Category Archives: Writing

X’s decline

X tells me he’s discovered that his life is a long, slow decline. But at least it’s his decline, he says. No, not his exactly, he says. No one has much influence on it, not even himself. It’s a successful decline in that sense, he says, there’s a certain integrity about it. We start dying the minute we’re born, he says, who said that? Someone or other, he says. What a profound statement! he says. But it depends on how you look at it, doesn’t it, he says. You might just as well say we start living when we’re born, he says. Life’s a mixed bag, it’s swings and roundabouts as they say. Maybe he should be more positive, he says, after all life’s what you make it and you make your own luck as they say. But why does he feel he’s on the decline when he wakes up every morning? That’s his first thought, he says, I’m on the decline. Right before he starts worrying about the colour of his tongue and checking his balls for lumps. It’s because I don’t have a positive outlook, he says. Maybe he secretly wants to be on the decline, he says, maybe he thinks it’s cool or something, like a teenager, what do I know, he says, you make your own luck that’s all I know. Maybe he needs to train his brain to think positive thoughts like the Americans, that’s how it’s done now, isn’t it? Or maybe he should just get some responsibility, he says, grow up be a man, choose life, choose a future, get involved in local politics, get a chinchilla to take care of. No, he’s on the decline, he says, no doubt about it. He’s just one of those sad cases like Eleanor Rigby or the guy down the street who wears the stained t-shirt every day. He probably just needs to get laid, he says, can I find him a girl? No, of course I can’t.

The central point

If he could pinpoint it once and for all, X tells me, then he could move on. If he could find Archimedes’ point, or the Kaballists’ primordial point, or just believe in it, that might be enough to move on, he says. If he could find the lever, he says, or the central point, no, the centre from outside the centre, no, the lever from outside the centre to tip the centre to see what’s under it, no, the central point on which to balance the lever, no, the point from which to observe everything from outside everything, wasn’t that what it was about, the point where the observer doesn’t affect the observed, who was that, he says, Humboldt or Heisenbert, Humbert Humbert, no obviously not, what does he know, he says. Maybe the centre’s everywhere, he says, it occurs to him he read that somewhere. If there’s a central point I guess we’re all all being born from it all the time, he says, like the sperm eternally piercing the egg, and everything’s the moment when the sperm pierces the egg, or maybe everything’s the egg, or the sperm, he’s not sure. Or is it you? he says.

Shelter

No, there’s no way out, X tells me, not from this particular cul-de-sac. He should be happy he’s found his own little corner of the world, away from poverty. He’s happy, he says. Ecstatic. He’s found shelter, away from all the grotesque suffering, away from leprosy and poverty. He’s been lucky in life, he says. He has his one-bedroom flat and garden, he’s white, very white. He can rest easy, he says. Now he should help those less fortunate, do some good in the world, relieve the suffering. Maybe he should get a chinchilla, he says, to keep him company.

Take a course

He should take a course, X tells me, the writing’s on the wall, he should get involved in something bigger than himself, something real, move to Spain or South America, they’ll show him how to live, barbecues and dancing when the Latino spirit grabs you, move to a hot country, they’re happy there, he says, they have soul and eyes that are alive. Or get into sports again, get some team spirit, get over himself, get some scrapes and bruises. Or go and live in the country, get in touch with nature again, he says. Or do some good in the world, help the poor, stop being so hopelessly white and male. Or get laid, can I find him a girl? he asks. No, of course I can’t.

Local politics

X tells me that last night he was given to see as clearly as a child’s lesson that he’s an escapist, but now he forgets why exactly. What was it I was escaping from? he aks. I work hard, so it can’t be that, can it? he asks. He could work harder, he supposes, he could get up at six and take on more responsibilities. He could get a dog, or a family, even a mortgage, choose life, choose a future. From life, he supposes, he’s an absentee from life. Or from himself, maybe, maybe he’s playing truant from himself. Or from me, is that it? he asks. Maybe he should get involved in local politics, he says.

Anything

He’d rather be quiet, X tells me, but something keeps dragging him along trailing his voice, himself probably, no me, can’t I just shut him up? He’s tired, he says. If I said something, anything, it would shut him up, he’d see his place in the order of things, he’d see how high above himself he’s got and fall in line, so just say something, he says, anything.

We don’t really talk like that anymore

All this business he broods over, X tells me, all these confessional phrases he collects, from what, for what, to concoct evidence of his inability to what, he says, trial is an obsolete word, to sit up like a duck for my silent judgement, judgement what an obsolete word, for the father’s judgement and the mother’s kitsch, he says. Accept it already and move on, he says, we know all this. A word in your ear, we don’t really talk like that anymore. It’s embarrassing, he says, and how embarrassing that he should have to feel embarrassed about my embarrassment. He should have got over it years ago, of course, it’ll only end in tears, grow a pair, lighten up. Maybe he just needs to get laid, he says, maybe I’m right, he feels old already, can I find him a girl? No, of course I can’t.

The poet

The poet, though to be fair he never calls himself this, has lost count of the pints he’s drunk. The girl is keeping up with the empties. She’s pretty as a doll and has stuck a pencil in her bun. The pencil distracts him pleasurably. She’s fast but he’s an expert drinker, that much is true. His work is very profound and becomes more so as the night wears on. Though he’s an expert drinker the poet struggles to keep up with the girl as she moves about collecting glasses. He considers speaking to her but doesn’t. The following day even his eyeballs hurt and his work has turned into a perfect illustration of Romantic excess. Then the real self-work begins, to be undone again at some later stage.

Brilliant

He’s found out what his life’s like, X tells me. It’s going headlong into a cul-de-sac and coming back out only to realise he’s in another cul-de-sac. Isn’t that brilliant? he says. He’s very pleased, he says, now he can move on.

Start over

What tipped me over the edge? X asks me. What made me decide not to speak to him, not to listen to him? Was it his stupidity? His sentimentality? Out with it, he says, clear the air. Fine, he says, I’ll just start over. How do I start over? he asks me.