Читать книгу Vulgar Things - Lee Rourke - Страница 23

I spend the morning wandering around the island in some kind of hushed daze. I venture up to Canvey Heights, which used to be the local dumping ground, its height the result of the island’s accumulated detritus. The views over to Leigh-on-Sea are extraordinary; to my right my eyes trace the built-up sprawl of Westcliff and then finally, in the real distance, the high-rises of Southend, and the pier, jutting out into the estuary. The sky above me is grey now; the vapour trails have all been covered up for the day. I look directly upwards, craning my neck, my head falling back. It’s immense and it frightens me a little, pressing down on me. I feel like I’m an ant or some other insect scurrying about in the dirt. It’s best to keep moving, to keep walking along so that I don’t notice it as much. I remember that I had decided to look in Uncle Rey’s shed after my breakfast so I head back to his caravan. I know the sky is above me all the way back, and it’s a struggle not to look upwards again, but I somehow manage it.

It takes me an age to find the key to the shed. I find it on Uncle Rey’s bedside table, which I think is an odd place to keep a key; he must have been in the shed each night, walking straight to bed with the key. The shed is much bigger than the other sheds scattered around the site. It’s set away from the caravan, a little further back from the perimeter fence. I open the door: the walls have been painted black so there’s not much light. I notice astronomical charts pinned to each wall. In the centre, before me, is the biggest telescope I’ve ever seen, easily bigger than me, set up on a tripod fixed to a round base that swivels. Next to the telescope, on the wall to the left, is a pulley-lever, a crude thing that Uncle Rey had obviously made himself. I naturally begin to pull it. A slanting shard of light bursts into the shed from the roof, which when I look up I notice is peeling back the more I pull. It’s made from thick, rubbery tarpaulin, and the more I pull the further it folds back, and the brighter the shed becomes. The light reveals a table behind the telescope that is stacked with more charts, books, notepads and coffee cups. I tie the pulley to a hook, leaving the roof open, and pick up one of Uncle Rey’s notepads. He’s listed everything he’d observed in the night sky: times, positions, durations and distances. I flick through pages and pages of the stuff. Underneath the table I spot two or three boxes, each filled with more notepads he’d used to record his stargazing over the years.

If only night would come now, for me to gaze into its depths, to see what Uncle Rey had seen, to reach into those ever-expanding depths. I want to study constellations, to try to work out their movements, just like he had done. I sit down and read through more of his notebooks. I spend about an hour or so doing this, before closing the roof and locking the shed back up. I put the key back where I found it. I feel excited, I’ve never really gazed at the night sky through a powerful telescope before and I can’t wait for night to fall. I sit on the bed thinking about this for some time before I notice the huge row of bookshelves on the opposite wall. I notice that it’s not filled with books, but with video tapes – old ones, some of them Betamax – DVDs, CD-ROMs and cassette tapes. At the foot of the bed are two video recorders, a DVD player, an armchair identical to the one in the other room, and a large TV. Next to the TV are four cine-cameras of varying ages, from an old VHS thing to some compact digital gadget. The TV is on a table, under which I spot a couple of old boxes filled with more CDs and DVDs, all of them, just like those up on the bookshelves, labelled by hand. I crouch down and run my fingers across them, stopping to read random titles. A number of them catch my eye.

Rewriting Aeneid #34 1988

Rewriting Aeneid #48 1991

Rewriting Aeneid #101 1999

Rewriting Aeneid #120 2002

I count well over two hundred of these recordings – or whatever it is they are – all of them with the same title: ‘Rewriting Aeneid …’. I know the book but I’ve not read it. At least I don’t think I have – I remember Uncle Rey being into stuff like that. I pick up one of the tapes from the shelf and switch on the TV and VHS recorder. I feed the tape into the machine and press play, sitting on the end of the bed to face the TV. Uncle Rey’s face suddenly appears on the screen. It makes me jump. The tape is from 1982 and he looks how I remember him: kind of old before his time, greying and wrinkled, his large oyster-shell eyes staring right back at me. He’s smoking a hand-rolled cigarette, sitting in his armchair, the one that’s still in the other room. He’s oblivious to the ash falling from his cigarette onto his T-shirt as he fidgets and positions himself before the camera. He starts to talk, at me, he’s talking at me, his voice hits me, it’s his voice, it’s unmistakably his voice. He stares into the lens, into me.

Rewriting Aeneid #8 1982

… I always wanted to achieve … a new understanding of Virgil regarding Western morality … These writings …

[He takes a long drag from his cigarette.]

… have impressed themselves, not merely upon my memory, but … on the very marrow of my being … They have rooted themselves deeply in the innermost recesses of my mind, my addled brain, the grey matter of my being … so much so that I have forgotten who wrote them in the first place, it seems … which rings true, I didn’t write that, you see, I wish I did, he did … all of this, everything I am trying to do, is a mere appropriation of it, nothing is original. It can’t be … He wrote the words for me, old Petrarch, who himself rewrote Virgil and Homer. Old Petrarch, king of the poets, lover … not lover, ha! … of Laura … Heavenly Laura … He wrote that, not me …

[He shuffles from his seat. He leans forward to adjust the focus on the camera, the screen blurs for a second before correcting itself. He glances at the TV to his right, smiles, stubs out his cigarette, wipes himself down and resumes his conversation.]

It’s like I have taken possession of them … Petrarch and Virgil … like them, my work is left open-ended. This book I cannot write, this book I try to finish, to construct each day, this fucking book which is killing me because I can’t reach the truth … I can’t write it without their words … it haunts me each day … I am ill-equipped to deal with this sorry situation without them by my side … And even then, it’s too much for me …

I hit the pause button. His large face is frozen, flickering a little, contorted on the screen mid-sentence, his mouth ajar like he is about to scream. His voice, his voice is so real, like sitting beside me, talking to me. Only he isn’t, he’s dead and these words are from 1982, another time, another existence. It’s a strange feeling, one that sends prickles of electricity through my skin. I take a deep breath, trying to calm myself, I look around the caravan, at his things, his voice has brought life to them. I’m surrounded by his stuff, by him. His words have brought everything to life.

How long have I been planning this book, this work of beautiful fiction that will reach closer to the truth than any work of autobiography? Good question … to appropriate Virgil’s words, to bring them back into the light of day, to revalue them in my own formation, just to give them a crumbling sense of my own being, from the depth, from deep within, shedding light onto the blackness … bringing the mystery back into the light of day, each ink mark on the white page my struggle …

[He lights another cigarette.]

This book will be the death of me, that’s for sure. That’s all I know, the rest is for you to fathom. All I know is that it won’t be a beautiful book, it’ll be ugly, it’ll cut the heart wide open … that will be its beauty … How many words have I written? How many hours have I slaved away over each page? The rest I’ve burned, the stuff I hate, all of it … I start all over, again and again and again … I will start again at a later date, after I’ve lived, when I have absorbed more anguish, when the time is right.

[He gets up out of his armchair and roots about for things in the room off-camera. His voice fades, but is still just about audible.]

Where is it? Where is it? I put it here. I put it here fucking yesterday. Where the fuck is it? Fuck. Where the fuck … Ah … Fuck, here it is. Fuck … Fuck it …

[He reappears in front of the camera, sitting back down in his armchair.]

So … this is all I retrieved, what a fucking mess, saved from the flames. What did I burn it for, a good two hundred pages of this shit? This is all I have left …

[He waves a manuscript at the camera.]

I don’t need it. I’m going to tear it all up now for you and start all over again … Every word will be different from this, this attempt is useless, nothing will be the same …

[He tears up as many of the pages as he can in front of the camera, throwing it over his head like confetti.]

See! See! … See! … The nuclear fallout … a nuclear fallout of my own creation … destroyer of worlds … I am become death, destroyer of words hahah! Ha! … My wishes fluctuate, and my desires conflict, they tear me apart … The outer man struggles with the inner … There he is again, old Petrarch talking for me, I can’t help myself … maybe he’s my inner man? It’s definitely not Virgil, as much as I love him, I just cannot get to grips with him … he wrote for an audience … I don’t know who mine is … Who are you? Who the fuck are you? Ah, the watchful eye of the moralist watching his own, his every move … move … move … fucking flies, fucking things … get to fuck …

[He tries to swat a fly.]

One side of Petrarch, it seems to me, which found classical culture more engaging than that of … the age, yes the age … in which he was born, was as we have seen, articulated in his first eclogue where … what’s his fucking name? … Fuck, yes, Silvis, he declares the poetry of Homer and Virgil superior to that of the psalms … that’d be a serious thing to say back in his day … a new morality drawn up in these men. Who wrote these words? … I didn’t … I sure as fuck didn’t. I’m just a riff man, like Wilko Johnson … I’m the conduit … I move shapes in time, I create the vibrations, I alter them, to make sounds … I repeat, repeat, repeat … Ha! …

[He cracks up into laughter.]

I stop the tape right there. It’s too much to take, he’d obviously been drinking and it’s difficult to watch. All I know is that, before I do anything with his belongings, I will have to watch more of these recordings.