Experimental writing workshop 1

I don’t normally feel the need to explain my writing, and would rather let it stand by myself. This term, however, we’re doing an experimental writing workshop so …

This week’s exercise is based on Oulipo, a group of writers, originating in France who write ‘with constraints’ and impose rules on what they do. What’s the point? Well, just in doing these exercises, I’ve found my vocab challenged and I’ve been pushed out of using phrases and structures that I didn’t realise i was stuck in. See what you think …

A Belle Absente – a love poem, where you omit the letters of the name of the beloved. In this one, the first letter is omitted from all the words in the first line, the second from the second line and so on.  I also entirely omit z.

Belle absente – no z

No hurry, we grow near, contrived ex-juncture, back-bound flame, leap the oblique.

No speed, a joyful glimpse of you enough, you bring me, wing me, my calyx, manqué, lack-driven.

No rush, pack foot forward, our ghost visits, filling my body, mixing my quick spirit, jostling my mind.

We join, step by slow-paced step like we are at no time apart, axel spinning, our faded quest near done.

We meet, quest-vexed, joke, hug, fall, candy touch, you pour yourself over my body.

In gaps, in want, in sound-lack, box-quick form of you, my Hajj, your vow, our void.

A circuit – a poem which can be read in different directions. The most amazing version of this is the book, Hundred Thousand Billion poems.

This is a simple ‘table’ – read along the lines or down the columns.

Asking                   I open my mouth                             I hold out my hands

Choosing             Head first                                            I follow my heart

Listening              I use my ears                                     Blood circulates, I breathe

Writing                 From eye to brain                            From head to heart to hand to pen

Publishing           I make my mark                                I fall.

There’s still plenty of work to do on these two poems, but I can already see how the constraints challenge my vocabulary, and force me to find fresh ways to describe an experience.

Perfect: Frost to Thaw (First Draft)

Part 1 is here

She feels sick as she wipes the counter. Nausea took up residence within days of him being home, and however much she sprays, wipes, polishes, she can’t get rid of the smell in the kitchen.
“Slow down,” he says, “take deep breaths, relax.” They’d taught him all that, in there. She still can’t name the place where he’d been and a tsunami of shame overcomes her and washes her away from the friends they had, before. She is adrift and he is no lifeline.
He’s taken to walking round the grounds since he came home, makes her come too, and almost every day they spend an hour or two, making a new path as they tread the perimeter. Tall pines overshadow the north side of the property, and she shivers as they walk there. He knows that now, notices like he never would have done, and he makes sure to take her arm. Further on, they turn a corner and the view opens up in front of them, smooth green lawns with a covering of frost to the right, chilled brown fields to the left.
“It looks bigger now the fields are bare,” he says, “but I like it better in the spring. Won’t be long now before we start to see green again.”
She pokes at the frozen autumn leaves with her Hunters. At first she’d insisted on washing them after every walk until any trace of leaf and earth was gone and the boots were shop-fresh again, but he puts his hand on hers, warm flesh, stopping her turning the cold metal tap. “Come inside,” he says. “We can make hot chocolate. They’ll only get dirty again tomorrow.” So now, the boots are mud-caked in layers. She shudders as she put them on, but he is right, and his smile as she steps out in them makes it worthwhile.
It doesn’t stop her cleaning, though. Somehow she has to get rid of the stale smell in the kitchen. Something is rotting, she’s sure. She empties the fridge, wipes inside, uses bicarbonate of soda, and still the stench grabs at her throat. He pulls her away in the end. “It’s fine, there’s no smell,” he says, but that only makes her wonder if she is insane, or him. And she remembers clearing away the blood, the broken glass, and knows that back then it was him.
The house looks better now, she thinks as she carried the drinks tray through to the living room, places it on the table, adjusts it so the edges are parallel, each glass of G&T centred, each lemon slice the same. No scars visible here, and when he is dressed he looks fine too, as he sips his drink. She takes one mouthful, then, nauseated, leaves the rest.
In bed, each night, she steals glances as he strips his shirt off. He keeps his back to her, but there are mirrors all down the wall. Livid red lines down his stomach, his arms, reflect, stark against the white of his skin, the walls, the sheets, the curtains. No amount of cleaning will erase those lines, and he always turns off the light before climbing into bed and pulling her close.
She starts to decorate the Christmas tree, means to do it by herself, but he comes in as she is half way through. He picks up a bauble, sticks it on a branch, then grabs a strand of tinsel and wraps it round her. He pulls her to him, steals a kiss, and she finds a smile fighting its way out.
“Not there,” she says as she moves that first bauble, but he keeps putting them on, wrong on purpose, she thinks, and it looks so higgledy-piggledy that she giggles, and the giggle becomes a laugh and they both fall onto the sofa, surrounded by tinsel.
She leaves the tree like that: it isn’t magazine-feature perfect, like it had been in previous years, but perfect didn’t work, and she is ready to try something new.
She sips her Earl Grey, one thin slice of lemon, the only thing she wants to drink now. The early-morning smell of coffee leaves her nauseated, toast turns her stomach, and she reluctantly has to hand over cooking to him.
“I’ll clean the kitchen afterwards,” she says, drawn to the splashes on the chrome.
He frowns. “We should get you checked out. You can’t eat less, you’ll fade away.”
“I’m fine,” she says, and she focusses all her efforts on clearing her plate at dinner that night.
“It’s delicious,” she says, but the venison battles inside her stomach and she has to leave the room before dessert.

He still has to see the therapist every morning, and their days find some sort of routine. She sits and waits in on a bench, not far from the car park while he talks. When he’s done, he suggests coffee. Her stomach churns. “I can’t,” she says. He frowns, and she swallows down bile.
The second week, he asks again if she is okay. She turns away and says, “I’m fine.” She can’t tell him that the months in the hospital have changed nothing, not who he is, nor who she is, nor what cannot be. She can’t explain that every moment he isn’t alongside her she wonders whether she will find him again, guts exposed and veins spilt open. It is months since it happened.
“You don’t need to fret,” he says too often, while for her the spine of every day is worry.

They take the decorations down. She cleans. “It’s spring cleaning,” she says when he suggests she takes a break.
“It’s a bit early for spring,” he says and persuades her out into the grounds to hunt for green shoots. They find one clump of snowdrops, tiny spikes forcing their way through chilled earth.
“See! It is spring,” she says, taking his hand. “I can spring clean.”
His face is serious as he asks, “Are you still feeling sick? Is there still a smell in the kitchen?”
She shudders, and nods.
“Will you see a doctor?”
Out there, where green shoots are growing, his hand warm in hers, she isn’t so afraid for him, but the nausea still roils in her belly.
“I don’t need to. He’ll only say I’m anxious.”
She is sick the next morning, and the one after that.
He doesn’t suggest coffee when he comes out from seeing the therapist that day. “I’ve made an appointment,” he says, phone in his hand, “Three o’clock today. Harley Street.”
She is silent, wanting to argue as she always does that waiting in a room full of sick people will make anyone sick, but in Harley Street there won’t be a room full of people, they won’t have to wait. He is serious about this appointment, and because he wants it like he hasn’t wanted anything since he came home, she goes.
The carpet is soft under her feet, her leather soled silver pumps let feel every undulation in the deep pile. It is so long since they have been to an appointment that is about her, not him, she doesn’t know what to do, to say, so she lets him say her name for her, lets him lead her to a chair.
“You look exhausted,” he says, then he is silent too.
There is a taste in her mouth, like something has died, and it has been like that for weeks now. She cleans her teeth as much as she cleans the house, but he hasn’t picked up on that. Silence fills the room, broken by the tap of long manicured nails on a keyboard. She can feel her eyelashes brush her cheeks as she blinks, feel the silk camisole against her back, the straps of her bra against her skin, her breasts soft, tender, somehow fuller, while her skirt feels a little low, too loose now.
“She’s been feeling sick for weeks,” he says when they see the doctor. “She’s hardly eating.”
“I’m fine,” comes out, but so quietly that even she struggles to hear it.
“I’ve put her through a lot this year,” he says.
The doctor probes her, takes blood, asks her to pee in a cup. She takes her time in the shiny stark white bathroom, doesn’t want to return to be examined, exposed. But in the toilet, hovering over the toilet as her thighs shake, hand between her legs, waiting to catch the urine, she wonders if he worries about her too when she leaves the room, so she pulls up her tights, screws the lid on the pot and returns.
“It won’t take a moment,” the doctor says. “I’ll have some tea brought through.”
“Earl Grey,” he says, “she drinks it with lemon.”
She wants to say I’m fine, I can speak for myself, but when the tray comes in she wants to check the cups are clean, doesn’t want to drink from a cup that has touched someone else’s lips, and maybe she isn’t fine.
“Have you been trying for a baby?” the doctor asks when the nurse returns with a sheaf of forms.
He is silent, this time, and she grips his hand.
“We can’t,” she says. “I can’t. That’s why …” She falters. Everything was perfect, they’d had money, time, a beautiful home, but he’d wanted the one thing she couldn’t give him.
“It’s fine,” he says, face turned to her, wrinkles round his eyes, grey hairs at his temples that hadn’t been there a year ago. “It can’t be helped. I’ve talked to the therapist about it. I’m fine. ” He turns to the doctor. “We’re fine.”
“You’re pregnant,” the doctor says.
Bile rises in her mouth. She swallows. “I can’t. They said … I can’t.”
The doctor holds out the form. “We can arrange a scan and see how far along you are.”
He’s looking at her again, the wrinkles round his eyes have changed shape. There’s an upturn to his his mouth and tears spark as he says, “A baby. Our baby”
She tries to smile back, but hairs rise on the nape of her neck. Discussion about antenatal vitamins passes over her as she thinks about the thing growing inside her.
When they return home she goes through to the gardens, and the snowdrops have come into bud.

TBC

(Part 1 is here)

Review: Curtain Call, by Anthony Quinn

Curtain CallI like detective stories, and I’d  say that Curtain Call, set in 1930s London, is a better than average book in the genre. It starts off with four chapters from   the points of view of the four main characters, which perhaps isn’t the easiest lead in, but Quinn creates compelling people who’s stories and links I wanted to unravel.

The book follows actress Nina Land, fading older reviewer Jimmy Erskine, his assistant Tom Tunner and society portrait artist Stephen. They are drawn together with Madeline, good girl turned prostitute who is threatened by a serial killer whose face she has seen.

The book creates a lively setting, taking you deep into London theatre society while avoiding too many stereotypes. Relationships develop and are smashed apart as the plot builds to a climax. Not everyone gets a happy ending, nor perhaps the ending they deserve, but the killer is caught in a dramatic finale.

A satisfying read.

Theft

Theft I didn’t notice at first, still towelling my hair, feet sticking to the lino, which was never quite clean. Then, flash of image, what I’d left, thin beige duvet, should be a splash of blue green from the phone case, bought in New York before I left. Gone. Heart racing I kneel, scan under the bed, stand, spin, is someone still there? Still only wearing a towel, I pull it closer. Gone. Definitely gone. I ferret in my cupboard, find my bag, my money, my passport. Still there, just the phone. One careless moment. The door had been locked. Had it? I should have been more careful, should have had it with me. How? I was in the shower, only a moment. They didn’t get my passport. It was only a phone. Still. Violated. In my room. Not mine, not really, just for now, stupid hostel, should have had better locks. I shouldn’t have left my phone on the bed. Downstairs, my words falter, my French never feels enough, my Arabic is almost non-existent, but he understands, nods, like it had happened many times before. He shoves a piece of paper across the counter to me. “Allez visiter le poste de police.” He turned back to the computer, job done. I gather myself, my bag across my front, passport, money all tucked away. This time. I check for my phone, even though I know it’s gone, then set off. I pull my coat closer as I get on the train, fix my gaze on the white walls, blue metal work, white and brick houses, which soon give way to the long rail road across the salt lake. The chimneys are still spewing out smoke, a constant in every journey I make to the city. As we pull into Tunis Marin I glimpse the usual flock of greying winter flamingos. I should never have chosen that hostel, cheaper in some sprawling suburb. I’m too white, too tall, too ginger, too obviously a target even amongst all the other transients who stay there. It’s got better the longer I’ve stayed, better, not never good. I’m never relaxed on the way to work, and when I find somewhere else to stay … I’ll try harder, ask the other teachers at the language school. Someone must know of a place where a single woman could …but maybe that’s it, maybe I’ll never feel safe here. As I stride through the crowds on their way to work I glance down at the paper, damp from my hand. “Want carpet? Come and see Exhibition, last day today.” I don’t make eye contact, “Non,” shake my head, move on, navigate the maze. I know where to go now, which route through the medina for bread, for juice, how to avoid the stench and slaughter of the meat market. I thought I could find a way to avoid the touts too, but now I know that will never happen as long as I am who I am. The police station is dusty, crowded. Security checks, carried out by an imposing man, almost my height, make me feel like the thief. The constant presence of machine guns exposes something in me.  The policewoman who deals with me is beautiful, serene in the chaos. I can explain the theft, drag the right words to the surface, jumble them together. She shakes her head, her English better than my French as she says, “You won’t get it back.” We fill in the forms, I leave, carry on my way to school. There’s a phone there, I can make a call, see if my insurance will cover it. Something in me bucks against this futile act, wishes for enough money that it didn’t matter, that I didn’t need to negotiate with insurers, stay in the crappy hostel, work in a country where freedom is growing, yet I have less freedom than I’ve ever known. I pause at the gate of the school, wave of voices from the open windows draw me in. I’m late, my class is waiting. Habib meets my eye, nods, opens the gate. I stand there, and for a moment I’ve walked on, packed my bags, … but I know the wrangles involved in leaving the country. I exhale, turn, and walk through the gate. It’s only three days later when I hear. Arnaud is always the first with the gossip, his words spilling in French and English, we’re used to that strange polyglot in the staffroom here. “Suicide Bomber” comes out clearly amongst the muddle. Three policemen, dead. “She went in to report a stolen wallet, but she had a bomb under her coat.” And I wonder how she got in, why she did it, what balanced the sacrifice? I remember the faces of the policemen, the impassive man who did the security check, the beautiful woman, her face sombre and resigned as she dealt with my report, the shorter man, a little stout, who held the door for me on the way out. And that evening, I stay on at the school and use the internet to look at the price of a ticket home.

Review: Vanessa and Her Sister by Priya Parmar

Vanessa and Her SisterWhat would it be like to live with someone like Virginia Woolf? Precociously talented, prone to tip over the edge into insanity, the Stephen family and Vanessa Stephen in particular were driven by Virginia.
In Vanessa and Her Sister Priya Parmar takes us into the heart of the family after their father’s death. The book is placed in the mind of Vanessa, and we watch as she initially denies her attraction to Clive Bell, then eventually marries him despite Virginia’s opposition.

The book is written in letters and diary entries, mainly from and by Vanessa, but interspersed with postcards between Lytton Strachey and Leonard Woolf, plus the occasional telegram and letter from the States from Roger Fry to his wife and his mother. Without knowing what happens, these postcards, telegrams and letters seem slightly random: perhaps we are all expected to know the tangled love affairs of the Bloomsbury group in advance.

I’ve written a lot about Woolf in the last 18 months, and have mainly read literary criticism of her work, her diaries, and historical comments on her life. It was interesting to get this fictionalised version which very much brought to life events such as what happened to Thoby, the family trips to Europe and Cornwall, and life in Bloomsbury and Sussex. I think Parmar captured the atmosphere very well, with barely an error.

I’m fascinated by the thin line between fact and fiction, and want to learn more about writing other people’s lives. This sort of fictionalised account has to be firmly rooted in fact or it will lay itself open to criticism, but some of the joy of writing fiction must be the ability to imagine and conjure thoughts and motives. Worth a read if you are a fan of the Bloomsbury Group, and you too can feed your imagination.

Aneurysm -Short Edit

A scarred branch digs into my belly. Sunlight passes in streaks through gaps in the leaves. Lime green, grass green, stripes and splatters hide me.

Beneath me, you’re writing, and I need to see. Are you writing about me? This need consumes me all summer. I look for the book in your room.  I follow you after you have written, but you elude me.

I’ve been here since I ran from the dinner table, her voice screaming after me.

I’m too high. I know that the moment you open the book, pull out your fountain pen. The blackbird-song from the orchard battles with your scratch. Can’t see him, can’t see me. I can’t see. One move, I’m no bird, a twig will crack, leaves will betray me.

I can be cat, brown dapples in the green, unseen enemy of small fur and feathers, slide, slip along. The scrape on my legs tells me I’m making progress.

How close must I be? The bough dips, I’m lower still. Can I see my name in there, or hers? You’re scribbling, black scrawl indecipherable.

I lean. Twigs claw my face, tug on my shirt buttons. I put my hands out, grasp the leaves, then I’m flying like the blackbird, and the text is getting nearer, and you look up.

Blackbird wings beat in my head. There’s grass between my teeth, ink on my skin. A torrent of anger in your voice pours over me.

I sort my limbs from yours, as the script scores tracks through my mind.

I can hear her screaming as she thuds down the lawn, … I’m too old for this … you come here now … what will your mother think … I’m not letting you out of my sight again!

Nothing matters, now. I’ve read the words.

Runner – First draft

His tongue was stuck to the roof of his mouth as he woke. He tried to open his eyes, resorted to raising his eyebrows to drag his lids apart. He slid and rolled his way across the ocean of greying sheets, tangled, sweaty, the night had started with one above, one below but now he couldn’t separate them and he thrashed his legs until he made an opening and fell to the floor.

Splinters needled at his palms, his knees. One foot on the floor, he levered himself upright and staggered forwards. He grasped the doorframe and stood, wavering for a moment before lurching on into the kitchenette. He wrenched open the fridge door, seized the carton of juice and slugged it back.

Droplets ran down his cheeks, and he drank more, kept drinking until bubbles and gurgles exposed the end of the carton. He threw it down on the counter. It bounced, hit the floor, and he followed its motion until he was slumped, bare arsed, skin on dirty lino, face to face with the cracked melamine of the cupboard door. The stench of his sweat mingled with stale alcohol rose from his skin, and the always present reek of frying from the cheap bar below.

It couldn’t get much worse, he thought. He was too old, too British, too white, to be naked in a one room apartment in Mexico. He couldn’t take the heat, the booze, the bugs, the dogs. Not now. Perhaps not then. He knew they were coming for him, Jesus and the rest of the Sureños, and laughter dragged itself from his mouth. He was going to be crucified by Jesus. Crucified, shot, stabbed, garrotted, 50 ways to kill your … his long supressed inner English professor battled to the surface, and he retched, part digested juice spurting across the floor. He pulled himself back to standing, and for a moment felt goosebumps rise on his skin, something else long forgotten during the months on the run across the southern hemisphere. Cheap countries, cheap plane tickets, no questions asked, his tweed jackets and brogues had been discarded long ago.

He longed for a shower, or maybe a bath, a long, deep, luxurious bath. He wanted to be somewhere cold, damp, grey, where you could come in from outdoors to a glowing fire, tea and crumpets, then retreat to a steamy bathroom and soak, reading a good book until the water went cold. Somewhere, he knew it had never really been like that, but hell, he could edit his memories if he wanted, especially if they were about to be cut short.

No shower, no bath, he filled a bucket with water from the single tap and poured it over himself, the floor, the spreading lake of piss and puke. He didn’t give a fuck if it dripped through the ceiling. Part of him wanted to stay, to wait for the inevitable and say, ‘Kill me now’, but the death drive wasn’t strong enough to combat his innate desire to live. He tugged on a pair of grubby chinos, a once white shirt and battered leather sandals. Picking up a back pack, stolen from a tourist who looked enough like him to confuse things for a while, he climbed out of the window, slid down the tin roof and dropped the last few feet onto the ground. A glance around, and he was in the old truck, hot-wiring it, checking the fuel gauge, foot down, head for the border. Another border, any border.

One day he’d stop running, but not today.

Room – First Draft

Women have always done it, unrecognised, hidden. And even once allowed, we deny it, because being allowed in itself takes something away. Who offers the permit, and do I want it anyway? I may continue to write in secret. No-one will know, either way.

it’s warm and dark red and the woosh-thump-woosh-thump’s always there, and I’m on my own/never alone safe warm nourished part of you and that’s all I want and ever need

jerked screaming, fighting every push and brutal squeeze, too bright, too hard, can’t go back, let me back let me back, let me in … skin touch soft warm fill me keep me safe together

I have a room where I go and close the door so no-one can reach me. It seems like I’ve had it forever, but there must have been a first time that I discovered it. Everything has a beginning …

rewind until I can hear her screaming at me, until she’s grasping my wrist, and I’ve done something wrong and I don’t know what still don’t know, and her breath smells and I look up into her eyes and know that I’ll never be right so I need to vanish. I stand still, her bone-witch fingers surrounding my wrist, and as she shouts down at me I can’t move. Tell me it will be okay, but there’s no-one else but me and her and brick by brightly coloured brick I build until I vanish. I’m gone where she can’t touch me anymore and that’s when I find my room.

Ten years on, my room has materialised. I learned to read and a door opened into somewhere I never knew existed. I can retreat until I don’t hear the screaming anymore. And when I’m all wrong, don’t fit it, don’t get the joke, can’t play with us, my room’s still there, where I can’t be touched. John Peel’s on the radio, though, and I believe that somewhere there’s a way out.

In time, I discover that I was right, and I pretend the room’s gone. I watch as the sky fades, blue, green gold, to darkness, setting sun, silhouetted trees and chimneys. I’m in the attic, real room of my own. Mismatch thrift shop furniture and peeling wallpaper spell freedom. Rent paid, I can enter and leave when I want. I lie on the worn grey carpet and reward myself for each page I write, each sunset I paint.

At night we drink and smoke and dance and the music’s louder than my heartbeat, until the sky lightens from navy to turquoise again. Milk fresh on the doorstep, we stumble back indoors. And later when I’m heaving the night into the toilet, my t-shirt clings against my skin, and I go to my room, but I’m not telling anyone. I creep in, furtive, would never tell, never share, can’t admit that the room’s still there.

I’m spent, another night, red wine in jugs you can’t tell how much you drink and we were laughing so hard my throat’s sore and my ears are ringing and now it’s all stopped, and I’m chilled, skin clammy, but inside my head is quiet and I’m not dangling on the edge of madness, won’t see a counsellor, see her, won’t see her again.

Another ten. I’d get up if I could but the gap in my symphysis pubis is too large, and the baby stretches my belly, I’m seventeen stone at my biggest, and my mind has slowed like my steps. The sun shines in, cats rolling on the golden carpet. My world has titrated down to one room, can’t diminish any further, but it’s not the room I was thinking of.

I’m never alone, and it’s eating me and I want to be one, own, me, gone, and the drugs take the edge off and gradually I claw back a tiny place that’s my room. I can sit still, feed the baby, watch birds in the garden and think. There’s something new, though, and it glows green as I realise I’m not allowed to be alone.

Maybe the end should have been when I delivered the baby, but I’ve found that’s not an end. And now, behind a barrier of books, I am rebuilding my room, stealing back moments to write. My desk is tall, broad, blue-stained, grain of the wood still visible, family photos backdrop my thoughts. Does time need to be scarce so I write every word?

Mum, mum, I need a drink, did you get more eggs, can you wipe my bottom, can you drop the car at the garage, what’s for tea, I’m going to be late, can you help me with my homework, you never told me it was parents’ evening, where’s my socks, I need a lift, is there more cake, he’s got all the socks in his drawer, that’s mine, I want it, it’s not fair, I want, it’s not fair, I want, I want, I want …

Toxophrenia

  1. Twenty seven days. Feverish, I ask the doctor why. He looks at my notes, yellow folder telling him nothing and everything.

It will pass, he says.

Everything passes.

Take paracetamol, he says.

Universal panacea. Won’t it harm the baby?

It’s your first, you’re bound to be anxious.

  1. Anxiety knows no bounds as I lie there and sweat.

Do you feel the first lump, or do I?

It’s just your glands. You must be fighting off an infection.

Late night screen glows with possible diagnoses, cancer never far from mind.

My stomach grows, skin stretched taut, and I daren’t ask.

We … just … need … the … months … to  … pass.

And one day the lumps have gone anyway and I don’t think again, awash in breastfeeding.

Anti-apoptotically, your host cells persist and replicate.

Pro-apoptosis effector proteins, are disrupted,

Conformational change,

Proteins stymied.

The host will eat itself,

T.gondii triumphant.

  1. It’s amazing how quickly time passes with one young child, then a second.
  1. The first trace is a splash of yellow, bordered with black on the glowing red-orange of the back of his eye. Technology is marvellous, the doctor says as she shows me on the screen.

Can you cut it out, I ask.

It’s been there for years. He has two eyes. If you hadn’t had his eyes examined he might never have noticed.

Perhaps we should have remained ignorant. We were never meant to see the inside of our eyes.

  1. Is it obvious to everyone else? Omniscience is inhuman. Who knows?

I didn’t. And if I had known what could I have done?

I’m up late on the internet again.

Raw meat, soiled fruit, catshit? Nausea comes, years too late.

  1. Late nights are typical of teens, I read. In fact, it’s against nature to wake them early.

Let them sleep.

It’s normal for boys to become uncommunicative.

Of course it is.

It’s not normal to see things, hear things, that no-one else can perceive.

By then it’s too late.

Knife descends, repeat, and I wish I could have cut it out years ago.

Origin of self FINAL EDIT

A clap of wings startles me. The seagulls circle, then go back to the cliffs. I continue down the beach. My pelvis adjusts as pebbles shift and roll. My hips rise and fall, impressions on my feet. Stone-pain seizes my focus.

At the edge I hesitate, can’t do it again. A moment, you’re always too cold, but still I throw myself into you. Draw heat from me, I want to fill your lack. Always my gift dissipates too fast. You’re implacable: I’m bereft.

I kick off again, release, float, push against you, pull through you, surge, immerse. And beneath you, I’m gone. Moment in green. Perfect vision, until everything blurs, clears, blurs, salt filled eyes, mouth, ears.

Too much, I sink, stop, stand, relief in stone-made pain. I gasp. I’m not you, still within my depth. Still I ask, ‘Draw me out, write your name on me, gouge it in my skin’. I should stay, there’s safety at this edge, but I release the rock. Be in me, fill me, take me over. For a second I surface, breathe, submerge again. I’m in you, of you, and you enter me, every hole: every cell of mine takes you in, and my feet feel sea, just sea.

And it’s never enough.

Afterwards, I lie where the waves pour over me, in and out. A little way up the beach a dog’s nails scratch over stones, sharp against the hush of the waves. The seagulls circle again, screeches breaking the silence of the seas. [1]

Slowly, this time, so slowly. I descend. Spasm, contract, breathe, forced slow exhale, then down again. Painful pause, I crumple at your edge, inhale. Your waves reach out. At bursting point, I crawl until I’m in you, then I lighten. I need you as my body spasms, ice cold some relief. Contract.  Half standing, half floating for a moment, stones scrape my knees as I fall again. I scream, exhale, pant, breath subsides.

Hips widen, pelvis shifts, I open, push down, face full of salt, womb screaming, I give you more of me, all of me. I submerge, flow into you, expel it, release with one last surge …

It’s only instinct makes me hold him, warm against me, no breath yet, until we surface, dual gasps, both scream, bereft.

[1] Royle, After Derrida p56.