This Time.

I would have told you that everything you do is art – the way you walk, the way you talk, the way you tie your shoelaces, make your tea in the morning and the way you laugh, but most of all, the way you feel. That always felt like art to me. The way you saw through the layers of the universe at the glue holding everything together without any deep scientific or philosophical meaning but with the burned out black and white eyes of someone who never got a chance to be a child and I would have told you how aggressively innocent that made me feel sitting next you, like my soul wasn’t stained with the same mistrust and mistakes and how you made me feel like maybe, together, we could have stitched all our broken pieces into each others hearts and made them whole again.

I would have told you that I knew how you felt and that I too had knelt in the darkness of the early hours of the morning with blood and tears and vomit in the back of my throat and begged for the gods to take it all away, but you knew that, because we knelt together, red eyed and cold limbed, in the night, praying together for the boat to stop rocking, to stop throwing us against the walls of our world and hoping blindly that the icy water lapping around our ankles would stop rising. I would have told you that we were in the same boat and that I didn’t need you to tell me that it was sinking, but that I needed you to let me help you bilge the bloody deck and that way, maybe, just maybe, we might have reached the shore together, shattered and bruised, but breathing and by each others side and alive.

I would have told you that one day you would have been as happy as they made you pretend you were and that one day, close to the first one day, you would have found the courage to run away from everything that made you feel miserable and worthless and out of place and out of sync with everyone around you. I would have told you that you’d find your place, in amongst the freaks and the geeks and the burnt out weirdos, that there was the most wonderful little nook carved out for someone with words on his arms and scars on his heart. That somewhere, out there, there was a woman of breathtaking beauty who had been living her life just waiting to find someone who she couldn’t live without, and that that someone, well, it would have been you.

I would have told you that it’s never too late to be who you would have been and go where you would’ve gone and seen what you would’ve seen and loved who you would’ve loved. I would have told you that because I know how important love was to you, how you lived for it and ached for it. How you managed somehow, when love was low in my bones to siphon out the last of it and pull me back from the brink more times than I’d care to count and how the first time I met you, you were singing “All You Need is Love” to a piece of pineapple whilst you read your book and how your jeans were too big for you but still somehow too short and your Cookie Monster socks were showing. And how you hadn’t shaved or cut your hair and how completely unkempt but entirely lovable you actually were.

I would have told you that were you ever to leave me, that’s how I would have remembered you. Entirely untethered to the world and those around you, free whilst trapped inside a place that revokes your freedom and your smile, reading Dean Koontz because you knew it would make me talk to you and like you said, you were looking for a way to start a conversation with me. And I would remind you of how I came and sat opposite you and when I spilled my soup on my shoe and you smiled and asked me if I was stoned and then you laughed, fuck man, how loud you laughed and everyone looked at you but you were only looking at me. And then you told me to sit down and asked me what I was reading and when I showed you the cover of ‘Salem’s Lot you ripped up the conversation you had had planned in your head since the day you saw me and instead we argued for the entire hour in that canteen about who was the better author.

And I would have told you how I fell in love you as the leaves fell through the courtyard and your hair got longer and my scars started to fade. I would have told you that I fell in love with you in the most organic and plausible of ways because I never once had the urge to kiss you or to run my hands through your hair or to fuck you or to even hold your hand. I fell in love with your voice and the way you said certain words and the way you used to take the piss out of people without them noticing. I fell in love with the way you used to rub your earlobe with your thumb and your forefinger when you were nervous and how you used to put a kilo of butter on your crackers and insist that the cracker was just there as a vehicle to get the butter to your mouth. I would have told you that I loved how soft your clothes were even though we all washed our clothes in the same place but somehow yours always seemed softer. I would have told you that the night you held me in your arms when we were still strangers, whilst I shook and threw up everywhere and screamed that I wanted to die was the closest I’d ever come to feeling like I was safe until that point. And I would have told you that you were, and always would be, my best friend.

And I would have told you to stay, Joe.

And I would have told you that one day you would wake up at ten thirty in the morning on a sun drenched Sunday next to someone who loved you in all the ways I did and in all the ways I never did and that you would get out of bed and go into the kitchen and flick the kettle on and that everything would be okay. That it would have stopped hurting if you’d stopped picking at the wound and allowing those around you to keep it open with their own warped fantasies of how you should have been, because, man – you were incredible. In everything you ever said to me and everything you didn’t. You never told me that I was a bad person or that I was toxic to those around me and you never made me feel like the twitchy little junkie I actually was because you never saw me like that.

You saw me when I didn’t even recognise myself in the mirror, but you were the mirror to myself that I could never look away from and I saw you break your own heart along side my own. And I would have told you that that day I walked into you flat and saw you on your kitchen floor, covered in blood, white as the sky outside I have never been so scared and so angry in my entire life. And that when I skidded on my knees through your blood, because, man, it was everywhere, and I took my hoody off and wrapped it round your arms all I could say was “no” over and over and over and over again because it was the only word that summed up just inherently adamant I was that this wasn’t happening. You hadn’t done this, not again. I wasn’t going to lose you, not again. I couldn’t be alone, not again.

But you did do it this time. And I did lose you this time.

Difference is – I’m not alone this time.

So I’m going to live, my friend. And I’ll miss you, hell, I’ll damn near go out of my mind wanting you back here with me where you belong but if there is one thing our friendship taught me and taught me well its that there is nothing I could have said to make you stay.

And there’s nothing left to say now but to paraphrase Kurt Vonnegut, whom we spent many hours arguing about, I hope that wherever you are now, that everything is beautiful and that nothing hurts.

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Your Fears – Defined.

When someone says the word “define” to me my stomach knots. When it is followed by the ever faithful “in your own words” a bile sets into my mouth. Yet today, I was asked to do just that – to “define” horror, as a genre or otherwise, “in my own words”.

Up until that moment I had never thought of the definition of what has become throughout the course of my life one of the most influential and poignant tools to not only my writing but in turn, to my view of the world and its inhabitants.

Horror is widely perceived to offer the consumer one thing – cheap thrills. Anything deeper, or darker, than superficial (and mostly superfluous) entertainment usually brings about a completely different genre definition – Dracula for example. I would not define Dracula as horror, for the intimidating elements of Bram Stoker’s classic are not the defining characteristics of what has made it so timeless. It is erotic, thought provoking and two steps away from absurd at times. It’s the ultimate anti-hero tale that just so happens to be set against a spooky canvas with some devilish undertones.

Those of you who know me (and have read some of my rants on here) will be expecting one name to drop now – Stephen King. How you ask, can I write anything about, well anything, without somehow bringing the King into it? Well my friends, you know me well, because I am going to drop his name right now.

I do not perceive what the King writes to be “horror” in any traditional sense of the word, and those of you who are learned enough to have read beyond “It” and “Misery” will know why I say this. I can think of more books that the King has given us that have no supernatural elements whatsoever, that scarred my mind and played with my heart for longer than even his most sickly tales of textbook gore.

Three words – The Bachman Books. A compilation of stories published between 1977 and 1982 all of which are void of the standard boundaries of horror writing as we know it. (*Disclaimer – I refer to the four short stories published in the compilation The Bachman Books and do not include “Thinner” (1984) in the next series of statements (PS. Brackets inside brackets rock! :P)).

“Rage” (1977), “The Long Walk” (1979), “Roadwork” (1981) and “The Running Man” (1982) – These are my examples and if you have not read them, then you have no earthly business here so please move along, long days and pleasant nights to you J

For those of you that remain these stories are in my mind offer some of the most notable and defining characteristics of horror and still to this day haunt my mind from time to time like no others. They have no supernatural beings, no demons in hoods or inbred super humans with chainsaws – all they have is real people, in real (and some would say unthinkable) circumstances. Because at the end of if it all, is that not what we are afraid of most as human beings? The REAL horror?

We are told from the time we can remember that the things that scare us as children are A) not real or B) not threatening – or sometimes both. Therefore we starve that fear within ourselves and no longer as adults find the vampires, ghosts and ghouls of time gone by intimidating anymore. This is a double edged blade in many ways. It allows us to grow up (reasonably) well adjusted as an adult afraid of such childish notions is frowned upon – but the sharper side of that blade is that it desensitizes us to the things we SHOULD live in fear of and paints our world an shade of magnolia.

We should fear the ordinary, the mundane and the dreary that sap at our souls and eat away at our subconscious. We should fear each and everyday being the same, repetition leading to passivity. To be passive, about anything, is a disease. To be passive is to be dead on the inside, if not on the outside too. So we starve the fear of childhood and replace it with the fears of adulthood.

If you were to ask a grown man in the street which do you fear more – a dinosaur coming through your bedroom window and eating you and your wife while you sleep in your overpriced linens, OR lets say life strangling monetary debt? I cannot make any guarantees in this life, for I am not Yoda, but I would bet my breeches on the latter being more scary to anyone “normal” in this day and age.

One simple fact makes this so – debt is real, dinosaurs are not (sad face). Therefore you must ask yourself, as our fears change due to social, political, economical and a whole lot of other -cal unrest in the world, does this not in turn, change the definition of horror?

As adults we fear our cars not starting more than psychopathic clowns lurking in the bushes with razors for teeth. We fear maxing out our credit cards and then dealing with grossly inflated repayments, more so than we fear faceless monsters under our beds at night. We guard our houses with alarms and flashing lights to ward off burglars, feeling no need to have a barrage of crosses and garlic hanging by our front doors to ward off vampires.

The fear of a child is a beautiful, endearing and natural being that should be starved for the sanity of said child. As a person whom read her first King novel at the tender age of eleven, I can vouch for this. We forget that those children, whom starve their fears until they have no strength to scare them anymore, never quite have the ability to kill them completely. They therefore carry these fears into adulthood – that’s when it gets interesting.

Authors are duty bound to make you feel what they are portraying in their prose. To make someone swoon at a love story, cringe at a war crime, or feel empathy towards a lonely old spinster in a wedding dress – these emotions are easy to capture, as love, guilt, hurt, empathy – they are all emotions we are allowed to express as adults. Mummy and Daddy are however, not so easily entitled to fear as their children are.

To make Mummy and Daddy look over their shoulder when they are walking home from work, for fear of what lurks in the sewer grates beneath their feet, to make Mummy and Daddy get into bed before turning off the light at night, for fear of what may grab their bare feet from under the bed in the process – to make Mummy and Daddy’s hearts beat in their throat until they feel as though the bastard were physically trying to climb out of their mouths – this is the power of horror, because when it comes down to it, the things we are afraid of never change, just our willingness to address them.

If as a writer you can force people to address the things inside themselves that they forget they were afraid of so long ago, to make them look at themselves in the mirror and ask themselves what they would do if they actually did find themselves in palaver with a clown with razors for teeth, you are in turn forcing them to question their own psyches and again, as a result – their own humanity.

To make a credit card seem small, to make a deadline at work seem frivolous, to render Christmas with the in-laws worry free, by replacing these fears with those childish notions of fright – to make an adult face that child within them – opens so many doors, the draught alone may cause a complete overhaul of that persons life. It has the power to change them.

If you are capable of doing this, then my friends you will have marked the earth for eternity, for when human beings die, they leave behind headstones but when legends pass on – they leave behind legacies, that long outlive even the stone that upon which the mere mortals of this world will all inevitably carve their epitaphs.