I, too, have suffered through Mary J Blige’s A Mary Christmas. She looks like Tito the Chihuahua from Oliver and Company on the album’s cover, pensive and forlorn, and super-imposed onto a department store’s “Meet Santa” photo set. It’s a fitting façade to harbour the piss poor collabs with Barbra Streisand on When You Wish Upon A Star (since when is that a Christmas song?) and Jessie J on Do You Hear What I Hear? (I hear nothing but a shitty record, Mary).
The outdoor swimming pool was in the shape of a wonky figure of eight. A bridge crossed its middle. They said it was the biggest pool in Europe. The concrete border was patterned with circles in different sizes. If you fell, the surface was hard and unforgiving. Each bulb of the pool was pinned with two sets of diving boards; four and five boards layered on top of one another.
F: hey Me: hey man!!!! F: how’s u Me: just chilling, watching Newsnight in my pants lol, u? F: what Me: if I were a woman I would want to look like Emily Maitlis what about you? Me: i already do quite a bit and im a man! Me: hey, remember when Paxo went on a rant about M&S pants a few years back and how they don’t make them supportive enough and he was pissed off because you couldn’t get good pan.
One day, after my father’s death, I was in my parents’ house looking through his bookshelves. I thought about powdering the books for fingerprints so I’d have something left. I still think about that sometimes. What difference would it make to have a copy of fingerprints made by fingers that no longer exist? Those fingers were burned, and now they are dust.
As we travel through the sky and up towards the intelligence centre my pupil says why do I fly when you touch me, and I think he knows there is no answer to this question, not any answer that can be told to him that he would understand, and so I say nothing in response.
I’ve been thinking a lot about dying recently. Not my own death, you understand, but the idea of dying as a cinematic experience. Like many generation Y-ers, I grew up on a diet of television shows such as Michael Aspel’s poltergeist extravaganza, Strange, But True? and BBC1’s 999 (remember the episode where the kid gets a javelin through the neck?).
I saw Tracey Emin in a pub once. It was in Spitalfields in London. She was standing by the bar, sipping red wine and surveying the room, her head rotating at irregular intervals like a broken lighthouse beacon. I remember she was drinking out of a very small glass. She was talking to the landlady of the pub, who is considered something of an institution, but who I find rude and slightly mad.
As my eyes move up from my book, I spot a dead ladybird – wings spread wide – floating gracefully in the residue of some blue watercolour in a little jar amid shards of gold glitter. I feel a sudden urgency to fix this fragile beauty in pixels as it unfolds in front of my eyes. Perfect composition by coincidence. Snap.
She didn’t grow up going to church. Raised in the Caribbean, by parents who went on vacation to the islands to escape “Reagan’s America” and never left, Sasha’s higher power was the sound of waves crashing against the rocks of the cliff that supported her childhood house. It was the feeling of warmth rising in her chest as the sun dried salty water off her skin.
The day that Judy Garland attempted suicide for the second time, Katharine Hepburn elbowed her way through the throng of reporters and paparazzi outside the Minnelli house, shouting back at them from over her shoulder, “Don’t you have anything better to do?” She sat Judy down, one legendary actress to another, and said, unsmiling: “Now listen, you’re one of the three greatest talents in the world.