Monday, April 22, 2013

The Fucking Point-Two

This Flash "The Fucking Point-Two" won a short-story competition. (I think it was Lichfield Prize but it might have been Southport.) It appeared in my collection, Ballistics (SALT Publishing.)


Again it was a Boot Camp daily flash, written quickly from prompts to a time-limit. I think we aimed for 45 minutes but had a cut-off of 70 minutes.

What was different about this one was that I included ALL the prompts.


I remember that one of the first prompts was "My brother's habit is annoying." I instantly thought of a MONK's habit and in a second I had written two guys running a marathon for charity, dressed in fancy dress. If you're astute you might see me feeling around for a voice and a purpose. I SENSED it but it didn't happen for me until I wrote the second sentence in paragraph 4.

Having troubles with the formatting


The Fucking Point-Two


My brother's habit is bloody annoying. He’s Friar Tuck and I’m running as Maid Marion and we are only four miles into the London Marathon and the swish-swish-swish-bloody-swish is driving me crazy.
         “Fer Christ’s sake, Colin, I told you, go as the Sheriff of Nottingham, we’ll never catch Robin Hood and Little John now – and that’s me and you down fifty quid each.”
         “Ah sod off, brother,” Colin says (he always says it like that, brother heavy on the emphasis). Then he reminds me the London is his seventeenth marathon and Robin and Little John have gone off far too fast.


Don’t ask me why we do it, raise this money. Don’t ask me, because I know and telling people breaks my heart, but why do we dress like idiots every time? My forty-seven inch D-Cups make Jordan look anorexic, but bloody hell do they bounce, swish-fucking-swish, bounce-bounce-bounce. AND WE HAVE TWENTY-TWO MILES TO GO.
         “Twenty-Two-Point-Two,” Colin reminds me, swish-swish, bounce-bounce. “Never forget the point-two. The number of people who think ‘26’ and end up on their arse, 392 yards to go….”

I need to get into the zone, settle into the rhythm. Running a marathon is as much in the head as in the heart and lungs. You have to settle down, not get too excited (twenty-six-point-two miles is a long way) run within yourself and if you’ve trained properly just remember you run twenty miles and then you have to run another six-point-two. Never forget the point-two.

The rebels had an odd badge, a blue apple. After they had cleansed a village, they would paint their damn blue apples everywhere. White squares, blue apples, and so much blood.
         They liked to finish people with machetes.
         I’m thirty-two. Thirty-two, fit. I run marathons. Colin and I still climb, we white-water raft, we fly hang-gliders, we surf off Newquay. We do lots of things, things that are easy with two legs. Legs with feet on the end. We are young men, but sometimes, especially last thing at night, or passing a glossy display of red-green apples in the supermarket, I feel old, old, old.
         And empty.

I was in the mob, a sprog, a foot-soldier, a para almost before I was shaving, then I came under fire, the real thing and forgive me but I loved it. I loved the way the world came down to just you, your mates, staying alive. I loved it so much I trained twice as hard, even tried for the sas. It’s not Hollywood, not ever, but even losing buddies you get used to. That’s why when I came out I straight away signed up to go to Africa. I hadn’t had enough.

We are passing the ten mile marker. Colin’s saying something. Apparently one of my tits has shifted position. I shove it down. The crowd laughs and someone starts a chant, “Get-yerr tits out for the boys!!”

We’d stopped singing three months into that dirty war. We’d stopped most things. I kept a diary back then – we all had visions of being Andy McNab –
and reading it what strikes me still is how we avoided our feelings. We saw the world as them, the fucking rebels. The rebels did this, fucking disgusting, the rebels did that, fucking evil, we walked in on this, fucking unbelievable.
Thirty, gonna live for fucking ever. What we didn’t do was think. What you don’t ever do is think. Thinking can slow you down and there’s sometimes a split-second difference between killing and killed. We just did our job.
         Thirteen miles. No, it’s not half-way. Don’t forget the point-two. Colin is like a metronome now. I would be if it wasn’t for these tits. We go along easily, eight minute miling. We’ve run together like this with packs on, carrying weapons, and we both ran sub-three hour marathons before we started raising money for the charity and had to dress up.
         “Oi, Marion, fancy a shag?”
         “Oi, Tuck! Ooo ate all the pies?”
         We wave back, grin. Suddenly for no reason at all I imagine blowing the two blokes away, the women nearby going down too, collateral damage. Instead I shove my tits up and wave.

I know when I decided enough was enough. We were clearing a town about ten miles from the capital. The Blue Apples had been there, swept in, swept out. We knew there’d be bodies, but even hard bastards like us weren’t ready for what we found that day. Carnage.
         We went in before sunrise, laid under cover and obbed the place for movements. Nothing. Me, Colin, half a dozen others, Robin Hood and Little John, got up and walked in. The other half of the squad watched our back.
         Seventeen miles. About four hundred yards ahead I think I can make out Robin and John from the way they are running.
         We walk in, careful, alert, but we just know there’s nothing alive. That’s when we see the cat. Bits of it are trailing behind it, and it’s making this sound that’d break your heart. Colin stamped on its head and the noise stopped. Then we came across a used-car lot, all the windows of the cars broken, the back seat of one of them crawling with those little brown stinging caterpillars.
         Nineteen Miles. Definitely them three hundred ahead.
         We heard a window or a door clatter. When we got up, nothing. In one house what looked like a family (except the father). I started to feel it then, and I really don’t know why. People kill. Rwanda, Sudan it doesn’t matter, people kill. Stamping on the cat, that was mercy. We’d seen death so many times. Mostly dead-people look peaceful. It’s the way the muscle-tone goes and there comes this point where they are just ‘things”. But today I felt different.

Twenty-one miles. It’s definitely them. The way they run is distinctive.

This was when we found the dairy. Incongruous or what? Right smack in the middle of it all, deep up the arse of Africa, they were making ice-cream! The Chocolate Kingfisher Company. Here’s this place, a big white building, and all along the top there are these cartoon black faces, kids enjoying ice-cream then the name “The Chocolate Kingfisher Company” and a hand-painted Kingfisher about six feet high.

Twenty-three miles. There they are clear as day, limping along, Sergeant Robin Fucking Hood and Corporal Fucking Little John. Fair dues, the bastards have done well, considering, but then it’s bleeding hot and you try running in a fucking dress or a fucking habit for twenty-six miles.

Inside the factory were these big stainless-steel vats, ice-cream we supposed. The owner was probably in England, long-gone, but we found the foreman behind one of them. This was when Robin Hood (Jack Cunningham) gets us all together.
“How many bodies we seen?”
“The family, the car-dealer, and this bloke.”
“Exactly. That’s not enough.”

What Jack was saying was, we knew that out in the villages, the people would run off into the bush, and we always knew roughly how many would catch it. Mothers with too many little kids, old men, that sort of thing. But here was a small town and we’d only found nine bodies. It didn’t make sense. Jack didn’t like it much. Summat felt really bad.

Twenty-four miles. We are a hundred yards back and could pick of Robin Hood and Little John if we wanted to, but it’s more fun to track them, save our energy.

They were out the back of the factory, between it and the dairy that must have supplied the milk. There was a big area would have been for the lorries before the civil war.

Twenty-five miles. There are people walking but not the Sarge and Corporal John Little. There they are, the fucking flowerpot men, or  Zebedee One and Zebedee Two, more like. Good foot, stump, good foot stump.

The Blue Apples, they’d herded the whole fucking town together out the back of the factory and then sent them across that open ground. No problem except the area was laced with anti-personnel mines, those tiny little fuckers designed not to kill, just to blow a foot off and tie down the enemy with too many wounded. We were a couple of days late.

We come up behind Jack and John, start taking the piss. “Hop along now you two. Hop it,” that sort of bollocks. They both ignore us, don’t even turn round. They just  make sure we see their raised fingers. Good foot, stump, good foot, stump, swish-swish-fucking-swish and bounce-bounce-bounce.

There were people alive in the middle of all that. The fucking animals knew they’d all have leg injuries, abdominal stuff. The best thing to do in that sort of killing field is walk on your hands so when you get unlucky and there’s that little phutt, it blows you head off and you hear nothing.
         They knew we were coming. They knew we couldn’t just walk away. Either we walked away, pretended we never found this, we shot the few still living, or someone had to go in and haul these poor fuckers out.

They got people who volunteer to clear these evil fucking mines. Like us. There’s a charity, that’s who we run for. That day Colin wanted to go in, grab the ones he could see waving, two kids, a woman with a dead baby in her arms.  The Sarge said no. Colin said he wanted to. Fuck it, he said, we can’t just leave.
         “How wide are your stripes?” Jack Cunningham said and when Colin said something like, “Fuck your stripes we gorra do something,” Jack told Colin he’d shoot him in the back if he so much as took a step.
         I won’t forget Jack’s face, the way he told me to get my fucking brother the fuck out of there. “Do it fucking now, Jonesey,” he said, and I knew he wasn’t going to listen to any arguments.
         We were back with the others when we heard the shots. There were five, then a gap then another one, and then a minute later, another.
         It’s that last one that fucks me every time I remember.

And now the four of us are side by side, half a mile of this miserable fucking marathon to go. Jack’s suffering more than usual, his stump is playing up, John’s OK but having one arm makes him run awkwardly and he gets blisters the size of eggs. Me, I got all my bits. I’m the lucky one, but twenty-six miles wearing tits, it takes a lot out of you. Colin lost a hand in Eritreia then another one in Rwanda but he says it’s handy, he’s balanced out and it doesn’t fuck up his running. Time to blow these two sorry fuckers away.
         So me and Colin kick on and leave Jack and John. And there’s the twenty-six mile marker just up ahead. Ha, the old buggers, good for nowt. But then we’re grinning, coming towards the finish, congratulating ourselves when the bastards come by us – good foot, stump, good foot, stump.
         I don’t fucking believe it. Robbed.

“The point-two!” Colin shouts. Never forget the fucking point-two.”


1,890 words

Mars: the Origin

MARS


came from this


Flash: Have a Blast!

Elsewhere my group "flash" most days, from a set of prompts I generate, usually 20-24.

The idea is to set aside 45-75 minutes, look at the prompts and start writing "FREE" inspired by a prompt or prompts that click with you.

This is the opposite of planned, plotted, outlined work. It's about trusting the unconscious to find stores you already "own" stories deep in the soul,brewing in the gut. We have had more than 50 first prizes from flashes produced this way.

A flash is USUALLY 200-1200 words, more typically 350-850, but the length isn't the point.

What I term a flash is not dependent on LENGTH but depends on the PROCESS. It's freewheeling, sudden, quick-thinking, with the left-brained editor switched off.

Here are today's prompts

You can use 1, 2, many or all, either exactly, altered or just as inspiration

The crucial element though is SPEED, non-thinking.

Don't consider, wonder, fool-around with ideas. Just read, sing, re-read until one or more prompts resonates. Then write as fast as you can, no editing, using the spirit, the soul, the unconscious.

Absolute max of 75 minutes. Longer means you are thinking.




Two aspirins, a little whisky

This is me, trying to be funny

It started raining when you left

Cider

Please cash the check as soon as possible

No, that's not what I meant

When I woke I had a little door in my chest

Volcano

My 52nd lover

The scream of gulls, the stink of fish 'n chips

The Moon? Good idea!

It's a cool, clear October morning

MARBLE

I'm curious, what is your favourite death-scene?

GOAT

I keep waking at 4 AM, trying to remember something

You can stop now, Sherlock

I shall play my harp in Times Square, read Proust to cats

Devil Pie

My name is Katia. I am invisible

An email from Jesus

We were never that close


The Bath 


came from these prompts.





The people in their dark houses

After the fair

Lamps, Lamps, the cries of the young men

I ask but he doesn’t offer help

Every day a grey suit, but not today

It’s a shame, yes, but he has brown skin

Old songs, hopeless dreams

And the tourists in their yellow-jacket lines

Jest ‘onest nigger sweat boss

The way the oil-lamps sweat and fill us up

Inventing tragedy

Faces, staring from a train, faces, faces…

It’s not quite right. Feel that? Sideways, I tell you.

Sometimes deadly is beautiful

A trip to Cannes but he stopped at Nice.

Let’s do it in honour of someone

I am worn out, like this country

His aftershave: anger and beer

The cracks in the pavement, the dust beneath my shoes

The angst reservoir

My dead girlfriend, a hobby of mine

Friday's Flash. 19th April, 2013




MARS

Hi Katia. Yes, I got your email. Jesus, Kat, that wasn't what I meant, not even slightly. My fifty-second lover? Did you really believe I meant that? Only you could love (could have loved) me. Jeez, Kat, I do use a mirror to shave. I know what I look like. That was just me, trying to be funny and shooting myself in the foot. So now I look like Gerard Depardieu in drag AND I limp.

It started raining when you left. It's still raining. I've picked up some kind of bug, too and I can't stop coughing. Yes, I've had my aspirins and some whisky, but I really feel like shit. You didn't poison me, did you? Really, I was only joking.

Oh, before I forget, if you haven't cashed that cheque, you need to do it ASAP. I haven't been out of the house since so there can't be an awful lot in the bank.

Since you left I keep waking up really early in the morning, and trust me the world is pretty shitty at 4AM. Then there are the dreams. Three nights ago you were on the rim of a volcano, balancing there, looking down into the fires of Hell, and then over, across at me and shouting," Fifty-TWO? Fifty-fucking-TWO? You bastard!"

The other one is you and me at Barry Island (remember Barry, Kat, that hotel?) We are walking along the esplanade and all these seagulls start attacking us and you say it's my fault. There are all these birds screaming, screeching and everywhere is cold and stinks of fish and chips.

But it's the dream I had this morning that is really getting me. I woke again at 4 A.M. panicking as if I was desperate to remember something very important. Then I felt a pain in my chest and I looked down and there was a silver door there. It was locked and I didn't have a key. How could I check I had a heart if I had no key?

I was sitting up. I started scrabbling around, looking for this key and then you were there, grinning, waving the key and you said, "You can stop looking now, Sherlock!"

The trouble is, Kat, I'm awake now and the door to my heart is still there but it's all seized up. I can move on, Kat; I will move on. I'm going to go to China and the US. (I shall play my harp in Times Square, read Proust to stray cats in Beijing.) but as long as this door is here and locked, I'm really buggered.

So, cash that cheque, yes? Soonest, and please, bring the key round?

I think I could do anything, once I've been checked out. Maybe I'll go to the moon. Did you know they are looking for volunteers to settle on Mars? It's a one-way trip, something to do with too long in space and weightlessness and stuff.

Kat', I'm sorry, it was just a bad joke. Not fifty-two, just the one other, but we were never that close



513 Words












Saturday's Flash April, 20th, 2013





SERBS

It is cold. We wait for the Serbs.

We wait for Serbs, and when the Serbs come we will kill them all, what else is there to do? The last lot, those who surrendered, we sat them in a circle behind the hotel and we beat them with sticks and then we killed them. A boy was weeping, but a boy becomes a man.

Once, when things were even wilder, we talked about taking prisoners, but prisoners eat food, prisoners need guards, and prisoners can turn. Maybe now there is a way to take prisoners, but Johan says, "For why, Max? For what we do that?" He remembers the women, our women, singing, their heads bowed. Johan does not need to eat for he lives on hate.

This began a year ago, or it begins tomorrow. Nobody knows. The horses are all dead, no-one tends the fields. They make bread from bones and dust and it tastes like shit. We will continue until everyone has found something, and everything is lost. It is what men do. There does not have to be a reason.

The Serbs they fuck their own children. And the men, they fuck each other. They are barbarians, they do not understand love or have a God. They do not wash and their women are pigs.

Maybe one day it will finish. I don't know. I don't see how it finishes, not while there are Serbs, rapists, shit-eaters, scavengers. Why should we stop?

I write this Malinka, even though you will never read it. If this should end, if I should live, I will never show you this, show you what a man is really like. Could you make love to a man who has killed a boy? Make love, whisper in the dark to a man who used a spade to open up a child's head, a crying child's head?

Can you believe I was Professor of Music? Do you remember our last day? I told you, "Malinka, tomorrow will be your last lesson," but you played so beautifully by then you were already teaching me.

A Professor of music! Will I ever be so again? Will this stop? Will I be old one day? If I survive I will live to be one hundred and ten, and I will wear yellow shorts and show my disgusting, wrinkled brown old legs and you will laugh at me and love me still, my little chicken, barely ninety-eight and still making music.

But that is if I survive. I have died many times already, the professor is dead, for sure, but because we wait for the Serbs, because I must do again what men keep doing, I think of you all the time. We do not know when the moment comes. A thought can begin anywhere, Malinka, even at the moment of death.


475 Words


Sunday's Flash

21st April, 2013

Flash Started 11-44, end 12-06.  Changed two words after reading.





The Bath


I am one of those, the people in their dark houses you wonder about as you walk home after the fair. I am the unimagined man you think of deep underground who cries out to see the lamps but only hears the cries of dying boys.

I am the man who every day wears a grey suit, but not today. Today I am naked, lying in a bath, listening to the cracks in the pavement, your whispered breathing sticky with candy-floss, the monkey-less organ far off, who smells the hot breath of boys, the musk of girls as the caterpillar clatters, the big-wheel turns.

I am old songs, impossible dreams, the things you should have carried but let fall away; I am the invisible tourist with misted spectacles, waiting in my yellow plastic jacket to be taken to the falls. I am a face, staring from a train, a face you see that makes you think of camps and wire and a girl called Frank.

I am the one you remember before the quake, who said, "Feel that? Did you feel that? The world is shifting." We are moving sideways, people are dying somewhere, the sea rolls over us.

I am the one who should have warned you that what is beautiful often kills, and I am the one who looked the other way as you were dragged under.

I am the man who set of for Cannes but stopped in Nice, cut a throat, fell sick in a brothel, died in a tunnel.

I am the nigger with hope, the woman who forgives, the man who knows that there is never help, just the removal of some discomfort.

I am old, old, I will keep my trousers rolled, and paddle in a reservoir of angst and remember dead lovers and slaves and rape and Mai Lai and drones and satchel bombs and anthrax.

I will be the man who says, "It’s a shame, yes, but he has brown skin. I believe he may be queer, and the girl is a slut."

I am the man who honours Aeschylus, for without tragedy what would there be? And I will note how the oil-lamps sweat like the brow of the doomed slave.

And I will admit to being worn out and that my country is dying, and as I fade away, less red in more red, I will remember, anger, beer, the stink of a father's aftershave, intent.

And as it goes I will suddenly wish, but drunken now so it's too late, that I should have called on other suicides and said, "Let’s do it in honour of someone, let's."

But it's too late now, the water is cold, the cracks in the pavement do not care, and soon I will be nothing more than dust beneath your shoes.


469 Words

The Last 3 Days' Flash Prompts (plus my Flash Response)

This morning I posted a set of Flash Prompts and if I live to see the end of the day I'll probably write a flash and post it.

Such flashes take me usually 20-40 minutes but ATM I'm half-dead with a chest infection and living on overdoses of Night Nurse.

Sod's Law being what it is, the coughing keeps me awake all night and then I'm like a Zombie all day.


Thank You, God!

Anywaiz, here are yesterday's prompts followed by my story. I'll dig out Friday and Saturday's too.




Here are Saturday's Prompts

(Can I go back to bed now?)

The trick is not to THINK. Instead read them top to bottom, bottom to top, sing them, chant them, feel them, combine them and do it all as loosely and thought-free as possible. Then something catches (something that connects to your soul)... start with something that SOUNDS good, and let the sound and feeling lead you. 

Repeat. Don't think, BE.




Here are the prompts

A thought can begin anywhere, even at the moment of death

I live in a burnt-out hotel

JONAH

We sat in a circle, one boy weeping

The difference between wood and steel

Once, when things were wilder

And then the women, singing

It was either a year ago or tomorrow

HORSES

Until everyone has found something

As you write, love, float

The Time of Our Singing

Dear Jane, Tomorrow will be your last lesson

Camper Van

When I am old I will wear disgusting shorts

ACORN

On the seventh Sunday they will emerge

I will speak for him

We wait for Serbs, what else is there to do?

THIMBLE

An island, a white mare under a whiter moon

Flash Prompts, Monday 22 April


Use 1,2,3 or as many as you like, directly, exactly or not, combined or not.

Let go. Don't think.

Just write a flash as quickly as possible inspired by something from this list.




PROMPTS



When the storm hit, I left my lover sleeping.

Dai P lives by the bridge

Fading flowers in a dusty basket

I ought to be happy

There are places in my country I won't go

National Lying Day

The King & Queen of their garden.

Walking home from a late-night film

A hotel in Dachau

A man thinks. Of a wall.

Letter to Miss Powell, Children's Dept., 1960

How a valley dies, a village drowns

Satanic Mills

The trees begin to thin, the light to grow

GALLEON

Brown music from fat instruments

QUARK

Once they have died, they relax

IDOL

The secret life of Jemima Trott.

A land of telephones and sellotape

She grinds my heart with answers far too short

Let's not talk of love. Be practical


Sunday, April 21, 2013

My various blogs have been suffering as I trudged through a divorce, but I'm getting more active again, writing again, so here goes.

To warm things up, here's an ancient story of mine, written in 1995 or 1996 (a scarily long time ago)

It says a lot about what I believe about writing.


The formatting is a cut and paste from what was originally an on-line zine called Crania



Alex Keegan

Henry V, or A Welsh Crime-Writer Paints His Sitting-Room Blue While Listening to Henry V

The paint was called Moonflower. It was; Dulux. Primrose blue; slate, a slash of sinless morning sky over an Usk meadow in May, clean, covering; sharp as the line between yellow fields of rape and unrelenting, perfect, cloudless sky, morning sky, border sky. When it was wet, nearer slate, the blue on a herald's shield, it moved quickly, tongued out by a twist of sheepskin roller, a sticky phhllrrr forward; a faint brrrrrnnn  when he pulled back. He worked quickly.

This had been his office once. He'd commandeered half of their lounge, filled it with an old, bloated civil-service desk rubbed clean of bored scratchings, blue Quink, black Black Swan, the Friday slippages, burns, of Passing Clouds, Senior Service, and once, rare, but once, the faint musk and drip of a coupling; she moved on to work in Whitehall, he went back to his empty wife. A man polished it, "Couldn't get a better desk than this if you tried, sir! History is that! Solid is that! Better 'ope where you sit is as solid!"
The wall had been hidden. A map of Lundy, a book-cover, a woman he'd- three women, none of them the character he sold, nor parts thereof, but she was all of them - and pictures - a seaside tenement; a cottage on a hill, home to a murderer; a pier, alive with light-music, oom-pah-pah adverts, a grey cold sea, shingle and seabirds, and old people walking, and lovers - oh, lovers, and once - he had stuck up his wall with Blue-tac; another mistake.

He'd removed them, his pictures; of deck-chairs, people stilling, people sitting, who'd come in Ford Prefects, driven down from Basingstoke, sat on the shingle and remembered the war; and stared - a boy looked sideways at a woman in a towel.
And cuttings; the Sunday Times, rape again, words, cowardly, and another, three paragraphs, a woman who had made it up. All Blue-tacked, stupid, ruining the original magnolia; not white, not cream not yellow or fawn; but magnolia, a loaming, anagram for nothing. They covered with so much of it that it came very cheap.
He had removed them, had tried to, his pictures, his cuttings, and the Blue-tac, the errors that stuck to his wall; and his wife had come home, their children unhappy and said, "Jesus! It's awful. What the hell have you done?"

His furniture was old. Heavy, solid, real. He had dragged it to the centre of the room, a barricade, and piled it with books, pictures, a Kingfisher, photographs of an island holiday. The wall was wretched now, exposed, stumped, pocked with grey-blue, a mess; lack of planning, lack of care, leaving him with so much more to do; not even a simple loaming could deal with this. It was too far gone. It was scarred; flawed.

When he found the trick, steel-wool and soap, brilliant, foaming Brillo pads, dripping pink bubbles down the body of the wall like a lung-shot man; and found too, that as the Blue-tac went, so did the loaming, the coating, the plain surface, leaving the raw dark plaster, more leprosy than small-pox; he prayed his wife would not come home early. He worked quicker; eager to remove, rinse, wipe and dry.

At some point he switched on the TV and drank beer.

The walls, briefly pink, were dirty now, and with water and an unforgiving bleach he smeared and mixed a raised distemper, the dirt, dye, until all were equally bled into the others. He called that clean, and drank more beer while it dried. O for a muse of fire, that would ascend the brightest heaven of invention.

He poured blubs of Moonflower into a tray. He heard the words of courtiers but thought of Ghostbuster slime and film scripts. He s-flacked the first band of blue grey, prittling a diagonal across the wall, his hands prickled finely with a spray of that Usk sky, the pressure too much and the carpet, between the newspaper cracks, a finer blue, blues in blue, blue on blue, to be covered up later.

Then, as he tried vertical strokes, italic strokes, too much paint, too little, he heard something about a King who sat with baser men, something about the courses of his youth. He bent again for paint and for some dark reason thought of woad. He took steps for extra height and, as he reached up, he heard, "Never was such a sudden scholar made; Never came reformation in a flood." This made him smile, but as his mouth widened, a poor stroke marked the ceiling's white. He cursed, angry at himself, and stepped down.
He worked very quickly now, angrily; with an ulcer-heat in his belly, the mocking television, voices, music, beer; an eagerness to have the wall covered, wondering when the phone would ring, what time his wife would be home. Somewhere in the barricade he'd built was his computer, faster than ever before, under cover, safe from the blue, safe to stay cream or was it magnolia?

He worked quickly. He realised that his broad brush-strokes, by thickness, crudeness, repetition, could hide his lack of skill.

And still the television burred, burned. He worked over an area where the cover of his first book had been, swigged at his Bud, tried not to hear. The wall became blue, at least a coat, but he heard, Pistol, Nim, Quickly and then three traitors trapp'd and all the time, all the time, all the time, the words; as they mocked him.

And he worked. He rushed. He slapped and slathered, covered his wall. Covered the loaming, covered the scars, painted the pock-marks where his book cover had been, three women, some cuttings, an island, a house.

He rushed; but the TV war rushed faster. And then the speeches came and even he knew the speeches; of breeches and bodies and once more! once more! into things, with Englishmen, Welshmen at the quick; broadswords bloody - and Branagh; a wild King Harry, sure Harry, God's Harry.

And he felt so wretched, so feeble, so small and so trivial; and he worked faster, his glasses now coloured as he blue-blued another wall, slap-slapped more sky and drank Bud and spilled things and cried he was so God-met.