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Midnight Winds by Richard Cabut

Nico, New York, 1970 by Brigid Berlin.

Earlier this year, I was asked to discuss Nico for a film to accompany a version of  Femme Fatale on an album released in support of the Teenage Cancer Trust. 

I talked on camera about my friendship with Warhol silver Factory photographer Nat Finkelstein (his picture of Lou Reed features on the back sleeve of the VU and Nico LP), who I stayed with in NYC over one crazy summer in the 80s (fictionalised in my novel Looking for a Kiss). He hated most of the Factory crowd, but respected Nico. I also talked about the strongest version of her voice – a new poetry of bleakness and sorrow – found on Janitor of Lunacy from the LP Desert Shore; and the pre-historical pagan magic (definitely disorderly magic ) that filters up in Evening of Light – my favourite Nico song – soundtrack to a short 1969 film featuring a young Iggy Pop by director François De Menil.

I also asked: where do the midnight winds go? 

And I thought, and still think, about:–

Chelsea Girls on a slow/fast loop, with screen-printed souls, silver fluorescent haze, ghosts of Superstars in broken looking glass. Femme fatale in a turtleneck of shadows, lip-curl velvet, existential bravado – Nico; the kind of person you meet, in whatever way, and emerge transformed to some degree. 

Beat drops. Patti-Smith bite. Siouxsie eyeliner like a midnight scythe. Clash-cut rhythm, downtown hymn – 1976, first time her voice slid into my room – contralto made of smoke, from ash and cathedral shadows – a voice too low for the baby-girl 60s, too dark for the sunshine pop factories. A voice like the world’s last cracked prayer. 

Old Europe twilight. Disorderly Magic forever. 

Nico sings like snowstorm silk, atonal, androgynous, thick with centuries, thick with Dresden flames impossible to forget. Wearing beauty like an insult and tossing it away like a match – one that lit bonfires. Beauty denounced as casual tyranny – darkness as armour, mystery as oxygen. Feeding flames.

And style as wound, wound as song, and song that can outlive every/any man who ever tried to claim/tame/shame.

Iggy said she taught him Beaujolais and art-school tricks disguised as lullabies. He filmed her in a field for Evening of Light, a crack-between-worlds moment where mandolins ring to viols singing, and the midnight winds land as warning. Berlin-ashram meets Michigan-gutter. Music collapsing into beautiful violence. A tribute wrapped in awe, and regret, and the kind of affection and affectation, too, that can only exist between two people who might survive, for however long, their own mythologies. 

A shining light for every singer who ever needed to drop their voice below pretty, or permission; or anyone who felt that a woman doesn’t need to shine to illuminate; and who treats beauty as something breakable, burnable, something you could set down and walk away from without saying how very sorry you are; above all anyone who wants a different way to carry their own shadow.

And I am hearing dreamscapes full of dark echoes and erotic street energy. Cosmic ennui that reflects the myth back to the crowd like a funhouse mirror. In a voice that comes from somewhere deeper than the throat – somewhere prehistoric. Silence that knows too much. Whispered in harmonium breath and lullabies sharpened into razors. 

Midnight winds circle.

I am also thinking 60s/70s Avant-Garde/Berlin School harmonium drones, tape hiss, proto-industrial rich deep minimalism, European nocturne atmospheres. Cold wave pulses, cabaret limelight dimmed, war-memory spectrality. All of it transposed over the years to Ibiza, New York, Los Angeles, London et al as a poem that moves like a Super-8 reel found in a basement in Kreuzberg, or somewhere like that. Yes, begin with a hiss. Analog snow falling across a broken tape. A low oscillator trembling. A train leaving some empty cold station at 3 a.m. – slow, metallic. 

Then: contralto voice carved from coal-dust. The sound of a city learning to breathe after the bombs stopped but before the memory ever could.

Pulses flicker – messages to forgotten futures. Where the streets are half dream, half gaping wound, and art is the only currency. Reverberation as survival strategy. 

Christa Päffgen, with Factory scars under her coat, Warhol apparitions, spirits and spooks deep in her pockets, and a harmonium strapped to her soul as life and death-support machine. Dressed all in black because colour is hope, and hope is sin. 

This is not pop. This is architecture. Built from absence, steel, and memory, perhaps. Nico steps into the drone. War Memory as Original Drone. Repetition becomes revelation. Revelation as trance. Grammar of ruins turns into ritual.

I thought, and am thinking, about slick pavements, streetlamps rattling and failing like old ballroom pianos struggling to project their tone. In the silence between footsteps you can hear the rumour that darkness is not the absence of light but the cradle of it – and that some voices do not break – they remain unbroken, untranslated forever.

Where do the midnight winds go? To the end of time, of course, honey, to the end of time. 


Richard Cabut is a London-based author, whose CV includes the sister books, the popular work of modern literature/poetry Disorderly Magic and Other Disturbances  – ‘subterranean scenes, picturesque ruins, neon glowing, Chelsea Girls, the damned, the demimonde, the elemental, being on the edge of being pinned down by our ghosts’ – and Ripped Backsides (both Far West Press),  a dreamlike, dislocated and fragmentary Situationist drift through the noir cities. Also, the Freudian 80s cult novel Looking for a Kiss (PC-Press), which has been adapted for screen. And, Punk is Dead: Modernity Killed Every Night (Zer0 Books).

He’s also a journalist – ‘NME, BBC, anarchy’ – a former punk musician, a cultural theorist, playwright and long-time chronicler of the underground. richardcabut.com

Mizmaze by Sylvia Warren

The first time I walked a city without direction was in Florence. Before that trip each day was regimented by parents—a designated set of sites to visit, walking through the streets was a chore between destinations rather than a reason to travel. This time I was fifteen; I made my case that I wanted to go back to a gallery to draw some of the statues, and on the way there I got deliberately lost. It is an intentional form of being lost, formed by noticing buildings or landmarks or quirks of the way two streets intersect into an impossibly narrow corner of a house that begin to build up a map of a place in your head. Medieval cities, souk cities, old towns are all particularly good for this. Ideally this is an act that should be done alone without headphones or distractions, but there is pleasure in doing it with someone you love to share in the ornamentation given to houses, the peculiar shape of that window, the way this street links two parts of the city you might have visited via a different route and then the contours of the place become connected. It is also worth doing the same path at night, but that is not always possible, it depends on who you are. I am very envious of those who feel safe to do so alone.

In Bolivia, high up in the Andean mountain town of Cochabamba, the Spanish phonetic translation of its Quechua name, Quchapampa, or ‘lake plain’, my friend and I were told explicitly not to walk around the city alone. Another person, a man no less, had been beaten up when out for a morning run. To escape being chaperoned was a release, and my habit of wandering down side streets only got me into minor trouble with our host mother, but without this I would never have seen the southern cross from the top of a children’s slide in a playground at night or stumbled upon the embassy quarter with the manicured lawns that were so different from the rest of the city. I looked up the Quechua name for the correct spelling and the city looks different now, with sleek light rail services instead of the converted minibuses decorated with rugs and tinsel that I remember. My memories of the route from where we stayed to the outskirts to the orphanage might be only a shadow now, confined to my memory of walking and recognising the advertisement that was put up that indicated where we would have to ask the minibus driver to stop so we could run across a four-lane road to get to work.

I have repeated these walks in almost every place I have visited, from Hà Nội to Lisbon. London is a special case, a set of villages of sorts that I can navigate around like fruiting mushrooms emerging from the myceliae of the underground system, distinct but not truly linked in my mind. Something strange happens when I live in a place: the urge to wander is all but lost. During lockdown I found an area of the city in which I had lived for over a decade for the first time, as though being forced to stay in place gave me the permission to deviate from the boring routes that I stuck to so rigidly. It was an island, formed over a reclaimed rubbish dump. In autumn the trees are heavy with apples, in winter you can see muntjac deer through the bare branches, breath steaming into the mist. 18th century pottery and old scientific glassware can be picked up when the ground is soft, and in summer there are trees to climb and one spot where you can slip into the river to swim. Take another route, another turn, and you are in a metal processing plant, all noise and smells of oil and burning. This is not an essay about psychogeography or being a flâneur, it is a question of what about settling somewhere is it that resists what is otherwise one of life’s great pleasures.

One of my earliest memories is of walking the mizmaze at the top of a local hill. You pass the plague pits and beech trees before ascending the chalk-based soil that produces scrubby grass and strange orchids. In front of a copse of copper beeches is an old turf maze, but that name is wrong. There are no wanderings and wrong turnings here, the route curls around itself from the entrance to the centre and back out, all it requires is patience and to put one foot in front of the other. I have walked it in winter so thick with frost that the grass appears as a ghost and drunk in summer when the scents of rock rose and thyme mix with bonfire smoke. The turf is cut so as when you begin you put one step in the narrow furrow and the next pace just ahead, it is too small for you not to move forward with each footstep unless you run out of path to tread. There is a peace in walking this mizmaze, an hypnotic action in the movement that compels you to complete the circuit until you walk out of the parallel exit to the entrance and the spell breaks. I have never dared to step through or across the turf to exit more quickly, to do so would feel wrong on a level I cannot articulate.

Perhaps we build our own mizmazes for our hometowns? This journey, this shop, this route between places we need to go, this side of the street to walk down? This does not feel like a spell, however, more as though one is placed on a track that is so practiced that looking around ceases to be of any interest. Yet to deviate from the known routes feels stupid, almost embarrassing. This is not to say that routine is uniformly bad; it is a requirement of becoming a local in a pub or café, which can open up a place where you reside into a place where you live and are known.

After the pandemic I moved to a different town and I despised it. I found it cramped and ugly, and my walks were restricted to going into the town (through an unlit alley, down a residential street that floods when it rains, turn right past the fish shop and across the bridge), to the station (turn right just after the bridge), and around the small park behind my block of flats (enter across a wooden bridge past the teenagers and their dog, walk eight times around the circular loop of tarmac past the unused outdoor exercise machines and the playground with men drinking from plastic two litre cider bottles on a bench, go back via the teenagers). The more I repeated these routes the more I hated the place I had moved. The stench of the canal, the soggy leaves underfoot in winter slippery and hateful, the dark passages I had to navigate to leave my flat.

Eight months after I had moved in I felt furious with everything, most of all with myself. I set out in the opposite direction from the unlit alley and walked aimlessly. An underpass called to me, so I took my time seeing the graffiti, some illustrating a cartoon of the history of the area, half covered up with tags and original art. A manor house that had been converted into a school, then a railway bridge that opened up onto fields with grazing cows and horses, a rock processing plant with large lorries ferrying gravel out, and then a reservoir that fed a river with a set of invitingly large stepping stones. The sound of the water led me to the wrong side of an underpass that opened up into a park that I hadn’t known linked up to the main canal that runs through the town. Walking through the woodland and spiralling back, the single route took me back home.

This will never be my final hometown, but I feel an affection for it in the way I do towards the city where I was born; its ugliness and architectural surprises. Down the residential street one house has a Victorian door and beautifully moulded brickwork that gives texture and beauty to an otherwise uninteresting house. One of the houses by the river is a palimpsest of workhouse and glass conservatories jutting over the water, and just off the main square a bust of Shakespeare stares, weather beaten and softened with pigeon shit, over a town that once was cared for enough to have people decorate it.

. . .

Sylvia Warren is a writer and academic editor. Their work has been featured in Open Pen, Minor Literature[s], the Brick Lane Short Story Anthology, and more. They consider AI an affront to the joyous act of creation but refuse to stop using em-dashes. They enjoy writing, the sea, and sketching the architecture of pubs over a pint.

On Pilgrimage by William Parsons

Photo by William Parsons

The Paradox of Connectivity

Modern life is increasingly connected: central heating to phone, fridge to supermarket, watch to heartbeat. Without touching a button we can chat with friends in Australia, while eating strawberries at Christmas.

Yet beyond this glimmering convenience looms a shadow-side. For modern life in Britain grows ever more disconnected. Food comes from a shelf, water from a tap, and community from an app. As for travel, it occurs at unfathomable speeds, as we rush along tarmac strips, strapped into metal boxes watching screens, following other cars and road-signs, turning when the sat-nav says so. Where travel once generated constant discovery via deep interaction with places and people, modern journeys have become a dream of pure destination, an increasingly impatient thrust toward instant arrival.

Travel by car (or train/plane) performs a conjurer’s sleight-of-landscape, a folding of the map, to magically shift us over vast landscapes without ever experiencing them. This is journey-making with minimal connection. Temperature is thermostatically controlled, sound is piped entertainment, hills are reduced to a slight extra weight in the heel, and rivers to the bump of a bridge under tyres. Between start and finish, everywhere becomes similar grey roads.

All of which causes separation, isolation and disempowerment. With our hyper-reality and digital lifestyles, we have forgotten how to look in our neighbour’s eyes and see how well they are. The smog of mortgages and motorways, and the ever-increasing pace and price of work/life, leaves little time to simply connect with the land, with ourselves and each other. Traditional guides fail us, religions plagued by scandal, and science proclaiming that spirit doesn’t even exist. In this modern landscape, it isn’t easy to break through to the Light.

The Way Forward

But there is good news. An ancient spiritual technology has been rediscovered, offering direct engagement with Source. You don’t need to dress smartly, sit still, feel guilty or get bored. No gurus are required, no intercessors or priestly authorities. It is a natural form of whole-body movement, a deep dance through imaginary labyrinths, and a hearty adventure.

Folk call it pilgrimage.

Pilgrimage is the ritual short-form of your life’s journey from birth to death. The aim is that by walking a short way correctly, you can put right your longer journey.

The basic technique of pilgrimage is to set an intention for wholeness, choose a holy place destination, and connect the two by walking. It is as simple, and infinitely complex, as that.

Walking is the oldest, slowest and deepest way to move across the earth. Intention is your motivation, the inner hope for healing that pushes you to make pilgrimage. And a holy place is somewhere in the world you feel can offer the wholeness you need, whether spiritual, mental or physical.

Finding your intention is the first step of pilgrimage. What lack needs filling, what question needs answering? Bringing this into consciousness – as words that can be repeated like a mantra – is a vital cog in the technology of turning a vague walk into a pilgrimage. If you don’t know which port you are sailing to, no wind is favourable (Seneca).

Next comes your choice of destination, a holy place that will harmonise in some way with your intention. You might choose somewhere intensely personal, the burial place of an ancestor or the site of a childhood memory. Or you may prefer to seek somewhere more universally well-known. Certain locations in this land have held the dreams of hundreds of generations of seekers, and in such holy places, deep echoes linger from those whose journeys went before.

You may find this word ‘holy’ troublesome, as if signalling pious spiritual exclusivity. But ‘holy’ doesn’t necessarily mean religious at all (though it can if you want). At root, the word derives from the Old English Halig, meaning wholesome and complete. The Scots word hale (as in ‘hale and hearty’) is its nearest living descendent. The same root word gave us ‘healthy’, ‘holistic’ & ‘healing’.

‘Holy’ is a very distinct word from ‘sacred’, though the two are often used interchangeably. Sacred derives from the Latin sacre, meaning set-apart, distant, unobtainable. ‘Sacred’ is like a distant star, beautiful but untouchable, while ‘holy’ is like a jug of water for the thirsty, something vital to integrate into the depth of your being.

Ultimately, what makes a destination holy is you, your need and the journey you offer. Wholeness (holiness) doesn’t sit around throbbing. It is activated by relationship. The healing magic needs you to need it. And there is no better way to activate this holiness than to take the time and energy to slowly walk toward it. The unreasonable dedication of an intentional journey on foot is a powerfully sincere sacrifice of time, energy and focus – making pilgrimage an effective key to unlock holy places in the land, body, mind and heart.

Deep Moving Roots

Bipedalism – walking on two feet – is our species’ original advantage, the biological life-hack that cast us as the upright strollers of the monkey family. Once we sourced this tech’ of walking, for two million years our ancestors were nomadic, roaming the planet in reverent pursuit of the herds and seasons. Constant movement shaped our evolution, creating the bodies and minds we have inherited today. Our species is homo perigrinus, and who we are grew from life on the path, our oldest home.

Yet a mere twelve thousand years ago, humanity ceased her restless roaming to begin cultivating agriculture and raising static dwellings. Arguably this was a bad move, leading to general imbalance.

Pilgrimage as an activity distinct from normal life arose in response. By providing a ritual reconnection with our ancient wandering freedom, pilgrimage helped keep alive the ancestral strength, beauty and wisdom of humanity’s nomadic inheritance.

Once you start seeing it, pilgrimage appears as one of our species’ great common forces. Wherever a stone has been raised, a temple built, or a spring recognised, so people have come (usually on foot) from near and far, bringing their hopes, dreams, offerings, prayers and songs. If you squint your eyes a bit, even our modern everyday journeys to the shops, to school or work, appear as (debased and frustrated) forms of pilgrimage.

The pilgrimage instinct is as fundamental a law of the human soul as gravity to our atomic reality. It doesn’t matter what faith (or lack) you follow, nor whether you believe in gravity or not. The apple always falls, and pilgrims always come.

But the path has not always been smooth, and pilgrimage has waxed and waned in these lands, attacked by the sharp hopes of kings and industrialists. While I was growing up, the peregrine precedent was almost invisible. Wanderers rarely passed my window. The Romany seemed settled, druids drove vans and troubadours endured mortgages. To be a tramp seemed to require alcoholism.

Yet today we witness the return of honest wandering society, as pilgrimage revives into a living British tradition, like Arthur awakening from his hill of slumber. Our hour of need has come.

Annoying the King

Those who decide the rules in society enjoy imposing their will upon us, because there is advantage to be gained in so doing, and because they can. Pilgrimage offers a shortcut to evade these heavy games of control. By taking the path, you can restore your ancient state of animal liberty, becoming wholly in charge of your time and passage through life, if only for a short-ish while.

Two hundred years ago, to be a British pilgrim you would have been sent to the workhouse or charged with vagrancy. Three hundred years ago, you could be transported to a penal colony or hanged. But today, pilgrimage is free for the dream.

You may feel you have little choice in life, pushed along by the normal forces of work, family and friends. But pilgrimage provides an opportunity – and challenge – to reclaim your personal autonomy, to plant a staff in the river and stride upstream.

For many people, there is a guilt response to this idea. The wonderful inefficiency of pilgrimage makes its time-demands look like gluttony. How can you possibly take two weeks to walk somewhere you could drive in two hours?

Such are the harsh internal shackles of convenience that govern the modern mind. For the responding question must surely be: to whom does your time on earth ultimately belong? Dare you stake one small portion for yourself? Can you really afford not to?

This is difficult to answer from the sofa. No matter what I write, you won’t really know until you step out, staff in hand and home on your back. Not even the ultra-rich truly own their time. But between the roads, the pilgrim inherits the earth.

As medieval scholar J. J. Jusserand said, pilgrimage has always had the power to “annoy the King”. And in our modern age, under the ever-watching eyes of state, corporate and digital kings aplenty, the freedom of pilgrimage shines brighter than ever.

“Liberty calls aloud, ye who would hear her voice…” (from a confiscated broadsheet, 1793)

I hope to see you on the path. Bring a song. It is not getting dark.

Walk well!

. . .

(The above is an extract from William Parsons’ forthcoming book, The S.O.N.G. of Pilgrimage.)

. . .

William Parsons has worked in British Pilgrimage since 2004. He spent his twenties as a wandering minstrel, in his thirties he founded the British Pilgrimage Trust, and in his forties he returned to freelance pilgrimage with a focus on writing. His work has reached most UK newspapers, TV channels and radio stations. He even got pilgrimage into Vogue. William lives in Glastonbury where he guerrilla plants Holy Thorns.

http://www.willwalking.com

Walking In Circles by Paul Tritschler

Photo by Paul Tritschler

Midway through the event, a woman seated in the front row of the audience asked the panel of four authors, all of whom had made an appearance for the purpose of promoting their recently published travelogues, if they could explain in simple terms how their notion of travel differed from what most ordinary folk called holidays. Nothing is more difficult than to be simple, but the elitist charge implicit in her question, one that was somehow rendered more pointed by her affected pleasantness, laid another layer of complexity. The moment demanded deflection by way of a pithy response — l’espirit de l’escalier might have suggested a poignant quote from Ibn Battuta or something whimsical from Rabelais. Instead the panel, with a tad too much haste, dug themselves into a defensive trench, and in the process shovelled dirt on what they ill-advisedly and repeatedly referred to as common tourism. And they wouldn’t stop digging.

Conversations erupted throughout the room but eventually settled into silence, and no indication was given that the audience would assist her in pushing the panel off its platform, if indeed that was her intention. That being said, it most likely nudged it a little; peering through the newly created cracks in the edifice, the panel’s itinerant forays and desultory wanderings would have appeared to some people as lofty peregrinations wrapped in pompous superiority…or thoughts to that effect. Their somewhat clumsy efforts to enumerate the differences between what they get up to and what everyone else does would not have helped in that determination. On the other hand, some would have interpreted her question as self-aggrandising, one motivated by conceit, point-scoring and the desire for audience adulation. Either way, the nourishing conversations that were until that moment shared between the panel of authors and what felt like a roomful of friends, now a breathing mass of strangers, failed to revive.

Possessing an air of originality, mystery and spirited adventure, the mention of travel arouses more curiosity than that of the humble holiday, and there can be little doubt that by describing oneself as a travel writer rather than a holiday writer one gathers greater cachet. Yet it often seems that, at core, there is no difference between them. Indeed, the travel writers sharing the podium might easily have described their journeys as holidays. After all, three were promoting books about relatively short stays in what many would deem holiday destinations, including a fortnight in Paris, three weeks in a wine-growing region of France, and a month in Tuscany. Only one took a longer and more varied route, that resulting from an unplanned year of backpacking.

Putting it this way perhaps challenges their street cred, yet many philosophers, among them Seneca and Thoreau, were greatly inspired by the odd holiday, during which they created notable works of reflection on nature, on the human condition, and on life’s meaning or purpose. The same is true of literature. Agatha Christie developed the idea for a well-known detective mystery whilst on a leisure cruise down the Nile. Virginia Woolf wrote To the Lighthouse whilst on vacation on the Isle of Skye, and Elizabeth von Arnim’s The Enchanted April was inspired by a month-long holiday to the Italian Riviera. The list goes on. In the end what matters most are the stories, and to this one might add a degree of self-discovery.

. . .

Old Cathy used to come into our house to wash her money. Though she scrubbed the stairs of every last one of them, and had done so for years, ours was the only flat in a long street of tall black-sooted tenements where she could come and go as she pleased. She even had a key. Some people would rinse out and refill her bucket, but she would have to remain at the doorstep, door closed. To be fair, Old Cathy wasn’t one for conversation, and in fact blanked most people, but that wasn’t the only reason people covered their doors. For much of her life she lived between the mental asylum, as it was then known, and the street, and when that information got around the neighbourhood by the usual whispering campaign people kept a watchful eye. During the time our family knew Old Cathy she had secured permanent residency in a Salvation Army hostel not far from where we lived: a small room with an iron-framed bed, a chair, a cabinet, and a cross on an otherwise bare white wall. Visitors were not allowed, but we visited anyway, my sister and me, and whilst some residents occasionally looked at us with suspicion, neither the warden nor anyone else ever refused entry.

My sister always firmly insisted that if anyone were to question us I should stay silent and let her do the talking. When neighbours or anyone else asked questions she generally cut in to finish my sentences in ways I could never anticipate. Three years my senior but in reality much older, I guess my sister would have been around eleven or twelve when we visited Old Cathy. She doted on us, and was always steady and sunny, but I doubt if many people saw that side. She just kept her head down as she scrubbed the stairs, her metal bucket echoing in the close as it clanked down each step, then reached back up to draw intricate floral patterns with white chalk on the margins of every step. This was a common custom in our neighbourhood, an area that outsiders called slums, but unlike Old Cathy most women just chalked a quick zig-zag or squiggle. Either way they only lasted a day at best.

A woman notorious for malicious gossip once stopped us to ask if our dad knew that our mother allowed a pauper lunatic to wander in and out of our house when he was at work (he worked almost all the time). We of course knew who she meant, but as instructed I buttoned up. I would have liked to have said that we loved Old Cathy, who was one of the kindest people on Earth, and that not only did she visit us, we visited her; but as my sister later reminded me she would most likely have called the police and had her thrown out of her residence and into the street. Adults were a different breed, and I dreaded the thought of mingling with them. Even at the early stages of adulthood most people showed signs of becoming distinctly unpleasant. I think Old Cathy felt the same way.

This was a time when mothers who took to their bed for days or weeks or maybe even months were generally considered to be indolent rather than depressed, a time when postpartum depression was for the most part unknown, and a time when having a stillbirth — regardless of the sadness, guilt and anxiety that were at heart a cry for help — was hushed up as a shameful failure. Mrs Bogus, a pathologically nosey upstairs neighbour of ours — listening at the letterbox, she fell into our hall one time when my dad opened the door on his way to work — stopped me and my sister on the stair to ask if my mother was still lying in her bed. She called her a lazy article, jolting her miserable mongrel on a choke chain before briskly walking on. No one ever explained to me the meaning of article, but I got the gist. Just ignore her, my sister said, and don’t repeat what she said to anyone. I didn’t have to: everyone seemed to know that my mum had sunk under the covers and let the house go to hell. It even got around the school.

For the best part my sister looked after things at home, organising clothes, tidying up, making meals, but after a while things began to slip there too, and the mess just piled up. We made a space on the sofa between heaps of clothes and coat hangers and ate cereal from the box. On one occasion we heard our mum mumble to herself that she wanted to cut her throat, and I was told never to repeat that either, not to anyone, not even to dad — especially dad! She didn’t mean it, my sister insisted, but I couldn’t quite dismiss the possibility. For all their promises to the contrary, adults were notoriously unpredictable. My friend’s sister killed herself over a stupid fiancé, the mother of a boy at my school was murdered by his dad — just one punch, they said, whilst she was doing the ironing — someone sunk an axe into someone’s front door, another put a petrol bomb through a letterbox, men filled with rage and hearts of hate fought to the death outside pubs, and psychopathic razor gangs roamed the streets and alleyways. No adult could be trusted entirely.

We came home from school one day to find all the mirrors in the house had been smashed — why mirrors? — and immediately I wondered if my mum had taken a shard of glass to her throat. I envisaged it. My sister made me wait in the hall until she checked out the bedroom. Mum was sobbing under the blankets, but otherwise okay. Old Cathy was there, calm and calming, picking up the pieces. She would have known worse, and most likely understood the situation better than anyone. For several weeks no stairs were washed as Old Cathy stepped in as our femme de ménage, arriving before we went to school, and leaving in the evening. Between those hours she did the shopping, made breakfast and prepared dinner, looked after my mum, washed clothes, tidied the house, and even found time to play board games with us — she was a master at draughts. In time, when my mother got back into harness, Old Cathy got back down on her kneeling mat to scrub and chalk the tenement stair, the distinctive sound of her metal bucket once more echoing in the close as it clanked on each step. Thereafter she would rinse out her bucket, brushes and money in our small scullery whilst the kettle boiled before settling down to sit with my mum, gazing into the embers in silence.

. . .

For some people, travel writers are escape artists sharing their secrets on how to break loose from sameness. Others live to wander, to find stillness in motion, and perhaps by chance to find missing parts of the story that made them who they are. It was whilst perched on a doorstep under a hot sun in Tamil Nadu that Old Cathy, for the first time since childhood, wandered into my thoughts. I was watching a woman take great care to create a kolam at the entrance to her home, a decorative chalk circle with floral designs that is said to bring good luck and prosperity to the occupants. The drawings are walked on, scuffed and washed out every day, and whilst illustrations and meanings vary, each in their own way presage the transience of our existence and the impermanence of all things. The process was hypnotic. With eyes squeezed shut I remembered Old Cathy with head bowed drawing similar floral patterns with her piece of chalk on the steps to our door, and for a moment that door opened. The long journey to India had led me back to the start, and perhaps, after all, that was the point.

. . .

In addition to teaching psychology in universities, adult education and colleges across the UK, Paul Tritschler has managed organisations within the fields of brain injury, sensory impairment, mental health and community activism. He has written for a variety of magazines, including Aeon, Psychology Review, Bella Caledonia, Counterpunch and Open Democracy.

Womannotated – Big Teeth

January 17th, 2021

Big Teeth 

Deep in the forest in a flannel nightdress,
a little girl lingers without much on 
her chest, shame in her heart, much to confess.
Here she is safe, completely at rest.  Gone 
the behemoths of yesteryear.  Her cheek 
on chenille, her brain bereft of all fear 
inside this night sans starlight except a meek
constellation of which faithfully appears
from a bedside nightlight replacing a moon
which made her weep more nights than swoon.  Tonight
she looks no father than this light of her room
which is not a metaphor — means to write.
No beseeching big teeth inside these woods — 
it ends with her pen like make believe should. 

Continue reading “Womannotated – Big Teeth”

Womannotated – Madonna & Manchild

January 9th, 2021

Madonna & Manchild 

Bury bereavement in cellar below 
with buttercup onesie, Château Pétrus  
Merlot  — a godless sacrament you know
is mortal sin.  Silicon reproduced
to simulate skin so your spouse can 
begin, maternal virgin, again. Sleep 
walk through mutual grief she countermands,
rationing love, plastic in pale hands. Keep
cries deep in your throat until she’s asleep.
A baby monitor projects its first 
weep — graveled, full grown. The hell two have reaped,
one remembers alone. Insatiable thirst
nursed by propped-up bottles inside brownstone,
She suckles a doll while you drink alone. 

Continue reading “Womannotated – Madonna & Manchild”

Womannotated – Pretty Maids All In A Row

Pretty Maids All In A Row

after Servant

Rambles past ringlets, ruffles, rouge to you, 
end of the queue, interviewed for the show,
television lady forgets your debut —
segment you are someone she chose to know.

Her fascinations are fleeting and slight,
provincially dressed princess one night.  Lives
she catalogues on oak shelves in plain sight. 
Decades of ingenues in her archives,

Continue reading “Womannotated – Pretty Maids All In A Row”

Womannotated – You’re At The Grownup Table Now

December 27th, 2020

You’re At The Grownup Table Now 

after Servant 

In vermillion lipstick, a Dorothy 
blue dress, borrowed ruby, ring finger, beaus
to impress, submit to a coy lady’s 
request for your red shoes before she goes
another night to Oz, woos a tasteless
Lothario.  Leave you with a boy, shrewd 
serpent in a kitchen sink.  First, you finesse,
send for something red to drink. Latter, you  
will batter until still quivering, peel.
Boy who prepares, serves eel on a plate rues 
the bell which summoned him, the man of steel 
who waits to throw him out; you must stroke his rage.
At the grownup table, you will come of age. 

Continue reading “Womannotated – You’re At The Grownup Table Now”

Womannotated – Atheist Barbie

December 19th, 2020

Atheist Barbie 

is unavailable in stores. Believes 
in Christmas trees, Taylor Swift Evermore
with little distinction between the motifs — 
cute aesthetics without fealty sworn. 
Like dollhouses dissected their families, some 
pink plastic posed preternaturally 
replacing puritans overcome 
with prayers, prurience, pageantry,
incest upstairs. A ripped Sunday school dress,
nothing beneath, long hair dyed forever noir,
fresh balsam wreath. Believer in kindness 
and twinkling lights, blessings in boudoirs,
tempestuous nights. deprived of her breath.
Nothing is deeper than sex, not even death. 

Continue reading “Womannotated – Atheist Barbie”

Womannotated – Oh The Places You Will Work Bitch And Not Be Free

Oh The Places You’ll Work Bitch

And Not Be Free

for Britney

For Disney, Pepsi, Bela Karolyi

(who USA gymnastics cut ties with

in pedophile controversy at the

remote training space, national forest

woods), Star Search, Broadway, Rolling Stone

(at seventeen in push-up bra, baby

blue velveteen rabbit inside her own

small town bedroom.), the 24, maybe

more, varietals of perfume; Sbarro,

Nabisco, HBO (Emmy wins for

concert docu shows), and their fathers, though,

even if estranged, legalities restore

a golden gosling to its violent cage

without telephone, medicated rage.

Continue reading “Womannotated – Oh The Places You Will Work Bitch And Not Be Free”

Womannotated – Hirsute

December 6th, 2020

Hirsute 

In middle school, bullied for body hair. 
Matched hair, eyes, contrasted fair skin, a shroud
I wear everywhere. Was so scared
to shave above the knee. Was told no one 
should look there anyway.  Was whispered of 
so many days in locker rooms by some 
with blonde peach fuzz which was what love
looked like, at this time, to me, Florida 
yellow/tan uniformity.  Was called 
a fiend, witch from another place, not of
the beach I breach, a plaited pouting pall 
their boyfriends chased, animal they want to taste,
shadow to hide inside this golden place.

Continue reading “Womannotated – Hirsute”

Womannotated – The Dirty Truth About Butterflies

November 29th, 2020

The Dirty Truth About Butterflies

It’s easy for a religiously bred

(misled) girl to make an Eden of

a garden, angels of winged soon dead,

repopulating in three weeks. But love’s

amino acids butterflies won’t find

in agapanthus nectar, waterfalls —

Continue reading “Womannotated – The Dirty Truth About Butterflies”

Womannotated – Radiant Heat

November 21st, 2020

Radiant Heat 

This is the time of day sunbeams cross my 

mattress, imprison flesh atop its breadth. 

Each breath, bee balm, bids eyelash butterflies 

vibrate; no body lies in wait bereft 

its pleasures just because it is alone

but moans all illuminations shone through nude 

windows. Your radiant heat upon bones,

Continue reading “Womannotated – Radiant Heat”

Womannotated – Macabre Burlesque

November 14th, 2020

Macabre Burlesque 

I live in a genre the aged read.
Decrepit men tell their mendacities 
before a final tomcatnap beneath 
cracked granite mausoleum roof.  This squeezed 
social register, not quite weatherproof,
trickles on nipples; a drooping sundress
exposes flesh, rose, only ghosts reprove 
or molest, witness this macabre burlesque.

Continue reading “Womannotated – Macabre Burlesque”

Womannotated – Holding Pond

October 7, 2020

Holding Pond


Kristin Garth

Gills desiccating, you glide through his house,

hair towel dried, Oxford shirt, slouched, secured 

with belt made oversized dress — yours doused

in his tank, under duress. Damp, demure

while you saunter down bifurcated stairs,

some guests the servants were unaware, out

his front door then driveway, street. Unprepared —

Continue reading “Womannotated – Holding Pond”

Womannotated – Texting Shakespeare

November 1, 2020

Texting Shakespeare

On the side of a road atop a stump

you seem cinched in by sunshine while you are 

slumped over a cellphone screen, bare goosebumped 

décolleté.  You ignore the people, cars.

You have something to say.  Instrumental 

Continue reading “Womannotated – Texting Shakespeare”

Womannotated – Oh Cult!

October 17th

Keith Raniere and Allison Mack poetry by Kristin Garth and Marisa Silva Dunbar

Kult Ken 

by Kristin Garth

divides women and the men, considers
mind control at ten when he learns listen
is not the same as care.  Schoolgirl Skippers 
are chatty, everywhere, dripping poison 
from lonely little tongues.  Learns to use it against
them young.  Can do it with a dad bod, sweat-
band, night volleyball game with lessons condensed —
marketing, pain.  Boss Barbie in hand,
he will walk home tonight.  Tomorrow she will 
ask him before she takes a bite, now hungry 
only for what she deserves.   Holes he fills
before the next underhand serve where she 
waits on bleachers for it to happen again —
molded obedient female companion.

The Introduction: November 14, 2006

by Marisa Silva Dunbar

We are now witnesses to the origin
—here is where he ensnares you.
You are mesmerized—girlish—giggly, 
and desperate for your worth to be seen
by this man in a sweatband and kneepads. 
We know it’s just a seedy facade. Some 
of us have at one point, wanted to be 
loved by a mediocre man 

Continue reading “Womannotated – Oh Cult!”

Womannotated – Bower

Bower

I am the tree arched over your yard 

abrading sky above the shards of what once 

were contents of your Instagram life, guarded-

by-Doberman duplicitous wife, crunched

digital frames, board games amidst piled piss

yellow leaves.  I have outlived any you grieve. 

Continue reading “Womannotated – Bower”

Womannotated – Dead Sea

Dead Sea 

Saunter through snapdragons, the cobblestone path

inside his house, into a bath prepared 

with Dead Sea salts by a sociopath— 

Continue reading “Womannotated – Dead Sea”

Womannotated – Weeping Trees

September 19th, 2020:

Weeping Trees 

Follow creek through the weeping trees until 

it narrows and you cross with ease.  Keep mum

along the rivulet cascading still

through thicket of thorns  you will not succumb.

Continue reading “Womannotated – Weeping Trees”

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