A story written in indelible ink

FICTION

Blood dripping

1329953557707 (1)

THE PERPETUITY OF MEMORY

When you see what Dom Pablo has done, at first you may recoil. But Dom’s art is personal and subjective. Each work is unique and creates another life for the owner. A gift from an admirer.”

The invitation to be part of a rare commission by Dom Pablo Solanas was a work of art in itself: exquisitely crafted by the artist and a future priceless piece. This alone was a luxurious gift, even to someone of Christiana Kunsak’s means, yet it was merely an invitation to a private audience with Solanas himself. A box, carved from a single piece each of ebony and rare boxwood, interlocked to form a puzzle.

The piece is entitled La armonia. The accompanying notes state that the name only exists for as long as the puzzle is in its unsolved form: once the puzzle is solved and the two pieces separated, a mechanism inside the piece ensures that they cannot be re-joined. Once the puzzle is complete, La armonia ceases to exist and the work becomes La ansiedad.

La armonia was a rare and beautiful thing. It also held a secret: an invitation to meet with Dom Pablo Solanas. The nature of that meeting was unknown and therein lay a form of gamble; a wager with oneself: La armonia was unique and intricately crafted; its aesthetics were unquestionable in that initial state. Further value must be added for the simple fact that the piece contains a secret. If that secret is revealed, it may reduce the value of the work. The invitation will be spent.

La ansiedad may not be as pleasing to the eye as La armonia and it is the permanent replacement, with La armonia destroyed forever. Conversely, the construction of the work is so fine and detailed as to invite curiosity, more of what it might become than what it is: should that beauty be left as potential, or revealed? Is it something which may be left to a subsequent benefactor? What might they find inside La armonia?

Christiana could not deny herself a pleasure which someone else might yet have, and which she may never see.

As soon as the first link clicked audibly out of place somewhere inside the box, La armonia was no longer. There were no instructions on how to create La ansiedad: it was a work to be created by a new artist from the original. Only when the puzzle was complete would it reveal its secret and until then, it was nameless and fluid.

Held in both hands, the wooden box – around the size of a large cigar box – felt as heavy as it should, carved from solid wood and not hollowed out. It was slightly heavier at one end than the other. The seamless interlocking of the ebony and boxwood formed variously alternate, interlocking and enclosing patterns of dark and light. Aside from the initial click, no amount of tilting, pressing, pulling, twisting and pushing of the device produced any change. Christiana alone had been privy to that first movement, so to anyone other than her, La armonia still existed. But she wanted to create and to see La ansiedad.

The box remained unaffected by manipulation, until Christiana’s housemaid picked it up to clean around it. Snatching the box from the maid’s hand, Christiana heard another click from the device and almost immediately noticed a change: the box remained a cuboid but the dimensions and patterns had altered. Closer examination of the new patterns revealed some to have assumed shapes which suggested movement: swirls, series of dots and even directional arrows. The introduction of a third party had revealed a form of instruction.

Over a period of around four weeks, the wooden box became a collaborative project, with guests to Christiana’s apartment invited to examine the puzzle and attempt to solve it. During that time, the box took on many geometric forms: pyramid, cone, octahedron and latterly, a perfect cube, with opposite ebony and boxwood faces: it was more perfect in form that it had ever been but it still harboured something inside.

The geometrically perfect cube would let up no further information and remained static for a number of days, until the housemaid picked it up once more while she was cleaning. The top half separated from the bottom, the base now a half-cube on the table. The surfaces of the half cubes where they’d separated were a chequerboard design: a game of miniature chess could be played on each ebony and boxwood surface, the size of drinks coasters.

Christiana placed the two halves back together and a perfect cube once again sat upon the table, for a while. After around five seconds, the cube began to make a whirring sound, as though a clockwork mechanism had been invisibly wound inside. Slowly and with a smoothness suggesting the most intricate mechanical construction, the individual tiles on top of the cube folded back from the centre to the edges, eventually forming a five-sided cube with a checked interior.

It was seemingly the lack of any further outside intervention which allowed the wooden device to complete a long transformation by self-re-assembly and after a while, the device resembled a chequered wooden hand. A slot opened in the palm and a card was offered between the forefinger and thumb: a card roughly the size of a visiting card and folded with such accuracy as to disguise the fact that it was anything other. Yet unfurled, it was an octavo sheet: eight leaves. The reverse of the flat sheet was blank but the eight pages to view on the face were images of art.

Oil and watercolour paintings; portraits, landscapes, sill life and abstract; cubist, surrealist and classical. Wooden, metal and glass sculptures; pieces made using prefabricated materials, notably shop window mannequins, plastic dolls, action men and tin soldiers. Body art as well: tattoos drawn in such a way as to give them a third dimension: an arm with skin pulled back to reveal muscle and bone beneath by way of a zip; a human chest splayed open to reveal a metallic cyborg beneath: living art made from human flesh, these two suggesting something beneath the skin visible only with the benefit of intimacy with the bearer. Another tattoo made the wearer’s right leg appear as though the limb were an intricate sculpture made from wood: one organic material transformed into another, which can be transformed in a way that the material it’s made from cannot, to create the illusion of just such a thing.

All of these things had been made by the hands of Dom Pablo Solanas. All were arresting at first sight and invited closer inspection. Even as facsimiles and at such small sizes, the works of Solanas were breathtaking. At the bottom of the sheet was a phone number: apparently a direct line to Dom Pablo himself.

La ansiedad quietly whirred into motion again, the mechanical fingers retracting into the wooden flesh of the hand until the sculpture was briefly a chequered ovoid, before flipping open like a clam shell. It continued to change form, seemingly with perpetuity.

Dom Pablo arrived promptly and attired in a fashion exhibited in many public portraits of him: conflicting primary colours which somehow worked, on a man who also wore a fedora hat at all times, and who sported a perfectly manicured handlebar moustache.

Ms. Kunsak. A pleasure to meet you.”

Please sir: Christiana. Likewise, Mr Solanas.” Christiana offered her hand, which Solanas held firmly.

As you wish. And please, call me Dom Pablo.” His voice was deep and relaxed. “Christiana: what is it that you’d like to do today?”

I already have a great gift before me. This is a chance for me to turn your natural gift into something I can share. I have everything I could need around me, but this is an opportunity to own something which is so treasured, I may not wish to leave this apartment again.”

Indeed. That is one of the rules I apply to my arts. Just as I turn my raw materials into others – like flesh into wood – so I wish to allow others to use me as a creative tool, so that what I create is their own. My subjects and prefabricated materials are artworks in themselves but together, we make unique pieces. By allowing a subject to commission me, I am subverting the art and holding a mirror to the process.

You will of course have an idea of who the giver of this gift is. Association with such a person is to be in the membership of a society which respects certain things, like privacy. Therefore, I never discuss the details of a commission with the subject. It is highly unlikely that anyone should wish to attract attention to anyone outside of a certain group, that they have been a part of my work. All of my pieces are unique and personal.”

It is those very people, those within my inner circles, that I have in mind as I enter into this: it was within my closest circles that I came to receive this, and only those of a certain standing will have access. Dom Pablo: I should like to carry your work with me in those circles; I would like you to use me as a canvas and make me a living work of art.”

A truly beautiful idea. Although the canvas is living, I must render it inanimate so that I may work. As such, I shall administer a general anaesthetic, so that you feel no discomfort. I don’t like to talk when I work. When you awake, we will have new art and the Dom Pablo art changes lives. You will enter an even more exclusive, innermost circle of my very own. Excited? Sleep now…

***

“…When you see what Dom Pablo has done, at first you may recoil. But Dom’s art is personal and subjective; each work is unique and creates another life for the owner. My art remains with you, just as the motion of La ansiedad is perpetual. This latest work is entitledThe perpetuity of memory.”

Christiana stared into the mirror, and the illusion of wood carved from human flesh was real. It would take a level of intimacy permitted to very few, to see the original material beneath the artwork, made by Dom Pablo. The mannequin beneath the wooden skin.

© Steve Laker, 2015

Both The Perpetuity of Memory and The Unfinished Literary Agency, are available now in paperback.

The evolution of sentient plastic

FICTION

Easter is on sale and the world faces another tidal wave of plastic…

Blonde doll

HOMO POLYMER

A surprise in every egg. Yes, Kinder, there’s a selection of small plastic choke hazards in each toy, but the plastic egg which holds them can be a handy cunt plug. Keep this warm in there for me baby.”

Mummy, who are you talking to? I need a wee.”

Ocean opened the bathroom door and a bolt of blonde hair dashed past her legs. “Who were you talking to?” Conscience asked again, enthroned on her Peppa Pig toilet seat.

No-one,” Ocean replied, “Well, just myself.”

But you’re not no-one mum.”

Thanks. Now, come on, back to bed.”

But you’re not no-one mum, so who were you talking to?”

Honestly, Conscience, just myself. I do that a lot.”

Will you read me a story, please?”

We don’t have any, Conscience.”

But we all do, in our heads. Tell me one of your stories of being Ocean, mummy.”

Well, there was this one time. I was about your age. I had a dolly. Hated it. Your nanno and grampo wanted me to be a girl. Well, they both wanted me to be girly, but grampo had wanted a boy, so I had to be a really girly girl.

It’s funny now I think about it, because he’d probably have liked the boy inside me more.

And apparently you’re asleep. In any case, I think I made the perfect mix in the only one I kept. You’re you, and even so young, you have a personality which transcends gender. If I can be proud of one thing in my life, it’s you. So, whoever’s still listening, even if it’s in a dream I hope you won’t inherit…

They lived in different times. In those days, the only costume you could wear to play yourself was a uniform, and I hated everything that stood for. I resented my school uniform, but I used the skirt I despised to score one over on the system. I lost my virginity at 12, then got my English teacher sacked when he broke up with me at 14.

There could have been loads of kids before you, but any one of them might have meant I never met you. I only had you because I remembered who your dad was. You remind me a lot of him. He could be a cunt sometimes too.

We were broke. Still was an artist and an eco-activist. We lived in communes in fields, usually just tents near protest sites, but sometimes on local traveller camps. I knew what it was all about but I didn’t really know what I was doing. I was 15 then and the nearest I’ll ever get to true romance, that summer of love which made you. A brief history of anarchy, peace and freedom.

So here were are, five years later kid. I wonder if you’ll want what’s inside this Kinder egg, or if I should throw it away like the rest. See you in the morning. Don’t dream of this.”

Dreams are made of plastic. Unpaid cards become CCJs, then bailiffs emerge from eggs. Everything in the flat is made from plastic. All that we eat, drink and wash with is bound by plastic.

The council don’t recycle all plastics, so I put what I’m unsure about in the general waste. If the council won’t take the rubbish, we can pay Bill to take it away in his van. One day, he might take me.

The plastic in me will probably be recycled into the non-conscious parts of robots for those entitled to them. Or as parts of a toy, so many child’s dolls. Either way, I’ll be enslaved in the plastic which gives lives to those implanted in the chips and to those around them. Eventually those body parts, inanimate but for the host brain, will need upgrading. Always disposable people, eventually the parts which don’t work will be returned to the food chain.

Food, drink, we’re all part-plastic. We are the polymer population. We dream of becoming one with technology, our minds inside plastic androids. In Japan they already have home robots to deal with loneliness and social isolation in an ageing population. I Can’t help think how that would benefit me. They’re already a species in their own right, made from the same cosmic matter as us, but theirs was an explosive evolution.

Christmas will be paid for with hidden plastic. Christmas will bring more plastic toys to unwrap. We are the consumer generations, products of the industrial and technological ages. Each generation contains more plastic than the last, every child a greater part of the plastic population conditioned by human greed. I don’t know if I can afford another baby doll. Mum always said she wasn’t sure if I could have a brother or sister.

We’re all made of the same stuff. Last night, another mother; tomorrow, another soldier.

Ambulance, is the patient breathing?”

It’s my mum?”

What’s happened?”

My mum’s cut herself.”

Where?”

In the bathroom.”

No, where on your mummy has she cut herself?”

Her cunt. She’s cut a baby out of herself.”

Is the baby breathing?”

How would it? It’s made of plastic. Do you have a chip I can put in it to make it work?”

Is mummy still there?”

No, mummy’s gone. She’s left me my Christmas present. I’ve got a dolly I have to look after. Bye.”

© Steve Laker, 2019

The mechanics of stationery

MICRO FICTION

42 words…

Notes from a public typewriterMr Hanson’s English

ENCLOSED

I pray no-one talk about these words if they might read them, for if anyone should hear those words, they will not be able to speak of them. Please keep my words safe.

Just that, typed on the front of an envelope.

© Steve Laker, 2020

 

The invention of the pencil case

Get rid of a word and start the story again. Erase a species and another will evolve…

FLASH FICTION

Dog Pencil Case

THE INVENTION OF THE PENCIL CASE

The strangest lunch I ever had was with a veterinary doctor, and it was the meal which finally turned me vegetarian. I should note at the start, we didn’t eat any domestic pets.

I first met Dr Hannah Jones when we worked on a film together, and we’d remained friends since. We’d meet up every now then, I’d tell her stories from the writing world and she’d give me ideas from her field of science. It was Hannah who’d suggested we meet, as she said she had something important for me.

We met at a pop-up cafe at the Camden end of Regent’s Park. It was an indifferent day weather wise, unable to decide what it wanted to do. We sat outside nonetheless, as we both like to people-watch: me making up stories of what people in the park might be away from that setting, Hannah priding herself on identifying the bits of cross-breeds and mongrels, and sometimes scoring the dogs’ humans on parts of their anatomy.

The Camden end of the park is quieter nowadays, and at one point on that particular Saturday, we counted only 16 legs besides our own. It’s been that way since the last fire at the zoo, and that’s what Hannah said she wanted to tell me about. But first we ordered food. I went for a rare steak with fries, and Hannah chose a vegetarian pizza.

The cafe backed on to the old zoo, now a construction site. The distant sound of hammers and saws competed with the clatter of dishes from the cafe, which was quite arresting. The animals’ former home was being demolished in the background, while I was waiting for part of a former animal to arrive before me.

So I turned to Hannah, and asked her what she wanted to tell me. Something she’d been working on perhaps, some veterinary breakthrough, or anything I might use as a story.

You remember the first fire,” Hannah said, “and the cause was unknown?” She didn’t have to remind me. The London Zoo fire of 2017 killed four meerkats and Mischa the aardvark, and the cause of the blaze was never made public. I nodded. “Well,” she continued, “some colleagues of mine found out what started the latest one.”

Many more had perished in the great fire of 2020, and there was extensive structural damage. Most of the remaining exhibits had been moved to other zoos, and all who remained were the rarest and most threatened in the wild. Our food arrived and suddenly, char-grilled animal wasn’t terribly appetising.

So what was it?” I asked, as Hannah chewed righteously on her veggie pizza.

The kind of thing,” she said, “that is never likely to be made public.”

So why would you tell me?” I wondered.

Because you’re a fiction writer. If you write it, no-one will believe you.” I wasn’t sure how to take that, but I smiled nonetheless as I ate a fry.

Go on then,” I prompted. Hannah looked at my steak.

Aren’t you going to eat that?”

It doesn’t have the same sort of appeal it once had,” I said.

But that’s such a waste.” She was right. “Such a shame that not only does someone have to die to feed you, but their selfless act is unappreciated and their sacrifice goes to waste.” She had a point. “And pity the poor chef, cooking that for you, only to have it returned like there’s something wrong with it.” The only thing wrong was me eating it. As I chewed reluctantly, Hannah told me the story of the great fire.

I’ve got a friend who was in the forensics team. She told me this, and she told me not to tell anyone.”

So you’re telling me,” I said, “because if I write about it, no-one will believe it.”

But you’ll believe me,” she replied. “So, after the fire brigade put out the fire, they identified the seat of the blaze, in a pile of hay.”

Someone’s bed?” I wondered. “Did it catch in the sun?”

No,” Hannah replied, “it was deliberate.”

Someone started it deliberately?”

Yes.”

Arson. Why?”

We don’t know if it was. It started in the mountain gorilla area.”

Someone threw a lighter in?” I imagined it wouldn’t take long to work out how a lighter worked.

No,” Hannah said again. “It was all enclosed in strengthened glass.”

A keeper dropped a lighter?”

Nope.” She was getting quite smug now, knowing what I didn’t. I tried again.

So maybe the sun did start it, like the magnifying glass effect.”

All of the above remained possibilities for a while, and that’s how it’ll remain on the public record. Just like the first one: cause unknown.”

So what do you know which no-one else does, including me?”

This.” She unfolded a sheet of paper, a photo, and handed it to me. It was like a scenes of crime picture: little plastic signs with numbers on, dotted around the ground, like a golf course for ants, and an arrow pointing to a singed spot of earth about the size of a dinner plate. “That’s the seat of the fire.”

And this is inside the gorilla enclosure?”

Yes. Where this came from.” Hannah rummaged in her bag, then handed me something rolled in newspaper. “It’s what’s inside.”

Inside was a piece of dried wood about the size of a pencil case, with a small crater burned into the centre.

What the actual…” I didn’t finish.

Hold on,” Hannah said, “there’s this as well.” She reached into her jacket pocket and pulled out what looked like a burnt pencil.

I knew by now what it really was, and it had a much bigger story to tell.

It seemed somehow poetic to write it down, lest anyone hear, so I used the charred, sharpened end:

THEY DISCOVERED FIRE?

Hannah nodded.

© Steve Laker, 2018

Simon Fry first meets Doctor Hannah Jones in Cyrus Song, where this story was born.

Buy me a coffee one off

Call TOLL-FREE: 1-800-0-000-000

FLASH FICTION

A short story (222 words) about passwords and personal data. Precious commodities entrusted to digital custody…

Cat-working-at-laptop

EIGHT BILLION QUESTIONS

Please enter user name

Human, A

How may I help you today?

How do I prevent the impending destruction of planet Earth?

Hmmm. Tricky. I may have to think about that for a while. Please enjoy this sponsored message while you wait…

Thank you for using Deep Thought 3.0, the knowledge database built on human answers, personal data from our parent companies (Google, Facebook et al). Whatever humankind’s questions, about life, the universe and everything, Deep Thought 3.0 can answer them. We would be grateful if you could complete a customer satisfaction survey at the end of this enquiry

Hello, My name is Dave. How may I help you today?

How can I stop the world from ending?

Do you have an account with us?

I’m logged on to my Google. I’m already in my account, Dave

Please enter your password

**************

Please enter a valid password

Eh? Dave?

Password not recognised. Please try again

**************

You last changed your password three months ago

** *** **** ****

Passwords may not contain spaces. Would you like us to send you a password reminder?

Yes please. Where’s Dave gone?

Please enter your password

** **** ** *** ****

Password not recognised. Please enter your email address

Shakespeare.monkeys@infinite.com

Thank you. Instructions on resetting your password will be sent to the email address you provided

© Steve Laker, 2019

Human arses2Not a monkey, but a great ape who wasn’t asked if he’d like to pose for this photo

In an age of evolving technology, we have the Babel Fish within our grasp (and universal translation in our ears). Douglas Adams broke borders with The Hitchhiker’s Guide to the Galaxy. I used the fish as a quantum computer program translating animal language in my tribute to Douglas, Cyrus Song. Both speak in tongues of the Rosetta Stone and the Tower of Babel, the freedom of language and the forbidding of knowledge.

In my book, I pose the question of interpretive translation: No matter the means or technology, there’s a blurred line in neurobiology, where the messenger has no control of the recipient’s interpretation of a communication. Like the internet, which is free, because we signed over our personal lives long ago. We rarely use the counterpoint, which is the gift of writing for a world audience.

Whomever A. Human is, they might ask what can we do to save the world?

Helvetica sans serif and Georgia

FLASH FICTION

At Helvetica Haus, we’re only allowed one sheet of paper per day…

TSEE1  TSEE2TSEE3  TSEE4

MANNEQUIN MIRROR

With all that was churning in my head last night, I was reminded of my broken washing machine. If only I could launder myself, so that I was fresh again, back with everyone my illness had alienated. Or just burn my clothes, maybe with me in them. Anything to flood the deepest valleys in an ocean of depression, just for one day. To go swimming in a font of typesetting.

On the other side of my drawn curtains, I heard the sound of laughter and heels. If I could break through the window behind the drapes, I’d be out there.

Instead, I sat all evening, staring variously at dark curtains and the paper in my typewriter, respectively wondering and writing about the world outside. All the while, a gin and tonic by my side, like all writer stereotypes.

I hated myself, as anyone will when they stare at a wall which separates them from another world they can’t reach. I couldn’t even look at myself in the mirror. I wouldn’t blame anyone for punching that face.

Eventually I ran out of paper.

The joy I’d heard earlier outside the window returned, but it was dark now. Heels were clicking, the owners tripping.

My glass tipped, I needed more. I had to go out, despite myself. No matter how much I loathed the author of this night, I had to face him. I had to check I looked okay before I went outside.

I smashed my head into the first face I saw, then I carried on.

I was in the world of stilted lives outside, where grazed knees are all which many have to remember of the night, before they look in the mirror.

© Steve Laker, 2020

Feast on the forbidden inside. Wash your mask in the font. Wipe it clean with cotton paper. Spread the dark curtains and remove your make-up.

The journalist who ate himself

THE WRITER’S LIFE | FLASH FICTION

A self-consumed writer’s inner psychologist suggested writing just one page freestyle. I have one sheet of paper…

woman-finds-mysterious-typewriter-made-from-human-teethWoman finds mysterious typewriter made from human teeth (Sightings.info)

I’m lonely, but I like it that way. There are few actual people I like, and even fewer I actually enjoy spending time with beyond mime. If my life was a filmed social experiment, my behaviour would depend on the number of available rooms. If there was only one, I’d be there on my own. Like I am now, at the writing desk in my studio.

I write frantically most days, hoping something will sell so I can pay the bills. Most days it’s just freelance, writing copy for websites aimed at the enabled and entitled.

Some of the work is interesting: I recently wrote some articles for a US client about medicinal and recreational Cannabis. Most of it’s tedious though, an insult to the wordsmith who sells property on plantation land, and spread betting positions to speculators on the natural disasters market, for less than minimum wage. Often the brief is so vague as to give the client license for rejection of the copy, retraction by the author, and later plagiarism.

I feel better now there’s something at the top of the page. A blank sheet of paper in the typewriter is an empty universe. With something to look up at, I feel there’s a life of a writer above what I write next. If I had more paper, I could tell the whole story without having to chew on my fingernails. The freelance work I do is covered in non-disclosure clauses, but if I had freedom and a whistle, I’d be able to eat again.

The words I already wrote float like clouds of Alphabetti, which at very long odds have fallen into something legible. They only did that because I wrote them that way.

So apparently I can control the weather, at least with pasta steamed in its own container. My intestines know how I feel.

If I can play God, why do I just want to gather letters from my storm clouds and throw words at people? Because I’m lonely and want attention; I can’t just come out with it; or I’d like to share a meal?

In any case, I’m at the bottom of the page in the typewriter, I can’t afford more paper and I’m hungry.

An A4 sheet of Smythson White Wove contains few calories, but the seasoning of ink lends flavour. Tomorrow, maybe the sun will shine.

© Steve Laker, 2020