STATES AT SEA

The house is peculiar – a cross-breed of faded Edwardian wealth and sorrowful 21st century damnation – artefacts everywhere collecting dust or mildew – counting losses and sorrow in there and some quality of darkness – medicinal remedies from years gone by in glass fronted cabinets in the bathroom, white packaging turned yellow and waxy; products no longer available over the counter for fear of side-effects perhaps – the sense of living in a museum, the whole weight of that –

And in the day, accompanied by two large porcelain dolls arranged in one corner as if alive in mid-conversation, my landlady sits (otherwise alone) in her dressing gown at the dining table – her grey hair is uncombed yet she still has the dry dust of make up on; and there is a half-eaten bowl of cereal in front of her - she says she is so unhappy today, so much so she has had to take an Equanol with her coffee to make her feel steady – she is distraught that her recent application to build a conservatory cum artist studio has been turned down by the local council – but further she claims her sorrow is manic depression – repeating the phrase three or for times so I don’t forget it – though in fact I doubt it is anything near mania and closer to simple sorrow and the blues (she is a widow and I’m guessing of no more than a couple of years) –

Did one of the dolls move? Watching me? Trying to catch me out or see inside my soul, listening to my thoughts? It’s hard to tell in the daytime half-light, with the curtains semi-drawn and the radio babbling away in the kitchen –

I am no longer sure what year I’m in here –

There is something predatory in her eyes, not sexually so, something desiring of youth, another chance – it is a cloying thing, an atmosphere of suffocation and lost time – yet she talks opposing that, of hope and of being ‘a good artist; I’m a damn good artist’ - she repeats this phrase also, as if telling me is evidence enough to the world (perhaps it is) – I don’t disbelieve her (though her work is hidden away so I've not seen it), I dare not for fear those two homunculi or avatars in the corner will throttle me in my bed at night, clambering up the stairs in some slow, tortuous movement, their tiny joints creaking with age and dust, their dry lips parting in an odd attempt to talk yet nothing coming out, the squeak of the hinge there and that's all –

She continues: ‘I’m sway to the fortunes of modern life and it makes me so angry; I keep a good ship after all, don’t I? A good ship. You’re comfortable aren’t you? I scrub the decks, keep the thing afloat.’

I answer in the affirmative and she makes a brief smile; I say ‘makes’ because it is not an easy thing for her to do, more an affectation –

She begins to moan about the neighbours being in cahoots with the council because ‘he was once on the local planning team’ so ‘he’ can use his knowledge against her – she believes it to be a typical pattern, a sign of prejudice against a widow and her lodgers – I’m not quite sure how I’m involved (or the other lodger currently staying) as I only arrived two days ago, but somehow I’ve been appropriated – become part of her imaginary ‘crew’ – she goes on to arraign retired wealthy generals and their wives, how they are everywhere in this town and it makes her sick, sick, sick –

She’s probably right on that count, I don’t know -

I realise the room smells of something bitter, like almonds or a spice of some kind but I can’t tell what the source is so I have to assume it’s coming from her, some essence of rancour oozing from her pores, poor thing -

She waves her hand in the air –

‘Anyway’ she says and lets out a long sigh, turning away to look at her bowl of cereal, ‘you must get on.’ Oddly that sounds like an order – and that’s it – she says no more; presumably the drugs have kicked in and are steadying her –


Salisbury