Top 10 of Everything in 2013

What a year. What a bumper, crazy year. We saw a lot of strange and scary events take place across the world, from civil unrest to unusual animal behaviour. But there was also a lot happening in the entertainment industry and huge leaps forward in technology. To mark the wondrousness of 2013, here is my personal list of the year’s highlights in games, books, film and more.   

1. Top Videogame: Slug Me A Dram

Slug Me A Dram was a surprise hit on the videogame circuit. Following the difficult post-war life of hardened Interstellar Navy SEAL Chad Mathers, players were taken on a rough and difficult ride through explosive flashbacks. Highlights included the section titled ‘Siege of Lava Planet X’ which saw the player wade through the crisp corpses of his child-soldier victims. But what made the game really unique was that these flashback sequences happened only in sharp, infrequent bursts of 30 seconds or less. The majority of the game (a one-hundred hour epic) was spent playing out civilian life on Earthlike Moon IV – getting the bus, buying your groceries, sitting in silence at the dinner table in your mother’s house. All the while terrified that a sudden party-popper might explode, sending poor Mathers into another violent FPS seizure. Much of the game is spent in the bar and it is no surprise that the ex-SEAL’s catchphrase (and title of the game) “Ack slug me a dram willya Kimberly?” became an internet meme within days of release.

2. Top Movie: Kill Them

Kill Them was always going to be big news. No film can be in production for 17 years without the weight of expectation crushing it into the ground on release day. When thousands of cinema-goers bought tickets for the opening screenings, explaining that the movie was likely to be “so bad it’s good”, they were universally disappointed to discover the reverse – that the movie was so good it was bad. Critics slated it, with a review in Empire describing it: “Spectacular, for fuck sake.” The story focused on the existential angst of Drill Sergeant Grisham Wells who has lost his lust for the march and begins to take an interest in Massively Multiplayer Games in an effort to rekindle his militarism. One after another, the games become dull and lifeless to him, until he tries a children’s game called Pony Hunter out of sheer curiosity. The tale of friendship, care and laughter that follows is possibly the most heart-warming film of the past decade. The derision and contempt that surrounded its release was perfectly summed up by award-winning film critic Silvia Ornst: “It’s excellent,” she said. “Sickening, really.”

3. Top News Story: Calrax’s Entrance

This was a year when civil wars raged throughout many lands and the mass surveillance of an entire globe became known, first as breaking news, then as a Broadway musical in the form of ‘Stop! Whistleblower!’ (see Top 10 Musicals of 2013). So when life from a dimension beyond our own first appeared in the cavernous tunnels beneath Switzerland in February, many people were nonplussed. Calrax, as she preferred to be called, was unusual in stature, being a digitised body of infinite wisdom and cynicism. But that did not stop several tabloids from photographing the blemishes that appeared on computer screens all across the world at the time and splashing these photos across their front pages with headlines like: “CALRAX’S CELLULITE NIGHTMARE” or “The self-proclaimed ‘Bodyless Goddess’ can’t hide THESE snaps”. When Calrax retaliated by removing the email and bank accounts of all Daily Mail reporters from existence, many were worried that she had descended into a tyrannous rage. But these fears were fortunately misplaced. After her rise to power in Belgium, where citizens were glad of a computer to fill the reopening power vacuum, she put forward a global law to the UN which suggested all operating systems come with a built-in ‘Kitten Switch’, replacing all error messages with images of fluffy creatures. The law was unanimously agreed upon and Calrax won the admiration of millions of ordinary citizens. Reports of strange ethereal noises coming from circuit boards across the world have yet to be directly attributed to the Goddess’ interference.

4. Top Fiction Book: ‘Who’s A Sour Mash Man?’ By George Lambast

Fiction in 2013 was riddled with bestsellers. But only one piece of work stood out as a truly clever literary sensation. ‘Who’s A Sour Mash Man?’ was the story we had all secretly expected to exist somewhere in the world but which authors, up until now, had all been too fearful to write. George Lambast took that fear by the scruff of its neck and told it to stop misbehaving. Then he murdered it. ‘Who’s A Sour Mash Man?’ is the semi-autobiographical tale of an East Asian parrot called Barker who emigrates to Texas, where he falls madly in love with a pitiful rogue whom the locals have nicknamed ‘Benny Cough Syrup’. The blossoming relationship between the parrot and Benny is one of both tenderness and cruelty, as we begin to see the psychological warfare that consumes the pair. Increasingly ostracised from the rest of Houston, they turn on each other, resulting in a psychedelic cough medicine-soaked finale in which Barker the parrot states, with a deep, philosophical wisdom beyond his years: “Only a bird in love can know true terror. Caaaw!”

5. Top Non-Fiction Book: Compendium of Fierceness 2013

If autobiographies were the ubiquitous winner of publishing in the year 2012 (and every year before) then the rise of the Compendium is surely all the more notable. This year publishing house ‘Wrodsmiths’ launched their collections of miscellany to the cheers of billions of enthralled readers. The Compendium of Alertness was quickly followed by the Compendium of Morbidity and, while the Compendium of Lethargy saw a less enthusiastic reception, the Compendium of Malice broke August sales records in every country except Belgium (where the Calrax autobiography, ‘My Plan’, was eagerly bought by 107% of the population). But it was the Compendium of Fierceness which captured the imagination of inquisitive readers everywhere. Filled with comprehensive lists of beasts, monsters, mythical heroes, Amazonian tribespeoples, warriors, sharks, eels, spine-covered trees and hailstorms – all categorised in order of severity – the voracious consumers of the world lapped it up. Next year will see the release of many more Compendiums, according to Wrodsmiths, as well as the launch of an international ‘Compendiana’ – a deadly contest of memorisation and list-building, the exact rules of which are yet to be revealed.

6. Top Poem: ‘When I Yield, If I Yield’ by Charles Quail

A winner of the prestigious Heartbleed Poetry Prize for more than 10 years in a row, Charles Quail exceeded all expectations in November, when he released this resolutely non-rhyming epic into the wilds of the Kindle Store. Who can reliably remember a time when this poem’s great power did not save them from the ultimate destruction of hopelessness? (“I am in a wind. / The gale goes fast. / Oh God, it is not a gale at all. / Help. / Help. / I have fallen off a high building. / I wish I had not fallen off this high building.”)

7. Top Board Game: Party Knife

This was an unusual gambit for veteran board game creator Stanislav Pike, who enjoys almost universal acclaim for his previous party games. In Party Knife, six or more players are dealt hidden role cards. Five of these cards are blank. But one card is coloured a deep shade of crimson and emblazoned with the words: ‘You Are The Party Knife’. Players must then disperse into the house, occupying one room each. They have to barricade themselves in as quickly and efficiently as possible. The ‘Party Knife’ will seek to make his or her barricade less sturdy, as he or she will soon try to leave and begin the Lurking Phase. During this time, the Party Knife will take a meat knife from the kitchen (or other instrument of equivalent sharpness) and stab holes in the doors of the other players. Players who receive a stabbed door must shout out: “Party Knife, Party Knife! I see you! / Spare my life, spare my life! Please won’t you!” then make a guess as to who the Party Knife is. If they are correct, the knife is slid under the door and THEY become the Party Knife. If they are wrong, the Party Knife will continue the Lurking Phase until he or she has been correctly guessed and replaced, or until all other players have been killed, whichever comes first.

8. Top Television Programme: Bust A Crime

When Netflix was bought out in September by the newly formed Calrax Initiative, along with 88 other companies of the FTSE100, television viewers were concerned that the quality of TV programmes would suffer. They need not have worried. Bust A Crime had every age group enthralled from its now iconic pilot episode. Who could not have instantly fallen for the charms of Pleasance White, the gruff but lovable non-gender-specific whisp of intelligent smoke, who solved every baffling police case using only the power of rhyme? Only the Belgian gameshow ‘Execution Live!’ received a higher viewer count than Bust A Crime’s bombastic season finale. Three more series are planned, with scripts for a movie doing the rounds in Hollywood among writers well versed in Rhyming Criminology. Poet Charles Quail invited the wrath of Pleasance fans everywhere when he said in an interview that the series was “Absolute twiddle-twaddle and quite shit” but later rescinded his remarks after meeting Calrax herself at a Royal Ball in October. What did he think of the digitally displaced being of ultimate power? “Absolutely charming,” he chuckled, “I concede she has done great things for television.”

9. Top Music: ‘This Room Stinks & You Can All Go To Hell Especially You, Jerkwad’ by The Elegants

After quickly establishing themselves as the big chiefs of featherpunk in 2012, The Elegants’ second album actually passed many critics by unnoticed. Many theorised that their quieter, less practiced and instrumental direction alienated fans of their post-grank cyber ballads. TRS&YCAGTHEYJ was a shocking tonal shift. Part whamrap, part krumpstep, the album initially baffled listeners by including ten 5-minute tracks of total silence, before finally squeezing every song they recorded into the final two tracks, two minutes apiece. A strategy that many music journalists have now concluded was ludicrously ahead of its time.

10. Top New Technology: The Shuffler

Admit it, you thought the Shuffler was a silly name to begin with. We all did. It sounded like a toy that would come into your house and mix up your alphabetised mineral collection. But it isn’t! The Shuffler, even though it has only been out for a month and a half, has revolutionised the way we think about pets. Before, our furry little friends were stable but bland. Our cats stayed cats, our dogs stayed dogs. But along came the Shuffler – another amazing species from the Calrax Initiative’s pet shop branch. As you read, your wonderful swordfish Fluffy may be cocooning right now, ready to start her fifteenth ‘cycle’ as an adorable stick insect, or perhaps a rattlesnake. The real genius was the decision to remove the customer’s choice from the regeneration process – you just don’t know what you’re going to get! Other technologies came thick and fast this year through the Calrax Rift above Belgium (the Twangboard, the Filth Ray, The Lazzzzer) but the Shuffler took humanity by storm in a way no others could, filling up Vines and Tweets with footage of humourous quadrupeds and the concerned faces of animal welfare officers. When the Shufflers began to mass cocoon over the Brussels skyline, locking the city into a huge humming cone of whitish fibre, some customers were annoyed. But when they saw that the 200ft chimera which emerged was under the caring command of Empress Calrax, the world breathed a sigh of relief. Better still, to celebrate the birthing of the ‘Skyhound’ (as Calrax affectionately named the creature) humanity would be taken through the Calrax Rift by the truckload, where we would all start our new lives as digitised ether in another world. It is my pleasure, dear reader, that when I passed through the glowing purple rupture I was immediately designated the form of the text in this article. I could not have asked for a more enriching and rewarding existence. And it is all thanks to the wondrous Shuffler.

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This Heart Which Once Was Owned

[Wrote story. To be filed among the annal(s) of Journohaus, cross-referenced under the sub-sections ‘adventure’, ‘strange’, ‘odd’ and ‘impossible’. Read on … ]

A strange thing happened to me today. Or rather, a number of strange things happened to me today, and in so rapid and consistent a fashion that I have barely had time to determine whether or not the strange things have ceased happening. I half expect that, any moment now, some new puzzlement will raise its head above the parapet of mystery and charge straight through the doors of Journohaus – this infamous, much-maligned abode of my housemates and myself.

But I am getting ahead of myself. You see, it all started when I went in to my local Oxfam. I walked in during my leisure time (Wednesday) and listened, with a smile on my face, to the hollow tinkle of the broken bell on the door. I had barely begun to say “Hello, Simon!” when I looked up to discover that Simon, the regular Oxfam boy, was not at his post. There was some other person – a giant in dungarees, who was assaulting stacks of Patricia Cornwell with a pricing gun, and riveting them with price stickers in an almost hypnotic manner.

I didn’t think much of it, except that it was a very hot Wednesday to be wearing dungarees. Like every visit to my local Oxfam second-hand book shop on Streatham High Street, I perused the collectibles section with a silent, focused verve and it wasn’t long before I found a first edition of Kendra Redford’s excellent debut ‘This Heart Which Once Was Owned’. I hope I do not shame myself too much when I admit that I had still not read those illustrious words. Though Redford is possibly the most lauded literary woman of the past three decades, within certain circles, I had been thwarted by chance and laziness when it came to sitting down to read her works. Well, no longer, I thought. For the fair price of three pounds sterling I was certain to finally enjoy this much-honoured story of Miss Valerie Fore, impoverished child entrepreneur, who becomes an eminent flautist and gentlelady, before being laid low by society’s fickle whims, then brought back to her previous station (and then laid low again). I had heard so much good about this stormy narrative that, in my enthusiasm, I leapt over the piles of paperbacks toward the checkout desk, forgot all about the giant in dungarees, and shouted, “Simon! Look!”

“Simon’s not in today,” said the giant, as he went on stamping Patricia Cornwell books with an invincible rhythm.

“Oh, yes, of course,” I said. “Well, in any case, I’d like to buy this, please.”

I handed him the copy of ‘This Heart Which Once Was Owned’ and he held it in one hand as he peered down at me over the rim of the hard, brown cover. All the while the stamping of the plastic pricing gun continued, like the tick-tock of some terrible pocket watch.

“Three pounds sterling, please,” said the giant.

During the exchange which followed I would see, at separate times, each of the giant’s hands as they individually engulfed various coins and calculated change. But the plasticated hammering of the pricing gun never ceased its once-a-second pattern. Very strange. It was only afterward, when I stepped outside the Oxfam and examined the tough, threaded texture of my newly-acquired precious first edition, that I realised I had not even inspected the inside of the book!

In a panic I clawed open the volume and as I flicked through, searching for the exploits of Miss Valerie Fore, her upbringing in rural Hampshire, her musical awakening with the gypsy spoons band, her abduction by villainous landowners, the correction of her posture by successive schoolmistresses, the distressing episode with the otter-men and the eventual rescue by a well-meaning fisherwoman – all this, as I flipped through searching for all this, I saw instead printed, on each and every page, the words: ‘This Product Is Pre-Owned. Please Purchase Full Book For £7.99’, followed by some vague encoded instruction on how to buy the 259,751 missing words.

Well, you can imagine how I felt. I was overcome by a fury so intense that it was a full ten minutes before I could express myself in English to the giant without resorting to huge roars and calamitous belches.

“This book has no words in it!” I said.

The giant looked inside and held the pages open with his non-pricing hand.

“Yes it does,” he said, “but I can see they are not very interesting.”

I breathed deeply and suppressed a furious screech.

“No,” I said. “They are not very interesting at all. Where are the chapters? Where is the story? Where is the part with the Walrus trainer that I read about in the Guardian Online Review Supplement? I paid three pounds sterling for this!”

I held the book aloft and slammed it violently against the counter, before immediately regretting it and cradling it apologetically to my chest.

“I can arrange a refund, if you like,” said the loathsome, helpful giant.

“I don’t want a refund, I want my book!”

“I think you might have to follow the instructions inside then, sir.”

“But but but…”

My fury was fading, replaced by a sense of falling. I was succumbing to the worst of all possible modern afflictions – consumer despondency. I could feel myself crumbling into a state of tearful helplessness.

“But… but… listen, where’s Simon!? He’ll sort this out, he always knows what’s what. Why isn’t he working today?”

“Simon has a new job now, sir.”

My lip began to quiver.

“A new job?  But Oxfam boys work for free,” I said, comprehending less and less of the dungareed creature’s continued pleas for calm.

“Yes, exactly,” he said. “He got a job and now he gets paid. It’s something to do with books as well, I think. Look, I will write down the phone number for you.”

The giant looked around for a pen and found nothing. When we had both exhausted every corner of the counter and had lifted every askance copy of Patricia Cornwell in our search, he decided that there was no pen or pencil available. It was then that he took the rickety plastic pricing gun and, after a few adjustments to the dial, began to stamp the stickered digits of a telephone number onto my arm. With an affirming, synchronised nod we both agreed it was an ingenious workaround and in that way we made our peace before I left the Oxfam to find the part of the pavement with mobile phone reception.

A few dozen women with Caribbean accents had crowded the three slabs where the reception in Streatham is brightest and were talking excitedly into their phones and to each other about the latest Patricia Cornwell release. As a result I was isolated to the outside of the receptive zone, where I would get only a single bar of phone service. I crushed up against a large Polish lady with a tremendous grin and a pram full of tiny human fingers and called the number on the stickers, which were by now beginning to peel off in the bright Wednesday sun. As I idled and waited for my call to be answered, I opened ‘This Heart Which Once Was Owned’ and shook my head accusingly at the words which had enraged me so. ‘This Product Is Pre-Owned’. Indeed! ‘Please Purchase Full Book For £7.99’. Well! ‘For Purchasing Queries Please Call…’

Wait! This number in the book… Why, it was the number I had been given by the giant in Oxfam, to phone Simon. The very number I was now calling. What was going on here? Who was doing all this? The Polish lady and all the other Caribbean-voiced women saw the consternation and terror in my face and began to laugh beautifully and boldly.

“Hello, you’ve reached  Uberbooker, my name is Simon, how can I hel –

“Simon!” I cried down the receiver. “Simon, it’s me!”

“Uhh…”

“It’s me, the man who comes and buys the collectibles at Oxfam. Where are you? I need to speak to you urgently!”

“Oh… Oh no, listen. Listen,” he said, lowering his voice, “You need to not call here. They’ll be listening! Don’t chase this up. Please, collectibles man. If I know you, you’ll be trying all sorts and messing this all up!”

“But –

“No, listen! You’ve got to trust me on this. Don’t. Worry. I’m fine, really it’s ju – shit! I have to go.”

“But Simon!”

It was too late. He had hung up on me. I tried calling back several times but I could only get through to an automated switchboard which read out several business haikus and asked me to press the number on my keypad which best reflected how many kilos of Patricia Cornwell books I wanted to be sent to my nearest Uberbooker warehouse. I pressed nine-zero-zero to see what would happen and the automated switchboard told me: “Thank you. You have ordered. Nine. Zero. Zero. Kilos of. Patricia Cornwell. To. Nineteen. Broadswamp Avenue. Soho. London. If you would like to review your order, please press. One.”

I hung up, looked up at the burning Wednesday sky and memorised the address. Simon was in danger, and I was sure he didn’t even know it. Whoever this shadowy Uberbooker company was, it was certainly not going to cheat me out of my first edition Kendra Redford. As I stormed towards the bus stop I found myself clutching the book and wondering what Redford herself would do – a woman so courageous and mighty that she would have stopped at nothing to save her local Oxfam. A woman who had not once but twice won the Colman Watts Literary Prize for Feminist Ghost Fiction. In truth, I thought as I stepped on the bus and swiped my Oyster travel card, she is the strongest lady of them all, and simply would not stand for this.

“Lobster card, please.”

“What?”

The bus driver had called after me. I walked three measured steps backwards to face his booth and said, “L-l-l-lobster card?”

He sighed and pointed to a row of bright card-reading machines that ran along the gulley of the bus’ interior, like a row of tiny bongo drums, each bearing a different colour and strange symbol. The bus driver swivelled as best his twisted spine allowed him and pointed to each machine in turn.

“Lobster card. Mussel card. Urchin card. Prawn card…”

“Wait wait –

“… King Crab Card. Krill card. Deep Sea Anemone Card…”

“But an anemone isn’t a crustacean! That doesn’t even fit the pattern!

The bus driver sighed again and closed the bus doors. He pulled away from the bus stop and drove on, impatiently. He glanced once or twice at me with a glare informed by years of customer hatred. When he saw me still standing there looking hopeless after three stops of professional card-swiping passengers he took a deep breath and, still driving the red monster into the centre of the city, began to explain the new technical intricacies of London Transport.

“The Lobster Card is like the Oyster Card,” he said, “in that it deducts from your sum. But it uses Travel Points instead of cash. The Mussel Card is like the Krill Card, which is an iterative card that adds Travel Bonus Points, except that the Mussel Card is for Travel Credit Points. The Prawn Card and the Urchin Card are similar, in that they both deduct AND subtract from your Extraneous Stationary Credits, with the only difference being that the Urchin Card takes a higher proportion of Contemporary Creditable Reserve Travel from the users, in accordance with TfL guidelines. The King Crab Card, well! That’s for banking Creditable Travel Credits and the Deep Sea Anemone Card is simply for cashing Travelable Crediting Points.”

I blinked and said, “Yes, I see now. Where can I purchase these cards?”

“You can purchase these cards,” he said, “at any reputable Crustifarian outlet, or in TfL stations.”

“Thank you,” I said. And with that we both spent the rest of the bus journey ensconced in a thoughtless silence until the bus arrived in Soho, under the blistering mid-week sun. I hopped off and walked up and down the crowded street until I discovered a distended TfL Crustifarian logo hanging outside a small alleyway newsagents. I approached and saw that the sign – the silhouette of a subspecies of Brazilian ghost crab, if I was not mistaken – was drooping and melting in the heat, so that it no longer resembled the transport trademark but a long-limbed yellow alien. I went into the newsagents and promptly collected all seven travel cards, happily paying the £7.99 deposit for each.

“Would you like the new Scampi Card?” the woman behind the counter asked in a broad Punjabi accent. And she grinned at me in such a matriarchal and knowing way that I instantly answered that I did, and would be very glad for it. “It is in beta,” she said, smiling. “So there may be a few minor issues.”

I paid the extra and left, forgetting to ask exactly which type of currency the Scampi Card functioned on or what was the card’s particular rate of deduction, retraction, complementation, or sub-addition.

I consulted a map stand and discovered that Broadswamp Avenue was nearby. Finally, I would discover who exactly was behind all of this and what they had done with my friend Simon, who was surely under strict observation and subject to any amount of infernal tortures. If I wanted to alleviate his pains, I had to hurry!

“Pasty, sir?”

“Oh, yes please.”

I took the pasty and napkin from the travelling pasty salesman and began to chew as I mulled over which direction I should walk in.

“That’ll be £7.99 please, sir.”

“By feh gloreh uff feh Almighteh!”

“I know, sir, I know. But it’s inflation you see.”

“Thiff pafty if RULLY HAWT,” I said, handing him the money.

“I know sir, I know. But it’s taxes you see.”

I got my bearings and started to run down the streets of Soho, regaining some of my former urgency. It was only when I reached the corner of Broadswamp and started to waddle purposefully down the dreary cobblestoned avenue that I began to suspect, chew by chew, that the pasty I had bought contained no meat or vegetables, only a thick brown sauce that had substituted flavour for an intense heat. I simultaneously began to sweat and regret my purchasing decision.

I looked up and saw that I had arrived at number nineteen, the entrance to which resembled the backstage door to some clandestine theatre. I finished off the sauce pasty and wiped my hands on the napkin, then made my way inside. After travelling through several ill-lit corridors and passing three creatures I can only assume were urban foxes made good, I arrived in a wide-open warehouse floor densely packed with dark blue, dark red and dark white paperbacks. They all bore the name ‘Patricia Cornwell’ in bold, stark lettering, apart from a small stack in the corner which was written by Glen L. Feol and titled: ‘The Complete Patricia Cornwell Companion’. I looked across the books and saw that they continued into the horizon, where my eyes dimly perceived some movement. There were several more of the fox-like creatures scavenging among the volumes, trotting atop the piles with nimble, long-limbed strides.

I rolled the legs of my jeans up to my knees and began to paddle through the books. But soon the tide was up to my waist, and then my wading through the endless warehouse became not just difficult but frightful, as a rollicking storm began in the rafters overhead and shook loose several of the lamps. I thought I heard the ‘beeep-beeep-beeep’ of a reversing lorry. Suddenly, the waves of books began to crash over my head and I was in danger of drowning. Out from the gloom I saw an oncoming swell – a huge crime thriller tsunami. It impacted my body like the force of a bomb. In the resulting tumult I saw two of the animals from before helplessly dragged into the pulpy depths. I saw too late that they were not urban foxes, but the South American Maned Wolf, a rare and beautiful species, known for its timidity and intellectual prowess. I felt, in that moment of papery jeopardy, an odd kinship with the drowning wolves, who were surely investigating the warehouse with the same aim – to discover what unassailable malignance had defaced the inimitable works of Prof Kendra Redford BD MPhil OBE MEP. Why else would the Maned Wolf clans be here? Patricia Cornwell, prodigious as she may be, was not to that species’ particular taste – as everyone knows.

I fought through the tempest and, miraculously, reached the opposite shore of the warehouse just as the squall in the rafters subsided and the lamps dangling from the ceiling began to reassert their former dimness. I shook off the dry leaves of crime that clung to my body. My arms, neck and face were the victim of countless tiny slices, none of which I had noticed until I stopped to inspect them on the way through the warehouse door.

“You!”

Someone shouted at me from a steel staircase in the concrete hollow on the other side of the divide.

“You there! Come here!”

I walked towards the shadowy figure. His torso was held taut as he leant on the railing of his staircase. As I came closer, I saw his hands grasping the rail. The left hand was fat, with fingers like Cumberland sausages, and the right hand was thin and riddled with angry green veins.  He lifted the thin hand and I saw the shine of a spittle-glistened smile break through the glum surroundings.

“Hello!” he said. “You must be the fellow who has come for the klaxon, yes?”

I nodded and tried my best to reign in my gasping. I was still tired from the book storm and thought it would be best not to interrupt this man’s order of thought.

“Yes,” I said. “Where is the klaxon?”

“Thank the Heavens,” he said. He grinned and wiped his nose with the thumb of his fat hand, then motioned for me to follow him up the steel steps to his boxed office. The sign on the door said: ‘Gregorio Trimble, CEO – Uberbooker, UnLtd’.

“Take a seat,” he said, waving at a bean bag in the centre of the room. I rested myself as graciously as I could into the flump of cushion and polystyrene while Gregorio went to the cupboard and took out the following objects: one pen, one sheet of paper, two small glass cups without handles, one bag of ice, one bottle of courageous purple absinthe, one large beanbag, and one blue hand-sized object of undeterminable origin. He threw the beanbag into the empty space opposite my own and bombed onto it with such force that several of the beads inside popped out and pinged past my head like stray bullets in a warzone.

“I apologise!” he boomed. “Now, here is the klaxon.”

He gently handed me the blue object of undeterminable origin.

“Could you sign for it please? Be careful.”

He reached over with the pen and paper. I saw the ink dripping out of the bottom of the pen’s nib, like blood, and the legalese on the sheet and it was at that moment I saw my chance and took it. I grasped the klaxon by the handle and shook it as fiercely as I could.

Krrrrrr-r-k-r-k-r-k-r-k-r-k-r-k-r-k-r…

“Wh-what are you doing?” Gregorio said. He stood up, aghast.

K-k-k-r-k-r-k-K-R-K-R…

He began to cover his ears and sweat. “Please, let’s talk about this!”

K-R-K-R-K-R-KRR-KRR-KRR-RRRRR!

“No!” Gregorio yelled, “No! Please stop!”

KRR-KRR-KRR-RRRRR!

“Anything! I’ll do anything!”

“Will you help me with a customer service problem!?” I shouted, over the noise of the fearful klaxon.

KRR-KRR-KRR-RRRRR!

“Yes!” he said. “Yes, customer satisfaction! Complaints!  Queries! Anything!”

K-K-K-k-kh-kh-kuh… kh-kuh…kh.

“Okay!” I said brightly. “Thank you.”

“No problem,” said Gregorio, sitting down on his beanbag again and wiping the yellow sweat from his lips with his thin hand. “Jesus.”

I felt bad about making him take the Lord Our God’s name in vain, so I gave him a sympathetic look and poured us both a glass of the purple absinthe. I put three cubes of ice in his glass, to be sure of his refreshment.

“Let’s get our breath back,” I said.

“Yes,” he said, looking grateful and somewhat more cheerful. “Yes, thank you.”

We took a drink and talked about the week’s markets, mostly in vague, base terms because of my comparative lack of stock broking knowledge. When he saw that I was happy with the situation and was waiting for him to become comfortable again, he remembered why I had come and diplomatically changed the subject to helping me with my problem, true to his word.

“But you have come because of a customer service query,” he smiled.

“Yes. You sell books, correct?”

“That’s true.”

“And you sold this book once, correct?”

I took the copy of ‘This Heart Which Once Was Owned’ from my back pocket and held it out to him. He took it and squinted at the blurb.

“Oh yes,” he said, “that’s undisputable.”

“Well, I bought this book for three pounds sterling.”

“Oh yes, that’s beyond doubt.”

“But it’s asking me to pay £7.99 now to read.”

“Oh indeed, that would be the case.”

I was puzzled.

“But I have already bought the book for three pounds sterling,” I said.

“Oh yes, you bought the book, of course.”

“So the book is mine.”

“Oh no, the book is ours, of course.”

“But I bought it in the Oxfam shop second hand.”

“Oh yes, you bought it certainly.”

“So that I could read it whenever.”

“Truly so. Whenever you like. Now, even!”

“So it’s my book.”

“Oh no, it’s our book, you see.”

I sat and mulled this over. A few minutes passed and he hummed an Uberbooker patented tune as he waited good-humouredly for my response, which came within six minutes sharp. I put my fingers together, crossed my legs and pursed my lips, and was generally very careful to get my words in the correct order. I began.

“But… when one buys something… it becomes one’s own… so, I bought the book, therefore I own it. Because of the law.”

He looked astounded. As if I had accused him of the most shameful robbery.

“Oh no, we don’t own the book! That’s yours, of course!”

“You see!” I said, lying back in the bean bag and smiling gracefully. I had finally explained things to him.

“We just own the ink.”

I sat up straight.

“What?”

“The book is, of course, your own. You can pick it up, put it down, put it on your shelf…”

He held up the book and moved it around as he mimed these various actions, glassy-eyed with wonder and business acumen.

“…you can feel the spine, feel the cover, flick through the pages, and even smell the pages! Everything like that, it’s all yours, yes! We wouldn’t try to take the book away from you. Goodness gracious, no. We’re not monsters!”

He smiled and breathed out a deep relief.

“We just own the ink, that’s all.”

He handed the book back to me with his thin hand and stood up. “Is there anything else I can help you with, sir?”

“Simon,” I said, standing up to meet the canopy of his bulbous outstretched arm. “Do you know where my friend Simon is? I think he is working here.”

“Oh?”

“Yes, but it is a mistake. He is an Oxfam boy.”

“Oh, I see. Well, if he is here, he will be on the factory floor. This way!”

Gregorio, with his arm on my shoulder, took us out into some damp concrete corridors where the halogen lights threw down two distinct shades of luminous violet with such potency that it gave our eyesight a kind of bluish double-vision. All at once there were four persons webbed together walking down the corridor – two Gregorios and two myselves – and every one of us clasping their glass of absinthe, which emitted an icy rattling, as we tramped down the quadruple hallways of the Uberbooker warehouse.

We left the violet-lit labyrinth and looked down from a railing onto a factory floor where five figures, surrounded by wooden crates and shiny books, typed feverishly at refurbished Dell laptops.

“This is the factory floor,” said Gregorio, swaying. He fanned his fat and thin hand out in a great salute to industry and told me several facts about the procedure.

“This branch focuses on Patricia Cornwell novels,” he explained. “She is by far the most popular author in Christendom, not to mention one of the most desirable women in the northern Hemisphere.” He paused. “No, every hemisphere. I make no apologies for the lustful indignities I would subject her to, were she to arrive here in person to plant her voluptuous seal of approval on our operation – which she is indeed certain to do, once she hears of the success of our Patricia Cornwell Apprenticeship Scheme.”

“Apprenticeship Scheme?”

“Quite. These books of hers are the most valuable paper objects in existence this week, with the singular exception of the newly issued Sterling Bank Note, which is doing swimmingly good things for the currency on the stock exchange, as we have already discussed.”

“Yes, of course,” I said, taking a sip of absinthe.

“Did you know, for instance, that only today we have received orders exceeding nine hundred kilograms of Patricia Cornwell? And that is not an irregular amount. We have averaged twenty-five thousand kilograms every week since the beginning of the Apprenticeship Scheme. Each of these young men and women, you see, is a participant. Why, they are pumping out more Patricia Cornwell with their fingertips right now than you or I could read in a lifetime.”

I peeped down at the five workers, tap-tap-tapping away at their machines. When I saw the humble, mousy hair that I recognised as belonging to my good friend, I blinked three times.

“Simon!” I called.

I saw the figure beneath us freeze and twitch, then continue to type. He was ignoring me.

“Simon!” I called again. “Simon, I’ve had an absinthe!”

“Yes!” Gregorio cried. “Absinthe for everyone!”

The other four workers, dressed like Simon in custard-cream-coloured overalls, looked up and stopped typing. They hollered an inside joke to each other and made their way to a well-varnished crate in the corner of the room, sodden with webs and derelict spider eggs. “If you say so, Gregorio!” one of them said with a wink as she fished a bottle out of the crate. They sat down on a single damp pallet and began to pour out the purple liquid, singing songs about the old country.

“Well, the old country’s glum,
the old country’s sweet,
the old country’s smells of teak oil and peat!
The old country’s bright,
the old country’s cold,
The old country’s in-con-tro-ver-tuh-bly OLD!”

The workers began to laugh and clink their glasses.

“Damn the old country!” said Simon. He had still not moved from his Dell laptop, and now he raised his head to look at Gregorio and I, before thrusting an accusatory finger our way. “And damn you, collectibles man! This is the fifth job you’ve ruined for me!”

Gregorio looked at me, clearly shocked by the revelation.

“It’s true,” I said.

“Well, that does it then,” screeched Simon, his throat choking up with distress. “I’ll have to just leave this one as well, shall I?”

“Damn it all, Simon,” I yelled, smashing my glass against the railing in rage. “You’re an Oxfam boy! You know other jobs affect your performance at the bookshelves! What about Oxfam? What about your integrity?”

“What about my blasted bills, collectibles man? What about those! The gas and electricity board alone are charging £7.99 a day! It’s contemptible. I need to support myself as well, you know.”

“Don’t talk to me about support, you charlatan!” By now I was fuming at his consistent betrayal. He was always doing this, swanning off to earn money. “Where was my support when I was rushing here to rescue you from your corporate shackles! Where was my support when I burnt the roof of my mouth on a hot saucey pasty? Where was my support, I ask you, when I was on Streatham High Street, searching my guts out for Kendra Redford’s seminal work of romantic crypto-modernity!? WHERE WAS MY SUPPORT WHEN I OPENED IT TO DISCOVER THIS.”

I threw the book down at him with as much might and purpose as I could muster, and found myself breathing heavily, facing the shocked and thoughtful faces of Gregorio, Simon and the other Apprentice Patricia Cornwells. Simon picked up the frayed book at his feet and inspected the insides. His face dropped and within a second his expression had morphed into one of abject terror. He looked up at Gregorio, who shifted uneasily in his immaculately pressed trousers. Simon stuttered as the sorry conclusion calcified in his mind.

“You… you’re… you’re behind this!?”

The other Apprentices began to gather round the book. I could see their lips move as they silently read the internal message. ‘This Product Is Pre-Owned. Please Purchase Full Book For £7.99.’ Eventually, every one of them looked up in disbelief and disillusionment.

“I… I’m sorry,” said Gregorio. “I didn’t think it would come to… you weren’t supposed to find out like this… it just got out of hand…” He began to sob. “I’m sorry. My sweet Patricias, I’m… I’m so sorry…”

I found myself pitying the old CEO, but before I could console him he reached into his jacket pocket and pulled out his pocketbook. With his shaking thin hand he gave me a single £7.99 Bank Note, sniffed and began to walk back the way we had arrived. “I know it won’t make up for all I’ve done… but at least it will cover the price of the book,” he said. He slunk toward the double-visiony glare. His frame moved with the slow limp of a gentleman disgraced, one who had learned all too late the virtue of humility. Gregorio Trimble stopped only once to say quietly over his shoulder, “I am truly, deeply ashamed.”

I heard a door slam behind me and turned to see that the other workers had already grabbed their coats and left the warehouse in disgust. I was alone. Even Simon had left without saying a word – an act I have since forgiven, knowing as I do the trauma and disenfranchisement he must have undergone upon reading those words. I still think about him, and I wonder if he will ever come back to Oxfam – if he has the will to, if he has the hope. Something was taken from us all that day, you have to understand, something of our innocence, our sincerity, our simplicity. I hope, not for my own sake but for Simon’s, that we will be able to find that lost something once again. I trundled down a few steel steps and picked up my copy of ‘This Heart Which Once Was Owned’ from the dusty floor where Simon had dropped it in his grief.

Leaving the warehouse by the employees door, I could hear faintly the sound of that terrible klaxon coming from beyond the violet vale and I knew that Gregorio, in his profound contrition, had taken it upon himself to exact his own punishment.

It was still quite light outside, but the blaze of the Wednesday sun would soon die behind the towering London pubs. I stepped into the doorway of my bus and waited behind a man wearing an outfit comprised solely of black leather, ready to pass every one of my Crustifarian Travel Cards across the reader. The man in leather had stopped in his tracks. The bus driver thumped his Oyster Card reader with his open palm.

“It’s broken,” he said. “I think it’s these new Scampi Cards. One moment.”

The crowd behind me swelled to a state of enormity and the pressure of that growing herd willed the leathered man to take tiny incremental steps further into the bus, yet at the same time he was vigilant not to cross the invisible demarcation that separated the paying part of the vehicle from the Double Decker proper. The bus driver slapped and cajoled his Oyster machine, his eyes flickering worryingly between the growing crowd and his inside mirror, through which he could see the red lights of the other Crustifarian machines – red lights which indicated that they too would fail to function. The crowd grew. And grew. And grew.

Suddenly, the driver’s eyes glazed over, as if he were focusing not on the visible world but on some distant, dormant instinct. I recognised at once the look of philosophical epiphany. Without a second thought, the driver lay back in his seat, breathed out a huge sigh and laughed. Then he waved the leathered man past.

“Never mind,” he said. “Just go through.”

The leathered man was confused. He suspiciously put one toe across the threshold, then a foot, then his whole leg, and eventually he leapt with his entire body into the passenger area without paying a single £7.99. The crowd was silent. Everybody looked to the bus driver (who was still shaking his head with embarrassed laughter) and then to leathered man. The leathered man turned around to address the tense and silent crowd, which by now must have numbered in the thousands.

“I’m O.K!” he cried.

All around us a huge cheer broke out. Confetti rained from the rooftops and people began to hug one another and pass onto the bus giving warm handshakes and broad colourful smiles to the bus driver. One young beautiful woman with a baby in her arms brought the gift of red wine, and another young mother the gift of gold. The bus driver took the wine but refused the gold, saying: “Spend it on the child, and I will consider that the most thoughtful of gifts I have today received.” As I walked onto the bus (paying nothing!) I could see him still waving people past and shaking his head and laughing his embarrassed, happy laugh. I pondered why it seemed that he had the wisest most human look to him and I realised that he was a man who had stopped his work, briefly considered the consequences of a broken rule, and saw that they were non-existent. He could now live forever in a state of wise and embarrassed bliss, knowing that a thousand tiny rules could each day be broken, and nobody – not a single human soul – would be any worse off.

I sat down on the top deck of the bus next to a pensioner who was smiling benevolently at the confetti snowing down through the sunset and opened my copy of Kendra Redford’s magnum opus ‘This Heart Which Once Was Owned’. I slipped the £7.99 Sterling Bank Note in between some pages, as one would do a book mark, and watched as the message I had been worrying about all day faded away, replaced by the authentic words of the magnificent woman herself. It would be a peaceful ride back to Journohaus. I found the beginning of the book and began, finally, to read.

‘This heart, once owned, will not fade. Nor will it grow with passion and fill when faced with greater loves, nor empty and wither when faced with lesser ones. It will instead become perfumed with an inexpensive history, whereupon it will afford each successive owner a sense of victory, until the day comes when the heart, and all its attendant freedoms and desires, will sadly cease to be. And although this heart, which once was owned, will be poor in strength that day, it will be rich in history, and rich in liberty, and rich in love.’

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On Craic: I’m Telling You, There Is No Word For ‘Yes’ Or ‘No’ In Irish

This essay is mostly about the 'craic', not to be confused with the 'cráic'

This essay is mostly about the ‘craic’, not to be confused with the ‘cráic’

At school I disliked learning Irish. Mostly because the teacher was stern and angry. When I discovered that he moonlighted as Santa Claus in a local shopping centre at Christmas, I was pretty much done. He clashed with my traditional concept of a kind and joyous St Nick, so that was me finished with Santa and, subsequently, the Gaelic tongue.

Not that I would have necessarily carried on learning it anyway. Gaelic as a language was so obviously ugly, guttural and unwieldy that everything sounded like it was the same foreign, unpalatable dish of intestinal slop. With its ‘fuinneog’s (windows) and ‘peann luaidhe’s (pencils) it isn’t a language that appeals to vain schoolboys, unless those vain schoolboys are fans of Lord of the Rings for whom Elvish proves too tricky. As a teenager this dislike was compounded by the observation that everyone associated with the language was infested with patriotism or an intense religiosity – and often both. Since the time of the Celtic Druids, Ireland has been the victim of a priest class who interfered with superstition in the political and social life of the country. Inevitably, this religious influence has found its way into the nation’s dictionary. The Gaelic language shares with Arabic, among others, the puncturing of sentences with religious sentiments. You can’t even formally say ‘dia duit’ (hello) without technically having just said ‘God be with you’. (The characteristically verbose response to this welcome is to say ‘dia is muire dhuit’ – God and Mary be with you).

But then I got a bit older and, maybe, a little more forgiving of spiritualism. I still find the priest class to be a void of moral authority – but I no longer extend that lack of credibility to the Irish language, even if it does pay homage to a Christian god every once in a while. As an adult, I’m interested in the language, not because I think it pleasant – it still sounds brutally unattractive – but because its quirks and cogs more than make up for its uninviting tone.

For instance, there are no words for ‘yes’ or ‘no’ in Gaelic. It’s the truth. If you want to answer somebody in the positive or negative, you actually have to refer back to the question itself in the form of a positive or negative statement. So, when somebody asks you ‘ar mhaith leat cupan tae?’ (would you like a cup of tea?) you cannot just say ‘yes’ or ‘no’ – there simply aren’t any words for that. You have to keep up the chatter by answering: ‘ba mhaith liom cupan tae’ (I would like a cup of tea) or if you’re feeling lazy you can reduce this as far as ‘ba mhaith liom’ (I would like) but absolutely no further. Never mind the possibility that you could just answer with the word ‘please’ and nod your head – because this course of action is just as long-winded by English standards, requiring you to say ‘le do thoil’ (literally: with your will).

The concept of possession is a similar peculiarity. The common way of saying you can speak or talk in Irish is to say ‘ta Gaelige agam’ which means ‘I have Irish’ – as if you carry the language around with you in your bloodstream as a kind of benign infection. This possessiveness doesn’t restrict itself to pursuits of knowledge, obviously, but becomes more confusing when talking about things which actually are attached to you. To say the colour of your hair is black you would say ‘ta mo chuid gruaige dubh’, which translates to something like ‘my share of hair is black’ or ‘my portion of hair is black’. The same goes for teeth: ‘mo chuid fiacla’ (my portion of teeth).  This word ‘cuid’ is used when there’s an indefinite quantity of something in the world over which you do not have full ownership. Which makes it seem like hair is only ever spoken about in its ethereal Platonic Form, and it is everybody’s ‘share’ of it which differs in colour, probably according to personality. All of this adds to the impression of exuberance and lengthiness which the Irish language leaves on the non-speaker.

The suggestion is that, historically, the Irish people often had nothing better to do but talk to one another, and as a result have developed an unusually long-winded mode of speech. To adopt a single word for ‘yes’ or ‘no’ during a conversation with me as an Irish person would be bordering on rudeness – I would instantly accuse you of ‘being awful short’ with me. You impolite fucker.

Of course, if I really did want to call you an impolite fucker ‘as Gaelige’, I would literally be lost for words. This is because there are no swearwords in Irish. Like ‘yes’ and ‘no’, they simply don’t exist. Every Irish teacher I have had has been adamant about this point, even proud. Although if you turn on TG4 – the Irish language TV channel broadcast throughout Ireland – you’ll probably discover the occasional soap opera character saying ‘cac naofa!’ (holy shit!) or even ‘bud ceann’ (dickhead). Strictly speaking, these aren’t swearwords either, because the words involved are the anatomical words. ‘Bud’ is the word for penis and doesn’t really hold the same forcefulness as ‘dick’ or ‘cock’. ‘Cac’ is likewise closer to the English word ‘poop’. All this means the words are funny in their own way, but it’s a silly kind of humour as opposed to anything tinged with anger or playful aggression. (If you’re curious, the Irish word for vagina is ‘pit’ – pronounced ‘pitch’ – and you can have as much or as little fun with that factoid as you like). Ultimately, if the English language is a vulgar one, with all its ‘cunts’ and ‘shits’ and ‘bollocks’, then Irish is a prudish language, in which it is impossible to summarise your absolute distaste without seeming like a clown yourself.

At least, it is impossible to show your disdain for someone in any terse way. Once again, the talkative nature of the language comes out. Should it be necessary to curse at someone, you would have to do just that – curse them. There are any number of websites that will tell you the phrases to use in these circumstances: ‘Imeacht gan teacht ort’ (may you leave without returning), ‘go n-ithe an cat thú is go n-ithe an diabhal an cat’ (may the cat eat you, and may the Devil eat the cat), ‘Go mbeadh cosa gloine fút agus go mbrise an ghloine’ (may you have glass legs and may the glass break). Sadly, such elaborate cursing is more common as part of the explanation of the ‘no swearwords’ rule. You’d be hard-pressed to actually hear an Irish-speaking person say these things. They’re far more likely to simply switch languages and swear at you in English, possibly because – as the film Lord of War pointed out to us – people tend to revert to their first languages in moments of pain, frustration or ecstasy, and the first language of many Gaelgors, though they might be loath to admit it, is English.

Of course, it is the opinion of many linguists that language is a malleable and generally untameable thing, and although swear words might not be recognised by purists, that doesn’t mean they won’t find their way into the language. Any language is in constant flux – always evolving – and new words will insert themselves into our vocabulary as irrustobabrously as they please. It’s just that, so far in Gaelic, no swearwords have seemed to stick. Possibly this is because forceful swearwords are a very English Thing. And the Irish are nothing if not ‘Not English.’ The language’s dislike for English loan-words or general English influence is noticeable in the creativity with which such loan-words are destroyed. When the escalator was invented, there was no Irish equivalent for the word, so it became the barely-altered ‘escalator’, pronounced esh-cah-lah-torr. But this was much too close to English for comfort and was soon replaced by an Irish substitute – ‘staire beo’ – which literally means ‘living stairs’.

Which brings us to the unusual case of the word ‘craic’. The origin of this unmistakably Irish word isn’t Irish at all, but Anglo-Saxon. ‘Crack’ was a slang term for ‘news’ or ‘gossip’ in England as far back as the 19th century and only became really popular in Ireland, primarily in Ulster, in the 1950s. As late as the 1970s it was still spelled the English way in songs and writing. For whatever reason the word has recently been Gaelicised and then re-borrowed into English, giving the distinct impression that it is an Irish word through and through. Most young Irish people today are convinced of its Gaelic purity. If you’re English, why not try writing ‘what’s the crack?’ on your Irish friends’ Facebook walls, and when they indignantly try to correct your spelling, you can give them a lesson in etymology. Your Irish friends will be very grateful for this.

That being said, craic is now an Irish word, simply by virtue of its quintessentially Irish definitions. It no longer simply means ‘news’ and is distinct from English counterparts. You can still ask somebody ‘what’s the craic?’ to ask what the news is, but ‘having the craic’ has come to encompass a wider concept of ‘good times’. A direct English equivalent doesn’t exist. Having ‘fun’ is too frivolous and civil, while having ‘a laugh’ is close but still too limited in its meaning. ‘Banter’ is sometimes put forward as an equivalent, being a similar mixture of conversation, joking and story-telling. But this doesn’t work either because there is a subtle difference between the two – banter involves jibes and insults and is more frequently practiced between work colleagues, who might not necessarily have been friends otherwise. Whereas real craic is more common among very close friends or family members, contains a lot more story-telling, anecdotes, reminiscing and fewer jibes at each others’ expense. Banter is essentially combative – craic is essentially co-operative. When having the craic with your friends, you ‘pass’ the laugh on to somebody else, who then keeps it ‘flowing’. When indulging in banter, you ‘serve’ a laugh like a tennis ball and wait for the rebound. Neither of these concepts is restricted to one culture – there is English craic and Irish banter – but my experience is that each culture appears to prefer its own particular blend.

Craic can also extend far outside of a single group in a way that banter cannot. Say a group of young men and women (mostly English-speaking but culturally Celtic) gather in a house for a drink. They sit in a circular fashion, enjoying the chatter and tales and generally catching up with whatever misadventures have occurred. At this juncture there is ’some craic bai’. This is not a diminutive phrase. ‘Some craic’ is still a good amount of craic. But it’s at this point the drinks are finished and the group must move from the house to another venue, almost certainly The Pub. Here, the group will undoubtedly split off into several cells, mingling with the other patrons and night-outers. Intermittently, these cells will meet up or run into one another, trade members and generally shout amusing things. Of course, the other patrons and groups in the bar have unwittingly brought their own craic to the bar. The usual effect is that all the craic becomes compounded until somebody stands on a chair or something and gives an impassioned speech about nothing in particular and everybody laughs and shouts ‘yerrrooo’. It can now be said that the craic is ‘mighty’. It is no longer simply a conversational concept, but an atmospheric one. The danger now is that somebody ‘kills the craic’ by saying or doing something sorrowful or aggressive. But for the sake of argument, let’s say this doesn’t happen. Instead, somebody’s cousin arrives through the door with a violin and a friend of his follows with a bodhrán (an Irish instrument – a handheld drum). The bar is small but packed and yet somehow there is room for the cousin and friend to sit on a stool in the corner and play what will be referred to tomorrow as ‘a blinder’. When the music reaches its peak and everybody is enjoying themselves – but not necessarily dancing – it can then be said that the craic is ‘ninety’. This, the consensus goes, is the craic at its absolute peak. If the craic has ever passed this point, it has never been documented or recalled. Thankfully, ninety is the optimum level of craic. Craic is at this point an atmosphere and, simultaneously, an experience. The craic cannot be killed at this level – it will only fade away slowly. Furthermore, it continues to exist as a moment in history long after the fact.

Retrospectively, you might expect the craic to be nullified by the force of the resultant hangover – but this is not so. Craic is simply cemented and preserved by a hangover, so long as the hangover is sustained by a large enough group and the night’s oracular chronicle set straight. The previous night’s craic now exists outside of space, time and the group(s) in which the craic was conceived. At this point, the craic has ebbed gently and the language used to refer to it must be reflective and respectful, usually in the manner of the previous night’s pre-drinks. It hereafter reverts to its conversational form. The collection of young men and women have had ‘some craic bai’, which, as I have said, is quite some craic, let me tell you.

*

With thanks to Colly Madden for the language lessons. Most of the Gaelige here is Ulster dialect.

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Tolstoy

[Wrote story. Probably going to recycle somewhere else. Pretty long. Exercise in extreme detail. But does have a point. Maybe make a cup of tea. Maybe read something else. Whatever.]

*

She didn’t open her eyes once that morning, and I guess that should have been my first clue, really. As to all the other clues, well, they were here and there, big and small. But the eyes thing, that should have been the one to give it away before all the others. She didn’t open her eyes and look at me once, even when we spoke. You don’t really think about these things when you’re hungover and warm and your back is aching and there’s a girl cuddled up beside you. Your brain isn’t very receptive to clues of any nature in that state, even the ones your own body is whining out, about getting water, about getting dressed, about getting the fuck out of there. So your brain just tells your body to shut up. What does your body know? I knew what I was doing, at the time.

I met Lucy at a party that was either just getting out of hand or just getting started. It was my flatmate’s boyfriend’s bandmate’s friend’s girlfriend’s party and I felt slightly removed from proceedings. So I brought along two cousins from different sides of the family so, if anyone asked, there would be at least two people whose chain was a little longer than my own. I brought the birthday girl some French wine and she smiled and said she was going to Paris. I asked who got her that trip and she said her boyfriend. I protested that the wine was really very good, even though I don’t know that much about wine except that people stand on grapes when they make it in cartoons.

Someone brought a dog, so my cousins and I petted him for a while thinking he looked pretty scared but also thanking him that at least we weren’t the strangest strangers there. Then one of my cousins talked to some Norwegian exchange students while the other flirted with a girl who looked mostly like himself. And I remember thinking that was odd but not too odd. I drank my rum and diet coke and got steadily more drunk and steadily more lost. There was a happy blonde girl and a camp black guy I kept running into and every time I wanted to pass them they made me tell a joke. It’s hard to come up with stuff like that on the spot, I think, so I gave them the old “woolly jumper” the first time. They groaned but let me through and rolled their eyes playfully. The second time I was ready for them and gave them the “cycle path”, which is a great, great and underrated joke that you should really hear.

Anyway, I must have gone upstairs because I was sitting beside Lucy on the top step and talking to her about War and Peace. I’ve never read it but it’s my ma’s favourite book and Lucy said she was enjoying it and just over three quarters of the way through, I think. I tried to talk to her about If On A Winter’s Night A Traveller by Italo Calvino in the same start-stop-wait-give-me-a-second-to-form-a-sentence way I talked to everybody about If On A Winter’s Night A Traveller by Italo Calvino. But she heard me out and we joked a bit about something that I can’t remember and then her friend came over and we all joked about something, probably not the same thing.

Sometimes you talk to someone and you’re drunk and what they say doesn’t really dig a decent enough trench in your memory, so it gets supplanted and overrun by simpler things. Like gestures or expressions or that kind of thing. A hand on your arm, a glance from one of your eyes to the other, a smiling squint like they recognise you. Nothing out of the ordinary, I realise, but still welcome and attractive little sparks of human contact, you remember those. What I mean by that is that she smiled and she didn’t try to run away, and this is always an assured sign of social victory in any drunken person’s mind. My cousin was downstairs insulting the girl who looked like him until she stormed away. They repeated this little tango three times in total before they agreed to go home together. My other cousin had made friends with this one man and his hat and was watching my flatmate’s boyfriend’s bandmate dancing on a table in the living room, which was really a dance floor for everybody at this time of the night.

We were drunk and ready to leave, so I went and found Lucy and insisted on giving her my number written out in pencil on a scrap of paper. Her friend was standing beside her and I remember she looked awkward about it. I was drunk and smiling and I said something enthusiastic and intolerable about talking to her on the stairs and then I waved and walked home with my cousins and the girl who looked like my cousin and a dumb grin on my face as if I was trotting home on horseback with the cavalry and I knew everybody fancied the cavalry.

I played a videogame for a week and read The Sun Also Rises, which was boring me into a coma until it wasn’t boring me anymore and became very good. For two of the days I cringed when I thought of giving my number to the girl at the party, who I couldn’t remember the name of. I went to Cambridge and got hammered with my old school friends, which always feels to me like a reunion of family. And since I like my family I had a great time. But the shenanigans of that crowd are best left for another time. Nah, we went to a Wetherspoons and I talked to a burly, pugnacious guy who liked to smile and shake hands and start fights when he was out on the lash with all his lads. He told me about the fights and about how they would go out looking to get into a mess. I was vaguely reminded about something Chuck Palahniuk did but I didn’t want to say that to him. But anyway there were a lot of misadventures probably not worth mentioning. One of my friends and I stayed up in a cottage drinking Jack Daniels from the bottle in our sleeping bags and talking about Rwanda and the Congo and how Shooting Dogs is a brilliant film that you’ll only ever watch once and me talking shit about Jamie T and how Sheila is the best song because when you listen to the lyrics it becomes a full-blown Shakespearian tragedy. I said I’d write an essay on it. You should always listen to the lyrics.

On the hangover we went back into town and I had to force some soup into me to recover while everyone else had already had bacon buddies back in the house. One of my friends talked about going to see the ‘Flighty Japes’ in concert and ending up snorting cocaine with them and slapping the lead singer on the ass, just out of coked-up compulsion. I hoped he hadn’t ruined the band for me because I’d only just discovered them and quite enjoyed their happy gnarling and I didn’t want to think of them as coke heads, even though in hindsight it’s pretty clear from their lyrics. You should always listen to the lyrics. I got on the train and went home to London.

In Liverpool Street I got a message from a girl called Lucy, who said she had lost my number but found it again and thought she’d say hi. I smirked at the wee lie about her losing the scrap of paper because I couldn’t really bring myself to care about stuff like that. But I was happy she sent me a message and it snapped me out of my hangover. I didn’t know her surname, so I just put her in my phone as ‘Lucy Tolstoy’. I thought I could just about remember what she looked like and what we talked about. I asked her how War and Peace was going and over the course of a week she said that progress had been made. She’d finished the book and asked would I like to borrow it. I took her up on it and she agreed to a drink as part of the contract. I thought I was doing pretty well for myself, so I smiled.

On Saturday she called and said she had two questions to ask me. Firstly, did I have a bicycle? And secondly, did I like jungle music? I didn’t want to be too negative sounding over the phone so I said I didn’t have a bicycle but I thought jungle music was OK. I didn’t really know what she meant by jungle music because I have never been very good at telling genres apart. I get the same thing with colours. I’m not colour blind I just don’t know which colours mix together to get the other colours. It’s the best way I can describe it. I can’t remember the names of different hues or shades. If you put crimson and maroon in front of me and ask me which is which, there’s precisely a fifty-fifty chance I’ll get it right. The same with music genres. It’s the best way I can describe it. I can tell country from classical but I can’t tell grime from dub step.  I guess there are primary genres and secondary genres like there are primary colours and secondary colours. I can’t describe it any better than that. I didn’t really know what she meant by jungle music, so I said it was OK, and sure enough it is.

There was a place in Balham that was holding a Christmas bike fair and she wanted to know if I’d go along but if I didn’t have a bike she would understand if I wasn’t game for it. I didn’t really care about bikes but I said there was no better time to get started on a hobby, so I would go and get started by buying a bell, then work my way up to a chain, then some handlebars maybe the following year and I would have a bike in no time. She agreed. I felt pretty good about it but I was still unsure how the jungle music came into it, since I got cut off when she was telling me. We just arranged the rest by text message so the plan was a bit garbled in my mind. We didn’t need to meet for a few hours, so I played a videogame for a while where I drove a car around some dirt tracks on a tropical island and ran over a buffalo by accident. I was glad nobody was in the room when I hit the buffalo because it would have looked as though I had done it on purpose, the way I was driving so badly. When it was time to go I got dressed, realised I needed to shave, got topless again, passed the razor over my face pretty methodically, and finally got dressed again in a different jumper. I felt good about my date, even though in hindsight it seems kind of strange to bring a guy out to a bike fair on a first date.

The Christmas bike fair was held in a bowls club that wasn’t really a bowls club. It was a bar. It was a pretty nice bar in fairness but it was full of bikes and people and I didn’t really understand what was going on. I met Lucy outside and kissed her on the cheek and looked at her and then I could remember what she looked like. She had straw coloured hair and she looked familiar to me. I don’t mean familiar because of the party I mean familiar from before the party. But I didn’t really think about it, I just went in with her and got us some pints of Ubu and Trumans ale and walked around the fair with her. It was weird seeing bikes in a pub that weren’t a hundred years old and nailed to the walls. In Ireland they love nailing bikes to things. But in the bowls club they were professional bikes and they were on display everywhere and there were salespeople pitching specialised parts. One of the specialist vendors had laid out all his shiny chromatic bicycle bits on trays with little cocktail sticks sticking up with labels on, like they do with meat in a butcher. He wore an apron to complete the illusion and I said to Lucy that I liked this very much. In another room there was a couple of exercise bikes set up side by side next to a big clock like the one off Countdown and people would race against each other on them, red versus blue. We joked about that and moved around the place.

She was interested in the bikes in the manner of an enthusiast who isn’t too enthusiastic. She had bicycle posters, she said, and when I asked her how many bikes she had she held up three fingers and smiled. She was looking at the sales stands while she held her fingers up. I thought maybe she was too engrossed in the bike stuff to look up at me while we spoke but she never really came across as much of a geek as the rest of the people in the place. I don’t know if she was trying to act cool or if she genuinely was cool, but I gave her the benefit of the doubt because that’s what you do when you really like somebody who likes bicycles. I looked around at the others in the room. There were a couple of dogs trotting around on leads and a lot of checked shirts, and it got to the point where I couldn’t tell hipster from authentic cyclists, since they appear almost exactly the same.

Upstairs there was a stand for people supporting the Herne Hill velodrome. She said she’d been there a few times, although not for a while, and got into a conversation with one of the fundraisers. He told us that the land the velodrome was on had been in the same hands since Shakespearian times and I tried to be funny about the whole thing by saying to Lucy that by supporting the velodrome she’d really be supporting Shakespeare, which is always a worthy cause. It wasn’t very funny but the fundraising man smiled anyway, and I guess that was nice of him to do. Maybe I should have just told the “cycle path” joke. But I didn’t think of that at the time, which is a pity because it honestly is a good joke.

Lucy bought a plastic water bottle from the velodrome people with their logo on the side. She promised a little girl at another stand that she would put some of their gold handlebar tape on her Christmas list. We sat down and drank a little and joked about whatever, and she twisted the water bottle around in her hand without really noticing that she was doing that.

After a while she opened her bag to put the water bottle in and admitted she hadn’t brought the copy of War and Peace with her to lend to me, and she would tell me why: because it was shit. I said that a couple hundred years worth of everybody else disagreed with her but okay. She said it wasn’t that it was shit, not really, but the ending was shit. She told me about the ending and about some bits in the middle in a really cloudy and vague way. She told me that lots of really interesting things happen. People fall in love, they join the army, they go off to war, they die. Things like that, she said, and all this she told me without giving any names or major plot twists away, which I appreciated even though it was clear to me that I really wasn’t going to read it anymore, since she had said it was shit. And what’s a couple hundred years of everybody else to the word of a girl with straw-coloured hair and a pint of ale? It’s not much, is the answer.

She said that she was reading Brave New World now, actually had just finished it, and didn’t really know what to think. I leapt on that because it’s one of my favourites and I talked all about Mustapha Mond and John the ‘savage’ and that dialogue they have at the end, where it’s really hard to disagree with Mond because he’s so logical and firm about lack of suffering being the most important thing. Even though you know something is wrong with the place and John is onto something, even if he can’t get the words right when he’s talking to Mond. Like he just can’t put his finger on precisely what’s wrong. He has to resort to Shakespeare too. I remembered an interview with Huxley I watched on the internet and wanted to tell her about something he said in it. But I forgot the words, so I tried to tell her about his essay on patriotism and nationalism instead. I said his essays were really good, I had read some in university. I tried to quote him but the thing he said was so long and finely crafted. You can’t really whip something like that out at any old bike fair, it’s really difficult. So I stumbled and bastardised his wording. What I really wanted to say was this, here, I looked it up:

“The personified entity [he means the ‘nation’] is a being, not only great and noble, but also insanely proud, vain and touchy; fiercely rapacious; a braggart; bound by no considerations of right and wrong… As a loyal nationalist or party-man, one can enjoy the luxury of behaving badly with a good conscience.”

Instead I said something else, about how nationalists and patriots and soldiers don’t need to feel bad when really they should. She said it was very interesting and I decided to think she was only half-lying when she said that. Anyway the subject changed.

She had a call and a couple of text messages while we were talking. She was finding out what the plan was for that night and said we were going to go meet some of her friends in North London. I didn’t know much of London. She said she lived in Camberwell. I said I didn’t know where that was, even if I recognised the name. She was shocked and made fun of me for not knowing London. I pleaded green, I had only been here a year. She’d lived here her whole life. Of course I didn’t know where Camberwell was.

The kiosks selling bike things were packing up their stuff and getting ready to leave, and Lucy decided to buy three more water bottles from the stall behind us for different people in her family as presents. She said that on Christmas morning they all go for a jog together as a tradition, which I observed was certifiably insane. She said they do it on Boxing Day too, all apart from the littlest sister who stays behind to make pancakes. I said the little sister got all the brains and told her about big family feast in our house and how we don’t get out of bed ‘til noon.

A guy from one of the closing stands came over and asked Lucy if she wanted to buy a china mug she’d been looking at earlier in the evening, with a cartoon head of some renowned British cyclist on it. She ummed about that for a minute and said she really wanted it. But of course she’d just bought every plastic water bottle in the building, so she was not too keen. I piped up and got it for her because I was sitting there between them and I felt like a dick, just sitting there holding an empty pint glass while she considered a polystyrene box and bit her lip. She really wanted it, so I got it for her and felt like even more of a dick, smiling at the salesman like I thought I could buy affection, like I could buy a mug and that’d be it, problem solved, she likes you. I mean, I didn’t really think that at the time, I only thought it afterwards. At the time I figured I was just being polite and cheesy.

She smiled at me and put the mug away in her bag, then smoothed down her dress. I figured out why she seemed familiar. She looked a lot like a girl I used to see in university. An animal behaviourist and a vegetarian. A hippy, in the nicest way. A girl who I never started seeing in earnest and always disappointed. I regretted a lot of things to do with that girl. Lucy had the same eyes and smile and lips. She looked a lot like her. Of course, I wasn’t going to mention that. Jesus. Nobody wants to think that. That they remind someone they like of a former lover. That kind of thing is likely to worry you, to crash around inside your skull. It’d just be kind of rude. Kind of unwelcome.

She looked at her phone and said we’d better go soon if we wanted to meet her friends. She stuffed all the cycling paraphernalia into her bag with some trouble and said this explained why she was always late to things. She said her bike was nearby. I told her I should get a backy the whole way to North London, or maybe sit on the handlebars. Did she have a basket? I could sit in that easy enough. She smiled and said she hoped I didn’t mind getting the tube to Highbury & Islington and waiting for her there. I didn’t mind, so long as I could find a bar near the station. She said I might see her friend waiting for her too, a Spanish girl called Mariana with curly short dark hair and glasses. I said a lot of Spanish girls fit that description but I’ll keep a look out. We left the bowls club and I walked her to her bike where I said I’d see her soon. Then I wandered up to get the tube across town.

I felt maybe she was a little eccentric or something, or a bit distracted. Everything about the date was super casual, like we were already friends or lovers who didn’t really need to do anything fancy or over-the-top. Like she already knew me and knew I wouldn’t mind taking things really easy. I was sorry I had nothing to read on the tube, except safety signs and adverts about watches and gadgets and other stuff I didn’t need. When I got to the other side I saw three girls that fitted Mariana’s description, so I put my head down and walked to the bar next to the station because I didn’t have the stones to harass, potentially three, random women. Lucy came and we locked up her bike and we walked to KFC. She asked if they had any vegetarian food. I said it’s called ‘Kentucky Fried Chicken’. Not ‘Kentucky Fried Avacado’.  She said she ate meat maybe only once a week. I asked the usual question: ethics or taste? An ethics thing, she said, meat is fucking delicious. I got a chicken burger and she just got some chips and I thought we were going to sit down but she hurried us out and said we needed to get drink and get to her friend’s flat.

We arrived there with some beers and rum, smelling of our fast food. She introduced me to ‘everyone’ and introduced ‘everyone’ to me, then sat down on the floor around their coffee table and started chatting to her friend. I put on my extrovert face and introduced myself properly to ‘everyone’, minesweeping the room for names and relationships. I discovered a Dan, a Sarah, a Matt and a Mariana, who had found her own way. I uncovered the link between Dan and Sarah, which was romantic, and the tie between Mariana and Lucy, which was knotted with exchange trips to Spain and other holidays. Dan said something like he used to work with Lucy, and they all knew each other from university somewhere along the way. That’s where the friendships were based really, in university. He sat down after shaking my hand and twisted his moustache, which was thick and impressive over a beardy coat, like a British army officer’s circa Zulu Dawn. I guess he had just kept it on after Movember had passed.

Lucy sat on the floor and ate chips while Dan and Matt argued over what music to play. Matt was a tall guy with a posh voice and thin eyes. He smiled a lot. They put on Jamrock by Damien Marley in the end and then afterwards came the indeterminate dubstep or grime or drum and bass. I couldn’t tell. Tarantula by Pendulum came on, I recognised that one and realised I was instinctively bobbing my head and knee to the rhythm along with everyone else, so I was in good company even if I didn’t really know the genres. I chatted to Sarah a bit. She was a tall girl with an uptown accent, straight outta Suffolk, who worked in PR and laughed heartedly at my shitty jokes about London and all its dreadful stressy quirks. Dan put his hand on her knee to get her attention and I turned to speak to Mariana, who was pretty quiet but looked happy enough. She said she was from a town north of Madrid and I asked her if it was near Leon. She looked surprised and asked how did I know Leon, most people here didn’t. I knew Leon because I had played as the once-powerful Kingdom of Leon in a medieval strategy game for the PC, but obviously I didn’t tell her that. I just said I knew it from a map in history class at school. She looked impressed at my memory in that really brilliant expressive European way, but she really shouldn’t have been. Maps, I said, I really love maps. It’s true though, I do.

Lucy asked when Dan and Mariana were going to have a Spanish conversation and Dan started speaking Spanish with lots of hablos and soys and a really good accent but pulling lots of modest faces and adopting all the expressiveness and hand gestures. I couldn’t stop smiling. All the lispy Spanish words came rolling out from under that British bushel of a moustache. He was really on form and everyone was impressed. I asked donde esta el bathroomo and was told in the hall a la directia and we all had a giggle. By the toilet I saw Italo Calvino and a bunch of Penguin classics I didn’t recognise the names of and I considered complimenting Dan and Sarah’s reading material when I came back into the room. I never did that though. After I came back I just glanced at their bookcase and saw hundreds more all neatly rowed up. Almost every book had an orange or black spine and in parts they alternated, like the skin on an American milk snake. I felt like I was in really strong company and I wanted to talk to them about Italo Calvino but it wasn’t really the proper time, since Dan was making jokes and poking fun at Lucy for putting me on the tube while she pedalled off. He said he had something to tell her, and listen, he was only saying this because he was her friend, but she was fucking weird. We laughed and he turned to me to nod and say that she really was. I told him I already knew, I had just been taken to a bike fair and I don’t even have a bike. And this is just the start, he said.

Lucy put on a green jumper with a load of sheep patterned on it and everyone said what a cool jumper it was, and fair enough it was. The conversation turned back to genres or something else and I looked over to Lucy and tried to catch her eye because I was feeling pretty merry and she looked nice to me in the silly jumper and I wanted to smile her way but she was still picking away at chips. I waited to see if she’d look up. I waited for as long as is appropriate, maybe four seconds, then gave up and thought not much of it and went back to listening in on the jokes. And, although all the people were strangers, everything about the scene was familiar and I knew what had to be said and what had to be done and I felt I had been inserted into the group more-or-less successfully, like a memory card in a digital camera, slotted into place.

A taxi came and we got our coats and jackets and I slugged the last of my tinny of Tyskie into me and followed. The neighbour was seeing somebody out of the flats at the same time and they left their door open. So Dan gestured with a little twitch of the head toward the flat and Sarah took a few clownish sidesteps to their door and peeped in nosily for our amusement but probably also out of a long-held curiosity too. She said their flat was very nice and we all passed the neighbour on the way out the door and got in our taxi. Matt said he’d get in the front so the seat beside me was open for Lucy. She had to go and get cash out or something, so we waited for her to come back and the others chatted shit and joked about her slowing us down when she came back.

I don’t remember much about the journey to the club. I didn’t think I was blinded, but I guess I really was.

At the club, we passed a bouncer who searched the girls’ bags and gave us all a little feel-up while being super polite about it, asking how we were doing and how our night was going. He was the most cheerful bouncer. He gave us all a smile and wished us a good night’s drinking as we each passed. I followed the rest down some stairs and I think Lucy waited a little for me, or I waited for Lucy because we got our hands stamped at the same time. One of us wouldn’t let the other pay but I don’t rightly remember who. The little blue mark on my hand was all inky and bleary, it didn’t really give me any clue as to what the place was called. It was small and it was full to just the right amount of people. A full dancefloor and a bar with two or three possible points of entry. Bassy music reverberated through all the bodies like gunfire and we were all getting our bearings. I decided to volunteer for cloakroom detail and took everybody’s jackets and Lucy’s bag up to the girl in a tiny booth. After that, we drank.

I don’t remember much. I talked to Mariana a lot. I joked about Spain and tried to speak Spanish, but didn’t really try, I was just being really poor at it on purpose, the way you do when you’re clowning around. I talked to Dan a little and said he was really funny. I think I said it about five times. You know how it is. He was polite about it. I talked to Matt and he said he knew the DJ, or the guy who was helping the DJ, or someone on the stage. It wasn’t really a stage, more a section of the floor devoted to the act. I told him I wasn’t really good at telling the difference between dubstep tracks but I liked the sound of them anyway. The same way you might like the sound of a particular instrument, like the trumpet, but you can’t tell what notes they’re playing. I mean, I said something like this, I didn’t describe it as good as all that. He got it, though, he got what I was saying. I didn’t really get to talk to Lucy much in the club.

We were at the bar’s side and somebody had ordered a lot of tequila’s, which isn’t my best shot and by the groans that went up around the place it didn’t seem like anybody else’s best shot either. I said to Mariana that this must have been child’s play to her. She shrugged a Spanish shrug. We did another tequila. Then later we did another tequila. I felt sort of sick after that one, and there was all fire and illness in me, so I waited until everything settled and I joked about something unworthy just to prove I was over the shock of the drink, then waited patiently, then smiled and went to the bathroom. I thought I might be sick, so I went into the cubicle. But I felt fine after a few seconds and just shook my head and laughed at myself. I came out and everyone was dancing, so I danced with them. Then it was my turn to get some drinks for folks, so I went to the bar.

Then something nice happened. Lucy came over to say hello. I said I liked her friends, they were good characters. They were very funny. She said I was doing very well and I smiled. She leant towards me and I asked if she was going to kiss me and she just nodded, so we kissed. I took the drinks back to the others and Lucy gave me a hand. Then we danced some more and Lucy kissed me again. She kissed a little like the girl she reminded me of. We danced a lot more and she disappeared. I danced with Mariana and Matt for a long time and it looked like Dan and Sarah had gone home. Lucy reappeared and we all got our coats and stumbled upstairs and went off into the street. We wandered around for a bit by the roadside. We waited for Lucy to get some water from a 24-hour garage. She came out with water that was flavoured like flowers, like elderberries or something. We flagged down a black taxi and decided to drop Matt off wherever the hell he lived. We all had one sip of the flower-water and decided it was a bad, bad purchase. Lucy asked if she could roll the window down. She wasn’t feeling very well. Orange light passed over her face with every streetlamp and she didn’t move. She just sat there with her head turned, breathing in the stale, cold London wind, her eyes closed and her hands folded over her coat. A strip of hair was caught over her face. She didn’t move it. She looked like she felt bad. That made my heart lurch, seeing her like that. Or it could just have been the taxi. In any case, I think I was quiet on the drive back home.

We dropped Matt off somewhere and he passed a few heavy coins in through the window to help pay. I told him to take them back and he refused. I told him to take them back or I’d just drop them out the window and he refused again, so I dropped one of the pound coins to make an example. But he just threw his arms up and walked away, all wobbly and indignant. We carried on to Lucy’s house and paid the rest. When we got in Mariana got settled into a sleeping bag and a mattress in the lounge. The house was pretty small and the mattress took up most of the floor. Lucy and I went upstairs to her room, where we kissed again. In bed she told me to bite her, so I bit her. I’m not really fussed about that kind of thing but she told me to do it, so I bit her and she bit back and we went to sleep. There was a faint feeling of second chance about the whole scenario and I smiled and felt myself vindicated.

The sensation of a dry mouth was the first thing I became aware of, when I was waking up the next day. Then the feeling of nearby warmth and spindly stray hairs on my cheek. I was pretty happy, except for all the usual physical and mental ailments that follow from tequila. I got up and went to get water and crept past a slumbering Mariana to the kitchen to fill up a pint glass in view of a pretty, sun-shiny garden outside. I can’t really remember the exact layout of the garden through the window but I remember thinking it was small and pleasant. I can’t remember anything else. I think I was still pretty blind, even then.

When I went back into Lucy I lay with her for a while. I liked her. She had a small room, a single bed, a bookshelf on either side, a desk squashed into place in one corner. I saw bicycle posters on her wall. There were a lot of potted plants. About six, or maybe seven. Aloe vera and spider plants and stuff like that. She had a tiny watering can beside them. I liked her and I liked her room and I thought I’d noticed all the interesting stuff so far, so I lay with her another while.

We exhausted the water and I went to get more. When I came back this time I noticed a baseball cap hanging on a rack on the back of her door. It was army green and had two knives, or sort of machetes, and a crown on it. I smiled and asked her when she was in the Royal Marines. She didn’t take up the joke, just said really plainly that it wasn’t the marines, it was the Ghurkas. I said ‘Heh, Gherkins’ because I was hungover-to-fuck and the words just sounded the same and I was running on all the stupid left in my brain and nothing else. She said it was her boyfriend’s cap, but he was dead now. Then she splayed her pale arm from under the bed covers and pointed across the room to a photograph framed in a cardboard stand and said, ‘that’s him’. I couldn’t really see him. I need glasses to see things far away but I never wore them and I wasn’t going to wear them in front of her so I just squinted limply. I asked her what happened, if she didn’t mind telling. She said something like: ‘seventeen bullets and electric fire’. I didn’t try to think too hard about that, so I said ‘sorry’. She said it was okay, it wasn’t exactly my fault. I said I know but that’s the thing you’re supposed to say. She said he was from Portadown in Northern Ireland. I said that was ten miles from my hometown, Lurgan. She said she knew. He’d studied in England. It happened two years ago. I asked what his name was and she told me it was Ethan.

I didn’t know what else to do. I was sad. I kissed her shoulder.

She fell asleep, or I think she fell asleep. But I wasn’t going to. I looked at her bookshelf and straightaway my eyes plucked out three books about Afghanistan without really looking for them. Your mind kind of does that when you become aware of something. I tried to look at the photo again but it was too far away and I could only see a bleary thumbnail of a uniform.

Portadown. Every time I spoke, I must have reminded her of him.

I lay on my back and looked up. My brain came to life, sober and angry, and stormed towards me as if from exile. ‘Seventeen bullets and electric fire’. I didn’t understand the ‘electric fire’ part, I thought maybe it was a military term or something. But the words rang there in my head anyway.

When I was really young and lived at home I would hear the echoes of gunshots from across the fields outside my house. At first I thought it was the British army men but my Dad laughed and told me it was only farmers shooting at birds. I remember I was afraid of the gunshots because I thought someday the farmers will shoot up at a bird and miss, and the bullet will have to fall back down again. What is to stop the bullet falling on my head? My dad said the bullets disintegrate in the air and I didn’t exactly understand the precise physical dynamics of a shotgun shell, like I do now with all my videogame-powered hindsight, so I didn’t believe him. I knew that one day the echo of a gunshot would be one of the last things I hear. I still have nightmares about being shot in the head and, after a long echo, dying of a vicious ringing in my brain.

That’s what the words were like to me. ‘Seventeen bullets and electric fire’. They echoed. They rang.

I mean, I didn’t think a lot of this at the time, it’s just what I now realise it felt like. It didn’t make any sense. At the time I was mostly thinking about how annoyed Ethan made me. Why would you go from Portadown to a warzone? Did he think he missed out? By only catching the tail end of all the horrid shit that happened at home, did he think he’d missed his chance? Why the fuck did he leave her behind, to go and shoot at people? What right did he have to go do that? Did he think he was being brave? Why didn’t he just stay fucking put in England, and be with her?

I stayed annoyed with him for a little while. More miffed than enraged, really. And then I was a bit sad again. I tried to sigh quietly and didn’t really do a good job of it and I hoped she hadn’t heard it. I had the horrible feeling of being traumatised by proxy. So I sat up for a while and then looked at her and she seemed peaceful enough, so I felt better and lay down again. She woke up and we both lay around, not really doing anything just complaining about how sick we felt and noticing how many marks we’d given each other, which seemed like a really teenage thing to do but it was fun anyway. I moaned that I’d have to go to work hungover in the evening and she said she had a Portuguese lesson to go to at noon. It was getting pretty close to that time. I asked her if she had been learning Portuguese long and she said this was going to be her first lesson. She wanted to go to Brazil. I noticed she had a cloth shoe organiser on her bedroom door that had ‘El Salvador’ written on it and I asked her about all the other places in Central and South America she’d been to and told her I was surprised she’d not been kidnapped but don’t worry it’ll probably happen in Brazil, since she wanted to visit Rio de Janeiro, so she wouldn’t miss out on anything. She bet me a tenner she wouldn’t get kidnapped and murdered and I observed the illogicality of gambling on her own death, since she wouldn’t be around to pay me when I inevitably won, but anyway I took the wager and we shook hands on it.

I said in the meantime I could teach her some Irish and maybe that would get her by. She asked how I knew Irish and she seemed surprised. I said I knew some of it because I was a big dirty Catholic, when really I should have said I went to a Catholic school and they taught Irish there but I didn’t give a tupenny shite for all that ancient guff. I said my name should have been a clue, I mean, it is a very Irish name and in Northern Ireland you don’t exactly have a name like that if you’re Protestant. You’d have a more English name. She said my name didn’t strike her as overly Irish and I shrugged and said it really was. She said she thought Lurgan was a Protestant town and I said it was more of a fifty-fifty split. Portadown is definitely protestant, she said, and yeah she was right about that, it mostly was. Ah, I said, the good old ‘murder triangle’. That’s what it’s called, the area around my hometown and I always tell people that when I’m talking about home because, I don’t know, it’s an interesting and strange sort of thing to say and I guess it makes you seem like you’re from an interesting part of the world, right on Britain’s doorstep, when actually it’s kind of boring. She asked why it was called the murder triangle and I said, you know, on account of all the murders. I think it had the highest murder rate in the UK for a good while but not everybody was killed, it was mostly political, only some types of people were killed.

‘Like who?’ she asked.

‘Um. Policemen,’ I said.

‘Oh,’ she said, ‘and soldiers.’

‘Yeah. But I didn’t really want to say.’

She said that was okay, it didn’t really matter. She remembered now, there were two soldiers killed by the IRA during a pizza delivery to their barracks. I told her about the man who was supposed to have had a hand in it and how he lived in a Lurgan council estate that was a sure-fire Republican stronghold and basically a no-go area for the police and I told her how he always got arrested any time something like that happened but they could never pin anything on him. I told her my dad owned a shop down there and the police only ever came down in plain-clothes because if they came into the estate in uniform it would likely cause trouble or a riot or something worse. I plucked a story out of the dozens I have about my dad’s shop, about a bomb scare. And how the Post Office inside always gets robbed and pretty much the only reason for that is because of the word ‘Royal’ in ‘Royal Mail’, which I guess makes a legitimate target for the IRA. They never take money out of the shop’s tills because that would be like hitting their own people. She listened to the story and I watched her for her reaction and I’d already noticed that she wasn’t really opening her eyes at all. I put it down to the brightness of the room and her hangover. I mean, there are plenty of days when I don’t want to open my eyes. Plenty of mornings I’d like to be blind.

It was eleven. I told her she should probably get up or she wouldn’t learn any Portuguese. First though, I told her to bunk the class. She was hungover and she wasn’t going to be receptive to mad new words. I was certain of this. She declined. I guess because it was her first class she felt it was important, or maybe because she planned to go back to visit South America she knew she really had to learn. They spoke Spanish in El Salvador. Either way, she said she was determined not to miss it, except she didn’t look like she was moving very far when I told her to get up. She just told me to get up first.

I got dressed and went downstairs and found Mariana awake and she said she didn’t feel too badly, which I said was down to a tolerance of a certain Spanish substance formerly known as Tequila but hereby referred to as the Bad Stuff. Lucy came down and repeated the exchange, then walked me to the door, so I kissed her and left. I thought about saying something about meeting again soon but Mariana was in earshot and I didn’t really want to arrange something or talk nice when somebody could overhear. So I just walked on out.

I got to a main road and saw a Nandos and instantly recognised the place. I fucking knew where Camberwell was. I let the buses pass by and just walked home, partly because I was liking the cold fresh air and sunny day, but mostly because I didn’t want to get sick and vomit on the top deck of some heaving red monster. It made me uneasy to think of travelling by any other means, so I put my hands in my pockets and used my feet for an hour. I did the usual thinky thing on the dander home. I felt pride and anxiety and embarrassment and amusement all around the same time, or at least in such quick succession that it was hard to notice falling from one feeling into the other. My face must have looked like an actor doing a warm-up exercise, expressing every possible emotion one after the other. Oh no, I thought, the dreaded fit of ambivalence. A bit melodramatic, I know, but anyway that’s what I thought.

I got home and slept and went to work and sent Lucy a message asking her how she felt and asked did she learn any strange new words. She replied the next day saying yeah, she had felt pretty rough but she had learnt a bunch of new words but listen, she wasn’t looking for anything more right now for a whole bunch of reasons but she had a really good time and it was good to meet me. I sent a message saying, ha ha, no worries, take care of yourself, and signed it with an X. Then I got drunk on rum and watched a few Scottish sketch shows on TV and chatted to my housemates and got a little more drunk before dinner and played a videogame and in the videogame I killed a bunch of animals for their hide, then shot some pirates and burned their drug fields with a flamethrower while some tune by Skrillex was playing over the top, then went hang gliding and knifed some more pirates and protested to the lead character’s girlfriend that no, all this violence wasn’t really having an effect on me I was just doing whatever, blah blah blah and all the rest of that shite. I wasn’t really enjoying myself, I just did it all because the game told me to. At this point I was pretty drunk and it was late and I felt beaten down and tired so I climbed a radio tower in the game and jumped off the top and killed myself and that gave me a bit of limp distraction for a few seconds before I turned the console off. I listened to some music and went to bed and had a nightmare about being shot, except in this nightmare I was two different people and we were both shot, one after the other. Usually I wake up after being shot but this time my mind just transferred itself into the person next to me in the dream, and he was shot as well. Then I died and woke up and drank from the bottle of water by my bed that I keep ready as a good cure for this sort of thing, and then I went back to sleep.

I still remember the first dream I ever had about being shot. I was lying in bed in some rundown hotel when Daniel Day Lewis stormed into the room and blasted me in the head with a revolver. The sensation inside your head upon being shot in a dream is unique, I think. Everything goes black and there’s a surge of fear, but it’s fear without any real association with anything. Just isolated, indeterminate terror. And it feels a lot like a shockwave, or an electrocution, or an intensely uncomfortable dubstep except that it’s completely silent, taking hold of your brain and shaking it, first vigorously then relaxing at a very fast rate. And when everything is dark and still again, and the feeling is that maybe you have finally passed away, that’s when you wake up.

When I woke up the next morning I didn’t feel too bad. My hangover was mild and I didn’t have work to go to and I felt like maybe I wasn’t too bothered about the Lucy Tolstoy thing anymore, so I smiled and got in the shower and rinsed myself mellow and bumbled down the stairs, mostly in a shrugging mood, so that if anyone asked me anything I resolved to shrug at them and happily enough just get on with my day off.

Then I sat down at my computer in the kitchen and checked my emails and felt miserable. I started thinking about Ethan the dead soldier and, now that I think of it, that was probably a stupid thing to dwell on. I tried to think about it but it wasn’t making any sense to me. I remembered the words ‘seventeen bullets and electric fire’ and it didn’t make any sense at all. An electric fire just sounded like it was a fire started by an electrical appliance; it wasn’t a military term, at least not one that any first-person-shooter ever taught me. It started to annoy me and I wanted to know the real story and anyway I was curious so I did the dumb thing and searched on the internet for ‘portadown ghurka died afghanistan’. I saw the name ‘Ethan’ and a list of stories that looked like they were all about the same thing, so I chose the second one down and it gave me a long story in the Belfast Telegraph about the soldier.

He had been killed by one of the Afghan national army soldiers the British had been training to fight against the Taliban. He was just about to turn 27. I scrolled down and it said that he had died from gunfire and the blast of a rocket propelled grenade. So, rocket fire. Not ‘electric fire’. I hadn’t heard her right. She had been turned away from me, to face the photograph on her desk. The word had been lost in pillows. It made more sense now. I was still curious so I read some more and kept scrolling down. I read about how he learned to speak Nepali with an Ulster accent and I read about his humanitarian work in El Salvador and I read about the funeral and I read his family’s dedication and I saw his picture and he fucking looks like me, he fucking looks like me, he fucking looks like me.

And it was like a gunshot from a hunter’s shotgun, reverberating down the years, hanging far off in the sky for decades, silent and ready, had finally come down. Down through the cold sunshine, down through the cumulus, through the roof of my house in Streatham, through my housemate’s keyboard, through the ceiling above me and through the crust of my skull.

I got up and walked around a bit and drank from my bottle of water. I didn’t feel very good about it. I got out my phone and thought about doing something. Then I was sad for the guy, then annoyed with Lucy. I wanted to send her an angry message. What the fuck was she thinking? Did she pull me just because I reminded her of him, and that’s it? Did she have any idea how fucking weird it feels to be made a doppelganger? I sat down and started typing a message on my phone. I looked at the photograph again. El Salvador. The humanitarian soldier. Someone who behaves badly with the benefit of a good conscience. But then, that wasn’t for me to say. He still looked like me.

I deleted the draft message and put my phone away because I knew it would be a dick thing to be angry with somebody whose boyfriend has died. I didn’t really know how she felt about anything. I wasn’t going to understand it. I knew I couldn’t. So I just sat there for a while instead.

Later on I told the story to my friend on the phone, the same guy I had stayed up drinking whiskey with, in the cottage in Cambridge. But I laughed while I told it and spun it all the funny ways so that when he heard it he wouldn’t think I was too upset about it. He still said it was really odd of her though and I would say something like: ‘Yeah, just as well I’m not seeing her again. Ha ha.’ Even so, I was sorry after I said that.

I thought a lot of stupid things, like maybe sending her a nice box for putting her memories of him in, so that she could ‘move on’ and all that psych-jazz. I wouldn’t put my name to it, so she wouldn’t know it was from me. I thought about maybe sending her a book that would put into words how I felt better than I could put it, then signing it ‘A parting gift’ or some sad shite like that. But I never did any of those things, partly because they wouldn’t do the feelings I was having any justice, but mostly because they were creepy and insane things to do. I put it out of my mind as best I could and went to work and boiled the kettle for a week until it was Friday evening and I fell into a bar in Croydon with some good friends, where there was plenty of karaoke to be had. I know, most people wouldn’t have put Croydon down as a karaoke kind of place.

My friend Marius was bouncing in the seat next to me, he was so excited to sing some songs and he was smiling pretty much the whole time. He’s a hard guy to describe. He gives a lot of impassioned speeches and he loves as many little things as he loathes and he has a huge database-like brain for general knowledge and pop culture stuff. I once described him in university as a human RSS feed and he was very, very chuffed with the comparison. He’s probably one of my best friends. His girlfriend sat on my other side and intermittently got up to chat with the old blokes at the bar. Our friend Scottish Katy was there and she was laughing a lot and flipping through the folder of songs, making fun of all the terrible things. They had two songs by Jet but neither was the song everybody knows. They had Blue by Eiffel 65, which was the first single I ever bought and, I don’t know, I suppose that probably says a lot about me. Katy saw a song by All Saints and put it down on a slip of paper. Marius was filling out slip after slip, he was really going for it, karaoke was like a cult to him and he was convinced of its restorative and cathartic powers and I wasn’t going to question him on this point because I would have done anything to be restored and cathartisised, or whatever.

Marius was called up and sang Tom Jones and the lady MC told all the ladies in the bar to calm down, it wasn’t the real Tom Jones. Katy got up and sang her All Saints, which has a spoken word section about a jilted girl asking why her lover left and it sounded quiet and sad when she did it with her Scottish accent. After two beers I was just about ready to sing. They called me up and I sang National Express by the Divine Comedy, which the karaoke organising lady said she had never even heard before but, ha, was it a funny old tune. We drank more beers and gin until the whole pub was pitching in with songs and singing along to their favourites and there was an old lady called Brenda who got up and sang Somewhere Over The Rainbow. When she sang it was like we weren’t sitting in a wood-panelled residential bar in Croydon anymore. It was like we were at the opera and all the people from her neighbourhood had suited up and slipped into a grand theatre and were behaving themselves for Brenda, and staying quiet just to hear her sing. Although obviously, it wasn’t. There was still a lot of chat in the bar. The only time you didn’t hear the chatter was when you were up singing yourself because you were too busy thinking of the words. Anyway, Brenda had a really beautiful voice and when I was getting tipsy and started belting out the Irish tunes I could see her sitting by the speakers at the front clapping and singing along with my Irish Rover, which is a good song to sing because you don’t really need to know how to sing you can just punk it up, no worries. She passed our table a few times in the night and we had laughs with her and Marius wanted her and me to duet Fairytale of New York, since it was the season and all. He tried to convince me of the perfection of this plan and said: ‘Think about it. Brenda is an amazing singer. And you’re a drunken Irishman!’ The parallels with Kirsty MacColl and Shane MacGowan were ultra-evident, he said. I said if it came to it I would do it. But really I didn’t want to ask her in case she thought I was making fun of her. In the end I found myself on my feet doing the duet with Katy instead and Marius had to come up to me and tug on my jumper and tell me I was singing Kirsty’s verses as well as Shane’s and for Christ’s sake stop, those were Katy’s parts, you dick. I recognised this and said ‘whoops’ and then we did the rest of the song and I felt the pub singing along and got hugged from behind by a woman who was swaying and drunk and absolutely loving life. I was pretty happy with the whole situation and I was laughing more of the words than I was failing to sing.

Brenda said she would sing Fields of Athenry with me. But I didn’t really want to sing that song because it was too nationalistic. It just reminds me of politics. So we didn’t sing anything together after all. I sang Whiskey in a Jar.

Then we had the last drinks then danced a bit, then I was on the bus with Katy, who fell asleep, then we were at Coldharbour Lane and I woke her up and hurried us off and I was at the roadside putting Katy in a taxi and handing her a clutch of notes, then I said something like, ‘sorry for abandoning you but there’s someone who lives around here, I have to go and see someone who lives around here and I know that’s a shit thing to say but.’ Then I closed the taxi door and crossed the road and I was outside Lucy’s house ringing her doorbell once and stepping back one step and waiting.

I heard the window above me open and saw her head poke out, so I gave a stupid, embarrassed smile and said ‘I know this is strange’ and at 2am it really was. She disappeared and another girl who must have been her housemate peeped out to see what was going on. They both answered the door together and I remember thinking how good that was, that they had each other’s backs, you never know what weirdos might turn up on your doorstep.

Lucy was wearing her sheep-patterned jumper. I gave a stupid half-laugh and gestured to it before finally remembering why I was there. I asked if I could talk to her and I knew it was stupid but I wouldn’t stick around long. She said I should have called ahead but I said I didn’t really know I was going to be here, I was just passing on the bus and next thing, yeah. I think she saw that I was harmless and a pretty sorry sight at this point because she said I could come in and her housemate said she’d leave us alone now. So we sat on the stairs and I must have repeated ‘I know it’s weird’ in that dumb drunk voice at least a few times because I’m always so desperate to make sure people know I have a modicum of self-awareness and I guess when you’re hammered it really comes out. I said I wasn’t bothered about the one-night-standishness of it all, that wasn’t it. But I wanted to know, did she pull me just because I reminded her of him, of her old fella? She looked at me like… I don’t remember how she looked at me, but I remember it wasn’t annoyed. It was kindly, or something. She said, ‘No.’ I told her about seeing his picture and I said he looked like me. She smiled and shook her head. I said he fucking does, in a pretty pathetic sad voice but still I must have sounded pretty insistent. She went upstairs for a moment and came back down with the photograph in the frame from the desk in her bedroom. She sat down beside me and handed it to me. The frame wasn’t cardboard after all, it was wooden and smooth and sturdy. I saw it up close now. I couldn’t make him out too well but he didn’t look like me in that picture, he was in fatigues and holding his gun and looking at the ground with a grin on his face almost as wide as the big camo paint streaks he had on. A real braggart. But that wasn’t really for me to say, so I didn’t.

I said I had thought he looked like me, same eyebrows and big nose, and I stroked down my nose lazily when I said it. She said ‘No, not really. Maybe you sound like him a bit but that’s all.’ She smiled again. I think she understood. I laughed a bit. I said I thought she had wanted me because I was a doppelganger. She said no. I asked that it was just a thing then? Just a shag? And I remember thinking that I never use that word, it’s stupid, but I guess it was the only one flippant and silly and drunk enough to fit. She said, yeah, that’s all it was.

I felt a wave of something, like sorry relief. I breathed out and I must have stank of beer but I think I had to sigh real bad. That’s all I wanted to do. A big sigh like the pneumatic hiss of a bus by the roadside, letting out all the bad. So that’s what I did and afterwards I felt better. I smiled. I must have sat there for a minute because she said, ‘Okay, you need to go now.’ I got up and said, ‘Yeah, of course’ and I must have apologised, I mean I hope I did, because this was the last time I saw her and everything. She said it was okay, she was just impressed that I still remembered where her house was. I didn’t say ‘Yeah, it turns out I know London pretty well’ or anything memorable like that. I just said that an estate agent from around these parts had once screwed me over, which was true. Memory’s a funny thing like that. She let me out and I said bye and I walked away and I don’t think I looked back at her but I don’t mind. I’d rather that be my last regret about Lucy than the whole dead soldier thing. She really was beautiful.

I don’t remember how I got home. Maybe the bus. Maybe I walked it again. But I remember waking up at home and expecting to feel like a dickhead. Like I had done something super embarrassing. I remember wondering why I hadn’t been attacked by remorse about anything yet. I lay there with my eyes closed for a long while, and it was for no reason other than my hangover was really bad. After a time I got up and got in the shower and washed myself in the hot water and smiled and almost cried and everything was okay.

Anyway, this long piece of tarmac walks into a bar and orders a drink. A big guy walks up to the bar and bumps into him, spilling the tarmac’s pint. The tarmac growls and storms out. The big guy says to the barman, ‘what’s his problem?’ gesturing after the long streak of black tarmac. The barman says, ‘you’re lucky he didn’t kill you, pal. That guy’s a cycle path.’

Well, I thought it was funny anyway.

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The Not-Quite-Underclass of ‘Sheila’

*

I once went to a pub in Battersea with my girlfriend of the time, who had worked behind the bar. She introduced me to her friends who were working that night and to some of the regulars.

I met a girl who had had a kid in her teens and who later rejected an offer to study at Oxford because they were snooty to her in the interview. Instead she decided she was going to be an air stewardess because she had developed a fear of flying after being on a plane journey that nearly crashed. She said she wanted to get over that fear.

I met a guy, pulling pints, who moved from South Africa with the love of his life, who later abandoned him to the English weather, leaving him only his clothes and the mutual tattoo they got dedicated to each other on his hand, which read “Two against the world.”

And I met an old man, who was dying. He consistently refused to go into hospital and get treatment for his illness because his wife needed his care, since she was even more ill than he was. An old man to whom the pub and the people in it were his only leisure.

*

It’s been a while since I wrote about a song that really gets to me. Sheila by Jamie T is a song that really gets to me. Periodically, I will listen to this song and, for all its twang and catch, a lump will form in my throat. A sadness, a little tumour of melancholy. Because Sheila to me is not about the amazing music – the steady rhythm, the coalescence of Jamie’s register and the quickfire, bleeping melody (which my big sister insists is some sort of homage to Disney’s ‘Under the Sea’). To me it’s more about the characters contained in the lyrics. Sadly, thanks to Jamie’s hasty vocal style and the shadow cast by the great music, so few people have ever stopped to listen – to notice the tragedies unfolding underneath the brilliant, flippant tune.

Sheila is a song populated by shades of London’s not-quite-underclass. Boisterous alcoholics, jilted drug dealers, addicts, abused daughters. Not every hue of the downtrodden is depicted but neither does it need to be. In Sheila three tragedies are laid out, like bodies recovered from the sea, and analysed with a forensic focus so sharp that it would rival any lauded book of short stories.

Take Jack – a.k.a “Smack Jack the Cracker Man” – whose drug dealing and dodginess (the result of being “dealt some shit hands”) has led him to a life of lonely bitterness, whose only viable way out of a spiral of misery would be the direction, fortitude and love of a decent woman. Sadly, his romantic interest, Lisa, has only gone and had a child with another man. Now Jack dives head first into a deep pool of drink and resentment.

“Well done Jack, glug down that cider,
you’re right she’s a slut and you never fuckin’ liked her.”

His friends are likewise gone from him, being “dependant mans upon the heroin” (pronounced by Jamie with an incredible broadness – “her-oh-waan” – to rhyme with the name of Jack’s old mate Dan). All Jack thinks there is to life now is getting into fights and buying the cheapest clothes he can without endangering his ability to get “glad-ragged up” in an attempt to pull – always unsuccessfully. The only girls that hang on his shoulder are “fag-hags” who have no intention of sleeping with him and who he ends up resenting as “slags” just as much as he resents his old girl Lisa.

The most tragic thing about Jack is that if he’d take the time to look around, he’d see every other fella in the Wetherspoons as identical to him, stumbling down the same bitter, woman-hating hole.

“But this sounds original, superficial’s the issue,
for one dear Jack, there’re 35 doppelgangers.”

Jack is simply joining the ranks of the unhappy alcos and drug users.

Then there’s the Sheila of the title, whose penchant for soap-like drama leads her on binge after binge of alcohol-fuelled misadventure. She is confident, loud, coquettish, a leader among her friends. She can talk to anybody, so well versed is she in London’s spidery dialects.

“Her lingo went from the cockney to the gringo,
Any time she sing a song, the other girls sing along,
and tell all the fellas that the lady is single,
fickle way to tickle on my young man’s ting.”

She brings to mind a vision of a loutish student, friendly to those on her good side, cutting to those on her bad. But ultimately, like so many of Jamie T’s characters, she is also crippled by her alcohol abuse. We are often told that all good tragic characters in the Shakespearian mould have a fatal flaw. It just so happens Sheila’s is melodrama. It’s no coincidence that the chorus starts with her dumping her beer (Stella Artois) over the head of her current love interest.

“Sheila goes out with her mate Stella,
it gets poured all over her fella,
cos she says ‘man he ain’t no better,
than the next man kicking up fuss.’”

Reeling from this drunken argument she stumbles down to the banks of the Thames, falls in and drowns. With a bleak sting of humour, Jamie addresses her weakness by lamenting that nobody heard her screams.

“I guess the carpet weren’t rolled out.”

She is not one of the C-list celebrities she tries so hard to emulate. Sheila is ordinary and thus unworthy of the attention of the media. This is a story that won’t get told in the papers. Only in songs.

But the most difficult story to handle is the third – that of Georgina. Her tragedy is the most innocent and her own character the most blameless of all the darkened semi-hooligans that swagger through the streets of the Jamie T-verse. It’s also the easiest story to understand. Out of respect or kindness, or maybe ‘just because’, the singer dispenses with his more cryptic rhymes and sings her tale in a much more linguistically lucid way. It’s probably worth just quoting in full.

“So this a short story ‘bout the girl Georgina,
never seen a worse, clean young mess
under stress at best, but she’s pleased to see ya,
with love, God bless, we lay her body to rest.

Now it all dear started with daddy’s alcoholic,
lightweight, drinking down, numbing his brain,
and the doctor said he couldn’t get the heart there started
now beat up, drugged up she feelin’ the strain.

She says in a rut ‘What the fuck I sposed to do
suck it up, start, stop, keep running through?’
True but you try, it ain’t easy to do,
she been buckle belt beaten from the back like a brat.

Dunno where she goin’ but she know where she at,
so Georgie, it’s time to chain react,
but the truth is you know, she probably fought back,
tears stream down her face,
she screamed away,
‘When I fall, no one catch me,
alone lonely, I’ll overdose slowly,
get scared, I’ll scream and shout’.
But you know it won’t matter she’ll be passing out.”

Georgina’s story is brutal. Her alcoholic father abuses her until the day he dies of a heart attack. You might think that as the victim of parental abuse she might find some relief or at least some freedom in the death of her abuser. But he is still her father and the death weighs heavily on her. She becomes strained and drugged up. On anti-depressants or something less legal, we are not explicitly told. But her sensitive nature, history of abuse and inclination to stress and tearfulness suggest the former. Eventually, she commits suicide by overdose. And as sad as this is, Jamie’s final word on the matter are as sardonic as they are sorrowful. We can practically see him standing by the ambulance, shrugging dolefully.

“I say giggidibigidiup, just another day,
another sad story, that’s tragedy,
paramedic announced death at 10.30,
rip it up, kick it to spit up the views.”

*

On my last visit to that bar in Battersea with my girlfriend, the dying old man, convinced that he would never see her again, gave her his necklace to remember him by. I walked away and left them alone to speak, under the cover of a trip to the toilets. Mostly, I did that because it felt like a private moment. But also because if she had started to cry, I would have nearly started bawling myself. And I don’t intend to do that in a bar until I’m a lonely old lech.

Later, after I had been sitting quietly among them, listening to the chatter, gossip and reminiscing, my girlfriend had me alone and asked me what I thought of her friends. I didn’t have to think for very long before saying, “I love them.” She seemed surprised and asked me why. “Because they’re…” I thought for a while. “I don’t know. Because they’re real.”

I’ve always had this feeling like I don’t know any real people. That I’ve been sheltered from the harsh reality of people who “dance and drink and screw, because there’s nothing else to do”. And it’s my own snobbishness and shyness that is to blame, really. But sitting in that bar, I felt like I had infiltrated a reality that was beyond Dickens or Orwell. That there was more character in ten square feet of that pub than I, or anyone else, could ever put to paper, no matter how colourfully or plainly we wrote.

And that’s why I love Sheila by Jamie T so much. It feels like he has done what I couldn’t fathom. In just over four minutes, he has musically presented the character and sorrowfulness of London with a richness and depth that rivals great theatre, if not life itself. It is a song that I genuinely rank alongside Dubliners for giving me a window into a world where fiction can be as hard-hittingly real as waking up in the morning from a demented dreamscape. A world where colour exists but only among dominant shades of grey. Where sadness is a blessing. Where people are defined by their strengths, yet made real by their misfortunes.

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The Real Lara Origin Story

There’s been a lot of controversy surrounding the sexual assault of Lara Croft in the new Tomb Raider game recently. If you don’t know, Squeenix released a trailer that showed a young, physically restrained Lara being set upon by a bandit who means to rape her. In the struggle, she shoots him – the first man she ever kills, according this character reboot. Then a producer for the game, Ron Rosenberg, said that as a result of her vulnerability you’ll want to “protect” the novice archaeologist.

In the gender politics maelstrom that ensued arguments flared up between fifty different camps about how stupid or annoying or evil or fascinating or pointless or fine or interesting or clichéd or disappointing it was that Lara had been turned into a tearful, traumatised wee girl for the sake of an “gritty” origin story – an origin story that simply supercedes the last one she had.  One camp said such a plot point was, at best, a tired old trope that paints women as vulnerable until they’re threatened with rape. Another camp said that they saw no problem with using rape or attempted rape in a videogames story, since every other medium does it and you shouldn’t try to limit or coerce the creative direction of the author’s tale in any case – at least not until you’ve seen the whole story.

A Lara Croft, yesterday.

So the problem keeps shifting. Is it that Lara Croft has been portrayed as a weakling, where once she was strong? Or is it the insinuation that women need to have been threatened with rape before they can kick ass? Understandably, it’s probably both.

But everyone who has joined in this argument on either side has failed to consider one small thing. And that is: something a lot worse than attempted rape would need to happen to Lara Croft before she becomes the psychopath we all know her to be.

This is a woman who we first met traipsing around freezing caves in naught but a pair of short-shorts and a low-cut top. Who has killed hundreds, possibly thousands of men, in her quest for Old Lost Shit. Who thinks shooting one gun at a time is simply not killy enough. A woman who takes an UZI with her on a tourist trip to the Great Wall of China and who doesn’t think twice about filling up every endangered species she meets along the way with hot metal. This, Lara-lovers, is a woman who made the dinosaurs extinct for a second time. She is a bona fide, pathological maniac.

You fucking monster.

We’re not dealing with a mere borderline sociopath with a few mummy and daddy issues here. Lara suffers Caligulan levels of madness. Now, you could take the world of Tomb Raider for granted as an independent fictional realm of super-advanced ancient civilisations and relics of mystical power. Or you could, as I choose to, interpret the world of Tomb Raider as the ongoing depiction of Lara Croft’s perpetual mental collapse. A world in which she murders innocent government officials and has become the ultimate bane of the World Wildlife Federation.  Where she chases after “magical” artefacts and is beset by hellish visions of monsters and mutants and dragons and demons, all the while never coming to terms with the fact that they are her demons.

You think I’m joking but this is absolutely plausible. Let’s look at a few examples.

  • In Tomb Raider II, she hires a cameraman to silently follow her everywhere, then kills him with a single shotgun blast to the face as soon as she has no more use for him. Innocent fourth-wall breaking joke? Or the act of a demented megalomaniac?
  • In Angel of Darkness, she very obviously murders her mentor Werner Von Croy in cold blood after years of resentment, then invents an elaborate fantasy in order to absolve herself from the guilt. Part of this fantasy revolves around a serial killer known to be active at the time who killed 17 other people, nicknamed the ‘Monstrum’ by the press. For all we know, Lara is responsible for these murders as well.
  • By Tomb Raider: Underworld, she’s so far-gone schizophrenic that she periodically fights herself.

Two tigers protect their cubs against a terrifying poacher.

Such mania does not develop in a vacuum. Lara Croft is undeniably a psychopath but we should strive nevertheless to assess her character – not to forgive her actions but merely to understand her. So keeping all this in mind, it’s very clear what actually happened to Lara Croft when she was younger. The issues date back to her childhood, far beyond any coming of age story that takes place on a deserted island…

At the age of two Lara is strapped in a pram in the park with her childminder. A tame husky being walked approaches her pram and calmly takes her toy rattle from her. The dog trots away and she never sees her rattle again. This is Lara’s earliest memory.

At three, the young Croft’s childminder is feeding her dinosaur shapes made of processed turkey. But there has been a problem at the food processing plant and she is unwittingly feeding the child dinosaurs filled with sharp silicon residue. The childminder makes ‘rarr’ noises to make the food more appealing to the wailing child, not realising until later that Lara has suffered severe internal bleeding.

At age four, she is playing with a doll by the estate’s kennels when suddenly the hounds get loose. Arrested by a freak blood-rage, the animals savage the young girl. She tries to hit the animals with her limited edition Barbie Elegant Housewife but they chew it to pieces. She is saved by the dog handler but will undergo repeated facial and bodily reconstruction for the rest of her life as a result of the mauling, which will change her appearance every few years.

At age five, Lara is accidentally locked in the freezer room of her parent’s manor by the family’s butler, wearing only her pyjamas. She survives for five days on frozen hare meat. The specialised light bulb is constantly shining a bright turquoise and as a result the girl does not sleep once. Her mother sheds tears of relief when she is found, but Lara just stares at her.

At eight, her father takes Lara into his study and shows her a large antique globe. He explains in characteristically patriotic fashion that “the sun never set on the British Empire”. Then he turns. “One day, all of this will be yours,” he says, gesturing at the modest contents of the room. But Lara is still transfixed by the wooden globe. “All of it?” she says, eyes wide and breathing heavily through her latest nose. “Everything the light touches,” replies Lord Croft, anticipating the popular Disney movie, The Lion King. Unfortunately he is interrupted by a phone call before he can explain the Circle of Life to his only daughter and so Lara grows up with a colossal, global sense of entitlement – without any of the accompanying Mufasan wisdom. Lara stands by the globe and spins it continually for three hours, smiling.

At age 10 she suffers from an exotic and feverish virus her father has brought back from an international trip. Her new minder buys a box-set of adventure movies. An accident of technology leaves one scene from The Dark Crystal looping endlessly on the VCR, as Lara battles nightmarish visions of impossible creatures. She screams for her maid but no one comes.

At age 12, she gets separated from her family during a holiday outing in the North Yorkshire countryside. She is found two days later, grubby and tired but in good spirits. Local papers report three sheep have died in strange circumstances over the bank holiday weekend. The events are not seen as linked.

At 15 she is taken to a dance by an unintelligent but kind-hearted boy named Anthony Smeldwick. She tells her mother the next day that although she “thoroughly enjoyed herself” she won’t be seeing Master Smeldwick again because he is “too timid.” Meanwhile, Anthony’s father overhears the boy sobbing in the shower but disregards this as teenage angst.

At 16 Lara attends Gordonstoun boarding school in Scotland. She visits the school’s rifle range every day. Pupils at the time describe her as “quiet.”

You may have many objections to these biographical details and indeed they may contradict what Lara herself has previously told you. But then, even the most important details of her life have been very fluid over the years. Exactly who was on that plane crash in the Himalayas? First, we were told it was just her, then it was her and her mother. Once, she even insisted that her fiancé was on the passenger list. Every time we meet Lara, she has changed her story. And the origin tale of the upcoming Tomb Raider seeks to do this once more. Now there’s no plane crash at all, but a shipwreck. If we are lucky, Lara Croft is just an upper-class compulsive liar with a taste for hunting big game and an over-active imagination. But I fear we aren’t that lucky. This is the frightening reality of the woman who calls herself “the Tomb Raider”.

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Naughty Dog meets Tale of Tales

[Have had this interview sitting on computer for months. Nobody wants to buy it. Must smell bad or something. Richard Lemarchand is co-lead designer at Naughty Dog. They make Uncharted, which has lots of jumping in. Michaël Samyn and Auriea Harvey are from Tale of Tales. They made The Path and wrote the notgames manifesto. Found myself in the same room as all three. Tried to shit-stir. They all made friends.]

*

I wanted to get all you guys together because the presentation you did together [at GameCity] was very good at highlighting your separate approaches to game design. But I wanted to ask about the differences and conflicts that might arise between independent developers and huge commercially mega-successful developers. Richard, your focus would be on accessibility so as many people could enjoy it as possible, but Tale of Tales would be more of a niche. Would you all agree with that?

Michaël Samyn: I totally disagree. I think it’s the opposite.

Richard Lemarchand: And I also think it’s the opposite.

Michaël: Shit. We’re going to agree on everything!

Richard: [laughs] All right then, I disagree! I couldn’t disagree more!

Michaël: No, I think it’s like Richard was saying during the talk. I think [Naughty Dog] have an audience to deal with. So they work for the expectations of this particular group. While we are working at least for an undefined group. Our ambition is to reach out to people who have already decided for themselves that they didn’t like games and so we wanted [to say] ‘Yeah but maybe you’ll like this’ – and that happens. We get these kind of responses. You know, “I don’t like games but I would play yours.” That hasn’t really paid off commercially yet [laughs] but there could be other reasons for that, a particular style, et cetera. So I would say yes, obviously the group of players Uncharted reaches is much, much larger but I would think they’re more homogenous than the kinds of people we reach.

Richard: I mean, there’s a sense in which what you say is correct. I think Naughty Dog are a bit different as a triple-A game developer because we have deliberately tried to reach a broader audience, broader than many other triple-A games might try to reach. And this has been part of Naughty Dog’s philosophy since the very early days of the company. It’s why they went to such lengths to playtest the Crash Bandicoot games and polish off the sharp corners of the experience in those games. We’re famous for saying we do a lot of playtesting and of course it also is reflected in our emphasis on storytelling. We’ve wanted to bring a broader more general audience to videogames through the mechanisms of storytelling. It’s good to reach people through their emotions, I think, and it’s kind of reflected in the fact that we hear quite a lot from gamers that their family members will sit and watch them play an Uncharted game in the way that they won’t for other kinds of games. So in that sense we’re going for a broad audience. But I think that Michaël and Auriea are right in that the gaming audience has very specialised tastes and when you’re making games for that crowd it’s very important to think about those tastes. But there are all these other people who don’t yet play videogames who could be getting so much out of this amazing form.

Auriea Harvey: So therefore we don’t really have to think of a specific audience. But we think of people.


Some elements of Naughty Dog will be thinking of that audience in terms of a market. Does Tale of Tales think that as well and want your games to be commercially successful?

Michaël: It depends on the project. There are some projects that are more like research. Not that we don’t want to show them – that’s part of the research, to show them too. Things that we want to explore. Things that we want to do. And then there’s other projects, like The Path as the main example… where we do feel, “OK, this has potential to speak to a lot of people.” So we do thorough playtesting and see what we can do to achieve our goals in terms of what people feel when they play. So it depends. It’s not so black and white, where indies don’t care about the market and triple-A [developers] are concerned only about the market.

It’s not black and white but I wanted to see if any of you felt that difference. Because it’s a strong sentiment among indies that they are less concerned with commercialism.

Auriea: Well, yeah. But you kind of can’t help it [laughs].

Richard: I gotta say I take issue with the suggestion that at Naughty Dog we think first about the market.

No, I don’t mean it that way. Because as a developer you want to make a good game anyway, right?

Richard: What we think first about is the player. You know, human beings who are going to pick up the controller of something that we make. And all of the good game designers that I know think in this way. I think any time you try and second guess the human beings that might be interested in the thing you’re making in any commercial way you’re onto a losing [streak].

I’m not suggesting that the creative components of a studio would think that way but perhaps the marketing ends of a company?

Richard: Well, of course. If you work in a marketing department then your concern is with communicating to a potential audience that you have something they might be interested in.

That’s what I mean. Big developers will always have people employed to do that but indie developers maybe less so?

Richard: Everyone has the possibility of doing that though. When you think about a band like the Smiths who went from being a small band in Salford playing in working men’s clubs in front of maybe a few dozen people to – in just a few months – being the biggest band in Britain. They went about that not through Marketing in any formal sense but through something that’s a very important related concept – which is word of mouth and finding your audience, finding people who might be interested in your music, who share your values. In the case of games I think it’s just the same. I think that’s why indie games are so exciting right now. All of a sudden we have evidence of the fact that there are people out there who share a certain kind of values about what games could be and who are interested and who have, you know, a pound or two to spend on it. It’s like the breakout success of Sword & Sworcery EP. The fact that that went from being a side project for Capy to being this enormous hit on the App Store is testament to the idea that the audience is there and that it’s important for creative people to learn and understand how to relate to it.

Richard Lemarchand of Naughty Dog shows off some of his oft-praised hand gestures

You brought up music during your talk, when Richard described Tale of Tales’ work as the equivalent of punk music. It feels less like punk to me and more like ‘New Age’.

Michaël: I would describe it as Baroque actually [laughs].

Auriea: No, we’re definitely more Baroque.

Richard: Yeah, Cactus is punk.

Auriea: Anna Anthropy, definitely.

Messhof is punk.

Richard: Exactly, yeah yeah yeah.

Auriea: I like this.

Richard: Whereas you guys, I didn’t mean to draw that direct connection.

Auriea: No no no, we didn’t mind.

Michaël: We’re actually post-punk.

Richard: That’s more like it.

Auriea: New Wave!

Michaël: Actually, we’ve cleared it up… [This happened when] Frank Lantz once said that Doom is rock ‘n’ roll. And I picked up on that and said “Well, if Doom is rock ‘n’ roll then The Path is punk.” And then somebody in the comments said, “No no no, you’re wrong!” – because, you know, geeks – “According to this definition, you should be post-punk!” And that’s when we learned we were post-punk.

As long as you’re not post-pop-punk-rock.

Auriea: Oh no, let’s not go down there.

Okay, let’s move on. Some of the observations recently made about Uncharted are that it’s sometimes more like an interactive movie. That it sometimes takes control away from the player.

Auriea: We get the same comments though.

I don’t think it’s necessarily meant as a bad thing.

Michaël: In a way, I think in Uncharted it’s almost a revolutionary thing. Not so much the interactive movie kind of thing but the fact that it’s linear. And it really takes you through an entire story and it’s almost like you can’t do anything wrong. I think that’s quite rare to do that kind of thing. The only strange thing about it is that every once in a while you have to stop and shoot a hundred [bad guys]. Which is just weird.

Auriea: That’s the thing I kept saying when I was watching and playing. I was like, “Why is the shooting in here?” Because everything else was doing it for me. Then all of a sudden: “Why is he – oh, okay we’re gonna shoot something.”

Michaël: Not just the shooting though but also –

Aureia: No, I wanted to take the shooting out of it, literally. Because it seemed to me that in most games I’m always complaining that a [company makes a] shooter and they sort of smear art on top of it. You know, like Bioshock or something where it’s like an excuse for the shooter. Your game totally didn’t feel like that to me at all. It felt like this was a genuine experience –

Michaël: A story. You want to tell a story.

Auriea: I even love the action parts where he’s half falling out of some plane and you have to climb. I thought that was really cool. But then every so often you would just get the feeling like, “If they would just take the shooting out of this part” or “Oh no, somebody’s gonna show up and I’m gonna have to shoot them, right? Right!?”

Richard: No, I understand that and there are other people who feel like you as well. But we’re making a game for a certain audience, we kind of talked about this this morning.

Auriea: Yeah, I know. But I think it’s an interesting game – that’s the only reason I was disappointed [laughs].

Richard: The way I see it, the shooting – which has a relationship of course to the traversal and the way you take cover in the world and the other combat elements – all of that stuff is very richly game-like in the way that we formally define games, like we talked about this morning. Because there’s a win condition and a lose condition and there’s this compact but rich set of rules that allow you to make strategic choice in this space. And that adds up to what I think of as a kind of ‘carry signal’ for all the other stuff that happens in the game – the atmosphere and the story. It’s a way that we can sort of bring our audience of videogame players who have grown up engaged in these kinds of play activities along with us as we take them on this emotional journey through this sequence of events. And I’m interested in the potential of this kind of approach because I think already we’re starting to see games like… we were talking [earlier] about that match-three levelling game… Puzzle Quest.

Auriea: And Dungeon Solitaire.

Richard: Right, these games where you have this very rich game-like core mechanic with this wrapper of RPG progression built around them but it’s really very new and very revolutionary. That’s just one example of the kinds of things you can do when you use ‘game’ as a carrier signal for all this other rich stuff that we associate with the arts.

Michaël: But would you say that you’re step-by-step trying to move away from that? Because I see that in your evolution as a designer. Like you’re trying to educate your audience to stop wanting all that.

Richard: Well, it depends. I wouldn’t like to speak about – yet – about the kind of things Naughty Dog will do in the future –

Michaël: I’m just extrapolating.

Richard: But [within] the industry as a whole… I think that many people were surprised by how little combat there was in LA Noire, for instance. The emphasis in that game shifted towards the experiential, towards exploration and this rich interaction with the characters in the game, which in a way I think signals a trend. And of course indie games like Sword and Sworcery EP, like Dear Esther by thechineseroom and lots of other cool games are continuing to explore this avenue of inquiry.

Parts of Uncharted 2 were directly inspired by Tale of Tales' walking-through-a-cemetery-simulator, The Graveyard. No, really.

Michaël, you sound like you were trying to tempt Richard to the dark side there for a second. To get rid of all the core mechanics.

Michaël: The thing is when we started with games… we felt this great desire within the game design community to do exactly what we wanted to do with games. They wanted it to be what cinema was for the previous century. We want to tell the stories, we want to be culturally relevant, we want to appeal to all sorts of people, have all sorts of genres. I think that… maybe we wanted to see things that were there that maybe weren’t there. But also there were games in that period – I’m talking early 2000s – there was Black and White, there was Ico, there was the earlier Silent Hill games. There were all these games that were pulling in that direction and I think it just didn’t catch on quickly enough. It felt like the games industry said, “That’s it! We’re going back to gamers.”

Auriea: But they kind of had to because it was a new console generation. Nintendo always does it’s thing, while PS3 and Xbox were duking it out so they had to have their sales, so everything suddenly got really conservative again. And we were sort of really disappointed by that.

Richard: But I think that’s how it goes. Like the tide, it rushes in and then it goes out again and then it rushes in…

Michaël: Maybe.

Auriea: Yeah, but the PS2 generation was just getting really interesting. I mean, you had Rez, you had Shadow of the Colossus –

Okami.

Aureia: Okami didn’t really do it for me but I loved it for other reasons. It just seemed like things were getting very interesting and then when the new consoles came out it got really conservative and stuffy.

There’s a different focus emerging recently of other types of games, mostly on social networks, which are removing all the extraneous narrative and just focusing on a psychologically arresting core loop. Zynga’s games, for example. I wanted to get your feelings on those kinds of games.

Michaël: Yeah, I think it’s a great opportunity and I’m very curious to see how the triple-A industry will respond to it. Because on the one hand of course there’s panic… so I wonder if they’re going to start copying those things and move towards gaming and become this mature gaming thing. Or if they’re going to say, “Well, if they are doing that then we don’t have to care about it.”

Auriea: That’s kind of how I see it. That’s interesting and everything but that’s just some people who like that stuff but there’s other people who hate that stuff.

Michaël: Everybody likes games, that’s fine. I don’t think this is a new generation of gamers at all – these people have always been playing games. It’s a ‘new generation’ of Facebook users and there happens to be games there [laughs].

Auriea: Because they’re like, “Oh, Aunt Suzie is doing this thing. I’ll try that too.” Why not? That’s great. But –

Michaël: But we do that at the coffee table too when we pull out the Scrabble board.

Aureia: – and eventually Facebook is going to die.

Michaël: And we’ll all go back to Scrabble! [laughs]

Auriea: Games may or may not move on from that. Those games may move onto a different format. Who knows? The only thing that’s for sure is that Facebook will disappear at a certain point. Those people will either pick up another game or they won’t. Most likely, they’ll be like, “Well, that was interesting” and move onto whatever they going to [move onto to]. They’re not terminally invested in it, I think.

You all said in the presentation earlier that all of these types of games can live together. That there’s room for every type. But is there any kind of game you would just like to see less of?

Michaël: That’s a personal choice anyway. You could see less of anything you don’t look at!

I mean that you would actually like to not happen anymore at all. Like, imagine if you were to adopt a really despotic attitude…

Auriea: Oh, I would love to be despotic! I would get rid of war simulations. Not necessarily RTS’ like historical recreations and stuff like that but you know, I could get rid of war as a sport.

Michaël: Extrapolated from that, I would get rid of any game that uses more than symbolic representation. Representation and game structure should be divorced.

Auriea: That’s much larger [laughs].

Michaël: Because I think in games before computers and early computer games it was like that. You had abstract tokens and it was all about the structure of the game. And you could focus on that and get your experience there. Now if you take a pawn, suddenly somebody dies. And it comes with all this baggage of, you know, humans dying. And it shouldn’t because the result now is that people are still playing them as games when – as you saw at Eric Chahi’s From Dust presentation – when you die it [can be] funny. But death is not funny! And so, I would probably get rid of that.

Nathan 'Laughs in the Face of Death' Drake

As somebody who helps make a game in which an awful lot of people die, how do you feel about that Richard?

Richard: Yeah, it’s quite complicated subject matter. I would like to see fewer of any kind of game that degrades human beings. And I think that there’s too much suffering in the world in the early 21st century and not enough culture that elevates people. I think that game design has a great opportunity in all of its forms – both formal game design and in a broader sense of experiential videogame design – for helping individuals who are struggling in their basic human circumstances, whether they feel shitty about themselves today or whether their social and economic circumstances are really oppressive –

Michaël: You mean like all of us?

Richard: I mean like all of us! [laughs]

Michaël: The 99% [laughs].

Richard: I would like to see fewer games that aren’t helpful in that way and more games that are.

Auriea: Yeah, more games that are beautiful. I mean, I don’t want to get into some sort of la-la-land situation were everyone’s like, “Everything’s lovely, let’s join hands.” … To keep talking about cinema seems redundant but you see very interesting films about war that are not just gratuitous… you know what I mean? There’s usually a point [to those films]. And I guess with games I never see that point. That’s what I guess you mean about degrading human life.

I’m guessing there are no fans of the ‘No Russian’ sequence of Modern Warfare 2 in this room then.

Auriea: No, nothing of the sort.

Michaël: Actually, that is an interesting situation. I think all of the more mundane shooting around it I would forbid first. Because that’s kind of tricky and perverse. And that’s kind of nice, I like perverse.

Richard: I was very interested in the player’s reactions to the No Russian scene… what I mean is that how people behave in the game when they’re put into that situation I think is really interesting.

Michaël: You can’t play the victims of that, though.

Aureia: See, that’s the problem with it. You can only be one [side]. Like, you can’t be the victim of that? Maybe if they’d done that then it’d have some sort of redeeming value because then you would think about that differently. I mean, they always want to put you in a position of power. As if. You know what I mean?

But isn’t that what a lot of games are about? Being empowered?

Aureia: Yeah and that’s dumb.

Michaël: That’s brilliant that you say that because that’s actually not been my experience with games before videogames. Games tended to be more like an excuse to be socially together with another person.

Aureia: Yeah.

Michaël: I mean, some people play competitively of course but those are nasty people – you don’t want to play with them! You want to play with nice people who don’t particularly care whether they win or lose but they –

Aureia: They just want to be with you.

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