Catalogue of Shattered Dreams

When I was young I was designed to become a writer.   Of course in those days we knew nothing about DNA but in the sunshine of my bright ideal I saw myself:

Hunched over a typewriter,

in a dim room with a high window of nicotine-stained glass,

Chain-smoking myself into a coughing stupor,

Careless – utterly careless, of the greater world around me.  

Let the scripts pile up on the desk, on the floor, in the passageways and arbors; I would be oblivious to the chaos.  I would write.  Day, and night, write.

Why didn’t it work out like that?  Why didn’t it?   Well, to begin with, but also with annoying persistence, I could not perfect the art of typewriting.  Canute-like, I could not restrain the Tippex tide, nor the quasi-D’Artagnan-duelling clash of rival keys, the log flumes of paper jams, smudges, crumples, and mechanical accidents.   Who has not cried out in pain as they see their paper-carriage skip the return stop and fly across the room?  Why was the Japanese vase, the recuperating cat, the hapless hamster positioned there – just exactly there?

The day the Word Processor came into my life was like Richard III’s best bit:  ‘Now is the winter of our discontent made glorious summer by these salesmen from Sharp’.  Differences between RIchard  and I are many – I for example, am unlikely to be exhumed from a car park, but I have to take his point:  I was liberated.

Life and Art, eh?

Unfortunately, there were storms in other seas.   Spouses unappreciative of piles of manuscripts in passageways or scattered upon disorderly desks, for whom creative chaos held no romance   The word ‘dust’ has been mentioned pretty frequently throughout my life, closely followed by the more nebulous  “Urgh – what’s that?!”   

Spouses are also prone to materialism.   ‘Putting bread on the table’ has dominated many a meaningful conversation, and rebuffs by taking the phrase literally treated with scorn.   I was compelled to accept that there had to be bacon, or beef, or vegetables lumped in.  As my self-addressed manuscripts to ‘1, The Garret’ cascaded back through my door and a wallpaper of rejection letters accumulated, I grudgingly accepted the need to do ‘work’.  

I had to find something that paid.  Writing was not the crock of gold it promised to be.  It was just a crock.

I won’t deny that I take pleasure in money; I am darkly suspicious of anyone who doesn’t, but to the bug of creativity it is pure insecticide.  Wherever you spray it, the Inspiration Aphids are consumed.   Why, after all, spend hours preparing a piece that will reward me with a pittance when I could be doing something more productive, more creative, more lucrative?  Except the ‘creative’ in this sentence refers only to creating money, and the productive in this sentence has to do with making more money, and the ‘lucrative’ in this sentence refers to the worship of MONEY.  Somehow, money always offers very good reasons to ignore the pleading noises Noble Poverty makes inside my head, where  Elizabeth Barrett argues strongly for distinguished starvation, and we even share a bad back, but no time for starving selflessly when there is always another conference to attend, a buying trip to make, a new range to review.  And when all those mundanities are finally overcome, home life has a catalogue of new ones, as in “When are you going to fix that drain?”

“I’m an artist, for God’s sake, my darling:  I DON’T DO DRAINS!”   

“Yes you do.”

You’re right.  This is the real world, and the real world has drainage.

To souls as torn and tortured as has been my own in my advancing years, retirement shone like a beacon.   In retirement I would find solace.   There would be nothing to fill my day!   I could sit in my corner, I could create magical images upon the page.  I WOULD HAVE NOTHING TO DO BUT WRITE!

Wrong!

It is an unwritten law, but it is ineluctably true:  if in life you were busy, in retirement you will be busier!  Once you make your diary aware the pressure is off it will fill itself with small, inconsequential things.   Your family will aid this process by demands for home improvements, shopping trips, ‘visits’ to nice country houses (the kind where your host will make you pay an entrance fee, then rebuke you for touching their furnishings or walking on their grass) and finally – the big one – Sitting.

In extreme cases Sitting may tie you up for several days:  

“Dad, can you take care of Bruce the Hellhound or Tibby the curtain-ripping cat while we go on a weekend break to Moscow?  Or a week in Bulgaria?  Or a round-the-world trip?”

More normally, it will be no more noxious a duty than care of The Precious for an evening, and no more exhausting than that ritual chase around the sofa you instituted last year and have been regretting ever since, with a bit of story-reading to initiate sleep.

If any diary spaces remain, there is always the National Health Service, and I’d like to conclude this blog with a personal message to them.

Dear NHS,

Yes, my body mass index figure is almost as far adrift as most of your overworked nursing staff,   You understand, as do I, that my body will inevitably deteriorate with the years, and I should be thrilled that you want to catalogue my demise and itemise each failing function so avidly…

But I’m not.    Okay?

Your obsession with type 2 diabetes drags me out to repeated Doctors’ Surgery and hospital visits to have my eye pupils stretched with painful chemicals, my blood sampled and my (forgive the word) piss taken with unnerving regularity.

Why unnerving?  Well, because the cleanliness of your premises is self-admittedly not always of the best, so each time I subject myself to them, with the health conditions you are so insistent I have, not to mention those that I ACTUALLY have and haven’t told you about, I run the very real risk that the infection I catch could be fatal.   Capiche?

Thank you, good readers, for tolerating my excess of bile this week: perhaps it’s because, to find a space to write this piece, I had to cancel an NHS appointment to ‘test my feet’.  Don’t worry girls, I have two; I tested them myself this morning by going for a walk.

A more normal posting, the latest episode of ‘Devil’s Rock’, follows shortly.

Image Credits for today:

Featured Image: Keyboard, by Alisonmiller1969 on Pixabay

Typerwriter Image: Devonath on Pixabay

The Grapes of Wrath

It’s been a busy few days, so this is another from the archives (one I rather like, actually).

It is never going to be the most promising of conversations.  I fact, it would not be  a conversation at all if I am not at a loose end, or if I had thought to dispose of the bowl of grapes on the windowsill of my office a day or so sooner.  Why am I in my office on a fine afternoon – perhaps the last fine afternoon of a dwindling summer?

I am taking refuge.

Downstairs, my significant other is preparing soup.  I stay with it as long as I can; I inhale the odours of nameless boiling things, the rancid steam, suffer the metaphorical Cheshire Cat grinning at me malevolently on top of the bread-maker and dog Honey sitting grinning equally mischievously in ‘food corner’- that place she always occupies at times of high risk, on the off chance of a dropped morsel.

I endure.  I choke.  I leave.  Make like a tree and…

In the blessed peace of my office, beside an open window wherewith to scent the first nip of autumn, I turn on my computer, settling down to write.

“Good stuff, this!”

Startled by the interruption, I turn.  “Sorry?”

The voice comes from that bowl of once edible grapes.  “See, what youze don’t unnerstand is, jus’ how bootiful this is…”

A pair of black antenna appear, waving somewhat aimlessly, from between two moldy and rather shriveled fruit.  A foot appears, dragging down one of the antenna.  “Neez a wash, man.  Neez a wash.”

Some might require more visible evidence, but experience comes to my aid.  This is indubitably a wasp.

“You’re drunk.”  I say, groping beneath my desk for the can of ‘Raid’.  Just because this wasp happens to be vocal, doesn’t mean I can’t spray it into oblivion.

“Drunk?  Me, drunk?  Tha’s against my religion, man!”  The antenna reappears, refreshed, and gropes its way over a penicillin-rich specimen that has clearly been its host for a good twenty minutes of gorging, before I appeared. A black and yellow face comes into view. “I never drink, me.”

“No.  You eat rotten fruit instead, and the sugars have turned to alcohol.  Ergo, you are drunk.”  I have found the ‘Raid’ and am ready to end this conversation in the way most of my encounters with wasps do.

“Oh!  Oh, tha’s right!”  He sees the canister, my finger on the aerosol button. “Tha’s it.  Do that.  Do what you do to all of my people.  Nuke us, man!  Kill us, jus’ ‘cos we’re black and yellow.  Don’t give us a chans to say nothing.  Don’ allow us a voice!”

“I’m not killing you because you’re black and yellow.  I’m killing you because if I don’t you’ll sting me!”

“Issat right?  Wha’ f you deserves to be stung?”

“I still wouldn’t want to be.  Anyway, why should I deserve to be stung?  What have I done, apart from provide you with those grapes?”

“You and your kind, destroyin’ all our nests, driving us away, generations of waspicide.  You oppress us, tha’s what you do, man.”

“Only because you’re so aggressive.  You can’t handle your drink…”

“I told you!  I said, I don’ drink!”

“Alright, you can’t handle your rotten fruit.  You’re stoned out of your mind, you’re loud and argumentative, and you turn violent. If I give you half a chance now you’ll sting me.  And why?  I can never understand why.”

“Why?  WHY?  Becoz…becoz it’s like he says…”

“Who says?”

“The Vespam, man.  ‘Is bloody ‘Oliness – he says – he says iz our duty to go out and sting the infiddle.  Yeah.  So I’ve got the courage to fly into the face of the sticky mist and thrust me sting into yez as many times as I can before I drop, see?  An’ then I gets virgins.”

“Virgin wasps?”  I sound incredulous.  I might be forgiven.

“Yeah, well summing like that.  Right tasty queens anyways.  So tha’s why I’m out here, man.  I’m goin’ ter get me own nest in Paradise, see?”

“What’s wrong with your nest here on earth?”

“You kiddin?  Thousands of us stuck in a li’l paper pall waitin’ for youze to come along and exterminate us? (he struggles over the word ‘exterminate’).  An’, an’! (he flicks an antenna for emphasis) soon as you gets rid of us you moves the bloody bees in.  Bloody bees!”

I look at him accusingly.  “You’ve built a nest in my loft again, haven’t you?”

He goes defensive:  “Not sayin’.”

“Yes you have.  And your Vespam’s turned you out of it because you’re an old male and ….

“Nah, nah!  You got it wrong, man!  Iz a holy war, see, an’ iz our priv’lege to sacrifice ourselves for the cause.  Until you stop building beehives all over our land we’re goin’ to keep comin’ at you and stinging you, see?”

At last the pieces come together in my mind.  A mile to the south of my house a landfill site has recently been closed:  the area has been turfed over with meadow grass and yes, several beehives have been installed there.

“You come from the old waste tip at Westbank, don’t you?”

“We was dispossessed, man.  We was driven out!  No sooner we gone, that the bees move in on our land.  The bloody bees!”

“I might prefer wild bees over you, but I’m not going to build a beehive in my loft!”

“Vespam says….”

“I don’t care what your ‘Vespam’ says. Bear in mind he’s sitting comfortably in the nest he’s turned you out of – at least until we destroy it.  You should get back up there – demand to be let in.”

For a moment I wonder if I might have carried the argument.  He shifts about on all six feet, rubbing his antennae over his big compound eyes, a pattern of movement I take to be consistent with thought.  But then…

“Nah!   ‘Is ‘oliness said it’d be like this.  Infiddles is very persuasive, ‘e says.  They’ll promise you all sorts, ‘e sez:  proper hives, reg’lar rubbish, lots of fruit.  Don’ believe ‘em.  They’ll ‘ave you workin’ yourself to death to feed a fat cow of a queen who pumps out kids at about two a minute; loadin’ your legs up wi’ pollen from pretty flowers so you nearly rupture your wings flying home to fat mummy?  Tha’s jus’ a typical human answer, isn’ it?  You think about it, though.  Whose goin’ to clear up your rubbish then?”  The wasp stabs at the fruit beneath his front legs, which have now emerged in pursuit of his antennae.  “Good, this.  Can you see those pink elephants?”

He begins to rotate his wings, letting me know the time for conversation is at an end.  The tail of his abdomen twitches eagerly and his head lowers for the effort of take-off.  He launches himself forward.

My hand points the spray, my finger presses the button.  He flies into the mist, and his cry of “Vespula is Great!” is all but lost as the gum binds his wings.

I watch dispassionately as he squirms and dies because he is angry and aggressive and I cannot love him.  Nevertheless I hope he finds his ‘virgins’.  He deserves that at least.

The clatter and crescendo from the kitchen tells me that soup has been achieved.  So, distracted from my original purpose, I take up the bowl of moldy grapes and prepare to descend.   On my way downstairs, I wonder, idly, whether it is possible to have a beehive in my loft?

 © Frederick Anderson 2020.  Unauthorized use and/or duplication of this material without express and written permission from the author is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Frederick Anderson with specific direction to the original content

Chroma keying

 

A breathless moment: two action heroes run for their lives through corridors of a building while, behind them, a bomb is ticking down through its final seconds.  They find their exit, sprint away from danger as the ticking stops.   In leaping for cover they seem to be thrown forward by an explosion which consumes the building and lights up the entire screen. Miraculously not even scorched, they continue in pursuit of the pantomime villain behind all the mayhem.

Of course, the explosion scene is an illusion.  Our heroes have performed their leap towards camera in front of a green or blue backcloth.  The pyrotechnics boys fill in the background afterwards.

The result is very convincing.  It works perfectly, as long as one of the components of the foreground shot does not share a colour with the screen.  In other words, if you are working in front of a green screen, don’t wear the same shade of green.  Why?  Because that portion of you will vanish from the finished shot.  You’ll disappear like Chevy Chase in ‘Memoirs of an Invisible Man’!

The same is true of life, really – something it has taken me a long time to understand.

Comedy derived from humiliation or humour which relies upon misfortune has never seemed funny to me.  Characters who are loud, wisecracking or patently insincere (include most politicians and ‘fixers’ in that category) are anathema.  They jar my consciousness so profoundly I often cannot remain in the same space.  I will switch off or walk away rather than continue the conversation, while others will be inveigled or even charmed.  How is this so?

I would be the last to invent a crutch for myself by saying my childhood was not a happy one, or excuse my misspent youth and my disastrous first marriage as the fallout from a relationship that was broken.   We all bear responsibility, right from the beginning, for our misfortunes and frequently contribute to them.  I do not believe in fate.

It takes the gift of maturity to look back upon each slight, each humiliation, each vicissitude of fortune and put it in its proper place within the background picture of our past.  We all do it.  Yet it remains a living image, and if we are truthful there will be nights when, in the darkness and the silence, we recall those times as if they were yesterday.  We re-live them, we ask ourselves how, if we had done this or said that, our future might have been altered.  Some might call this regret, I do not.  Only if those arguments persist in the light of day can they be considered so.  Otherwise, we are simply looking back at the green screen, and reminding ourselves of the colours we cannot wear.

My green screen sequences – those I find most comfortable – are not, for the most part, violent or contentious.  The humour I enjoy does not insult, the characters I like, the people I like, bear the light of humanity in their eyes.  They know how to pity and how to love.  Those who deceive or demean find a colour in common with those from my experience and they take a part of me away.  My reaction might be mere distaste, or more extreme.

They might arouse anger in me; no, not in a violent way, or as is the case with some, comically  (Basil Fawlty is one of my favourite comedy characters, by the way.  I’ve met my share of real ones).  No, this is more a constructive anger – one which wishes to correct the wrong, and, as a writer, to express a layer of emotion in my portrayal that tints the sentence or nuances the phrase.  If I have a skill, it is that.  My missing colours are layered upon the page.

Of course, my explosive scene is an illusion.  My characters are unharmed by it, they move through the plot, contemporary to their time.  But I am watching the background shot, and finding them from among the missing colours in me.