Other Echoes Inhabit the Suburbs

Other Echoes Inhabit the Suburbs

The soup tasted pretty gross, but April kept right on eating it. For one thing, she couldn’t bear letting her grandma know that the heap of sugar she’d added ‘to bring out the flavour of the carrots’ had rendered the whole dish a form of cloying mush, as opposed to subtle teatime cuisine. Her grandma wasn’t all that good at subtlety. You only had to glance around the dining room, where they were sitting right at that minute, to know that Ms. Grainger (a return to her maiden name after the divorce) had a taste that lent itself to the gaudy and nostalgic, far more than the graceful and subtle. Along the mantelpiece, ugly china ornaments cluttered the marble surface (long overdue a good dusting); the wallpaper, a lurid shade of magenta, bore the same floral pattern it had done 30 years ago. As a child, April enjoyed peeling the corner of wallpaper behind the headboard of her bed, leaving a gape where the plaster underneath revealed itself like a blank and secret canvas. On that surface of plaster, April had written something special, eight years ago, when she first moved into her grandma’s home. The day after her parents died. It had been a long while since she’d checked if it was still there.

Despite her constant culinary failures, Ms. Grainger loved to entertain. She ran a competitive bridge club, who every Thursday traipsed through her door and gambled their pensions away round the dinner table. She still took great pride in her swimming pool, the envy of neighbours for decades now, even though she rarely (if ever) used it herself. Once upon a time, April had splashed around in that pool with her brother and sister, falling off her father’s shoulders as he waded her through the water, laughing. She had advertised her thirteenth birthday as a pool party, gathering all the kids from school round the kidney-shaped turquoise surface, drinking lemonade in the springtime sun. April was named after the month she was born in; when the kids used to tease her and ask her if that was why, she would nod, glumly, complicit in their derision of her mother. Her grandma always said it was a lovely name, but April herself was indifferent to its supposed charms. She realised that probably it was another ornament, a quaint and pretty reminder of a golden, bucolic past, when girls would flock round Maypoles in their white dresses. Maybe it hadn’t been her parents’ choice at all, but another idea cooked up by her grandma.

“Don’t you think it’s marvellous, how Jacob is doing?” Grandma Grainger piped up, pausing to look around the room for dramatic effect, though her only audience was April, along with old Marjorie from down the road. Marjorie, who was half deaf, took a good long minute to process the question before answering.

“Oh, what? Jacob, how is he doing?” Marjorie slurped a spoonful of soup, piercing her lips in mild disdain.

“He’s sailed through his third year of law school, that’s how he’s doing!” Grandma exclaimed, making no attempt to suppress her glee. “They say he got As all through his exams.”

“You must be so proud,” Marjorie said.

“Not only that, but he’s landed quite the internship, out in the city with a big firm.”

“Isn’t that wonderful,” Marjorie said, even more mechanically this time. She, like everyone else, had grown used to Grandma’s bragging, and had developed her own form of automatism to deal with it. April sipped her soup. She fixed her eyes on Marjorie, intent on registering every hint of discomfort that showed on her face. She too would be tasting, right at that moment, the same watery sugary sludge, the faint aroma of sage that cut brutally through the blandness of broccoli, potato, carrot. There was a pleasure in the knowledge that they shared this painful experience, dragging their spoons through the viscous excreta that Grandma Grainger had poured so obliviously into bowls for them.

“And how is Grace doing?” Marjorie asked, clearing the last of her bowl with one triumphant swallow. The question seemed even more forced than the act of putting soup in her mouth.

“Oh Gracey,” Grandma smiled, “she’s doing just fine. Very sensible girl.”

“Is she still wanting to…what was it, design buildings?”

“Yes Marjorie, she’s actually apprenticing as an architect right this minute, though I have high hopes for her and this man she’s living with. He works for a bank and is quite the charmer. I can see them settling down very soon.”

“Children, at her age?” Marjorie seemed mildly alarmed. She had never had kids, and though the subject was once taboo in the neighbourhood, she was now quite proud of the fact that the freedom had allowed her time alone to tinker with her paints, with trips to the seaside – to spend the evening consumed by soap operas instead of her husband’s ironing. Besides, some of the art shops in town had once bought her watercolours.

“Goodness, but wasn’t I firing them out at eighteen? Grace is 22 now, perfectly capable of handling a couple of youngsters.”

“Of course,” Marjorie murmured.

“A year younger than April, in fact,” Grandma found the need to point out, unnecessarily, as April stared glumly into her soup. There was no way of finishing the last of it. Already she felt a little sick. She swirled it round until patterns appeared about the sides, patterns which soon sunk back down as gravity sucked at the sludge.

“May I be excused?” she asked, having long ago perfected the strategic politeness of an obedient grandchild.

“Yes dear, what have you planned for the evening? I was wondering if you’d let Marjorie and I teach you bridge. You could whirl up quite the storm, with those maths skills of yours. I’d like to show you off on our Thursdays. I could do with some more winnings too, now that I think of it. Ethel really swiped us last week, eh?”

“I’m not sure you need maths skills to play bridge,” April said quietly.

“Will you listen to this? The girl really cannot take a compliment,” Grandma retorted. “I’m just trying to involve you dear.”

“I work most Thursdays.”

“Oh well. You spend far too much time alone, it’s not healthy for a young woman. You ought to be more like your sister.” The cutting line. “She’s always telling me – on the phone you know – how much fun she’s having.”

“I’m going out, Gran, I’m going out.” She scraped back her chair and wandered upstairs to her bedroom.

“At this time of night? She must be crazy,” Grandma muttered, out of her granddaughter’s earshot.

“Indeed,” came Marjorie’s reply.

The house was so dark, mostly lit by old-fashioned oil lamps that were stuck to the walls. It was an ex-council house, which Grandma Grainger had spent most of her life trying to make look bourgeois. Most of the houses in the surrounding suburb had been knocked down, upgraded into gleaming new builds, replete with fresh pine surfaces and huge double-glazed windows. Grandma, along with a small handful of fellow residents, had refused this development and by some miracle they were allowed to go on living in their humble hovels. It was a good thing they did, because the new builds had driven the local house prices up considerably, pushing out many of her old friends. It was home now mostly to young families, who relished the picket-fence dreams sold to them in American movies, who wanted to cocoon their kids from the dangers of ‘town’.

It wasn’t just town that was dangerous though. April knew well enough that this house itself could be ‘dangerous’. Many times she had fallen up those creaking stairs in the darkness, had found herself privy to some sordid phone conversation between her grandma and a mysterious third party:

“Oh, a terrible thing indeed!”

“He’s quite the scoundrel!”

“You’ll never believe what she told me she found in his sock-drawer!”

“I heard they’re getting the police involved. A terrible mess, for certain.”

One thing April hated was her grandma’s tone of mock horror, her incantations of scandal. She had perfected it for all the local housewives, proving herself a key player in the steady circulation of gossip upon which the suburb depended. It was worse than Facebook, the way news got around, the way her grandma would dissect every last detail of her neighbours’ lives around the dinner table, while April stared into uneaten soup or peas or sometimes, on Sundays as a treat, ice cream. April deleted her Facebook a long time ago. It provided too many links to her past, reminders of times that were happier, sadder, or at least more complicated. It hurt, to get bound up in all that again. She couldn’t be bothered hurting anymore. She couldn’t help thinking it would be nice to delete real conversation  as easily as she’d gotten rid of Facebook.

“Well I heard he lost his job at the call centre. Shocking, isn’t it?”

April couldn’t help thinking: if only her grandma had employed that tone, to deft effect, when her parents had died. If only she had talked to the in-laws, to April’s father’s family; if only she had been more understanding, less impatient with the lawyers. Maybe then, April would still have another family. As it was, Grandma Grainger was all she had. Jacob and Grace, in all their seeming perfection, were always too busy – out of reach, ploughing headlong into their respective futures.

April’s bedroom, like the rest of the house, hadn’t changed an awful lot since she’d moved in. In fact, her grandma’s kitten obsession had crept its way even in here, in the form of a cross-stitch concocted from a palette of lurid pastels, tacked to the wall by the window. It was a very small window. The carpet was a foul kind of jungle green colour, supposedly a fashionable compliment to the orange walls, though its chic shabbiness was no detraction from the massive stain where Grace (who shared the room with April as a teenager – they slept top-and-tail in the bed) had once spilled half a bottle of red wine. Despite sharing a room for those years before university, Grace and April were never all that close. Grace seemed to find April strange, asking her all sorts of weird questions, as if she were the big sister and not April. Have you ever let a boy touch you? Ever done drugs? Why don’t you ever text anyone, I never see you with your phone. Are you gay? In truth, April had never really understood her younger sister. Her life had always revolved around a carnival of minor dramas – breakups and hook-ups and clandestine phone-calls, which April would eavesdrop on at night, while she pretended to sleep – and the whole wanting-to-be-an-architect thing seemed nothing more than just another design for life that took its place among the rest. Grace had always had plans, always rattled on about some boy she liked, a handbag she was saving for, a class she was intending to drop or take up. They were as sure in her head as the bottles of alcohol she stashed beneath the bed, and as certain to disappear or deplete by the end of the week.

As for April, the whole concept of a ‘design for life’ seemed drastically elusive. She couldn’t quite grasp how some people were able to think into their futures, then spin out a ten-step plan about how they were getting there. She liked lying in her bedroom, listening to obscure classical music, staring at the ceiling, letting the percussion and the elaborate orchestration of instruments and melodies weave themselves into her brain. She had been to university, stuck at it for nearly a whole year, but it just wasn’t for her. The equations and quadratics came easy to her, but everything else had gotten her down. Halls were a drag, seminars were a drag, and getting out of bed in the morning was the biggest drag of all. Making friends seemed to require some impossible formula that nobody had bothered to teach her, and April had made herself content with loneliness.

The mirror in her bedroom always showed you as fatter than you really were. Grace had first pointed this out, aged fourteen, preening her face and frowning as she noticed the curves that she hadn’t noticed before in the old mirror of their parents’ house.

“You haven’t put on weight,” April had assured her, with careful sincerity. Puberty had been the elephant in the room for a couple of months now: April had filled out and sprung up like a runner bean, her feet had grown to an impossible shoe size, while Grace stayed skinny and small as a boy, as her grandma. She became very touchy about it, worrying about every pound she might put on, pinching at her stomach.

“Oh,” she sighed in reply, “yes, it’s just the mirror I think. See the way it stretches out like that? The glass is damaged or something.”

After that observation, neither of the girls bothered much to look in the mirror. For April at least, it was difficult to be narcissistic in a house where every surface, every detail or ornament, sucked your attention away. It was all too lurid, too extreme; there was no place to retreat into the bubble of yourself. You found yourself trapped, submerged even, in the things around you, their perpetual assault on the senses. It wasn’t beauty, because there was no seduction, no entrancement caused between the eye and the objects that absorbed it; it was more like the constant bombardment of sheer stasis. Realising that time hadn’t really changed. Feeling as if time itself were that sticky thing that stopped you from leaving and growing. Grandma herself was as preserved, as perfected, as she was thirty years ago. The hair remained the same dyed silver; the face was as powdered and smoothed as ever. It was only when she frowned or smiled that the wrinkles cracked out around her mouth; otherwise she seemed not much of a breath over sixty. Yes, it was the sense of timelessness that drew April away from the mirror, away from thoughts of the future, of what she would do with her life. The stasis sucked you in, like some kind of chemical in the air.

She had gotten out for nearly a year, but something drew her back. The phrase ‘Boomerang Generation’ meant nothing to April, because coming back to her teenage home wasn’t like bouncing backwards – it was more like sinking into a deep and dirty swamp. The familiar, suburban smells of petrol, musty cars and marijuana. The Sonic Youth CDs she’d drowned herself in as a teenager, losing whole afternoons to that wall of gritty, reverberating sound.

Yes, Grandma’s house was the shrinking bedroom, the endless, empty summers, the grating noise of Kim Gordon’s cool and impassive voice, filling April’s ears through her Walkman headphones.

There were never any pets, no familiar animal presence. When she lived with her parents, there was always a budgie or a hamster or even a goldfish, whose daily needs and eventual deaths provided a healthy sense of normality and temporality and responsibility: they had to be tended to, their deaths were milestones in the family calendar. They had no garden, so it would be a ceremonial trip to the local park, a gathering by some innocent tree for the symbolic burial, followed by a treat – chocolate ice creams and tea. No such markers of time or presence existed in Grandma Grainger’s abode. There weren’t even any family photos; just the kitten pictures, the cross-stitches and faded placards declaring various slogans on love and housekeeping that Grandma herself forgot to live by: Home is Where the Heart Is (did she even have a heart?), A Clean House is a House Well Managed (the dust that covered the placard said enough), and, April’s favourite, Love is All (what was love? what was all?).

Thin as a rake, Grandma was always cold and perpetually had the thermostat turned up full, so that sometimes it seemed as if the walls themselves were sweating. Sometimes, just before dawn, when April would come home from a shift at the petrol station, she would sit in the kitchen eating toast and staring at the wall. As the butter oozed on her plate, greasy and gleaming on her fingers, so too did the floral wallpaper. It was as if the stems were bleeding, dragging themselves down over the other flowers, drowning each other out or else entangling themselves in a choking collective suicide. After a sleep she would check again, much to Grandma’s bemusement, but the wallpaper was the same – tastefully gross but admittedly flawless, unchanged, after all those years.

In her bedroom, April struggled to yank open her window, only managing to open it a crack. It always got stuck. She rummaged in her sock drawer and drew out the little tobacco tin (her grandfather’s, found at the back of a kitchen cupboard) and prised it open carefully, so’s not to spill any of the precious weed on the carpet. She sat on her bed, still sweating, and rolled a joint. It was perhaps the one thing that she wasn’t clumsy at. She bought her weed off a kid she’d known at school, a boy who met her in the carpark by the mall, who wore baseball caps and communicated mostly in grunts and ‘likes’ and ‘mans’. He had a nickname, Rattata, acquired during an epic Pokemon battle he’d won in his first year of high school. Somehow, it had stuck; such was the timelessness of the suburbs.

She left out the back door, trying to attract a minimal amount of attention. Through the window, she could see in the gap between the filthy velvet curtains her grandma and Marjorie sitting round the table still. They would not wash the bowls up, probably not until the morning. Nor would they do something normal, like sit together and watch telly (Grandma prided herself on having never owned a telly, which probably explained her absolute indifference to current affairs and anything which might tenuously be defined as ‘culture’). Grandma would bring out the bottle of sherry from the dust-filled drinks cabinet and they would sip it all night, mostly in silence, punctuated only by Grandma’s vague and inane observations. She saved her best gossip for the neighbourhood mums, not for little old Marjorie. April knew the routine well. That was why she was gasping to escape it.

The night air was cool and sweet. It was funny how you could literally taste it, it was so much nicer than inside. The sprinklers were on in the back garden and their spray lilted across the darkness and snagged a few rainbows from the street lights which poured their light upon the grass. April hung out by the bins and smoked her spliff. The smell rose up, warm and fragrant, curling around the drainpipes, hovering dangerously by Grandma’s bedroom window. April loved the smell of marijuana: the stuff she bought had a kind of spice to it, reminding her of far away locations, exotic places she had only imagined, the lifestyles of those who made a career out of slacking – or, at the very least, a perfected mysticism. She liked the way it numbed and slowed her brain, how it allowed her to focus on single things; how it dissolved, momentarily, the pressure of Grandma’s house, which always loomed, monstrously, at the back of her mind.

She stood for a while, watching a snail slide slowly over the patio, trailing its glimmeringly malignant ooze. Grandma left slug pellets all over her garden, but the little molluscs had grown clever and cunning: they knew their way around her property, how to crawl inside the skirting boards and leave their silvery traces over the carpets, walls and cabinets – even the stacks of housekeeping magazines.

April started smoking weed aged seventeen, two years after her parents died. It was the highlight of her day, lighting up behind the bus station in town, prolonging the return to the suburban hinterlands, watching the sun fold itself neatly behind the high rise buildings. Relishing that lovely oblivion on the bus home, giggling at nothing.

It was the perfect evening for a walk. The streets were pristine, gleaming from the shower of afternoon rain that had now cleared into a late spell of twilight sunshine, that bounced off the white gloss paint of the picket fences and semi-detached houses. Just a few yards from her grandma’s home, April felt lighter already, as if each step was somehow melting her material connection to the world. Often she was gripped with such wonder for things. It made her heart sore, to see the yellow roses in the neighbour’s garden, speckled with raindrops, swaying against the fading sky of pastel blue. Her body no longer mattered. She could not taste the gross sweetness of the soup, nor the earthy residues of the spliff. She felt the houses around her (of which her grandma’s was the sole, grotty anomaly) blur into a white haze, as if they were a chalky plume of cloud, following her, swaddling her. It was lovely. On nights like this, she kept walking.

When she was younger, she walked a lot; mostly to escape Grace (when she had a boyfriend over), or Jacob, who would always ask if she was okay. Grandma didn’t count. She was just there, and then when April crossed the threshold through the door, she just wasn’t. The whole while, she always wanted to get lost. She knew these streets so well, it seemed as if she were walking through a film set, a well-trodden stage which never changed.

Her footsteps echoed on the clean concrete. No chewing gum, no cans or crisp wrappers, as there were scattered around downtown. A man was out mowing his lawn, the grass cuttings billowing up in slow motion behind him.

The light was turning, darkening. April hardly noticed: she was so intent on her walking, that to a passing stranger she might seem possessed by her thoughts – though in truth she thought of nothing at all. She passed through the copse of woods where she had smoked her first spliff, where Katie Willoughby had pushed her into the nettles all those years ago, where Grace (as she had confided, breathlessly) lost her virginity. She passed by the pastel-coloured sheds where people stored cars and gardening equipment, the allotments which sparkled strangely with birdsong, the pile of slates stacked outside the Cherry Tree mansions, the road that led towards her old school. All detail floated by her. Until she heard the screeching.

At first, April thought it was someone being attacked, maybe even raped. The sound was so shrill, so gasping and sharp, that it seemed the definite screech of a tortured human. There was, however, no human voice, no desperate breathing. Just that screech, that terrible wheezing. She tried to identify its source, peering over the tall hedges into people’s gardens, but there seemed to be no person around at all. It was only when she crouched to the ground that the sound got louder, and suddenly April stumbled upon the poor creature who was making the awful noise.

It was a fox, its flesh bearing a graze of barbed wire across its back, gaping and bleeding out onto the grass and concrete. The fox was smaller than April had ever thought foxes were. From her picture book imagination, she had always imagined them larger, perhaps the size of collie dogs, whereas this one was no bigger than the average alley cat, worn scrawny by its scrappy suburban diet. April knelt on the pavement and tried to place her hand on its little head, expecting it to snap at her. Instead, the fox’s body was seized by a great spasm; it jerked violently as if to vomit, but only gasped instead – the kind of breathless gasp that seems to suck a lifetime of oxygen.

“You poor, poor thing,” April whispered, stroking its soft ears as it lay there, whimpering. She had never owned a cat or a dog; she had only watched the blonde labrador that used to skip about the street by Grandma’s house, chased playfully by the kids that lived opposite. The screeching subdued, the fox settled into a kind of stasis. April glanced at the wounds on its back. She couldn’t think where there was barbed wire round here (the allotments, perhaps?), though she had to admit that she wasn’t exactly sure where she was now. Had she really managed to wander far enough to get lost? It was an exciting thought. She found herself dipping a finger into the pool of blood that had gathered on the concrete. It glistened under the lamplight. As if by instinct, she raised the finger to her face and painted two streaks of warpaint on each of her cheeks. The blood thinned to a graininess, mixed in with the dust and dirt of the pavement. A solid feeling of invincibility formed in her stomach, like a knot.

She waited a while in the silence of the evening, alone on this street which she could not name, among houses whose windows were no longer bright and golden. A hundred chintz curtains shut her in darkness.

The day the police phoned, she had been alone in the house: Grace was at choir practice, Jacob at debates club. She remembered the cold feel of the kitchen tiles on her bare feet as she ran through to pick up the receiver, the smell of the toast that she had just burned. What chance of luck had made her pick up? April never answered the phone, but that evening she had. The way the words spilled through the line, clumsy almost, like chunks of food being forced through a pipe; had they made any sense at all? Had she slumped against the wall, the way they did in films? She had experienced that cold certainty, the tingling clarity that got her onto the phone with her grandma, that got her to school to tell her siblings. There’s been an accident. Mum and Dad.

What horror had torn this fox to such misery? Had it chanced its luck in the carpark of some warehouse, raiding the bins for food?

“Poor, poor creature,” she crooned. The thing was quivering, shaking with some savage pain which shook April to the pit of her stomach. Its black glossy eyes were shrunken, yellowed at the corners as if strained by some disease. Only once before had she spotted a fox around the suburbs, but it had sprung away into the shadows of an alley. Making eye contact with this injured thing before her, April felt something dissolve inside of her, the knot unravelling. She curled up beside it, trying to keep the fox warm with the mere heat of her body. The pavement felt cool; the fox smelt of damp fur and trash and blood.

“Hello?” How much time had passed since she had first lain down beside the creature? April sat up with a fright, to meet the gaze of the man standing over her.

“Is everything okay?” he knelt beside her. She could see he was wearing a navy cable-knit jumper, like the ones her father used to wear. He smelled faintly of soap, as if he had just had a shower, and of something else that seemed vaguely familiar.

“It’s-it’s a fox,” April stammered, “I found him on the ground and he’s really sick.”

“Oh.” She moved out the way a little so he could see the animal. “Jesus.”

“What should we do?” It was strange how easy it felt, talking to a stranger. She expected him to unleash a flood of genius upon the situation, to take control, to tell her she’d be safer leaving it in his hands. Instead, he took a seat on the ground. She watched him feel among the matted fur, which was beginning to clump and congeal with dried blood, though a steady stream of fresh stuff still made its way out onto the pavement. There was a deftness to his touch, a gentle, clinical sense of knowing.

“We should phone a vet. They’ll come out to sort it out.”

“Sort it out?”

“Well, put the damn thing out its misery I suppose.”

“Just like that?”

“Just like that. You ever had a pet they put down?”

“Um, well, I guess they all just died naturally…”

“I’m a doctor,” he said, after a pause, “I guess I’m used to it.”

“What, death?”

“Mm.”

“It seems strange to say one is ‘used’ to death,” April pointed out. The doctor was surprised at the way she spoke: there was an old-fashioned, perhaps conscious naivety to her diction, reminiscent of some prim heroin of Jane Austen’s.

“Well, I wouldn’t say you ever get used to death,” the doctor replied. “Look, give me a sec, I’m just going to phone a vet. I have a number somewhere, a place that’s on-call 24 hours.”

Time itself suddenly occurred to April. 24 hours. Well, she supposed, it must be somewhere in the middle of the night by now; perhaps she had walked for hours. She listened to the doctor speak on the phone in a hushed yet urgent tone. She wanted to cling to the security of those words, whatever it was they were saying. She watched him click a button on his phone (a Blackberry, she noted), then slip it back into his pocket.

“They’ll be coming within the hour,” he said. “You don’t…you don’t have to wait.”

“It’s okay, I want to.”

“Better get comfy then eh?” a sudden boyish playfulness sprung into his face. “I have an idea. Be right back.”

“Oh, sure.” He hurried up the street again and disappeared round a corner. Those ten minutes while he was gone felt like an eternity. The fox seemed to be in even more pain now, slipping in and out of consciousness, its eyes flickering like the kid in math class who once took a seizure on the floor. April was increasingly feeling privy to some dark reality of the animal kingdom, a turn towards nature’s cruel lacerations. It was as if every minute she swallowed another gulp of the fox’s pain, the barbed wire gashing at her own throat.

The doctor returned, finally, with two bottles of beer. She realised that maybe she was just thirsty. He deftly opened the bottles with an opener attached to his keys. She took the first sip, murmuring thank you, tasting the sweetly bitter tang of the cheap hops. It was strange, the taste, because she had not drank alcohol since her months at university. It wasn’t really the drug of choice in the suburbs. Grandma liked her wine and sherry, but April had never been attracted to that sleepy retreat, the way it made you spill out truth after truth round dinner tables. She had seen enough people ravaged by alcohol, at teenage flat parties, where she stared at the walls while people around her pulled and played cards and were sick. She preferred marijuana, the way it scattered you into laughter, made you slink into sofas, soporific.

“Are you hungry?” she asked the doctor, after a brief pause. “I’ve got sweets.” She slipped a roll of fruit pastilles from her sleeve. Since starting her job at the petrol station several months ago, April had taken to sugar as a means of coping with the insomnia caused by the erratic night shifts, as a means of staying awake after ten hours staring catatonically at a cash desk.

“You’re getting fat,” Grandma told her, a few weeks in. Grandma, who didn’t own a car, had no concept of the world of the petrol station, its jelly-like liquefying of time. With her pinched appetite and terrible cooking, she could have no concept of the need to just gorge. She seemed quite surprised that April could put on weight so fast. She had no concept of coming home, drowsy and stoned at four in the morning, laden with packets of junk food. Of staring mindlessly at the flickers of a screen while stuffing all that salt and sugar in your face. No, she could have no concept of that at all; she was from a sensible generation, she knew the rules, the limits. She had dieted in the eighties, but only because it was fashionable.

April realised how rude it was to offer sweets to a doctor. Would he not warn her of the dangers of tooth decay, diabetes, heart disease? It astounded her that he simply took the first pastille of the roll (a black one) and slipped it between his lips. The alcohol had relaxed, almost instantly, the awkwardness between them.

“It’s been a while since I’ve had one of these,” he chuckled. April grew frustrated with his mildness. She decided to ask him about death again. It seemed so easy, pressing her questions upon the darkness, the distant sound of sirens that filled the streets. She wanted to fill that darkness with everything.

“You’re pretty morbid you are,” he replied to her query, chewing thoughtfully.

“Well isn’t death right here beside us?”

“I guess I can’t argue with that…”

“Have you ever killed a person? she asked brightly, after a pause.

“Of course not—have you?” The beer bottle was still partly wedged between his lips as he spoke, sending his voice into a strange consonance of echoes.

“Well no.” He took the bottle out his mouth.

“I’ve had a part to play. I’ve messed up enough times at work to know that sometimes I’m powerless against death. These dying patients, you realise that their whole lives are closing down. One by one they’re saying goodbye to their will, to their memory, to all those tangible things that kept them together. Personality blurs into a sort of serenity of acceptance, or else twists into violent denial. I’ve had folk scream at me at my practice, telling me I’m wrong. People are so sure that they’re fine sometimes. Then again, so am I. I’ve misdiagnosed before, of course. I thought a man in his mid-40s, non-smoker, vegetarian, track-runner, was fine. He came to me with stomach pains, problems with his digestion. I put it down to IBS, prescribed him some antacids and peppermint tea. A couple months later and he’d lost three stone and was passing blood. It was cancer of the bowels, and he only had three weeks to live. Hell, if I’d caught that sooner…he had a wife and two kids. It still haunts me, I’m telling you.”

“But doctors must make mistakes like that all the time,” April said carefully, “I mean, there are so many illnesses to choose from – it’s impossible to get it right for each person. You’re not a computer.”

“Man, human weakness is no excuse. I was lazy, I should’ve asked him more questions. Can I have another fruit pastille?”

“Sure.” She pushed out an orange one, the last of the packet – she’d wolfed the rest already. A residue of the sugar coating remained on her palm.

“Then there was this old lady,” he continued, after a while, “she had all these problems. Alzheimer’s, kidney problems, trouble breathing and eating – the lot. She just came to me constantly, every week, complaining about everything. Sometimes she collapsed and a neighbour would find her and rush her to A&E. There were never enough beds to keep her for long. She’d always come back to me, just her practice doctor, thinking I had the miracle of life or something. I should’ve referred her to a geriatric specialist. I thought I was being clever, taking on the challenge; I thought all she needed deep down was someone to talk to. These suburban types, sometimes they’ve been shut up all their life, silenced by housework and Vallies. It’s a wee cliche, but it’s kinda true – an army of hypochondriacs.”

“What happened to her?”

“One time she was at a coffee shop, you know the one by the park, Crow’s Cafe I think it’s called. She was just drinking tea and doing a crossword. Collapsed right there and then.”

“Wow.” For a sudden moment, the image of her own grandma flashed into April’s mind: she saw her standing over the sink, washing dishes, staring vacantly at the filthy windows. So transparent, she could be a ghost.

“It was fucking gruesome. Her spleen and all. Kidney failure. They never really told me what happened exactly, but I was heavily disciplined for not spotting the signs.” He added, bitterly: “I nearly took to drink, after that one.”

“You’re a little too young to talk like that, surely.” April sipped slowly on the last of her beer, savouring it, as though if she drank to the bottom of the bottle the conversation would end.

“How old do you think I am?”

“Um, maybe thirty…?” It occurred to April that she hadn’t the foggiest idea how old a doctor was supposed to be. All the ones she’d ever met were in their fifties – at the very least – and this man beside her wore a nice jumper and had nice skin and a smile you could fall for. He could be near enough fresh out of medical school.

He laughed, almost snorted at her suggestion.

“Put it this way…my fortieth birthday seems a long time ago now.” She was conscious that he didn’t ask for her age in return.

“Really?”

“Uh huh. Twenty years ago, near enough, that I told my first patient that she was pregnant, that I first prescribed a batch of sleeping pills, antidepressants. I don’t remember their faces. The woman sent me a card, after the baby was born. I think it was a boy.”

“That’s pretty cool. You have a hand in life and death.” He snorted.

“I wouldn’t say that. I just…notice things.” They were cut short by the sound of the fox wheezing again. Its body trembled, rustling the leaves of the hedge behind it.

“Come on now fella,” the doctor said, awkwardly, as if speaking to a person. April knelt close to it again, stroking it, making soft, soothing cooing noises.

“You have a way with animals,” he remarked, as the fox began to quieten again, “you’re like the fox whisperer.”

“Maybe it’s just cos I’m crap with humans,” April said.

“I guess we all think we’re crap with humans.”

“That’s probably true.” She scrunched the foil of the fruit pastilles wrapper in her hand.

“For some more than others, I can assure you. The benefits of hindsight and age.” She saw him wink at her in the darkness.

“The vet’s taking a long time,” she remarked.

“Oh, they have to come across town,” he said vaguely. “Anyway, what were you doing out this late, wandering around?” It was the unspoken mystery between them, the chance encounter, the dying fox beside them on the pavement, the press of the darkness like the sweet-smelling sheets of a stranger’s bed.

“I…I get sad. Sometimes I need to get out of my grandma’s house. I could feel the walls melting. It’s a nightmare. And you?”

“Believe it or not, I’m wearing pyjamas under this jumper.” He lifted the jumper to reveal a baggy, pinstripe shirt. She noticed a flash of his brownish belly underneath where the shirt rode up, the hint of a snail trail in wisps of hair that she could see even in the darkness. There was a slight paunch, perhaps the only suggestion of middle-age. “My…girlfriend, she’s a doctor too, at the hospital. Works crazy back shifts and nightshifts all the time. We catch each other for lunch, for dinner parties, in bed in the wee hours before dawn. I get lonely: sometimes I can’t sleep and I just get out of bed and walk. There’s never anyone around.” He put down his empty beer bottle, ran a hand through his hair, which was overdue a cut. “I don’t know why I’m telling you this.”

“It’s like,” April replied solemnly, “you sometimes just need the fresh air.”

“Yeah, that’s probably it.”

“I wasn’t even sure where I was, but I think I know now,” she said, “it’s not far from my old school.”

“Have you lived here all your life?”

“Well…since I was a teenager. Something happened to my parents and we had to move from our nice flat downtown to Grandma’s place in the ‘burbs.”

“I bet that was a shock and a half for you.”

“Yes, they died quite suddenly.”

“Oh, er, no I meant the move to the suburbs…I didn’t realise your parents had actually passed away. I’m so sorry.”

“No, it’s okay.” His sincerity made something physically ache inside of April. Who was this man, and what was he doing to her? She felt as if all the scrunched-up resentments of the past few years were slowly melting away, leaving her with a sense of going soft, of somehow opening. It was so easy to just…talk. She stroked the fox’s ears, following a comforting rhythm.

“Yeah, this street…I think I even walked down it to school sometimes. I used to buy sweets at some corner shop. It looks different at night.”

“Indeed.”

“It’s funny,” she said, “I think a boy tried to kiss me once, just over there on that corner.” She gestured to a spot where the pavement rose up to someone’s drive, drenched in amber lamplight. “I’m pretty sure he did it for a joke.”

“What makes you say that?”

She frowned. “Oh I dunno, the look in his eyes. He was popular and they all hated me. He literally asked me the question, stared at me, came up to me out of nowhere.”

“What did you do?” She was surprised to see he seemed genuinely curious. What business did a middle-aged man have caring about the (non)romantic history of a girl almost half his age?

“I told him no thanks.” He laughed.

“Brutal, truly brutal. I’m telling you, you probably broke his puny wee heart.”

“I sincerely doubt it.” There was something so uncanny in the way she said that, I sincerely doubt it: it seemed a thing an older woman would say, someone made weary with bitterness, cynicism; someone with experience under their belt. There was a sort of aged wisdom that sparkled in her eyes when she said it. In the darkness he could not see her blush; could not read in her face that at 24 years old, she had never kissed anyone before.

“Can I offer you a smoke?” he asked, after a pause.

“So you smoke too, do you? I’m beginning to lose my faith in doctors,” she replied wryly.

“Well, you must’ve had a shock, stumbling upon old Fantastic Mr Fox here.” She smiled at his Roald Dahl reference. “And a thing I like to prescribe to myself on such occasions is, well, what you might call the humble drug of the suburbs.” He slipped a tin from his pocket and prised the lid open. There was a baggie of what was unmistakably weed, some tobacco skins and filter tips, like tiny pieces of white candy. “Marijuana.” He winked once again his mischievous wink, and April felt a tingling in her stomach.

“Yes please,” she said without pause. She felt like a child at a restaurant, being offered some exotic food for the first time. She watched him deftly roll a joint, handling the paraphernalia with the ease and grace of someone who spends all day tinkering with syringes and stethoscopes and thermometers. He lit up and sucked in the first draw, his face alight in the orange glow. In that slight intensity of light, she noticed the tiny lines that crinkled in the corners of his eyes, the tiredness that cut shadows underneath them.

He passed her the spliff. It tasted very sweet, and she realised there were little strawberries printed all over the skin.

“Yeah…” the doctor said awkwardly, “I find it hard to deal with the feel of tobacco in my mouth, so I use flavoured skins, like some brazen wee hussy from an American high school movie.”

April drew a long deep lungful of smoke. The weed was very sharp and bitter, but the strawberry taste smoothed it out.

“You just used the word hussy,” she stated.

“I know, is that very awful?” the doctor lay back against the hedge and giggled like a schoolgirl.

“Probably,” April replied. She took a few more greedy draws then passed the spliff back to him. The stuff was evidently much better than what she procured from Rattata. Already she could feel something lifting in her stomach, her brain sort of crumpling, lightening, as if filling up with a strange, ascendant vapour.

“Do your colleagues know you smoke this?” she asked, in all sincerity.

“Oh, I suppose they have an inkling that I’m not quite…orthodox.”

“I always wondered how you were supposed to have fun, as a doctor. Like, golf and stuff. Red wine, because it has antioxidants?”

“Terribly boring, eh?” he smiled. She saw that his lips were quite dry and pale. “I guess there’re some teenage habits you just can’t give up. I only do it alone these days. My girlfriend would kill me if she knew.”

At this point, April was only half-listening. Her hand was on the belly of the fox, softly stroking the ruined fur, feeling the troubled rhythm of its breathing. A Sonic Youth song – one she hadn’t heard in years – was pulsing through her head:

Everybody’s talking bout the stormy weather

And what’s a man to do but work out whether it’s true?

Looking for a man with a focus and a temper

Who can open up a map and see between one and two

“I just realised something.” The doctor straightened himself up from his slumped position. “Is that blood caked in your cheeks?”

“What?” April had totally forgotten about the tribal marks she had smeared on her skin on some bizarre impulse. “Oh.”

“I thought it was just the shadows from the street lamp, but no, I can see it now.” Then he did something strange. He licked his finger and placed it on her cheek. He gently wiped away the marks. Then he put the finger in his mouth.

“Bitter,” he muttered.

April finished the last of the spliff, stubbing it out into the ground, well away from the fox. She remembered, then, what she had written, all those years ago, on the exposed plaster behind her bed: I Hate Everyone. 

It was only now that she experienced the vague realisation that maybe she didn’t.

“I think it’s so sad,” she began, “the way things can just die like this. Who knows what it went through? It’s like, why should an innocent creature be torn to shreds like that? For what? An accident? I don’t understand how easily death can just happen. It can just shake up the world for a second and then it goes on as normal. And so often we take for granted the difference – between life and death – like seeing death as this other realm, dressed up in old age and frailty and all this flowery symbolism, but actually, actually, it can happen at any time. It can be as part of your life as brushing your teeth in the morning. It hangs over you, as easily and constant as routine. You could die anywhere, you could stumble upon someone dying.” There was a pause of silence between them. April felt warm and content at her own eloquence. They listened to a trio of starlings in the tree behind them, presumably settling down to roost.

“I used to be suicidal,” he said suddenly, “as a teenager. I never told anyone. For six months of my life I thought about death everyday, and I never told anyone. I would write all my plans on scraps of my maths jotter: tonight I will take my mother’s pills; today I will hang myself. I won’t eat or drink anything, so that I can starve to death. It felt safe, having those notes on me all the time. Then one day – the day I decided to be a doctor I guess – I realised that what was the point in death? It wasn’t even giving up, it was making an effort for something that didn’t want you. Like unrequited love. I knew then that suicide required an act of will that I didn’t have. Since then, I’ve been a slave to anatomy. There’s something soothing about studying the body in this precise, objective way. You stop thinking about that abstract thing inside yourself that you want to kill. Eventually, it just sort of goes away.” He sighed deeply. “You don’t forget, but you can make it go away.”

“Do you think everything happens for a reason?” she asked.

“I don’t know,” he admitted, “I think everything just…happens. We make the reasons, maybe.”

“My parents were killed in a car crash when I was fifteen. It was no-one’s fault. Just two sets of people clashing on bad luck.”

“I’m so sorry,” he repeated the phrase from before, when she had first told him of her parents’ passing. His sincerity seemed genuine, and not the perfected sympathetic stare of the medical professionals April was used to dealing with in the immediate aftermath of their deaths.

“It’s okay,” she said, “it was a long time ago now. Nearly ten years…”

“Do you ever wonder about the future? I suppose you have a glittering career ahead of you, smart girl like you from the suburbs, living faithfully and chastely with her grandmother…”

“No, I can’t,” she said bluntly. She was struggling for the words, waiting to snatch them out of the air; she was so high now that she seemed to be speaking through fog, the words churning and swirling in her brain.

“The world is just day after day after day and will anything change or happen? I feel like I’ve been preserved in jelly, destined to play out the rest of my days in this stasis…but it seems impossible to imagine time not happening anymore, the world going on without you, consciousness itself dissolving. I can’t see what it’s like, not existing. It’s kind of exciting, more tangible maybe than any real change you could have in life. I feel like the death of my parents was the one shock, the thing that would decide the rest of my future. But what future? Nothing changes in the suburbs.”

She pictured the ripples of her years, spreading out from that central, dramatic node: the stone thrown in the water, the shrapnel left by two cars crashing.

“Things do happen,” the doctor whispered. And then she felt him lean in towards her, over the dying fox, his warm marijuana breath suddenly so close to hers. His hand slid into her hair and he pulled her close to him and kissed her on the mouth, softly at first, and she felt the press of his lips which were so light and almost papery dry and she was conscious of how wet her own felt, tasting of cannabis and fruit pastilles. She felt his tongue push through and dance around her own, slippery and not at all awkward as he led the way, their heads moving together just so. His stubble left a faint, grazing feeling on her cheeks. He pulled away, after what seemed a long, long time – this interlude in reality, strange and sweet.

April leant back against the hedge and looked up at the cherry tree in the garden opposite. She knew it would be bearing fruit now, little glossy cherries that would shrivel and fall off in autumn. She felt a lightness inside of her burst open, a kind of pale fire in her chest.

“I’m sorry,” he said.

Just then, a flurry of lights cascaded down the road as the vet’s van pulled round the corner. A single man got out the van. April noticed the pale toothpaste blue of his coat, the Converses he wore on his feet.

“Over here,” the doctor called out. The vet slammed his door and strode over to them with nothing in his hands.

“Oh dear,” he said, “what happened to it?”

“We don’t know,” the doctor replied firmly, “he was just here.” The vet knelt down and gently turned the fox over slightly.

“He’s a she,” he said.

“I found her,” April piped up, glancing at the doctor. “I think she got caught in barbed wire.”

“Well, the thing’s lost a lot of blood,” the vet observed blankly. He would never get used to these calls in the wee hours; his head was still swimming from the evening operation he’d performed on someone’s cat, back in the surgery.

“Are you going to…?” the doctor looked at the vet uncomfortably.

“Yes,” he replied. “I see no other way. Nobody owns foxes as pets so there’ll be no bother with that. There’s nothing else we can do for it I’m afraid.” April thought then what a sad thing to say, that in the end they could do what they wanted to the creature, because nobody owned it. She herself felt a strange propriety over the animal, as if she wanted to shelter it from its cruelly inevitable fate.

“I’ll foot the bill,” the doctor said quickly, “I don’t mind.” There was such gravity in those three words, I don’t mind, that he could be talking about paying the medical bills for his own child, never mind some stray fox who’d stumbled into a roadside accident. The vet seemed impatient.

“No, no, there are council fees I can claim for this…duty. Don’t worry.” He went back to his van and returned with a plastic box that matched the blue of his tunic. April noticed his fingers were shaking slightly as he fixed up two syringes with the solutions contained in little glass phials. The doctor held his phone out as a torch, while the vet fiddled around with his drugs. April stroked the fox’s ears. Its wheezing was growing more intense, more laboured. The blood had seeped right out onto the road.

“It’s okay,” she whispered, to no-one or nothing in particular. Somehow, saying it felt like taking control of the situation. She could feel the adrenaline start to rush round her stomach.

The vet searched the fox’s neck for a vein. April was told to step back as the doctor held its head and legs still. Sure enough, the fox mustered enough strength to snap at the vet’s arm, but the bite narrowly missed. The first injection, the vet explained, was a strong muscle relaxant. The second was the anaesthetic overdose. It took just a couple of minutes to shut the life out of this animal, this russet-coloured beauty of the streets who had once roamed and scoured and hunted for fun. What was left was this bloodied toy of a creature, which the vet so effortlessly scooped into his arms and took back to the van.

“What are you going to do with her?” April asked urgently. She noticed that the doctor was distracted by his phone.

“We can take the animal back to the surgery to be properly destroyed,” the vet explained, regaining the strength of his clinical tone, the relief that soon he could be home and in bed again. “You did the right thing. We put it out its misery.”

Once upon a time, Jacob had brought in a dying bird from the park where they used to play near their parents’ old flat. It was such a small thing, cradled in his palms.

“Probably got by a fox, or more likely a cat,” their father had said, laying the creature out on a paper towel on the kitchen table.

“Can we save it?” Jacob had asked, eyes wide in earnest. He was nine years old at the time, eager to exact a place for everything in the universe. He would not let his sisters anywhere near the bird, which had to be, irrevocably, his personal discovery.

“Best to put it out its misery.”

Had her father said it as coldly and triumphantly as that? April pictured him now, gaining power over the situation as he instructed the children to leave the room, then bent over the thing to wring its tiny neck. End the pain. The following evening they all traipsed down to the park to bury it in a shoebox, along with the hoards of other dead pets whose shallow graves had amassed over the years. Perhaps there was some law against burying your animals in a public place, but April’s parents seemed never to care a fig what anyone else thought, digging out their makeshift animal tombs with gardening trowels while the other parents looked on with a kind of supernatural horror.

“Well thanks.” The doctor shook the vet’s hand. The hand that had killed.

“It’s no problem. Er, do either of you need a lift home?”

“I live just up the road,” the doctor explained.

“I’m fine,” April said quickly. The last thing she wanted was a ride with that dispassionate harbinger of death. Already she could see hints of the sun coming up and a walk home through the pastel glow of dawn seemed the perfect way to gain some catharsis from this incident. She suddenly felt very numb.

“You’d better clean yourselves up when you get in, you look like you’ve been at the scene of a murder!” the vet joked as he opened the door of his van, where the fox’s body was already loaded. April glanced down and realised that sure enough, there were great bloodstains caked in her bare knees, all up her calves and along her arms. The van drove off. She looked at the doctor and he looked back at her and they both laughed. Maybe they were still high; maybe it was the adrenaline; maybe it was just the relief.

“Well,” he said, after they had regained control over their breath.

“I guess I better split,” April murmured. The doctor glanced at his phone.

“Yeah, Amy—er, my girlfriend’s— finished her shift. She’ll be back soon. I’m supposed to do the right thing and go home and make her grilled cheese.” He smiled wryly.

“It was nice meeting you.” She thrust out her hand, an awkward reaction to the ensuing silence. “I’m April.” Laughing again, he took it and shook it firmly.

“I’m Jonathan. April’s a lovely name.”

“T-thanks.”

“It was nice meeting you too,” he said, playing along with the sudden formality, “and I’m sorry, well, sorry for…”

“No,” she interrupted, “it’s totally cool, really. Thank you.”

“Right, well.” He noticed with a shock that her eyes were shining with unspilled tears. She kept looking down at her feet. In an awkward, fatherly gesture, he sort of rubbed and patted her shoulder, then drew away again. In that moment, she seemed as vulnerable and defeated as the fox that had lain at their feet.

“Um, maybe see you again sometime?”

“Y-yeah,” she said. She couldn’t hold in the sigh that then escaped her lips.

“What’s wrong?”

“Oh, I just…” she paused. “I just wished we could’ve done something to save it. The fox.” As soon as she said the word ‘fox’ she realised she meant something else also: the moment, perhaps, that handful of hours they had shared, alone in the suburban gloaming, with the orange lamplight and the greenish shadows of the hedges and cherry trees, the spray of sprinklers intermittently twinkling in the neighbouring gardens. All the words they had said: hardly any, but so precious to her now as she saw it all disappearing, as she clasped at this silence between them, trying to preserve it in memory. The taste of the doctor’s mouth, clean and dry with the faintest tartness of marijuana, the blackcurrant fruit pastilles.

“If there’s one thing you’ll learn in life kiddo,” the doctor said, “it’s that there’re some things you can’t control, you can’t save or change.” And then he added, mysteriously: “you’ve got to work with what you’ve got. Everything else is just…nature. The course of life.”

“S-sure…yes, I guess so.”

“Don’t worry about it, it’ll be okay. Take care.”

He watched as she turned away, denying him the twinge of her smile – as she began to amble back up the street. He watched her until the sliver of her silhouette – the swollen thighs squeezed into denim shorts – had turned the corner, then he made his way across the road, back into his own house, where the door closed tight on the last of the evening.

***

She was standing over the swimming pool in her grandma’s back garden, near-naked in the pallid morning light. It was that queer interlude between dawn and night, where the sky acquires a nacreous frailty, burst intermittently with the blue and yellow watercolours of a morning. The pool was variously still and rippled, buffeted occasionally by the slight blasts of wind which were picking up in the trees, shaking some of the leaves off their branches and onto the water. There was a slight coolness to the air that was almost autumnal, but something inside April felt warm and fiery. She realised she had sweated through all her clothes, and so took them off. Just like that: she pulled off her t-shirt and unzipped her skirt, thrust aside her shoes and socks. In the light she saw more clearly how they were covered in blood. It had seeped through to her skin, so that her feet too bore the dying essence of that fox. She didn’t spare a thought for the neighbours, who, if they had been awake, would most certainly have had full view of her bare white body through their windows. There were no secrets, not even in the gardens or the back lanes of this neighbourhood.

She found herself slipping into the water. The pool had been utterly disused for at least a year now, though the man still came twice a month to clean it of leaves and dead insects, to pump it with fresh water and scrub the grime that gathered around the sides, to pinch out the weeds that grew in the tile cracks. April had forgotten that feeling of absolute submersion. She tugged her hair out of its braids and dunked her head under the water. It was her brother who had first taught her how to swim. She saw now the ghost of those flexing muscles, the firm tanned arms scooping the water as easily as knives being drawn through butter.

She was seven years old, the holiday they took on the coast. The sea spray licked her neck; the cries of the gulls were a sadness her childish heart could not bear. She preferred the anxious, argumentative coos of the pigeons in the city. The jackdaws she could hear at night, nestling and rustling for fruit in the cherry trees.

She liked the look of her limbs in the water, fish-like and shimmering.

She started to swim in laps, gathering momentum to the breaststroke she had first learned all those years ago. There was a slightness of violence to each bending kick.

Sometimes she rolled over onto her back, letting the water, the slipstreams of her movement, buoy her body up for awhile. From above, her body would seem a pale sliver; from as high as an airplane, she could be just a piece of plastic litter.

She plunged through the water, again and again, her arms sluicing little currents around her. She felt the steadiness of the world slowing down, the sense that there could be nothing else except for the perfect emerald of the water, the white of the porch lights turned on like clockwork by her grandma’s timer, the soft ebullience of an uncertain sun. It seemed there could be nothing in the world so pure as the pool water. She felt light and clean and free, just swimming and swimming.

For a moment, she pictured the doctor in bed with his girlfriend. Would their bodies fold over each other, like koi fish caught up in the quivering swirls of their chiffony fins?

She thought of his tongue in her mouth, its lubricious, hungry press against her own.

It ached a little, to think of that. She plunged deep to the bottom of the pool, brushing the tiles with her hands. She pulled herself into contorted positions: front rolls and twists and hand stands. Underwater she felt lithe and elastic as a ballerina; her body was just this flexing and yielding of muscle. It was as if she didn’t even need to breathe.

She pictured the fox, tangled in barbed wire, making its final, bloodied struggle along the pavement. Had it tried to cross some boundary line, a manmade defence against that which would penetrate some inward purity? A children’s playground, a walled garden, a hospital?

She pictured the fox down some suburban back alley, skulking around for trash. She saw it murdering the starlings from the cherry trees, tearing them up in a scattering of cries and feathers. Not even bothering to finish them off.

Her mother and father in a car crash, all metal and flesh and seatbelt leather, the eerie screeching of brakes. The trailer clip of their deaths she had played over again and again, sleepless each night in the terror of waking dreams, until the weed had abated the awful addictiveness of that fantasy. Its hazy shroud, smoked daily, was the only escape. It was like inhaling the detritus of the earth, entering into a polluted communion with waste itself, rebelling against the aseptic surfaces of the suburbs, clawing deeper with every toke.

She climbed out of the water, finally exhausted.

In the glazed, cerulean surface, she saw herself: milk chocolate eyes wide as marbles. Its fluid reflection was as mercurial as the mirror in her bedroom, the shimmering, distorting wallpaper, the surfaces of wood, metal, plastic, glass and carpet which seemed to ooze and blend into one another. Inside the house, everything flowed and churned in static repetitions of temporality, of reality itself, whereas here there was a possibility of solidity. The tiles around the pool clung to her pale cold skin. It was so easy to just fold inwards, to just lie down, right there, in the sweet gold light…how easy to be that sliver of a thing, which the world would burn through in its indifference.

“April? April dear, is that you?” It was Grandma Grainger, leaning out the bathroom window which overlooked the back garden. Her voice echoed around the surrounding houses. She repeated herself when she saw no movement of registration from her granddaughter, who lay by the pool on her side, like a beached seal.

Grandma came running out into the garden, cradling a huge white towel that she’d grabbed from the linen cupboard, neatly folded.

“Oh darling!” she knelt over April’s wet body, her underwear soaked through and the skin of her fingers wrinkled slightly from the water, like long thin prunes. She realised that the skinny, teenage girl she had watched since her own daughter’s death had filled out with fleshy, swollen curves. She was there in front of her; she was substantial. As if in pain, April groaned a little, and her grandma breathed a sigh of relief, to see she was alive at least.

“You look so very pale,” she said, tutting with disapproval. “Sit up.” Unconsciously, April obeyed this instruction. She hugged her knees and let her grandmother wrap the towel around her shoulders, feeling like a child again, small and vulnerable. It was soft and almost warm. Another kind of shroud.

For a while, they sat like that in the quiet suburban garden, the only sound being the soft calls and song of awakening birds. So close they seemed, yet distant. The two women did not appear to be speaking to one another. They just sat together, as if they were static ornaments in the mise en scene of a film set: April enveloped in her white angelic veil, shuddering in the cold, Grandma Grainger folded in the cream-coloured silk of her nightgown. The garden was bathed in a queer blue glow that seemed to emanate from the pool.

Grandma did not comment on the bloodstained clothes, nor the fat, silvery tears which were suddenly pouring from April’s eyes, uncontrollable as the rain that came in a storm. There was something elemental and strange in that unexpected display of emotion. She did not think she’d ever seen her granddaughter weep, not even after her parents died, or when she came back from university, defeated.

“I wondered where you’d gone off to for so long,” she said quietly, picking at a tiny chip in her vermillion nail polish. In the ensuing silence, Grandma knew that she would never get an answer, not properly: April really was this unknown entity, an absolute other who she could do nothing for but care for unconditionally. It was a sorrowful burden, the love of this shivering thing beside her, an adult and yet a girl, almost an alien.

Fighting the paralysis that had overcome her in the cold, April dipped her toe back into the pool water. The ripples undulated outwards, as if she had just pierced some huge and molten jewel. All you had to do was find the weak point.

“Oh, what are we going to do with you?” Grandma sighed deeply, her voice a fragile croak, almost lost in the rustling roar of the poolside trees. The breeze would come and go; would rattle the branches then leave them in silence again.

“What are we going to do with you indeed,” Grandma repeated, as if for good measure. She was surprised when April opened her mouth to reply.

“I don’t know,” she said, teeth chattering, “but maybe we’ll figure it out tomorrow.” She wrapped the towel tighter round her shoulders, then stared back out at the water, at the spot where she had just dipped her blueish toe, the ripples spreading outwards still, stiller and still.

Tropical

IMG_012301

Tropical

You used to worry about the palms: there was something wrong,
you said,
if the palms weren’t sighing.

You relished the soft peel of the wind through those palms,
the ones by the hotel garden.
We’ve been here every year
since Dad died.

The white beach sand is a mouthful of moonlight.
We sit up late drinking crushed fruit
and you say strange things, as you always do—
have you ever eaten a mango in the bath?
You would live your life like that,
all the time you said, eating mangoes in the bath.

All that pulp and mess, all that flesh.
Dad died in the spring, when blossoms
of soft pink cherry gathered on my lawn.
The baby lolled around in it like April snow
and we watched her giggle, ribbon
flying out from her hair. He would’ve loved that,
seeing her there.

The cancer took the green out his eyes,
ate the skin of his face.
Even when they pumped him full of fat and creamy vitamins,
the bones kept poking, pointing.
His face was a mask of something;
I couldn’t let the baby near it.

I imagine you prefer it here
to back home. You like the ooze
of the days, the way the maids make the beds;
the emerald green of the parakeet,
early mornings where the tide sparkles. Still,
you saw signs in everything.

Dad used to come visit during monsoon season.
He wrote reams of prose,
lapping up slushfuls of rain. He wrote
in the small hours, when he wasn’t working.

We lost the notes.
We’ve only the stuff on his business trips,
lost code on his laptop.
We haven’t a sense
of what to him was sharp or clear, what it was
that brought him over.
Just the whispering palms, the sleepy tense—
one day I’ll take the baby here.

Cumbrae: A Fragment

Source: openroadscotland.com
Source: openroadscotland.com

I have this memory of being nestled in the cleft of a rock on the isle of Cumbrae, my bike propped up beside me as I sit watching the sea and eating fizzy laces (they were cola-flavoured, or maybe strawberry). I’m on the rugged side of the island, where yellow eyes and strange animal faces are painted onto cliff walls and sometimes if you stare hard enough at the ocean you can see seals. On the other side of the island, you have the little town of Millport, with all the white and pastel-coloured houses looking out onto the harbour. Everything is still, soft, crisp – the texture of sorbet – so that the only sounds you can hear are the steady lap of the waves sloshing against rocks, and the occasional cry of a wandering cormorant. The island to me is like the shyest of kisses: the kind that taste of rain and raise your spirits. Yes, I’m eleven years old and I feel invincible.

You see, I’m on a bike ride, travelling twelve miles right round the island. I’m wearing jeans with the bottoms rolled up and spattered with black oil from the chain; I’m gripping the handlebars so tight I can feel the blood burn and tingle in the tips of my fingers. I’m pedalling even faster than my sporty brother and my father and I know I’m going somewhere because the landscape changes the faster I go. Life rushes by like a montage peeling back luscious scenery. I pass other families on their bikes but they don’t see me; I’m caught on the drift of the wind that they’re battling and I’m going faster than they could imagine. The sun is on my back and I’m flushed and my hair tangles around me, caught in the straps of my rucksack. I want to get there first; I want to be the first one to reach the secret beach.

You can stand there in your bare feet and I remember the cockle-shell rocks, greenish with sea leeches and weeds. Nearer the sea the sand is velvety thick and oozes up between your toes. My child’s eye spots the starfish and sea anemones, and I wish I had a jar to take some home. I’m teasing my brother about something and he throws a stone into the ocean, watching it bounce five times over the waves. Sullenly I watch it. Then in my head I tell everyone I’m a mermaid and paddle in the shallows, looking out for the shoals of fish that swim by in miniature shimmers. We’d wander back up to the rocks and pick our seat; and that’s where I’m sitting, now, in this moment, looking out to the mainland without worrying about a thing. I’m just admiring the craggy shapes of the distant cliffs and the way the cloud looks like billows of cigarette smoke coating the landscape.

The worries would come later, in the dreamy space that opens before sleep. I’m trying to get at the dregs of this memory. The exact details of colour and light, the way that the April air felt and the shapes of circling time. You go right round the island and come back to the start. You paint the strokes of the green hilltops and the silver belt of the road. It’s nearing summer so the day drifts endlessly through night; it doesn’t get dark properly here, not really. Not until the depths of winter. A shower of rain that’s a spray of glitter. Maybe there’s a lighthouse shooting beams of white across the bay. Ships passing ghostlike in the night and you wouldn’t even know. I remember the cold blasts of wind you get on the ferry, with the horn of other boats and the marvelled awe of other children looking out towards the harbour. I call up all these things and wish for more.

Source: openroadscotland.com
Source: openroadscotland.com

Maybe all that remains of this memory are the sea-smoothed shards collected in a jar that sits on the sill of some window in my mind. You can remove the lid and pick the best colours, turn them over separately in your palm, but you can’t make them real again. Time has softened the sharpness of their edges, added layers of distortion to their rays of shifting colour. Hold one up to the light and you will see the bubbles that mark each year that’s passed, arranged in no order other than chaos.

Somewhere, there is the shimmering bleep of slot machines from the cheap casino room of a ferry. A man asking for tickets and a car stuck on the gangway. The taste of peanut butter sarnies gritted with sand, the crispness of silver foil in my hand. If I close my eyes, dizzy and thirsty, I am back there, my body nauseous with the pull of the sea, the boat rocking to and fro with the turn of the words that mutter on my tongue. My hair whips over my face and it smells of salt and seaweed and I can feel the island growing ever so closer to me as the ocean moves towards the setting sun. It’s not that I’m eleven again – nothing is the same twice over – but it’s the feeling of a memory that you can hold up to the light, watch it distorted, watch it glimmering bright.

Time present and time past are both perhaps present in time future: A Year in Review

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How are you meant to review a year when the year itself isn’t quite over? You try and think of it as a block of time: a chunk of events lumped together to form some kind of history. You’re always reaching out for connections, trying to box things and label them as such. This was the year I got divorced and found my freedom; the year I graduated and stepped onto my career path to success; the year I lost someone dear to me and found solace in a new hobby. The movies have it all mapped out for us, the way we’re supposed to review the events in our lives. Facebook, Flickr and other social networks that we rely on help us with this theatre of memory, by archiving everything together in chains of photograph albums and status updates. Events are strung together in relation to chronology and names and computer-configured faces; what happened to who, who was tagged where, who liked this and who got married and who had a baby and who got promoted. Every element of time is rendered orderly, linear. Compartmentalised to make us all competitive, individual, empathetic, jealous. We’re moving on a straight line towards goals, achievements – more notches to add to our timeline.

But what end are we moving to? A timeline cannot flow on indefinitely; or can it? Surely it’s meant to document an A to B, a fixed period in time with all the events this period contains (contained). Life, as we commonly think of it, is a series of events strung together only by their relationship to the future, to development and change. We hate stasis; we love drama. Really, as Freud put it, what we desire is death.

Desire, however, isn’t quite as simple as this. Freud, as Deleuze and Guattari argued, ignores the basic tenants of capitalism. The need for more, more, more which arises not solely out of some psychoanalytic lack, but out of production itself. The act of purchase, the mesmerising experience of lifting up some pretty snow globe and spinning it in one’s hand and thinking I would like to buy that. The flicker of a giggle as we take it home, imagining how our new product is going to enhance the life that fills our fragile hours. Fill a room and create new topographies of mental space. For everything we see disrupts our schemas of reality, even if only slightly. The snow swirls up and covers the landscape and for that moment we are free from the chaos around us.

What we are looking for is T. S. Eliot’s ‘still point in the turning world’: that perfect moment where we are at peace with ourselves, where we see through to the present itself amidst all the churning miasma of the world we exist in. The wars and media images, the headlines and celebrity photographs and radio crackle and dance music beating and phones ringing and Blackberries bleeping and all the million signals that flicker in our brain as we gaze into a computer screen. For we are multiple, divided, networked creatures, always-already caught up in swarms of information. Time is not a static archive, but a rhizome of interconnected possibilities that flash and shift and click in our minds.

And what’s more, events in time always come back. The logic of the return. Write a sentence and press the Enter key. We aren’t just running forward into the bright light at the end of some metaphorical tunnel. We follow our lives in a loop. Spilling over and retracing our steps. Think, for example, of a book: meaning is made not from a linear plot, but from the intricate play of signifiers and motifs which weave a melody of meaning throughout the narrative, linking the past and present with a possible production of future. That old New Critical interplay between Fabula and syuzhet.

Real life too. Wars return and people die in the same way, as if re-enacting the past in some big-budget film, tracing archives of pain that carve out a bitterness in history. We stand in the mirror at roughly the same times each morning and perform the same routine. Routine, like it or not, structures our whole mentalities. That’s why culture is formed on the basis of habit and ritual. Religion falls in here too. Are we always waiting, as Yeats suggested, for the Second Coming? The ‘revelation’ that is always ‘at hand’, ‘surely’? Let’s circle back to the start – of the twentieth century, to be specific. Freud says our personalities are determined by the first few years of our lives. Our anxieties now repeat the biological functioning of our infant bodies. Are we so caught up in ourselves that we cannot think beyond our bodies?

***

What does it mean to be in simultaneous temporalities? I write this sitting by my newly-decorated Christmas tree, in the living room where I spent almost every Christmas of my life since the age of three. The smell of pine and the reflection of fairy lights through the window lighting up the pampas grass in the garden. Everything wondrous and dark. Remembering lying on the floor after a day in town drinking Jack Daniels and shivering cold on the bus and listening to Muse’s ‘Butterflies and Hurricanes’ and dreaming of another night so unlike this. The frozen park in November with the roundabout and fireworks and the tall black shadows of the distant trees. Now the steady showering of rain at the window, spraying like glitter under the orange lamp light. Once there were family members sitting where I sit now, all laughing and ripping open presents and drinking sherry. My dog Bella climbing over everything, whining and wreaking havoc with the whip of her tail. I slip through all these memories until they feed my present. I cannot focus on one thing alone. I feel like I am several people at once. I am no longer singular. No longer a statistical person.

What happens when you are no longer one person? There is a politics to this. There are the people that believe in return and repetition. People whose whole religion is based around recurrent events and cyclical time. The solstices of Paganism, then the spiritual systems of the Mayans and Aztecs. This contrasts with the Judaeo-Christian vision of linear time, which starts with Creation and ends with the Second Coming. But what if this Second Coming was always coming? To come? Since the present is contaminated with the future (unconsciously or not, the things we think and do are always shadowed somehow by some possibility to-come), doesn’t this render the idea of ‘the present’ almost impossible? Do we slip into the spirals of Yeats’ gyre and Derrida’s spectrality?

Are we on a road or an ocean? A stream or a snowball?

Capitalism and heteronormativity set out a life plan for us. Find a mate, get married, reproduce, recreate the system. Work, earn money, pay your way. Consume. These are all instrumental processes which work towards goals. Inside these events we make our own histories, certainly, and there is a degree of creativity and fulfillment. We aren’t just pawns. But this isn’t the whole story. Here comes in Judith Halberstam’s queer temporality. What happens to the temporal experience of those who do not follow this conventional route to eventual death? Who fill their lives with more entangled possibilities which are fraught with uncertainties and questions rather than fixed narratives and clear answers…

Remembering his lover’s death from AIDS, Mark Doty says: ‘all my life I’ve lived with a future which constantly diminishes but never vanishes’. The looming possibility of a non-future, a future without hope or action or life, shifts the focus back to the present. Gone are the regular goals of ‘making a living’, ‘providing for the future’, ‘putting something away’ for one’s children. The next generation are often invoked in political discourse. Global warming is dangerous because it will spoil the world for the children of the future. Non-heterosexual relationships are supposedly dangerous because they don’t follow the capitalist ethic of (re)production in the strict sense. Atheists threaten the idea of progression because they do not believe in a future beyond. The list goes on. Sometimes we are unaware of how important time is to politics. If we ‘queer’ time by questioning the validity of its conventional Western linear conception, what kinds of lives can we live in our present political realities? How can we change – perhaps even revolutionise – the system. There’s the old doctrine of Hedonism – live out your pleasures in the present with a general disregard for others and the future. But the present isn’t inherently selfish. It’s a place where people can come together and change things, without being bound to the very isolated narratives of old age and death.

Drugs, jobs, relationships and illness all alter our experience of time: slowing it down, speeding it up, blurring it, erasing memory, making us fearful for the future. As these things become less stable and more unpredictable, how will this affect the future?

Will we have a future, or will it be a series of presents? Can we really look to the future?

Maybe the answer is in science fiction.Think of Ursula K. Le Guin’s The Dispossessed (1974), which explores the concept of anarchist politics through ideas of simultaneous temporality and cyclical return. Revolution and repetition are in operation at the level of both form and content: story and narrative, narrative and story. Time revolves in curious ways around and between two planets, just as a moon revolves around the Earth…but what does the Earth do when you are on the moon? Einstein’s relativity comes to disrupt the easy narrative of linear time, even at the level of science…

Maybe the answer is also in our own experience. Think of a memory. Any memory you have: the first time you rode your bike, the time you fell over while dancing drunkenly on a beach in the freezing winter, the time you lost your first pet to the grovelling paws of death. All these memories do not stand alone in our minds like a physical photograph stuck and labelled in an album; but are rather bloated and blurred with the original anticipation of the event itself, and of the aftermath – the events which have happened since and in turn coloured the original. Repetition is not static but transformative. Moreover, human beings revel in repetition. The simple pleasures of revisiting an event, even if just to experience the same emotions again as they recur in a faded form like a polaroid misted by the breath of time. Maybe that’s why people have children, so they can do the things they miss doing as a kid. And as Fredric Jameson points out, in the postmodern condition of consumer capitalism, nostalgia becomes an industry itself, shaping culture from advertising to film and literature. As our lives get more complicated, faster, information-saturated – we return to an idealised, rosy history that is often removed from any genuine meaning.

***

I always find Henri Bergon’s work fascinating, when I can get my head around it. He was writing around the same time as William James, the psychologist that first coined the term ‘stream of consciousness’, which is still widely used today to describe the workings of our minds but also how these workings are depicted in certain kinds of literature. Yet a stream has linear connotations, assuming that our mind is always ‘in flow’ – moving forwards and never stopping or growing, just streaming onwards. Bergson, however, figured consciousness as an experience of ‘duration’. Think of any moment, any moment as it happens. As soon as you think of it, with a milli-gasp of a second, it’s gone again. Time is always shifting and never static or complete. While science might attempt to chart time in a linear, measured fashion with clocks and calendars and equations, in our psychological experience; time does not easily fix itself to such points. It can only be grasped by imaginative intuition; it is always fallible and contingent, never the same as each moment reconfigures the last, endlessly shifting our experience of the world and ourselves: ‘my mental state’, as Bergon puts it, ‘as it advances on the road of time, is continually swelling with the duration which it accumulates: it goes on increasing – rolling upon itself, as a snowball on the snow’. And so where does that lead us, if not to the icy abyss of our certain deaths?

Well, for one thing, it actually confirms that we are not mechanical beings, destined to follow the path that time lies out for us. Sure, we will probably all die. But importantly, if Bergson’s theory works, we have free will; imagination plays a significant role in determining our relationship to the past and future. The moment is always an evolution, and this gives us a kind of freedom.

There are, of course, a multiplicity of links between return, recurrence, rupture and revolution. The breaking free of history as history is understood in a linear manner, read from front to back like a traditional book.

Literature has a long history of delving into irregular conceptions of time. An example might include Tom McCarthy’s Remainder (2005), in which an unnamed protagonist decides to reconstruct a series of memories after coming into a large sum of money following a mysterious accident. These reconstructions are performed down to the smallest of details: the expression on an old lady’s face as she takes out the bin, the cats that prowl the rooftops, a crack in the wall, the pattern of floor tiles, the sound of liver frying in the flat below. What follows is a topography of static memory, caught in the narrator’s imaginative present. Time loses its linear quality as the past plays out in ‘real time’ with the narrator switching his memory scape into ‘on mode’, hiring ‘re-enactors’ to perform the roles of the people in his memory. And yet an amnesia and aporia haunts the narrative, as we are never quite sure where these memories originally came from; whether they even belong to the narrator. With a book like this, we lose the certainties of the traditional realist novel and the linear movement which often ended so finally with the closure of marriage or death – the first promising reproduction and progression, the latter an ultimate extinction that ends the line. There is something about the novel form in general that links it irrevocably to time; it is not contained in a performative moment like poetry, but must be read over a series of hours or days or even weeks. We physically must turn the page. Days pass in the novel, or maybe they don’t, as in the one-day novels of Woolf and Joyce (Mrs. Dalloway and Ulysses). Novels often concern themselves with memory and futurity; the sheer arrangement of sentences on a page, moreover, takes us through time. Time flows as we read. We make connections and go back again; we are at once linear and circular as we exist as minds in a novel.

But we are now in the era of the great hypertext, which denies all paths to origin in its networks of complex code and multiple nodes. The Internet exists largely in a state of simultaneity, connecting various presents from around the globe. And yet, like Bergsonian duration, it resists a static conception of time; everything about a webpage is always changing as new file paths are forged, different visitors leave their online traces, new links and reposts alter the original location. Life is a labyrinth, but we would do well to forget thinking about what lies at the end. Maybe we should focus on the here and now, and give ourselves the freedom to transform the present.

***

And this year? Well, this year started with a parting: losing my most beloved pet to death. All life is a natural cycle though, as the year ended with two new births in our family. On New Years Day 2014, I went for a walk to refresh my head from working the night before. A man stepped out of the 24 hour newsagent with a bottle of Mad Dog 20/20 and cracked open the screw top to a dream of futurity that ended in drunken oblivion. I feel this is somehow fitting.

Most of my months passed in the library with the seductive glow of the computer stopping me from doing much other than reading and essay writing. I fulfilled both of my somewhat humble resolutions to a) do more creative writing and b) grow my hair down to my hips. I passed my exams and spent my 21st birthday hanging upside down at the park. Went to Dublin and even got a bit tanned and kind of liked Guinness. Saw Little Comets twice, first at Cabaret Voltaire and then Liquid Rooms in Edinburgh. Spent quite a bit of free time in Edinburgh actually; explored the Botanic Gardens and the beach at Portobello and went for walks at Dean Village. Listened to lots of Belle & Sebastien, Manic Street Preachers, the new Bright Eyes album and a heap of other stuff. Bagged an iPod classic before Apple stopped doing them. Had one of my best Wickerman Festivals and ate coffee granules for the first time. In August I went down to England to see family and ended up at Stepney Green, going ‘back to the ancestors’. Drank a lot of ginger tea and did some yoga. Went to Loch Lomond. Averaged about a kilo of chocolate a week, mostly Dairy Milk. Got a blog article put up on WordPress’ Freshly Pressed which was lovely. Went through the referendum and came out a little deflated but unscathed. Also enjoyed the spirit of the Commonwealth Games, even if I couldn’t really give a toss about sport. Saw an amazing sunset on Ayr beach, all alcopop pinks and oranges burning and sinking into the silver sea. Wrote three times my dissertation then another proper word-count-conscious dissertation and didn’t go completely insane. Served Alasdair Gray some brandy and a few months later . Started playing trombone again. Enjoyed one sip of red wine and dyed my hair strawberry copper. Went to a conference call to Peter Singer. Changed my favourite study space in the library…

Yep, as you can probably tell, my 2014 hasn’t been exciting by most people’s standards. But you know, it was a very good year overall. God knows where I’ll be a year from now, having graduated and moved out and hopefully made some provisions for the future. But even if I haven’t, even if it seems that not much has changed, what does it matter when everything dissolves in a series of moments? 😉

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Some Reading:

Deleuze, Gilles, and Felix Guattari, Anti-Oedipus: Capitalism and Schizophrenia.

Bergson, Henri. Creative Evolution.

Eliot, T. S. Four Quartets.

McCarthy, Tom, Remainder.

Halberstam, Judith, In a Queer Time and Place: Transgender Bodies, Subcultural Lives.

Mushrooms at Dusk

mushroom

She found the quality of light at this time of year awfully confusing. Dull grey in the morning, silver streams of mist that lick the sky like butter from your fingers. The twilight haze of three o’clock, where the amber lamps come out like fireflies and shadows gather ominously across the sky. Maybe a wisp of some foreign wind, darkling in the fade towards four, where she’d be sitting at her window, wondering. It was the time of year to tend to the garden, pile up the heaps of leaves, clusters of rotting pinecones and acorns that clotted in the soil. The earth was hardening for winter, and soon the frost would come, eating into the grass like a glittering poison. She’d see it as she dressed in 7am sunlight, the whitish mist making crystals at her window. Everything still and beautiful.

It was a luxury, to be home now. She waited for the seasons to change, right at the hinge between autumn and winter, before she made her journey. Asleep on the train, dreaming of being small again, so small in the bubble of childish memory. She could smell the peanut crunch of M&Ms, the sparkling particles of someone’s perfume. Soon, soon she’d be home. The place grew tighter every year, as she grew fatter on the milk of new years and their offerings of plastic joys and flattened dreams. She stood in the kitchen, watching the steam swirl out of her first cup of tea. No new mugs, of course. Later, she would press her face to the window and her breath would fog a dewy canvas, and with one finger she’d draw pentagrams, like she always used to. There’d be the rubbery squeak of skin on glass.

No-one was at home now, just her in the wide archives of the house. In the dusty shelves that made her sneeze, and the picture postcards, she imagined a thousand phantoms. They were pretty phantoms, ornamented with the smiles of children and the pinkish sheen of memory. They did not speak to her, but she was somewhat comforted by their silence. What counted was the presence, the ghosted sigh of a skin-prick or coldness. She would wait till her parents got home and read books, in that nook between the banister and the cabinet on the landing. Imagining herself as Jo in Little Women, taking great bites out of Braeburn apples, lines of prose flying before her eyes. She did not fit there as well as she did as a child. The wood cut into her arm as she read the strange poems covered in gold-frosted dust. Somebody had been spraying glitter in the study, making Christmas decorations. That was a long time ago.

***

Morning came like a murmuring of starlings, and slipped away again just as quickly. Her body was heavy, her limbs tree-trunks of aching muscle. She felt she had been away again, and the new hours were another return. She worked them over in her mind, pondering the way their shapes formed with her hunger and sleepiness. Moulding, slowly. At the window she stood and yawned. Some machine was whirring away, making her coffee. The smell dissipated through the room with its warm opulence, stirring her brain to life. Yes. She peered closely into the garden, staring at strange dark shapes which clumped in the fronds of long grass. Most peculiar. Later she would investigate. She ate her breakfast of burnt toast with the radio humming in the background, speaking of a war somewhere, and then advertisements for hair salons and special restaurants. Onto her toast she spooned pools of blackberry jam that looked like crushed rubies, and the soury sweetness bit at her tongue between her teeth. She chewed loudly and grinning, the wine-coloured juice staining her lips. Afterwards, she left everything on the table: the crumbs peppering the wood like a pixie’s debris.

It was almost enough just to be here, out of the shouting sirens, the madness of the city. Home, she supposed. She sat at her laptop, fingers clicking ruthlessly at the keys. She was writing a message to someone, a sad story about why she would no longer remember them. She would keep it saved, locked deep in her computer’s hard-drive, and then one day send it. When she had the person’s address. When the time was right; which it wasn’t just yet.

Everything stretched out like the languid yawn of a giant, just a long morning and the gape of afternoon, uncertain evening. The sheerness of time was narcotic, rendering tiny signals that pulsated in her brain. She was at once sleepy and electrified. She rushed up the stairs to check something in her room, but her phone was dead and all that was there were her clothes strewn across the carpet. She messed around looking for things to read. She highlighted her favourite words in the dictionary. It was a big dictionary, and a whole hour shed away like the flake of skin that layers the top of a scar. She remembered only a handful of this vocabulary: sapphire, salience, stardust, Saprotrophic. She was cleaning the window with lemon vinegar, making sweeping lanes in the film of dirt. A thin moon peered out of the weary sky like a wink. Saprotrophic…she had forgotten something. Ah…the mysterious clumps in the garden! Of course, they were mushrooms, only mushrooms…

She pulled on her mother’s wellies and trod out into the garden, up the concrete steps. The air was very still; mournful, even. It smelled of wood-smoke, and somewhere she could hear the crackling snaps of burning tinder. Plumes of it rose against the blueish dusk in dark arabesques. She sighed contentedly. The clumps were even more abundant than she’d thought; the whole garden was teeming with their shadowy figures. She knelt down to inspect some. She thought of the honey fungus they’d found out in a forest once, clinging prettily to a rotting stump. In the sunset glistenings that glazed the silhouetted trees, she had thought she could almost see fairies, fluttering above the mushrooms. They were lovely mushrooms, with their smooth peachy caps. Her friend had said they were edible; but you could not be sure with wild ones, so they left them alone, like a living relic, noting their path. The toadstools she saw now in the garden were a putrid brownish colour, etched with black lines and little white spots. They were ugly in a kind of otherworldly way. Ethereal, even.

Her knees were going numb from bending so she stood up and did a lap of the garden to get her circulation back. She was recalling things. The party where a boy brought out a sandwich bag of suspicious-looking vegetables, frying them on somebody’s pan. She’d stood in the doorway of the kitchen, her mind full of cheap red wine, watching the way the little things unfurled in the buttery oil, their spindly stalks stretched out like tentacles, their heads jiggling like jellyfish. As they started to sizzle and wilt, they let out a curious, bitter smell. The boy had shared them among his friends and then they had disappeared for most of the night. Later, one of them was hanging upside down in a tree at the village park, and he was reciting streams of Byron’s poetry. Sometimes, she still heard his voice, even now, reverberating through the dark.

The cold was coming out of its slumber and creeping into her bones. She stood still, wrapping her cardigan tight around her. She crouched down again and dug her nails into the earth. A weird feeling gripped her, a feeling tinged with homesickness. She pulled nothing out of the ground, no trace of seed or root. She stood up again. The quietness made her feel smaller than ever, but her mind was huge and overbearing, stretching itself across the matter of the garden. It all glared in her vision like the close-up shots of a dream. She wished some sound would break the silence. A bird-cry, even. But the little creatures were so quick with their wings that they made no noise as they flew between branches. She was trembling now, remembering everything.

The fungus at her feet now looked like the severed heads of something. She had to breathe.

If only a car would start in the drive, or a plane fly overhead…something, something!

They say that magic makes you happier. And she thought there was a thing she could do, before going inside again to the womblike comforts of heat and sleep. She brushed through the grass with her wellied feet, and stood in the centre of one of the fairy rings. It was a near perfect circle. She stared first at the mushroomy clumps at her feet, then up at the sky. It bore the dramatic flashes of an expressionist painting: great bolts of violet wounded the blue, and rivulets of yellow broke away from the horizon, approaching amber and spiralling, spiralling. Then she found again the moon. Brighter now, it was a sharp crescent, the fold of an eyelid. She waited, waited. Her body was cold and her skin prickled like coral on a sea-washed rock.

The clouds began to gather, slowly at first then fast like an army.

You could smell it in the air, the sourish dampness that held as a breath.

She closed her eyes and the rain came. She felt the initial sprinkles that bounced off her skin, the cries of birds as they darted into the hawthorns for shelter. Drizzles of silver slashing the landscape. A downpour of water and chilly air. She stuck her tongue out for the cold shock and the sharp taste. The crescendo sound of it showering louder, coming down thick and heavy from the west in globules fat as teardrops. She opened her eyes and her hair streamed down her face like seaweed, clinging to the marble of her skin. She felt it surge within her, the waterfall sounds of this injured nature. A grumble of thunder. Something stirring in her chest, a rush in her pulse. Almost like someone was watching her, a million things flashing around her. Her laughter was lost in the cavernous sound of the rainstorm, another echo pirouetting through the chambers of memory. And as she stood there, the fungus and mushrooms soaked up their nectar, before crumpling to a wasted doom. The rain had poured through and through her, and she felt hollow and purged as a mermaid tossed from the sea to a tomb. And she was the still point in the tempest around her, her body soft and sad with its sickness. This was it; home was just this, wild and true, the beatific glow of a hullabaloo.

Autumn Reflections

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The dawn cracks open the sky like a chestnut, and gold light pours on the concrete and grass like showers of molten topaz. Somehow it’s October and I’m wondering how I got here. Where the summer has disappeared, along with the warm air and the billowing roses, with August and its hydrangeas; it seems time has elasticated itself, and snapped at the strangest of places. Everything may break free now. The world slows down, as trees shake themselves clean of another year. Leaves cascade on the ground, and as I walk I hear the susurrations of their skeletons, rustling like the sound of rain at night.

Autumn is a quiet season. We retreat inwards. Gone are the sparkles of summer voices, the throb of fashionable neon and jet planes soaring to boozy utopias. The Pimms is perhaps swapped for something richer, sweeter, warming. A good cider, red wine, some inventive cocktail combining Kahlua and caramel-flavoured tequila. You think of those people hanging out of balconies, their bare skin glowing in the cold air, the slivery iridescence of cigarette smoke curling from their nostrils. There are the box-sets, the television dinners. Going out is such an effort; it is the not knowing, the tentativeness of the weather. Things would be easier if the sky kept to its promises.

I wanted to go blackberry-picking this year. I found a place along the Kelvin where they sprawl out of the bramble-bushes, poking like fat sapphires through wire mesh fences. I need to find some leafy suburb for conkers. When I was little, we spent the October holidays at my Nan’s in Milton Keynes. There was a copse of horse-chestnut trees and every year we brought back a black bin-bag full of conkers, and I’d shine them up with vinegar and nail varnish before taking them into school. There’s something incredibly satisfying about the way they feel in your palm, solid and smooth, nourishing somehow. I didn’t quite make it in time for the blackberries, but I did the walk again all the same, sweeping my feet through the trails of leaves. Autumn had left its burnished light, a shimmer on the river. I love the feelings of these late afternoons, where darkness is like a comforting hug, handed through chasms of stars and amber.

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Once, we had a school project, to gather up all the fallen leaves we could find and press them into a picture behind glass. A lesson in natural materials, perhaps, in arranging colour. We were flattening the landscape, making art; in the veiny intricacies of each leaf lies a million hidden histories. We’ll never know, and they’ll fade and die eventually.

Autumn is always a time of nostalgia. It is that paradoxical time where death reveals itself through visceral beauty. The life forces of summer unfurl and wither and fall away, and yet there is a beautiful melancholy in the sad palette of reds and golds and browns, the snuffling of squirrels amongst tufts of bracken. Everything is scattered: the husks and roots and fragments. You find them in the strangest of places, tucked not only in forests but flowing out of drains, wedged in concrete and windowpanes. People spend their Sundays loafing with films and Scrabble and roast dinners. Or maybe they don’t anymore; but maybe they did once.

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By September, we’re back at school, back at uni. Fresh starts amidst the fall. Sharpened pencils, the smell of polished leather. The heating goes on for chilly mornings. Socks warmed up on radiators. That was before I had a flat of my own, and became too stingy. The wind, like some malicious spirit of winter, slips through my single-glazed windows, blasts the rose from my cheeks. I make do with the illusory effect of candles, the quick fix of hot water bottles. You can warm anything with the scent of nutmeg and cinnamon, a flash of cayenne pepper. Stodgy soups and slabs of bread. I watch the pumpkins fill up in the shops, imagining a sea of faces, waiting to be painted on. Or carved out. Stacks of apples to be bobbed, pubs to be terrorised by the horrid costumes adorned by students. Halloween is not quite what it was when I was younger. I miss the parties with the clouds of cobwebs and incense haunting the rooms of my house, fake spiders draped from the chandelier; the echoing sound of dub-step, and the taste of vodka and food colouring. Edible brains and blood-coloured fizzy laces. The sugar-rush; the hungover fall and slumber. Soon there’ll be fireworks, splintering pigments across the sky. As ever, I’ll watch them from the high-up floors of the library. Remember being in first year, where I sat on a Saturday night, my eyes blinking at a computer screen as I read Byron’s poem ‘Darkness’, for a seminar. The rockets flared and pinks, yellows and blues blossomed in flowers of light as I imagined his vision of desperate apocalypse.

That same semester of uni I sat in a cold lecture theatre, teeth chattering as I pressed my face into a perfumed scarf, the animated man standing on the podium in a tweed jacket reciting snatches of Shelley:

O wild West Wind, thou breath of Autumn’s being,
Thou, from whose unseen presence the leaves dead
Are driven, like ghosts from an enchanter fleeing,

Yellow, and black, and pale, and hectic red,
Pestilence-stricken multitudes […]

And I, feeling so small and new and ignorant in the world, was sucked in by the spirit of the wild West Wind, not knowing how it would take hold of me and make me fall in love with this city that I have now grown so used to. Fallen into, as one sinks into a favourite old sofa. The ‘hectic red’ is blood-like, beautiful, sinister. Isn’t it lovely, to imagine every leaf a little ghost, cast away from its tree into a journey of exploration and retreat? Wearing the plum-coloured lipstick, the thick mascara and black coat; could not I be one of the ‘pestilence-stricken multitudes’? For autumn is infectious; her colours allure like the striped warnings of insects, the ‘Smoking Kills’ labels on cigarettes…we cannot help but buy her palettes, absorb her force through woollen fabrics…

image source: ladyhollyshawblog.wordpress.com
image source: ladyhollyshawblog.wordpress.com

Slowly, it would be nice to become more ginger, adding redness to my hair through soft washes of auburn. I would like to have hair the colour of leaves, as they enter that strangely vibrant stage of fading. From fire to fawn. Can you not imagine the smell of the roses as they wilt for winter, so luscious in the fat of their fragrance? There are roses, still, weathering the rainfall and cold. There are white ones on University Avenue, dripping with raindrops; their petals lie about them like the shredded remains of love notes.

By the time autumn has ended and entered the shrine-like stasis of winter, I will have forgotten my sorrows, finished my dissertation. This is all hope and relief; but isn’t that what autumn is: the sparkle of Christmas festivities on the horizon, the embracing of frugality and calm after a toxic summer? Apple pie, with ice cream and Amaretto, instead of beer and salad? An ethereal, rustic beauty that inspires fountains of poetry? For what better thing to do on a crisp autumn evening, than to sit at the window with a cup of tea, leafing the pages of a book and feeling purer – not just a hipster, defined by the vague fashions of everything around you – but a lost soul re-enacting the perfect scene of reading, as it plays out through the ages. For global warming might prolong the first fall of snow, but for now autumn will always be coming, and there is nothing quite like language to capture the tinctures of foliage, the crunch of acorns underfoot – the endless song of autumn’s calling. Right now it is raining – a luxurious, slow rain that pours through the one o’clock darkness – but next time the weather is good, I will go to Victoria Park and watch the swans, white against the scarlet leaves, the silver glass of the pond.

Unwearied still, lover by lover,
They paddle in the cold
Companionable streams or climb the air;
Their hearts have not grown old;
Passion or conquest, wander where they will,
Attend upon them still.

(W. B. Yeats, ‘The Wild Swans at Poole’).

Ten Things for Autumn: 

  1. Apple Pie Soup http://thesoupfairy.tumblr.com/post/19640840152/apple-pie-soup-literally-my-favourite-soup-ever
  2. Blackberry gin! http://www.deliciousmagazine.co.uk/recipes/blackberry-gin
  3. Burgundy lipstick http://www.cosmopolitan.com/style-beauty/beauty/how-to/a4900/rules-for-wearing-burgundy-lipstick/
  4. Dante Gabriel Rossetti, ‘Autumn Song’ http://poetry.about.com/od/poems/l/blrossettiautumn.htmhttp://poetry.about.com/od/poems/l/blrossettiautumn.htm
  5. Manic Street Preachers, ‘Autumn Song’ https://www.youtube.com/watch?v=Cw9tazfA3aY
  6. Go foraging for mushrooms and fruit, or just fairy-spotting
  7. Cinnamon-stick candle http://www.yankeecandle.co.uk/en/restofworld/shop-by-fragrance/cinnamon-stick/icat/cinnamonstick?setpagenum=
  8. Ginger tea http://www.ecogreenstore.co.uk/index.php?main_page=product_info&products_id=1372&gclid=CjwKEAjw2f2hBRCdg76qqNXfkCsSJABYAycPz_Ug8Seq2xidtaVJGBOBCdbZNqgIe2J0dfvrqB6pGBoCgTXw_wcB
  9. A tartan scarf
  10. The Alasdair Gray exhibition at Kelvingrove http://www.glasgowlife.org.uk/museums/kelvingrove/current-exhibition/Alasdair-Gray/Pages/default.aspx
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mushrooms in Greyfriar’s Kirkyard, Edinburgh

three haiku for tomorrow:

sky of fire opal
opens a new morning of
coldness and woodsmoke.

a new harvest moon:
I could take all these gold days
for some old solstice.

these trees shed apples
to sour in the turning ground
as those other hours.

‘Be Right Back’… Charlie Brooker’s Black Mirror, Simulacra and the Uncanny

Source: blogs.independent.co.uk
Source: blogs.independent.co.uk

Freud published his essay on the ‘uncanny’ in 1919, almost a hundred years before Brooker’s captivating TV series was created. The essay and its related concept’s influence on film, literature and psychoanalysis has been hugely important. But what exactly is ‘the uncanny’? It is a term inherently bound up with the ‘disturbance of the familiar’, with upsetting conventional definitions and perceptions of reality and truth, of feeling and thought. The creation of uncertainty, unease; the dissonant feeling of being simultaneously repelled and attracted to something. Freud defined the uncanny as a paradoxical sense of unfamiliarity growing out of the familiar; the term in German is ‘Das unheimliche’ – which literally translates to ‘the opposite of what is familiar’.

Black Mirror. Even the title is uncanny. How can a mirror be black, when the necessary function of a mirror is to reflect light, reflect a clear image? Black connotes darkness, murkiness, obscurity – hardly the silvery coating of a looking-glass, reflecting the airy features of a Victorian drawing room, or beaming back the blue sky and clouds from the gleaming ceiling of a city office block.

And yet: paradox. The mirror is subverted, turned away from reality into the black chasm we have created in our ultra-mediated lives. Brooker’s series presents a startlingly chilly vision of a near-future society, one where mirrors no longer reflect back on reality, but on representations of reality. The paradox of the real in Brooker’s dystopian vision is that feeling what is real depends more and more on images of the real, rather than experience itself. The most catastrophic events of the show – I’m thinking the bizarre terror of Episode 1, Series 1 where a Prime Minister is led into having intercourse with a farmyard animal, live on TV to the gawping nation – are caused by an overflow of media messages and images, which impact reality in a hyper-real way. In this world, where real events are simulated first in the media, and then permeate reality, reality itself has become its own obscurity; a mise-en-abyme or hall-of-mirrors effect where we are constantly recording, representing and replaying ourselves in the abyss of cyberspace and media technology. A disturbance of the familiar, certainly: a disturbance of the real.

Over thirty years ago, the French philosopher Jean Baudrillard made a similar point in his text Simulacra and Simulation. Baudrillard argued that reality was being dissolved into a simulacrum. In past ages, signs had a fixed referent to something real. Yet with the explosion of mass-produced goods, the commodity was born. This relates to Marx’s idea of the ‘commodity fetish’: as goods become mass-marketed, no longer are they bought for their ‘use-value’: when a material item, even something as mundane as a bottle of water, becomes a commodity, it ‘changes into a thing that transcends sensuousness’. Value becomes linked to the product itself, rather than the cost of its production. Sign-value replaces use-value. The value of a bottle of water is linked not to its use-function as a quencher of thirst but because of the shape of the bottle, the style of the branding, the allure of the image portrayed in advertising campaigns. In contemporary society, Baudrillard argues, this has escalated to the point whereby signs and reality have become blurred, replacing a relatively simple distinction between signs and signifieds (the advertisement and the real product, for example) with a ‘simulacrum’: ‘the truth that conceals that there is none’. In the entirety of our experience, meaning and reality have become usurped by a hyper-reality of symbols and signs, which point not to a real object, but to more signs – they conceal the relevance of reality to everyday experience. We are then truly living in an unreal world.

Brooker addresses this idea in the opening episode to Series 2, ‘Be Right Back’. It asks: what happens when the effect of reproduction is enacted upon humans? When the human body and individual personality itself is subjected to fetishism; when the self is fragmented into the myriad traces of text it has trailed in its online life? Jacques Derrida defined the trace as ‘the sign of the presence of an absence’: the uncanny occupation of a liminal position between the real and the imaginary, between the sign and the signified – a rift tearing up the easy system of metaphysics, of our knowledge of what exists, and how.

In Brooker’s fiction (fictional, or half-fictional? Genre itself eludes simple definition – the series lingers between dystopia, horror, realism…hyper-realism), it is possible for a woman to order a cyborg replica of her dead husband. At first, she interacts with an online version rather than a corporeal one. Through instant messenger and phone conversations, she literally contacts her dead husband. And yet it is not really her dead husband, or is it? An assemblage of all the data her social-media-obsessed husband left in traces online, his presence is itself a trace: an uncanny ghost voice constructed from dead voices.

This is the uncanny resonance of the title: ‘be right back’. It hauntingly resonates with the much-used phrase familiar to all users of instant messengers, the signal that one’s physical presence will briefly be absent, although they are not fully ‘gone’ – they haven’t logged offline. ‘Be right back’, you say, when you are going to make a cup of coffee, when you change your status; a signal that your face is no longer behind the screen. ‘Be right back’ is that queer sense of presence/absence that seems to rupture ordinary human interaction, where the interlocutors know each other as corporeal figures and not avatars. The avatar is always present, but it is the mark of an absence: the mark of the speaker’s physical absence. When we talk online, there is always a strangeness, a distance, a whiff of the hyper-real; as if we are playing a game, talking to someone who is quite but not quite the person they are.

Source: m.espn.go.com
Source: m.espn.go.com

When the protagonist takes the next step in ordering the robotic facsimile of her beloved deceased, the strangeness is taken to a whole new level. We have the signs of the commodity fetish: delivered in a box, complete with instruction manual and shiny robotic skin. The human body made perfect, made into product. This of course is not itself an innovation: countless sci-fi books and TV series and films have portrayed the human robot, the automaton. What is particularly intriguing is the reproduction of the dead husband’s personality from text. Not handwriting, not speech, but the representation of voice through text.

At times, the robot’s speech is stunted. He tries his best to say the things that ‘Ash’, the former husband, would say. Yet the robot cannot completely replicate the human. ‘Ash’, as the name suggests, is dust, a powdery scattering of human traces, shimmering in the protagonist’s memory, in the character’s online presence, elusive and ethereal. Perpetually present, but not fully there. The mechanical creation cannot assume the body of the deceased; it can only simulate the fragments of his words. The movement of his face, his eyes, or his synthetic limbs will never wholly replicate what once was there. Ash cannot be resurrected, Ash is ash.

The robot’s automatism is primarily recalled when there is a gap between the woman’s memory of her husband and the robot’s personality. The protagonist is painfully reminded of the fact that it is not a real, living thing – not the warm body she once loved, still loves – but a mechanical product. Watching the woman interact with her robotic husband, touching his flawless synthetic skin, listening to the replicated voice of the deceased – at one point even having sex with him – was a disturbing experience. I felt unsettled; certainly I was experiencing the uncanny. The most carnal of human experiences – actual physical contact – simulated by a robot, with another human, completely explodes all notions of the natural by opening up so many strange possibilities.

Yet, as the show reminds us, technology cannot fully replicate reality. It may attempt to deflect our attention from truth – from the truth of death – with its simulations, but there are always points of rupture, where the fabric of the virtual is torn. At one point, the protagonist experiences distress and asks the robot to leave the room when his words don’t match up to her memory: “Ash would have argued” she says.

This uncertainty about the human and the machine haunts throughout Brooker’s award-winning series. How much of our lives has become merely the voices we leave on answer-phones, in text-messages and Facebook statuses? As communication becomes increasingly mediated, do our personalities become more constructed, more performative? With the advantage of anonymity, or the avatar concealment of the face allowed by the internet, people have time to carefully construct their responses, to portray a certain self-image, to play with the unfamiliar. ‘Be Right Back’ highlights the inadequacy of technology to embody – literally – the highly complex, fractured and fluid nature of the human self. Living more and more online, Black Mirror suggests in general, we creep closer and closer to the edge that demarcates our fundamental perceptions – our notions of truth, reality, existence, humanity itself. Brooker says of his show:

Each episode has a different cast, a different setting, even a different reality. But they’re all about the way we live now – and the way we might be living in 10 minutes’ time if we’re clumsy.’

It is this notion of ‘difference’ that creates the uncanny effect. What is the difference between things? The series poses more questions, perhaps, than it answers. Another uncanny effect. Brooker provides multiple possible realities, and thus renders the future with an inherent sense of what Derrida would call ‘undecidability’. It is not like a conventional dystopia, presenting a single, glaring vision warning of the future; instead, it troubles our expectations, it presents numerous ideas of what the next decade, or tomorrow, may hold. The show holds up a mirror to our society, one that is black – foreboding, sinister – and, fundamentally, refracted into different possible outcomes. Yet it is also a void, in the sense that Black Mirror itself is a fiction, where we may lose our sense of the real – collapsing the ever-familiar world of technology portrayed onscreen with our present everyday lives. It is in this threshold between today and tomorrow, between reality and fiction, that Black Mirror lies. And it is in this threshold that we lose our subjectivity, in the overwhelming threat of our own behaviour and the ghostly online world that could collapse our sense of existence.

Works Cited/further reading:

Baudrillard, J. (2006) Simulacra and Simulation, translated by Sheila Faria Glaser, University of Michigan Press.

Bennett, A. and N. Royle (2004) ‘The Uncanny’ in An Introduction to Literature, Criticism and Theory (Harlow: Pearson Education), pp. 34-42.

Black Mirror – Be Right Back [Season 2, Episode 1] by Charlie Brooker.

Felluga, Dino. ‘Modules on Marx: On Fetishism.’ Introductory Guide to Critical Theory. Purdue University. Available at: http://www.purdue.edu/guidetotheory/marxism/modules/marxfetishism.html. Accessed 30/4/13.

The Guardian. (2011). Charlie Brooker: the dark side of our gadget addiction. Available: http://www.guardian.co.uk/technology/2011/dec/01/charlie-brooker-dark-side-gadget-addiction-black-mirror. Last accessed 30/04/13.

Reynolds, J. (2010) ‘Jacques Derrida’. Available at: http://www.iep.utm.edu/derrida/#SH3d. Last accessed 30/04/13.