Hello. Weird day here. Aren’t they all? This spinnin’
blue rock gets more bizarre with every revolution. I’ve got a story to tell,
but I don’t know how to tell it. I don’t know whether to tell my testimony as
an autobiography, or as a piece of fiction, or as a mixture of both. I read a
book called Lunar Park (2005), by a
fella named Bret Easton Ellis some years ago. It influenced my writing immensely,
as it let me know that anything is possible. I can bend the truth, I can make
stuff up, I can swear that the make believe is real, etc. etc. Basically, like
a young man named Charles Wrench once said, “I am the Creator of Worlds, so I
decide the rules.”
I amplify lies, mix them with God’s Honour, interweave it all through with lashings of legend and myth, and away we go, alive with decent ingredients for a tale on the bounce. As Chopper Reid so famously stated, “Never let the truth get in the way of a good yarn.” He was so right. He also said that he was sat in a cell, unable to spell. This was after his bestseller.
I think that the results are special when you mix autobiography with fiction. I have to be careful here, because I don’t want to give away my own tried and tested tricks of the trade. Yeah, I like it. Metafiction is used to describe books which have self-awareness, like Clive Barker’s Mister B. Gone (2007). Love that too. There’s a technique called Breaking The Fourth Wall, and that’s when a character in the story talks directly to the reader and lets them know they are in an imaginary world of fiction. As if the reader doesn’t already know that. Interesting, but stupid, if you like. But I do dig such stuff, it has to be said.
Lunar Park, without me being acutely aware of it, was pulling out similar stunts. I tried to reflect a uniform sentiment when I was writing my prison novel, The Violent Arsonist (2007). It’s not as if I had the intention to bamboozle the reader, but I genuinely didn’t have much of an idea what was going on within the plot myself. This is because much of the prose in the book was centred on dreams, and we all know about dream logic. One moment, you’re sat in a café with a polar bear, the next you’re doing the waltz with the in-laws. Nothing much makes any sense now, does it? I wanted a story which exhibited the same traits. Why? Why not? Just did.
I’ve learned that for me personally, it’s not a book or a movie ‘making sense’ that appeals the most to me. I am just keen to take away with me a lasting impression which stokes my chakras. This may be a touching teary goodbye scene, or a penultimate combat scene, or a suicide or a bike crash or an animal attack. Anything poignant, really, and memorable. Making sense has got little to do with it. If you want sense and logic, watch a cooking show, or read a gardening manual. This was my motivation for The Violent Arsonist, which is about a criminal who is unable to rise up from bed, and is described, in no uncertain terms, as one, “Seriously f**ked–up novella.” And proud to be, at the time of writing. What? I was young and bold. Not quite fearless, but nonetheless brave.
I was abstinent from drink and drugs when penning that mad party, yet it’s by far the zaniest thing I’ve ever produced. It just goes to show that a sober mind is not necessarily the sanest mind. I wasn’t sipping hooch, I wasn’t blazing weed, and I wasn’t on meds. I think all of these dark materials, along with the dream logic, would have sent it over the edge. Wasted, in a lucid dream, and writing about it? Nah.
Now I’ve got a piece of fiction lined up called The Museless, but it’s starting off with characters I don’t even like, so I might scrap it and start something else. I have a girl called Romany who embodies Joy in my life so I might get into the habit of scribbling something about her. She’s a buoyantly afloat girl who sees the brightest lining to every situation. The Museless was jostling into gear with demons and devils but that’s not what I want in my life right now, more bad characters and more bad novel arcs. Life is too short to be depressed by one’s Own Shining. I call it the Shining like Stephen King calls it the Shining. It’s simple mental acuity which is capable of monstrous atrocity or trembling beauty. It’s defined by its effulgent creativity. In this modern age of terrorism, a person’s Shining may put them on a supremely dangerous and endangered list. It will make you a target. Mine certainly has. I think King gets away with it because he is a Gatekeeper, but who secretly knows what he goes through.
As one of my more understanding psychiatrists whispered to me one time, as he was hunched down over a table in a corner after a lengthy tribunal, “They pick on the bright ones.” If I was in India, I have heard, I would be esteemed for being a voice hearer, and elevated in society. Here in the West, I am frowned upon immensely. I read a top notch book from India which my doctor gave to me. He was called Dr Paul for short because nobody could ever pronounce his especially long surname, he believed in spirits and had poems published online. One was called the Lonely Planet. Anyway, this book he gifted to me was about one woman’s ordeal as she survived some floods in her village and held her own against the devil who visited her every night and ravaged her body and mind as she could hear the wind and the rain dripping down the metal sheeting of her shanty settlement, an undercurrent to her own yappy torment. It’s as if my doctor knew how my future was about to be laid out, and was giving me a forewarning of how to yield with the eternal footman’s snickering ways. The woman in the booklet both fears and yearns for the visitant; she describes him as a whirlwind which undoes all her crops, and a hammer which smashes apart her youth. I, on the other hand, and simply growing hoarse with repeated instructs directed at his going away.
Please God, take that madman way. He was passed onto me from a quack’s Indian book. Joking. It was a great book. I actually had a visitation myself, through analysing an illustration inside the book with several specific ‘scrying’ devices, including a torchlight and a magnifying glass if you must know. To scry is to more or less meddle with the preternatural. I started getting sightings of a Chinese girl with a Bradford accent who would appear down the man-sized crack next to the wall and my bed late at night, most notably 3am. This time of the day is known as The Animal Hour, or The Witching Hour, or simply 3am. Her head would be cranked at an obtuse angle, but rather than be terrifying to me she would come across as funny and amusing, mainly because she was pretty with a humorous voice. I still hear her to this day now and again, laughing boisterously across the pub, or repeating something hilarious a bartender may have said. We don’t get along like we used to because I denounced all spiritual activity in my home, and burned several artefacts, but I do still find the infectious shrill of her laugh a strength and a comfort in these lawless estates I stomp around in. At least someone else is seeing the fun side to things, like, you know, is what I think anyway.
So long then. I’m off to welcome back my many, many visitants into my pungent Golgotha. For 3am, of course. I’ll write about it one time. Stay tuned, you’ll be the first to know all about it.