The opening...

The opening...

where in a later chapter Jesus remembers a summer drought and spends two days ill with his mother and is visited by her memory once more...

It was a quarter past eight of a summer evening in Grace's hole of an apartment. The evening was still light but in the room it was dark, like dusk had settled there before anywhere else. Now and again the door would squeak open and Grace's mongrel dog would slink in, wander around, whine and leave. From outside, in filtered the scratchy tones of music from the late Ice-cream van. The windows were open but the drawn curtains did not move.  On the sofa and on the floor, against the walls, heroin addicts were strewn and sat about in various positions, silent and rocking themselves through time in painful meditation.It was the first evening of the summer drought and everyone had been caught off guard.

Jesus was sat on the floor on a bean bag which was usually the dog's. He had the first uncomfortable symptoms of junk withdrawal. He felt tremendously tired in his body and couldn't stop yawning, huge cavernous yawns which stretched and pulled every muscle in his face and neck. After each yawn his eyes would stream hot tears. The music from the ice-cream van came to him like a great tragedy, waking up a melancholic universe which had lain dormant within him ever since picking up the needle. He wore an expression like a shard of glass was stuck in his brain. He yawned again and shivered and stared down at the screen of his phone. He no longer tried ringing his numbers. They were all either turned off or only serving crack. His one slither of hope, everyone's one slither of hope, was from Mikey who said he'd call if he managed to reload. Jesus stared at the dark screen and concentrated,  bellowing the word MIKEY out in waves from his mind, sending invisible lines of communication to him, urging him to come through and ring with good news. Jesus didn't believe in such nonsense but it was at least worth trying and kept up a silky thread of hope. Not even a day into withdrawals and Jesus was already onto miracles. The phone didn't light up. The evening wore on and the city darkened and illness progressed in uncomfortable but well-known increments and then it was 11pm, night-time, and the room was in utter darkness and the first groans of physical discomfort began.

The dog whined. Jesus had heard it scampering around in the dark. Now a cool nighttime breeze blew in the open windows, wriggled the curtains and brought in a scent which  made Jesus cry. He cried in silence and the tears ended in his mouth and they made him want to vomit. The room was quiet save for the scuffling of bodies as they turned in discomfort, ten or more junkies, all writhing about and letting out light groans of pain.  Every so often someone would light a cigarette and the room would be illuminated  for a second, the wriggling, aching hell revealed, wide open eyes staring dismally out, like a room full of AIDS victims left to rot in  death. Jesus watched the orange glow of the cigarette tip moving about like magic in the dark. When he was young he would watch his mother's cigarette in the dark too. She'd make fire drawings for him in the night, crazy circles and zigzags or his name all joined up in glowing orange letters followed by a heart that would disappear almost as soon as it existed.  Jesus watched the cigarette and after a moment could make out the smoke. It hung in a cloud and then slowly dispersed and time was like that in heroin sickness, almost on the point of being static.

The drought lasted four entire days. On the second day Jesus scored 150ml of methadone and shared it with his mother. It helped for just over 8hrs and then the yawns and the watery eyes and the snivelling came back. As hard as he tried, as much money as he offered, he could not get anything  thereafter. News of a heroin drought had circled the streets and anyone lucky enough to have a script was keeping it for themselves. So on the evening of the second day, Jesus got into bed with his mother and together they descended into proper and severe junk withdrawal and for two days they did not speak, just moaned and looked at each other and cried the words "oh God" and "fucking hell", vomiting and retching and  sweating and crawling to the bathroom and back. With the sickness and the fever and spasmodic episodes they  sought comfort in different positions on different materials, laying stretched out in the hallway, or on the tiles on the kitchen floor, and then to the sofa, the bed, the carpet... pulling the covers on and off, burning up and then shaking with cold, the muscles so weakened and sore that they often crawled on all fours and Jesus was now thinking of these things and contorting in pain and grinding his teeth, halfway in some past world and halfway in the now and at one moment he opened his eyes and looked up, his tongue hung out his mouth like it had died, and his mother was standing over him, almost fifty years old, gaunt and yellow and crying and saying "It hurts.... it hurts so bad" and those words somehow endeared her to him and he vowed he would never let her get sick again and those words haunted him now as behind him he could see the open door and out into the landing where his mother's room still was and then the cramps hit his stomach and he curled up and whimpered in pain and he said the word "mum" over and over and Jesus said just that.

Word count: 965

5 comments:

  1. I think the first sentence is a poignant summary of the rest:


    It was a quarter past eight of a summer evening in Grace's hole of an apartment.


    poetic juxtaposition of light and shade/sublime and crude.



    It was a quarter past eight of a summer evening in Grace's hole of an apartment

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    Replies
    1. Hey Joe... reckon it'll just be you and I here for a while. I din't mind I really decided to write it online to keep me motivated.

      Yeah, I intentionally changed the style of writing for this bit (it'll be in one of teh later chapters). I think it'll get very wearing the memories all seen just through Jesus' eyes and so I think I'll write many of the side stories (which will all be memories or dreams or hallucinations) in a more traditional omnipotent third person. It also allows a little more freedom in building atmosphere and describing settings, etc. I'm actually working on a new POV. It's not ready to reveal just yet (will be a couple of years probably) but I call it the 'detached' or 'floating' first person.... though it's not written in first person at all but reads like it. I got the idea last November. I was on a late night walk in the dark, and i was reading critical essays on some of James Joyce's work and I asked myself the question "is the Portrait of an artist written in 1st or 3rd person?" And I had only just reread it. I couldn't quite decide what it was but said it felt like 1st person. When i got home I checked and no, it was most def a 3rd person account, but even reading some passages again it read like 1st person. I asked a few other people what POV was it written in, and there was about a 50/50 split on those who thought it was 1st and those who got it correct. So I studied that text to understand why certain points in 3rd person read like first person. Well, the anti-climax is i'm not going to reveal my conclusions but it gave me an idea of an entirely new way to write in 3rd person which reads like 1st person. So once I've mastered this new POV in private and really thought through how to exploit its potential for best effect, I'll unleash it in a series of texts somewhere.

      Back to the writing here...

      This entry isn't actually finished... I'm just posting as and when I write a little. So what I'll begin doing is putting up top if it's a finished part or not,and then maybe if you see it's not a finished part yu could delay reading or leaving a comment util it's updated and finished. Most I will finish or i'll have hundreds of half parts which I need to revisit and finish and I hate doing that... it's so hard to refind that exact atmosphere you was in. X

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    2. Yes I wasn't quite sure if and where/when comments were required. Good idea to label 'finished' stuff - though even then it will probably be re-finished when put in context in the final jigsaw. Be interesting just to see it all emerging comments or not.

      There was this interesting film about David Hockney on BBC2 last night. Near the end as he got into online art he had a program which allowed him to see how he had created a painting. It was fascinating to see the thing emerge: background, details filled in bit by bit/erased/edited.

      That's one thing I regret about writing online. You don't have all your previous typed/penned drafts as you did in the old days. Unless you saved them one by one – but most people edit as they go along I think.

      Then again I don't miss having to insert carbon paper between A4 paper, and reload into the typewriter again and again every single page, and have to re-write a whole page and sometimes chapter if you made one mistake.

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    3. OK, i future I'll mark them as finished or not and you can reply when and as you like. I need to thicken the plot I think. There needs to be much more of a personal drama running through it. If it was in 1st person I could get away with it, but in 3rd person I need more than the original idea... but it'll come as I'm writing and thinking, I'm sure. It's like how WFJ built off itself as it progressed.

      I was using the computer for a while in my art (and we've such programs now that Hockney could've only dreamed about). There was three huge problems I had with that:

      1) choices (because they could be changed at a touch of a button) were limitless.
      2) I spent more time fucking around on the comp than actually painting
      3) When working on the comp you don't have the physical movement of applying paint... the expression of how you apply it and it takes it down to a purely technical thing.

      So I stopped using the computer altogether and went not with what was more aesthetic, but wth what felt right as an expression. Because that's another side effect of computer art: it takes it more towards the decorative.

      As for writing: I could never have been a writer if I had to do it by hand and rewrite and redraft everything like that. My composition just wouldn't have the patience for that and it'd drive me bonkers. I could just about handle a typewriter... but pen and paper.... no. I also hate my own handwriting and rather than most who cherish their first drafts and edits and margin notes, whenever i worked on paper I despised it and couldn't wait to type it up so as i could bin the original. The way I write with a computer (or more the way you learn to save each revised document) I do end up with all my drafts... though often I delete everything that went before as to me it has no worth as it was badly flawed and the final draft is really ll I want left of it. But maybe many writers working alone would also do that. I thgink the time drafts become important to the writer is when it's their editor or publisher who has asked for a rewrite and the writer is more making a concession in doing so. Then the drafts become very important because in a way you are preserving the author's cut for some time in the future. X

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    4. I think losing the written/typed/corrected drafts is a big loss. I wonder if Writers and Artists at Work is still going. I devoured all their early books and the front page of each writer's description of their working methods was a corrected manuscript.

      I was watching a documentary on Mary Shelley and they had Frankenstein manuscripts from the early 1800s with edits - by her husband Shelley. Fascinating.

      Also lots of authors make more money selling their manuscripts than they do from the actual books. Or you could get them put in prestigious museums. Possibly a lot of writers are now saving each draft as they do it, even on computer.

      Of course the benefits of Cut and Paste, Delete, Spell-Check, Find and Replace etc are well worth the loss!

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