By Sandshoe
11/11/2010
I’ve not had a happy life she thought and so she brought to the Gold Coin Dinner at the Community House where we occasionally met at the coffee machine and exchanged pleasantries a gift of a volume of Schubert. She said she would never use it, not now she had Cyril to worry about and he is a real worry she had added, making a ‘schcking’ noise with her teeth and fleshy lips. She always had on the same blue cotton frock when our paths crossed. Her hair was a practical length. As she handed me her brown envelope I could see her entering a music room to sit for an exam in pianoforte and being quietly sensible about placing the tip of her toe behind her left foot to bob a greeting by a bend of her knees before seating herself on command to be ready for instruction from that examiner. I could see the examiner was a tall, slim woman in a brown frock of a soft flowing matertial that draped across one arm rest as the skirt was caught in a sudden movement to resume her seat between examinees. In the frame of the afterthought I realised I was transposing an image long forgotten in an imperative to forget. I had not known even she played the piano. I heard the rattling of the beads and the rustle of the Mother Superior’s gown at the door of the same room, my memory and imagination playing their tricks like a counterpoint of melody underlying a rhythm being played in the immediacy of the coffee urn’s tap being turned on and off as patrons came to pour their complimentary cups of coffee and tea and pour their milk so the contents of their cups overflowed onto the stainless steel tray of the server.
We sang a duet together years ago when I was new to the community and my voice gnarled for her in a twist of sentiment to find the notes. No accompaniment. Had there been an examiner sitting behind a desk abutting the adjacent wall facing us the verdict would have been cutting. The duo applicants were equally unsure of their tune. Through what had been for me years of an ordeal, I had faithfully practised before examination periods and lulled into an annual state of false security when I passed. Notes come to me at rest. They fall into my mind after they have been struck and are resonant. The years since I played them have left only these, my aftersongs.
“I thought you would like this.”
A pattern of fingers moved notes across bar lines turned into an arabesque of blue cotton. She maintained a sway when she conversed and her hands waved like stubs. She never stilled. Her lips splayed wide against her smile. The thick grey hair held by a clip was a withdrawn drape. The voice behind her was a wisp.
“I was the superintendent at the Gaol.” The thin old man was telling that story to his table companion he had been standing beside patiently where they waited together to take their place filling a cup with a choice of their hot drink. I know that story as if it is my alter ego. It moves in. At the end of a sideways glance reminiscent of a thief checking the lay of his land, the habitue smirks. He leans forward and confides he “did the last of them”.
“That was me,” he said. No-one else heard. He was cunning. I knew the words as a bare wrap of a suit of thinly cut tweed like dry bone as I was supposed. When he coughed it was mean and thin. He cleared his throat and lent backwards to where I had moved behind him so any of his words could blow into the air and not my ear if he addressed me.
“Of course, it wasn’t actually me. I didn’t do it. I was just the Superintendent.” He laughed like a thin cotton sheet falling off a line, soundless. He told me I could see execution worked.
The hubub of a gold coin dinner is cacophonic; the emotional stress of attending and attention to what is said is a tragic drama. The dischordants clatter in a tray of spoons and knives like women with screechy toned voices attracting vacant spaces around their persons in public places. Women with large shoulders from the weight of heavy loads and stooped and thin like fragile paper shapes.
Kent lurched across the narrow space between the tables and the coffee machine. His mouth fell open in an expanse at me of a loving grin of elation and saliva fell out on his jacket front he wiped in a brusque movement of laboured co-ordination. His control lapses as rapidly and he swings on his toes, hesitates, rocks, rests, looks away from anyone he is in conversation with as if by way of an emotional gathering of his internal strength… he either returns his attention to a companion or reverts to his transport of his awkward body across a room, around a corner, to undertake and complete tasks.
“I’m not working at the Church anymore,” he told me as he reached for a cup. His speech was a gruff heehaw I learned to understand. I handed him a cup and he cocked his head with a frown in his eyes and then laughed‘HA’ because I grinned at him. His mood is a natural volcano. He took the cup and peered into it to see if it was clean, grimaced, shrugged his shoulders and heehawed to me he worked in the place for a long time now and if they didn’t like it too bad. He was getting married he announced or so it sounded. He clouded over. He had been irritated by the bureaucrats. He was looking dark enough. I stopped what I was doing where I had adjusted the trays by moving used cups and mugs into a plastic bucket. I economised the remaining cups onto one tray. The noise was thunderous in the room. I may not have heard properly Kent said he is getting married. He might have said he is married. He could have said he will never get married. I bent my head forward and tapped on my ear, looked up and bellowed as best as I could, looking puzzled, “Did you say you are getting married?” I swooped my head forward as close as I could in his direction and tapped again on my ear. He yelled into my ear he was getting married. The crescendoed noise battered me. I hauled the mugs to the servery bench. I was only avoiding the executioner. Every time I was face to face with him across a table or found him behind me in a queue for a doughnut I wondered should I tell someone about the executioner.
Might I mention the guitar teacher who wanted ‘a beautiful woman’ to demonstrate sexual acts on and with (‘NO HOLDS BARRED! IT MUST BE FRANK!’) in Sex Education Lessons For Community. Might I refer in passing to the man of senior years who demonstrated for me a point of conversation how shapely his legs still were regardless his advanced years by unzipping his fly and dropping his jeans onto the floor in the kitchen next to the forgotten Tai Chi class in full Saturday morning swing on the other side of that roller blind divide. The flushed and agitated male and female Council staffers who had regrettably to be advised they could not attempt pulling rank again to urgently occupy the main community lounge by hiring it (for their sexual liasion) by the hour. It seems irony to me a Community Centre would not cook a cabbage (Pooh, smelly, the retired woman with the drinking problem thought drawing a stipend to run the kitchen and who else would keep it going as she had she declared bustling past me red and swollen. I think she was right.).
Complex Disabilities Youth was being emptied out of their bus when I called in the next day to collect the Schubert I had forgotten on a shelf (the first time I attended the address as a co-ordinator I identified the group’s name from a brochure). A cycle of wailing and crying alternately begins as these regulars are parked in the Hall and their carers feed them. The teeth of one young man protrude. His outsize and rigid face has the appearance of a type of cooking or industrial utensil for straining scree from a wash. One arm is lightly secured with a leather strap to avert his harm. I savoured in my imagination as I touched the Schubert that I could see the composer inscribing a delicate tracery of rests over treble and bass lines with a quill end. He is calling a student’s attention to apparent gaities of notes. A face popped out of the office. “Come here,” Gan hissed. He had turned his chair in reverse fashion to call out for me. I followed his wheeling advance forward again towards the desk. He spun the wheels into place. “I just want to say I’m not happy,” he began. He hung his head at the end of the denouement, took off his large black-framed glasses and cleaned their glass with a clutched handkerchief, and returned them to his face. “I imagine you are often unhappy with all the things you have to put up with,” hoping this kind acknowledgement I responded, “Maybe I can help you with something.”
“You surely know.”
“No.”
“I’ve been sacked.”
I am guarded. “That was impossible I thought.”
“So did I unless I shot someone. Fat chance. Blow me down you didn’t know. You didn’t?”
I placated him. I did not know and he had felt unnecessary anger at me I saw abate. His face was easy to read as it flushes red in response to all major emotions. Anger, surprise, excitement, shame, …
“It’s because of the way I smell.” He hung his head. “Can you check the lounge is cleared out of everybody for me? They had Court in there today. Be a darl.” There was that delightful gap-toothed grin.
I tapped on the door of the lounge. “Come in,” called a voice to my surprise. Its owner was standing looking down at his shirt over which a large biro stain had spread from its left breast pocket. He said, “O, hello.”
“Yes, I remember you. You’re, aren’t you, Juvenile Offence?” I did not know his title. I glided like any ambassador to a stance of ease at comfortable distance, “Is the room alright still? It’s not noisy?” I could not forget him rushing in the door of the Centre to the window at Reception and blowing my mind with an earnest supplication he wanted to be shown the room. To ensure it was suitable.
“Yes, it’s great” he said, dabbing at his shirt and looking perplexed, “it’s a pity about this.”
“Yes,” I offered, accustomed to debriefing the Men’s Group facilitator , “I wonder if I might be able to help by getting some kitchen paper. You could fold it and slide it into your pocket, and maybe tape some onto your shirt. Between the shirt and your suit coat if you are putting on your coat. If you have to go back to your office.”
He looked at me and stared, thoughtful, looked down and frowned again, “I have to go back to the office. You know I haven’t had this happen for a while. The last time was in the pocket of my trousers.”
I felt myself startle. I believed it did not show. He gazed over at me calmly. He continued with the same sincere gravity he demonstrated throughout this entire trivial exchange, “You know I have worked something out over the years that serves me well.” I noticed he was my years, mid-range 40s. It seemed confirmation was required I was attentive.
“Yes?” I supposed he would divulge a profound insight. About community, law. I looked eagerly forward, reserved. Professional. I revelled in memory of debating lawyers in Political Science.
“I fill a bucket with water. I have that on stand-by. I pour detergent through the shirt fabric in another bucket and I turn it over. Pour more detergent through. Makes a mess if it’s a lot of ink.” He held a distinguished stance, he barely smiled, but his eyes appeared to with a fact more important to him than leaving this workplace and going home. “I can deal really with this stain. I have solved this. This is not a problem. Easy.” The thought occurred to me he was relieving me of anxiety. “I am glad to know that,” I offer, “Will I get you some paper from the kitchen?”
“No,” he said. He gazed in my direction. “I’ll pop my suitcoat on when I go up to the office. No-one will know. Don’t worry.” He took his suitcoat and briefcase in one hand and extended his other to the door in a courteous gesture. I demurred I would leave him to see his way out. I would secure the windows.
By the time I bade him good afternoon and the windows were closed, the curtains drawn, I saw Gan had left the office. He wrote a cursory note to say goodbye. He had to go to Rainbows. I saw him struggle with the aloneness of the trek to the car park where for four years and in the main city preccinct for 19 he had battled the weather since his schooldays to catch buses and in subsequent years manipulated the folding up of the wheelchairs into the car he had used (it was bought for him by a service club) to continue to pursue his career in community. See you later, Gan.
by Sandshoe

Acknowledgement: Here, I offer my own acknowledgement of Gan, the Creator Snake.
‘Gan’, the character, is a figment as much as any character can be of anybody’s imagination. Curiously, the name came to me as a random word as far as I knew, that I interpreted as simply representing the rhythm of the name of the actual person who was the muse for me of the character. I, then, googled combinations of terms and names ‘+ Gan’. I was briefly disappointed to remember I knew it. cf: The Mirriyuula Story’ Pigs Arms September 22 2009.
Just as people call children after the Greek gods, I opted to suppose a child might be named after Gan. Its original occurrence was however innocent of any guile.
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I’ve now had a chance to read this a couple of times. Not only does each reading reveal more of the meat of the thing, but as each reading progresses the internal logic of the piece becomes a bit more compelling. Of course it’s highly contrived but you don’t get the sense that its artifice is all there is to it. I like writing that creates its own space, its own compelling reality. This does that and does it quite convincingly. I also like its fracticality. “It’s life Jim but not as we know it”.
A new line in the creative sand. A “plimsoll” line if you will, Sandshoe. Sort of “Winter North Atlantic” here at the Pigs.
More please.
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And of course there’s also this;
“In the Dreaming, before time, before space, before country and the people, the great creator spirit Baiame awakes and begins to move through the impenetrable blackness to the place of purpose.
While all places are just potential harmonies in the songs of the great creation plan, he knows when he has arrived. This is the place. Baiame opens his powerful hand revealing Gan, the Creator Snake.
Gan, being both design and cause, knowing too purpose and moment, slides smoothly into the darkness as all creation quickens and the cosmos explodes into its endless flight through space. Galaxies, stars and planets, the constellations of the lore and all the spirits of all the creatures that will ever live, awaken at the dawn of creation and are witness to the rising of the mountains and the flowing of the rivers onto the extended plains.”
But that’s another story.
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And wouldn’t we all love to hear more like that one Warrigal! Poetry my friend; sheer poetry!
🙂
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Love the ‘Plimsoll line’, Warrigal!
And your thoughts plus my own second reading have given me more to think about… a third perusal may be in order, but that will have to await the muse…
‘Life Jim, but not as we know it’… yes; I see it more clearly now.
🙂
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I am very moved by what you write about this piece, Warrigal.
Various of its audience appreciated it warmly 8 years ago, but the first writer who spoke to the reading I did then (its opening paragraph and a half) exclaimed with a depth of heart how much she wished she had material of the ilk to read. She is a community worker.
I will respect what you written, Warrigal. And it really is “… life Jim but not as we know it”. Thank you so sincerely.
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An error there: insert ‘have’ previous to ‘written’ in the 1st sentence of the final paragraph. 🙂
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It’s great, Sandshoe, your writing is always interesting. You have a flow like waves. They speed up and slow down. It’s always there in your comments.
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Lehan, thank you for the feedback in your first instance and in this second.
I have on occasion speech writing included punctuation to demonstrate every nuance I anticipate I will need to observe or a reader receiving it as a report will need to interpret my meaning, emphases, and energy. I am reflecting as well on ghost writing that when we listen to a story told us we are best who commit to paper as closely as we can the rhythm of speech of the story teller. It is key to the ‘language’ of the speaker, identity, and can reveal intention.
Creative writers, of course, do frequently and purposefully leave a substantial area for a reader to interpret meaning for the reader to make it their own. Not all, but free verse will offer that latitude. I believe I have identified when a smart copywriter having a lend has placed a spin on the advertising package they present so the ultimate promotion an employer pays to have translated into a campaign is the enemy of the product (and the employer). Using rhythm. 🙂
No shadow of doubt, a writer who wants to capture a particular market will go to that marketplace often to learn that rhythm.
A writer who wants to discover their creative friends who will look beyond a contemporary marketplace will offer their soul on a platter if they have to so as to “be seen”, not necessarily for what they have presented but to demonstrate potential. Be that a range of expression. A competence with a subject. And so on. I do seek to vary rhythm in other stories. Funny tho’. It is possible to scan anything by inclusion of places to pause, rests. I do notice this fall and rise, waves I like given I live on a beach and walk there. I as well have a speech disability. I am seeking to transform speech, identity. Driving to communicate in rhythm as well the nature of a workplace or setting. 🙂
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Piglets and general readers, imbibers at the Arms, I can see as a result of this publication the angst the paragraphs caused me deciding where to apportion their breaks. It is exactly the effect I wanted that each represent a movement or an interlude, a break or a tone poem – incredible comment of yours, atomou, regards the musicality of the construction. That sense of musicality is part triggered, but reinforced which is a ‘trick’ (of the nicest possible sort of course), by my mention of Schubert for that second time. I felt I needed to take the reader’s imagination ‘back’, in case the reader forgot Schubert, in case the musicality began to dissipate, so I had to conjure the ploy of myself, physically going back to fetch the Schubert, the manuscript which was on a shelf, I (yes!) had to have the courage (I hesitated as I was writing) to brandish my own humanity, and that is another ‘trick’ seeking to lull the reader into security (I’d do that! Forget it!) or rail if so inclined about the ‘careless’ human (FANCY! Forgetting the gift! SOMEONE must have put it on the shelf like a woman ‘left on a shelf’! WHERE? In a puddle of coffee and tea slops? Does it have donut cream and pink icing on its cover?)
Yes, atomou, spot on, I wanted to elevate the significance of the musicality of that immediate and the importance of that present over the minor role I give Schubert. He is a support act.
To stimulate my own imagination in order to write that (bridge I suppose I could call it) I found online some original ms in Schubert’s hand and stared at the notes and rests. I was struck by the neat clarity of the writer of that score. I then wrote “I savoured in my imagination as I touched [replace ‘touched’ with stared at’] the Schubert that I could see the composer [replace ‘the composer’ with ‘myself”] inscribing a delicate tracery of rests over treble and bass lines with a quill end [‘with a quill end’ to encourage a reader to imagine the music in its time]. And having written that I was drawn to further humanise Schubert.
“He is calling a student’s attention to apparent gaities of notes.”
I considered in particular when I was editing the story the description of Gan’s movement in his chair, which I read as lacking zing, rhythm, and ‘looked’ into my imagination so as to see a practical situation of a wheelchair user in a small office space and added the sentence, “He spun the wheels into place”.
There is only one spot a wheelchair user can occupy in a small office space! I cannot imagine how excruciatingly boring and/or restricted that might become for near 8 hours a day, how much discipline it requires! It certainly, yes, of course, requires discipline of all staff members until negotiating that physical space is a happy habit for everybody sharing it! What about up the act on the way people with disabilities are accommodated and treated! I would only wish an employer with the potential to take on staff consider all applicants with equal attention to their skills and look at their workplace with due attention to necessary renovation.
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Thank you for the explanation, sands. It’s another story, of course, this explanation, I mean. The story of a writer’s journey through the airy paths of imagination before she gets down to give form to fantasy; and like Gan’s story, the story of your journey, too, was exciting and yes, musical. It seems you can’t escape musicality, much like a clergy can’t escape religiosity, or a painter colour.
Not that the length of the journey means anything at all in the final scheme of things but as one who loves stories, may I ask how long was yours? How long did it take you to write Gan? Nothing more than curiosity, I assure you.
Once again, reading both these pieces -and I won’t forget all the other pieces you’ve honoured us with- was an absolute delight for which I thank you enormously.
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Atomou, it is lovely that the piglets express this warmth and it does encourage me.
I had written only the first paragraph and the second up to ‘The [duo] applicants were [equally] unsure of their tune.’ about 8 years ago. As a sampler to read to a local group of writers. Twenty minutes maybe.
‘Duo’ and ‘equally’ were added just before publishing to flesh out rhythm and length of sentences to maintain ‘wordiness’. A critic might argue the sentences are “too long”. Of course, the piglets realise it is a writing exercise, taking a punt on shape, like striving to create a bread plait without having the strands roll out of shape and become thin as we weave.
I wrote the rest of the second paragraph when I was cruising through my writing a couple of years ago. A year ago, cruising again, I added some sketchy material about ‘the executioner’.
Only in these recent weeks, I selected this story to follow up ‘The Volunteer’ and wrote it from the second paragraph to its end essentially in two sittings. Say, 4 hours each. In the night hours when there is no interruption. About another hour for standing back from it and seeing where the transitions from one scene or description to another needed to be somehow twined, where an image needed an attention getting twist added to it, or an article-an ‘a’ or a ‘the’-taken out or added.
8 years in the making, about ten hours writing and editing, atomou.
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Very beautiful, Sandshoe.
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I must read this again but initially I should say that this is extraordinarily beautiful.
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Agree, Vivie.
Gentle but mighty!
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Viv, you said it for me too; I’ll be slowly reading it again…
I also like the painting that Emm (?) has chosen to compliment the story, equally beautiful…
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No, that photo was chosen from a bunch recommended by ‘Shoe, H.
She’s something special, isn’t she ?
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Thank you for your generous time providing me these considerations. I mention in reply to enquiry about the art work that I googled “Rorschach” and found a page I offered to Emmjay to choose (perhaps) from.
http://gillesbalmet.free.fr/Untitled%20(Rorschach)/Untitled%20(Rorschach).htm
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Sandshoe:
One of the main criteria for expressing anything creative is to be free of fear and preconceptions. All children up to a certain age have that freedom. That’s why children’s art is so engaging and surprising. It is mainly upbringing and education that for so many succeed in stifling this inborn creativity that will then be dominant for most of us for the rest of our lives. The good thing is that creativity can be regained if one can jettison those imposed restraints. I mean, get rid of fear and get back to what we had as children. We were fearless then.
“We do our best art when we hardly know what we are doing.” Read any biography of an artist, and sooner or later you will come to that admission. From being fearless as children we become adults stiff scared and unable to put a few words together or put a piece of charcoal to paper and draw a line. “Get rid of my fear,” ought to be our most fervent wish before going to sleep.
Sandshoe. In your writing you are fearless. This is the best thing going for you. I would be surprised if other aspects of your life are also not coloured by being a free spirit.
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Sands, your turn of phrase is breath taking! How on earth do you come up with stunning sentence: “In the frame of the afterthought I realised I was transposing an image long forgotten in an imperative to forget?”
You know how to draw moment and emotions. How to prize open the very spirit of moments. Your last sentence leaves with a gaping mouth. Awesome stuff! We can hear the music right through the piece. I’ve never seen the word “guffaws” used in such a way as to sound as if it’s part of a symphony, in which Schubert is but a little fragment.
“His mood is a natural volcano.” If this isn’t preparing the reader for a powerful crescendo, I don’t know what is! An emotional crescendo that builds up slowly, gently, subtly and then bursts with all its might at the end, at the very edge of the dénouemont.
My highest commendations to you, sands!
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Thank you atomou.
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Atomou seems to ‘get’ your work much better than I do, I’m afraid, Sandshoe… Although I’ve only read it through once as yet; perhaps a second perusal might afford me more insight into whatever the narrative is supposed to be about.
I don’t mean to be critical, Sandshoe, but must confess that I’m lazy, and your work demands a lot of work from its readers and sometimes the effort to understand a narrative through such a barrage of sense-images gives me a headache. Am I even on the right track in assuming there is actually some kind of narrative happening? It seems as though I can sense some kind of flow of events, even though I can’t really say for sure what has happened; it is a most peculiar feeling…
I realize that this is a ‘stream of consciousness’ style of writing and that it is much like a word-mosaic, or perhaps a word-montage, althoug as a written work, it has a linear nature lacking in either of these; perhaps it is this which gives an illusion of narrateive, where there may be none(?) and I’m glad that others, especially, atomou, both like and appreciate it. I just can’t truly claim to ‘understand’ it myself…
Actually, reading your piece reminds me of a time when I was about nineteen, busking in France, I’d bought a copy of Bob Dylan’s ‘Tarantula’ to look cool… I tried to read it, but I don’t think I ever finished it; although I do remember actually enjoying Kerouac’s ‘On the Road’… Perhaps it was just the darker, Dylanesque vision, which put me off Tarantula…
I think I must still be part-philistine…
😉
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A reluctant singer neglects their song, asty.
In the same vein of knowledge, I have read over ‘Gan’ with especial regard for sections where I think that if a reader is not able to suspend disbelief and allow a certain amount of trust they definitely will balk at getting past a headache.
The same holds true for a writer. I can see potential to better weave the images and narrative of ‘Gan’ out of a basic respect that I can likely still achieve the same effect while at the same time not risking this sort of potential alienation of a reader … better that a reader return to a story for a second time for no reason other than it is enjoyable rather than seeking an essential understanding and/or out of a sense of fealty. 🙂
Thank you, astyages.
You mention the fashion of ‘Tarantula’. I have hunted a line in part recalled and brought back: “Now’s not the time to get silly, so wear your big boots and jump on the garbage clowns.”
Which revelation is not intended to convey any comment about your criticism or any piglets opinion about my work, but just is.
😉
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No criticism as such was intended, Sandshoe; there is nothing wrong with either mosaic or montage; or your style. Indeed perhaps the fault is mine; for some strange reason I find myself lazier than ever; reluctant to make the effort to think… I will come back to it when I have more energy.
I must say that I do love your turn of phrase too… and your imagery, though often bizarre, is also often quite poignant… and I agree about what you say about enjoyment; and I enjoyed the bits which didn’t give me a headache!
😉
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Ribbit! Ribbit! There is a frog on my roof with a pebble tied to its leg. That does not mean there is. No doubt. By way, thank you for delivering Cyrus on Thursday, astyages. That wasn’t at all lazy of you and I am sorry I forgot to mention it. I have not read any of your book yet. I am not up to that quite yet. 😉
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I had a listen tho’ to your blues tracks for a second time and gave them thought including spending lunar hours chasing round after the Teddy2 file, but it seems to not be playing. It must be lazy.
😉
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Aha! So that’s what you meant by ‘it sounds crook’!
No worries… I suppose the link must not be working; I’ll need to go back and refresh it, I suppose… I’ll let you know when I’ve done so.
BTW… Thank you for taking me out to your local folk club on Thurdsay evening; I’m so glad I brought Christine with me… (as I’ve decided to name my new guitar… after my grandmother). The Gene Vincent number really got people’s attention, didn’t it? You know, I do believe that some of it, at least, was captured on film; dunno if you know the old dude with the camera, but do you think there may be a chance of getting a copy?
I left Dean Bird (the guitarist in the corner with the yellow t-shirt)
I’m looking forward to doing it again next week. Will send you an email soon.
🙂
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Not at all, asty. Thank you for the company and good time. I look forward to a re-run next week. I did notice the filming. Thought myself that precious not only did you move the room to move to the beat (and some feminine admiration including great humour from the blokes) it was decided the vision was worth running the camera on the tripod.
Myself I did wonder if a copy can be had.
I have sung at the club, but in practice from singing acapella in a regular group. I had thought I ought persist with my speech therapist, which involves across town travel. Your show (they allowed you floor 🙂 ) made me re-consider to talk with a local singing teacher.
🙂
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There was an unfinished sentence in my last comment, Sandy; it should have read, “I left Dean Bird my email and weblog addies as well as my phone number on Thursday night and my blog has been going crazy… it’s received 58 hits TODAY alone!”
Normally only gets half a dozen or so… Must’ve made an impact I guess…
🙂
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That’s quite some story there Sandshoe. I need to go through it again to savour all that lovely subtle and nuanced imagery. Let’s hope there will be a bit of respite from The Dot with a few more replies on the hard yakka of actual contributions.
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I am with you Gerard respect of The Dot. I suspect them sudenly them over there Gerard. Might be a cover to do with Foodge. Think of the international scene as well. Emotions are running high. Banks are putting their dukes up. 🙂
Wonderful to be human and alive and able to participate. Gerard. I have learned a fold out amount and ever unfolding from your latest piece and I look forward to many more from you as well news of how the other projects are going you and H come up with as individuals and in companionship. Keep writing.
You are an artist of a writer and I value what you say here, sincerely (not too crash hot about using the mot, value in the usual contexts but here…. I appreciate you have experience of sizing scenes of landscape and people in them. Thank you for your kind preliminary comment. I do anticipate you will comment a little more in time when you have considered what it is that appealed to your imagination and experience.
😉
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