" Madam Miaow Says

Wednesday, 7 January 2015

BBC Newsbeat crocodile tears over anti-Chinese racism

Michael Wilkes of the British Chinese Project

While it is always uplifting to see the wicked repent and mend their ways, the BBC Newsbeat item — acknowledging how racism against Chinese Brits is largely ignored — is in danger of providing the corporation with bleeding-heart cover in the absence of measures to rectify the injustice.

The Newsbeat article quotes Michael Wilkes of the British Chinese Project as saying:
"Essentially Chinese people don't like to worry other people. There's a mindset within the Chinese community that we need to keep our business within ourselves, within our own family unit. I'm saying to young British Chinese people now that we can speak out. It's our responsibility - when you're being prejudiced against, you've got to speak up."

Well, that's a powerful get-out-of-jail-free card, allowing the protectors of Jeremy Clarkson's Top Gear petri dish to wriggle off the hook. Blame the victims and take a bow.

It's hard to ignore the utter hypocrisy of the publicly-funded BBC (barring a few enlightened individuals fighting the good fight for genuine balance and justice). The corporation notoriously runs its employment of women along the lines of Logan's Run, where we're mostly bumped off at 50, but also renders east Asians invisible. It declines to cast us in normal roles, which would show us as part of the fabric of British society — which is exactly what we are.

I mean, no regular Chinese characters in Eastenders? Really? Still?

There are plenty of examples of the establishment's fear and loathing of East Asians in general and the Chinese in particular. In Beebland, we are either invisible and excluded or else we turn up once in a blue moon to embody the ugly stereotypes lurking in the fantasy world of the white-bread powers ruling that particular roost.

Their nadir for many was the  Sherlock: The Blind Banker episode: a vivid illustration of the routinely-ignored racism against us. Instead of acknowledging and tackling the glaring and hateful dehumanisation contained therein, they gave the creeps a BAFTA.

The BBC is a BIG part of the problem, rather than even a part of the solution. If the corporation was sincere, there would be east Asians on their channels every night, depicted as normal folks alongside everyone else. The media are lagging way behind the advertisers, who've included increasing numbers of us in the past years because the ad men and women understand that we are not only human beings deserving of equal treatment and representation, but also (in purely monetary terms) a worthwhile slice of the market.

Our absence reflects the prejudice of media gatekeepers, management strata and the theatre establishment (hello, Royal Shakespeare Company). When you create a vacuum, this in turn creates space for nightmares: a blank canvas for the most ghastly of projections. The sleep of reason produces monsters and the BBC has played its part.

It's encouraging to see journalists, editors and producers finally taking this on in the Newsbeat article. However, in context, that piece is a sop thrown to the youth market (which has a more enlightened attitude towards issues of race, gender and sexuality, as well as growing numbers of east Asians) by one hand, while the other ensures the continuation of the conditions that allow such racism to maintain its foothold. Enough of the crocodile tears. Let's see some action.

Wednesday, 24 December 2014

How St Ives came to be one of Britain's foremost art communities


St Ives in Cornwall romps home as the ideal town where most of us would like to live. 'Fonly it wasn't also the most expensive.

Here's a piece I wrote about the artists' colony and Number One desirable seaside resort for the recent First Great Western magazine (Sept-Dec 2014).

ST IVES - PORT OF INSPIRATION
Anna Chen on how St Ives came to be one of the most important art communities in the country


It was the sunshine that did it, and not just because it gave you a tan, either. The late Patrick Heron, renowned British painter, claimed that the unique quality of the light in St Ives helped turn a fishing town up the far end of the British Isles into, not only one of our best-beloved seaside resorts, but also a magnet for some of our finest artists.

The most famous among them included the sculptor Barbara Hepworth, whose studio and sculpture garden you can visit tho this day, and her husband, painted Ben Nicholson.

St Ives sits on a peninsula surrounded on three sides by the Atlantic. The higher than normal level of ultra-violet reflected off the ocean creates a bright, luminous quality that has attracted artists for over two hundred years, ever since 1811, when JMW Turner — acclaimed for his ethereal landscapes — first arrived with his charcoal and water-colours.

St Ives in Turner's time had grown wealthy as a major fishing port, benefiting from abundant shoals of mackerel, herring and pilchards drawn to the red run-off from the tin-mines, with the pilchards pressed for oil and mostly exported to Italy. You can still see signs of its once-thriving industry today in the fishermen's nets and brightly coloured buoys in the yard of the Porthmeor Studios, although many of the former pilchard cellars are now holiday homes.

Fashionable British artists in the late 18th and early 19th centuries would have traditionally visited France to paint their favoured French landscapes. But with the outbreak of the Napoleonic wars in 1803, they were soon deprived of their annual sojourns, and looking for an alternative to the rugged Brittany coastline, artists turned to the rocky headlands and high cliffs of Cornwall.

Isambard Kingdom Brunel's Royal Albert Bridge, which spans the River Tamar, connecting Devon with Cornwall, opened in 1859 and flung wide the floodgates for a new generation of British and international artists wanting to follow the great Turner's footsteps. By the time the Great Western Railway connected St Erth with St Ives on 1st June 1877, artists were flocking to the fishing town. Artists such as Walter Sickert and the American JAM Whistler visited in 1884, drawn to the mild weather, wild landscape and, of course, that extraordinary light.

The arrival of the railway not only brought swathes of artists to the area, but also helped bring new opportunities to the town, which was falling into decline in the second half of the 19th century, due to a collapsing fishing industry. The improved transport routes connected the ailing town directly with London Paddington, opening it up as a tourist resort and an outpost for creative types.

The burgeoning artists colony started taking over the abandoned fish cellars and sail lofts, turning them into studios, with the first ever recorded conversion being a sail-loft on Carncrows Street converted by the Right Honourable Duff Tolamache in 1884. The north-facing Porthmeor Studios in Back Road West, overlooking the beach, were particularly well situated, as the light is evenly dissipated, with none of the harsh distorting shadows of a southerly aspect. More to the pojnt, they enjoy a glorious uninterrupted view of the sea and the setting sun over Clodgy Point.

James Lanham opened the first gallery in St Ives in 1887, and the inaugural School of Painting opened the following year, founded by painters Julius Olsson and Louis Grier. Special trains were laid on to bring painters and audiences to exhibitions, assuredly putting St Ives on the map as an international arts hotspot.

The best-known local artist, Alfred Wallis, was discovered painting in the doorway of his home in Back Road West by artists Ben Nicholson and Christopher Wood in 1928. He was a scrap merchant and fisherman who painted straight onto board and bits of metal. They were struck by his unschooled "primitive" naive style and did their best to promote him. Nevertheless, despite their efforts, he sold few paintings in his lifetime and died in the workhouse. His simple grave in Barnoon Cemetary next to Tate St Ives is adorned with ceramic tiles by the potter Bernard Leach.

Leach himself had studied pottery in Japan and brought his techniques to St Ives in 1920 where, with Shoji Hamada, he established the Leach Pottery on the Stennack River. Utilitarian and functional as well as beautiful, his pioneering style earnt him the title "Father of British studio pottery". He died in 1979, but there remains a working Leach studio and gallery celebrating his life and work, as well as showcasing its produce and training a new generation of potters.

Leach received the Freedom of the Borough of St Ives in 1968, the same year as another giant of British art accepted that very accolade — the Modernist sculptor Barbara Hepworth.

Hepworth moved from London to St Ives with her husband Ben Nicholson and their triplets at the outbreak of the Second World War. She lived in the town until her death in 1975, and was the centre of an influential group of abstract artists, including Nicholson, Wilhelmina Barnes-Graham, Peter Lanyon, John Wells, Patrick Heron and sculptor Nuam Gabo. Their exciting and experimental movement, while on the whole largely abstract, still remained rooted in nature, thus giving it a broad appeal.

With a resident art community now in place, other artists were encouraged to visit the town. The Irish painter Francis Bacon worked in studio 3 in Porthmeor Studios between September 1959 and January 1960, also visited for three days in 1959. Other artists include Roger Hilton, Terry Frost, Paul Feiller and Sandra Blow who worked from Porthmeor Studios from 1994 and then Bullens Court.

In 1993, the Tate St Ives gallery opened to the public, sealing the town's reputation as a world class centre for art. The gallery continues to have an extensive programme of exhibitions and events, and for the next seven months will be home to some of the best photography from the Tate collection in a new exhibition entitled The Modern Lens: International Photography and the Tate Collection.

The Tate also runs the Barbara Hepworth Museum and Scupture Garden (her former home and studio) at the Trenwyn Studio, as well as offering a multimedia Ben Nicholson tour.

For over 200 years, St Ives has been attracting some of the best British and international artists to its rocky shores. Drawn to the unique quality of its light, painters and sculptors settled in the town where they created and exhibited theirnwork while raising families and contributing to the community. They made full use of everything the area had to offer, and while there, undoubtedly got a bit of a tan too.

* * *

ARTISTS: Alfred Wallis, Borlase Smart, Patrick Heron (worked at Studio 5, Porthmeor Studios), Francis Bacon, Sandra Blow, Patrick Hughes, Naum Gabo, Turner, Barbara Hepworth, Ben Nicholson, John Wells (discovered Alfred Wallis), Bernard Leach, Peter Lanyon, Sven Berlin, Wilhelmina Barns-Graham, Bryan Wynter, Terry Frost, Roger Hilton, Roy Walker. And living: Anthony Frost, Bob Devereux, Keir Williamson, Breon O'Casey, Zoe Eaton, Clare Wardman, Roy Ray, Sax Impey.

Artist Bob Devereux helped start the St Ives Arts Festival some thirty years ago and keeps the tradition alive with the May Litarary Festival which takes place for a week in May.

Art classes can be found at the St Ives School of Painting as well as the Bernard Leach pottery. There's always somthing for children at Tate St Ives.

POTTERY: Aside from the Leach Pottery, the best ceramics shop outside London has to be St Ives Ceramics in Fish Street which carries not only contemporaty work, but also pieces by Leach and his great friend Hamada Shoji, as well as his late widow, Janet. Another pottery well worth visiting is the Gaolyard where you can watch the nine resident potters working.

Patrick Heron occupied Studio 5 Porthmeor Studios. He designed scarves form the age of 14 for his father's textile factory in St Ives. Lived in St Andrew's Street and then Eagles Nest on the road to Zennor. Designed the stained glass window on the ground floor of Tate St Ives: Window For Tate Gallery St Ives 1992–3

Virginia Woolf wrote her novel To The Lighthouse inspired by Godrevy Lighthouse. The Stephens family spent summers at Talland House in Talland Road until Virginia was 13 years old.

Art classes:
St Ives School of Painting
Learn to draw and paint or just keep your hand in at St Ives's oldest art school, established in 1938.

Porthmeor Studios, St Ives, Cornwall
TR26 1NG
t: 01736 797180
e: info@schoolofpainting.co.uk
http://schoolofpainting.co.uk

The Leach Pottery
Beginners and professionals can take short courses in throwing clay throughout the year.
Higher Stennack, St Ives TR26 2HE
Tel: 01736 799703
http://www.leachpottery.com/intensive-courses/

Ultramarine Studio

Back Road Artworks

Back Road East

St. Ives
TR26 1NW


+44(0)1736 791571
www.ultramarine-st-ives.co.uk/painting-classes-in-st-ives.asp

Knit One Weave One
Make an eye-popping fabric picture or a vibrant felt hat with Jo McIntosh's textile art classes.
www.knitweave.co.uk
01736 797122

St Ives Arts Club
As well as holding exhibitions and staging performances in their 120-year old theatre, the club also hosts art classes. Check the website for more info.
Westcott's Quay.
http://www.stivesartsclub.org

Friday, 19 December 2014

Council estate "chinky bird" urges restaurateurs to piss in Nigel Farage's prawn balls


This council estate-raised "chinky bird" is making a heartfelt plea for all the magnificent Chinese restaurateurs and takeaway caterers of the British Isles to piss in Nigel Farage's prawn balls if ever he shows his dinosaur face near their establishments. Of course, they won't because they're too nice: much nicer than the bigots that Ukip appeals to. Nevertheless, I live in hope.

Nigel Farage has defended the antediluvian 'chinky bird' comment made by former Ukip activist Kerry Smith, asking: "If you and your mates are going out for a Chinese, what do you say you’re going for?”

Personally, I'd say we were going out for a Chinese. Or an Indian, Japanese, Thai, Mexican, Italian … whatever.

Racism and sexism all rolled up in one tiny two-word phrase of hate. That's an impressive economy of bile for you.

He then compounds it by writing off working-class people as racists and excusing Kerry Smith, Ukip's former parliamentary candidate for South Basildon and East Thurrock who made the offensive "chinky" and "poofter" comments, because he was a "rough diamond" raised on a council estate.

“He’s a council house boy from the East End of London, left school early, and talks and speaks in a way that a lot of people from that school and background do."

I've heard as much, if not more, racism and general bigotry from the bourgeoisie who inhabit the virtually all-white areas that Farage and his Ukippers court.

On my council estate — the Gascoyne estate in Hackney — only the most ignorant used hate language as callously and casually as Farage's former candidate. It was a long time ago, well before these issues started to be properly addressed. Decent white working-class people already knew that such language hurt people. Others took a while longer to realise what effect they were having on their neighbours. Gascoyne's residents were made up of a healthy mix of backgrounds and I felt safer there than in some of the white-dominated milieux I've subsequently seen.

Nowadays, only the deeply disturbed and terminally/deliberately thick insist on keeping it up. They're trying to bring back the bad old days when non-whites and other minorities were excluded and marginalised from the British society to which we all belonged.

It shouldn't be necessary to reiterate that it's not immigrants who crashed our economy, and currently still treat it like a big roulette game or a flutter on the gee-gees. It's not immigrants who decided to stop building housing for the mass of the population or make it necessary for the state to subsidise the corporations in rent, low-pay, zero-hours and rail fares.

Oh, yes, we say things like "milieux", Nigel: we snobbish elite London council estate gals who left school at 16.

There's a whole wide world out there from which the brighter among us can draw. I know you know this, Nigel, because being an MEP evidently has its perks. So stop exploiting popular prejudice like a Poundshop Enoch Powell (copyright Russell Brand's chest-hair):  for a man who prides himself on thinking outside the stale old box, you don't half talk some scheisse.


Full vile throttle at 21:50

Wednesday, 19 November 2014

Being Human Festival: Anna Chen talks about Chinese comedy in culture debate

Being Human Festival: Ha ha ha? Laughter and Humour Across Languages and Time.


Had a lovely time last night talking at another event in the Being Human Festival.

Laughter is generally regarded as something quintessentially human: being human means being able to laugh (or so Aristotle claimed). However, the things that make people laugh can vary quite considerably, and these differences may be magnified across time, languages and cultures.

In this session of Café Culture, UCL academics Geraldine Horan and Seb Coxon and comedian Anna Chen aim to take a closer look at this issue. Join them to find out whether humour can ever really be a serious subject, and to debate such questions as: How do jokes work? Can jokes be translated from one language to another? What is the history of joking? To what extent are we able to understand jokes from another historical period or culture?

I talked about the history of Chinese comedy and my attempts to challenge stereotypes in my own writing and stand-up. The Chinese are said to have invented the political joke — 4,000 years of repression and hierarchy will do that to you. Under Confucianism (2,500 years ago), comics were looked down on and mocking the sovereign earned you the death penalty. This soon applied to all authority until what was required for survival was "gravity in speech and manner."

Despite this, texts in mediaeval times are full of Chaucerean mockery of authority and the big-heads who like their power over other human beings a bit too much — and also of the idiots who fell in line (nuthin' changes). Corrupt officials and country bumpkins bore the brunt of contemporary cynical wit.

This venting used the Crosstalk form which has been popular since the middle-ages: the two-hander: a straight man and a funny man.

It lost its momentum during the early communist era, especially in cultural revolution China, after 1966. The authorities demanded that practitioners cut out the satire and use their skills to praise, instead. This repression gave rise to an explosion of cynical humour under communist rule, but in private.

Although there's a strong tradition of clowning, the Chinese don’t do silly. So Monty Python, which requires a ditching of personal dignity, does not go down well. Humour that demonstrates smartness and quickness of wit, such as Monkey, is what's favoured.

Chinese tend not to use set-up and punch structure. In popular comedy, it's more scatalogical — which is understandable in a nation where death has been harshing your mellow for centuries in civil wars, wars against imperialist aggression, extreme poverty and famine. For the masses — and especially for Cantonese like my father — a farting, pooing human being is at least a live human being.

Today, authority is very much in the comics' crosshairs, especially the despised internet censors. The Grass Mud Horse phenomemon is a crude jibe at the Chinese Government's attempts to limit access to the world wide web, and plays with some very offensive double-entendres, mostly concerning yo mama's birth canal.

Comedy is now a massively popular branch of the Chinese entertainment industry. Performers like Zhou Libo are huge stars, entertaining the snotty Shanghainese, making gun of the rural "garlic-munchers". Not much comforting the afflicted and afflicting the comfortable in evidence there.

Here's a modern joke I found that features Chinese and isn't fuelled by hatred:
There are four blokes on a plane; an American, a Brit, a Chinese and a Japanese. The plane cuts out and starts to plummet but there’s only on parachute. The American is brave so he jumps out yelling, “God Bless America”. The Brit jumps out, shouting, “God save the Queen.” The Chinese yells, “May China live ten thousand years,” and kicks out the Japanese.

I interwove my own stand-up throughout my talk, giving examples of how I unercut and subvert stereotyped expectations. Where I attempt a high-wire act, treading the fine line between subversion and reinforcing the stereotypes, do I succeed? If not, why not? Do I need to refer to my ethnicity at all? Or will it always be the elephant in the room until I acknowledge it and then move on? The tension between the expectations of an audience fed a limited and distorting set of representations of east Asians (when they are not being rendered utterly invisible) and my efforts to set them straight do make for a rich seam of comedy to mine.



In the end, a writer has to write about what he or she wants to write about, and go where the energy is.

The ability to create comedy demonstrates an understanding and a facility with the cultural codes. Once a minority (ethnic, gendered, sexuality and disabled) can do comedy, you are firmly embedded at a deeper level in society and it's harder to keep you marginalised. That's why ethnic minorities always produce smart-arses who want to express a view of the world refracted through the prism of their own experience, rather than what's being projected onto them from outside.

Crossing the divide between being "other" and embedded in the culture  means you belong to society as a participant, observer, commentator, consumer and a producer of meaning. We don't want to be dismissed as "Other". It's our world, too, and we can laugh at it — and at ourselves within it if we choose to do so — but strictly on our own terms.

Saturday, 15 November 2014

Doctor Who review season finale: Death In Heaven and an ideological battleground


Doctor Who: Death in Heaven season finale — an ideological battleground.


SPOILER ALERT

Cybermen meet zombies in the second half of this A Matter of Life and Death nick in which our intrepid heroes hissy-fit around a lot.

There's so much that could have worked beautifully in this series. How can you have those great production values and Peter Capaldi on board and still make such a hash of it?

The problem, as always, is the script. The writers' caprice runs through the Doctor Who reboot like Nick Clegg's election promises. It's all Patrick Duffy in the Dallas shower, a dream, a mish-mash of half-remembered images and tropes, mis-threaded backstory lurches (a sudden retro-fit and Gallifrey exists, the Doctor's nemesis conveniently telling him where). Characters don't so much arc as teleport to whichever position the writers decide suits the script du jour.

Dream logic seems to have been employed to suit the writers rather than designed to delight the audience the way a modern Maya Deren or Bunuel (from whom the writers appear at times to be borrowing) might do while burrowing into the collective unconscious, taking the audience on a ride rather than taking us for a ride.

Russell T Davies' heavy reliance on undermotivated melodrama and shouty frenetics is still, after all this time, shrilling away like a dentist's drill. Clara is SO deeply in love and yet she wastes an irritating plot-blocking age verifying, like software gone wrong, that it really is Danny who's speaking to her from the afterlife. Everyone's so cross all the time, operating within their own little thunderous clouds of fury. Like late-night coke-fiends running out of Charlie, you half expect them to sniff and wipe their noses before running off in the Tardis to score more.

The producers set Missy (short for misogyny?) lurching around like a menopausal drunk, neurotic and malevolent because, deep down, she lurves the Doctor, really. Michelle Gomez brings her demented Mary Poppins amusingly to life thanks to a histrionic script and neck-breaking nods to Heath Ledger's Joker. Turns out Missy's spotted the dominatrix in Clara and the sub in the Time Lord and has expended a ton of energy keeping them together. Dunno why. It doesn't help the plot but skitters along the surface of better past-masters, nicking all the glittery bits.

The script dusts the cobwebs off old favourites — "Why are you doing this?" "I need you to know we're not so different" from a squillion denouments where, quelle surprise, the protagonist and antagonist are inwardly the same. Aw, and love conquers all, unless you're the season's Big Bad.

This may be Borg territory (poking that hoary old question: what makes us human?) but collective action is trumped by the one single Cyberman — Danny Pink — who loves more than anyone in the entire history of the human race, more than any of the dead who make up the army of Cybermen because some people are more SPESHUL. (If Danny is capable of redemption, then why none of the other Cybermen? If the Brigadier retains a vestige of humanity, then why can't the entire Cyberman race be redeemed and escape genocide?) It aims for the sublime moments in Buffy where the Slayer has to kill Angel gone bad, or finally gets to kiss Spike, but misses, barely achieving bathos. There's no underpinning of the emotions at a deeper level. For a series about a Time Lord, they do get the emotional timing spectacularly wrong.

Once again, the military and authority are fetishised and ideological markers slipped in under the bells and whistles. Danny's a former soldier who meant well but accidentally killed a boy when he was serving in the Middle East. He is the idealised self-sacrificing soldier who never gets to question what it was he killed for. In this narrative, it's not the politics or the premise for the war that's wrong — it's the fault of individual soldiers like Danny, whose conscience pays the price.

Lethbridge-Stewart falls from the Presidential flight and survives because, as it handily turns out at the end, another good Cyberman caught her, her Brigadier father. If favourite characters can be saved from death as easily as this, then nothing is at stake and any anxiety invested in the outcome is thereby diminished. A huge pic of her father dominating the President's plane provides another "hunh?" moment. A humble brigadier? Really? It would take a whole Clifton Suspension Bridge of disbelief to buy that. Not only another sloppy moment of disrespect for the audience, but also an unpleasant reinforcement of the principle of dynastic succession, hardwiring young viewers with ruling-class values of social and political hierarchy.

Hysteria is sloshed on— papering over the narrative canyons instead of generating authentic emotion and catharsis — and the resulting ambience is simply over-mannered and harsh, trite and sentimental.

Superficially inclusive, the narrative brings non-whites and LGBTs under the umbrella of existing power structures – on condition that they don't actually challenge those structures. Even the cheeky black schoolgirl is another version of the perky, privileged white Clara. Prepare to be assimilated!

The BBC has calibrated its culture to the norms of business and the military, with more armed forces personnel featuring as protagonists in its drama and documentaries over the past few years than I can remember, while the space to challenge the mainstream political narrative has shrunk to almost nothing. Imposing a reading of the world at odds with people's experience, BBC output not only leaves capitalism and the status quo unquestioned, it's actually reinforced. All those celebrity chefs, big swinging business dicks and talent judges constantly putting you in your place in the New Order, clipping your wings, accustoming you to taking orders. They're even enlisting Santa, as dreamt up by the Coca-Cola corporation, for the Christmas special. They'd better subvert this one!

Doctor Who was always a bastion of establishment values when it was created just as the Sixties began to swing, but there was something innocent about it, and you could filter out the stories from the residual politics. However, our beloved creation now sneakily puts a new generation back in the box marked pleb. Respect hierarchy, genuflect before authority, fall in with militarism under the delusion that you have value as an individual. Forget the proud heritage of the post-war era where the mass of the population enjoyed an unprecedented confidence born of an increasingly (if far from perfect) egalitarian society. Science fiction fans of the world unite - you have nothing to lose but your gains.

Review of Deep Breath, the season opener.

Friday, 14 November 2014

The Next Wave Home: short story by Anna Chen

The Next Wave Home
A creepy short story by Anna Chen about a woman, her daughter and a ghostly presence.

I was shoving the whites into the machine when a great wave of grief engulfed me. For no reason at all, I started to cry. I looked down and saw that I was holding a pair of Alex’s tiny cotton briefs, stained with the faintest shadow of blood, which resolutely refused to budge despite a thorough soak. Maybe my period had synchronised with my daughter’s and this was simply irrational pre-menstrual tension signalling the onset of my own bleeding. With the machine spluttering into action behind me, I carried the customary mug of Earl Grey through the long white corridor of our north London flat and stopped at the door pinned with a garish hand-painted sign:

GENIUS AT WORK
WRINKLIES KEEP OUT

I ignored the warning and stepped into the room, picking my way through the usual teenage obstacle course of comics, skates and multi-coloured felt-tips which threatened to leak indelibly on to the carpet. Half the contents of her wardrobe lay where they had been tugged off the night before. Tangled heaps of vivid limes, turquoises and clashing hues of red marked out a path across the floor, impossible to miss in the half-light. Alex, at thirteen, was passing through that retina-searing stage of fashion sense prior to the discovery of colour coordination. But I found her clothes irresistibly attractive in the way that they affirmed life; a far cry from my relentless blacks and greys at the same age.

And there she was – my beautiful daughter, fast asleep. Her lean, supple limbs flopped at haphazard angles; her breath popping from her delicate pink mouth in a little “kah”. I placed the steaming mug next to the clutter of beads and bangles, worn religiously ever since her progression from pop idols Bros to Madonna, and bent down.

I always loved this quiet moment when I could drink in her loveliness to my heart’s content. I never ceased to be amazed that I had borne this creature: stardust put together to divine specifications according to Rick’s and my genetic blueprint; a never-ending spark of life passed down through the aeons and expressed in this perfect form. Her expression was one of bliss. What could she be dreaming? Something wonderful, I bet. I took a deep breath of her delicious scent and gently shook her into consciousness.

Her sweet smile of sleep turned downward and her brows furrowed. With a groan she heaved the duvet over her head. I hoisted up the blind, allowing the sunlight to stream in, and yanked the duvet off her.

“Come on, luvvy, school.”

“Oh no. I’m ill,” she whined.

“Alex, don’t be such a wimp, it’s only a period.”

“Yeah, sure. Your only daughter’s losing umpteen pints of blood and that’s not serious, is it?”

“Surliness will get you nowhere. Now get up or it’s the cold sponge.”

“Oh, major threat!”

I willed hard for something, I’m not sure what.

At last, she opened her eyes and screwed them up against the light. She made an almighty effort to haul herself up and reach for the tea, and, with each successive sip, her eyes brightened into the sharpness of a child raring to engage in life. She returned my smile with a broad beam that radiated an inner light and she gave me a warm hug.

“Thanks, Mum,” she said, grateful for the tea.

Satisfied that there would be no slip back into blissful sleep, I returned to the kitchen and prepared breakfast.

The two of us sat facing each other, me nibbling my grapefruit and crispbread in a perennial battle with what I had finally ceased to call puppy-fat only a few years earlier; Alex tucking into the latest craze in breakfast cereals, a porridgy concoction liberally laced with poisonous levels of sugar.

“But the packet says ‘Natural’, Mum.” She poured fresh orange juice into her Dan Dare mug, her sole concession to my demands for a healthy diet. Rule of the house: no cola drinks before 5 o’clock tea.

The awareness that something was missing dawned slowly. Something comfortingly commonplace without which the easy familiarity of this daily scene seemed to slip out of sync with itself. What was it? I pressed my lids together and concentrated. Hard. I opened my eyes and looked at her bare wrists.

“Hey, I thought it seemed quiet. What’s happened to the hardware?”

“No one’s wearing that stuff now. Only little kids like Madonna. Everyone’s playing Janis Joplin.” Her first bra and period, and now Janis. All within two years.

“That must be the third time around. At least,” I continued, playing the experienced oldie to the hilt. “When I was your age, I broke in my voice to ‘Cry Baby’. Of course, that was pre-punk when we took the revolutionary step of deconstructing the melody.” Alex made dramatic barfing noises right on cue. We were a great double-act.

“Punk’s ancient,” she pronounced with all the authority of a veteran music pundit.

1977, the year she was born, was too recent for Punk to have been endowed with nostalgia value and respectability. Give it maybe another five years for its inevitable second cycle of popularity and then you’d see serious interest from Alex and her peers. But for now, she was happy to tease me for having been a seventeen-year-old punk, and I was happy to collaborate in her search for identity and pride.

And then the crying started. I was struck in the pit of my stomach by the same wave of grief and helplessness as earlier. A great amorphous blackness reared up out of the deepest recesses of my psyche and shook me in its jaws. Alex looked scared and rushed to comfort me.

“Mum. What’s the matter?” For a moment I didn’t know. I merely wept and dodged the fear. And then the blackness took on shape. It all came flooding back into view.

“It was a dream. An awful dream – about you. I dreamt I’d lost you.” With that last thought, my blubbing intensified. Alex pulled up her chair and sat cradling me, stroking my hair with firm, capable hands.

“Tell me. Tell me from the beginning,” she cooed softly in my ear.

“Remember I told you how, when I got pregnant, Gran sent me off to some agency to arrange an abortion?”

“Yeah, but at the last minute you realised how much you loved me and you defied everyone so you could have me.” She faked lightheartedness like a consummate actress, but I knew she was feeling my distress as her own. Of course I knew; wasn’t she my own flesh and blood?

“That’s right. Well, in this dream, everything started off the same as that day. I took the bus to Streatham – three changes – because I didn’t know anyone who had a car. I walked up the overgrown gravel driveway of a huge old Victorian house, which had been converted into a private clinic. In the lobby, about a dozen women, ranging from other teenagers to a couple of mature women of about forty, sat or stood dumbly around their overnight bags. They were all accompanied by husbands or boyfriends. Or parents.”

I remembered how I had felt the odd one out, standing there in the middle on my own, almost foolish; the local Jezebel who had neglected to bring her own partner to the Church Hall dance. Although these women had fallen about as low as one could in those days – but not as low as those who would follow a few years later, darting within spitting distance past outraged latter-day Madames Defarges who would have seen such matters resolved with the knitting needle – their eyes told me that, unlike myself, they hadn’t completely slipped through the invisible safety net of kith and kin.

I sipped my tea and glanced over at the snapshots lovingly selected and tacked to the cork noticeboard in a proud display to the world: Alex mid-romp with her friends; Alex with Rick on the waterslide at some theme park or other; Alex, Rick and myself swaddled in matching snowgear, straight off the Austrian piste, a ball of snow in Alex’s hand in the moment before it was shoved down Rick’s neck. Such a happy, secure child surrounded by the smiling faces of those who loved her. I shuddered at the thought of her ever going through an experience like mine. That would happen over my dead body.

I went on. “I was led into a room – white, cold, clinical – not a scuff mark on the skirting-board, not a single streak on the gleaming steel taps. Sterile. I undressed and pulled on the scratchy green paper robe laid out on the bed, the only colour in the room. I was being given priority treatment because of the lateness of the pregnancy. Oh, God, they were going to whip you out double quick. Twenty-one weeks – just within the limit. You’d been kicking for ages, letting me know you were there. Alive and kicking.”

Alex interjected: “But why did you and Gran wait so long?”

“I couldn’t believe this could be happening to me. I wouldn’t believe it. Plus, two hours of yoga a day had given me stomach muscles flatter than beer the morning after. Even the Harley Street doctor was amazed at how flat I was. I ignored all the signs. I thought my new larger breasts were a last-minute gift from God.”

“A nurse came in and gave me the pre-med. It was going to be easy, she said, telling me nothing I didn’t already know. Like having a tooth pulled. I’d wake up and it would be over. Ha!” I gave a sharp snort as I remembered the nurse’s well-meaning but automatic assurances, no doubt laid on for every miserable girl who, betrayed by her own body, tramped up that driveway. Did she really believe what she was saying? Could she possibly have been as much in the dark as this confused seventeen-year-old?”

“I got drowsy. They laid me on a gurney and wheeled me down the long echoing corridors to the theatre. Fluorescent strips of light strobed past on the ceiling as we thunked through door after door. And suddenly, I don’t exactly know when, I was overwhelmed by the most incredible feeling that I had ever experienced. It was as if I was at the centre of a vast, rolling universe, a quiet, endless power I had accessed. Despite everything else that was going on, I felt at peace. And you were at the heart of that peace. I knew I loved someone beyond myself for the first time ever.” Alex’s eyes widened into deep pools I could happily have drowned in. “I realised it was probably the maternal instinct that people go on about. But it was a new one on me.”

“Yeah, I remember this bit.”

“That’s the point when it all changed. I was watching myself in the dream, expecting to do the same as I’d done in life. But this time I didn’t do it. I didn’t call it off. I didn’t shout and struggle when the matron told me to pull myself together. I wanted to, but it was as if I was gagged. Or stupefied. They wheeled me into the theatre and the anaesthetist came at me with the needle. And instead of knocking it out of his hand or doing something, anything, I just …”

A fresh bout of sobbing interrupted the tale. Alex squeezed me tightly.

“I let him stick the needle in my arm, right into the vein. I felt ice-water pouring into me while I counted to twenty-eight. And when I woke up ... you were ... you were gone.” I couldn’t stand the memory of the dream. Its vividness had spilled over from sleep to wakefulness, bringing with it all those little deaths, the attendent gut-wrenching emotions of loss.

“But, Mummy, it was only a dream. Look, I’m here now.” She tore a sheet from the kitchen-roll and dabbed my eyes. “It’s all right. Shush.”

I was so proud of her; she was exactly the compassionate young woman I’d hoped to raise.

“I know. I’m just crying with relief. Oh, Alex, I don’t know what I’d have done without you. Who would I have been? Just some half-dead thing.”

“Maybe you would have had other kids.”

“Hmm. Maybe. But not in this dream. There’s more. I dreamt a whole different life for myself. I just went to pieces after I’d had you ...” I spluttered for the word.

“... aborted,” she spoke the word clearly and without my fear of it. We often finished each other’s sentences but I flinched at the power given to this word merely by its utterance.

“I lost all my emotions. I couldn’t feel a thing. It was weird, the complete opposite of what I’d felt on the gurney. I was now cut off from all that quiet power. The power that had made me feel more real than at any other time. Now, nothing mattered. Objects were just objects and nothing more, including myself.”

Alex looked perplexed. This was too abstract for her.

“Gran and Grandad didn’t want anything more to do with me. None of the family could understand my erratic mood-swings and I couldn’t give in to self-pity. So I learnt to keep my anger, my fear, my loss to myself. Years passed. I couldn’t hold down a job or keep a relationship going. It was horrific – the numbness. Nothing mattered to me. Nothing meant anything.” I slumped on the table, my shoulders heaving under Alex’s warm caress.

“When you went, a whole, vital lump of me went with you. I was lost. For ever.” Then quite without warning, Alex’s cool words sliced through.

“Mum, how would they have done it at twenty-one weeks?”

The question startled me. But then I suppose every thirteen-year-old has a gory curiosity which, once on track, supersedes all other considerations. If you are open with children, you stand a chance of removing some of life’s fears. I wanted Alex fully equipped in order to deal with her own life traumas, if and when they pounced, so I controlled my emotions and gave an honest answer.

“Well, I suppose if it’s not performed as a Caesarean, which they said wasn’t necessary in this case, they would go in through the cervix and get the foetus out that way.”

Alex had stopped hugging me to concentrate on this information. She was finding it compulsive listening.

“But a twenty-one-week-old foetus must be pretty big. How can they get it out?” Her questioning seemed to be for my benefit, as if this thirteen-year-old was playing therapist with me, trying to get me to face up to forgotten fears. It was irritating.

“Well, if they can’t ... then they’d have to ...” What was that droning? A low hum like an unearthed electrical appliance.

“Mummy?” she insisted.

“If you want to remove a large object through a small opening, you either make the hole bigger, or the object smaller.” I felt uneasy. I wanted her to drop the subject but she continued in what was beginning to feel like an interrogation.

“Snip.”

“What?”

“Snip. Cut up the baby into little pieces and pull them out one by one.”

“Perhaps.”

“How small?” The question was abnormally ghoulish, even for a curious child.

“Not necessary, Alex.”

She changed tack. “What about Daddy? Wasn’t he there to save me?”

“He must have been there. Somewhere.” I broke off. The drone. I couldn’t get the drone out of my head and it was driving me crazy.

“I can’t remember anything about Rick. I don’t know why he wasn’t with me in the clinic. But he came up trumps afterwards, didn’t he?” My voice tailed off as I struggled to remember shadows. Exploring the Marianas Trench with a pen-light would have been easier.

Alex disengaged her arms from me and sat fixing my eyes with a stare eerily penetrating for a child. For a long time we said nothing. The drone grew louder, threatening to engulf me. I felt faint. Then Alex spoke.

“Mum. Dad was a methadone addict you’d known less than a month. You can’t even remember his name.” I pulled up sharply. My own daughter was beginning to scare me.

“Daddy’s in Manchester for a week. Working, Alex, come on, this isn’t my idea of humour.” But she persisted, oblivious to my unease. Or welcoming it.

“You went through it on your own. No one thought it was important at all. You even had to go into work the very next day. Remember?”

“No, darling, I had Gran and Grandad. Without their help I’d never have coped.”

Alex ignored my protestation and came out with another odd piece of fantasy plucked from Lord knows where.

“Gran and Grandad lived with you in a one-bedroom council flat. They couldn’t have helped you even if they’d wanted to. Which they didn’t.”

How stupid and selfish of me to burden her with my problems. She had a vivid imagination and my nightmare had invoked some ugly demons which I had better neutralise fast.

“They took one look at you and they were smitten. You were a gorgeous baby.” But Alex was, by now, too immersed in her fantasy to hear me.

“Mum, Granny didn’t like you.”

“No. We had our problems, like any family, but we pulled together in a crisis.”

“Grandad doesn’t know to this day what happened ’cause you were scared he’d beat hell’s bells out of you.”

“They loved you from day one. They were tremendously supportive.” I searched her face for a sign of what she might be driving at.

“Why are you saying all this, Alex?”

Alex didn’t answer my question. Instead, she relaxed back into her chair. She looked at me with huge brown eyes filled with hurt and betrayal.

“Why didn’t you do it, Mum? Why didn’t you save me? We could have managed.”

“Alex, sweetheart, it was only a dream. I jumped the gurney in the nick of time.”

A long silence. Except for the drone.

“Didn’t I? Alex?” Something shifted in the back of my head; the cold crunch of worlds colliding.
After a long pause she spoke with clinical precision.

“No. No, Mummy. I don’t think you did.” My eyes darted around the kichen, mapping out the room with her landmarks; the cereal box, her Dan Dare birthday mug, the snapshots on the noticeboard, all juddering in and out of focus.

Alex stared at me, stared right into me, and although we were close enough to touch, she seemed to hover at the far end of a long tunnel. I called her name, over and over, but she didn’t say a word, just stared at me. Tears welled in those innocent eyes that, under my care and protection, had known no real traumatic pain in any of her thirteen years since birth.

I thought I could make out the white tiles on the wall behind her. Directly behind her. She picked up her mandarin nylon carrier with the lime zipper and slowly heaved it on to her shoulder.

“I’m off to school now, Mummy. I’ll see you in a little bit.” Her voice was faint and tinny under the drone, like a bad recording from the 1920s. I tried to hold on to her, but her ethereal hands slipped from my grasp.

So it was time. I’d stretched it out longer than usual due to my growing ability to plug those sticky moments when everything can unravel in an instant. I choked down the lump in my throat and waved goodbye as she backed down the corridor.

“I love you, sweetheart.”

“I love you, Mum.”

“Take care now, darling. I’ll be thinking of you.”

She was drifting away, far away. She opened the front door into blinding sunlight, as bright as a bursting star. I froze the sight in my mind’s eye, trying to drag out the final moment for eternity; my last glimpse of Alex in silhouette at the end of the corridor. And then she was gone.

I was overwhelmed by the drone, loud and maddening; an unbearable grating as worlds slipped out of sync, one sliding into oblivion while the other, the one where the black amorphous shadow swam, took on a stark and terrifying clarity.

The machine crashes to its climax. The locking mechanism clicks off and I open the door. The formerly blood-soiled cotton briefs – my cotton briefs – fall to the floor. I straighten up, my vision rippled by tears and a head splitting with a pain that can find no outlet. A row of china tea-cups stands next to various health foods. The notice-board contains the odd list, mini-cab cards and a couple of photos of myself. My breath erupts in shallow, fitful bursts of terror and I wander through the flat like one of the undead. Gone is the handpainted sign. A blank expanse of white wall stares back where once there had been a door.

I stretch out my hands and my heart into a great nothing. Objects are objects and not much more. A scan of the cheerless sitting-room (to call it a living-room would be a lie) reveals a single photo of myself, alone, brooding and disquieted – sole proof to me of my own existence. There is a space where the framed photo of a happy family group – Rick, Alex and myself – had stood. There are no coloured felt-tip pens, left lidless on the floor for me to nag about; no teen comics, with the girls’ names as titles, for me to disapprove of for their frivolity, none of my precious record collection peeks out from bent covers. Instead, I pace up and down the tidy room and weep.

When it gets like this, I just have to wait until the next wave picks me up and drops me back into the real world to join Alex who should have been, but isn’t. The universe has been split in two and I have been chosen to occupy this version. But, very occasionally, for a few minutes only, I can live out a lifetime as it was destined, as mother to a fine and wonderful daughter who waits for me even now. In the small hours, I often hear her sobbing on the other side, missing me as much as I miss her. So I fill my hours with unimportant chores and doodlings I try to transform into work and wait to catch the next wave home.

Anna Chen 1988
First published in
Another Province 1994

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