Interpretations

My days are filled with silence. It's strange, because on some level, they're filled with lyrics and conversation. They're filled with ink stains and cursive print. I deal with this silence constantly, but I never seem to cope with it adequately enough.

I fill the silence with irrational thought, mantras I know to be untrue. I think of the silence and its meanings and motivations. I pair everything up with a brutal explanation and a debilitating scenario. I imagine it will make me stronger.

I long for your voice, but I know it will be hollow and devoid of warmth. I hope that tomorrow I can convince myself of some kind of fundamental untruth. I hope I can convince myself that the silence ain't half bad.

Presence and Precedence

I harbour this unfortunate tendency to assume that I'm being victimised pretty much all of the time. I came up with this insight a week or so ago, in a conversation with someone who only knew me from my writing. It was unbearably succinct, in that it summed up my fears and anxieties, my personality and my past.

I only regret the way that I constructed that sentence. At that point in time, I jostled with the prospect that the paranoia was completely unjustified. The prospect of an aggressive confrontation was this allegedly mythical thing. But then, I was fortunate in that I had managed to whittle down my existence so I was safe from harm.

It only occurred to me this afternoon that I've spent so much of my life convincing people to be nice to me. I've never had such a vivid recollection of such a feeble and ineffectual desire, recurring over and over again. It seems stupid to convince someone to be nice to you when they've just stomped on your neck.

I suppose I'm lucky, in that I once thought the victimisation was justified. I'd string all the incidents together, as if they were in this absurd press kit with all these unlikely characters. I don't think that way anymore. I never deserved what happened. It's just unfortunate that things transpired as they did.

I developed this sensitivity and this consciousness. I was determined never to succumb to that dynamic, I was determined not to believe the hype, as I'd so often joke. Yet, as I write this, I know that I'm back there at this precise moment. Convincing him, unconvincingly, to try to be nice to me.

I've never been able to convince anyone, although. I suppose my arguments have never been that compelling...

Glamourous Glue

Some months ago, I abandoned a piece about the ambiguity of glamour. At the time, I had immersed myself in cautionary pop-tales about pretty teenage girls falling headlong into drug addiction. I tried to make sense of why alarming messages were so frequently accompanied with beautiful imagery. I returned to the glorious scene of Christiane F., the scene of junkie-friends, shrieking and running down the tiled hallways of Berlin's Bahnhof Zoo, occasionally tumbling but never stopping. They were running feverishly, with David Bowie's Heroes playing in the background. It's like they were rushing forth like the heroin running through their veins.

It's an allegory that's been sitting at the pit of my stomach for some time now. Never digesting, never making sense. I was reminded of it, when I saw a picture I'd saved of Gia Carangi, a model and heroin addict who succumbed to HIV/AIDS in 1986. Her beauty and her antics are commonly discussed, in tones of reverence and horror. Stories circulate, such as the legend of the November 1980 Vogue spread, that contained (arguably) visible track-marks on her arms. The tragedy of it is exacerbated by her youth, her femininity, her alluring sense of glamour. She somehow obliterated that traditional preconception: a pretty young girl shouldn't be mixed up with that sort of thing!

I suppose it will be some time before I work out what it all means; what is the function of the cautionary tale in teen literature, what is the importance of veracity in the retelling of the drug tale, what is the role of glamour in making that very warning believable. When I saw Gia's photograph just before, I was instantly reminded of that Frou Frou lyric: there's beauty in the breakdown. I can only assume that I'm turning to that perversely romantic notion that we can unravel and we can deteriorate and no one need stop us. We can self-destruct and yet, it can still be beautiful.

Pennies

It was a bizarre ritual I had devised some years before. Often, while waiting to get into a club, I'd hand over one of the pennies that lined my rucksack. It seemed to be overflowing with pennies since my 2005 English adventure and although it was never a big deal to hand one over, I'd closely examine how they'd react. Some would be confused, unable to understand why I would hand over something so fiscally worthless. Others, namely the important one, the one who ruined me, seemed to get it. I was bemused to see him closely examining the brass coin, grinning. He would soon boast proudly that he affixed the penny to his wall in order to hold up a poster of Johnny Marr. He would later attempt to return the penny to me, at the end of one of our many epic break ups. I was just about to get out of his car when he slipped the penny into my hand and I wanted to die.

I had never really felt the need to articulate the consequence of the penny, especially since it had been so long since my rucksack had been lined with them. I found myself talking about it with you, for some reason. I had only just met you for the first time a few days before, but we felt content and comfortable enough to talk for hours and hours at Sousou. Even then, you marvelled at how alike we were, often proclaiming that we were separated at birth. I remember your retelling of G. K. Chesterton's short story, What I Found In My Pocket and I can only assume that it inspired me to tell you about the ritual I once practised. I came up with some very vague analysis, suggesting that it was a kind of innocuous test, something to do with the heart. I wanted to see how they would treat something with so little value.


Months later, we met upstairs at Bimbo's and you proudly boasted that you had a present for me. It was a book wrapped in crinkled and faded Florentia paper, allegedly found in an abandoned cupboard. I was thrilled to find it was an alarmingly new-looking copy of Anthony Thornton's Libertines book that you allegedly found in an op shop. More poignantly, you had attached a 10p coin to the back cover with masking tape. We never really spoke about what it all meant, in fact it was probably the first time that we had ever stopped talking for more than a few moments. I suppose when I think about it now, it was the first time that I ever felt like I was on the back foot. Where I had assumed that I was always in the position of the sincere and vulnerable, I was being asked if I was for real.

As it stands, I'm unsure whether I'd ever want to voluntarily hand over trust like a worthless penny. I once thought I was impervious to harm, after the damage sustained from the important one. I imagined I had perfected an almost undetectable level of detachment and that's the reason why I stopped myself from practising this ritual. I never trusted you with a penny, as such, but I made the mistake of handing over more trust than I ever would have consciously permitted. If only I had been smarter, if only I had been more stealthy, if only I had been more sensible, I would have known. I would have known not to bother.

The Hypocritical Headband

Missy Laur and I would often preface advice with the expression, "please excuse the hypocritical headband". It was a reference to the large 1960s headbands I used to wear. Like the headband, the hypocrisy of the scenario was so dramatic that it could never be avoided and instead of being sensible and attempting to take our own advice, we would use the hypocritical headband as a mechanism to deliver lectures, guidance and comfort.

We wore the headband in good faith, we did. We were deathly aware of our mutual propensity to obsess, in spite of our reassurances that there would come a time when we wouldn't. She told me repeatedly that things would get better and after a very long time, they actually did. I would reassure others too, sitting across from dear friends at Sousou. I would tell them that no matter how painful it is now, everything will eventually numb out in time.

Those reassurances now seem so wildly insincere, so desperately hypocritical. I can't believe I ever forgot how painful it could be, but then I find it hard to believe I ever managed to endure it all before. I know on some fundamental level that it will be their words, the words of Missy Laur and Louise Sucre that will ultimately cure me. I have no idea what words could make for any immediate cure but I will try and listen. I will try and get better.

Confetti & Acorns

The path to Holy Trinity is strewn with confetti and acorns. It reminds me of our weekend adventures in England, when we would all pack into the dark red Volvo station wagon and go to churches and castles. If we happened to pass a fancy car tied up with a white satin ribbon, I'd emphatically insist we stop. In spite of my present resentment of weddings, I was once obsessed.


Up until a few days ago, the path to Holy Trinity led to my favourite op shop. It's tucked away from our High Street, only moments from the haberdashery store that resembles a leftover set from Are You Being Served? and the uniform shop that mends the school blazers of the rich and bullied. I'd walk that path alone after writing class and look for ages and ages.

I found amazing things in that op shop: books for 33.333 recurring cents, 7" records for 50 cents, Alannah Hill blazers for $20. You did need patience to wade through it all, there were times when there was nothing of particular interest or value. You'd see the same things in the racks for months and months, a Honky Tonk record or that taunting electric blue leather jacket. Could I get away with it?

I'll miss that ritual, the records and books, the jewellery and jackets, the confetti and acorns. There was a kind of warm solidarity associated with it: writing and looking at records, instead of marrying and being a lawyer. I doubt I'll ever shed that sense of expectation, but I enjoyed those moments alone when I did.

Concentrate

I don't remember much from that night. It was upstairs at Pony and we were there for a show. Some acquaintances were on stage and an unlikely pair of friends were hooking up in a corner. I'd occasionally see glimpses of someone I thought knew, but I was hopeful and mistaken.

For some reason, I think it must have been the second time we met. You bound up to me, breathlessly with a trademark enthusiasm. I don't remember what I was wearing, but you were wearing your AMIENS WHATEVER tshirt. It was a in-joke and I never understood what it meant.

We somehow got onto the topic of the words we weren't allowed to say. I told you about how, as a ten year old, my best friend told me off for referring to movies as films. It was in exactly the same way that my estranged brother told me off for using the term genre. Saying a word like that was just so embarrassing.

You met me with a similar anecdote, of how you casually and accidentally referred to cordial as concentrate and consequently, kids taunted you endlessly with that term for years and years. It riled you up and upset you, in the same way it upset me. It was baffling how an ordinary word could come across as nerdy or pompous.

My details of that night are sketchy at best, but I often contemplate that youthful compulsion to say a dumber word in order to convey a dumber image. I think of it more and more, now I am allowed to be as open and gregarious as I want. I live now without bullies and censors and I can speak, free of reproach and ridicule.

Pinstripes

I could see his face flush with panic whenever he saw me. It was only a subtle sign, but I could see it, behind his thick-rimmed glasses, behind his tar-coloured eyes. He knew my after-hours appearance at the front desk typically indicated that something was wrong and it so happened that every other hour, something was wrong. My door key had been deactivated.

However, on this occasion, I had to insist that nothing was actually wrong. I had been sitting across the room, curled up on a beanbag. I was concentrating upon writing about the potency of particularly perfect pop songs, the subtle but ever-relentless snobbery of once-trusted friends and Sydney's ever-irritating influx of one-way-streets and prams.

I had just started writing in my new, navy-blue Semikolon notebook that I received for Valentine's Day. My Parker pen was bleeding stolen red ink everywhere... and even now, I cannot remove its ink from my fingers. It's as if my fingers and palms were wounded by Cadbury's great stationery cull of 2011. But I have to remind myself, they were going to throw away that ink anyway.

When the requisite pages were filled, I approached the desk and started a conversation with the handsome doorman. He spoke of his double life. Long days, wearing suits and carrying himself with the utmost formality. Taking on the work of his superiors and receiving absolutely no credit. He told me of lonely nights behind the desk of the hostel, struggling to stay awake.

I suppose if we were talking strictly in the terms of pick-up parlance, I responded with a DLV. I said I struggled with notions of professionalism. I gush and I flirt and I laugh and carry on. I refuse to pin my fringe back and I always wear drainpipe jeans. Yet, I feel as if the quality of my work is excellent and I have (the arguably misguided) faith my employers will see that.

Ever since that night, I've been thinking about how he managed to articulate his attraction to professionalism. He spoke of his unequivocal desire to be a part of that corporate environment. Just as I once had faith that volunteering would lead to a paid job in broadcasting or even the music industry, he believes that being a corporate lackey will lead him somewhere... and that with professionalism, comes respect.

"You don't seem like a lawyer..." He said, I never even caught his name. "Well, it happened." I muttered apologetically. I told him about C&CM, about the music essays and the podcasts and the documentary I had been working on... but I couldn't help but feel a little embarrassed that I couldn't share his enthusiasm to step up, to change and adapt to meet the expectations of the rat-race.

The conversation halted suddenly when a dishevelled Dutch back-packer stepped in off the streets. I didn't think to wait, I didn't even think to appear distracted until he was free again. He was lovely and pristine and together. I don't see how he could have understood my inability to do as he does. To save face, I thanked him and said goodbye.

By friend, Norbi
Weeks later, I found myself with a film crew in the back alleys of Melbourne. Hands still ink-stained, legs still in drain pipes. It seemed like an accident to me, but after months of discussing, planning and writing we were finally filming this thing, this fashion segment I had once imagined. At no point did I hesitate, neither in my direction or guidance to cameraman, presenter or contributor... and much like in my days of producing radio, I had the utmost clarity about what I wanted this to become.

"I've just never seen you like that!" My Louise gushed after the shoot. "It was crazy for me to see you take control of everything..." She paused a moment. "You were just so professional!" I couldn't help but recoil slightly at the mention of that word. Yet I felt a some kind of unearthly gratitude that although I have no burning desire to become a corporate lawyer, I won't always be a complete shambolic mess. Quite incidentally, and quite accidentally, I still have that capacity to possess a quality I never thought I'd have.

Scissors

My hair was short when we were last friends. It was so short that the hairdresser had to shave the back of my head to mend the botchjob I had done to myself, one night when I had been left alone with the scissors.

It was a chic style, a 1920s bob, not unlike Louise Brooks or Edita Vilkevičiūtė as Chanel for Lagerfield. It was the closest I could ever get to shaving my head, the true cultural signifier of being hopelessly depressed.


As I was complimented for the boldness of the cut by strangers at parties, I could only think: "You don't know..." When I left his Jolimont apartment at 4 o'clock in the morning, I could only think: "You don't want to know..."

My dark hair now reaches far, far down my back, in thick cascades of incidental waves. I describe its length as cinematic and I revel in how it somehow illustrates that time has passed and things have changed.

But when he glances at me vacantly, with his new frames and unfamiliar beard, I know nothing of what he thinks. To ease the threat of self-reproach, I imagine he is looking at my hair.

I imagine he is looking, not only to survey its excessive length, but to recall its similarity to a style I once had. The style I had when we would hang out together and laugh endlessly... and I would actually be happy.

Nocturne

I have an attachment to the night. I love its stillness, how time becomes vague. There is a comfort in being alone with the thoughts and notebooks, it's as if I am lost and unaccounted for. There's no threat of aggression or confrontation and the possibility of ever having to defend myself is removed. I can be alone.

I've used my love of the night to my benefit, my job is at night. I can do what I do when the office is empty. I'm not subjected to the silliness typically associated with office politics. That, and my tendency to flirt and argue can be quashed. Instead, I sit alone and listen to my documentaries, plays and ripped episodes of Heartbreak High.

I emerge when it becomes light, when men in suits walk purposefully down Bourke Street, nursing their take-away soy lattes. I love the sunrise too, even though it signals the end of another wasted evening. The horizon glows with ever-changing pinks and flossy yellows, there are creamy clouds and unfamiliar hues.

Stephen Fry says that people who stay up to see dawn perceive it differently from those who awake early to hear birds frantically chirping. He described the phenomenon in some degree of detail, however, I'm not sure if I quite believe him.

Alexandre Cabanel's Phèdre
When I get home, I go to bed after many hours of distraction. It's mid-morning and I sleep deeply, for too many hours. My dreams are highly involved, typically including detailed scenes of fantastical foreign cities I'm yet to visit. There is often kindness and redemption as I meet the people I so keenly miss and admire. All is calm and blissful.

Dreams are interrupted by the vibration of my phone. Another call, another text. In that moment of disorientation, I fool myself in thinking it had all really happened. It all passed as I dreamt it, with Johnny Marr in that Indian marketplace. I see the daytime dreams as another aspect of that addictive attachment I have to the night, my conscious imagination could never be as compelling as the subconscious.

As much as I love it, I have decided to give up the night for the month of March, the month of my birthday. While I feel safe and autonomous in the indefinite hours of darkness, I know that I forgo the possibility of a real existence. That is, doing things that I really want to do in the hours of daylight.

Perhaps if my hood had a 24 hour gym or even a coffee house, perhaps if I produced more essays or podcasts, I could have kept this up forever. The truth is that I'm just too curious to see what life could be like on the other side of dawn.