Wednesday, February 1, 2017

Walls

Ross and I posed for the photograph at reception, holding defaced playing cards to our fringes. It was the night that the party suddenly relocated to reception and then they explained: "We didn't want you to miss out!" As the night rolled on, we sat together, attempting to deduce whatever was scrawled in pencil on our cards. We often failed to retain whatever clues we had just been given and so the game drew on endlessly with exasperated cries of frustration from those who knew the answer was LIME. It was one of those loud games I'd only ever watch in silence, looking up at the kitchen's security camera but that night, I was pulled in and included.

I saw that photograph again last night. Alex had sent it to me during the night but it was a photograph of a print. He typed across it: "You made my wall :D" Last winter, he had spent his nights with me, sitting up, discussing music, writing, politics, love and grief. We spent some time in the daylight too, walking around Primrose Hill and Regent's Park, recalling how we had once been loved. We agonised how we wish those that we loved would reach out, how we wish they'd somehow change their minds. I reiterated all the stilted advice I had been given, all the advice that I could never really accept. I said that despite everything, we would even yearn for this very moment in time. But much like my stilted advice, I'm not sure if he ever really believed me.

I don't own a desk here but I often find myself falling asleep and dreaming of them in fantastical settings. I've often yearned for a place to be alone, a place where I can sit and research and write without anyone asking why I am writing anything down. It never seems to be a particularly popular pastime, to think and reflect. This morning, I was reminded of my own desk and how much I missed my wall with all its photographs and emblems of love and loss. Everything from John Lennon Guy's threepence to a photochrom of Chillon Castle in Vevey. I had thought so much of the physicality of desk that I forgot what it meant to look up from it, to think and to miss.

I have recreated a similar sort of space next to my bed in the rave cave. I can't properly write there but each day I look up and see the 7" inch record of John Leyton's Johnny Remember Me. There's Kayln's drawing of a sleeping fox on grid paper and Laur's blueprint of the Tokyo Disneyland Castle. There is a scrap of paper featuring handwritten Kaseva lyrics, lovingly translated from Finnish to English by Olli, the night-time successor of Alex. I get emotional whenever I think of the mere gesture: the handwriting, how the lyrics squarely reflect my grief, the pain caused by the physicality of love lost.

One of the greatest pains of existing as a sentimentalist is that regardless of any advice to the contrary, you live with this perpetual feeling of unrequitedness. You insist that you care more because you write and remember and reach out. Yet I have carelessly discarded those who have been reckless with my heart, I have establised a willingness to overwrite memories, to freely destroy the legacy of music held fast in time. I recently wrote that "I am in this conflict of wanting to remember and wanting to forget, wanting to reveal and wanting to obscure". I want to write for you constantly, but I am troubled by the thought that you don't write for me.

I try to adopt a gracious and grateful mindset. I am moved to learn that I am remembered, that my friends wish to look up from their desks and see me. I am moved that they relocate their parties and transcribe lyrics, they draw foxes that screech in the night streets of Bloomsbury and they make me food most nights, in the knowledge that I don't bother with that sort of stuff anymore. They make it clear to me that this is not an unrequited friendship. They make it known that they love and remember, in the same way that I love and remember.

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