Playlist: December 2019

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There is this Anne Carson poem, ‘God’s Work’, which ends with the line ‘Put away your sadness, it is a mantle of work’. By chance, I was reminded of the poem via some post on Instagram that came up an hour ago. I want to think about this ‘it’, like how it is the sadness and also the work, and the pronoun of living, the abstract embodied. ‘Mantle’ is something that covers, envelops or conceals, it is a portion of the Earth, a sleeveless cloak or cape. Is it also the bevelled edge of a door? One can be mantled with a blush, the mark of a covering shame. Is it a mantle of work to hide your sadness, or does the ‘it is’ refer to some other thing whose outcome is that we must put away our sadness? We must close a passage of time behind us? Notice I am switching to a plural pronoun, because I have entered the poem, sharing the position of both addressee and speaker. I am the the person with this feeling; I am the person addressing this feeling. To speak at all, I am doing the mantle of work. There have been these tectonic shifts in my life of late, the underlying move or loss that is a portion of everything. ‘Put away your sadness’ asks you to imagine a physical form for the affect, a classic poetic move: my sadness is a bird, my sadness is a stone, my sadness is a rose, a scrunchie, a sea. These are things you can put away, tie back; or you can hide with a cloud, or you can dive in. Typing in ‘my sadness is a’, Google suggests: 

addiction
a smile
a father introduced
a souvenir
a smile
a text
a joyful dance
a science

It seems these things are all correct, at the present moment. For instance, I drink from this mug and I think about Prague, and how it looked in the rain of a flickering image. That is a souvenir, but it is somebody else’s rain. The internet offers ‘Healthy ways to deal with sadness’, ‘Why am I sad all the time?’ and the old adage, ‘It’s okay to feel sad’. I have been reading Heather Christle’s The Crying Book (2019) and Joan Didion’s The Year of Magical Thinking (2005). Didion insists, ‘The way I write is who I am, or have become, yet this is a case in which I wish I had instead of words and their rhythms a cutting room’ where one could ‘touch a key and collapse the sequence of time’. In one of my favourite Laura Marling songs, ‘The Captain and the Hourglass’, she sings ‘Behind every tree is a cutting machine and a kite fallen from grace / Inside every man is a heart of sand you can see it in his face’. I love the pessimistic, teenage fatalism of this album, Alas I Cannot Swim (2008), its jump cuts of warning and love and familiar pain. Is the man the whole of humankind, or men in general? What if instead of words we had the bark of a tree, its abrasive shavings; a shaven novel or heart of sand in which to bear our suffering? Dissolve is imminent. There would be the rings of your life, the brief achievements of flight, but then the fallen linen, the tired old string, the particles blown. Didion wants it all at once: a simultaneous display of the frames, the scenes of a life. You would then choose what to cut, reassemble or stow away. What doesn’t matter to be dispersed. In the cutting room, a mantle of work is required. And what of the work that is to write who you are, when what that seems is only pencil shavings, sawdust and woodsmoke? 

I have not walked in the woods for so long, and the last time it was with you. But let that not be the last. I was cloaked in so many layers; I could not get rid of the cold. It was a damp and green, needling feeling. It was not so much inside as around me

Heather Christle puts it really well, this question of the cutting room and the cry: 

Maybe we cannot know about the real reason we are crying. Maybe we do not cry about, but rather near or around. Maybe all our explanations are stories constructed after the fact. Not just stories. I won’t say just.

It is a relief to write while crying. There is something comforting about the simultaneous flow, as though letting two substances at once run through you: one being language, the other chemical; each in a woven relation. Crying, then, is the anarrangement (ana being Greek for ‘up, in place or time, back, again, anew — OED), of a state of things that are happening in life, in the body, in the social, in various temporalities. There is the before and after of a break; there is the running on, running behind, the sense of feeling this from ‘above’ or ‘below’. Like when for ages I didn’t properly eat the world was a glassy thing I was seeing from underwater, poking the ripples, falling backwards. To cry is to indulge in both prolepsis and analepsis, to slip and collapse, to blur and feel into. A friend says, you have to work through and not around it. I try not to cry about, but recognise the ambience of sadness. I won’t know until later what is really happening, what narrative this can all be placed in, or slip from. 

Somebody nearby is playing a flute really badly. 

The chime of a text message. It’s okay to feel sad. 

In the office, friends and I exchange tales of election night. One of us is trying to fix a puzzle, the other drinks for sorrow; there is a mutual sensation of violence which can only ‘end’ in blackout, keying a car, throwing a punch, posting a rant or falling through sleep’s amnesia. For a while, I could only listen to songs that came out before this happened, and before the Tories were a bad new government, which felt forever ago. 

What if daylight itself became elective, and that was the bold democracy of what it was to enter a day. Do you choose the light, or does it summon you? I just make playlists.

The moon has been flagrant of late, or was it right before. I remember seeing rainbows around the moon for days at a time. I remember that seeming too much, like I’d overdosed on the dust of this planet, like there were molecules of colour in my nose I could not sneeze or shake out. Like there was a terrible high about to happen. 

I have not seen the moon at all this week. 

I write this raining. 

A thought of the before and after which remains unfixed and semi-colonic. It is to say and not say of what was said. 

There is a special release in crying by bodies of water. I believe in a clairvoyant sadness, one that predicts some upset to come. It is the body’s sincerity of knowing. So you cry by the sea, or lately, a river. All that I have. Cry your eyes out by the Clyde. When you arrived, I was reading about the horror of purple, that ‘which hurts both sides’, ‘the horror’ (Hannah Weiner, The Fast). I wear it around my sleepless eyes. It is a bruise colour, the muscular failure to move through the day; it is a pile of clothes, a burgeoning energy of the horror. So I turn to blue, which is a star, or a gas flame because someone is cooking. 

That line in Joni Mitchell’s ‘A Case of You’, from Blue, a lifesaver every Christmas, which goes, ‘Just before our love got lost you said / I am as constant as a northern star’. And it’s that ‘I am’ that I like, the moving throughness of it, the insistence that this is and not was. Because there is something of forever which is getting lost, or a wound that is hidden and cannot be healed. That is forever opening up. For we were so close, a year ago. And of course Joni flips, deliciously, to the mundane. She asks ‘Constantly in the darkness / Where’s that at / If you want me I’ll be in the bar’. As though to look down in your soupy negroni, you would find that hot abyss from which love is turned, over and over. And maybe you’d shed a few tears in it. And you’d struggle to say the location. 

I remember dressing as a wise man for a play at school, wearing a homemade crown and parading slowly towards a manger. Somebody was acting the part of the star, and we followed them. 

Somehow in a notebook I wrote, ‘I am going to be fine. I am going to shine at it’. To be shiny in this being fine, I wrote that in a café and I remember my hands were trembling, my earrings were not real gold. 

There is this dream from last night where I wear a blindfold made of a banana leaf, and you are helping me cross this road, this road that is river. 

In Goodbye, First Love, there is a hat that floats away in the river where Camille is swimming. This happens at the end. It is either too late or too soon, and she is crushed. This is the wiki summary. From the film I remember the widening shot of the river that flows on but closes, and the sunlight, and crying as I watched this at six in the morning, after reading about it on somebody’s blog, the link now lost. It was almost spring and I had not cried since winter. Back when I would add things to my weekly list like, ‘more on lattices’, ‘a setlist’, ‘a more explicit weave’, ‘reply’ and ‘pack’.

Writing this now, am I attempting to ‘put’ this ‘away’? 

When he tried to be practical, mentioned ‘In the long run…’ I could only think of that song by The Staves. It was a churlish note, curled at the edge and not mine or yours. That night, there was a cat called Olive, a taxi to Greenbank, sleeping in a friend’s sister’s bed, waking up face to face with Sophie Collins’ small white monkeys again. In the notebook I had written in a slurred hand, ‘I wish I would cry now but I feel afloat’. It was the elated tiredness, the denial. I had a freezing shower to cool my shame. 

Climate breakdown is also a breakdown of the heart. We have to admit that. Something is always stinging, ‘I’ve been thinking’, a mug of hot water. I could not sleep, I was reading Clarice Lispector’s Agua Viva in fits and starts, which is perhaps how it demands to be read:

I swallow a mouthful of blood that fills me entirely. I hear cymbals and trumpets and tambourines that fill the air with noise and uproar drowning out the silence of the disc of the sun and its marvel. I want a cloak woven from threads of solar gold. The sun is the magical tension of the silence.

A spoon of blood, not sugar, not jam. It is the hot lump in your throat when you cry and the blood that is anyway. About to. Remember I bled for thirteen days, or was it more. It was because of hot liquid, a rush, a pill. How you nourish yourself or not. A friend says, when I cry on buses and trains I listen to specific kinds of music and pretend I’m in a movie. Is it detachment we want from that? Would there be cymbals and trumpets and tambourines in this movie? I want you to put me in it, the noise. I want to stand at the front of the gig, be buffeted. I want to be bashed around like a note that won’t break from the instrument. I want to find a post-it note stuck to my back, but what should it say? Over time, I garner respect for the sun. It is not that my nocturnal years are ‘over’, but I am wondering what it would mean to truly love and rejoice in the sun. The giver of life, not Byronic darkness. To lie in a colourless sea. What would this clarity that Clarice writes of look like, the woven cloak of ‘solar gold’, its ripples? Is it the mantle one could wear to cloak a sadness? But what if the sadness was the clarity itself? I say, I think you are brilliant. It is a mantra. It is a giving away. When the van swerved and nearly hit me, I felt the sunlight so incredibly brightly. The east coast, the sense that this was someone else’s morning. The silence remains still, and I look for it in that ‘magical tension’ of the said and unsaid, and I am doing what Didion does with her grief, the magical thinking that is arranging all these scenes at once for something to emerge as possible. That is trying to sort a timeline or feeling yourself ‘invisible’, between things, the living and dead, an incomprehensible love. 

In Ariana Reines’ recent collection, A Sand Book (2019), the pages of the final section, ‘MOSAIC’, are black. She introduces the scene that prompted this section with italics, 

The sun’s warmth kept filling me, and what had begun as a slightly above-average warmth kept growing. It was starting to fill my body, and just before I totally surrendered to it, I had the inkling this might be something like the “bliss” I had heard about in old books. I had to sit down.

What is relayed as a religious experience, a spiritual experience, is then a series of transmissions (‘MOSAIC’ is in reference to Moses). But it is also fundamentally a solar experience. I think of Laura Marling’s heart of sand, something grazed by a coming warmth, the lap of a sunlight like the sea. A hot liquid thing that is coming inside me, causing the bleed, the bliss, the generous massage of some hormone. It is embarrassing writing, it demands a hot bright mantle. To feel it, feel through it, you have to sit down. You might go to the bar, as Joni does. In fact, I write this lying in bed, as is often the way. There is nothing to set out for or plan, so much as the needling of this ‘inkling’. 

I go to see Little Women, and focus on Jo’s ink-stained fingers.

I have not been ‘on holiday’ for so long but if I did I would make a solar panel of my opening chest and lay where the river and the light would take me. I think the black space on Ariana Reine’s pages is just as important as the whitely capitalised text, ‘EARTH IS SPECIAL […] THERE IS NO “BACK” TO GET TO’. We can’t get back to any bliss other than what is felt in the present. And there has to be so much energy. Put down your phone.

Dorothea Lasky says she tells her students ‘not to have a plan, but to collect things and poems and then put them together’, there is this ‘holy idea’ of ‘emergence’. I write mostly by assembling quotes I like, streaming things down (for to ‘jot’ implies a decisiveness, an almost violence) whenever they do or don’t make sense. Text myself so the thought is received as though in reply. I have all these poems from the month I don’t yet know how to assemble. They are as much of the rain as the rain. Someone comments on a fresh sense of ‘scarcity’. 

I wish I had a river so long’. And there is no snow here. The lines feel hard and overly sweet. 

Candy canes hang upon the tree.

On Christmas Day, we walk by the canal and stop by the locks. The trees seem anorexic, as in a Plath poem; as though they had chosen to strip this pure and gleam on the water. They too will see from below, but they know a different renewal. 

I can’t say a certain five letter word. 

I want to know what the seven words are in the Weyes Blood song. 

I wish I could swim in an ocean / As cold as’ a line I can’t finish, listening to Grace Cummings as though it were autumn all over again. But people on the internet are still going wild swimming. The world is not everywhere cold. The caption reads, literally all I want for xmas. 

Two photos on different accounts of a landscape blurred by the motional train. 

It’s funny, I even wrote, ‘it’s like The Topeka School and the failure of language’. 

To sob into the warm, soft fur of a cat. 

The want of a cigarette.

Astonishing winter light.

I couldn’t finish the wine. 

In The Fast, Hannah Weiner writes, ‘I didn’t know any golden light people, but I knew a couple of blues. I knew I had to be rescued (I thought of it that way) by a blue, or someone near it’. One of my closest friends and I both Instagram a snapshot of ‘River’ on Spotify at separate points across the festive period. It is this secret, not-so-secret gesture of the living-on, the warmth and possible. I think she is one of the golden light people, in loops, and I wonder what I am, if one of the blues. Who else is a blue? But I have always loved green eyes. And the Earth, which is a globe of something like green and blue, (de)pendant on/of the universe. Whose. And I have seen the garden in four seasons now, but just barely. The scene is still swinging and won’t stop to focus. 

What Reines writes of how there is no ‘back’ of the Earth to get to. I think of the back of a tapestry: a ragged collation of stems, snipped-off threads, criss-crossing lines. A simultaneity, a mess, a work in progress. When I am trying to write about the anthropocene, about what is happening, about the earth, is it this ‘back’ I am trying to write. It is not to get back to, but a back that is happening, the other side. I have been trying and failing to learn crochet; I think those who succeed are beautiful and perfect, I won’t turn over their lovely creations. In her song ‘Other Side’, Grace Cummings sings ‘The fall of a raindrop / Returns blue to the daylight / Your mind must return / To behind your eyes’. One drop of blue can restore the day. I think of Bob Dylan’s ‘Tangled Up in Blue’, living on Montague Street, in one or more stories. The worried thread. It is like putting on makeup to stop yourself crying, but doing it anyway, later in rivers of mascara and other clichés. When you are watching a movie and the crying is about to happen and you feel it as a sparkle, because it is not about the movie for which you are crying, but something around or near the happening, the space of it, being there in the other imaginary. And then what is going on ‘behind your eyes’. Crying happens in a space. It is all the prettiness we do while we can, which is a mutual hurt, a hot slide of a tear that catches your neck and means something small and inexplicable. 

The Bright Eyes song ‘Train Under Water’ begins, ‘You were born inside of a raindrop / I watched you falling to your death / And the sun, well she could not save you / She’d fallen down too, now the streets are wet’. I used to think that song was about miscarriage, now I know it could be about any kind of love and loss. Remember when Jeremy Corbyn said something offhand about getting the train to Orkney? I dream about the sub-thalassic train sometimes, northerly moving, passing by jellyfish and flashes of shapeless light. Where are you going, where have you been. The milky unborn thing that we bear yet. Feeling sick from relative motion. It is the glassy way we watch from behind falling water, all of our lives. What touch do we really share of each other?

The air is a key change.

At the reading, Gloria says something like, we have all been thinking of writing as a practice of moving through the days, a practice of living, of marking time. Here are the days I give you in words. In Utopia, her little red book, Bernadette Mayer writes, ‘Everything you or I or anybody says always seems 100% wrong sometimes, unless you keep forcing it to be closer to the truth’. There is a truth quality, say, to the way plants photosynthesise or a starling assembles her nest. The percentage quality in which I can or cannot get out of bed, and whether you are ‘Active Now’ or in fact just barely online. Again, it is a question of green. 

Marianne Morris has this beautiful poem, the last in her collection Word / World (2018), that a friend and I once read aloud together on a patio in summer at the XR climate café, the first I’d attended. Everything seemed shimmer then. The poem, ‘Lion’s Gate’, is a prose poem of some intensity. It is about what it means to love and to hate, and what is worth keeping. I really want to quote the whole thing but I can’t, so I’ll make do: 

We do not want to go back with more questions pertaining to life on this Earth. We must learn them before we leave, loving every possible second upon this beautiful Earth, because we will not come back. We will move on elsewhere. It is like a heart breaking feeling suddenly, I see it all so clearly and I want this moment to stay. This feeling of certainty that the only thing that matters in this life is that you enjoy your time here and keep thirsting and seeking and do not resist the lessons, rush towards them and learn them all, so that you can die to yourself, die into light. 

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~

 

Green Day – 2000 Light Years Away

Caribou – You and I

Market – Told

Angel Olsen – Lark

Fleetwood Mac – Dreams

Pinegrove – Skylight

Rob St. John – Your Phantom Limb

Laura Marling – Tap At My Window

Karen Dalton – God Bless the Child

Joni Mitchell – River

Grace Cumming – Other Side 

wished bone – Pink Room 

Nirvana – Something In The Way

Wilco – An Empty Corner

Belle and Sebastian – We Rule the School

Vashti Bunyan – Winter is Blue

Connie Converse – I Have Considered the Lilies

Bright Eyes – Train Under Water 

Big Thief – Dandelion

The National – Guilty Party 

Organ Tapes – Simple Halo 

Björk – Sun In My Mouth

Eartheater, LEYA – Angel Path

Mitski – Last Words of a Shooting Star

Playlist: November 2019

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The hall is full of noises, sounds of torrid airs and sigh. It is a steel hall, non-place, serving lusciousness in plastic cups. The animals sing on a loop. The choir just lifts. ‘The science is clear’ (Greta Thunberg). I stayed up waiting until the cries came, curled on my little sofa. It isn’t years that slip when she starts, when the young ones start, when the colour is like a radical hydro seminar. What do you have to contribute, I give you my silks just once, clutching a ticket. Can’t stop worrying the skin of my cuticles into a bleed, scrape the hard bit sore against my thumb. She just swirls. Something has shifted between us since. She moves she. Moveable she. I can’t start up.

Two of us drift in dresses, crushed of scarlet velvet.

It has been a long time since this was honeyed. I felt sultry like an Everly Brother, his actions speak louder. On the line standing and learning, the lines, I think it hurts.

In the poem I am clipping my nails again. Words, words, words; a snip.

How is it that we sat up late, same sofa, in the skeins of this year? Have you even come down yet?

His actions speak louder than shimmer_

Bliss not this, Christmas cactus at the corner of_. Is it better to cry in the sun or the rain. The rain is so obvious. I confected a dialogue to spite the blues and the cherries, rinsing packaging in the sink. It was supposed to be red. You said it fell flat. There was a half-moon curve between us and I sat there hugging my knees. The others. I like when you say you like a riff. Let’s be as I was in the hall, champagne later, tiniest bubbling; don’t say rise, let’s hold it cute. A sippable glitch in the music. Walking home in the rain, I murmured it: wtf wtf wtf. I made this punctuation; be here now, missing the body. She does this thing with her lips; teensy bubbles taste dust of gold & angel.

Watching your arms like a symphony, fucking—

Perhaps it is not about being at all, yet I am at the table and the hydrangeas are just too much. I wish there were Silk Cuts. Deathly attendant, where writing to you at the specific moment was standing in the flashbulb of a passing car and trying to look up at the stars. Just as the stars in the valley, we visit the shire. The stars you say are most particular, yet they are anyone’s; the stars are in the garden now, a proximate shrubbery and I put on my makeup. Deep bled fuchsia into sage and clary; yet we are violets, smelling the sea. And a dram before class, something citrine to start us, blendable night. I try it again; the word ‘frenetic’ peals from me.

If history was different, wouldn’t I be singing this.

Merry season helichrysum. There is a headpiece of corals worn by the sea. A quartet of angels play the flute-hoop and daylight twists, and Greta says it more than clearly. So hot this hurts. At current emissions. Someone in the back shouts FUCK THE TORIES and I put on my shoes. I wake up to my nails not coral-red, my eyes not pressed with cornflower blue. ‘if the word / does not arise it will fall back, the thing itself, it will fall again / into that ocean where it is not biodegradable’ (Beverly Dahlen, A Reading: 11-17). The thing of the word fell back into water, lots of it deep and luxury water. I wanted to say, the word has been waiting in shallow poetics. Floats of white. Water is a memory of the water before it. That feels like love but is that a falling. Into it, into it. That ocean speaks its chords again, thingly and falling. Dear degradable, non-bio daylight; sentiments of infrared, blip of foam.

I wanted to ask, are you striking, striking. The blood clots around the skin of our thumbs. Got lost in the rhythm I leave at the door / you painted helium blue. I knew it would bring me home to you. I was immediate, here, I knew what to do. This electric hand, hello.

What did you have to almost wake up for?

There is so much to grasp, at any one point. ‘We’ll clear a trail through the forest’, Hélène Cixous says, but ‘We can’t go via the city, nor at will, nor by bus’ (Three Steps on the Ladder of Writing). All those doors in the underpass, surely one was a portal? I thought it was only that you wanted me back in the leaf-trails of language. What is it that carries you now? The cold air whipped your chest and I pissed in the bushes. How much neon is the news.

Time collapsed so soft, we were in thrall of the science tiara.

We sat in this anonymous hotel lobby while the rain piled on and the beats got wet. Tresses of soaking beats. You say the only music that gets you now is pop. Continuum of sweetness in the formula lifts: the trick is melodic. So hot, you’re a burning peach. Embarrassed, I look at such childhood photos, the soft plash of it: language out of language it folds me again. Brush your hair. Softer your face, I come back to that star that is it. Approach, he holds out a finger to say, hello hello, hello you green. Is there something like a sour glissando? The bass was flat, my wilted leaves; the Styrofoam kept your guitar too warm. There are so many strings, collecting the sea. Only one you know

I was at the edge of a rainbow, sipping echinacea tea. ‘Farewell, Angelina, the sky is on fire and I must go…’ (Joan Baez, ‘Farewell, Angelina’). Do you think maybe it’s like, those emails were part of the plenum of summer, when I passed so south on the train with sugar-licked cakes of rice and a readerly silence? The sky was burnt and strange. And you could have boarded at the requisite moment, or maybe you were in the glass also, the glassery crying for the sound of drowning Amy from the game. When she did this impression of the lamb, I could not help but cry out. The aw, the aww, the missing ‘e’ in awe, a ewe. It was you. http://www.findyourfood/. Zombie tunes, sonic aporia. Mum said she nearly called me Amy, and I would have pink hair and sheaves of lyrical gestures, like this. Someone I loved had a house.

The sky is untitled.

Branding me narcopastoral, shepherdess at stringent dawn. We drag a high—

Break into it, careful at first then with clear intention. The wrapper falls back and away by clouds.

Upside down, we approach the softest waves. I’ll not harp on about the light, how it caught the crease of our plastic. You take us to the boat, so lovely and blue like sky. In the dream she unfurls her fist, a lot of blue dust comes out and her voice is thick and quick as an auctioneer’s. She has swallowed the age of the water. But we are rowing on, cordoned from time by the ripples of unforgivable sea. I want you to never forget this. Dream again—

We wandered a garden of samphire and crystal, met some friends at the edge of the blue. The grasses were singing a grassy melisma. Suffering cramps by the burning sea, the glass of the elsewhere orange, trembling sky. Scrolling my phone, I was reading an essay on birth control where the author, a man, argued that taken daily two spoons of honey would regulate your cycle. She got him by accident, a cherub handed down by the gold-dripping moon. I polished his soapstone limbs and drank from the chalice a lateral condition. Let’s go at this sideways, say every droplet of rain was a baby. Honey.

The additive birth of water, over.

Most palatial things are isles or sets.

They bring treacle scones for the picketers.

Bottles of wine for your glistening birthday. The sky is a film; it goes click, click. The season you say is looming, a moment agogic and I let you tender the rain of me down. I was all strings when the image appeared and you pulled on a tensile thread, a tease and we fell into the same whole notes…

Ion square, perspex swings / I breathe out, you breathe in / Permanent midnight’ (Bloc Party, ‘Ion Square’). It’s this song that feels like fucking, live in happiness, breakable day you free in a hold, before this sleep and the night bus home. I walk along the motorway. A breath between us feels like math, the ruination of the norm. I had nothing to bring you; I was reaching the end of the film where they find her dead, but only in photos. End of the lilting road. Quadratic Lily, Lily, say this is Lily. It’s just somewhere in London, and I want to love my mind. And I want to love my mind again. Did I love yours and yours too much. The fog rolls out of the square the same. When you drew me, it was like I didn’t have a face. The birches gifted their silver and I felt like sleep, so heavily berried. The sky is a film, you take it.

Trapped in acid, the hotel air is seething. I wanted breakfast to feel the same, and I wanted to love my mind; to love my mind for the sake of you in it. When the lyrics appeared it felt like the end-of-the-world digested, yes, it was a crème de menthe apocalypse — by which we mean, you can just hop in the grass of the future. Björk’s utopia. Juuuuuussssst that kiiiiiisssssssss. Perpex swings in helix of flute, could you insinuate a sleep, these spirals of harp. I’m not where I want exactly; look out the window. Sugar-rim. They pay less, pay less, pay less. A shot.

By the time I got back, the leaves were all gone. The stars, as if they were plural.

In the belly of the gnarliest graphics / I felt impaled on a former capital. There is luxury in the curriculum, but we live off our clearest cakes of rice. Break this as crumbs, don’t say word / The consoles cast their dust again. Press replay. I wanted to lie in a field, but that was you. A salty fist. I wanted the lie. Little curled hairs in the sink. Your name is doing well / Look where it got you.

The university a corpus ate the rat.

I was tired, you were tired, my mum was tired. This makes a rainstorm a screensaver.

Has anyone notified the trapeze artists about our sea?

Most things don’t occur as they do in this space. It flexes and folds in lucite, yet against the glint, less of your mobius eye. Roll it up, like a wave. We wait for the bus and it rolls in smoke / I press my faceless against the glass.

 

~

Bloc Party — Ion Square

Björk, Arca — The Gate

FKA twigs — home with you

Double Discone — Sam’s Kinky Hat

Clearance — Chances Are

Bradford Cox — Natural Harp Monitor

Princess Nokia — Balenciaga

DJ Heroin — My Veil

Grace Cummings — Paisley

Alice Coltrane — Lovely Sky Boat

Malibu — Nana (Like A Star Made For Me)

Hiro Kone — A Desire, Nameless

Hannah Peel ft. Hayden Thorpe — Cars In The Garden

The Brian Jonestown Massacre — Food for Clouds

Maija Sofia — The Glitter

Tomberlin — Seventeen

Weyes Blood — Seven Words

Soko — Sweet Sound of Ignorance

RF Shannon — Snake Oil

Caroline Polachek — So Hot You’re Hurting My Feelings

The Everly Brothers — Love Hurts

The Cure — Charlotte Sometimes

Princess Chelsea — Come As You Are

Astrud Gilberto — Look To The Rainbow

Other Echoes Inhabit the Suburbs

Other Echoes Inhabit the Suburbs

The soup tasted pretty gross, but April kept right on eating it. For one thing, she couldn’t bear letting her grandma know that the heap of sugar she’d added ‘to bring out the flavour of the carrots’ had rendered the whole dish a form of cloying mush, as opposed to subtle teatime cuisine. Her grandma wasn’t all that good at subtlety. You only had to glance around the dining room, where they were sitting right at that minute, to know that Ms. Grainger (a return to her maiden name after the divorce) had a taste that lent itself to the gaudy and nostalgic, far more than the graceful and subtle. Along the mantelpiece, ugly china ornaments cluttered the marble surface (long overdue a good dusting); the wallpaper, a lurid shade of magenta, bore the same floral pattern it had done 30 years ago. As a child, April enjoyed peeling the corner of wallpaper behind the headboard of her bed, leaving a gape where the plaster underneath revealed itself like a blank and secret canvas. On that surface of plaster, April had written something special, eight years ago, when she first moved into her grandma’s home. The day after her parents died. It had been a long while since she’d checked if it was still there.

Despite her constant culinary failures, Ms. Grainger loved to entertain. She ran a competitive bridge club, who every Thursday traipsed through her door and gambled their pensions away round the dinner table. She still took great pride in her swimming pool, the envy of neighbours for decades now, even though she rarely (if ever) used it herself. Once upon a time, April had splashed around in that pool with her brother and sister, falling off her father’s shoulders as he waded her through the water, laughing. She had advertised her thirteenth birthday as a pool party, gathering all the kids from school round the kidney-shaped turquoise surface, drinking lemonade in the springtime sun. April was named after the month she was born in; when the kids used to tease her and ask her if that was why, she would nod, glumly, complicit in their derision of her mother. Her grandma always said it was a lovely name, but April herself was indifferent to its supposed charms. She realised that probably it was another ornament, a quaint and pretty reminder of a golden, bucolic past, when girls would flock round Maypoles in their white dresses. Maybe it hadn’t been her parents’ choice at all, but another idea cooked up by her grandma.

“Don’t you think it’s marvellous, how Jacob is doing?” Grandma Grainger piped up, pausing to look around the room for dramatic effect, though her only audience was April, along with old Marjorie from down the road. Marjorie, who was half deaf, took a good long minute to process the question before answering.

“Oh, what? Jacob, how is he doing?” Marjorie slurped a spoonful of soup, piercing her lips in mild disdain.

“He’s sailed through his third year of law school, that’s how he’s doing!” Grandma exclaimed, making no attempt to suppress her glee. “They say he got As all through his exams.”

“You must be so proud,” Marjorie said.

“Not only that, but he’s landed quite the internship, out in the city with a big firm.”

“Isn’t that wonderful,” Marjorie said, even more mechanically this time. She, like everyone else, had grown used to Grandma’s bragging, and had developed her own form of automatism to deal with it. April sipped her soup. She fixed her eyes on Marjorie, intent on registering every hint of discomfort that showed on her face. She too would be tasting, right at that moment, the same watery sugary sludge, the faint aroma of sage that cut brutally through the blandness of broccoli, potato, carrot. There was a pleasure in the knowledge that they shared this painful experience, dragging their spoons through the viscous excreta that Grandma Grainger had poured so obliviously into bowls for them.

“And how is Grace doing?” Marjorie asked, clearing the last of her bowl with one triumphant swallow. The question seemed even more forced than the act of putting soup in her mouth.

“Oh Gracey,” Grandma smiled, “she’s doing just fine. Very sensible girl.”

“Is she still wanting to…what was it, design buildings?”

“Yes Marjorie, she’s actually apprenticing as an architect right this minute, though I have high hopes for her and this man she’s living with. He works for a bank and is quite the charmer. I can see them settling down very soon.”

“Children, at her age?” Marjorie seemed mildly alarmed. She had never had kids, and though the subject was once taboo in the neighbourhood, she was now quite proud of the fact that the freedom had allowed her time alone to tinker with her paints, with trips to the seaside – to spend the evening consumed by soap operas instead of her husband’s ironing. Besides, some of the art shops in town had once bought her watercolours.

“Goodness, but wasn’t I firing them out at eighteen? Grace is 22 now, perfectly capable of handling a couple of youngsters.”

“Of course,” Marjorie murmured.

“A year younger than April, in fact,” Grandma found the need to point out, unnecessarily, as April stared glumly into her soup. There was no way of finishing the last of it. Already she felt a little sick. She swirled it round until patterns appeared about the sides, patterns which soon sunk back down as gravity sucked at the sludge.

“May I be excused?” she asked, having long ago perfected the strategic politeness of an obedient grandchild.

“Yes dear, what have you planned for the evening? I was wondering if you’d let Marjorie and I teach you bridge. You could whirl up quite the storm, with those maths skills of yours. I’d like to show you off on our Thursdays. I could do with some more winnings too, now that I think of it. Ethel really swiped us last week, eh?”

“I’m not sure you need maths skills to play bridge,” April said quietly.

“Will you listen to this? The girl really cannot take a compliment,” Grandma retorted. “I’m just trying to involve you dear.”

“I work most Thursdays.”

“Oh well. You spend far too much time alone, it’s not healthy for a young woman. You ought to be more like your sister.” The cutting line. “She’s always telling me – on the phone you know – how much fun she’s having.”

“I’m going out, Gran, I’m going out.” She scraped back her chair and wandered upstairs to her bedroom.

“At this time of night? She must be crazy,” Grandma muttered, out of her granddaughter’s earshot.

“Indeed,” came Marjorie’s reply.

The house was so dark, mostly lit by old-fashioned oil lamps that were stuck to the walls. It was an ex-council house, which Grandma Grainger had spent most of her life trying to make look bourgeois. Most of the houses in the surrounding suburb had been knocked down, upgraded into gleaming new builds, replete with fresh pine surfaces and huge double-glazed windows. Grandma, along with a small handful of fellow residents, had refused this development and by some miracle they were allowed to go on living in their humble hovels. It was a good thing they did, because the new builds had driven the local house prices up considerably, pushing out many of her old friends. It was home now mostly to young families, who relished the picket-fence dreams sold to them in American movies, who wanted to cocoon their kids from the dangers of ‘town’.

It wasn’t just town that was dangerous though. April knew well enough that this house itself could be ‘dangerous’. Many times she had fallen up those creaking stairs in the darkness, had found herself privy to some sordid phone conversation between her grandma and a mysterious third party:

“Oh, a terrible thing indeed!”

“He’s quite the scoundrel!”

“You’ll never believe what she told me she found in his sock-drawer!”

“I heard they’re getting the police involved. A terrible mess, for certain.”

One thing April hated was her grandma’s tone of mock horror, her incantations of scandal. She had perfected it for all the local housewives, proving herself a key player in the steady circulation of gossip upon which the suburb depended. It was worse than Facebook, the way news got around, the way her grandma would dissect every last detail of her neighbours’ lives around the dinner table, while April stared into uneaten soup or peas or sometimes, on Sundays as a treat, ice cream. April deleted her Facebook a long time ago. It provided too many links to her past, reminders of times that were happier, sadder, or at least more complicated. It hurt, to get bound up in all that again. She couldn’t be bothered hurting anymore. She couldn’t help thinking it would be nice to delete real conversation  as easily as she’d gotten rid of Facebook.

“Well I heard he lost his job at the call centre. Shocking, isn’t it?”

April couldn’t help thinking: if only her grandma had employed that tone, to deft effect, when her parents had died. If only she had talked to the in-laws, to April’s father’s family; if only she had been more understanding, less impatient with the lawyers. Maybe then, April would still have another family. As it was, Grandma Grainger was all she had. Jacob and Grace, in all their seeming perfection, were always too busy – out of reach, ploughing headlong into their respective futures.

April’s bedroom, like the rest of the house, hadn’t changed an awful lot since she’d moved in. In fact, her grandma’s kitten obsession had crept its way even in here, in the form of a cross-stitch concocted from a palette of lurid pastels, tacked to the wall by the window. It was a very small window. The carpet was a foul kind of jungle green colour, supposedly a fashionable compliment to the orange walls, though its chic shabbiness was no detraction from the massive stain where Grace (who shared the room with April as a teenager – they slept top-and-tail in the bed) had once spilled half a bottle of red wine. Despite sharing a room for those years before university, Grace and April were never all that close. Grace seemed to find April strange, asking her all sorts of weird questions, as if she were the big sister and not April. Have you ever let a boy touch you? Ever done drugs? Why don’t you ever text anyone, I never see you with your phone. Are you gay? In truth, April had never really understood her younger sister. Her life had always revolved around a carnival of minor dramas – breakups and hook-ups and clandestine phone-calls, which April would eavesdrop on at night, while she pretended to sleep – and the whole wanting-to-be-an-architect thing seemed nothing more than just another design for life that took its place among the rest. Grace had always had plans, always rattled on about some boy she liked, a handbag she was saving for, a class she was intending to drop or take up. They were as sure in her head as the bottles of alcohol she stashed beneath the bed, and as certain to disappear or deplete by the end of the week.

As for April, the whole concept of a ‘design for life’ seemed drastically elusive. She couldn’t quite grasp how some people were able to think into their futures, then spin out a ten-step plan about how they were getting there. She liked lying in her bedroom, listening to obscure classical music, staring at the ceiling, letting the percussion and the elaborate orchestration of instruments and melodies weave themselves into her brain. She had been to university, stuck at it for nearly a whole year, but it just wasn’t for her. The equations and quadratics came easy to her, but everything else had gotten her down. Halls were a drag, seminars were a drag, and getting out of bed in the morning was the biggest drag of all. Making friends seemed to require some impossible formula that nobody had bothered to teach her, and April had made herself content with loneliness.

The mirror in her bedroom always showed you as fatter than you really were. Grace had first pointed this out, aged fourteen, preening her face and frowning as she noticed the curves that she hadn’t noticed before in the old mirror of their parents’ house.

“You haven’t put on weight,” April had assured her, with careful sincerity. Puberty had been the elephant in the room for a couple of months now: April had filled out and sprung up like a runner bean, her feet had grown to an impossible shoe size, while Grace stayed skinny and small as a boy, as her grandma. She became very touchy about it, worrying about every pound she might put on, pinching at her stomach.

“Oh,” she sighed in reply, “yes, it’s just the mirror I think. See the way it stretches out like that? The glass is damaged or something.”

After that observation, neither of the girls bothered much to look in the mirror. For April at least, it was difficult to be narcissistic in a house where every surface, every detail or ornament, sucked your attention away. It was all too lurid, too extreme; there was no place to retreat into the bubble of yourself. You found yourself trapped, submerged even, in the things around you, their perpetual assault on the senses. It wasn’t beauty, because there was no seduction, no entrancement caused between the eye and the objects that absorbed it; it was more like the constant bombardment of sheer stasis. Realising that time hadn’t really changed. Feeling as if time itself were that sticky thing that stopped you from leaving and growing. Grandma herself was as preserved, as perfected, as she was thirty years ago. The hair remained the same dyed silver; the face was as powdered and smoothed as ever. It was only when she frowned or smiled that the wrinkles cracked out around her mouth; otherwise she seemed not much of a breath over sixty. Yes, it was the sense of timelessness that drew April away from the mirror, away from thoughts of the future, of what she would do with her life. The stasis sucked you in, like some kind of chemical in the air.

She had gotten out for nearly a year, but something drew her back. The phrase ‘Boomerang Generation’ meant nothing to April, because coming back to her teenage home wasn’t like bouncing backwards – it was more like sinking into a deep and dirty swamp. The familiar, suburban smells of petrol, musty cars and marijuana. The Sonic Youth CDs she’d drowned herself in as a teenager, losing whole afternoons to that wall of gritty, reverberating sound.

Yes, Grandma’s house was the shrinking bedroom, the endless, empty summers, the grating noise of Kim Gordon’s cool and impassive voice, filling April’s ears through her Walkman headphones.

There were never any pets, no familiar animal presence. When she lived with her parents, there was always a budgie or a hamster or even a goldfish, whose daily needs and eventual deaths provided a healthy sense of normality and temporality and responsibility: they had to be tended to, their deaths were milestones in the family calendar. They had no garden, so it would be a ceremonial trip to the local park, a gathering by some innocent tree for the symbolic burial, followed by a treat – chocolate ice creams and tea. No such markers of time or presence existed in Grandma Grainger’s abode. There weren’t even any family photos; just the kitten pictures, the cross-stitches and faded placards declaring various slogans on love and housekeeping that Grandma herself forgot to live by: Home is Where the Heart Is (did she even have a heart?), A Clean House is a House Well Managed (the dust that covered the placard said enough), and, April’s favourite, Love is All (what was love? what was all?).

Thin as a rake, Grandma was always cold and perpetually had the thermostat turned up full, so that sometimes it seemed as if the walls themselves were sweating. Sometimes, just before dawn, when April would come home from a shift at the petrol station, she would sit in the kitchen eating toast and staring at the wall. As the butter oozed on her plate, greasy and gleaming on her fingers, so too did the floral wallpaper. It was as if the stems were bleeding, dragging themselves down over the other flowers, drowning each other out or else entangling themselves in a choking collective suicide. After a sleep she would check again, much to Grandma’s bemusement, but the wallpaper was the same – tastefully gross but admittedly flawless, unchanged, after all those years.

In her bedroom, April struggled to yank open her window, only managing to open it a crack. It always got stuck. She rummaged in her sock drawer and drew out the little tobacco tin (her grandfather’s, found at the back of a kitchen cupboard) and prised it open carefully, so’s not to spill any of the precious weed on the carpet. She sat on her bed, still sweating, and rolled a joint. It was perhaps the one thing that she wasn’t clumsy at. She bought her weed off a kid she’d known at school, a boy who met her in the carpark by the mall, who wore baseball caps and communicated mostly in grunts and ‘likes’ and ‘mans’. He had a nickname, Rattata, acquired during an epic Pokemon battle he’d won in his first year of high school. Somehow, it had stuck; such was the timelessness of the suburbs.

She left out the back door, trying to attract a minimal amount of attention. Through the window, she could see in the gap between the filthy velvet curtains her grandma and Marjorie sitting round the table still. They would not wash the bowls up, probably not until the morning. Nor would they do something normal, like sit together and watch telly (Grandma prided herself on having never owned a telly, which probably explained her absolute indifference to current affairs and anything which might tenuously be defined as ‘culture’). Grandma would bring out the bottle of sherry from the dust-filled drinks cabinet and they would sip it all night, mostly in silence, punctuated only by Grandma’s vague and inane observations. She saved her best gossip for the neighbourhood mums, not for little old Marjorie. April knew the routine well. That was why she was gasping to escape it.

The night air was cool and sweet. It was funny how you could literally taste it, it was so much nicer than inside. The sprinklers were on in the back garden and their spray lilted across the darkness and snagged a few rainbows from the street lights which poured their light upon the grass. April hung out by the bins and smoked her spliff. The smell rose up, warm and fragrant, curling around the drainpipes, hovering dangerously by Grandma’s bedroom window. April loved the smell of marijuana: the stuff she bought had a kind of spice to it, reminding her of far away locations, exotic places she had only imagined, the lifestyles of those who made a career out of slacking – or, at the very least, a perfected mysticism. She liked the way it numbed and slowed her brain, how it allowed her to focus on single things; how it dissolved, momentarily, the pressure of Grandma’s house, which always loomed, monstrously, at the back of her mind.

She stood for a while, watching a snail slide slowly over the patio, trailing its glimmeringly malignant ooze. Grandma left slug pellets all over her garden, but the little molluscs had grown clever and cunning: they knew their way around her property, how to crawl inside the skirting boards and leave their silvery traces over the carpets, walls and cabinets – even the stacks of housekeeping magazines.

April started smoking weed aged seventeen, two years after her parents died. It was the highlight of her day, lighting up behind the bus station in town, prolonging the return to the suburban hinterlands, watching the sun fold itself neatly behind the high rise buildings. Relishing that lovely oblivion on the bus home, giggling at nothing.

It was the perfect evening for a walk. The streets were pristine, gleaming from the shower of afternoon rain that had now cleared into a late spell of twilight sunshine, that bounced off the white gloss paint of the picket fences and semi-detached houses. Just a few yards from her grandma’s home, April felt lighter already, as if each step was somehow melting her material connection to the world. Often she was gripped with such wonder for things. It made her heart sore, to see the yellow roses in the neighbour’s garden, speckled with raindrops, swaying against the fading sky of pastel blue. Her body no longer mattered. She could not taste the gross sweetness of the soup, nor the earthy residues of the spliff. She felt the houses around her (of which her grandma’s was the sole, grotty anomaly) blur into a white haze, as if they were a chalky plume of cloud, following her, swaddling her. It was lovely. On nights like this, she kept walking.

When she was younger, she walked a lot; mostly to escape Grace (when she had a boyfriend over), or Jacob, who would always ask if she was okay. Grandma didn’t count. She was just there, and then when April crossed the threshold through the door, she just wasn’t. The whole while, she always wanted to get lost. She knew these streets so well, it seemed as if she were walking through a film set, a well-trodden stage which never changed.

Her footsteps echoed on the clean concrete. No chewing gum, no cans or crisp wrappers, as there were scattered around downtown. A man was out mowing his lawn, the grass cuttings billowing up in slow motion behind him.

The light was turning, darkening. April hardly noticed: she was so intent on her walking, that to a passing stranger she might seem possessed by her thoughts – though in truth she thought of nothing at all. She passed through the copse of woods where she had smoked her first spliff, where Katie Willoughby had pushed her into the nettles all those years ago, where Grace (as she had confided, breathlessly) lost her virginity. She passed by the pastel-coloured sheds where people stored cars and gardening equipment, the allotments which sparkled strangely with birdsong, the pile of slates stacked outside the Cherry Tree mansions, the road that led towards her old school. All detail floated by her. Until she heard the screeching.

At first, April thought it was someone being attacked, maybe even raped. The sound was so shrill, so gasping and sharp, that it seemed the definite screech of a tortured human. There was, however, no human voice, no desperate breathing. Just that screech, that terrible wheezing. She tried to identify its source, peering over the tall hedges into people’s gardens, but there seemed to be no person around at all. It was only when she crouched to the ground that the sound got louder, and suddenly April stumbled upon the poor creature who was making the awful noise.

It was a fox, its flesh bearing a graze of barbed wire across its back, gaping and bleeding out onto the grass and concrete. The fox was smaller than April had ever thought foxes were. From her picture book imagination, she had always imagined them larger, perhaps the size of collie dogs, whereas this one was no bigger than the average alley cat, worn scrawny by its scrappy suburban diet. April knelt on the pavement and tried to place her hand on its little head, expecting it to snap at her. Instead, the fox’s body was seized by a great spasm; it jerked violently as if to vomit, but only gasped instead – the kind of breathless gasp that seems to suck a lifetime of oxygen.

“You poor, poor thing,” April whispered, stroking its soft ears as it lay there, whimpering. She had never owned a cat or a dog; she had only watched the blonde labrador that used to skip about the street by Grandma’s house, chased playfully by the kids that lived opposite. The screeching subdued, the fox settled into a kind of stasis. April glanced at the wounds on its back. She couldn’t think where there was barbed wire round here (the allotments, perhaps?), though she had to admit that she wasn’t exactly sure where she was now. Had she really managed to wander far enough to get lost? It was an exciting thought. She found herself dipping a finger into the pool of blood that had gathered on the concrete. It glistened under the lamplight. As if by instinct, she raised the finger to her face and painted two streaks of warpaint on each of her cheeks. The blood thinned to a graininess, mixed in with the dust and dirt of the pavement. A solid feeling of invincibility formed in her stomach, like a knot.

She waited a while in the silence of the evening, alone on this street which she could not name, among houses whose windows were no longer bright and golden. A hundred chintz curtains shut her in darkness.

The day the police phoned, she had been alone in the house: Grace was at choir practice, Jacob at debates club. She remembered the cold feel of the kitchen tiles on her bare feet as she ran through to pick up the receiver, the smell of the toast that she had just burned. What chance of luck had made her pick up? April never answered the phone, but that evening she had. The way the words spilled through the line, clumsy almost, like chunks of food being forced through a pipe; had they made any sense at all? Had she slumped against the wall, the way they did in films? She had experienced that cold certainty, the tingling clarity that got her onto the phone with her grandma, that got her to school to tell her siblings. There’s been an accident. Mum and Dad.

What horror had torn this fox to such misery? Had it chanced its luck in the carpark of some warehouse, raiding the bins for food?

“Poor, poor creature,” she crooned. The thing was quivering, shaking with some savage pain which shook April to the pit of her stomach. Its black glossy eyes were shrunken, yellowed at the corners as if strained by some disease. Only once before had she spotted a fox around the suburbs, but it had sprung away into the shadows of an alley. Making eye contact with this injured thing before her, April felt something dissolve inside of her, the knot unravelling. She curled up beside it, trying to keep the fox warm with the mere heat of her body. The pavement felt cool; the fox smelt of damp fur and trash and blood.

“Hello?” How much time had passed since she had first lain down beside the creature? April sat up with a fright, to meet the gaze of the man standing over her.

“Is everything okay?” he knelt beside her. She could see he was wearing a navy cable-knit jumper, like the ones her father used to wear. He smelled faintly of soap, as if he had just had a shower, and of something else that seemed vaguely familiar.

“It’s-it’s a fox,” April stammered, “I found him on the ground and he’s really sick.”

“Oh.” She moved out the way a little so he could see the animal. “Jesus.”

“What should we do?” It was strange how easy it felt, talking to a stranger. She expected him to unleash a flood of genius upon the situation, to take control, to tell her she’d be safer leaving it in his hands. Instead, he took a seat on the ground. She watched him feel among the matted fur, which was beginning to clump and congeal with dried blood, though a steady stream of fresh stuff still made its way out onto the pavement. There was a deftness to his touch, a gentle, clinical sense of knowing.

“We should phone a vet. They’ll come out to sort it out.”

“Sort it out?”

“Well, put the damn thing out its misery I suppose.”

“Just like that?”

“Just like that. You ever had a pet they put down?”

“Um, well, I guess they all just died naturally…”

“I’m a doctor,” he said, after a pause, “I guess I’m used to it.”

“What, death?”

“Mm.”

“It seems strange to say one is ‘used’ to death,” April pointed out. The doctor was surprised at the way she spoke: there was an old-fashioned, perhaps conscious naivety to her diction, reminiscent of some prim heroin of Jane Austen’s.

“Well, I wouldn’t say you ever get used to death,” the doctor replied. “Look, give me a sec, I’m just going to phone a vet. I have a number somewhere, a place that’s on-call 24 hours.”

Time itself suddenly occurred to April. 24 hours. Well, she supposed, it must be somewhere in the middle of the night by now; perhaps she had walked for hours. She listened to the doctor speak on the phone in a hushed yet urgent tone. She wanted to cling to the security of those words, whatever it was they were saying. She watched him click a button on his phone (a Blackberry, she noted), then slip it back into his pocket.

“They’ll be coming within the hour,” he said. “You don’t…you don’t have to wait.”

“It’s okay, I want to.”

“Better get comfy then eh?” a sudden boyish playfulness sprung into his face. “I have an idea. Be right back.”

“Oh, sure.” He hurried up the street again and disappeared round a corner. Those ten minutes while he was gone felt like an eternity. The fox seemed to be in even more pain now, slipping in and out of consciousness, its eyes flickering like the kid in math class who once took a seizure on the floor. April was increasingly feeling privy to some dark reality of the animal kingdom, a turn towards nature’s cruel lacerations. It was as if every minute she swallowed another gulp of the fox’s pain, the barbed wire gashing at her own throat.

The doctor returned, finally, with two bottles of beer. She realised that maybe she was just thirsty. He deftly opened the bottles with an opener attached to his keys. She took the first sip, murmuring thank you, tasting the sweetly bitter tang of the cheap hops. It was strange, the taste, because she had not drank alcohol since her months at university. It wasn’t really the drug of choice in the suburbs. Grandma liked her wine and sherry, but April had never been attracted to that sleepy retreat, the way it made you spill out truth after truth round dinner tables. She had seen enough people ravaged by alcohol, at teenage flat parties, where she stared at the walls while people around her pulled and played cards and were sick. She preferred marijuana, the way it scattered you into laughter, made you slink into sofas, soporific.

“Are you hungry?” she asked the doctor, after a brief pause. “I’ve got sweets.” She slipped a roll of fruit pastilles from her sleeve. Since starting her job at the petrol station several months ago, April had taken to sugar as a means of coping with the insomnia caused by the erratic night shifts, as a means of staying awake after ten hours staring catatonically at a cash desk.

“You’re getting fat,” Grandma told her, a few weeks in. Grandma, who didn’t own a car, had no concept of the world of the petrol station, its jelly-like liquefying of time. With her pinched appetite and terrible cooking, she could have no concept of the need to just gorge. She seemed quite surprised that April could put on weight so fast. She had no concept of coming home, drowsy and stoned at four in the morning, laden with packets of junk food. Of staring mindlessly at the flickers of a screen while stuffing all that salt and sugar in your face. No, she could have no concept of that at all; she was from a sensible generation, she knew the rules, the limits. She had dieted in the eighties, but only because it was fashionable.

April realised how rude it was to offer sweets to a doctor. Would he not warn her of the dangers of tooth decay, diabetes, heart disease? It astounded her that he simply took the first pastille of the roll (a black one) and slipped it between his lips. The alcohol had relaxed, almost instantly, the awkwardness between them.

“It’s been a while since I’ve had one of these,” he chuckled. April grew frustrated with his mildness. She decided to ask him about death again. It seemed so easy, pressing her questions upon the darkness, the distant sound of sirens that filled the streets. She wanted to fill that darkness with everything.

“You’re pretty morbid you are,” he replied to her query, chewing thoughtfully.

“Well isn’t death right here beside us?”

“I guess I can’t argue with that…”

“Have you ever killed a person? she asked brightly, after a pause.

“Of course not—have you?” The beer bottle was still partly wedged between his lips as he spoke, sending his voice into a strange consonance of echoes.

“Well no.” He took the bottle out his mouth.

“I’ve had a part to play. I’ve messed up enough times at work to know that sometimes I’m powerless against death. These dying patients, you realise that their whole lives are closing down. One by one they’re saying goodbye to their will, to their memory, to all those tangible things that kept them together. Personality blurs into a sort of serenity of acceptance, or else twists into violent denial. I’ve had folk scream at me at my practice, telling me I’m wrong. People are so sure that they’re fine sometimes. Then again, so am I. I’ve misdiagnosed before, of course. I thought a man in his mid-40s, non-smoker, vegetarian, track-runner, was fine. He came to me with stomach pains, problems with his digestion. I put it down to IBS, prescribed him some antacids and peppermint tea. A couple months later and he’d lost three stone and was passing blood. It was cancer of the bowels, and he only had three weeks to live. Hell, if I’d caught that sooner…he had a wife and two kids. It still haunts me, I’m telling you.”

“But doctors must make mistakes like that all the time,” April said carefully, “I mean, there are so many illnesses to choose from – it’s impossible to get it right for each person. You’re not a computer.”

“Man, human weakness is no excuse. I was lazy, I should’ve asked him more questions. Can I have another fruit pastille?”

“Sure.” She pushed out an orange one, the last of the packet – she’d wolfed the rest already. A residue of the sugar coating remained on her palm.

“Then there was this old lady,” he continued, after a while, “she had all these problems. Alzheimer’s, kidney problems, trouble breathing and eating – the lot. She just came to me constantly, every week, complaining about everything. Sometimes she collapsed and a neighbour would find her and rush her to A&E. There were never enough beds to keep her for long. She’d always come back to me, just her practice doctor, thinking I had the miracle of life or something. I should’ve referred her to a geriatric specialist. I thought I was being clever, taking on the challenge; I thought all she needed deep down was someone to talk to. These suburban types, sometimes they’ve been shut up all their life, silenced by housework and Vallies. It’s a wee cliche, but it’s kinda true – an army of hypochondriacs.”

“What happened to her?”

“One time she was at a coffee shop, you know the one by the park, Crow’s Cafe I think it’s called. She was just drinking tea and doing a crossword. Collapsed right there and then.”

“Wow.” For a sudden moment, the image of her own grandma flashed into April’s mind: she saw her standing over the sink, washing dishes, staring vacantly at the filthy windows. So transparent, she could be a ghost.

“It was fucking gruesome. Her spleen and all. Kidney failure. They never really told me what happened exactly, but I was heavily disciplined for not spotting the signs.” He added, bitterly: “I nearly took to drink, after that one.”

“You’re a little too young to talk like that, surely.” April sipped slowly on the last of her beer, savouring it, as though if she drank to the bottom of the bottle the conversation would end.

“How old do you think I am?”

“Um, maybe thirty…?” It occurred to April that she hadn’t the foggiest idea how old a doctor was supposed to be. All the ones she’d ever met were in their fifties – at the very least – and this man beside her wore a nice jumper and had nice skin and a smile you could fall for. He could be near enough fresh out of medical school.

He laughed, almost snorted at her suggestion.

“Put it this way…my fortieth birthday seems a long time ago now.” She was conscious that he didn’t ask for her age in return.

“Really?”

“Uh huh. Twenty years ago, near enough, that I told my first patient that she was pregnant, that I first prescribed a batch of sleeping pills, antidepressants. I don’t remember their faces. The woman sent me a card, after the baby was born. I think it was a boy.”

“That’s pretty cool. You have a hand in life and death.” He snorted.

“I wouldn’t say that. I just…notice things.” They were cut short by the sound of the fox wheezing again. Its body trembled, rustling the leaves of the hedge behind it.

“Come on now fella,” the doctor said, awkwardly, as if speaking to a person. April knelt close to it again, stroking it, making soft, soothing cooing noises.

“You have a way with animals,” he remarked, as the fox began to quieten again, “you’re like the fox whisperer.”

“Maybe it’s just cos I’m crap with humans,” April said.

“I guess we all think we’re crap with humans.”

“That’s probably true.” She scrunched the foil of the fruit pastilles wrapper in her hand.

“For some more than others, I can assure you. The benefits of hindsight and age.” She saw him wink at her in the darkness.

“The vet’s taking a long time,” she remarked.

“Oh, they have to come across town,” he said vaguely. “Anyway, what were you doing out this late, wandering around?” It was the unspoken mystery between them, the chance encounter, the dying fox beside them on the pavement, the press of the darkness like the sweet-smelling sheets of a stranger’s bed.

“I…I get sad. Sometimes I need to get out of my grandma’s house. I could feel the walls melting. It’s a nightmare. And you?”

“Believe it or not, I’m wearing pyjamas under this jumper.” He lifted the jumper to reveal a baggy, pinstripe shirt. She noticed a flash of his brownish belly underneath where the shirt rode up, the hint of a snail trail in wisps of hair that she could see even in the darkness. There was a slight paunch, perhaps the only suggestion of middle-age. “My…girlfriend, she’s a doctor too, at the hospital. Works crazy back shifts and nightshifts all the time. We catch each other for lunch, for dinner parties, in bed in the wee hours before dawn. I get lonely: sometimes I can’t sleep and I just get out of bed and walk. There’s never anyone around.” He put down his empty beer bottle, ran a hand through his hair, which was overdue a cut. “I don’t know why I’m telling you this.”

“It’s like,” April replied solemnly, “you sometimes just need the fresh air.”

“Yeah, that’s probably it.”

“I wasn’t even sure where I was, but I think I know now,” she said, “it’s not far from my old school.”

“Have you lived here all your life?”

“Well…since I was a teenager. Something happened to my parents and we had to move from our nice flat downtown to Grandma’s place in the ‘burbs.”

“I bet that was a shock and a half for you.”

“Yes, they died quite suddenly.”

“Oh, er, no I meant the move to the suburbs…I didn’t realise your parents had actually passed away. I’m so sorry.”

“No, it’s okay.” His sincerity made something physically ache inside of April. Who was this man, and what was he doing to her? She felt as if all the scrunched-up resentments of the past few years were slowly melting away, leaving her with a sense of going soft, of somehow opening. It was so easy to just…talk. She stroked the fox’s ears, following a comforting rhythm.

“Yeah, this street…I think I even walked down it to school sometimes. I used to buy sweets at some corner shop. It looks different at night.”

“Indeed.”

“It’s funny,” she said, “I think a boy tried to kiss me once, just over there on that corner.” She gestured to a spot where the pavement rose up to someone’s drive, drenched in amber lamplight. “I’m pretty sure he did it for a joke.”

“What makes you say that?”

She frowned. “Oh I dunno, the look in his eyes. He was popular and they all hated me. He literally asked me the question, stared at me, came up to me out of nowhere.”

“What did you do?” She was surprised to see he seemed genuinely curious. What business did a middle-aged man have caring about the (non)romantic history of a girl almost half his age?

“I told him no thanks.” He laughed.

“Brutal, truly brutal. I’m telling you, you probably broke his puny wee heart.”

“I sincerely doubt it.” There was something so uncanny in the way she said that, I sincerely doubt it: it seemed a thing an older woman would say, someone made weary with bitterness, cynicism; someone with experience under their belt. There was a sort of aged wisdom that sparkled in her eyes when she said it. In the darkness he could not see her blush; could not read in her face that at 24 years old, she had never kissed anyone before.

“Can I offer you a smoke?” he asked, after a pause.

“So you smoke too, do you? I’m beginning to lose my faith in doctors,” she replied wryly.

“Well, you must’ve had a shock, stumbling upon old Fantastic Mr Fox here.” She smiled at his Roald Dahl reference. “And a thing I like to prescribe to myself on such occasions is, well, what you might call the humble drug of the suburbs.” He slipped a tin from his pocket and prised the lid open. There was a baggie of what was unmistakably weed, some tobacco skins and filter tips, like tiny pieces of white candy. “Marijuana.” He winked once again his mischievous wink, and April felt a tingling in her stomach.

“Yes please,” she said without pause. She felt like a child at a restaurant, being offered some exotic food for the first time. She watched him deftly roll a joint, handling the paraphernalia with the ease and grace of someone who spends all day tinkering with syringes and stethoscopes and thermometers. He lit up and sucked in the first draw, his face alight in the orange glow. In that slight intensity of light, she noticed the tiny lines that crinkled in the corners of his eyes, the tiredness that cut shadows underneath them.

He passed her the spliff. It tasted very sweet, and she realised there were little strawberries printed all over the skin.

“Yeah…” the doctor said awkwardly, “I find it hard to deal with the feel of tobacco in my mouth, so I use flavoured skins, like some brazen wee hussy from an American high school movie.”

April drew a long deep lungful of smoke. The weed was very sharp and bitter, but the strawberry taste smoothed it out.

“You just used the word hussy,” she stated.

“I know, is that very awful?” the doctor lay back against the hedge and giggled like a schoolgirl.

“Probably,” April replied. She took a few more greedy draws then passed the spliff back to him. The stuff was evidently much better than what she procured from Rattata. Already she could feel something lifting in her stomach, her brain sort of crumpling, lightening, as if filling up with a strange, ascendant vapour.

“Do your colleagues know you smoke this?” she asked, in all sincerity.

“Oh, I suppose they have an inkling that I’m not quite…orthodox.”

“I always wondered how you were supposed to have fun, as a doctor. Like, golf and stuff. Red wine, because it has antioxidants?”

“Terribly boring, eh?” he smiled. She saw that his lips were quite dry and pale. “I guess there’re some teenage habits you just can’t give up. I only do it alone these days. My girlfriend would kill me if she knew.”

At this point, April was only half-listening. Her hand was on the belly of the fox, softly stroking the ruined fur, feeling the troubled rhythm of its breathing. A Sonic Youth song – one she hadn’t heard in years – was pulsing through her head:

Everybody’s talking bout the stormy weather

And what’s a man to do but work out whether it’s true?

Looking for a man with a focus and a temper

Who can open up a map and see between one and two

“I just realised something.” The doctor straightened himself up from his slumped position. “Is that blood caked in your cheeks?”

“What?” April had totally forgotten about the tribal marks she had smeared on her skin on some bizarre impulse. “Oh.”

“I thought it was just the shadows from the street lamp, but no, I can see it now.” Then he did something strange. He licked his finger and placed it on her cheek. He gently wiped away the marks. Then he put the finger in his mouth.

“Bitter,” he muttered.

April finished the last of the spliff, stubbing it out into the ground, well away from the fox. She remembered, then, what she had written, all those years ago, on the exposed plaster behind her bed: I Hate Everyone. 

It was only now that she experienced the vague realisation that maybe she didn’t.

“I think it’s so sad,” she began, “the way things can just die like this. Who knows what it went through? It’s like, why should an innocent creature be torn to shreds like that? For what? An accident? I don’t understand how easily death can just happen. It can just shake up the world for a second and then it goes on as normal. And so often we take for granted the difference – between life and death – like seeing death as this other realm, dressed up in old age and frailty and all this flowery symbolism, but actually, actually, it can happen at any time. It can be as part of your life as brushing your teeth in the morning. It hangs over you, as easily and constant as routine. You could die anywhere, you could stumble upon someone dying.” There was a pause of silence between them. April felt warm and content at her own eloquence. They listened to a trio of starlings in the tree behind them, presumably settling down to roost.

“I used to be suicidal,” he said suddenly, “as a teenager. I never told anyone. For six months of my life I thought about death everyday, and I never told anyone. I would write all my plans on scraps of my maths jotter: tonight I will take my mother’s pills; today I will hang myself. I won’t eat or drink anything, so that I can starve to death. It felt safe, having those notes on me all the time. Then one day – the day I decided to be a doctor I guess – I realised that what was the point in death? It wasn’t even giving up, it was making an effort for something that didn’t want you. Like unrequited love. I knew then that suicide required an act of will that I didn’t have. Since then, I’ve been a slave to anatomy. There’s something soothing about studying the body in this precise, objective way. You stop thinking about that abstract thing inside yourself that you want to kill. Eventually, it just sort of goes away.” He sighed deeply. “You don’t forget, but you can make it go away.”

“Do you think everything happens for a reason?” she asked.

“I don’t know,” he admitted, “I think everything just…happens. We make the reasons, maybe.”

“My parents were killed in a car crash when I was fifteen. It was no-one’s fault. Just two sets of people clashing on bad luck.”

“I’m so sorry,” he repeated the phrase from before, when she had first told him of her parents’ passing. His sincerity seemed genuine, and not the perfected sympathetic stare of the medical professionals April was used to dealing with in the immediate aftermath of their deaths.

“It’s okay,” she said, “it was a long time ago now. Nearly ten years…”

“Do you ever wonder about the future? I suppose you have a glittering career ahead of you, smart girl like you from the suburbs, living faithfully and chastely with her grandmother…”

“No, I can’t,” she said bluntly. She was struggling for the words, waiting to snatch them out of the air; she was so high now that she seemed to be speaking through fog, the words churning and swirling in her brain.

“The world is just day after day after day and will anything change or happen? I feel like I’ve been preserved in jelly, destined to play out the rest of my days in this stasis…but it seems impossible to imagine time not happening anymore, the world going on without you, consciousness itself dissolving. I can’t see what it’s like, not existing. It’s kind of exciting, more tangible maybe than any real change you could have in life. I feel like the death of my parents was the one shock, the thing that would decide the rest of my future. But what future? Nothing changes in the suburbs.”

She pictured the ripples of her years, spreading out from that central, dramatic node: the stone thrown in the water, the shrapnel left by two cars crashing.

“Things do happen,” the doctor whispered. And then she felt him lean in towards her, over the dying fox, his warm marijuana breath suddenly so close to hers. His hand slid into her hair and he pulled her close to him and kissed her on the mouth, softly at first, and she felt the press of his lips which were so light and almost papery dry and she was conscious of how wet her own felt, tasting of cannabis and fruit pastilles. She felt his tongue push through and dance around her own, slippery and not at all awkward as he led the way, their heads moving together just so. His stubble left a faint, grazing feeling on her cheeks. He pulled away, after what seemed a long, long time – this interlude in reality, strange and sweet.

April leant back against the hedge and looked up at the cherry tree in the garden opposite. She knew it would be bearing fruit now, little glossy cherries that would shrivel and fall off in autumn. She felt a lightness inside of her burst open, a kind of pale fire in her chest.

“I’m sorry,” he said.

Just then, a flurry of lights cascaded down the road as the vet’s van pulled round the corner. A single man got out the van. April noticed the pale toothpaste blue of his coat, the Converses he wore on his feet.

“Over here,” the doctor called out. The vet slammed his door and strode over to them with nothing in his hands.

“Oh dear,” he said, “what happened to it?”

“We don’t know,” the doctor replied firmly, “he was just here.” The vet knelt down and gently turned the fox over slightly.

“He’s a she,” he said.

“I found her,” April piped up, glancing at the doctor. “I think she got caught in barbed wire.”

“Well, the thing’s lost a lot of blood,” the vet observed blankly. He would never get used to these calls in the wee hours; his head was still swimming from the evening operation he’d performed on someone’s cat, back in the surgery.

“Are you going to…?” the doctor looked at the vet uncomfortably.

“Yes,” he replied. “I see no other way. Nobody owns foxes as pets so there’ll be no bother with that. There’s nothing else we can do for it I’m afraid.” April thought then what a sad thing to say, that in the end they could do what they wanted to the creature, because nobody owned it. She herself felt a strange propriety over the animal, as if she wanted to shelter it from its cruelly inevitable fate.

“I’ll foot the bill,” the doctor said quickly, “I don’t mind.” There was such gravity in those three words, I don’t mind, that he could be talking about paying the medical bills for his own child, never mind some stray fox who’d stumbled into a roadside accident. The vet seemed impatient.

“No, no, there are council fees I can claim for this…duty. Don’t worry.” He went back to his van and returned with a plastic box that matched the blue of his tunic. April noticed his fingers were shaking slightly as he fixed up two syringes with the solutions contained in little glass phials. The doctor held his phone out as a torch, while the vet fiddled around with his drugs. April stroked the fox’s ears. Its wheezing was growing more intense, more laboured. The blood had seeped right out onto the road.

“It’s okay,” she whispered, to no-one or nothing in particular. Somehow, saying it felt like taking control of the situation. She could feel the adrenaline start to rush round her stomach.

The vet searched the fox’s neck for a vein. April was told to step back as the doctor held its head and legs still. Sure enough, the fox mustered enough strength to snap at the vet’s arm, but the bite narrowly missed. The first injection, the vet explained, was a strong muscle relaxant. The second was the anaesthetic overdose. It took just a couple of minutes to shut the life out of this animal, this russet-coloured beauty of the streets who had once roamed and scoured and hunted for fun. What was left was this bloodied toy of a creature, which the vet so effortlessly scooped into his arms and took back to the van.

“What are you going to do with her?” April asked urgently. She noticed that the doctor was distracted by his phone.

“We can take the animal back to the surgery to be properly destroyed,” the vet explained, regaining the strength of his clinical tone, the relief that soon he could be home and in bed again. “You did the right thing. We put it out its misery.”

Once upon a time, Jacob had brought in a dying bird from the park where they used to play near their parents’ old flat. It was such a small thing, cradled in his palms.

“Probably got by a fox, or more likely a cat,” their father had said, laying the creature out on a paper towel on the kitchen table.

“Can we save it?” Jacob had asked, eyes wide in earnest. He was nine years old at the time, eager to exact a place for everything in the universe. He would not let his sisters anywhere near the bird, which had to be, irrevocably, his personal discovery.

“Best to put it out its misery.”

Had her father said it as coldly and triumphantly as that? April pictured him now, gaining power over the situation as he instructed the children to leave the room, then bent over the thing to wring its tiny neck. End the pain. The following evening they all traipsed down to the park to bury it in a shoebox, along with the hoards of other dead pets whose shallow graves had amassed over the years. Perhaps there was some law against burying your animals in a public place, but April’s parents seemed never to care a fig what anyone else thought, digging out their makeshift animal tombs with gardening trowels while the other parents looked on with a kind of supernatural horror.

“Well thanks.” The doctor shook the vet’s hand. The hand that had killed.

“It’s no problem. Er, do either of you need a lift home?”

“I live just up the road,” the doctor explained.

“I’m fine,” April said quickly. The last thing she wanted was a ride with that dispassionate harbinger of death. Already she could see hints of the sun coming up and a walk home through the pastel glow of dawn seemed the perfect way to gain some catharsis from this incident. She suddenly felt very numb.

“You’d better clean yourselves up when you get in, you look like you’ve been at the scene of a murder!” the vet joked as he opened the door of his van, where the fox’s body was already loaded. April glanced down and realised that sure enough, there were great bloodstains caked in her bare knees, all up her calves and along her arms. The van drove off. She looked at the doctor and he looked back at her and they both laughed. Maybe they were still high; maybe it was the adrenaline; maybe it was just the relief.

“Well,” he said, after they had regained control over their breath.

“I guess I better split,” April murmured. The doctor glanced at his phone.

“Yeah, Amy—er, my girlfriend’s— finished her shift. She’ll be back soon. I’m supposed to do the right thing and go home and make her grilled cheese.” He smiled wryly.

“It was nice meeting you.” She thrust out her hand, an awkward reaction to the ensuing silence. “I’m April.” Laughing again, he took it and shook it firmly.

“I’m Jonathan. April’s a lovely name.”

“T-thanks.”

“It was nice meeting you too,” he said, playing along with the sudden formality, “and I’m sorry, well, sorry for…”

“No,” she interrupted, “it’s totally cool, really. Thank you.”

“Right, well.” He noticed with a shock that her eyes were shining with unspilled tears. She kept looking down at her feet. In an awkward, fatherly gesture, he sort of rubbed and patted her shoulder, then drew away again. In that moment, she seemed as vulnerable and defeated as the fox that had lain at their feet.

“Um, maybe see you again sometime?”

“Y-yeah,” she said. She couldn’t hold in the sigh that then escaped her lips.

“What’s wrong?”

“Oh, I just…” she paused. “I just wished we could’ve done something to save it. The fox.” As soon as she said the word ‘fox’ she realised she meant something else also: the moment, perhaps, that handful of hours they had shared, alone in the suburban gloaming, with the orange lamplight and the greenish shadows of the hedges and cherry trees, the spray of sprinklers intermittently twinkling in the neighbouring gardens. All the words they had said: hardly any, but so precious to her now as she saw it all disappearing, as she clasped at this silence between them, trying to preserve it in memory. The taste of the doctor’s mouth, clean and dry with the faintest tartness of marijuana, the blackcurrant fruit pastilles.

“If there’s one thing you’ll learn in life kiddo,” the doctor said, “it’s that there’re some things you can’t control, you can’t save or change.” And then he added, mysteriously: “you’ve got to work with what you’ve got. Everything else is just…nature. The course of life.”

“S-sure…yes, I guess so.”

“Don’t worry about it, it’ll be okay. Take care.”

He watched as she turned away, denying him the twinge of her smile – as she began to amble back up the street. He watched her until the sliver of her silhouette – the swollen thighs squeezed into denim shorts – had turned the corner, then he made his way across the road, back into his own house, where the door closed tight on the last of the evening.

***

She was standing over the swimming pool in her grandma’s back garden, near-naked in the pallid morning light. It was that queer interlude between dawn and night, where the sky acquires a nacreous frailty, burst intermittently with the blue and yellow watercolours of a morning. The pool was variously still and rippled, buffeted occasionally by the slight blasts of wind which were picking up in the trees, shaking some of the leaves off their branches and onto the water. There was a slight coolness to the air that was almost autumnal, but something inside April felt warm and fiery. She realised she had sweated through all her clothes, and so took them off. Just like that: she pulled off her t-shirt and unzipped her skirt, thrust aside her shoes and socks. In the light she saw more clearly how they were covered in blood. It had seeped through to her skin, so that her feet too bore the dying essence of that fox. She didn’t spare a thought for the neighbours, who, if they had been awake, would most certainly have had full view of her bare white body through their windows. There were no secrets, not even in the gardens or the back lanes of this neighbourhood.

She found herself slipping into the water. The pool had been utterly disused for at least a year now, though the man still came twice a month to clean it of leaves and dead insects, to pump it with fresh water and scrub the grime that gathered around the sides, to pinch out the weeds that grew in the tile cracks. April had forgotten that feeling of absolute submersion. She tugged her hair out of its braids and dunked her head under the water. It was her brother who had first taught her how to swim. She saw now the ghost of those flexing muscles, the firm tanned arms scooping the water as easily as knives being drawn through butter.

She was seven years old, the holiday they took on the coast. The sea spray licked her neck; the cries of the gulls were a sadness her childish heart could not bear. She preferred the anxious, argumentative coos of the pigeons in the city. The jackdaws she could hear at night, nestling and rustling for fruit in the cherry trees.

She liked the look of her limbs in the water, fish-like and shimmering.

She started to swim in laps, gathering momentum to the breaststroke she had first learned all those years ago. There was a slightness of violence to each bending kick.

Sometimes she rolled over onto her back, letting the water, the slipstreams of her movement, buoy her body up for awhile. From above, her body would seem a pale sliver; from as high as an airplane, she could be just a piece of plastic litter.

She plunged through the water, again and again, her arms sluicing little currents around her. She felt the steadiness of the world slowing down, the sense that there could be nothing else except for the perfect emerald of the water, the white of the porch lights turned on like clockwork by her grandma’s timer, the soft ebullience of an uncertain sun. It seemed there could be nothing in the world so pure as the pool water. She felt light and clean and free, just swimming and swimming.

For a moment, she pictured the doctor in bed with his girlfriend. Would their bodies fold over each other, like koi fish caught up in the quivering swirls of their chiffony fins?

She thought of his tongue in her mouth, its lubricious, hungry press against her own.

It ached a little, to think of that. She plunged deep to the bottom of the pool, brushing the tiles with her hands. She pulled herself into contorted positions: front rolls and twists and hand stands. Underwater she felt lithe and elastic as a ballerina; her body was just this flexing and yielding of muscle. It was as if she didn’t even need to breathe.

She pictured the fox, tangled in barbed wire, making its final, bloodied struggle along the pavement. Had it tried to cross some boundary line, a manmade defence against that which would penetrate some inward purity? A children’s playground, a walled garden, a hospital?

She pictured the fox down some suburban back alley, skulking around for trash. She saw it murdering the starlings from the cherry trees, tearing them up in a scattering of cries and feathers. Not even bothering to finish them off.

Her mother and father in a car crash, all metal and flesh and seatbelt leather, the eerie screeching of brakes. The trailer clip of their deaths she had played over again and again, sleepless each night in the terror of waking dreams, until the weed had abated the awful addictiveness of that fantasy. Its hazy shroud, smoked daily, was the only escape. It was like inhaling the detritus of the earth, entering into a polluted communion with waste itself, rebelling against the aseptic surfaces of the suburbs, clawing deeper with every toke.

She climbed out of the water, finally exhausted.

In the glazed, cerulean surface, she saw herself: milk chocolate eyes wide as marbles. Its fluid reflection was as mercurial as the mirror in her bedroom, the shimmering, distorting wallpaper, the surfaces of wood, metal, plastic, glass and carpet which seemed to ooze and blend into one another. Inside the house, everything flowed and churned in static repetitions of temporality, of reality itself, whereas here there was a possibility of solidity. The tiles around the pool clung to her pale cold skin. It was so easy to just fold inwards, to just lie down, right there, in the sweet gold light…how easy to be that sliver of a thing, which the world would burn through in its indifference.

“April? April dear, is that you?” It was Grandma Grainger, leaning out the bathroom window which overlooked the back garden. Her voice echoed around the surrounding houses. She repeated herself when she saw no movement of registration from her granddaughter, who lay by the pool on her side, like a beached seal.

Grandma came running out into the garden, cradling a huge white towel that she’d grabbed from the linen cupboard, neatly folded.

“Oh darling!” she knelt over April’s wet body, her underwear soaked through and the skin of her fingers wrinkled slightly from the water, like long thin prunes. She realised that the skinny, teenage girl she had watched since her own daughter’s death had filled out with fleshy, swollen curves. She was there in front of her; she was substantial. As if in pain, April groaned a little, and her grandma breathed a sigh of relief, to see she was alive at least.

“You look so very pale,” she said, tutting with disapproval. “Sit up.” Unconsciously, April obeyed this instruction. She hugged her knees and let her grandmother wrap the towel around her shoulders, feeling like a child again, small and vulnerable. It was soft and almost warm. Another kind of shroud.

For a while, they sat like that in the quiet suburban garden, the only sound being the soft calls and song of awakening birds. So close they seemed, yet distant. The two women did not appear to be speaking to one another. They just sat together, as if they were static ornaments in the mise en scene of a film set: April enveloped in her white angelic veil, shuddering in the cold, Grandma Grainger folded in the cream-coloured silk of her nightgown. The garden was bathed in a queer blue glow that seemed to emanate from the pool.

Grandma did not comment on the bloodstained clothes, nor the fat, silvery tears which were suddenly pouring from April’s eyes, uncontrollable as the rain that came in a storm. There was something elemental and strange in that unexpected display of emotion. She did not think she’d ever seen her granddaughter weep, not even after her parents died, or when she came back from university, defeated.

“I wondered where you’d gone off to for so long,” she said quietly, picking at a tiny chip in her vermillion nail polish. In the ensuing silence, Grandma knew that she would never get an answer, not properly: April really was this unknown entity, an absolute other who she could do nothing for but care for unconditionally. It was a sorrowful burden, the love of this shivering thing beside her, an adult and yet a girl, almost an alien.

Fighting the paralysis that had overcome her in the cold, April dipped her toe back into the pool water. The ripples undulated outwards, as if she had just pierced some huge and molten jewel. All you had to do was find the weak point.

“Oh, what are we going to do with you?” Grandma sighed deeply, her voice a fragile croak, almost lost in the rustling roar of the poolside trees. The breeze would come and go; would rattle the branches then leave them in silence again.

“What are we going to do with you indeed,” Grandma repeated, as if for good measure. She was surprised when April opened her mouth to reply.

“I don’t know,” she said, teeth chattering, “but maybe we’ll figure it out tomorrow.” She wrapped the towel tighter round her shoulders, then stared back out at the water, at the spot where she had just dipped her blueish toe, the ripples spreading outwards still, stiller and still.