Every surface touched by this light has a greater tactile appeal.
The torso of a seated man fills the frame. He wears a single breasted, brown wool and silk suit, a white shirt and a black tie. At the top of the shot is his tie knot, the lowest edge is where his shirt and trousers meet. His suit sleeves flank the frame. The suit has a gentle, pricey sheen. It was tailored to this man’s body. Since that time, some of his substance has left him, slackening the suit’s sharpness.
 
Next Shot. Static and lingering.
 
One of the man’s hands reaches for a heavy bottomed tumbler of whiskey sat upon a glass table to his left. The glass is straight sided and is three quarters full of liquor and ice. It leaves a ring of condensation on the table. His hand and glass leave the frame. The camera lingers on the ring of moisture while the man drinks. The glass is replaced exactly upon the ring of moisture. A bead of condensation escapes from where he has held the glass, and joins the expanding ring on the table.
The camera lingers here, before cutting to the next shot.
 
Next Shot. Static.
 
A matching glass with matching contents is raised to the red painted lips of a woman. The evening light reflects equally from her glass and lips. At the top of the frame is the bridge of her slender nose. The V describing the neck of a red grosgrain silk dress touches the centre of the lowest edge of the frame. She has dark curly hair which stops at her jaw level.
 
Next Shot. Static.
 
The camera returns to the man’s torso. He shifts slightly in his seat. Then sits motionless. After a moment his right hand reaches into the left hand side of his suit jacket. With practised fluidity, he pulls out a pistol, and points it at the camera. The camera quickly cuts to the next shot.
 
Next Shot. Static.
 
Hard close up of the man’s hand, gun and cuff.
The pistol is a nickel plated automatic hand gun. The pistol is all aggressive reflections, it appears to have no interior, no substantial mechanism. The gun makes his hand look pink and raw. Like the suit, his skin belongs to a different man. Tailored to his once correct dimensions that no longer fit. Neither hand nor gun hold any warmth.
The gun twitches the slightest of gestures, an upward nod.
 
Next Shot. Static.
 
For the first time in the film, the camera allows a full portrait, identifying the woman. Her  hairstyle, make up and dress combine to form a 1950’s appearance.
The woman raises her glass, and holds it on top of her head. Nestled in her hair, the glass bears no weight upon her head.
If the couple have not performed this before, they must share an intimacy that borders on the telepathic.
 
Next Shot. Static and lingering.
 
The film cuts to a close up of the light shade and it’s surrounding patch of damp.
A single bead of moisture is collecting. The room reflects in it, making it a tiny bump of pale gold. It is a miniature, and imperfect copy of the adjacent light shade.
It gathers itself together, growing with an activity, an agency, so slight as to be molecular.
 
Next Shot. Static and quick.
 
The man turns and reaches for his drink with his left hand. His right hand is still pointing the pistol.
Quick cut to the next shot.
 
Next Shot. Static, very quick.
 
The bead of moisture on the ceiling now quickly changes. It’s tiny mass grows, tips a critical level, and drops.
Quick cut to the next shot.
 
Next Shot. Static and quick.
 
The man replaces his glass on to the table, it is now not centred on the ring of condensation, leaving a crescent of moisture.
Quick cut to the next shot.
 
Next Shot. Static, very quick.
 
Close up of the pistol, still pointing to the camera. The droplet lands on the chamber of the pistol.
Quick cut to the next shot.
 
Next Shot. Static and quick.
 
The camera cuts to an intense close up of the pistol’s muzzle. It performs a tensile quiver.
CLICK.
The only sound in the entire act is the gun misfiring.
 
Last Shot. Static and extended.
 
With leisurely grace and without fear, the woman brings her glass down to her lips. She drinks not for fortification, but for pleasure.
 
 
THE END

 

The Foolscap Journal is an occaional journal of just one piece of writing, edited by Michael Lawton. Submissions are welcome and should be sent to mlawton(at)hotmail.co.uk.