Monday, 20 April 2020

IMAGES OF LOCKDOWN


Images of Lockdown
There’s a single pure white dove in the cherry tree, looking like a Japanese painting as jt settles amid the clouds of pink blossoms. It stretches its wings, balancing with perfect poise before folding them again, pecking delicately at invisible insects before fluttering to a different branch. Is it a sign of hope? We are marooned in a sea of silence, cast adrift in time without the anchors of work and human contact. But somewhere, this small white bird seems to say, there is the promise of a receding flood and the dry land of normality. It flies off, a piece of cherry blossom in its beak, to its comfortable dovecote in a nearby garden.
Down on the ground, next door’s fat black cat stalks across my driveway, belly low to the ground. Behind it is an unfamiliar tabby mimicking his movements. They disappear into the undergrowth before exploding out again with raucous yowls of indignation, streaking across the now empty road. I hear the brawl continue from beneath parked cars, a crescendo of fury rising into a morning of painted skies and pale sunshine. They would eat that dove for breakfast given half a chance.
Later, on the fields, crows gather in groups, chattering together, taking off and landing among a herd of cattle who, protected from the chill breeze by their thick tan overcoats, move as one across the green expanse. We dog walkers skirt round each other with nervous smiles while our dogs bound over, offering enthusiastic greeting to both canine and human friends, crossing the ‘safe social distance’ between us to reach up for a friendly touch or a treat. Their faces are open as ours are closed; we stand back from gates and wait with exaggerated courtesy for wide empty spaces on these narrow paths, not stopping to chat as we used to do, but passing quickly as if negotiating no-man’s land and hurrying home to safety.
Now, to be human is to be separate, connecting only through a glass screen. Your face appears as if by magic, small and blurred, in my unsteady hand. Your voice is familiar but cracked and broken, not by your recent illness or by deep emotion but by faults in technology. I speak into the screen as we share our drinks in separate spaces, you a glass of wine, me a cup of now-cold coffee. The physical distance between us is small – a five-minute car ride or twenty minute walk - but we dare not cross it yet.
Time stretches and reforms, the days merge into one. The danger seems ever present and yet somehow fictional too and the strange, dystopian dreams that haunt my nights seem almost more real than our present world.

Monday, 13 April 2020

THE RABBIT


The Rabbit
The rabbit lay flat on the parched earth, its powerful back legs stretched out as if in sleep, its eyes closed. I moved closer, thinking it was dead, and saw that it was still breathing. I could see it panting for breath, its firm sides moving in and out beneath the soft tan fur as it struggled for life. There was no obvious injury, no clear reason why it had lain down here to die, unless perhaps a desire to separate, to prevent the infection of the rest of the burrow. I wanted to reach out and touch the pulsating little body, to run my fingers through its downy fur, to comfort it, but I knew that human touch would incite fear, not comfort, in this wild creature.
My dog sniffed it, curious about this unexpected find, then lay down nearby, almost as if she knew this small and helpless creature was a soul in torment. She made no move to worry it or try to chase it away: instead she seemed to be protective, knowing perhaps that to die alone was a cold and desperate fate.
I stood for several minutes watching that small chest rise and fall, the fluffy puff of tail lying still against the ground where it must before have twitched and flashed in play. This animal seemed strangely resigned to its end, unconcerned with my presence. Should I put it out of its misery? It seemed, in these days of isolation and separateness, wrong to call on a vet, and I wished I could summon the strength to kill it myself; it felt cruel to leave it out in the open, waiting for inevitable death.
Reluctantly, I walked on.
Another walker was approaching with another dog.
‘Hey, there’s a sick rabbit there, by the path,’ I called. I saw her restrain her dog, fix on a lead, then pass with barely a smile. These days we pass each other cautiously; human interaction seems so linked with infection, and here was an unexplained poisoning, an unwelcome reminder of the fears that lurk so close to the surface of all of our minds in these strange plague-filled days.
The next day I passed that way again, saw the dark stain on the dry, scrubby grass and the pile of soft fluff blowing in the breeze. Nothing else remained. I hoped its despatch had been quick.
As the ominous numbers rise on the news and strangers treading the local paths become objects of fear and suspicion rather than people to be welcomed, this little death haunts me. Pinned down, helpless in my home, I sense the invisible predator approaching; I imagine the last painful, gasping breaths behind those numbers and feel the preciousness and fragility of our lives and safety.

Clare Ereira

Sunday, 12 April 2020

THE NEVER-ENDING TASK


THE NEVER-ENDING TASK

The chair adjusted. The desk clear. The light angled. The bottle opened. The glass filled just enough.

Before the first words appear, the eyes closed and the fictional world surveyed. Not from too high. Not from too far. Individuals, not types. Representative, but not ciphers. Wide-ranging, but inter-related. Not just practically. That would be contrivance. Not just metaphorically. That would be art for art’s sake. Somewhere in between.

All ages. All countries. All ethnicities. All genders. And everyone with something uniquely personal about them. All professions, too. And the retired. And the young. Who want to be this, or want to be that, even though they won’t.

And somewhere on the edge, a writer. Only natural. Lots of writers. Writers of romance. Writers of thrillers. Writers about nature. Writers about engineering. Writers of history. Writers of polemic masquerading as history. So many writers about so many things.

Might it, in fact, be easier to conflate the writers with all the other characters in the novel? To outsource some of it? So, instead of having to invent a plot-framework to bring all these disparate individuals into some sort of relationship with one another, you just create these writers, having due regard to a certain spread of age, location, ethnicity, gender, language and so on, and then these writers produce an increased spread with the characters in their works, and they do all the describing and donkey-work, and if they’re historians or writers of historical fiction or science fiction, or, and think about this possibility, they’re actually writing in the past, and they just happen be together because they’re side by side on the shelves in some library, or in someone’s personal collection, then they give the temporal spread as well…

And all you have to do is cut and paste [as it were], juxtapose individual segments, deciding where to end and where to start, of course, and how to indicate which one’s which, which is something you should probably do, unless you want to create complete confusion, which may, of course, be part of your overall plan, if you have a plan, if a plan is what you want, or at least the illusion of a plan, or the plan of an illusion, because, after all, that’s what it will be, by and large, to some extent, all in all, taking everything together: one colossal illusion.

The whole world. In one book. Wow. Wow!

What an idea. It’s a wonder nobody’s thought of it before. A life’s work. Several lives’ work, if you’re being realistic. Some kind of co-operative? With the dead? Perhaps. If they’re out of copyright. Maybe an algorithm. Human input for the parameters. And human decisions at crucial points. The artistic element. Imaginative selection.

And among the writers, just to be completist about the possibilities, one who’s had the idea that you’ve just had. Just one? Or one from each age-bracket, gender, ethnicity…

Fill the glass. Open another bottle. Chair pushed back. Light off.



Mike Rogers