11 Death (Imagined)

I noticed I was dead when I saw myself lying dead in my bed, looking down on myself from a great height: there I was. Gone. A lifelong flirtation with significance, over. And nothing dreadful in consequence. No pain, no loss, no uncertainty. Just the remorseless ease of an expired existence. Of almost failure. Of having nearly been. Something or other. Someone? Then I woke up and realised that it had been a dream. I don’t like to say ‘only’, but it had been ‘only’ a dream. I had dreamt my self dead. What new joys. Wait on me.

It’s hard now to say what perplexed me more. Being dead (in my dream), or being alive (after all). But finding myself thus among the quick in a hitherto slow existence, I believed I had heard, and was minded to heed, a call for action: I got out of bed and made coffee.

Mug in hand I stood in front of the bathroom mirror, naked. I do that a lot these days, I examine my body. I marvel at it, not admiringly: bemused. I don’t look for blemishes or signs of decay, I look for signs of familiarity; for something that says: this is you. I don’t find it. The person standing naked in the mirror in front of me could be anybody. It’s not that I’m alien to myself or strange, just: unfamiliar. I’m roughly fifty and not beautiful. What I marvel at is not beauty. What I marvel at is the fact that I don’t recognise myself in the shape I’ve become. I’m not even unattractive. In fact, I may be more attractive now than I’ve ever been. And I’m not even sure if that’s a good thing or a bad thing. I’m not sure it’s a thing. Any more. ‘Attractive’. To what and to whom and to what end. Nevertheless, I’m a little alarmed because it seems late in the day to suddenly start feeling attractive. Alarmed but a little reassured too, because perhaps it just means I’m not over the hill. What is the hill? Going down is supposed to be easier than going up. What ride am I in for? Now?

Mug in hand I stand in front of the mirror naked, looking for signs of familiarity. The eyes maybe. Or the nose. Maybe the lips. I’m stubbly, and I like it. There. That’s something to hold on to: seeing as it is that I’m alive, there’s one thing that I’m happy with and that’s worth holding on to: my stubble.

I remind myself I am sitting opposite my young self and I had promised my young self – not so much promised, perhaps, as enticed him over by means of the prospect of – a question. My mind goes blank. The memory of imagining my own death, even just as a dream, and the image of my standing in front of the mirror naked, mug in hand and content that I have inexplicably become ‘attractive’, possibly owing to stubble (which has since grown somewhat into a near-mature beard), sends a shudder down my spine, and I put down my mojito too firmly.

‘George,’ I say, sensing that something – anything – is required from me at this point, ‘what are you doing in Istanbul?’

This is not, obviously, the question I’d had in mind for him, but then I can’t begin to conceive of what question I might have had in mind for him, and since it’s a question that is playing on my mind about myself (what am I doing in Istanbul?) I feel it is pertinent, or if not pertinent then perhaps justified, or if not justified then at least maybe useful, useful in as much at least as it might open the conversation and at this point in the proceedings (are these ‘proceedings’, and if so what are they?) I yearn for a touch of conversation.

I startle myself at realising I also yearn for a touch, his touch, any touch, some contact beyond verbal, visual, aural, and I want to place my hand over his in a fatherly gesture. I don’t. But there are now two versions of us sitting at this table in the garden of the Limonlu Bahçe: one, the ‘real’ one, in which he still holds his glass in both his hands and has his eyes not exactly fixed but nevertheless on it, whereas I look at him in my ongoing state of bewilderment, and one, the ‘imagined’ one in my mind where he has put down his glass and I have cupped my left hand over both his hands and I look him in the eyes and he looks back into mine.

‘Not exactly sure,’ he says – in one version examining the glass in his hands and twisting it slightly, in the other holding my gaze with a blend of confidence and the uncertainty his words imply – ‘I was doing Interrail with a friend, I had no intention of coming here really, but maybe circumstances conspired…’

I know at once that they did, even though I still don’t remember this scene from my past, and I am immeasurably relieved; he is, although he doesn’t know it, similarly displaced from his own reality: we are on the same page, more or less.

I imagine squeezing his hand and cupping my right hand around his neck and pulling him close so he can rest his head for a while on my shoulder, but instead I pick up my glass and lift it up to him and say, as if I had any authority to do so: ‘welcome to Istanbul,’ to which, in both versions, he too raises his glass and clinks it with mine and, once again gamely, says: ‘welcome to Istanbul.’

Euphoria

I look at myself. Not in the mirror, not as a person with a yen for profundity and meaning, but in a picture. I find the picture among my belongings as I clear out my flat because it’s being renovated: for the first time in decades I go through every object I own and therefore am owned by and decide whether to keep it, or whether to part. Keep it or part. Keep? Or part: divest, my mind mostly suggests, and my heart, in most cases, though not quite all, affirms, yes divest!

I am unambitious but consistent in the pursuit of my task, as I progress through each item one by one. I look at every photograph, and every photograph looks at me. I don’t notice me at first, not in an ‘oh, here I am, look at me!’ kind of way. I just know I’m there. In the picture. As anyone ever photographed by necessity is. In this particular stack, I am part of a collection of early black and white ten by eights that I must have had done when I first decided to be an actor. This dates them in the mid to late nineteen-eighties and me at about twenty-two, twenty-three. I don’t notice me, not this time round. I’m simply there.

The second time round I notice myself. I have been away for seven weeks, nearly eight, and I’ve come back into my flat, which is all new and fresh and still so familiar and more home now than ever, and as I unpack the boxes I once again go through almost every thing I own and am therefore owned by, only this time I do so not one by one but in batches, just to make sure. And this time round I jump out at myself: I am beautiful. I wish I’d known that. I wish I’d known then that I was beautiful, but I didn’t. I still don’t. But I was. And I am. Only I can’t feel it now, I can’t even see it. I couldn’t then. But I can now see it then. I can now see that then I am beautiful. I have a gentle face and searching eyes, and an almost translucent skin; I have my life in front of me; not my childhood, not my youth, but my whole adult existence. I am overcome with compassion. How brave I was, and needed to be. How unencumbered I was. How I looked forward, unafraid. How strong. How fragile. How soft, how resilient; how steadfast. How honest. How vulnerable. How resolute not to hurt, not to fail, or if to hurt then not to cry, not to grumble, and not to succumb; yet to prevail…

I sense the time has come. I trust it now, much more, the sense. All the things I know and all the things I don’t know are the same: they all abide by and reside in me. No words of wisdom, no advice. Let me make my own mistakes. Let sorrow, loss and lingering despair crush me to tears. I won’t protect me from myself: that would be crueller still.

Across from me, at the Limonlu Bahçe, Istanbul: George. I lean forward a little, my chair creaks, he looks up at me, curious, askance. Unimpressed. Unruffled. Unspoilt. Unused. Undamaged. Unfathomable, even to me. I know how you feel, I’ve been there, believe me, I’ve been you, but no, I don’t know you at all. I know you no more than I know any boy your age. Man! You never liked being a boy, much, a youth, maybe, yes; do you like being a man? I hear myself think the question and in a flicker of recognition—probably imagined, only by me—he says: ‘Do you relish being a man?’ (‘Relish.’ That’s better. ‘Like’ is so lightweight, it’s neither here nor there. He could have said ‘enjoy’ but that, too, has long since been eroded, diminished to some middling marketed meaninglessness.)

‘I do.’ I say: ‘I will. If I haven’t till now, then henceforth I shall.’

‘Henceforth?’ He gives me that smile, that bemused, too knowing, wry play on his lips, a light in his eye.

I don’t want to burden myself with the responsibility of having interfered with my own life. Not here, not now. I used to be troubled. Then charming. Then enigmatic. I’m still working on wise.

‘Be generous, be kind.’ (I thought I was not going to give me advice. Is it that hard to refrain?) ‘Forgive. Live and let live, and trust the universe is on your side.’ He looks at me, unsmiling, unconcerned, frank. He knows all this already, everyone does. ‘Felicity, fortune and favour all balance out, over time. Take your time. Let not there ever be any hurry. Go you about with a heart that beats warm, and a mind that keeps open and a soul that is free, and your path will lead you where you need to be.’ (That’s done it: I’ve lost him.) His eyes linger long and soft, not hard, then, inscrutable now, he nods. ‘Just remember…’ (Stop it! Stop it now! No counsel, no words, no well-intentioned guidance from yonder!) ‘…if you want a squirt of milk in your pail you have to squeeze the odd teat now and then.’

I get up; the temptation to ruffle his hair proves almost too much, but I know I used to hate this and so I desist.

‘Fare well.’ I say, in two words. He looks up at me and, unsmiling still, but gamely returns: ‘Fare thee well.’

And then I remember and I turn around to him before I leave and I stand at the bottom of the steps that lead up through the house, from the garden, onto the street, and the garden is busy again now, and buzzing, and I see myself sitting there, alone but not lonely, quiet, composed, a little aloof, just the way I was in that photograph, just the way I now feel, and I spread my arms to this Garden of Eden afore me and I demand, at the top of my voice, of it all: BE MAGNIFICENT!

And, having said what I needed to say now, I leave myself to myself: my adventure, my journey, my love.

And here I was and I will be, but mostly now, here I am.

(And the good thing about fiction? I unimagine it, and it’s gone…)

Redemption

I forget about Bournemouth & Boscombe and dedicate myself to other matters, other places, other subjects, other themes. The world is a wondrous sphere, I am reminded, as I travel, as I learn. As I love: I meet new people, form new connections, find myself enthralled to new ideas and smitten by new beauty. New affections, new reciprocities, new inspirations. New experiences.

Out of the blue, an email arrives in my inbox, via my website: the kind of message that comes in the shape of a contact form. I get those now and then, though rarely. Seldom enough, in fact, for me to take note and think: ah, someone has gone to the trouble of writing to me.

This one is more unusual still: it’s a letter. Not a note or an enquiry, not a compliment or a rebuke, not a proposition of a collaboration or a proposal for a project. As I read, my hopes and doubts coalesce into a balm of both comfort and pain. The pain that has been caused and that has not been forgiven, the comfort of sensing that forgiveness may, after all, be attained. It is not, however, for me to forgive. I have not been wronged. No more, at any rate, and no less, than we all have by those who trespass not against us personally but against our understanding of what it is to be human, and to be good. The two don’t always go cheek by jowl, I know, but deep down, is it not the case that we would wish them to?

We know when our sense of justice, of respect and compassion is offended, and the offence this letter speaks to is a grave one, truly, genuinely. The way this offence offends is not the kind that we hear expressed now so often when somebody faces an opinion they don’t like or encounters an expression that is outdated maybe, even archaic. It is an offence that comes from a senseless act of destruction that ended and altered lives which had no reason and no need and certainly no desire to be so altered, so ended. It is the offence of an irredeemable act of violence, a cruel and wanton incision into a community’s whole existence.

The letter offers a kind of reconciliation. It is written in a direct, unembellished style, though carefully worded and a little formal. Its authors have clearly given it thought, and, by the looks of it, rather than simply typing it into the online contact form, they have composed it, edited it, spell-checked it: it contains no trivial errors as would be attributable to haste or lack of concentration. It is purposely positioned to be read and absorbed, not fired off as a quick response. It goes like this:

Dear Sebastian

We enjoyed your piece on the Bournemouth & Boscombe Nude Beach Stroll a lot. Enough for us to feel moved to break our silence. Our silence was part self-imposed, part decreed. We felt for a long time that no-one should hear from us, ever again. The anger we caused, and the pain. The loss. We don’t talk about it, ever, and we don’t like to write about it either. Words seem weightless, when put into the balance of what we have done. At the time of our trial, we were very young. Some people have taken us saying so as an insult. ‘You were young,’ they say, ‘but you knew what you were doing.’ We did, and we didn’t. When we say we were young, we don’t mean to make an excuse for our actions. We mean to say: we had very little experience of what it is to be alive and we had very little understanding of what makes us human. We had no excuse. Nor did we have a reason. But we did something we knew at the time was deeply wrong. We knew this, we just didn’t know how not to do it. That may not make much sense to you and you may wonder, what on earth does it have do with the Bournemouth & Boscombe Nude Beach Stroll?

You see, the hatred we faced and the anger that was vented against us, in words that were brutal and vicious, they shocked us. What did we expect? Praise? Obviously not. We didn’t expect anything. Once what we’d done and the effect that it had had sunk in, we didn’t expect any leniency or compassion. We couldn’t understand ourselves, how could we expect anybody else to understand us? But perhaps—just perhaps—it is true to say that we were hoping for some form of forgiveness. And we were frightened and perplexed that that wasn’t forthcoming. At all. From a society steeped in a religion that has sin and forgiveness at its core, we received no indication that this society at large was prepared to forgive us. Ever. There were some exceptions. But the general tone from the people, as far as we could hear, was a clamour for revenge. Newspaper journalists—again with some notable exceptions that you are well aware of—echoed this general people’s call for us to be hanged. And damned. Or, at the very least, locked up in eternity, ‘with the keys thrown away’. We were teenagers. Yes, we had taken innocent lives, including the lives of two beautiful girls. That that was not our intention is, we realise, irrelevant. We could have known, and we were old enough to appreciate, that setting fire to hundreds of beach huts with a series of small but devastating explosions would endanger people, and do so in a way that we could not control.

At our trial—it has been noted with disgust—we did not express any remorse, let alone ask for forgiveness. It is hard to explain why: did we not realise we had wronged people, and not just the ones who were directly affected, but also everyone who knew and loved them; in fact, everyone, because who would not see and not know that destroying people’s property while risking their lives is wrong? Again, we don’t want this to sound like an excuse. But expressing your sorrow, your remorse and contrition for something that is so obviously and so categorically wrong is almost impossible. If you accidentally make a mistake and knock into someone on the pavement or spill a drink and cause a little damage: that’s easy. It’s easy to say ‘sorry’ for a mini-misdemeanour. But for a crime against society? We didn’t have the words. We didn’t have them then, we barely have them now. When today we write to you to say: we are truly and profoundly sorry for what we have done, do you accept that as our apology? Maybe you do, because maybe you can, but you are just a distant bystander, an observer: a recounter of events, a narrator. What about the parents of the girls? The grown up children of the elderly couple? Those who loved and needed and cherished them? What about the owners of the dog? And what about those who nursed and attended the injured. In the end we were responsible for the deaths of two girls aged five, an elderly couple, and the little dog; and there were seventeen injured; two, we later learnt, with life-changing injuries. Can they ‘accept an apology’? Ever? Even we don’t see how. Even we don’t see how anything we could say would ever be enough. How anything we could do would ever be enough. We are unable to atone for our crime, because the crime was so futile, so pointless, so deliberate and yet so random.

Us being unable to atone for our crime, and there being no words that we can find to say we are sorry, it took us a long time—until now—to formulate anything at all. We have lived in silence, mainly so as not to compound our offence. We’d been separated at our arrest and were kept apart for a while after sentencing. But our social workers and eventually our probation officers agreed that we were not a danger to society any longer, and we were allowed to get back together. We have been together ever since: we live together, with our new identities that we were given to protect us from the wrath of the people, in a remote part of these isles, which of course we cannot and wouldn’t wish to disclose. And we thought: perhaps there is something we can try. It was, yet again, not something we fully thought through. But at least it was harmless. And we had to break the terms of our parole, but we’d been out of prison a few years by then, and we thought, perhaps this is not going to redeem us and it certainly isn’t going to make things good for those whom we’d wronged, but perhaps we can almost run this as a test. We will either be caught and found out and probably—so we felt—torn to pieces on the spot, or we will get away with it and that will be that. The world, we will then accept, has found a way to allow us to be now. We are, after all, now completely ordinary. Really. We both have jobs in our local community. Nobody knows who we are, and they like us. We are the kindly, now soon-to-be middle aged couple who shop at Waitrose together and go for walks. We admit it: we enjoy our lives. That alone, we also understand, will to many people be outrageous. It is unfair, unjust, even.

We have done time in prison, we have undergone many hours of therapy with our workers, we have cost the taxpayer hundreds of thousands of pounds. And we are happy. We are not light of heart or full of joy: that will never be possible. We are too conscious and too conscientious for that ever to be the case. The burden of our past and our offence will rest on our shoulders forever. But we are content. We are content that we have found a way now of being good citizens and of contributing to our community, without fuss. It is not atonement, so much, as it is a rational way of handling the day to day reality of being alive, after all. Was it worth sparing us, or would the world have turned into a better place if we’d been done away with? We can’t answer that question objectively, we’re too close to ourselves. But we like to think that the world is a slightly better place for having us in it, still. It can say: ‘These boys, they did something unforgivable, but in a way we forgave them. We rose above their crime, we allowed them not to be defined solely by their premeditated act of cruelty. Ours is a world in which that is possible.’ This, we believe, is a better world than a world that can only say: ‘an eye for an eye and a tooth for a tooth, and you wronged me so I wrong you back just the same, and your right to life is forfeit because you took life: you have no chance of redemption, ever.’

So a few years ago, when we were still quite young, but no longer the juvenile delinquents of yore, we did something we thought was worth a try. We took a train to Bournemouth. We were not strictly allowed to do so: we are not now and will never be allowed to set foot on the scene of our crime, but we did so anyway, because we wanted to test the water. Not literally, but metaphorically. We wanted to find out what the people of Bournemouth & Boscombe were really like. We’d seen so much of the ugly face of people’s understandable scorn and anger, hatred and pain, we had forgotten, we felt, what being normal, human and gracious would be. So we stripped off all our clothes. We were going to run, at first, because we were incredibly scared, as you perhaps can imagine. But within minutes we realised: these people, these good people of Bournemouth & Boscombe: they are not angry or hateful at heart. They were angry and hateful because we had wounded them so. But now, now that we laid ourselves bare and walked along that same beach in front of those same huts—the huts that had taken the places of those we’d destroyed—people smiled at us. They started talking to us. They even joined us. They had a laugh with us, and a banter. A pint and a stroll. All we’d really wanted to test was whether we’d survive the people of Bournemouth & Boscombe for half a day.

We did not mean to start a new thing. But here, and this is something we are today really glad to tell you, we were met with love. People were friendly and generous, good-humoured and kind. That’s what we will forever now cherish and what we will take to our graves. We are both not very religious, but we light five candles every night: two for the girls, two for the elderly couple, and, yes, one for the dog. That dog was somebody’s friend. It deserved not to die at our hands. And while until a few years ago that moment in the evening of honouring and remembering them was mainly filled with remorse and sorrow, since we went on our beach stroll in Bournemouth & Boscombe in the nude, it is filled now also with love. The love these people gave us—those same people whom we had so badly abused and who had therefore so understandably hated us so—sustains us today. We are grateful for it, and we appreciate it. And we love you all back.

We take no credit for having ‘invented’ the Bournemouth & Boscombe Nude Beach Stroll. If the people of Bournemouth & Boscombe didn’t have it in them to do this every year, it would not have caught on. The fact that it did and that it now attracts visitors from all over the world has nothing to do with us. Nobody even knows about us. It has everything, and only, to do with the people who make it happen each year: the people of Bournemouth & Boscombe. They own it, and for as long as they want it, they may keep and enjoy it.

So should we even tell you about us, if we don’t matter at all? We thought long and hard about this, and many times before we sent this letter to you decided against it. But there was something about your piece that convinced us, in the end, that the truth—even though it is painful and maybe unwelcome—still forms part of the picture, and the picture is only truthful if in the end, at some point, when it is ready to be so, it can be rendered complete. The colours, the layers, the light and the shade. And so we commend this letter to you to do with it as you see fit. But we thank you for having prompted us now to write it.

Yours humbly

Andrew & George

I’m struck by the fact that they’re signing it ‘Andrew & George’. Was not Andy the junior partner, drawn into the maelstrom of cataclysm by the older, more devious George? Maybe time has levelled their relationship, as it levels everything, and in all seriousness: does it matter? By sending me their letter they have given me two options only: to either be the keeper of their secret, or to be the agent of their revelation. It is a simple choice to make. I cannot be the keeper of a secret that was volunteered to me as a revelation. And as I believe in redemption, and in catharsis as a step towards it, I opt to let this stand now, here, as it is.

In my universe, hatred to love is as darkness to light: one may not exist without the other, but there is no question, ever, of which yields to which:

Love conquers all.

Expiration

We are not doomed.

We may well be determined and we may be defined but we are not definitive and we won’t go on forever and we won’t ever die: immortality is granted, though the wish is monstrous, as long as we take it upon ourselves to be the centre of our attention.

Conduits to the stream. The energy, the code, the connection. We may yet go extinct; we need not mourn ourselves: we leave behind perhaps no legacy but our intention to do well.

Complex situations, simple choices: do you put anger in the world and hatred and want and division and them versus us and incomprehension and rejection hostility enmity loss, or do you put hope. Do you put recognition, respect. Enjoinment. What we call empathy. Different, differentiated manifestations of one and the same.

Never even mind that we’re human: remember we are god. When every mistake we’ve ever made is multiplied with every catastrophe, our hearts may hurt from the unwisdom we yield to. And yet: we can make it so, we can make it other.

The thing that we’re made of may yet lift us up. We can, whether we want to or not; but wanting to is harder than saying no. Everything is known, everyone can be understood.

Accept as the deepest part of you that which you loathe most. The person you despise: you are him, you are her. Embrace them. The child murderess. The suicide bomber. The bludgeoner to death. You celebrate, you cheer, you dance your pride when your football team wins. When your psychopath strikes: suffer him to be your disaster no less than you appropriate your goal scorer’s triumph. The medals on the athlete’s chest are badges of your honour no more and no less than the bloodstains on the knife stabber’s hand are witness to your failure. Own it.

Grow up into the painful truths and free yourself. There is no freedom without truth. There is no truth without pain. There is no pain that does not carry a reward. When all is said and done: start over. There is no reward without loss. There is no loss without self. There is no self that stands alone.

Surrender to the motion of a greater purpose. Even if you don’t understand. Even if you do not believe. Even if you’re not convinced. Your heart knows long before your brain, because your brain is more powerful than you think: when knowledge is you and you are the world and the world is an instance in just one universe and the universe is a thought and the thought is expressed then you are god: you are god.

Accept the burden of being all powerful. Make good on your promise. Dare love.

{Bereavement}

This is not on The Tape, but I’m reminded of it here, and part of me thinks it doesn’t belong here, part of me thinks it doesn’t belong anywhere really, part of me wonders does everything somehow, ultimately, need to be told, and part of me knows: this is exactly where it belongs.

I hear myself overall so happy, so optimistic on The Tape. Improbably casual and emotionally understated: my delivery suggests I’m giving an account of a trip to Milton Keynes, but the words I choose—carefully, even cautiously, deliberately always—speak of a young person with everything going for himself, with abundance of confidence, and imbued with great hope. And I’m so glad to hear him thus, though in the tone of the voice and the distance to the heart, I also hear the youth from which this young person had emerged, then relatively recently.

I’ve been blessed in that I have, to this day, had to suffer the loss of three people only. And of a cat. Of these three, one was someone I’d met once, very briefly, but really didn’t know: Diana, the Princess of Wales. There is no rhyme or reason to this, but her death shook me to the core and disorientated me for a week. I cried more over her than any of my grandparents, all of whom I loved dearly. All my grandparents died over the years, but that seemed the normal course of the world: people get old, then they die. Obviously, their passing was, in each case, a loss, and felt as one, too. But you can prepare for this, you know it’s going to happen, and when it does, you deal with it, and then you honour them in your thoughts and keep their memory alive in your soul. Princess Diana being torn out of our culture was a cataclysm. Of its own kind. It came out of nowhere, and it seemed to change everything, and, irrational though this was, it left a gaping hole in my life, in a way that I, myself, never expected. It was an extraordinary experience, unique, I am certain, to her.

One was a dear friend who decided to leave us. That was both shocking and unexpected, even if it had been, in a way, predictable, sadly. I mourned her, and I knew then, as I know now, that I had to let that be as it was. It was just so. More than anything I felt I was called upon to respect her, and her decision. And that’s what I did, and that’s what I do.

Losing our cat as a boy was dreadful: I loved that cat. I was unspeakably sad when we were told he’d been hit by the tram. I got over it.

And one is still around and still a good friend, and when we see each other now we have excellent conversations, but when I first lost him—I was fifteen, he fourteen—my world fell apart. We had been best friends at school, and we were in essence together. Not as lovers, not romantically, not anything other than as friends, but as friends we were as one. People didn’t even tease us, it was just the accepted thing, that where I was there was he, and where he was was I.

It had come about over several years, and it was my normality. Of course I loved him, but I didn’t know that. I had no conception of love (and none of sexuality, for that matter), I spent no time thinking about how much I needed him, or enjoyed being with him, or relied on him always being around. That was all just the way it was. It was solid, it was dependable, it was real.

And then something happened that I hadn’t seen coming, ever: he turned away from me. It was gradual, simple, undramatic, and also in its own way normal: he just started spending time with someone else, more than with me. At first I barely noticed, there was no cut-off point, no moment I could pinpoint where it began, it just gradually dawned on me: we are no longer one.

The other boy was a good person, still is: we’re still friends as well, he and I. He wasn’t cruel, he didn’t manoeuvre, or manipulate, he just took my place, without, probably, even knowing what was happening, either. I had been the one who was always by my friend’s side, and now he was there. At first he was there too, but soon he was there more than I, and then I realised I had lost my love. I still couldn’t name it that, because I still didn’t know that that’s what it was, but the incision was brutal. I was cut off. I bled.

I was lost. Abandoned. Bereaved. I couldn’t name the way I felt any of these things, because I didn’t know what they were, I only knew that I didn’t want to live. Really didn’t. Not melodramatically, attention seekingly didn’t, just didn’t. There was no point. I was distraught, yes, but more than that I was destroyed. There was no word for it, no expression, no therapy and no remedy, there was just emptiness, complete.

This lasted for eighteen months, maybe twenty. It was a crisis so profound, so categorical, so total, I felt that it would break me. I saw no way that it couldn’t. It was absolute, the despair. And all of this over the loss of a friend? Today, with perspective, I know it was obviously more than that: losing my friend was the trigger. What his extracting himself from my life did was tear open a wound which drew all manner of complications. The insecurity. The loneliness. The mind’s confusion over the heart. The heartbreak over the part of the soul that was missing. The pointlessness. The disorientation.

What sustained me was my brother, because I could talk to him—not about this, but about everything else that was going on in my teenage life—and my mother of course, because I could not then, and I would not now be able to, bring myself to do anything deliberately that would cause her grief.

And then something happened that I also didn’t expect: I found a way out. I hadn’t been looking, not consciously anyway, I wouldn’t have known where to start, but the subconscious knows and searches and finds, and without thinking much what I was doing, I wrote.

It was going to be and started out briefly as a novel, but then I remembered something our English teacher had said: that writing plays is way more efficient than writing novels: you need far fewer words to tell your story and to create your characters.

And so I wrote my first play. I was seventeen now, I called it 19. It dealt with a young man taking his life, and how that affects everyone around him. It had an original structure, because rather than going in a linear plot from beginning through middle to end, it started with events about a year or two (I can’t remember exactly) before and after the suicide and then circled in, closer and closer, to end with the moment of no return. That structure, too, was not something I really thought about, I just wrote it that way. Although the play has never been performed, nor ever even been read in public, it achieved several things for me.

Firstly, it was my catharsis. By abstracting the youth’s self-inflicted death and putting it on a character in a play, I was able to ‘deal with’ what I was going through, and absolved myself from actually having to do the same thing for real.

Secondly, it showed me I had a new friend. I gave this piece—which was really very revelatory, open and incredibly honest—to somebody I had started spending time with at school, and his reaction was perfect: he took it seriously, but he didn’t panic. He just talked about it as a piece of writing, and encouraged me to show it to other people, which I did. I knew now I had someone again I could trust.

Thirdly, it made me realise I was able to write. I gave the piece to my German teacher at school who, unbeknownst to me, gave it to a man who happened to be my favourite actor at the Stadttheater Basel, where we routinely saw maybe a dozen plays each season. Henning Köhler. He was invited to our school to give a talk about theatre and acting generally, and at the end of that talk he said: “and one of you has written a really good play.” I went up to him afterwards and said: “that may have been me.”

Nothing happened with or to the play, he was quite apologetic about that—‘I’m really sorry, I can’t do anything for you in terms of getting it on at the theatre’—but for Henning Köhler, to my mind the best actor in town, to have read my play and to have made a point of mentioning it, that was enough. That was something I could hold on to.

And it also paved the way for me to lose my virginity, at last. There was a man whom I knew well and liked and respected a lot, a writer, actor, performer, who lived in St Gallen, of all places, and I sent him the play. I knew he was gay, he was a few years older than me, in his early twenties. He was cool. And nice. And in an unspectacular way attractive.

He read the play and asked me if I wanted to come and talk about it, and I said yes. I went to visit him, and we talked about the play, and at the end of the evening, I went to sleep on the sofa, and he came over and said: “If you want to you can come to my bed?” And I said, “yes.”

The doors were finally flung open. It wasn’t quite the proverbial floodgates, though in a Hollywood rendering of the story there would probably have to be strings; but it was good. I was happy. I’d pulled through.

And I knew then, and I’ve known ever since, that having coped with that period of my life, and survived it, I’d be able to cope with anything. That was one great big case of something that could have killed me, but didn’t, and so made me stronger. A lot.

My enduring memory of this handsome man is on stage. He was singing a version of Es liegt was in der Luft—‘there’s something in the air’to which he had written new lyrics. He’d turned it into a satirical number, as part of an environmental cabaret revue. It was glorious. And a roaring success. He was so alive, so in it, so buoyed by the love from the audience, so overjoyed about doing this, and doing it well.

Many years later—not on this trip, another eight years or so after that—I was in Basel where I’d heard he had since taken on a job as Artistic Director of a small theatre.

It was a sunny afternoon, and I walked into the foyer, to see if he happened to be around, just to say hello, on a whim. I asked a young man who was doing something to the display. “Oh,” he said. And I can still see the look on his face, of surprise and regret: “No. I’m sorry. He died a few months ago.”

I salute you, my friend, and I thank you for the time, the patience, the generosity and the inspiration: you genuinely helped me find my way – your spirit lives.


< Helvetia       Les Grands Amours >


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{Loss}

How grown ups ruin things. 

The little boy on the District Line is giddy with insight, his eyes are aglow with love, his voice alive with excitement. Swinging round the pole he’s meant to just hold on to, he tells his friend, ‘sometimes I think that everything is just a dream.’ His friend, just slightly taller, but still little, exclaims: ‘so do I!’

It’s a moment of sheer wonder. A wonder dad has lost. Dad says: ‘That’s the question my dad likes to think about, how do you know that everything isn’t just a dream; that we’re not in someone’s brain…’

The boys try to ignore him, they’re not ready for his existential, inherited angst. But dad now has the upper hand: ‘How do you know,’ he insists, ‘how do you know you’re not dreaming right now?’ There’s a smile on his face, but it doesn’t look as benign as he possibly means it to be: there is power at play now, it’s a smirk.

Slightly older but still very young boy has no answer: ‘I just know,’ he says.

Dad—to the younger boy, they don’t look like brothers to me—is like a dog with his bone: ‘But how can you be sure? Have you ever had a dream?’

This strikes me as near-cruel a question. These boys are maybe seven, eight? Older, slightly taller, but still nine-years-old-I-imagine-at-the-most boy is now unsure: ‘Yes…?’ The uncertainty infuses a slight quiver in his voice.

My heart breaks; I want to hug him and say: ‘Everything is all right; and you’re quite right too, and your little friend. Sometimes everything is just a dream, but not in this cynical, clinical way your little friend’s dad now makes you think and worry about.’ Still dad won’t let go and instead pushes on with his inquisition, until: ‘You start freaking me out,’ the little boy says.

At last dad relents, sensing the fear he has just poured over his son and his son’s gschpänli, who were just a moment ago so excited that everything could still be a dream, and to whom until just a moment ago it probably was…

The tear I shed for these boys is as heavy as the joy was light that I felt for their innocence. If only dad had had a wiser father. The prism of your childhood paints the world in colours that but slowly fade, and if it is tainted, obscured or damaged, oh how long a shadow it casts…


< {Thoughts That Can’t Be Unthunk}       Whist >

 

11 Death (Imagined)

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