Tuesday, 31 May 2011

The end of the affair

In the corner, in a box

(a big box)

are all the messages


all the messages I ever sent you


the messages I sent you

and

the messages you sent back


the conversations we had


There's a hard drive

in the box

(the hard drive

I took out of the computer

when I sold it

so no-one else would ever see it)


The box sits in the corner


The box has all the messages

(to and from)

and the hard drive


+


In another box is a cd

(the cd is full of messages, too)


+


There is a box and a hard drive

a box and a hard drive and a cd

and my head

(full of memories)


+


There are papers in the box.

The papers have messages on them.

I have kept the papers

(and the hard drive and the cd you sent)

+


On the houseboat

(the houseboat where you were

so very married)

the cd and the papers and the drawings I sent

(through the post, their glasses smashed)

were surplus to requirements. Your wife,

after all,

might have found them.


For all I knew, she knew

all along. She might have laughed


(ha ha)


Oh God another one, she might have said.

Another knicker-thrower.


When I was a little girl (hard to imagine now), I used to absorb songs. They were just THERE, somehow.

On the radio, in the air, in a book I found somewhere.

My father sang while he was shaving. In the bathroom getting ready for work. A cigarette on the go, always.

--
Posted By Pen to A little life on 5/29/2011 02:05:00 AM

Sunday, 29 May 2011

Tuesday, 10 May 2011

I have to go

I have to go to sleep now.


Up to my eyeballs

in wine

and


mourning

Tuesday, 12 April 2011

Tipping point

These last few days – warm, sunny, quiet. Just gorgeous. Green and beautiful.


College is on Easter holidays (I think. Days fly by without me noticing and, with each one, I come closer to not achieving the thing I most want to achieve.) Something is very wrong and I'm not sure what it is.


The most immediately worrying wrong thing is that I've lost all confidence in the work I've been doing. It looks shallow, meaningless and without soul. At one time it spoke to me; now it just thumbs its nose and blows a raspberry and the only thing it says is ner ner ne ner ner. While I thought I was gainfully employed I was, it seems, wasting my time.


Now I have to justify what I've been working on for the past year and I can find no justification for it at all.


I have, effectively, thought myself to a standstill.


I've read and read and read. I've read artists' diaries, critical theorists, thinkers. Poetry. Books about chaos, critical mass, emergence, synchronicity. I've dabbled in mental illness, going with the flow, mindfulness. Why artists do what they do (apparently it's all about the conflict between maternal and paternal aesthetics. Resolving the conflict between what's real and what's ideal).


I now know why traffic clumps up on the M25: a nervous driver panics at how fast s/he's going and puts the brakes on. Everybody else – who, until then, has been pootling along at what seems to them like a comfortable speed – is forced to brake, too. They all slow down despite the fact that there's nothing to slow down for. (Except the need not to crash into the car in front.)


I've learned all sorts of other stuff as well. Like that scientists of one sort of another are now using physics and maths and what they know about the behaviour of molecules and atoms and nano-particles (I made that one up, I think) to predict how humans will behave. In a nightclub. When fire breaks out.


When they meet in the street and do that funny dance-thing so's not to bump into each other. Or take turns going through a doorway.


They (the scientists) have come up with computer-based simulations to test their theories because setting fire to a real nightclub is not an option. They invent what they call peoploids (who behave like molecules and atoms and nano-particles) and watch what they do.


I like the idea of peoploids but not the idea that how I behave is as predictable as the behaviour of molecules. Which are, of course, unthinking and at the mercy of whatever happens around them.



Tuesday, 29 March 2011

I feel out of step
again

(not just because I fell over yesterday,
walking)

Saturday, 26 March 2011

Dead bird

I am walking down the hallway

from the front room

where the computer is

past the living room

where Charlie Brooker is

(being clever

about the week's news)

or it might be Jimmy Carr

(I can't see him, only hear)

and someone who sounds a bit like Lauren Laverne

or who might be any one

of a number of smart

sassy

women


and in the middle of the hallway

(which is tiled with its original 1896 tiles, some of which are broken)

there are feathers


I am going to the kitchen

(from the front room, past the living room)

to get a new pack of cigarettes

having smoked the last one of the last pack

while trying to make myself on a photo

look like me

or the me I think I look like

when I see the feathers


There's an almost-intact wing

all of a piece


perfectly

beautiful


tiny fluffy down-like whispers of feathers

scattered

(some of which are stuck to the floor

but I don't know this

until I try to

pick

them up)


I think oh wow how beautiful


And then what I do

is

find a piece of white card

(which I have to rip off the back

of a document I was given years ago and is called

Engaging Fathers in their Children's Learning)

and

with it

I scoop up

the almost-intact wing

and

the tiny fluffy down-like whispers of feathers


I take the piece of white card

with the wing and its whispers

through the kitchen


I put it on the table


I spray it


I spray it with permanent repositional adhesive


(the point of

permanent repositional adhesive

being that it sticks things to other things

and lets you move them around a bit until they make a pleasing arrangement

and then you can just leave

the whole thing

alone

and it will stay there)


The permanent repositional adhesive

has an unexpected side effect. It

coats the feathers,

covers them

enfolds them

keeps them safe


It keeps them so safe

(in their dead beauty)

that I go back


I go back to the hallway where the rest of them are

and I scoop them up, too

on a piece of paper that came in the post

and says that from 11 APR 11 the amount of benefit I receive will change

and I spray them

as well















Thursday, 24 March 2011

Fuck off

I thought I was doing quite well, but now I don't think I am at all. When my tutor was looking through my sketchbook yesterday and telling me about all the things it didn't have that 'they' want to see I suddenly felt completely out of my depth. Cut off at the knees. As if everything I've been doing and learning and making all this time is actually nothing.

In spite of everything my instincts and intuitions have been telling me, in the grand scheme of things that is the university rubric and 'the context' and 'the theory' what I am doing (and have been doing) is rubbish. Insignificant. It doesn't measure up.

Today I've read James Elkins The Object Stares Back and it's such a beautifully constructed argument about (among other things) how we see what we want to see and disregard the rest (Paul Simon mentions this in his song The Boxer, 1968) and all sorts of other complicated stuff that just blows me away when I try to get my head round it that I have no idea how I'm ever going to be able to deal with it.


Yesterday I read Berger On Drawing and I know that what I've been trying to do all this time is just feel my way towards something and wait and watch and see what happens (and in the meantime possibly create something that's worth looking at and is pleasing and makes people think) and now somebody is saying I have to look at what I'm doing and what it says and I'm not really ready to.


It's a work in progress. I'M a work in progress. It and I are not ready for scrutiny yet, especially scrutiny by someone whose objective is simply to measure us against some kind of wifflywaffly criteria that are hazy but sound good when they're written down until you try and work out what they actually mean.


What I really want to say now is 'Fuck OFF'. FUCK your rubric. FUCK your context. FUCK your theory.


So I have a choice (we always have a choice. I'm a child of the early years of Feminism so I know this. I have also been through years of counselling and psychotherapeutic drugs and the fact that I have a choice has always been both a consolation and a terror).


My choice now:

1 To continue
2 To give up

Wednesday, 23 March 2011

I am making things

I am making things

things that are beautiful

things that make me cry


things that, when I hang them up against the light,

shimmer


things that other people see

and say

they're lovely




Apparently

it is not enough that they are lovely

They need to be something more



They need to have a reason to be

(other than that I've made them)


They need to be explained

(and I have no explanation)


Why can they not just be

perfect

and beautiful?














Wednesday, 9 March 2011

Something I learned tonight

(this is a big thing, I think.

a big think.)


The thing I thought

that I thought

I knew

and that

nobody

(except me)

thought it

(or knew it)


I told.


The people I told it to

(the people I loved and who

I thought

loved me too)

thought.


They thought

I was mad.

They said no.

It can't be.


No, they said.


No.

No.







Wednesday, 23 February 2011

I would if I could

If only I could

investigate

record my findings

maintain this


present my ideas coherently

define them

identify my main sources of reference


explain my working methods


answer questions

(from my tutor and fellow students)


put forward my written proposal

(detailing all necessary information)


I'd be fine


Tuesday, 22 February 2011

Site specific (2)


When all is done I turn

to words


(the cat sits in the hallway,

waiting

to pounce)


When the only thing to do

is nothing,

why

does something

have

to be done?


Why is this house so big? Why

do the cats

shit

on the landing?


Why

has the wine

all gone?


Because.


Because I'm your mother,

that's why








Site specific

It might be an earth work

turning the land

into something else

or more like itself


It might be a scream


It might be something meant

or

simply

an

exercise


It might be the first idea I had

or something more

considered


It might be colours

(cobalt, maybe)


and music


It might be a spider's thread

thrown

from here to there

trembling


It might be something

or nothing


It might work


or play


I wish

I knew


Life is all very well

until

it's not.


You (I) can just

keep on keeping on until

one evening

when

there's no coal and the last log

smoulders,

gasping


When silence screams

in your (my) ears


and the task

will not come right


When the thing you (I)

said you (I)

were (was) going to do

simply didn't get done


and the dead

line

looms

Saturday, 24 April 2010

Being organised

What I really have to do is write a 1500-word visual analysis on the theme of Conflict but what I really want to do is download some photos off the digital camera. The camera is in my handbag - a gloriously frivolous confection with beaded handles, made of hessian interwoven with glitter and embellished with flowers and more beads and cleverly embroidered chiffon offcuts. (That's the bag, not the camera . . .)

Also in the bag, and interfering with my ability to find the magic piece of kit that will connect the camera with the computer and therefore enable the downloading, are the following:
  • a very large (and heavy) new ball of very thick string, and what's left of another one
  • a slightly smaller (and lighter) new ball of thinner string
  • two green luggage labels, complete with the string needed to tie them to luggage
  • a cone wound round with several hundred metres of gossamer-thin silvery thread, of the sort bought to construct spiderwebs with. The kind of spiderwebs that, as soon as they're constructed, get blown away by the breath of angels
  • a smaller cone supporting a rather sturdier silvery thread that - so far - has withstood the angels' breath
  • a pair of grey-handled scissors
  • a box of 400 silver drawing pins (minus some, and not really silver), made in China
  • a NatWest left-handed chequebook
  • the 11 yellow HB pencils with red rubbers on the ends that have survived from the original pack of 24
  • a mobile phone, hardly moving at all
  • three handwriting pens (£1.25 from Tesco and a bargain if you have realistic expectations) and a ballpoint
  • various receipts, a purple cigarette lighter, and a 5p piece.
Now they're all out, I've found the magic lead.

Sunday, 28 March 2010

The event that confirms what I've always suspected: housework is BAD for you

So I'd thrown the bleach down the toilet, Cillit Banged the cistern and the seat, and there was still limescale around the rim of the bowl. So I sloshed on a bit of Parazone limescale-remover for good measure . . .

The smell is the first thing: pungent, acrid, burning. The water in the loo turns milky white. Then the coughing starts and a little voice in the back of my mind says D'you know, I have the feeling you're not supposed to do that . . . but I think I've started so I'll finish and I do.

(The thing is, my back aches when I bend over at a certain angle, so I'm sitting on one of those foldy-uppy wooden chairs while I'm doing all this and practically have my face in the toilet bowl which - given the Noxious Fumes now emanating from it - is probably quite a stupid place to be.)

So - eyes streaming, nose running, coughcoughcough - I flush the loo thinking That'll get rid of it and it doesn't. So I wait a few minutes for the cistern to fill up and flush it again and it still doesn't and then getting out of there begins to seem like a good idea. I am halfway down the stairs - coughcoughcough - when Joe comes out of the living room and, in a concerned voice, says Are you all right, Mum?

I tell him (though it takes quite a long time) that I think I may have accidentally poisoned myself.

Oh, he says, thinking I'm joking (which I half am, so's not to seem like some kind of drama queen having a fit of the vapours on account of just having cleaned the toilet). What with?

I hear Annie ask is Mum all right and he relays what I've just told him and goes back to whatever it is he's doing. She thinks he's joking. What - she's DRUNK it? she asks, sarcastically, neck deep in Facebook in the front room.

I am stranded - coughcoughcough - on the stairs, wishing I could move.

Annie decides, given the sound effects, that perhaps I have poisoned myself. They both come and help me the rest of the way down the stairs and out of the back door into the fresh air. It is WONderful, though it burns when I breathe and by now I am a bit frightened.

The coughing begins to ease off and we decide that phoning NHS Direct is a good idea (on account of its being Saturday, of course, the local surgery is firmly shut) and Annie talks a lot to the nice lady on the other end but I can't much on account of being barely able to breathe. The nice lady promises an ambulance (after having established that I haven't done this on purpose) and Annie goes outside to flag it down and point it in the right direction when it arrives. Joe hovers around, looking anxious and not knowing quite what to do.

I do not want the ambulance men to have to pick their way through knee-deep cat fur and wet washing (as they'd have to if I stay where I am) to get to me, so Joe helps me totter through it myself and back into the living room. Which is full of used wine-glasses and empty bottles from the night before.

I make him get rid of them all into the kitchen. I may be dying, but I don't want to do it looking like some kind of hopeless alcoholic with no dignity.

The community paramedic arrives with armloads of kit. He is warm and comfortable-looking, with a round face and a neatly trimmed beard. He is called Martin and I want to keep him. He puts that clip thing on my finger and connects me to a machine. He puts an oxygen mask on my face and hooks me up to a tank. I begin to feel quite a lot better. He takes my blood pressure, which is sky high. Is it usually high? he asks. No, it's usually so low I'm nearly dead. Oh, he says.

I hear voices at the front door and Annie say Oh! There's more of you . . . are we expecting anybody else as well? Laughter. Things are starting to be less scary.

Then it becomes clear that the ambulance men are expecting to take me to hospital but I have washing to peg out and an essay on celebrity culture to write and I do not want to goooooooooooooooo . . .

Annie speaks to me as if I am a naughty child refusing to put its socks on. So does Joe. So do the three paramedics. So I capitulate. Ungracefully. I say I will only go if I get the full works and people start talking about sats and FBCs, Us and Es like they do on Casualty. (In future I shall be more careful about what I wish for.)

I am whizzed off to hospital (15 miles away) lying down. I cough occasionally, just enough to make it look as if all this effort and technology is being expended on a deserving cause. By the time we get there my breathing has become easier and I am starting to feel like a fraud. Until I need to go to the loo and they take the oxygen off so that by the time I get back to my trolleything (which is about six feet away) I am bent double again coughcoughcough.

I am wheeled into cubicles. These turn out to be bed-bays separated by curtains. I am next to a little old lady with a worried-looking middle-aged daughter. The little old lady seems to be asleep.

A doctor comes to see me just after a nurse has tried to put a cannula in the back of my hand (ow ow ow ow ow ow ow) and given up because she can't get into the vein. Not only am I to have FBCs, Us and Es, but also Clotting, an ECG and a chest x-ray. The doctor has obviously been watching Casualty so knows what he's doing. There is quite a lot of worried-looking reading of the labels on the bottles of bleach and limescale-remover, as various people try to establish what chemical I have invented by mixing them and fail. The nurse eventually manages to get some blood out of a vein in the crook of my elbow (more ow ow) and I am covered all over with little self-adhesive patches which are then connected to the wires that connect me to the ECG machine which the nurse forgets to switch on because suddenly the little old lady next to me starts bleeping madly and about a hundred people appear out of the woodwork, shouting. The daughter is hustled out of the room.

Then it becomes even more Casualty-ish, except that to begin with nobody seems able to agree on who's going to do what or where anything they need is. They keep calling the little old lady Rose but I know her name is Peggy and I've only been there a couple of hours. Then someone starts CPR (thud thud thud . . . thud thud thud) and somebody else (where have they been?) arrives with the crash trolley.

I worry about the daughter, just outside, listening to all the bleeping and shouting and her mother being called Rose when her name is really Peggy. I close my eyes. Thud thud thud. They shock her (Clear! Thump. Again! Clear! Thump.) A nurse comes and tells me not to worry but there's a bit of a panic going on next door. I nod, having worked this out for myself.

Rose! ROSE! Squeeze my fingers!

Nobody seems to know how long it is since the bleeping started. There is some disagreement about whether it's six minutes, or seven. But suddenly Rose who is really Peggy has a pulse and has started breathing and one of the doctors has been told that Rose probably isn't squeezing his fingers because she doesn't think of herself as Rose at all but Peggy. When he tells Peggy to squeeze his fingers she is a good girl. People start to drift away. The crash trolley is packed up and wheeled out. A doctor goes out to talk to the daughter, who must be feeling she's been waiting hours. When he comes back in with her, he explains to those who are still there that if Peggy arrests again she is to be allowed to go. She is 86 with various medical conditions and a generally poor quality of life. My nurse comes back to turn my ECG machine on and my doctor returns to take a deep-tissue blood sample from my wrist just underneath where my bangles are to see whether I have enough oxygen in my body. He tells me it will hurt but it doesn't hurt nearly as much as I think Peggy's daughter probably is.

I am to go for a chest x-ray now so I will never get to hear the end of the story and let the daughter know how sorry I am that I didn't feel I could tell the shouting people that her mother's name wasn't Rose at all.

It turns out that the new trolley I am on is wider than the old ones were. What used to be three-point turns to get it out of cubicles have become myriad-point ones and it bangs into other trolleys and hits doorways. What if I was old and frail and frightened and in pain, I think, and I'm glad I'm not (though my breathing still hurts and I'm afraid to cough). Is anybody here with you? my nurse asks.

When I get to x-ray I have to take off my bra because it's underwired and has metal hooks. After the picture is taken, nobody thinks to suggest I might put it back on. I feel more mortified being wheeled back to A & E with my bra in my bag than I have about anything else; suddenly I have become a woman with nothing between me and the outside world other than my thin cotton top. Suddenly I feel exposed. Vulnerable.

In the foyer where the ambulances disgorge their cargo, two policemen are telling a man that if he carries on behaving like this in a public place they will be forced to make him leave it. He doesn't quite see it that way. I am parked outside a cubicle where my now-empty oxygen tank is changed for a full one that shrieks. Though my nurse says that's OK, nobody else agrees because the shrieking is at just that pitch where your brain fries and you can't think and she has to connect me to one that is inside the cubicle outside which I am parked instead. Inside the same cubicle, a doctor is asking a man to follow his finger.

I don't want to follow your finger. I want a cigarette.

Well you can't have a cigarette in here. Follow my finger.

I know I can't have a cigarette in here. That's why I want to go outside.

You can't go outside until I know that you can follow my finger.

I can see your bloody finger. I don't need to follow it. I need a cigarette. Can't you understand what I'm saying?

I can understand what you're saying. I'm saying I can't let you go until I know you can follow my finger. Can you understand me?

I can understand what you're saying but I don't understand why you need me to follow your f*cking finger when I'm telling you I can see it perfectly well.

I need to know that you can move your eyes to follow my finger.

Well I can't. But I'm going to have a cigarette now.

And off he goes. The doctor sighs.

I take off my oxygen mask to see if I can breathe without it. I can. I feel as if I've been here forever and I want to go home now. My doctor appears to tell me that if my bloods are OK and my chest x-ray is clear I'll be all right to go as the deep-tissue blood test shows I have plenty of oxygen in my body, my ECG is fine and my blood pressure is returning to something close to normal. Good, I say. Thank you.

When all the results are back and it doesn't look as if I'm permanently damaged (and neither has the chest x-ray revealed that smoking has given me lung cancer phew), he comes to tell me. If anything worrying happens after I leave I must come straight back. I will, I say. Thank you. A nurse brings me a phone so I can call home. Annie wants to know if I want her to come on the bus and get me and when I say no I can manage she says she'll meet me at the bus station. I say I'm not sure if I can walk home from the bus station and in an instant I feel tearful and shaky because how can I go on the bus and walk home from the bus station when I came here in an ambulance and now I haven't got my bra on and I can't even go into the toilet and put it on because a cleaner has just mopped the floor and won't let me. Can she perhaps phone Ben and see if he can come and get me? He can.

I find a nurse to give the phone back to. I ask if I can go now. Has the doctor said I can. Yes, I say. So you can, she says. It all feels oddly anti-climactic. Shouldn't I at least have to sign something? I go outside and wait in the sunshine. Ben doesn't come and doesn't come and I phone home in tears to say that he hasn't come and I'll get on the bus and Annie says don't do that I'll ring him and find out where he is and stay where you are and for heaven's sake don't get on the bus because he said he'd come and he will. Just as she phones me back to say he's not answering his phone and I start to cry some more and she says it's probably because he's driving I see a car that looks like his swing round the corner and I cry even harder because now I'm going to have to tell him that I've been coughing so much I've wet myself and how can I sit on his lovely clean passenger seat with wet pants? He turns out to have a black bin-liner in the car, so I sit on that instead.

I tell him what I did, and about Rose who was really Peggy, and he tells me about a friend of his Nan's who was taken to hospital and forgotten about for five weeks until somebody wondered where she was and went to look for her and when we get home I give him some petrol money and he comes in for a cup of tea and he and Joe discover that the PS2 (or is it 3) is broken, and Annie goes out shopping with her boyfriend.

I have a cup of tea too, and a cigarette that hardly hurts at all so I have another one. I also have the cleanest toilet in the country.

Saturday, 6 September 2008

In thirty years you will look just like your father

In thirty years you will look,
just like your father

You will look

– taller than most,
easier to laugh,
more tanned (you’ve spent the summer
outdoors) –

at a woman
by herself
packing her bags.

She cannot meet your eyes, but
watches you
sideways. Pays. Leaves
without speaking.

She sees you.

She knows who
you
were

Thursday, 4 September 2008

Repeat prescription

Tick the items you need and
allow
two working days.

Why are you not taking
your statins? Make
an appointment. Have
your blood pressure checked
and a smear.

Talk to a doctor, explain
again.

Organise a blood test. Make it
early in the morning. Fast.
Drink nothing after 9pm
except
(if you must)
sips
of water.

Miss your appointment
and we will make you
a statistic, plot you
on a graph.

All together now

James
(£100 a week saved for the past two weeks
and the rest of his earnings
spent
on wine)

Joe
(finding himself
after two years lost. Playing
with James’s hair and
laughing)

Annie
(full of her first day in sixth form.
Loving it
and
Christian, re-tuning the guitar)

Ben-and-Linda
joined
at the hip

James, Joe, Annie, Ben-and-Linda and me.

James raids cupboards
and the fridge. Cooks tortellini
(ricotta and spinach) and a sauce made of tuna,
chillis, white wine and garlic. Offers
tuna to the cat.
(The cat, suspicious, suddenly has to wash
her back leg.)

Joe tucks himself
under the duvet. Watches TV for a while. Goes
to the cashpoint.

Annie goes
to bed.

Ben-and-Linda leaves.

A strong wind
blows.

The interview (afternoon) 2

What would you do if you
were asked to do
something you thought
was wrong?

I wouldn’t do it.

What if your boss
was doing
the asking?

I’d explain. Work
on a compromise.

What if there was no compromise
to be had? What if there was only
the impossible
thing?

I wouldn’t do it.

What if doing the wrong thing
meant the difference
between feeding your children, keeping
the roof
over your heads, and
not?

No.

Oh and one last thing
. . . if a child
approached you sexually

A child? What kind of child? How old
is
this child?

What would you do?