For Reasons of Research, I’ve been reading Downriver by Iain Sinclair recently (aside from the normal heave-ho of life, visiting the Making Nature and Electricity: The Spark of Life exhibitions at the Wellcome Institute; drinking All The Wine in the company of a skittish cat; re-acquainting myself with old drawing habits and new gym ones – and novel heave-hos in life, such as “dealing with a blood-soaked stranger”; and my personal favourite “being evacuated from the office for a bomb scare”, which was nowhere near as much fun as you’d hope).
I have a lot of Ian Sinclair books to read, because Delightful Boyfriend has inherited psychogeographical scholarship from his Colin-Wilson-reading father, and my globe-trotting book patron/occasional whip hand (Amy Parker, who has recently published a short story in Bourbon Penn magazine, which rather unusually for any short fiction written after about 1901, I’ve read and loved – please sit down and have a go yourself! It’s a good one) also deluged me in copies before I had a chance to remove them from my research wishlist and plead exhaustion (there is a reason I don’t link to that on my blog).
In reading, I encountered this intriguing quote:
There is, I assure you, a measure of safety in being the one who holds the pen. ‘I’ is the man in possession, but he is also possessed, untouchable. ‘I’ is immortal. The title of the survivor. There always has to be one witness to legitimize a massacre. [etc]
Downriver, Iain Sinclair.
Long-term readers may be aware that I have a tattoo reading “ha bloody fucking ha” prominently on my writing wrist.
It is the abbreviated form of this quote:
Why? you have to ask yourself. I think it’s a way of claiming immunity. First-person narrators can’t die, so long as we keep telling the story of our own lives we’re safe. Ha bloody fucking Ha.
The Ghost Road, Pat Barker
From a firmly-formative trilogy (one of the more respectable formative texts of my adolescence, which featured more heavily the lurid gay erotic horror of Poppy Z Brite in the vampire years and innumerable interchangeable Hardy Boys Casefiles), that of prize-draped Pat Barker: The Regeneration Trilogy.
It is a conceptual echo that concerns me greatly: I’ve been keeping a regular, if occasionally sparse or incoherent and evasive diary, since September 1997. If I am still doing it in September this year (if global rise of fascism hasn’t dispensed with my gay, trans self by then – always proviso these days), it will be a solid 20 years of diarism.
Leaving aside the horror of a diary that can legally vote, marry, drink, drive, and star in extremely depressing pornography in the country in which it is written, what have I done to my longevity with this? All of my life choices so far – dabbling in alcoholism, obesity, cocaine, transitioning even – all of them should calculatedly have shaved off decades from my genetically accursed lengthy lifespan (no bloody cancer or coronary here, alas), at least according to the bastion of scientific rigour and life-extension that is the Daily Mail. I live in a society that can’t afford my pension and soon won’t be able to feed itself. Have I unthinkingly undermined my sensible exit strategy with ego-centric nonsense?
Well, I shan’t be the first or the last. If I am still committing my life to language in another 20 years we shall know something has gone horribly, horribly right.
Readers already horrified by the above will be thrilled to learn I’ve taken up time-travel, and have transmitted a novel from the Edwardian period.