This is the principality of gone
With boundaries mapped in ink that disappears
A history of gaps
And peopled by names unpronounced for years
This is my page that the blank margins ate
Till only the eraser scars remained
An empty bag of holes
A silence by quotation marks contained
Mick felt even less qualified in having an opinion with regard to poetry than he did with regard to art, but he quite liked the shape and gait of it, a limping buffalo with one leg shorter than the others and a dignity especial to its stumbles. He refolded the sparse document and slid it into a hip pocket where it wouldn’t crumple, then, extinguishing his cigarette, turned once more to the nursery’s open door. It was a shame. He might have warmed up more to culture if it didn’t act quite so compulsory. Ah, well. There couldn’t be a lot more of this maddening exhibition left to see. Sighing resignedly he went inside to face the turpentine-thinned music.
This time, re-immersion wasn’t such a shock. The atmosphere appeared to be unwinding as the afternoon wound on, the crowd unclenching to become more navigable. As before, he was resolved to pick up from the point where he’d left off, and so retraced his clockwise path around the mirage-cluttered toddler corral. He could have gone the other way, gone widdershins, although that wouldn’t have seemed right: you didn’t find your place in books by flipping back through from the end, and Mick was already convinced that Alma’s barrage of illustrative non-sequiturs was meant to represent some sort of story, perhaps one so big and complicated it required an extra mathematical dimension to narrate it in. Or possibly her magnum opus had gone critical and he was looking here at the ballistic aftermath, at the blast distribution pattern of his sister’s weaponised and fissile head. In either case there was a tale being told, if only to the bomb squad analysts. Negotiating speed-date social interactions with a dozen people he’d already greeted, like distant acquaintances repeatedly encountered in successive supermarket aisles, he made his way around the central tableau-laden trestle to a station just beyond exhibit twenty-three, about three-quarters of the way along the pretend gallery’s east wall. With the infernal gob of the Destructor drooling sparks and toxic vapour-trails at the peripheries of vision to his left he did his best to concentrate on item twenty-four, the cryptic watercolour abstract that was directly in front of him. Its crank-green marque read Clouds Unfold. Perfectly circular, there was a saucer-sized disc of Byzantine hue and ornament placed just off centre in a large quadrangle of off-white stained by parabolas of ghostly dove-grey, strokes and blotches so translucent they were hardly there at all, visually weightless to a point where they could scarcely be called masses. In the corner at the bottom left a scalloped triangle of thin dishwater had collected, while a mackerel feathering of dusty floss intruded from the upper centre. Just beneath this, mounted vertically, was hung a torn-off owl’s wing or perhaps a wavering finger-tower of interstellar gas. At intervals, against the trackless ivory expanse there clustered flecks of darker neutrals, microscopic meteor shoals lost in a bleached or colour-reversed cosmos, while around the ball of blue-gold filigree were traced sperm-pale elliptical trajectories that … oh. It was an eye. It wasn’t abstract after all. Filling the area from edge to edge it was a Luis Buñuel close-up of an eye, but not one set in flesh. This was an orbit tooled from Portland stone, with a faint down of graven eyebrow creeping
into view above and an abbreviated sweep of cheekbone to the left below. It was the non-functioning optical equipment of a statue and the satellite-ellipses were unblinking lids, those of a witness to catastrophe who could not look away. The barely-visible fanned plumage to the right fell into resolution as the shadow-trap to one side of the nose’s bridge, a chiselled bluff that dropped away into the dustbowl socket. Arbitrary specks revealed themselves as texture, a stone epidermis weathered and eroded by two hundred years of rain and airborne grit. And at the picture’s focus, in the gilded iris was a medieval planetary orrery picked out by auric threads against nocturnal indigo, the flight of moon or comet plotted with sun-coloured lines, projected through fixed sapphire time. It was the watch movement of a known universe, caught in an opaque and forever awestruck gaze. Mick noticed as an afterthought that the work’s basic composition was almost identical to that of the preceding shot, the dying bird’s eye view of an incinerator’s maw that simmered with particulates. He wondered if this elevating latter piece was placed in close proximity to the distressing former as a kind of ready antidote, the way it often worked out with dock leaves and stinging nettles. Feeling, at least, that the painting had gone some way to restoring his own equilibrium he sidled right into the canton of exhibits twenty-five and twenty-six, hung one above the other in the northeast corner.
Panoramic landscape over lofty portrait, the paired images were in a T-formation though were not apparently connected other than by nearness of location. On the narrow slice of wall between the two a single piece of notepaper was taped. It had dual titles written on it in erratic emerald, with both ascending and descending directional arrows indicating which was which. To say that it looked casual was to understate the point. Rather, it looked like an inscription on the inside of a public toilet door, and Mick hoped Alma could get through the final ten or so descriptive jottings without adding a big cock and its obligatory three crocodile tears of liquid genetics. The slim letterbox proportions of the topmost rectangle of art appeared to contain still a further minimalist abstract, although having just been misdirected by a sculpture’s eyeball Mick elected to look closer before he came to a verdict. Following the label’s raised green spear back to its point of origin he learned that this piece had been called A Cold and Frosty Morning, though the reasoning behind this choice was far from obvious. The picture was a Cinemascope view of mottled fog, a cobweb field that might have been achieved by taking a dark background tone comprised of black and brown and dark viridian and then applying overprinted fibres in a bleached and tangled fuzz, possibly with a sponge. Nose nearer to the cloudy marbling he could make out that the shade visible between the matted strands was actually a hyper-realistic study in acrylics which detailed an undergrowth of intertwining stems and branches, curling leaves reduced to nibbled fractals at their edges, all of this fastidious work concealed by the obscuring steam of down. It struck him that he might be looking at a bush or shrub horrifically enveloped in the spun threads of some huge arachnid, an albino strain if one went by the colour of its fine suspension bridge secretions. Was it one of Alma’s monster paintings but without the monster? Only when he noticed a small, pearly slug of pigment raised up a few millimetres from the canvas and connected to the budding twig above it by the slenderest of white lines did he realise that the architect of this fibrous enigma was not some mutated spider but, instead, a minute toothpaste-squeeze of silkworm. Having noticed this unusually industrious individual it was still almost a minute before Mick was made aware that there were dozens, hundreds of the dangling, glinting casts standing out from the surface, an infinitesimal and boneless multitude become a grain, a patterning of wet and glistening corrugations. It was marvellous and, at the same time, made his skin crawl. It encapsulated one of those electrifying moments when nature revealed itself in all its alien and appalling splendour, all its bio-shock. Realising that the foliage barely noticeable under the occluding fluff must be a mulberry bush, he felt a modest pang of crossword-puzzle satisfaction at deciphering at least the title of the work, despite having no clue how it related to the exhibition’s overall direction, or indeed to anything.
Stooping a little, hands on knees, he transferred his attention to exhibit twenty-six, immediately beneath. Instantly recognisable as figurative illustration with the straightforward appeal of a classic children’s book delineator, perhaps Arthur Rackham, this was more Mick’s cup of dormouse tea. Tracing the drooping arrow upward to its source he learned that this one was called Round the Bend. In soft and faded pastels, pinks and purples, greens and greys, an outdoor scene was conjured with a wall of towering conifers in the far background, underneath a churning and rain-bloated sky which nonetheless seemed colour-pregnant, immanent with spectra. Unkempt grass rolled undulant between the tree line and a rush-fringed river, slowly winding like some tranquilised constrictor through the bottom of the picture nearest to the viewer. Here, standing with great composure on the bank and almost to her waist in the sharp reeds, was a bird-boned old lady in a cerise cardigan and navy skirt, her lustrous brunette tresses now an ash-slide. Though it clung more tightly to the skull beneath than in her youth, her face still had a loveliness; was wry and clever, luminous with fearless curiosity. Mick noticed that his sister had made a mistake, a stumble with the aquarelle that made it seem as if the woman had crossed eyes, but this did not detract from the hushed, church-like atmospherics of the drawing. There the old girl waited, relatively small down to the picture’s lower right, head cocked politely like the listener in a doorstep discourse, a means-tested Alice pensioned to a fallow wonderland. Emerging from near stagnant waters to the left and reaching almost to the picture’s upper border, patently the reason for the tall and vertical proportions of the frame, was the deformed river-leviathan from item twenty-one. The stalk of its distended throat surged up and up out from a rippled lace of pond-scum, robed in slime, thick as a redwood with the railway-carriage head precariously mounted at its top end, tilting in a compensatory drift like a cane balancing on someone’s palm. Deep in their sockets, whelks lodged in both barrels of a shotgun, the monstrosity’s malicious little eyes were fixed enquiringly upon its human interlocutor. Unnoticed in the earlier representation, Mick could now determine that the thing had hands, or fins, or something: splayed and spidery dactyls with discoloured webbing stretched between them, predatory umbrellas raised in front of the freshwater basilisk and gesturing as though in trivial conversation. Tugboat-grinding jaws hung open in mid anecdote and there appeared to be the rusted carcass of a child’s perambulator, snagged on a three-foot bicuspid by its handle, in amongst the dripping pelt of waterweed. The carefully pencilled depiction, blotted here and there by artfully positioned teardrop-damage, floating bubble-globes in which the soluble crayon details bled like spectrographs, glowed with an ambience that was hauntingly familiar and which Mick eventually identified from his few Alma-instigated juvenile experiments with L.S.D. The tingling lysergic apprehension of a morning world about to start, beaded with Eden, was as he remembered. So was the exciting and uncomfortable sensation that this was the opalescent anteroom of madness, granting access only to whispering corridors, sedative monologues and a cumulative estrangement from the ordinary, the familiar, and the dear. The still, prismatic scene insinuated that unearthly worlds and inconceivable experience might lie behind more faces in the crowd than were suspected, and that the agreed-on family-friendly Milton Keynes of mass contemporary reality may not be privileged. The frozen moment was a violet-tinted window on the overgrown margins of being, the outlying wilderness of phantoms and hallucinations that encroached, a mind or two more every day, on reason’s street-grid.
Having reached the east side of the nursery’s southerly extreme, Mick found another ninety degree swivel was required before he could continue. At his back the multitrack surround-sound of distinct and differentiated voices mixed down to one single unseen individual possessed by a demonic legion, a slurred chorus of phased glossolalia swirling in and out of audibilit
y behind him as though on a shifting wind. He was beginning to find Alma’s show disorienting, a relentless fusillade of rarefied and unfamiliar feelings, an unhinging blown-fuse opposite of sensory deprivation tanks more like a psychiatric particle collider, his opinions and reactions decay products of aesthetic atom-smashing. Bracing himself, fearful of some new strain of highbrow malaria, he embarked on the penultimate walkabout stretch of his brain safari by examining the paired works furthest to his left of the south wall. Landscape-proportioned pieces big as family-sized cereal boxes and once more hung one above the other, twenty-seven over twenty-eight, while these were perhaps less imposing than the efforts that had come before, they were certainly no less enigmatic.
Item twenty-seven, labelled Burning Gold by its green scribbled afterthought, was not a new idea – Mick thought he could remember Alma telling him of an American named Boggs that she admired who’d first done something very similar – although the details of its execution were markedly different. A ridiculously enlarged (or perhaps inflated) reproduction of a banknote, straddling the fine-to-non-existent line dividing art from forgery and rendered in authentic-looking pen and ink, it seemed to be accumulating more absurdist details as he studied it. It was a twenty, with a copyright line at the bottom stating this year, 2006, to be its date of issue. Details of typography and serial numbers were identical to standard currency, as was the colouration and the general composition of the counterfeit’s elaborate illustration. Certain elements of content, though, had been transposed or altered. To the note’s left, as on normal money, a vaguely amphibious-looking Adam Smith faced right in profile, wrought from mauve engraving with a face of gentian dust, a topcoat and peruke of thumbprint whorls. The capitalist visionary, however, now found himself in a staring contest with a matching profile over on the right, where a comparably meticulous lavender bust of Alma’s pop-terrorist K-Foundation mate Bill Drummond had been added. Simultaneously serious and satirical, the Corby-reared Scot’s resolute gaze drilled into the architect of boom and bust’s bland salamander stare of self-assurance. There was clearly no hope of negotiation. In the centre-ground between the men, the customary diagram detailing eighteenth-century pin manufacture had been skilfully replaced by a rendition of what Mick knew from his sister’s testimony to be Drummond’s celebrated burning of a million quid up on the remote Hebridean isle of Jura, where George Orwell went to finish 1984. Against a sphere of Spirograph complexity and finely hatched in tones that strayed from sepia to strawberry were four men in a ruined cottage. Three of them – Drummond himself, his K-Foundation partner Jimmy Cauty and their witness, the TV producer Jim Reid – shovelled crisp fifty-pound notes into a central conflagration, while the fourth, ex-army cinematic auteur Gimpo, captured the resultant cash-to-ashes alchemy on film. Superimposed in purple lettering above where it said “Bank of England” was the altered legend: “The division of opinion in slave manufacturing: (and the great decrease in the quantity of slaves that results).”
Moving on to item twenty-eight, just underneath, Mick thought that the idea of slavery might well be what connected the two juxtaposed exhibits to each other. With a title-note that read The Rafters and the Beams, the lower work was a brightly-embellished reproduction of an eighteenth-century sea-chart that had three-dimensional inclusions. Hanging slack across the canvas, linking the west coast of Africa to Britain and America, were heavy lengths of dirty and encrusted iron chain attached by rusted fastenings to the picture’s surface. He looked carefully for hidden ironies or meanings, perhaps subtleties concealed within the map’s antique background calligraphy, but there was nothing. The mixed-media piece’s statement was apparently as stark and simple as it seemed on first sight. The tea-stained cartography with its quaint flukes of spelling and its guesswork coastlines was a Western view of history, the map and not the territory, a construct that was never real except on paper, which would be revised, forgotten, superseded, lost, a mind-set that would crumble and disperse more quickly than the parchment it was written on. The chains, though, they were real. Chains of event that could not be undone, they would endure forever and have solid consequence long after all the plans and paperwork and trade routes that had forged them had been rendered obsolete; long after every other element in this specific image had returned to mulch and dust.
The next inclusion, twenty-nine, was hung alone and mostly executed as a choppy sea of riotous gouache. It had all the roughneck jostle of the music halls that Mick had seen, as recreated by the nineteenth-century English moderns. In the false night of a matinee, the viewer looked up from amongst a cheap-seat audience of jeering drunks towards the stage, the painting’s focal area, contained within the second frame of a theatrical proscenium arch. Against a threadbare backcloth with a crudely-handled copy of the front of All Saints Church smeared on it, funny-looking actors postured on a platform between balsa pillars or sat huddled on the short flight of broad wooden steps knocked up in front of this, painted to look like stone. The seated couple on the foreground stairs, an angry woman and a man clad in a garish yellow plaid, possessed a seaside Punch and Judy air in their exaggerated spousal animosity, squatting at opposite extremes of the same cone of spotlight. On the raised-up boards behind them, seemingly unnoticed, several figures dressed in period costumes that were all a uniform chalk white but otherwise historically mismatched struck attitudes of indignation or surprise with over-emphasised expressions on their floured-up features. Was this meant to be a supernatural tragedy, a Macbeth or a Hamlet with too many ghosts? Meanwhile, close to the onlooker, a herd of lewd and catcalling spectators looked on in ribald amusement, rage, or lechery. There was a messy proletarian energy that could get out of hand in the daubed light and beery gloom. The picture’s hurried green appendage, with its sticky tape detaching at one corner and a consequent diagonal tilt making it even more difficult to fathom, read, unhelpfully, The Steps of All Saints. Mick was unsure what to make of it. The seated pair, dressed for the 1940s, did not look that different from the rough-and-ready crowd that heckled them. Their anguish and discomfort, then, seemed somehow both contemporary and more real, rather than merely acted. If that were the case, though, the pretended spectres strutting and gesticulating from behind them bordered on the inappropriately comical. The picture was disturbing in its weirdness and its incongruity, the sense of something very personal between the duo on the steps that had become a melodrama, a performance, exposed to the disapproval of a ticket-buying public, squirming in the limelight and mocked even by the special-effect spooks. It was a private moment in the open air that had been brought inside, into a rowdy auditorium to entertain an undiscriminating mob, displacement as unsettling as an indoor crow. Making a show of themselves, was that what the piece was saying?
Still turning the painting over in his forebrain, gingerly like a grenade or hedgehog, Mick moved on towards exhibit thirty. As he did so it occurred to him that, from above, he and his fellow gallery-goers must resemble tokens as they inched around the oblong room’s edge to avoid the table in its centre, pieces on an outsized board game of the kind that had tiled his insomnia of the previous night. He glanced around the room, attempting to determine which amongst the other patrons was the Scotty dog and which was the top hat. Over in the far corner, near the frightful shot of Mick’s scoured features, Alma was apparently receiving some kind of a telling-off from Lucy and Melinda, very possibly about the cruel and yet ingenious portrait they were standing next to. Good. It was no more than she deserved. The captive population of the nursery had thinned a little in the hour, hour-and-a-half since the doors opened, although not enough to make his progress on the maddening Monopoly path any easier. By the wedged-open door Bert Regan looked to be wiping the floor with both Ted Tripp and Roman Thompson in a raucous laughter match, a less cerebral version of thrashing two chess opponents at the same time. Elsewhere Rome’s boyfriend Dean stood with Dave Daniels, looking at the brawling giants as they laid about them with their ore-splashed snooker cues. Dogs were arguing offstage, out in the Saturday-slumped Boroughs. Shifting his attentions back to item thirty, he moved to the next square of the circuit to receive his forfeit or establish a hotel. He didn’t pass Go or collect two hundred pounds.
The thirtieth work, in landscape aspect and enclosed by a slim silver frame, a glassy watercolour on smooth-surfaced white board, was called Eating Flowers. More than any other single piece it harkened back to Alma’s earliest employment as a science fiction cover-illustrator and was in its way breathtaking, if you liked that kind of thing. The setting, a colossal arcade that appeared to be the one from exhibit thirteen although in an advanced state of dilapidation, had tropical vegetation growing through its mossy flooring, this domestic jungle reaching for a collapsed ceiling open to unprecedented constellations, at once an interior and exterior view. Mile-long lianas, twined into electrical flex, trailed from what corroded spars remained of the remote and devastated roofing, chromed by unfamiliar stars. Moths of prodigious size flapped damply through the astral twilight, warping planks caught fire with orchids and this terminal Elysium was only backdrop for the startling apparition thundering across the lower foreground. His physique spare as an anatomic diagram, his skin with the translucency of greaseproof paper, an old man without a stitch on and hair foam-white like a cresting wave raced down the overgrown parade in pounding Muybridge strides. Eyes bulging with the strain of his velocity, his cheeks distended, brilliant petals spilled from his crammed mouth to stream away behind him in a tulip contrail. On the sprightly ancient’s shoulders, riding him, a luminously perfect baby girl was saddled, molten blonde curls smearing to a comet’s bridal train as she and her feverish steed traversed that final forest. Their extremes of age made allegorical interpretations unavoidable, a freshly born world carried on the back of its exhausted predecessor or the old year and the new both late for an appointment with an as yet unforeseen millennium. It was some sort of race, perhaps the human one, projected through the fourth dimension, through the continent-colliding and empire-erasing medium of time. It looked like an unbearable amount of sweat and effort, this compulsory and rushed migration for the porous borders of a foreign future where nobody spoke the language. While it may well have been Mick’s own art-fatigue which coloured the perception, he thought that the old boy and the species that he represented looked like they were dying for a good sit down. He was himself about to hasten that eventuality by hurrying to the next presentation in the sequence, when a voice beside him asked “ ’Ere, ent you Alma’s brother?”
From Mick’s right, standing in front of item thirty-one with something in the quizzical tilt to her dust-grey hairdo reminiscent of a wading bird, Bert Regan’s mum looked at him sideways. He found himself liking her immediately based solely on the gristle harp twang of her accent and the way she held her handbag like a skating-judge’s score. She’d had him from the first dropped aspirant.
“That’s right. I’m Mick. I know who you are. I was talking to your pride and joy
a little while ago, so that’s where I got all the details from.”
She pulled a face.
“Me pride un joy? That’s me best crockery. What did you wanner talk tuh that for?”
Mick’s laugh came from somewhere deeper in his stomach than his laughter generally issued, from a microscopic Boroughs in his biome where the intestinal fauna transposed vowels and had an inconsistent policy on consonants. His instantly familiar new acquaintance joined in with her own accordion burst of kippered cackle, shooting a long-suffering glance towards her tattooed and guffawing ginger offspring as he bantered by the nursery door with Tripp and Thompson, a reunion with former shipmates from a pirate decade that had gone down with all hands some time before.
“Ooh, ’im. Well, take no notice o’ what ’e sez. Iz arf sharp, or else iz up ter summat. ’Ere, but what abayt yer sister, all these pictures? She’s not right, your Alma, is she? I see that big one she’d done o’ you, made ayt o’ pimples. And that’s yer own sister what’s done that, not someone what don’t like yer. Shockin’. No, a lot of what she does, well, it’s a marvel, ennit? Just not very flatterin’.”
He was enchanted by her, thin and grey and local like the twist of smoke curled from a chimney’s sunset brickwork, charmed by her affectionately raucous corvid squawk so much like Doreen’s, full of coal and comedy. She’d been a looker, you could tell, and not so many years before.
He found himself obscurely wishing that he could have known her then. Perhaps he had, or had at least caught sight of her when she was younger, something to account for the extreme sense of familiarity that he was currently experiencing, based on more than her iconic status as a Boroughs woman, he felt sure.
“No. Flattery is one of the few things you can’t accuse her of. Here, that’s a Boroughs accent you’ve got, ain’t it? Did you used to live round here? I’m sure I’ve seen you somewhere.”