In Plenary on April 1, 2015 at 9:50 am
In Plaza Mina, any little irregularity in the promenades cups a vestige of the water that a rising sun will soon suck up. Smoother surfaces are smeared with a fine film of it, in sweeps and swathes as if somebody has been at them with a mop.
It hasn’t rained. The place has been hosed down by the orange clad operatives of the municipality – nocturnals that keep it clean, locked into tit-for-tat with the diurnals that dirty it.
We stroll beneath a miscellany of species – Date Palms and Banana Trees, Bunyas, Peruvian Peppers, Yucas, Cabbage Trees, Elms and Screwpines – and above us the upper branches, of the palms especially, squawk with the raucous birdsong of monk parakeets: bright green birds that delight the eyes and terrorize their fellow avians. From top to bottom – from the airborne exotics to the wrought iron grille of the benches and the monstrous roots of a Moreton Bay fig tree – the square is testimony. A story is told in the light that filters through the potpourri of plant breeds and dapples the stone paseos, the tables on their terraces, the old kiosk. It speaks of a great, enriching influx from a New World, of plants and parakeets and money.
In the grid of the old town, away from the squares, the x of each intersection is replicated on the vertical axis and the eye as it looks down any street is presented with the same symmetry More
In Plenary, Presentation on November 17, 2014 at 11:08 am
Like all drunks, we wake up laughing.
Then we lie there for a long time, not moving.
“I don’t want to move,” says K. “I’ll find out how drunk I still am.”
The day presents us with its first demand. It requires a decision of us – breakfast in or out. Out will mean more movement and negotiation of human affairs than can currently be imagined. In will involve twenty-four quid.
“It can’t possibly be twelve per person,” I say. “For bloody breakfast. Have you checked?”
We’re both looking at the ceiling. It isn’t interesting but it’s reassuringly plain and white and motionless. Anything else I look at has a tendency to slip and slide in an alarming way.
“Yes, I’ve checked,” says K. “It’s twelve per person.”
“Ridiculous. We’ll go out for a tostada.”
We don’t, of course. Preparing to haul myself out of bed, I lean over to kiss her but she turns away.
“It’s not you,” she says. “It’s my own stench. I can still taste the papas alioli.” More
In Plenary, Production, Uncategorized on August 3, 2014 at 5:59 pm
It’s bright and on the inside of my sunglasses, the lenses are dappled with droplets of sweat. I am running away from the island I have shared with you, on the straight causeway that connects it to the coast: a brilliant, broiling Atlantic void on my left and the great, grand Strait on my right – that tuna-stuffed Styx, the dazzling blue Rubicon that made this, to the ancients, the ultimate dividing line: the edge of the world, the coast of everything.
Tarifa wobbles in the drops – little playa chica and its No Shitting sign, the tuna sculpture, the ludicrous but likeable outline of Santa Catalina, a derelict mansion. I flick my head to dislodge the drops and get a better view. It’s all still here, in all its glare and glory – the ocean, the hills behind the town, the pink dome of the St Mateo church. The castle and the modern port with its rotating ferries, the tumbling roofs of the old town, the schools and the fish factory and the holiday lets further up the beach. The cargo ships that clutter up the sea lanes and the huge dune at Valdevaqueros where the kite surfers congregate.
I’ve done a couple of kilometres and I’ll give it another couple. Then I’ll go home. I’m running so that I might stay alive a little longer and live a little better while I’m at it. Keep the blood pumping and the pump strong. I’m running so that I can write, running to get endorphins flowing and synapses firing. More
In Plenary, Presentation on April 24, 2014 at 9:41 am
In Tangier, a body in a blanket: borne through the souk at shoulder height, a brisk pace and accompanied by boisterous call and response. Later, from our room, the sound of women’s chant in some adjacent house and of their ululating – whether in mourning or in celebration of come unconnected event I do not know.
We eat in the courtyard of the women’s charity and amble afterwards around now familiar shops. I buy incense and K lamps, and a wet, grey day opens up into sunshine. They call it the white city but there’s a good deal of clutter in the colour and a good dose of yellow and brown, as if the city were an ageing photo of itself, sunk into a geriatric tint and turned sepia.
It’s good to be back; we’ve been down the coast a little, in Asilah, a resort town with Portuguese and Spanish history and a beautifully maintained medina, although I suppose it could be accused of being a little sanitised – certainly so in comparison with its crumbling counterpart in Tangier. We’ve spent a pleasant couple of days there in what is essentially a typical seaside town but with added Moroccan intrigue.
Sitting outside the old walls with two tall mint teas, for instance, at around eight in the evening, the quintessential seaside promenade; it seemed the whole place was out. More
In Plenary, Production on April 4, 2014 at 9:30 am
Until the Arabs came, this was the end of the world. Everything to the west was monsters and mystery; everything to the south was sultry, secretive and uncivilised. To the Syrians and their Berber hordes it became a new frontier, and a potential route to the domination of Europe, but until that moment, for the people they were about to conquer, it was the edge of the known. For some it still is of course – Europeans are in plentiful supply who would willingly go no further.
Sitting on a bus and looking at the back of someone’s head can be a bracing business; we never see the back of our own heads and it’s probably just as well – this evening’s guy has hair cropped short with salt and pepper flecks and a line of imperfections along the rim of his ear (spots or old wounds of some sort) that he continually rubs and picks at. He has a way of sneezing that makes me wince even though he’s doing it in the opposite direction: a series of near silent convulsions after which he checks his hands, his jacket and the window for mucous. My hand’s been resting on the miserly ledge at the bottom of my window and just behind his seat; I pull it back a little and breath as shallowly as I can, impatient to get off and suddenly conscious that a blemish at the back of my own ear may be disgusting someone at this very moment, grey hairs involuntarily counted, greasy collar disapproved of. More
In Plenary, Practice on January 27, 2014 at 10:02 am
The sky has cleared after more than a week of rain and relative darkness: a wet cold that drenches the bones and dampens the socks in their drawers, a lack of light that dulls the wit, relieving everything of the fine lines and sharp edges that the play of brightness and shadow make to define and clarify the world – the contrasts that make comparison possible, the perception of difference, of change, or whatever you want to call it. The variations. The variegations. The building blocks of thought and speech, of language itself.
With Morocco’s black coast cloaked in mizzle and the cloud-capped hills hidden from view, the mind’s eye – bored and restless – turns toward that other landscape, the interior, only to be disappointed. The grey soup has seeped through the skull – it’s as murky, sodden and slow in there as it is everywhere else. There’s a kind of sensory deprivation, a shutting down broken only by fitful fragments – undirected flashes of memory that slither and trouble.
Two nights ago, though, on the coast road, the details of the dark night gleamed. The windows and streetlamps of Ceuta were crisp on the horizon, the pinpoints of Tangier port twinkling close and crystal clear. The red lights of the turbines that turn on African soil were a winking reflection of their counterparts on this side of the Strait, blades reinvigorated and rotating wildly.
There was a brightness to the high visibility More
In Plenary, Production on January 17, 2014 at 12:25 pm
The lady who runs the little shop across the street where I go in the early morning for coffee and bread – a nice lady who always asks after our two cats, referring to them as ‘los niños’ – has refused to look at me for weeks. Everybody else is doing double takes: the bus driver, the French waiter in the bar where I write each day, even people in the street.
K was horrified at first. Then she let a couple of complimentary remarks slip out – pretty lips, apparently – and now she tells me she will not be offering further comment for fear that, as a consequence of my rather twisted psychology, any feedback at all from her, whether positive or negative, would only encourage me. She’s right – it would. The problem for her is that her silence does too.
So, I persevere. It’s day twenty-something now and I’ve stopped counting. More time than usual has been spent in front of mirrors as I watch my face, myself, become untidier. Even untidier, K would say. Overgrown, like a garden gone to seed. It isn’t happening quickly – I’m like one of those mid-table European economies at the moment in that there is growth, but it is slow. Development is patchy. Results inconclusive.
That’s if it is development. Maybe it’s deterioration. Entropy. I have, after all, reached an age where change may well be a positive thing, but then again maybe not. Whatever it is, it took a journey to get it started More
In Plenary, Presentation on January 2, 2014 at 12:01 pm
The pianist appears to be deaf, and I don’t mean in a Beethoven kind of way. We chose to sit next to the piano, I suppose, but that was before he arrived and cranked up the appalling backing track over which he tinkles lazily, one-handed, with occasional bouts of desultory crooning.
We’re in one of the grander hotels in Marrakech and the piano bar is dim. Everything that isn’t black or dark wood is red. We are reminded by the couple at a nearby table that some bars still have smoke in them. Dressed-up waiters bow from the hip. There’s a terrible distortion to the recording that adds to the comedy, and an awful tension in the room as the few of us present struggle to maintain our composure. He’s doing “The Great Pretender” now, and not in a Freddie Mercury kind of way.
Like most large buildings in this part of the world, the hotel centres round an inner courtyard. The pool out there is very still in the night, surrounded by alcoves and lounging areas, and there’s a great open fire at the back with armchairs to either side. We decide we’ll move out there for our second beer, and start to drink the first a little more quickly.
When Vincent Rose died in 1944 he was hardly a household name, but he had had a string of popular hits – “Linger A While”, “Avalon” and “Whispering “ amongst them – and had worked with the likes of Al Jolson and Count Basie: an unlikely destiny for a boy from Palermo, Sicily. More
In Plenary, Presentation on December 25, 2013 at 2:08 pm
The spartan waiting room, lined with glass along one side, is incandescent with the winter sun that glares from above the outline of Jebel Musa on the African coast, slicing through the interior space on a low diagonal. We’re the first in, having merely strolled down from the house, five minutes away, as we sit and sip coffee from styrofoam cups, watching the short line of vehicles outside that have come from further afield. It’s quiet – just a camper van or two with loaded roofs and a few four by fours as well as a couple of trucks.
Five minutes and a thirty-five minute crossing; we live forty minutes away from another world. From Africa. The thirty-five minute claim, emblazoned across billboards from here to Malaga and Seville, is a lie of course – it usually takes over fifty – and they make quite a fuss of boarding and disembarking, but still. The catamaran bobs a little as it pulls out of port below the old sunlit castle, past the the lighthouse on its wind-blasted island, relatively still today.
As the ferry revolves to orientate itself toward Tangier, sunbeams patrol the passenger area and the ceiling shimmers like the walls around a swimming pool. I watch the Spanish coast recede and see anew the beauty of the place where we live: the old town of Tarifa and the mountains that surround it. The wind turbines that cluster along the ridges of high ground, the rocky outcrops and the sand dunes. More
In Plenary, Presentation on November 14, 2013 at 11:25 am
Cádiz at night is the 18th century through a film noir looking glass. At every intersection in the old town the antique street lamps line up in all four directions, their light rising to illuminate the upper floors of the terraced town houses. Oddly uniform facades of cluttered little ornamental balconies – most glassed in to form protruding, paned windows – recede symmetrically into the distance on all sides. It’s a vertical world – the tall houses, the litter-strewn triangle of the retreating street, the mirror image funnel of sky revealed at roof level – in the form of a slender ‘x’. You might reasonably expect Mozart to walk around the next corner. In a trilby. Hands deep in the pockets of his overcoat, a gitanes dangling from his lips.
At street level the light of the lamps falls on cobbles, on ground floor walls whose colours daylight will reveal: the characteristic shades of the city – wine, champagne and salmon pink, pale blues and the ubiquitous brown of wet sand. All of them a little washed-out, as if the residents of this sea-locked city have grown so used to seeing their handiwork bleached by the sun and salt that they now paint it that way to begin with.
Some of the street level facades are left unpainted, exposing the mottled grey and sandy colours of the stonework and giving rise to the impression that this whole city grew organically from the waters that surround it; a close look at the big blocks reveals a surprising texture – they are comprised of shells and must be made of material gleaned from the sea bed. Neptune’s own bricks – a spellbinding detail. More