Cambridge (or not)


(The following was written in a process-collaboration with Anna Brownsted and unclaimed creatures, for Fade into View.) (Image by Daniel Enchev, 2014)


Waiting. There are some places that give themselves better to waiting than others. And they aren’t always obvious. The waiting room in a surgery. The row upon row of back to back airport seating, in a shiny glass laden warehouse. An overgrown, purpose-deserted playground, whose slide and swing sit like hasty imports to transform a brick garden into a place of play. Weeds encroaching on every corner and crevice, advancing their sovereignty at a strategic pace, biding their time like a Venus fly trap awaiting a catch.

This brick garden-come-playground-come-wild-kingdom is waiting, too, like you might…or I did.

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Unexpected Arrival

5604838604_677b04ee41_z(The following was written in a process-collaboration with Anna Brownsted and unclaimed creatures) (Image by nelio filipe, 2011)

Actual arrival: Before me/unknown

A man has been pacing since – no probably before – I arrived. He’s on the phone. Or at least I presume he is. I’ve grown to distrust the obvious: not even the phone against his ear, those agitated gestures with his one free arm, and the movement of his lips, are enough to convince me absolutely.

I need evidence.

“Look for evidence,” they said.

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This is the place – Two


(The following was written in a process-collaboration with Anna Brownsted and unclaimed creatures, for The Fictional Woods) (Image by MaZzuk, 2007)

This is the Place/This is the Space

2 June 2014: 17:36

Tucked out of the way in the corner, you’re passive here. Observant. Expectation is a stranger to you, and you’ve no need to make their acquaintance. Other spaces, other rooms, tend to suggest or down right insist upon the relationship you should have with them, but not here. Fastidious in its shape, structure, integrity, it is indifferent to you and any designs you might have on it. Even if you were to lavish the walls, the floor and the ceiling with an other-worldly aesthetic it would resolutely remain, solid, stoic, silent.

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This is the place – One


(The following was written in a process-collaboration with Anna Brownsted and unclaimed creatures, for The Fictional Woods) (Image by John Fraissinet, 2012)

This is the Place/This is the Space

27th May 2014; 12.07pm

Isn’t it funny how a space is rarely occupied but merely skirted? As if you don’t want to impinge on the space too much, and politely let it ‘be’ space that is not yours, or anybody else’s for that matter. The table tops and benches apologise for their presence; tucked tightly up against the raised skirting board, but infrequent, economic. Wooden benches face into the wall to avert the sitting gaze that might otherwise be directed toward the centre of this transient space; images, pictures, art, bribing you to turn to the wall like a naughty child in a corner.

Transience. You dwell on this word a moment. Passing through: ephemeral; impermanent and fragile.

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Dear F. E.

Dear F.E.,

I’m struggling. For some time now I have been trying to write the perfect story; a story that couldn’t fail to stir emotions within even the most resolutely Simon Cowell of characters. However, I appear to be unable to rouse the muse, whence my modern masterpiece may flow. And it is not for lack of ideas; for lack of characters, conflicts, places, worlds, words, and other such narrative paraphernalia.

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Dear Daniela

Wednesday 22 March 2017

Dear Daniela,

Some months ago I wrote a letter to you. I haven’t written a letter for years, but felt compelled to. Perhaps it was a reflex action in the wake of That Thing That Shall Not Be Named Or Given Credibility But That Happened And That, In Not Giving It Credibility, We Merely Strengthen Its Insidious Resolve. In any case, I wrote, I saved, I thought about sending, I stopped, I reconsidered, I forgot, I remembered, I re-read, forgot some more, and now here I am, Palimpsestuous.

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