Showing posts with label writing. Show all posts
Showing posts with label writing. Show all posts

Tuesday, October 2, 2012

Tigers

I’m a committed story trader. I’m always on the lookout for investment opportunities and everybody has a story to tell. From the six-year-old who told me he didn’t have a favourite mum, to the octogenarian who confessed to having never known love, the world is a pulsating matrix of stories. As a trader, I listen for the sparkle of potential in every conversation—not to steal a fragment from another person’s life and call it my own, but to load up my life with the iron ore of humanity. This stuff gets smelted in stillness and hopefully cast into something meaningful with a pen. There is little mystery to this; it’s the writer’s life, but there are moments when I have to shield my eyes from the heat, times when the humanity is too raw for fiction.

Welcome to the edge.

I went to a youth justice facility recently – not as an inmate (that would be way too Hunter S Thomson for my lily-white bum), but as a presenter. It wasn’t my first time behind bars, but this was high security. I had to leave my life and my digital security blanket (phone, laptop and tamagotchi) snug in a locker outside. I had my retinas scanned and my shoes x-rayed. No latex gloves, thankfully. Perhaps the retinal scanner could see the fearful volume of white in my eyes.

‘They’re cheeky bastards,’ my guide explained. ‘Half the time they want to shake your hand and thank you for being there; the other half of the time they want to shake your hand with the fingers they’ve just scratched their balls or their arse with. We’ve all been caught, but you’ve got to shake hands.’ He squirted hand sanitiser on my palm and then did his own.

The ‘boys’ filed in: some were monstrous, tattooed men, some were pasty-skinned junkies. They all wore fleecy blue tracksuits and velcro-bound runners. The biggest of the islander boys came and shook my hand, half a smile on his lips. His grip was warm and genuine, if a little moist. ‘I’m Kenny,’ he said. ‘What you in for?’

The edge is gloriously raw in jail and as soon as we realised we were safe with each other (which took three minutes and a couple of belly-laughs), the stories came thick and fast. Some of the boys were loud and proud about their lives of violence and crime; some were more discreet and rendered their shame and regret about their life choices using pens and paper.

Some of the stories made me laugh.

When they were living in the western suburbs of Melbourne, Nathan’s brother had been involved in a serious fight. Nathan could hear him talking with his mates about it in the next room as he drifted off to sleep. One of his brother’s mates shook him awake the following morning. ‘Cops!’ he hissed. ‘Everywhere!’ Nathan was twelve-years-old at the time and he strode out the front door and asked one of the police what was going on. ‘We’re filming an episode of Rush next door.’

Tom and his cousin were on the run from the police and had holed up in the bush. In the middle of the night, Tom heard the hoof-falls of the mounted division and they ran into the darkness—straight into an electric fence. Tom’s cousin got tangled in the wire and he could see her sparking. He kicked her clear and as she recovered, they heard the hooves again, only now they could see the shadows of the cows in the paddock on the other side of the electric fence.

Some of the stories made me ache.

The roughest mob were the guys on remand awaiting sentencing. They were unhealthy, restless things with wild eyes and plenty of the fire in their veins that had kept them alive on the outside. By contrast, the sentenced boys seemed like they’d been bred in captivity. In a candid moment, one of the sentenced boys told me that he was better off inside. Inside, he got clean and went to school, ate three meals a day and had a bed to sleep in every night. Outside was a lottery since his junkie mum had died. With my middle-class mores and judgments, I found myself thinking hard about how much better this kid might have been if he’d lived in foster care from the start and had a loving family who cared because caring was their reason-for-being. Was that the sort of judgment that spawned the Stolen Generation? My guide told me that most of the kids had been in foster homes, residential care and juvenile detention off and on all their lives. He said that the restorative practices in modern Victorian justice centres (with life-skills development, vocational courses and programs) were only marginally more effective than their punitive cousins in other states at keeping young offenders out of adult jail. He said that more than sixty percent of the kids in the room would do time as adults. Sometimes, however, the backstory makes a life of crime easier to understand.

Rikki, one of the Sudanese boys, saw a man beaten to death in front of his house. The mob doused his corpse and burnt it where it lay. Fleeing from the warzone his city had become, he rode in the back of a truck with one hundred other refugees. He told me the driver had done his best in treacherous conditions but lost control and rolled the truck. Six people died. The survivors righted the truck and drove on. He showed me the twenty-centimeter scar on his left calf that was his receipt of the accident. The desperation didn’t leave when he was resettled to Australia. Falling in with the wrong people and still fighting for survival had landed him in jail.

It was my job to count the pens at the end. It was unlikely that stolen pens would be used as weapons—the boys were universally handy with their fists and furniture—but every surface in the place that could be tagged had been tagged. I asked them about tagging and Kenny shrugged. ‘It’s how we let others know we’re alive. Like a dog pissing on a post, you know?’

Some of the purest deposits of human ore are found at the edge. My heart goes out to the miners and the people who keep them safe and give them choices. I want to shake your hands.

Wednesday, February 27, 2008

Romance

When I get excited about a new project, I feel it in my guts. Deep in my guts. A romantic sort of excitement that burns brightly and if I sleep on it, by the morning all that’s left is a glow. The glow is a better test of the worth of an idea than the height of the romantic rush, but that’s probably true of most love; the romance is bright, heady, and narcotic but we weren’t meant to live on that stuff alone. The romance is there to pique our interest, titillate us and keep us around long enough for the love to mature into something of substance.

I’m thinking of flowers now. Fragrant to fill the shopping centre but the florist can’t tell you if they smell. She’s dead to their romance. The floral porn of gerberas is lost on the guy at the market as he drags a bunch from a bucket and shakes the water off them.

We all do it; fall head over heels for new ideas. Some of those new ideas are meant to live alone. Some of those ideas don’t have any desire to settle down and when you introduce them to your parents they seem awkward. Suddenly you’re asking yourself what you saw in them in the first place.

Sometimes I like to knock the romance out of a new idea. Take it bush for a weekend and see if it will survive the rigours of a long-term relationship. See if I can fart in its company. See if it loves me with bed hair and cheesy feet.

Every one of my big ideas has had its dark night of the soul. At some stage, if our worlds are held together long enough—the luscious world of the imaginary and the hard dry world of form—we’re bound to get on each other’s nerves. In the beginning, the dark night represented a bleak and scary time for me. The romance was gone and my inner critic could only see the shit things about the art we were creating. The doubts crept in and I felt like taking off this stupid ring/pen, slamming it on the desk storming out of the office and never coming back.

But if you’ve ever really been in love with an idea and tried to coax it into the world then you’ll know about this crisis of faith. You’d be familiar with the sharp-tongued turns of phrase your inner critic uses. Your confidence pales, you slide, and then, in a sub-conscious bulb-flash, you realise you’ve been here before and that the friction is really a good sign. It’s the pain of final labour. It’s coming to the end and the challenge (as always) is to ignore the bickering and just go about making breakfast for the thing, buying it flowers and sitting still and close with it until the warmth comes back and you can smile at each other again and get on with the job.

The thing that separates a practicing artist from a dreamer is the crisis of faith and what she does with it. Nothing that’s forced can ever be right, if it doesn’t come naturally, leave it. And the counter to that is the thought that anything worth anything is worth the work. The good things in the world have been forged at the place between those ideas. Artistic action is only possible while those things are in inertia.

Friday, August 31, 2007

Air

This time of the year is frenetic for school-visiting writer-types like myself, especially in Victoria (Oz). Some of us visit three schools in a day for a number of weeks. It starts to hurt after a while and the world starts to blur and you get sick of the sound of your own voice. I both hate and love losing myself in it. There are a few things I do to keep my sanity.

I catch up with my writer mates who are working as hard as I am, have a couple of beers and an early night. We laugh a lot.

I zip around on public transport. Not having to drive frees my head up for bigger things.

I fly.

Mostly kites, but sometimes I fly while I'm attached to the kites. The threat of gravel rash and bone surgery keeps me focussed on the task at hand. Stiff thighs, a bit of bark rubbed off, guts aching from laughing so hard. I have a flying buddy in my son Bryce (aka Beej, nearly eleven) who gets ten metres of air to my five. On the night he took the photo of me above, the moon was eclipsed by the shadow of the earth and Beej did a thirty metre knee-ski on the grass, screaming 'We've invented the flying monkey bar!'.

Breathe, breathe in the air
Don't be afraid to care
Leave, but don't leave me
Look around
Choose your own ground

Long you live and high you fly
And smiles you'll give and tears you'll cry
And all you touch and all you see
Is all your life will ever be

Run, rabbit run
Dig that hole, forget the sun
And when at last the work is done
Don't sit down
It's time to dig another one

For long you live and high you fly
But only if you ride the tide
And balanced on the biggest wave
You race towards an early grave

(Pink Floyd)