Thursday, September 01, 2016

Lightning Sometimes Does



I recently had the incredible experience of having my first ever film screened on television. As a child of the 1970's, actual terrestrial broadcasting somehow retains its excitement for me, despite the fact that I now consider most of too lousy to actually watch. Despite all the catch-up online possibilities, there is something almost magical about the idea that the BBC has your film and has pressed play out NOW. For everyone to watch.
I was one of those kids that hankered after a personal connection to TV to an almost psychotic degree - I think it's the same for lots of people who grew up in provincial towns that felt as far from 'Broadcasting House' as Mars did. I tried to get my drawings onto Take Hart almost weekly, I was continuously writing into Jim'll Fix It, Swap Shop and the like. The zenith of this phase of my life was when I was runner-up in a Blue Peter competition to design a theme park, meaning I received the much coveted Blue Peter badge. A close second was having Noel Edmunds read out my letter live on air, suggesting improvements for litter bin design. (Well, I did grow up in a seaside town where beachside bins were big news).

So it was a huge delight to sit on a sofa in Paisley month ago with my siblings, nieces and nephew to watch 'The Closer We Get' go out to the nation on BBC2 Scotland. We were in high spirits, my sister had even baked the same cake that appears in the film, and though mass viewings of the film have happened often, we were still excited to be together on and off film. This was in many ways the culmination of over a year touring this 'family project', in cinemas, church halls and film festivals all over the world - talking to each new audience and sharing our story for so long has become second nature to me, so the surrealism of watching myself on TV felt only fleetingly like a weird dream. I think I did squeal when the serious - sounding BBC announcer read out my name though, and even the youngest in the room joined in the collective delight at each new on-screen appearance, whether it was a dog, a family member or a cake.

But someone important wasn't in that living room: my dad, Ian - arguably the star of the film, and a man who against all expectations has become as proud of the film as we all are, turning up at screenings and taking film critics' sterner judgements on his character squarely on the chin.

Dad was nearby though, in the big new hospital, having suffered what we now know to have been a stroke.
Like my mum Ann, he managed to walk into the hospital, and like her, it seems unlikely he will walk out. Also like her, a cascade of 'minor' NHS oversights came to tragic fruition in the stroke, perhaps this time round we will chase answers more vigorously,  but it's too raw to think of all that yet.
Although a very different stroke from Mum's (affecting the opposite side of his body, and also his cognitive capacity) I find myself wishing I could un-know her five last years, return to the state of blind optimism I felt once, to encounter this vicious foe as if for the first time.

I attend a session of physiotherapy with Dad, a dogged and determined patient. I sit in front of him, bowed towards him at an encouraging distance - like a parent watching a toddler making its first staggering steps. His expression reminds me vividly of Mum's immediately after her stroke - they seemed to both age and become childlike at once. There is an open-ness in the face, a stare so penetrating you would feel it through walls. Two therapists support his lower body, a bench allows his one good side to balance. Instead of the stooped old man he was a few months ago (dreadful knees, despite the replacements) he is taller than he has been in years, his chin up, reminding me of his proud, knowing handsomeness in those black and white rugby team photographs from the '50s. But there is nothing of him in this stance, the women bear all his weight, and they shunt each foot in front of the other with a great effort, interspersing each 'step' with encouraging words.
The trio debrief, and when Dad's asked how much of the walking was 'down to him', he says 'Oh, probably most of it'. The therapists look down and say nothing.

In the 'team meeting' we are invited to later, various nurses join the physios, perched on desks in a tiny office, to summarise what is called, with a little embarrassment, 'progress'. There are no surprises. I look across at my sister and notice how young and old her fearful face looks.
There are no surprises.


Tuesday, January 19, 2016

There Was A Boy...

....who - on a busy morning, at a busy station, at the busiest time, just before Christmas - walks purposefully into the shadows beyond the platform. He calmly removes his top and shoes, and throws himself under the oncoming train. Over their morning tea, his family hear news reports of a fatality causing commuter chaos. No-one thinks it's him.

In fact, X was roughly my age. But I knew him best some years ago, when we shared a flat, and even then he seemed so young, so - well - boyish. Thankfully, he never lost this quality. It was embodied in a kind of innocence, an inquisitiveness, and a wayward sense of mischief. Despite a fascination with deeply unfunny spiritual people such as Gurdjieff  - and an occasional devotee of their practices - he was never remotely dour about his quest for enlightenment. He was - literally - a clown, a performer by trade, and my memories of life in that flat are of him struggling to meditate crosslegged in our chaotic lounge, his white face panstick-ed and giggling hysterically, very loud Jungle on the sound system. We'd Hoover round him, trying to distract him even more.

I plan for his funeral, and I look out a suitably neat and ladylike handbag. It won't do to lug my usual gargantuan bag, in its jolly orange hue. I check through the temporary bag and find a few things in its depths - a reel of black thread, a tape measure and a Post-It note, which I turn over and read:
"Funeral List: Black dress, tights (2 prs), nude shoes, cardigan, speech"
I realise the last outing for this bag was a funeral, my mother's. I'm a bit startled by the list - it's spare, uncharacteristically neat and orderly. "Wasn't I distraught, bereft?" I think "How come I managed to - for once - make a list??"

When I get to the crematorium for X's funeral, and squeeze in behind the rows of his family. Though it's been years, I recognise each one of them by the shape of their shoulders, now hunched and stiff with suppressed emotion and purpose. X's mother gets through her eulogy somehow, returns to her seat clasping her notes. She's holding it together better than anyone else in the room. Then it's X's brother's turn, he reads from his iPhone, voice faltering and yet he raises much laughter in the crowd, reminiscing about much boyhood bad behaviour. Then a close friend delivers a brilliant and brave speech, explicitly acknowledging that X's death had been a brutal suicide, and eloquently describing this act's emotional ambivalence for all those who thought they knew him best. People are beginning to cry a lot now, and still X's family hold their nerve. I remember this well from Mum's funeral - you're so glad to have something to do, a role, that it's a relief to have a schedule, a list, a speech in your hand. After a death, however it came about, the haunting of those of us left behind, starts in earnest. Could I have done more, stopped this? Will I feel any different, better, tomorrow? So the distracting work of the funeral is welcome. Even a secular service, like this, has much to busy yourself with.

The final music of the service, 'Nature Boy' is devastatingly evocative of the 'very strange, enchanted boy' present in all our memories. I can't bear to think of how it ended -  the violence, the pain that must have engulfed him.

After the service, the dazed crowd mingles outside in the wintery afternoon sun, browsing the floral tributes and organising taxis and lifts to the pub where the wake is to be. I'm struck - not for the first time - by the warmth of strangers at times like these, as we realise and are glad that we were all parts of X's world, and that we aren't strangers anymore.  It feels odd but welcome to be recognising old friends here, catching up, raising a smile through our puffy and teary faces.

When I eventually reach X's father to offer my condolences, he recognises me instantly. He smiles and hugs me, then suddenly crumples against me, weeping. We stay like that for what feels like a long time, and I realise that I have unwittingly taken him back in time, to when his youngest son was that boy, that strange, enchanted boy with his uncharted life stretching limitlessly ahead of him.