If Nobody Speaks of Remarkable Things

I think I wanted to find something new, something visibly changed, something I could point to and say this is what it is, this is where it’s beginning.

But I couldn’t find anything.

I pressed the palm of my hand against my chest and tried to count my heartbeat.

It felt faster than it should be, and my skin felt hot, shining red, as though the blood was rushing to the surface and gasping for air.

I sat there for a long time, I fell asleep in the chair and when I woke up in the morning I was late for work.

Chapter 4

In the backyard of number nineteen, a woman is hanging out her washing, murmuring a song to herself and squinting against the light. She can see people sleeping in the back room of next door, she is glad they are quiet now, it means perhaps her children will sleep more.

She stoops for a handful of pegs and adjusts her headscarf. She hangs out a row of salwar kameez in different sizes, bright swathes of colour printed on thin fabric, she hangs out shirts, trousers, endless variations of underwear. And when she is done, and the whole yard is heavy with wavering lines of wet bunting, she straightens up and puts her hand to the hollow of her back, curves her face upwards. She interrupts her murmured song and listens to the muffled rumble of the morning. She breathes slowly and deeply, and for now the air smells clean, infused with the bright wetness of clean laundry.

The young man at number eighteen, with the dry eyes, he’s not dressed yet but he’s awake and he’s busy, he’s crouched on the floor, arranging a collection of objects and papers.

A page from a TV guide. An empty cigarette packet. A series of supermarket till receipts, stapled together in chronological sequence. Leaflets advertising bhangra alldayers and techno all-nighters. Train tickets. Death notices cut from local newspapers. An unopened packet of chewing gum.

He lays them all out on the floor, lays them out in size order, rearranges them in date order, blinking quickly. He stands back and looks, and writes out a list of the objects in front of him.

He turns on the television and picks up a polaroid camera. As soon as the screen warms up he takes a photograph of it, scribbling the time and the date on the back of the blank printout, seven a.m., thirty-one, oh eight, ninety-seven.

He lays the polaroid next to the cigarette packet, watching the shapes darken into colour and light. He turns back to the television, blinking, and watches Zoe talking about pop music in a London park, the soft morning light flitting through the trees and lighting up her hair, she says we’ll be having it large and he turns the television off.

Next door, in the bedroom of number twenty, an old man is lying awake beside his sleeping wife, he is holding his cupped palms close to his face and looking at the tiny flecks of blood he’s just coughed out of his lungs. He is fighting to control his breathing without waking his wife and he is looking at the pictures of their nephews and nieces, their great-nephews and greatnieces, propped up on the dressing table. He feels old, and he feels afraid. He listens to the steadiness of his wife’s breathing, and he thinks about the first night they spent together, a smuggled liaison in a seaside hotel nearly sixty years ago. He remembers the pattern on the wallpaper, the luxury of a three-bar electric fire, the view of the hills from the window. He remembers their shyness, standing awkwardly at the foot of the small bed and reaching out very slowly, kissing once, twice, moving uncertainly to hold each other and gradually allowing their curiosity to prevail. He remembers her insisting that the light be kept on until they slept, and that their clothes be folded neatly. And most of all he remembers how wonderfully startled they both were by their eventual intimacy.

He lies still, listening to his wife, waiting for the morning.

In the attic of number twelve, a young man is leaning out of the window, stripped to the waist. He is smoking a cigarette, holding it away to one side and making sure he blows all the smoke out into the air, and he is thinking about the day ahead.

He finishes the cigarette and drops it down into the street, watching it fall, the way it glows brightly as it accelerates towards the ground, the way it bursts into sparks on the pavement below. He turns back into his room, unwrapping a stick of chewing gum from his bedside drawer, taking a wallet from under his pillow and emptying out the cash. He sits crosslegged on the bed, running a flat hand across his forehead and through his thick black hair, looking at the folded notes with a bounce and a jig of excitement. He counts the money, again, smoothing the creases, sorting the fives from the tens, stacking them in ten neat piles of a hundred pounds each. He grins, biting his lip, nodding his head and tucking the notes back into his wallet, the wallet back under his pillow. Today he thinks, today today, and he lies on his back, one hand behind his head, the other hand a fist which he kisses and shakes in the air. He closes his eyes, but he doesn’t sleep.

At number eighteen, the boy with the sore dry eyes pulls a shoebox from a high shelf and sorts through the polaroids inside, he picks out a handful and fans them out on the floor like a poker spread. A picture of a lamp-post covered in marker-pen graffiti, Uz 4 Shaf 4 eva 9T7, Izzy is fit signed who, Lee an me wuz busy like bee, Sian equals slag, and so on and so, the soap opera of the street corner marked out in rain-faded initials and abbreviations.

A picture of a fly-posted garage door, poster layered upon poster, streaks torn through the layers of dates and venues and djs and bands, the top corner peeling off under the weight to reveal bare metal.

Empty drums of vegetable oil piled up outside a curryhouse like tins in a nineteen fifties supermarket.

A traffic jam at night, beaded white lights stringing down the road like christmas decorations, rain splashed on the camera lens.

Dark dribbles of blood in a pub carpark.

He picks up the camera again and carries it through to the bathroom, he takes a picture of himself in the mirror. He blinks, tightly and painfully, laying the camera down and holding the palms of his hands to his eyes, screwing his face up, rocking his head.

The colours in the polaroid wake into the light, his selfportrait taking shape while he searches for eyedrops, his blind hand like an addict in a medicine cabinet, knocking over shampoos and deodorants and razors.

In the back room of number seventeen, the girl with the glitter around her eyes is lying awake, chewing gum, looking at her sleeping friends. She knows she’ll be awake for some time yet, her brain is piled high with powders and pills and the muscles in her legs are still twitching from the dancefloor. She looks at the girls on the bed, the one curled around the other, protectively, she watches their shoulders and breasts rise and fall, shifting gently into position, she thinks about the piercing in the short girl’s tongue and wonders if it’s true what they say. The stereo is still playing, very quietly, she watches the small green lights bubbling up and down with the music, she listens to the singer going doowah doowah, I love you so, oohwoah. She feels the good strong weight of the white-shirted boy’s arm across her chest, she tilts her head forward to kiss it. The music goes doowah doowah I love you so, and she thinks about the two of them. They haven’t spoken about it, they haven’t said what will we do when we leave here, do you want to come with me, let’s work something out, and she knows that this means they will quickly and easily drift apart, into other people’s lives, into other people’s arms in rooms like this. She is surprised that this doesn’t make her feel sad. She listens to the mus

ic, she looks around at the things people dropped when they fell asleep or went out of the room, she kisses the boy’s arm again and she feels only a kind of sweet nostalgia. She wonders if you can feel nostalgic for something before it’s in the past, she wonders if perhaps her vocabulary is too small or if her chemical intake has corroded it and the music goes doowoah doowoah.

In the bathroom of number eighteen, a face looks out from the polaroid, wide-eyed, composed. A young man, early twenties, a smooth round face, straight nose, full lips, pale hair losing thickness around the temples, a buckle of skin folded below each eye. It’s a good picture, and in a moment he will date it and place it with the other objects he has collected together on his bedroom floor, a magazine article, a half-finished crossword, a twin-bladed razor.

But for now he has his head tipped up to the ceiling, a capful of solution bathing the dryness of his eyes, one hand gripping the sink until the ache subsides.

It’s light that makes his eyes hurt, mostly, bright or sudden light, and the dust in the air. It’s a rough prickling sensation, like sandpaper pressed up against the skin of his eye, a dryness he can mostly soothe by blinking rapidly, squeezing moisture across the surface.

It’s worse in the city, with all the dust and the dirt, and it’s worse in the summer, with the long bright days, but usually it’s bearable, usually he doesn’t notice and he just keeps blinking away that gritted feeling. And if it gets too much, like it has now, he comes to his bathroom and bathes his eyes, and it’s a relief like finding a spring welling up in the desert.