Sunday, 31 October 2010

Top Thirteen Ghost Songs



I celebrated Halloween earlier this week with my Top Twenty Horror Films, but I also wanted to do something to mark the day itself so I started collecting ghost songs with the aim of compiling a Top Ten. Then I realised there were more than 10 essential ghost songs, so I bumped it up to 13 in honour of the day. As mentioned previously, I'm a supreme triskaidekaphobic, but this is the one day of the year that such bad luck cancels itself out. You remember how on Buffy, no self-respecting vamp or ghoul would be seen dead causing trouble on Halloween? It's the same principle.

Even with 13 positions in my Top Ten, I still had to leave out a bunch of great ghost songs, including haunted offerings by Aimee Mann, Gene, Tom Waits, Prefab Sprout, the Manics, Richard Thompson, The White Stripes and others. Not to mention Cherry Ghost, the Ghosts and Phil... Spector.

If you're interested in Ghost Rider songs, I suggest you click here.




13. The Beautiful South - Woman In The Wall

A man murders his wife and plasters her into the bedroom wall... but the wife gets her revenge, driving him mad with ghostly screams and a wall that drips blood. If only all relationships were that simple.

12. Orange Juice - What Presence?

In the moth eaten gloom of his shabby room, Edwyn Collins sees the strangest manifestiation...

It may just be his imagination.

11. The Smiths - A Rush And A Push And The Land Is Ours

In which Morrissey becomes the Ghost of Troubled Joe, hung by his pretty white neck some 18 months ago, then travels to a mystical time zone...
There's too much caffeine in your bloodstream
And a lack of real spice in your life

Yeah, man, I know how that goes...

10. Stan Ridgway - Camouflage

In which a young soldier in Vietnam is saved from an ambush by an awfully big marine who cries "Semper Fi!" and then turns out to have died the previous evening.

He was an awfully strange marine.

9. Bruce Springsteen - The Ghost Of Tom Joad

In which Bruce calls upon the spirit of Steinbeck's classic hero to stand up for the disenfranchised of modern day America. Not so much a ghost story as a requiem for an age long gone...

8. Godley & Creme - Under Your Thumb

A man takes refuge from a storm in the last compartment of a stationary train... but someone follows him on board... the spirit of a woman whose only escape from an oppressive relationship was to take her own life...

7. Laura Marling - Ghosts

These are just ghosts that broke my heart before I met you.

6. Jellyfish - The Ghost At Number One

I will defend Jellyfish as a great 90s rock-pop institution, but on reflection the lyrics to this song are very silly.

5. Ray Parker Jr. - Ghostbusters

I ain't 'fraid of no ghosts

4. John Leyton - Johnny Remember Me

Joe Meek's finest 2 minutes 38 seconds?

One of many so-called "death discs" from the 60s (see also Leader Of The Pack, Dead Man's Curve, Last Kiss et al. ... I've got a whole album of them at home), although this is one of the few wherein the crash victim comes back, with haunting consequences.

3. R Dean Taylor - There's A Ghost In My House

Another rave from the grave by Holland Dozier Holland.

See also The Fall's version.

2. Kate Bush - Wuthering Heights

Heathcliff - it's me, Cathy, I've come home... let me in your window...

1. The Specials - Ghost Town

Not a town full of ghosts, but a town that's a ghost of its former self... this is still one of the spookiest records you'll ever hear...



Thursday, 28 October 2010

Top Twenty Horror Films (Part 2)



(Click here for 20-11.)

OK, we're back with my Top Ten... and I'm sure it'll have you screaming at your computer screens. "WHAT - NO DRACULA 2001? ARE YOU AN IDIOT?" Etc. Etc.



10. Paranormal Activity


9. The Amityville Horror


I still remember watching this on TV late one night when I was a kid and not being able to sleep afterwards. For a long time. I became obsessed with the Amityville story and read the three novels and anything else I could find on it. Marketed as a true story, I still hate the idea that it was all a giant scam. I want to believe!

The movie doesn't have a great reputation among horror fans, but I think it stands up well, with excellent performances from James Brolin, Margot Kidder and (especially) Rod Steiger and a creepy score by Lalo Schifrin. The sequels are a waste of time and the remake misses the point, despite a half-decent cast... but then, it does suffer the stench of Michael Bay.

8. The Exorcist


Another movie that could have sunk under the weight of expectation once I was finally allowed to watch it, but thankfully didn't. A much better film than Texas Chainsaw Massacre, though not quite as shocking. Still, it's Mark Kermode's favourite flick, so it deserves its position here.

The sequels are drivel, particularly the recent, supremely dreary prequels.

Your mother cooks socks in hell.

7. The Descent


Crammed with twists, claustrophobic tension and genuine jumpy bits, Neil Marshall's best film delivers - as long as you're watching the original UK version. The "it was all a dream, happily ever after" ending grafted onto the US version was a kick in the horror-nads. And it led to the sequel, which was worse than pointless.

6. The Haunting


The movie that showed Paranormal Activity how frightening a few slamming doors could actually be, this is essential viewing for anyone who ever plans to direct a horror flick.

The Jan De Bont remake from the 90s is essential viewing for anyone who ever plans to ruin a horror flick. Truly ghastly.

5. Jaws


Part of me didn't want to include Jaws in this list, because part of me doesn't think of it as a horror film. Part of me thinks it's too good a movie to be considered horror. Which is snobbish and silly. Chief Brody rules.

I actually like Jaws 2. 3D and The Revenge are bobbins though. Were there any more? I'm sure they were offal too.

4. Halloween


Ah, John Carpenter. The man responsible for two of my top five horror flicks. The man who invented the handheld camera following you down the street routine. The man whose weird, self-composed synth music was more effective at delivering shivers than any big orchestral score. The man who created one of the truly great screen monsters... using a William Shatner mask.

Jamie Lee Curtis, Michael Myers, Donald Pleasence... what's not to like?

I think I probably liked more of the Halloween sequels than any other horror franchise. H20 was particularly good. Rob Zombie's remake was bobbins though.

3. Psycho


Alfred Hitchcock. Anthony Perkins. Janet Leigh. Bernard Herrmann. Who's the bigger star of Psycho?

Actually, the thing that impresses me most about this film is the way it changes direction in such a startling manner midway through. I guess that's down to Robert Bloch, who wrote the original novel, and Joseph Stefano who did the screenplay.

She wouldn't even harm a fly.

I like the sequels purely for Perkins' hammy performance. The Vince Vaughan / Anne Heche shot-by-shot remake was an exercise in utter futility though.

2. The Shining


Which is better, Stephen King's novel... or the vastly different Kubrick movie? The author obviously believes the former, but as much of a King fan as I am, and as much as I can take or leave just about everything else Kubrick's ever committed to celluloid... the atmosphere of this film is unrivalled. Jack's just-the-right-side-of-mental performance, Shelly Duvall's wonderfully insipid support, the creepiest horror movie kid ever, the scene in room 237, Scatman Crothers' botched rescue attempt, all that snow and isolation, Delbert Grady and Lloyd the bartender... a horror movie I never grow tired of. Hoping to watch it again this weekend on the big screen.

Heeeeere's Johnny!

1. The Thing


For anyone wondering why there's no room for Alien in this list, the answer is simple - everything Alien can do, The Thing can do better. All the crimes against horror committed by John Carpenter in the latter half of his career matter not one whit. This movie is perfect, I won't hear a word said against it.

I have low, low hopes for the upcoming prequel.


This week's Thoughtballoons strip features my tribute to The Thing, starring its more Fantastic namesake. You can read it here.


Wednesday, 27 October 2010

Top Twenty Horror Films (Part 1)


In preparation for Halloween, everyone's listing their favourite horror flicks. Well, Final Girl is, and Ryan 'Stinkbrown' Lindsay is too. I'm sure a bunch of other people are thinking about it. Show me a barrel and I'll scrape it...

Runners up included Evil Dead 2 and 3, Final Destination (any of the first three, not the rubbish 3D one), Rec (Spanish), The Fly (Goldblum), The Hitcher (Hauer) and The Ring (Japanese). Which should give you an idea of how bad my taste in horror films really is.

Here's 20-11 then... come back tomorrow for part 2. You just know it's gonna piss you off some more.


20. Friday The 13th


It's well over twenty years since I saw the original, and I'm sure it wouldn't stand up after all this time, but I still remember the impact this movie had on me - particularly the ending. Diluted to death by a dozen inferior sequels, this stuck a spike through my heart like an arrow through Kevin Bacon's throat. And Jason wasn't even the killer!

19. 28 Days Later


What if zombies could run really, really fast, Christopher Eccleston was a right hard bastard, and Manchester looked like LA from a distance...?

The sequel is... OK.

18. The Strangers


17. Cube


Some ignorami consider this to have invented the torture porn genre and spawned a million Saws, Hostels, et al. The difference being there's more invention, imagination and genuine tension in the first five minutes of Cube than there was in the whole Saw franchise.

The sequels are good too.

16. An American Werewolf In London


Another of those horror films that defined my youth, and not just for Jenny Agutter in the shower.

Keep off the moors and stay on the road.

The sequel is rubbish, despite Julie Delpy.

15. Them (Ils)


Because, it seems, only the French truly understand there's little scarier than a bunch of unruly hoodies. Inspired The Strangers, Eden Lake and a bunch of other "aren't kids bastards?" flicks, none of which were quite as efficiently brutal.

14. Frailty


The film that made Bill Paxton scary. That's some achievement! (He directed it too, so it was all his own doing.) Great twists and a black-as-pitch ending.

13. Duel


The horror film that reminds you you're not as indestructible as you think you are in that little tin box you drive about in every day. Dennis Weaver does the everyman routine perfectly, Spielberg's direction has never been grittier, and the fact we never see the trucker makes him the perfect boogeyman.

I was tempted to include copycat 70s movie The Car in this list, if only for the scenes where the eponymous driverless vehicle refuses to go onto consecrated ground... and then explodes in a fiery devil explosion at the end. In my memory, I often get the two films confused and have that devil explosion tear up the sky after the Duel lorry tumbles over the cliff too. I'm always vaguely disappointed when it doesn't happen.

12. The Blair Witch Project


All you people who hate Blair Witch, sorry, but you're wrong. It may just be a lot of silly running about in the woods, but woods are scary places... and that facing the wall ending haunted me for weeks.

The sequel is bollocks.

11. Texas Chainsaw Massacre


Since it was banned in the UK as a video nasty throughout my youth, I expected to be disappointed by TCM when I finally saw it. Disappointed, I was not. Disturbed, I was. Not by the expected scenes of chainsaw torture - which turned out to be mercifully few and actually quite restrained - but instead by the scene at the dinner table where Grandpa's corpse starts sucking the girls finger and she screams... and screams... and screams... and screams.

The remake was far too glossy.



Click here for part 2...



Tuesday, 26 October 2010

The Best In The West



The traditional Western hero is a loner. A man with no name, and few transparent emotions. He is as cold and hard and lonely as the country that shaped him. He strides into town, delivers justice, then rides off into the sunset... and rarely do we get any more than a glimmer of the man beneath the hat.

Andrew Cheverton and Tim Keable's Jerusalem West always appeared to be just such a man. Standing up to bandits, bank robbers, crooked politicians, werewolves and even the walking dead, he was a man of a few words and little outward emotion... yet Chev and Tim always hinted at a darker past for their lone stranger... and in Distance that past is finally revealed.

It's a gut-wrenching ride that packs a genuine emotional punch. Chev's script is pared to the bone, allowing Tim's moody artwork the chance to carry much of the narrative in a subtle yet powerful way. It's a comic that requires, nay demands, multiple readings, and rewards a dedicated audience with a haunting tale that really captures the imagination. I can't wait for episode three.

West: Distance #2 is now available from the Angry Candy shop. Mosey on over there and pick it up. Tell Chev a stranger recommended it...


Monday, 25 October 2010

The Good, The Badly & The Ugly

In which I end up walking out of a gig after a blazing row over a mobile phone...


You know how most gigs start out a bit rubbish, with a lacklustre support act, then gradually improve as the artist you've come to see plays all their new songs before working up to an amazing greatest finale hits finale that sends you home on a high?

Friday night was a gig in reverse.

It began with the best support act I've seen in donkey's ages, The Candle Thieves, just two young lads with guitar and keyboard, yet they filled the venue with their quirky, Eels-influenced-but-poppier, songs and their big-hearted bravado. For one song, Stars, lead Thief Scott McEwan unplugged his guitar and walked around the quarter-full audience, singing as he went. After that, the Candle Thieves had us. I bet they sold a lot of CDs from the merch stand that night; I certainly bought one.

After this, the headliner had a lot to live up to. Badly Drawn Boy's whole act however is one of ramshackle can't-be-arsedness. This is amusing for a while, and certainly on his opening acoustic set wherein he played a number of his biggest songs (occasionally accompanied by his 10 year old daughter, which even I found sweet) he looked liked he was going to deliver the performance we'd all been revved up for. The problems began when he invited on the rest of his band. The whole "they'll wander on and start playing as they feel like it in the middle of the song" routine felt contrived, and the band brought little to his act. The new album is a slowburner, but too often its delicate tunes just turned to mud and even Mr. Gough himself seemed unhappy with the way it was sounding, eventually calling for a half-arsed "fag break" interval right when any other act would be switching up a gear to the show-stoppers. Maybe they came back on and tore the roof off... I'll never know.

Because, midway through BDB's act, I became distracted by the woman next to me who was having a long text conversation on her phone. I mean, a LONG text conversation - it went on for over two songs by the time I'd finally had enough. She had one of those phones that double as lighthouses when you switch them on and her texting was illuminating the whole row.

Finally, I couldn't take it any more. I turned to her and, polite as I could manage, asked if she wouldn't mind switching her phone off as all I could see was the light.

"I was just sending a very important text to someone who's in hospital," she tried to explain. I shrugged - if it's that important, why not take it outside the auditorium rather than disturb everyone else and disrespect the performer? - but as she acquiesced and turned the phone off I said nothing more and carried on watching the show. As far as I was concerned, the matter was settled.

I've watched enough Curb Your Enthusiasm to know things are rarely that simple...

As BDB called fag-break, we took a moment to stretch our legs and use the loo. On returning to our seats, the woman with the phone decided to have her say.

"You were very rude to me," she said, "are you going to apologise?"

I explained that as far as I was concerned it was far more rude to spend ten minutes lighting up the whole venue with a phone...

"It wasn't ten minutes."

"It was over two songs!"

"It was two songs. And I explained that I had to send an important message to someone in hospital. And I apologised. But you were rude and you didn't apologise."

I began telling her I didn't see how I had anything to apologise for...

...which is when her son turned up.

"Is there a problem here?"

"There's no problem," I told him.

"I DON'T CARE ABOUT YOUR OPINION!" he shouted, pointing an aggressive finger in my face, at which point they both started on me.

So we left. It seemed the easiest option, rather than trying to argue my case. It was after 10 and Badly hadn't built up enough good will for me to want to stick around and put up with this abuse. I was furious...

...but afterwards, I started to wonder: was I in the wrong? As hostile as he'd acted, I couldn't really blame the son. He'd come back in to see what he thought was me having another go at his mum. He wasn't to know that it was her who'd started the exchange. If I saw someone having a go at my mum, I'd probably have been similarly incensed. But did this woman really deserve an apology? I'd restrained my original request to a polite "would you mind...?" rather than the "TURN THAT FLIPPING THING OFF!" I'd been feeling, and I'd made no more of it after she finished her texting. She may well have been worried about a relative in hospital - but not worried enough to cancel her evening out, or even to step outside the auditorium to send her messages. And I wasn't the only one getting annoyed by the light from her phone. But should I have said nothing? Or should I have dropped to my knees in supplication at the very mention of a sick relative? Is it just me? Do you think I was in the wrong?



Friday, 22 October 2010

Friday Flash - The Man In The Barn



Almost didn't make the deadline for this week's Friday Flash. The idea came to me in a dream, as many of my best stories have, on Sunday night but I've struggled to make it work. Changing from a first person to third person narrative helped greatly; sometimes when writing more personal stories, the temptation is always to write first person. I've found that can make these kinds of stories a little too close for comfort though.

The truth is, I'm always more comfortable writing stories with an element of the incredible. Horror, sci-fi, magical realism... I rarely have any misgivings. When I leave those devices alone and write something straight instead, it's always harder to know whether it works.

Let me know what you think.


The Man In The Barn


There was a man in the barn.

It was the beginning of October, just after Ben had gone back to Afghanistan, and Joe was up early because he couldn’t sleep. This was the pattern now, no matter how tired he was or what time he went to bed, he always woke around four, five at the latest, and nothing could make him go back to sleep. He’d get up and write for a while, then go for a walk just before dawn, which broke about seven, seven thirty this time of year. He always set out in the dark, but he took his maglite with him. Besides, he knew those paths blindfold. He’d been walking them all his life.

Usually he’d go up past White Reaps then follow the path alongside the catchwater to the reservoir. By the time he got up there the dark was usually breaking and on a good day the sky would be turning a hundred different shades with the dawn. It’d been a dry autumn after another wet summer. Dad purposely left the haymaking late this year. Ben came home for it, to help bring the bales in. Dad still refused to buy one of those new machines that made huge, round, plastic-wrapped bales you could only lift with a tractor fork. There was nothing wrong with that old Fergie square baler he’d been using since Joe and Ben were kids. Well, nothing except every summer it took him and Ben ever longer to get that old wreck working again, and most years it broke down midway through the first field so Ben had to crawl underneath with his shirt off and tie something together, or reach into the guts while the tines were still moving and twist something back into place. Watching him do that, Joe always worried Ben was going to lose a hand or something. You heard about that sort of thing all the time, but Ben laughed it off. He said if he could handle being mortared by the Taliban, he could handle a few whirling spikes and spinning pistons.

“If I’m gonna lose an arm, Joey, it won’t be on Dad’s farm.”

“You pipe down now, Benjamin Cartwright,” Dad would tell him if he heard that, “no son of mine’s gonna lose anything anywhere anyhow. My boys are indestructible – we all are now, haven’t I told you that before? I made a deal with the bloke upstairs when we lost your mother. You just remember that. Nothing’s gonna hurt my lads while I’m still drawing breath, and I plan on doing that for a good time to come. Long as I can still lift one of these bales in each hand… now crack on, I want these in the barn before dark.”

Joe didn’t know if Dad really believed they were indestructible, or if that was just what he told himself to stop going after god with that old shotgun he kept in the cupboard by the electric meter. Maybe Ben believed it, but for Ben it was probably true. He’d walked away from that car bomb in Kabul with barely a scratch and when his helicopter was shot down outside Sangin he survived not only that, but three days walking alone through the desert as well.

Of the three of them, Joe was the one who felt the least indestructible. There was no question about that. Even at 27, he was still the one who went up on the trailer and stacked while Dad and Ben threw the bales up. Sometimes he had to ask them to hold up, slow down a bit so he could get them all in place before they threw any more up. If you didn’t stack them right, they’d fall off the trailer as soon as you started back to the barn.

“There’s an art to stacking a trailer,” he told them, “it’s not about brute force.”

“Good job,” said Ben, which made Dad laugh. But not in a nasty way. It’s not like he was comparing them.

“I’m proud of both my boys for what they’ve achieved.” Dad often told him. “Benny as a soldier, Joey as a scholar. You went out and used your brains, son. Got yourself a university degree, and one day you’ll be a great writer with it. I’m looking forward to strolling into Waterstones one Saturday afternoon and taking my son’s novel down off the shelf. Now I know what you’re gonna say, it’s not an easy thing getting published…” Dad knew this because Joe told him every time the subject came up. Every time another year went by with nothing to show for his writing but a rent-free room in his mate Andy’s attic and too much time spent fabricating ever more inventive excuses for why he couldn’t get a job. “But if anyone can do it, it’s my boy the university graduate.” It was only a 2:2, but that didn’t matter to the old man. It really didn’t.

Joe thought about this a lot on his early morning walks. That was the best time to think, when most everybody else was asleep. It’s like how you could get a clearer radio signal when there were no competing stations, or how the internet was always faster when everyone wasn’t on there downloading porn. Joe thought about Ben, so many thousand miles away in a foreign country that might as well have been an alien planet. It looked like Tatooine in the pictures. He’d sit on the reservoir wall and watch the underwater colours the sky turned just before daybreak and waited while the light spread slowly across the valley, colouring it in and rubbing out the shadows. Finally he’d set off back down, taking the other path this time, the one that took him right through Dad’s land. This was still home, even though he didn’t live here anymore. Most mornings he’d call in for a coffee, ask if Dad needed any help with anything. The answer was always the same.

“I’ll be fine, lad. More important things for you to be doing, I’m sure. Write another thousand for me!”

Joe had told him once how that was his goal. A thousand words a day. If he managed that, eventually he’d write so many that some of them would have to be readable.

This particular day in October, the sky was completely clear as Joe crossed the fields towards the farm. The woods were turning brown but the early sunlight cast them gold. There was a thick dew on the grass, but still no frost. A hare the size of a small dog broke from the bulrushes and sprinted towards the lane. Joe jumped at the suddenness of it, his heart thumping. What an idiot!

He climbed the gate that kept the cows out of the yard and crossed towards the house. The hen hut was still locked, as was the night ark where the ducks slept. Dad obviously hadn’t been out yet. The bathroom light was on and Ben could see the shadow in the window as Dad leaned over the sink shaving. If Dad knew Joe was here, he’d start rushing round making me coffee, asking if he wanted toast or eggs, the usual fuss. Let him finish, Joe thought, and walked instead over to the barn. He wanted to smell the hay. There wasn’t anything like the smell of hay. Warm and comforting, better than fresh baked bread. It was easy to understand why cows liked it so much. Maybe they weren’t as dumb as they looked.

There were two entrances to the barn: the huge, arched doors Ben reversed the tractor trailer through in late summer and a smaller side door which led either to the barn itself or the cow shed in the back. Neither were locked, but it was much easier to use the smaller door. Getting the big doors open involved hauling down on a rusty chain that squealed worse than a stuck pig. That would have woken up half the hillside. The side door was just one click. Barely enough to rouse a field mouse. Certainly not enough to wake the man in the barn.

The barn had three sections. At the front was a huge stack where Dad piled the loose hay he collected from the fields once baling was done. There was always loads left over that the baler didn’t pick up. You could get a good two weeks’ feed out of that if you could be bothered raking. Beyond that the bales began, piled high and crisscrossed together to hold them in place. You never stacked bales one on top of another. You locked them together – second layer at right angles to the first. There was an art to it, an art Joe knew. He may not be able to root out insurrectionists in a Helmand mosque, but he knew how to stack bales in a barn so they wouldn’t fall over halfway through the winter. He wasn’t completely useless.

Finally there was the loft. Set back from the rest of the barn, it was built over the cow shed for extra storage. The bales in there were first in, last out. Sometimes there’d be some left over from the previous year and they’d have to move them down before fetching the new ones in. Up in the loft: that was where the man was sleeping. There were no windows and Joe hadn’t turned on the light, but he knew the man was there. He could hear him snoring.

His heart was in his chest again. He’d thought he was alone. For a second, he felt like he should back out quietly so as not to wake the man. Then it hit him, like angry indigestion, the man shouldn’t be there. This wasn’t his barn, it wasn’t his land. He had no right!

It had happened occasionally while Joe and Ben were growing up. You’d get tramps every now and then, stopping off and using Dad’s barn as a hotel for the night. Dad told of finding empty bottles or crisp packets, of eggs stolen from the hen hut, maybe even a pint missing from where the milkman left it down the lane. The only time Dad got really angry was when he found the cigarette butts. Carelessly dropped, they might have burnt down the whole barn, maybe taken the rest of the farm with it. Joe remembered one time when Ben was 15, maybe 16, he’d caught some bloke in a scarecrow coat sneaking in there with a fag in his hand late one night. Ben had gone ballistic. Grabbed that guy by the lapels, dragged him all the way down the lane, threw him out onto the road. Really tore a strip off him. Joe was watching through the bedroom window when Ben came back up to the house.

“Good lad,” said Dad, laying a rare hand on Ben’s shoulder.

But Joe wasn’t his brother. This bloke sleeping in the loft now, he might have a knife or anything. If Joe went up there… Dad didn’t even know he was here. If he got stabbed and this guy just left him for dead, he could be lying there weeks before Dad even found his body. There was no reason for Dad to come in here till he brought the cows in for winter. No reason to go up in the loft till all the bales had been cleared from down on the floor.

So Joe backed out of the barn and pulled the door shut behind him. Slammed it shut, much louder than was needed. If he was smart, the man in the barn would be gone by the time they got back. That’d be best for everybody.

Joe crossed the yard to the kitchen. The back door was open and the dogs were racing round the yard. Brando and Eastwood, those two crazy border collies Dad was still trying to train. Five years and he’d just about got them to come back when he whistled. ‘Sit’ and ‘heel’ were way beyond them. Soon as he saw Joe, Brando tore across the yard, almost knocked him back on his arse. Eastwood followed and Joe took a few moments to fuss them both. He could see Dad through the kitchen window, filling the kettle from the tap. Dad waved and mouthed “coffee?” and Joe nodded back, steeling himself for what was ahead. He didn’t know why he was suddenly so nervous, it wasn’t his fault there was a man in the barn.

Then Brando’s ears pricked up. Eastwood’s followed suit and both animals lost all interest in Joe, running, barking, towards the barn. Joe turned to see the side door opening and the man stepping out into the yard He was blinking in the sunlight.

He wore a shabby grey suit that had seen better days (days not spent sleeping in barns) and there was hay in his hair. He ran a hand up his chin, scratching three days’ stubble, noticed Joe and dropped his eyes to the ground. He mumbled something Joe didn’t hear because the dogs were still barking. They kept their distance though. All bark, no bite, those dogs. If the man had made a sudden move or a loud boo, they’d have been back in the kitchen, hiding under the table. But the man didn’t know that, so he kept his distance, edging away along the front of the barn. Away from the dogs. Away from Joe. Out of the corner of his eye Joe could see Dad crossing the kitchen to find out what all the noise was about. Joev realised it was now or never.

“Oy!” he shouted, stepping forward and pointing an aggressive finger. “What the hell do you think you’re doing?”

“Sorry, mate—“ The man started, but Joe wasn’t about to give him the chance.

“This is private property!” Louder, feistier. He knew Dad was watching now. “You can’t just—“

“Listen,” the man said, raising his palms, but still backing away. “I don’t want—“

“No, you listen to me.” Oh yeah, Joe was on one now. He was the man. “You are trespassing - on private property - and we are well within our rights… there’s a shotgun in that house, and we’d be more than justified—“

“Please, mate, I don’t want no trouble—“

“Then you’ve got ten seconds to get off this land or I am calling the police.”

“You don’t need to--”

“I am calling. The. Police.”

“Please, if you’ll just let me—“

“Ten - nine…” This was great. Joe felt so good right now. Better than in months.

“My wife, she—“

“Five – four...” Oh, yeah, skip those numbers. He’d seen that trick in a Bruce Willis movie. Bruce Willis didn’t take no shit, why should Joe?

“OK, OK, I’m going, I’m sorry—“

“Two – one…”

The man started running and the dogs went after him, all the way down the lane and out onto the road. Dad had to whistle them back so they didn’t get run over.

Joe was buzzing now. He was glowing. They could have dropped him into Afghanistan and he’d have sorted the whole Middle East problem by teatime. He really was indestructible.

“Well,” said Dad, as the dogs came slowly back. “I’m not sure you need any coffee.”

Then he went back in the house, and they didn’t say another word about it.



Two nights later, Dad’s barn burned to the ground. The old man tried to stop it spreading to the house, but by the time the fire brigade arrived that was pretty much gutted too. Joe was awake when it happened. Soon as he saw the lights from the fire engines go past the attic window, he knew… he knew exactly what had happened.

At least Dad was OK. They took him to hospital with smoke inhalation and Joe had to find someone to look after the dogs before catching the bus across town to visit him. Andy said they could stay in the kitchen, but Joe knew that wouldn’t last. Andy was allergic to dog hair.

He sat at the side of Dad’s bed and waited while the nurse gave him more oxygen to breathe from a mask. When finally she let him take it off, Dad shrugged and tried a smile.

“I spoke to Benny,” was the first thing he said. “He’s coming home for… he’s taking his early leave or summat. I told him he didn’t have to, but…”

He went quiet as the first tear dripped off Joe’s chin. Joe ran a hand up his face to try and stop them.

“Come on, lad. It’s all right. I’m all right, you’re all right, none of the animals were hurt… I told you we were indestructible!”

“It’s my fault, Dad. It’s all my fault.”

“Don’t be daft,” Dad replied. He sat forward and laid a rare hand on Joe’s shoulder. That’s when Joe really started crying.


Thursday, 21 October 2010

Under The Dome



It seems the pattern these days that a new Stephen King novel will be greeted by two wildly differing reactions from longterm fans. It's either "great - a real return to form" or "SO disappointing - not a patch on his old stuff!"

The problem is that I generally wait to read King's novels in paperback, so by the time I got round to Under The Dome I'd already read loads of reviews - by people whose opinions on such things I respect - telling me how much they either loved or hated it. And because I'm such a lily-livered milksop when it comes to voicing my own opinions, I'm filled with trepidation at the prospect of writing this review.

Ah, sod it.

I liked it. I'd almost go so far as to say 'loved'. If it was written by anyone other than King. It's just that after so many years as one of SK's biggest fans, we always expect a little more.

The high concept plot involves a small town in Maine (surprise!) that one day finds itself sealed off from the outside world by an impenetrable dome that appears from nowhere. While the US army tries to find a way to break through and rescue the townspeople trapped inside, the politicians and policeforce set up an independent state and refuse to co-operate with the outside world in an attempt to cover up their own crooked dealings.

Those who loved the book talked about King's mastery with a large cast of characters, and how fast and exciting he keeps the narrative - "whizzing from one cliffhanger to the next" says the Telegraph. I'd mostly agree. I felt the 800+ story sagged a little around the page 600 mark, but it certainly rallies for an explosive finale.

Those who hated it complained about the characters being far too black and white, and the rather heavy-handed nature of the allegory - the town becoming a microcosm representing the state of US politics in the 21st century. Well, yes, but I didn't feel it was any more clunky than many other sci fi metaphors, and more importantly it didn't hinder my enjoyment one bit. As to the lack of grey - hell, I read Dean Koontz novels, compared to him, King's got a million different shades in his palate.

Ah, make up your own mind. Opinions are like arseholes - everybody's got one. Mine rarely resembles anybody else's.


This week's Thoughtballoons character is Araña, the new Spider-Girl. I'm not too familiar with this character, although I was a big fan of Tom DeFalco's recently concluded "Daughter Of Spider-Man" incarnation. Still, give Anya a chance. Spidey is.

You can read my one-page Spider-Girl story here. I named it after a My Chemical Romance song, for any emo-kids in the audience.


Wednesday, 20 October 2010

Top Ten Self-Pity Songs (Volume 2)



Some guy on the net thinks I suck and he should know
He's got his own blog!


By popular demand, I'm back with another pathetic playlist of pity. Many thanks to everyone who suggested songs last time, some of which are included here, others will be featured in the future.

You know the drill by now... this is Radio I Hate Myself & Want To Die FM!

10. Skinny - Failure


"Why have I always been a failure?" asked Skinny in 1998. It must have been doubly galling for them when Moby was such a success.

9. Tom Jones - I (Who Have Nothing)


You know that Cee-Lo Green chart-topper I was raving about? Here's its 1970 predecessor courtesy of the Welsh warbler.

8.Superman Revenge Squad - Pupkin

This homage to Robert DeNiro's King of Comedy deserves a post all its own. I strongly urge you to read the lyrics below, and if they strike a chord, follow the link to Ben Parker's website and give him some money. He has a new record out now.

I've been looking through loads of books of old lyrics that I wrote,
I've been wondering if I have really developed at all,
I used to want to be Billy Corgan now I can't remember what I once saw in those sentimental, over-produced songs he used to sing to me,
I was at home and feeling lonely, he was out there making loads of cash...

Used to want to be a writer
But now I'd take a lighter to those stories
I thought I'd be changing people's lives
I thought I'd have the Booker Prize
Now I realise that they're just lies
People tell themselves because hey don't wanna get a job

What's the point of singing songs you don't believe in
Just 'cos people say they might make you money?
And is Robbie from Eastenders really sexy
Just 'cos people recognise him from the telly?
And if Newsnight Review look at everything you do
And they decide it's crap
Is it really time to pack it in?
And no matter how many times I do this thing
Will I still feel like Rupert Pupkin?

I used to wanna be in Iron Maiden
Now I can't imagine what I'd do
With the money that I'd come into
Just for playing shows and hanging out with Bruce
And spending my spare time with Mötley Crüe
I mean, would I really care
About the people that stare
And point at the spandex clothes that I wear
If it was something I really wanted to do?

What's the point of singing songs you don't believe in
Just 'cos people say they might make you money?
And is Robbie from Eastenders really sexy
Just 'cos people recognise him from the telly?
And if Newsnight Review look at everything you do
And they decide it's crap
Is it really time to pack it in?
And no matter how many times I do this thing
Will I still feel like Rupert Pupkin?

7. Bloodhound Gang - Why Is Everybody Always Picking On Me?

Juvenile in the extreme, like The Inbetweeners on record, yet I can't help but sympathise...

6. Gilbert O'Sullivan - Alone Again (Naturally)


A song that begins with Gilbert being jilted at the altar and ends with the death of both his parents - you can't really blame him for feeling sorry for himself.

See also Nothing Rhymed, a song so monumentally miserable that even Morrissey struggled to make it through to the end when covering it live.

5. Babybird - Unlovable


Speaking of Morrissey... there is, of course, a masterclass in self-pity from The Smiths that goes under the same title as this recent offering from Babybird - you know, it's the one where Moz declares "I wear black on the outside, black is how I feel on the inside". I'd have given my right arm for a T-shirt with that on the front when I was 15 (and it'd only have needed one sleeve).

Babybird's song isn't quite that tragic, but it is a fine example of the quality of work on Stephen Jones's 10th album, Ex-Maniac, released earlier this year. Plus the video was directed by Johnny Deep. Yes, that Johnny Depp.

4. Luxembourg - Single


"I wouldn't wish my life upon anyone else..." sings David Shah on this peerless ode to failing to bother the charts. "I can't spend another summer burning copies of my debut single in my bedroom," he continues, "I can't spend another Sunday crying on the sofa as another opportunity passes me by."

You can download the entire album free from their Last FM page. I'd highly recommend you do that. Now.

3. Nick Drake - Poor Boy

How did I get this far into an appreciation of supreme self-pity without any Nick Drake? Poor, poor Nick Drake - I'll weep for him forever.

2. Ben Folds / Nick Hornby - A Working Day

The opening track to the new Ben Folds / Nick Hornby collaboration. Seriously - Ben Folds and Nick Hornby made a record together. Ben on music and vocals, Nick on lyrics. Until Stephen King and Bruce Springsteen team up, or Morrissey and Douglas Coupland, this is my dream muso-author combo.

Some guy on the net thinks I suck and he should know
He's got his own blog!

I'm a loser
I'm a poser
Yeah really
It's over
I mean it and I quit
Everything I write is shit

Hey, hey
It's a working day
Hey, hey
It's a working day

Somehow it's reassuring to know that even Ben Folds and Nick Hornby have days like that.

1. Janis Ian - At Seventeen

A song I find almost too painful to listen to. And I'm a boy...

To those of us who knew the pain
Of valentines that never came
And those whose names were never called
When choosing sides for basketball
It was long ago and far away
The world was younger than today
And dreams were all they gave for free
To ugly duckling girls like me



Go on world - hurt each other, kill each other, do anything you want!

I just don't care any more.



Tuesday, 19 October 2010

The Social Network



A movie about Facebook starring the current king of loveable geeky losers and Justin Timberlake?

I'll pass.

A movie about Facebook written by Aaron Sorkin, directed by David Fincher, and also starring the new Peter Parker?

Oh, go on then.

Unlike Facebook creator Mark Zuckerberg himself, The Social Network rarely puts a foot wrong. In choosing Jesse Eisenberg to play Zucker, it gives welcome vulnerability to a role which otherwise would be hard to sympathise with. The fictionalized account of the legal squabbling, back-stabbing and bitterness surrounding the origins of the common people's favourite website (being a web-snob and misanthrope, I hate Facebook) allows Aaron Sorkin to do what Aaron Sorkin does best - take complex legal, business and even technology-based issues and weave a human story out of them, using his trademark snarky, fast-paced dialogue and oodles of sharp wit. David Fincher's direction, by contrast, is competent yet unshowy (apart from one rather tacked on boat race sequence set at Henley Regatta). He does present Harvard as a dark and gloomy place where you wouldn't be at all surprised to find Gwyneth Paltrow's head in a box, but apart from that he seems content to let the script and cast carry this story. Eisenberg does very well with his most difficult role to date, the Kid Who Would Be Spider-Man convinced me he's up for that part, and Justin Timberlake was a dick... perfect casting all round then.

The only question I have left is just HOW Facebook became a billion-pound business. I get the advertising potential, but I can't say I've found myself ever noticing the ads while I'm on that site. Admittedly, unlike many people, I don't spend a lot of time on there (once a week, maybe even less) - but are there really billions of advertising bucks to be made from just one website? That's one thing I wish Sorkin had explained in snappy, Howard Hawks style back-and-forth banter... 'cos I just don't get it.

Oh, and in case you missed yesterday's late announced celebrations - this is Sunset Over Slawit's 1001th (1001st?) post. I demand a cake!


Monday, 18 October 2010

There Goes The Thea


If I ever became a singer-songwriter (don't worry, being unable to sing and rubbish at rhymes it seems highly unlikely), I wouldn't want to get too famous. I wouldn't want to play cold, hollow stadiums or large capacity venues that smell of flat beer, vomit and piss (to uninterested, 'entertain me!' audiences who largely smell the same). I'd much prefer it if I developed a strong, loyal fanbase that was just big enough to allow me to pick and choose high quality muso-friendly venues where respectful, seated audiences hung on my every note without a glass in their hand.

For the next three weeks, I'll be visiting Manchester's Royal Northern College of Music, which is just that sort of venue, to see three just-successful-enough singer songwriters ply their trade to people who actually want to listen. The first of these was last Friday night, the UK's best contemporary female lyricist and performer, Thea Gilmore.

With a set largely made up from her current album, Murphy's Heart, plus selected treats from her back catalogue, Thea and band gave this show all they had - and the RNCM rewarded them with some of the best acoustics I've ever heard. No wonder Thea chose to end the show with a solo acapella song rather than a barnstorming rocker, there's not many venues where such a decision would be prudent, but here it sent us home with tears in our eyes. After another soul-destroying week at the pit-face (with no Chilean rescue parties in sight), it was just what I needed.



UPDATE... I just realised this is my 1000th post on Sunset Over Slawit.

Wow.

And they said I'd never achieve anything!


Friday, 15 October 2010

Friday Flash - Don't Touch That Dial


At last, an all-new Friday Flash short story, rather than just another dip into my greatest hits. The oldest thing here is the title, Don't Touch That Dial, which I've used for a number of speculative projects over the year including a sitcom, a comic strip and a novel. None of those went where I wanted them to, so at least I get to use the title for something.

This story is about DJs, but it shouldn't be seen as a slight against the few good friends I have in that particular profession. It could just as easily have been written about advertising copywriters, though that wouldn't have made for quite as strong a set piece.

I do hope you enjoy it.




Don't Touch That Dial


“Idiots,” said Dean.

“Morons,” said James.

“Idiots!” said Dean again.

“Morons!” came the reply.

“Idiots.”

This would have gone on…

“Morons.”

Much, much longer…

“Idiots.”

Had Hailey not interrupted.

“Guys…?”

They should have known from her tone that she wasn’t in the mood.

“Morons.”

After all, the estate agent had agreed to come out well after her normal working hours to show them round these recently closed studios that Dean and James had visions of buying. They planned to start up their own music- and personality-led radio company that broke away from the tight formats and strict playlists that were strangling all the fun out of an industry they both loved. They weren’t messing around here, they were each prepared to risk their life savings to get this venture off the ground. Radio was in their blood and this was their chance to do it the way they’d always believed it should be done.

“Idiots!”

But, at heart, they were still disc jockeys.

“Morons!”

They’d have happily kept this stupid routine going all night if they thought they could get away with it.

“Guys, please…”

Or at least until someone fed them the straight line they were looking for.

“What are they arguing about?” asked the estate agent. Her name was Meredith and she had high hopes for this evening too. She didn’t mind humouring these egotistical blowhards if it got this blasted radio station off her books once and for all. Six months now she’d been trying to sell these premises, and though she’d had any number of promising enquiries, nobody ever came back for a second visit. Still, there were other ways of making it pay…

Hailey ran a hand down her face with an expression that screamed “I wish you hadn’t asked that question”, but it was too late now.

“We’re arguing about the previous owners of this building,” said Dean, “were they idiots or morons?”

“They actually packed up and handed back the broadcast license to a lucrative business like this - just because they thought the place was haunted?” said James. “Idiots!”

“Morons.” said Dean.

“Well, that was the reason they announced to the press,” said Meredith, turning the key in Friendly FM’s side entrance and hearing the bleep of the alarm from down the corridor. “Rumour has it their advertising sales figures were fine, they just couldn’t get any presenters to stay in the studio for more than two records in a row. I presume you’ve heard what happened to their drivetime DJ?”

“Gary Peters?” said Dean. “We used to work with that boob. Dude couldn’t tie his own shoelaces without an instruction manual.”

“It’s very sad,” said James, “slitting his throat with a broken CD live on air like that – right before the traffic and travel, too - but I refuse to believe it was because he was possessed by some dark satanic force…”

“What was the CD, has anybody asked that?” said Dean. “My betting it was either Simply Red, Phil Collins, Celine Dion or the Lighthouse Family. That was pretty much Friendly FM’s entire playlist right there. I imagine playing the same dated MOR shite day-in day-out would make anyone want to gargle blood… I know it would me.”

“We’ll have a strict No Celine policy when we’re running this place,” said James, “and Phil Collins will be shot on sight.”

“Phil Collins,” said Dean, shaking his head, “what a bunch of morons!”

“Idiots,” said James.

“Morons,” said Dean.

“Idiots!” snapped Meredith as she keyed the code into the alarm box. “Idiots, idiots, idiots! There. It’s decided. Can we let that one rest now?”

James and Dean responded with their best two-scolded-schoolboys faces. Hailey glared at them. “See – I told you to knock it off!” She followed Meredith down the dusty corridor towards the studios.

“I like her,” said Dean.

“You should try being married to her,” said James.

“I don’t mean your wife,” said Dean. “I don’t like your wife.”

“You don’t like my wife?”

“No – I like your wife, I like her just fine.”

“You like my wife?”

“I don’t like-like your wife – she’s your wife. I like and respect her as your wife. But this estate agent lady – Meredith – her I like-like, in ways it wouldn’t ever be appropriate for me to think about Hailey.”

“Probably in ways it wouldn’t ever be appropriate for me to think about Hailey. Since, you know, being married…”

“Such things aren’t appropriate any more?”

“Such things just don’t come up anymore.”

Ahead of them in the corridor, Meredith pulled open the first of the huge soundproofed doors, letting Hailey hold it while she pushed through the second. “Well, here we are,” she said, palms up like she was checking for rain, “this is where it all happened.”

As James and Dean followed the two women into the studio, a striking change came over them. Suddenly, they were all business.

“Decent enough desk,” said James, flicking a couple of switches under the mixing desk and brushing dust from between the faders.

“Optimod, Myriad system with built-in Cool-Edit Pro… apparently there’s a half-decent SADie around here somewhere too,” said Dean, checking off the equipment against a list he’d printed off at home.

“I think that’s in the second studio,” said Meredith, recalling this query from a previous viewer.

“At least they cleaned up all the blood,” said Hailey. “In the back of my mind, I had this really gruesome image…”

“Apparently there are people you can hire to do that sort of thing,” said Meredith. “Like CSI, only with scrubbing brushes.” She expected a joke from the jocks in response, but they were lost in their anoraks.

“CDQ Prima codecs, Neumann mikes, Denon CD players…”

“Eleven swans a swimming and a partridge in a pair tree,” said James, slipping the headphones over his head and taking pole position in front of the mic.

“Is this thing on?” said Dean, going round the desk to the guest mic and giving it a one-two tap.

“It is now,” said James, dropping a CD he’d brought along into the player and opening both mic channels. “Come on, mate, let’s take this baby for a ride!”

The intro to Bachman Turner Overdrive’s cheesy 70’s anthem You Ain’t Seen Nothing Yet began playing from the monitors and both jocks’ faces lit up with huge grins, turning to catch the reaction from their audience. “Let’s rock!” said Dean.

Meredith favoured them with a polite but confused frown. Hailey – who knew them only too well – remained hands-on-hips non-plussed. Secretly though, she was holding her breath and praying.

“We’re kidding!” said James, switching quickly to the second track on the CD. Song 2 by Blur.

“Woo-hoo!” screamed Dean, expecting the same response from his partner in crime. And that was when it happened.

They all felt it. The temperature dropped by ten degrees, the lights flickered, the monitors crackled and a shadow fell across the desk. Then James started screaming.

Thinking back on it later, Hailey compared the change on her husband’s face to the switch from Bachman to Blur. It was just as sudden, just as jarring, though much less contrived. One second that corny publicity shot grin she’d grown to loathe more with each new day of their marriage. The next, a look of total, wide-eyed hysteria as he tore the cans from his head and stumbled, panicked, away from the desk.

“James?” said Dean, his own grin faltering, “mate, are you…?” And then he saw it too. The scariest thing he’d seen in his whole life.


* * * *


“So… how much did we say?” said Hailey.

“Two fifty,” said Meredith as she reset the alarm.

Hailey counted out the notes. If this had worked out the way she’d heard it did, it’d be worth every penny.

James and Dean were already in the car, sitting together in the back, holding hands and staring into nothing.

“All those wasted years,” said James. “My god, what have we done with our lives?”

“How come we never saw it?” said Dean. “How come we never realised…?”

“My dad wanted me to become a plumber,” said James.

“Gary Peters,” said Dean. “He saw it too, didn’t he? He saw it, and he couldn’t… he…”

The driver’s door opened and Hailey climbed inside.

“I can’t do this anymore, love,” her husband said from the back, his voice breaking, tears still streaming down his cheeks. “I have to get out, I have to get a proper job…”

“We both do,” said Dean. “Retrain or… something. Do something useful with our lives, anything… anything to save us from…”

“I’m so, so sorry,” said James. He was really blubbing now. Hailey’s heart went out to him. She reached over the seat and rested her hand on his shoulder. She hated seeing him like this, but still she couldn’t remember the last time she’d felt this happy. Relieved. Like maybe they actually had a chance now…

Meredith watched the three of them drive away while folding the money and putting it away in her bag. Then she checked her mobile. Five new messages, all from the wives or girlfriends or significant others of DJs the length and breadth of the country. Word was getting round.


Thursday, 14 October 2010

Home Invasion



People always say that moving house is the most stressful thing you can do as a homeowner. Well, as you may remember, we moved house last summer, and yes, it was pretty damned stressful.

But to be honest, it was a walk in the park compared to what we've done this summer... getting a new bathroom fitted.

There's something extremely disconcerting about having workmen in your house. Home is where you go to get away from other people - but when there's strange men clomping around in it in big boots with big hammers and bigger attitudes, where do you go to escape?

Before I go any further, let me tell you that now it's finished, we couldn't be happier with the way our new bathroom looks. Louise has a keen sense of design and she's been planning this since we moved in (while we've also been saving like mad). I'm proud of the way her vision has come to life. I'm not unhappy with the work that's been done in fitting it either. The problem - and from talking to other people it seems a common experience when people let builders into their home - has been the lack of communication.

Not being told when work has been delayed. Not being told when things have been damaged. Not being told the final bill wouldn't match the quote* (because of a few "unforeseen extras"). Just generally not being told anything. Hear no evil, see no evil, speak no evil. "What they don't know won't hurt 'em!" "Mañana, mañana..." as the Spanish apparently have it, or, "Ee-ven-shwall-ee!" as Manuel from Fawlty Towers used to put it.

When tradesmen act like this, they put you in the position of having to constantly chase and question and pester them... they somehow make you feel like you're in the wrong. Like you're an overbearing nag, an awkward customer, or a precious control freak... when actually, you just want to know WHAT'S GOING ON!? It all makes me very uncomfortable - and it shouldn't. I know, I know, I need to toughen up, grow a thicker skin and a harder heart... but why can't people just do what they've said they're going to do... or, if they don't or can't, at least have the decency to tell you? Is that really too much to ask?

I'm stressed out. I need to go relax in our new bath.


(*Yes, it will.)


Wednesday, 13 October 2010

Forget You!


In an effort to clean up this blog after the tawdry bacchanalia of the last few days, I'm going to refrain from using the F-word around here ever again.

So if you ever catch me using the word 'forget' on this blog again, you have my permission to report me to my good friends at the Mail On Sunday. From now on, just like Cee-Lo Green does on his current Number One Chart Hit, I will endeavour to always replace the word 'forget' with a word that's much less offensive. And if I forget... oh - d'oh!



Full credit to Cee-Lo Green though. I think this is the first Number One Chart Hit I've enjoyed - or even been remotely aware of - through the whole of 2010. Beyond the cheeky hook of the unedited version, it's got a wonderful classic Motown vibe... the lyrics are dripping in bitterness and spite, which is always good... and it's a great song for playing really loud in the car and singing along to when you're stuck in traffic.


Tuesday, 12 October 2010

Not Safe For Work


I've had two people tell me now that they're no longer able to read this blog at work. I won't mention who they are, because obviously I wouldn't want them to get in trouble with their employers for the heinous crime of slacking - even slacking with good literary, mind-broadening and educational intent.

Apparently Sunset Over Slawit is blocked by certain Big Brother organisations because of "sexual content". Now OK, I did use the word 'vagina' in a book review yesterday (and my hits went up accordingly) and I do occasionally break out the f- or even the c-word when driven to anger or outrage (or talking about Bono or Tom Hanks)... but when have I ever written about S-E-X?

A quick scan through my back catalogue reveals I did once mention some doggers we encountered (I nearly wrote 'came across', then rephrased it) near Whitby... I published an extract from my play There's More Where That Came From and received some very useful feedback on its sexual politics... and there was that smut-laden piece I wrote last winter about the birds in our garden... but other than that (and the occasional leering after Kate Winslet or Rebecca Hall) if you surfed here looking for porny things, you're going to be sorely disappointed.

So what can I do to live down to my undeserved reputation?

Bum!

Mammaries!

Willy!

Oh, very well then, if you insist...

How about a lovely pair of tits...?


Are you happy now?

(I bet Steve is.)

This week's Thoughtballoons character offers little in the way of titillation either, I'm afraid. But lots in the way of laughs, hopefully, since we're basing our 1-page stories on Warren Ellis's eccentric, misanthropic reinvention of Jack Kirby's Aaron Stack, aka Machine Man. Go here to read my story, fleshy ones - then check out what the other guys have been up to.


Monday, 11 October 2010

The Death Of Bunny Munro





It's been a long time since I disliked a book as much as I disliked The Death Of Bunny Munro.

Which is strange, because I love Nick Cave. I've been a fan of his music for years, and though I haven't read his first novel And The Ass Saw The Angel, why wouldn't I love his fiction too?

There's nothing wrong with Cave's prose. It is, as the reviews clearly state, striking and lyrical. The problem comes with the character of Bunny Munro himself, a sex-addicted travelling salesman who is forced to take his young son on the road with him when his wife commits suicide. Munro is a loathsome creation who views every woman he meets as a potential shag, goes far beyond the point of mentally undressing them, and yet regularly finds himself hip-deep in poontang. To call his character vaguely misogynist is to drastically misuse the word 'vaguely'.

Yes, there's a point to all this. Yes, Cave is satirising masculinity, and yes, redemption (of a kind) will eventually come Bunny's way. But it's a grubby and unpleasant journey and one that offers little in the way of humour, enlightenment or plot. And (in case you were wondering) bugger all in the way of eroticism. All this coming from someone who read and appreciated American Psycho. Maybe I'm becoming a prude in my old age, but if I read one more description of Bunny imagining the shape of a woman's vagina, I'd have thrown this book in the wood-chipper.

Sorry Nick, I think in future I'll stick with the records.


Friday, 8 October 2010

Friday Flash - It's Five O'Clock Nowhere



I know, I promised you a brand new story this week, and I've let you all down. The best laid plans...

I've been off work ill from Tuesday afternoon through till Thursday, so I apologise for not finishing this week's story. Next week we'll have something new for definite... unless life gets in the way again.

In the meantime, here's another of my favourite old Elephant Words stories from 2007, this one for anybody who's sitting at work, watching the clock, counting down the seconds till hometime...




It's Five O'Clock Nowhere



Sometimes it felt like even the second hand was fighting a losing battle. Karl spent much of his working day scrutinising the clock on the wall opposite his desk, and the more he watched it, the more it seemed like every single tick was a struggle against the inevitable, some wild Canutian battle to continue the forward progress of time when all around him, everything else was trapped in amber.

Every day was indistinguishable from the next. The same unremitting routine. For Karl, it began with email. Five minutes for work (he deleted many of the office memos without reading them, he’d been here long enough to have read them all before), at least half an hour for his own private hotmail account. A few games of solitaire to get him in the mood, then, if he really felt like it, he might breeze through a couple of reports. He took regular breaks to check certain websites, monitor his eBay bidding, and see if anyone new had friended him on Facebook, then went for a stroll around the building on the pretext of doing some photocopying or delivering a wrongly sorted item of mail or retrieving an important document from the basement. He liked it down there in the archives, though the building work in adjacent rooms meant it wasn’t as peaceful as it’d once been. Still, he liked the snowflake pattern on the grill outside the windows, and how, if he got up on a box, he could stare out into the street, a feet-level view of the carefree world beyond. He liked to watch the people and wonder why they weren’t at work. Disregarding the kids, pensioners, and housewives, many of the passers-by remained unaccounted for. Deliverymen, council workers, window cleaners – people whose jobs involved moving about the city from one place to another – they made up another percentage, sure, but still not enough to account for all of them. Some, Karl realised, just didn’t have any excuse. They were free, and that was all. Independently wealthy or dole-sponging layabouts, they were one and the same in Karl’s mind. The lucky ones.

After lunch (eaten at his desk because Head Office frowned on employees leaving the building in their lunch hour: what if there was a rush and no-one was around to deal with it?), Karl’s afternoon began with a brief spate of internal correspondence (some of it work-related, much of that deleted unopened, though mostly it was gossip, and the forwarded jokes, pictures and film clips that his colleagues had chanced upon over their sandwiches) before he set into the internet proper. He usually left his favourite worksafe websites till the afternoon sag, the longest part of the day, when he needed all the distraction he could get. But even after scanning through his bookmarks – news sites, shops, blogs and games; even after downloading and burning another CD’s worth of not-strictly-legal mp3’s he’d probably never get time to listen to; even after voting for all the new Hot Or Not girls and wondering for the five hundred and seventy fifth consecutive workday just why the plainer ones put themselves up for it (though he did always take this into account when voting, marking up the mooses, and downgrading the dolly birds)… even after all that: by 3pm, he still hit the flats.

The flats were when Karl had exhausted every possible diversion the office had to offer, but there were still two hours left to kill. By this point his biorhythms and blood sugar were low, his exasperation and listlessness high, and if Karl wasn’t careful, moribundity could set in. Sometimes, if absolutely necessary, he’d do a little work to distract himself. Take his mind off the incessant stain of his life, the chronic howl of it. Other times, if there wasn’t any work that couldn’t be put off, he’d go back down to the archive room and stare out into the street. Wish himself out there, among the footloose and fancy-free. A man of means, or a man of no means. From this point in the afternoon, either seemed an occupation devoutly to be wished for.

By four he’d be back at his desk – and that was when the serious clock-watching began. With only an hour to go, the atmosphere in the office changed to an unusual mix of electricity and ennui. Postures slumped, eyes drooped then blinked violently alert, and conversations turned to the evening ahead. The drinks, the friends, the bars, the lovers. Films and music and life. Release. By ten to five, Karl had his things packed and ready. His final emails sent and websites browsed, he powered down his computer and made ready for escape. This part of the day always reminded him of being at school, of waiting for the bell that launched everybody from their desks and spewed them out into reality. The tougher teachers always made you wait. Made you sit back down till they’d finished their sentence, checked that you understood the homework, drew out your pain as far as their power could reach. But there were no teachers here, and middle management was just as eager to blow this joint come five o’clock as everybody else. Most days, they were the first ones out the door and into the car park (unless somebody from Head Office was visiting, in which case they’d mock up devotion and switch on their desk lamps like there was a long night ahead).

Then finally, the silent bell rang. The notional whistle blew. And for a few short hours, this irrelevant enterprise relinquished its hold upon them. Time was no longer for frittering: it was for filling. That most of them went straight home and zombied in front of a flickering box was not the issue – the issue was that had they so wished it, they could have done or gone or been anything they pleased. At least until the second hand (cracked from its amber, getting only green lights till dawn) double-quicked back to the 9am capture, where it all began again. Until then, they were free.

And then one Monday, on the twenty-third of a month like most others, something changed. Karl noticed it first around lunchtime (potted beef, Monster Munch, and a can of Diet Pepsi from the machine), a hiccough in the daily routine of his workmates that became ever more pronounced as the afternoon went on. He tried to distract himself with the usual medley of myspace and minesweeper, but by three o’clock he could feel it in his guts and his water and his chest, in a heartburn those chalky pocket Rennies couldn’t cool and an urgency in his bladder that usually only came in the middle of the night, when sleep was disturbed by apprehension of the coming grind. Something was different, and by correlation, something was wrong. Four o’clock came and by now it was unquestionable, though part of him was too scared to ask. Part of him didn’t want to know. Why everyone was behaving so strangely, like it was still 10am or 2pm, not nearly 5. Why today, there was no late afternoon buzz, no pre-release expectancy, no excitement at all. The electric was off, and the whole place was running on emergency generators.

Then finally it happened. Or rather, it didn’t. Five o’clock came and nobody moved. Karl, who’d been ready to spring for the last half hour, picked up his things and looked around the office. Still nobody moved. Mice clicked and eyes stared and feet shuffled and everything maintained. Karl didn’t understand. He tapped his watch, but it told the same story as the clock on the wall, and he’d been watching that tick (like a lame man wading through mud) all afternoon. It couldn’t have stopped. He didn’t understand. But neither did he care. He had places to go, even if they didn’t. He had people to see, he had—

“Where’re you going?” asked Lena, looking up from her Mah-jong.

“It’s five,” said Karl, with a tone that added, ‘where do you think I’m going’.

“What?” said Lena. “Didn’t you get the memo? Don’t you watch the news?”

And so she explained it. The new company policy. “In line with recent E.U. legislation, to help make us a more competitive force in the international marketplace and stave off the tide of outsourcing that’s driving so much of our industry and so many of our jobs overseas, Head Office has instituted a new twenty-four hour working day, commencing this morning at 9am. They’re calculating a projected increase in productivity across the week of… I think they said twenty-five per cent. I can’t quite remember now. God, Karl, where have you been?”

“But, that’s… We can’t… I mean, when do we sleep?”

“Well, obviously, that’s been taken into account. If you need more than a catnap at your desk, the company’s provided a comfortable new dormitory in the basement. They're asking us to sign up to a rota so that everybody isn’t trying to get in there at the same time – surely you got the email?”

“But…”

“Look, if you don’t like it, you’re allowed to opt for voluntary redundancy… go and take it up with Michael from HR. Just… I’m very busy!”

Karl left her to her Mah-jong and returned to his desk. He switched his computer back on and waited for it to boot up. He couldn’t just quit – how would he pay off his mortgage? His car? His three grand overdraft and five grand credit cards? Getting another job wouldn’t be that easy. Not one as relaxed as this, with as much freedom to do as he pleased, with no-one breathing down his neck, without the pressure of deadlines and paperwork and… well, work. Sometimes it takes the threat of losing it to make you realise how much of a good thing you’ve got going.

Back down in the archives, after filling in his name on the dormitory rota, Karl climbed up on a box and stared out into the world. Late evening sunlight fell through the grill, the pattern of the snowflakes warming his skin. And though it was almost six o’clock, the street wasn’t any busier now than it had been at eleven, or three. The rush hour was off. People just carried on about their day as though the clock no longer held dominion over them. And in that respect, at least, now Karl was just as free as everybody else.


Thursday, 7 October 2010

Beach Front Property


I watched the movie The Ghost (or if you're in America: The Ghost Writer) on DVD this weekend. I was a big fan of the book, so naturally the film left me a little cold. It was moodily directed by Roman Polanski, with decent enough performances from Ewan McGregor (a little wooden at first, but he warms up), Pierce Brosnan and particularly Olivia Williams in full-on Cherie Blair bad hair day. But the book was far more gripping and the final twist in the movie felt grafted on, even though the screenplay was written by Harris himself.

There was one thing I loved about the film though, and that was the location.


The majority of the story takes place in the former PM's American retreat in a beach-front property on a remote island off Massachusetts. The house itself is rather cold and utilitarian, but the office McGregor does most of his writing in features a floor-to-ceiling window which looks directly out onto the beach and sea. It's not a sun-drenched California beach though. The sky outside is grey and filled with rolling clouds. The sea is choppy and uninviting. The beach is covered with patches of scrub grass and always deserted. And yet I was drawn to this place more than I've been drawn to any movie location in a long time. I could imagine myself living there, writing in that room, staring at out this stark yet beautiful panorama... though I have to admit I'd probably end up doing more staring and less writing than was good for me. It's no wonder McGregor's character is constantly distracted from his work.


I'm sure there would be all kinds of problems associated with owning a beach front property, particularly one where the weather was anything but idyllic. Soil erosion, salt water rust, rising damp, sand constantly blowing in every time you open the door... but it'd be worth it to stare out on a view like that every day. Not that we're unhappy with the view from our own front windows. That view (below) was among the first things that drew us to this house and it's something we appreciate every day.



It's probably more beautiful - is slightly less dramatic - than the view from the beach house in The Ghost. In an ideal world, I'd want both. A house looking out on beautiful countryside and a beach retreat too. Hey, I can dream, right?

What about you? Have you ever been drawn to a movie or TV location and wished you could live there? Where would your dream home be situated? If you're living in it right now, you are allowed a second pick...


On the subject of beaches, this week's Thoughtballoons script is set on one... though one with a little bit more sunshine. The chosen character is the Silver Surfer and you can read my take on him by clicking here.


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