In Presentation on April 10, 2014 at 8:58 am
The feathery touch of the late sun against worn sandstone blocks, almost physical, like a warm breath.
In a plazuela to the side of the Iglesia San Dionisio, overlooked by a virgen in ceramics, K’s glass of water casting a long shadow and splitting the light into a colour spectrum on the arm of her chair.
The wrought iron doorway of the meson, swung open, and the waitress’ white shirt that catches the sun as she stands there.
To the left of the door, a window covered in iron lattice and behind that, glass panes framed by dark wood.
All of it set into the heavy blocks and all of it softy brilliant in the slanted sun, dappled in the shadows of the orange trees as the last light shines like time itself, animating everything.
Our table, which I thought messy at first and almost avoided till I saw that the others were the same, in fact strewn with fragile white stamen, fallen from the orange blossom overhead. The air sweet and heady with its perfume.
Hello again, Jerez.
The little plazuela is three-sided, opening up onto the larger Plaza de la Asunción with its weather-beaten but wonderful old cabildo More
In Presentation, Production on March 14, 2014 at 8:47 am
Very few of you, I imagine, will have enjoyed the depth of understanding, clarity of judgement or richness of insight that K and I have been enjoying recently with regard to the questions and quandaries of global geopolitics. Perhaps as few as none of you will have been able to appreciate, as we have, the fine balances and convolutions, the real dilemmas and delicate considerations that George W Bush, for example, along with his now legendary team of peace enthusiasts – Cheney, Rumsfeld, Rice and Powell – will have had to grapple with in their relentless pursuit of justice in the Middle East.
The precision that will have had to accompany Bill Clinton’s more famous compassion as he weighed up the countless (and often contradictory) criteria for going into, or not going into, or going into and then pulling out of, a Kosovo descending into deadly chaos. The teetering structures and the slip-slide systems that threaten constantly to tumble on the turn of a card.
A card in a house of cards. The often split-second timing with which the great players must make their calls and live with the consequences: Franklin D Roosevelt, the Federal Reserve and the war in Europe, Saddam Hussein and his attempted liberation of Kuwait, Margaret Thatcher’s critical response to the Falkland crisis, without which the world would be so very different today – what all of these leaders had in common of course was an unwavering regard for the well-being of the people their decisions affected. More
In Practice, Presentation on February 19, 2014 at 10:27 am
“If you annoy me in Ikea today,” says K – we are on Calle Luna, a long pedestrian shopping street in El Puerto de Santa Maria that begins near the water where the tapas bars cluster along Calle Misericordia and ends in the Plaza de Juan Gavala, a little square of flower sellers – “I swear, I will leave you.”
It is K’s contention that I make a poor companion when it comes to enjoying the many delights that Ikea has to offer; I don’t like admitting to my faults any more than the next person but in this case I would have to concede the point – in Ikea one actually ascends into hell and the second my foot leaves the top of the infernal escalator the crankiness kicks in like clockwork.
Where are the pencils? Where are the bloody pencils? What is this thing anyway? Is that the number for the red or the white? White brilliant or white matt? What are we doing in the kitchen section? We don’t need anything in the kitchen section…
I invariably find myself admonishing K to ‘focus’. Never mind that teams of psychologists and designers have been brought in to create an environment that would prevent anybody from focussing. Never mind that K simply doesn’t want to focus, that she has never shown the slightest interest in focussing. Never mind that I’m not her headmaster. No, I acknowledge none of it – I just hop around after her barking the word ‘focus’, like a broken monkey. More
In Practice, Production on February 12, 2014 at 12:01 pm
In February, with a messy sky diffusing the dawn light, the horizontals of the beach are toothpaste stripes; the water’s blue is deep and cool and the powder that whips across the surface of the sand makes it flutter brightly. As the liners head out onto the ocean and the whitewater flashes its thousand teeth, the day looks like it tastes of mint.
I turn left, not right as I usually do, so instead of making my way through the long grasses of the bird sanctuary, I walk south along this very last bit of Spain’s Atlantic coast, towards the island. The morning is bright and blustery. The winds were strong overnight and the little square where the promenade widens out is an apocalyptic scene; see-saws and rowing machines poke out of the sand like relics of a former time.
The beachside bar that overcharges us for wine whenever we’re absent-minded enough to end up there won’t be overcharging anyone tonight – the makeshift roof of corrugated iron that covers its terrace has collapsed. A new chiringuito, not yet built but present in the form of the steel girders that have been driven deep into the sand to support it, sits next to the causeway. Its customers will enjoy enviable views – of the island itself, and the lighthouse and the Tangier coastline – and I imagine they’ll pay for them in pricey wine, but for anyone who chooses not to be one of its customers, it will be a carbuncle. 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 Practice on December 16, 2013 at 10:02 am
“You’re a genius.”
My first words of the day. K has just handed me a second can of isotonic-whatever-it-is and informed me she still has a little bottle of water in her bag, and some ibuprofen in the car. The woman is a genius.
My head – or what remains of it – falls back on the pillow. It does strike me as a little odd that she would choose such a moment to tickle my feet, but then I realise she’s putting my socks on. That’s good; I wasn’t going to get around to it anytime soon. While I’m being dressed, the images start flooding in; the first of them provide me with my bearings. I’m in Gibraltar.
No wait, I’m in La Linea, across the border, but I was in Gibraltar. I remember waiting at the runway after dark while a Monarch jet landed, more or less silent in the air as it slipped in from the east, but roaring on the tarmac when it touched down right in front of us and deployed its flaps. A little more waiting while it trundled back into view and towards the terminal…
…K is putting my underpants on. I have neither the energy nor the necessary synaptic functionality to feel ashamed of myself. I am, however, able to feel a lot of pain, somewhere behind my eyes. I wonder what could have caused it. Could it have been the Domaine Patrick Mauvy 2012, a Sauvignon Blanc from the Loire valley? It was certainly fruity, I’ll give it that, and successfully avoided that ‘furniture polish’ thing that Sauvignon’s so often don’t, but apart from that it seemed innocuous enough… More
In Production on December 6, 2013 at 9:28 am
The other day, I had a slice of bread and butter. It was very nice.
Quite a week!
It was an especially nice slice of bread and butter because K made the bread. That’s right: Casa Alotofwind has acquired bread capabilities. A major breakthrough, and not for want of trying – we’ve both been at it for years. We’ve basically been the Iran of bread making.
K has been the front runner from the get go; the results of her attempts have been consistently better than mine. Less ‘bricky’ somehow. Less evocative of the construction sector, if you will. Mine we have regularly not even bothered to eat. Bakery in general has always been her department, as is anything that requires any degree of precision or self-control.
When I say that her bread has been better than mine I should add, in the interests of transparency and candour, that the difference has not been a marked one. Neither of us ever produced a loaf that had the necessary vim to peep over the top of its tin till this week. To be honest, given that we didn’t even eat my efforts, they might actually be described as better, in that sense. Not that the bread was better but, you know, the outcome.
With K’s we ploughed ahead. Whether this was down to their (slightly) superior appearance or whether it was a personality type thing, fuelled by a fear of saying no to her, I couldn’t possibly say. More
In Uncategorized on November 28, 2013 at 8:23 am
Writing is a question of motive, reading the same. It’s important to know why you’re doing it.
I can tell you why I write: it’s because I love the world as much as I hate it. Because I know it’s all I’ve got. Because a place can fill me up till I can’t breathe any more, pouring its stories into me like intoxicants. I can feel them in me, making me woozy even if I can’t always make them out, even when I can’t tell insight from pure imagination, or if those two things can be told apart.
I write because every time I so much as go for a walk the universe bowls me over. The daily litany of wonders: the sun, the wild Atlantic, murky Africa, the long coastal grasses and the man who won’t say hello to me even though we’ve passed each other by down at the water a thousand times. The litany of wonders and how it grinds. How it rubs raw.
I write because I won’t live for long. Because I’m a fucking mayfly and it makes me angry. It makes me grateful too. I write from the gratitude and I write from the anger. I write because I want to give you something and I write because I want something from you. I want your touch, like a cheap song; I want your breath on my neck. I write to make music of the noise, to make a noise in the dreadful silence, to find a silence in the roar. That is why I write.
Why do I read? See above. More
In Production on November 22, 2013 at 7:50 am
Up in the scrub of the bird sanctuary, the little wooden bridge has been listing for a couple of years and now wobbles, worryingly, over a whorl of fish in the river below it – a great tumult of watery life, the odd flash of silver belly glints in the writhing green murk.
Out over the Atlantic it’s getting brighter and the clouds have dipped beneath the full moon, cupping it as they fan outwards and upwards in either direction like a jewelled insignia. On the opposite horizon the sun hangs low like a hunter, its light predatory on the long, back lit grass as night flees.
Straight down the slatted walkway, its tip not quite clear of the black Rif mountains, the lighthouse on the island blinks. I’m sweating under my hat and warm jacket and I pick up the pace, on my way back to the first coffee of the day.
Later, up where the bus pulls out of town, opposite Lidl and arranged around the roundabout, a clutter of tattered hoardings hawk property for sale or rent. One of them has been there since I arrived three years ago and features an artist’s impression of a development that has never been built. The ground around them is strewn with rubble and litter and behind them the concrete training tower for the fire service seems to list a little itself. All in all it’s the ugliest little corner of town but you can still see the Strait and Morocco from here and a young man in a baseball cap and a leather jacket has chosen this spot to find Mecca; he’s up on the verge, prostrate in prayer. 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