I find these inside passages to who I was when I was a kid, half Deja Vu. It’ll be a song or a flash of a color or a smell. It puts me in my kid head, sitting on my bed, looking over the garage roof at the neighbor’s backyard. It’s a nothing moment but it’s real.
That’s what time travel is, suddenly there, but we spend all of our time distracting ourselves with phones and shows and movies, trying to get somewhere, not where we are, and none of that works.
All you need is the trigger, holding a glass or your foot slipping off the edge of the chair, and you’re back as a tiny person realizing this world. We’ve turned those triggers off. We’re charging headfirst into the fucking bots and bits, thinking that that is the way, not thinking, but going ahead like automatons doing our lowest of the low’s bidding.
I was recently told that my blog is just for me, that I do not have an audience in mind. I must admit that I was surprised to hear that. Not that it isn’t exactly that. But then, what isn’t? I mean, I don’t show the wonderful places that I go nor the gorgeous food I eat nor even my lovely body, a hint of my undies and child-like desire.
I don’t do any of that. I just write bites like Drank half of it down (my new catchphrase) or Fuck you all! Said with love. And that’s the only value of this. (Said by me to me for me.)
By the way, when did “abundance of caution” replace “to be on the safe side”? And what was before that? And how did any of this get decided? A gaggle of old fellows in a tower?
This blog has been effective at turning over the rocks from my childhood, dreams and half-realized works. The Young Chronicles in particular has been telling as it reveals my lack of identity; I distinctly remember having clarity when I was eight years old and then none on my hitchhiking trip eleven years later.
I was always on edge, unsure of where I was, scared to camp alone, scared on the side of the road, scared of riding in stranger’s cars. I wanted to be somewhere else and, when I got there, somewhere else again.
I spend a lot of time digging into my memories. I look at pictures of me as a boy – fishing on the dock, beside the Christmas Tree, with our dog Celeste – trying to access that momentous time. I have also tried to searched out childhood things like Checkerboard Ice Cream and Pantry cookies, both of which I cherished in those days and both of which have vanished.
It seems somehow possible that if I could just taste them again, I would rediscover a key note to my uncluttered mind, like the magic of holding the tin or the feeling of my bare legs against the kitchen linoleum. But I have not been able to find either.
I collected these stickers from the Loblaws grocery store, furiously opening strip after strip to fill the booklet, trading for missing stamps, finding out who had found the un-find-able ones. There were dozens of Larry Carriere and Walt McKechnie and so few of Guy Lambert and Don Awry. It was impossible to find those.
And then Doug Crosby, a rich and somewhat simple boy in my class, bought the completed book from Edward Etchells for $50. The class bully Andy McAlpine mocked him. “You idiot! That’s not how it’s done!”
I realize that the whole thing was about the experience of collecting things, but why not do it Doug Crosby’s way? Why go through all of the hassle of bartering for the rare stickers when you could just buy the whole thing in one shot? As much as Doug seemed to have missed the point, Andy totally misses it. It’s not about scamming the system but learning from the experiences of the thing, be that finding Don Awry or eating Checkerboard Ice Cream.
The very first time The Fear hit me was when I was six or seven years old. We were having Sunday supper and were watching The Wizard of Oz. Everything seemed to be normal. Nothing of note, to the best of my memory, happened that day. This was probably the fourth or fifth time I had seen the film. And then, right when the witch appeared in a cloud of orange smoke in Munchkin Land I got this horrible feeling. I wasn’t afraid of the witch; it wasn’t anything like that. It was a much more general feeling. Everything just seemed wrong, bad, evil. I couldn’t sit still. I had to stand up and move.
I walked across the room – nobody, not my sister, brother, father or mother, seemed to take any particular notice – and sat in a chair in the corner. I figured that if I didn’t watch the movie the feeling would go away. But it didn’t. I walked out of the room, down the hall and around the quiet, empty house. I paced up and down the stairs, went room to room, floor to floor. It took some time, but it did eventually fade away. I never directly associated the feeling with anything, but the movie certainly did seem to have brought it on. I didn’t watch any more of the film that night, nor did I see it for another fifteen years.
For the next few years I had two consistent nightmares. One where a witch lived in the basement and another where I would be sucked in between the walls and into the pipes by some sort of foreboding evil. I saw The Wizard of Oz again sometime later. It was incredible; no horrible feelings. I laughed all the way through. It is one of the best films ever made.
I couldn’t go in the water. It was too dark. And cold. I had got the fish hook stuck. I just wanted to forget about it and make everyone walk away. But they wouldn’t.
“You have to go in,” the old woman said.
I kept pulling on the rod, moving it in every direction.
“I’ll go.” Nigel Baines stripped down to his underwear and went in, just like that. I watched his legs kicking up as he went down. It took him all of 15 seconds. He was hailed with warm towels and hugs.
“You can have as many grilled cheese sandwiches as you like! You deserve it.”
I was allowed to come too, but I didn’t. I stayed behind and stared into the dark water, that fearful place, and hated Nigel Baines.