Seashell

This was written for New Escapologist‘s now-defunct Patreon situation in 2020. It was the first of a show-and-tell series called Hypocrite Minimalist.

Object Number 1 in our inventory is a seashell.

There’s a Glasgow writer and artist called Alasdair Gray. Well, there was, anyway. He died in December 2019. In life, he was the most famous writer in Scotland but was still (and is still) underrated.

His novel, Lanark, is considered remarkable by those who know it, but it’s not as widely read or adored as it should be. At the very least it should be considered a fantasy equal to Gormenghast, but really it should be more firmly ensconced in The Canon of Great Modern Literature. It’s a stunning book.

I became a devotee of his work in about 2004, hunting down and reading all of his harder-to-get novels and stories, visiting the places where his paintings or murals were purported to hang. I would not have fallen in love with Glasgow in the way I did were it not for Gray’s books.

Gray lived in Hillhead, one neighborhood away from mine, so I’d often see him shuffling around, usually on his way to the pub. I don’t think I ever took his easygoing presence for granted. Frankly, it always seemed miraculous that he was still alive: as well as being legendary, he was old, asthmatic, a boozer. I knew we were privileged to have him, that it was like being neighbours with Kurt Vonnegut or Angela Carter, a great cult author who’d always mean something to someone.

When he died, my photographer friend Alan was asked to photograph Gray’s flat before it was taken apart (he’d taken some shots of Gray himself at home earlier in the year). It was a rented flat and, while his sketchbooks and manuscripts would be looked after properly in an archive, the flat itself would not be preserved. I managed to attach myself to Alan so that I could go and have a look inside.

You can see loads of pictures of Gray’s flat by Googling, but here’s one I quietly took while visiting:

The place was packed with books and paintings and… souvenirs from nature. There were lots of little bones and stones and, yes, seashells. Apparently he’d bring them back from his walks on beaches. There are some seashells on top the heater in the picture above.

I did not steal the shell from Alasdair Gray’s flat, I hasten to tell you! I did not loot! No, while I was there, I made friends with Alasdair’s niece, Kat, who was clearly amused by my nervous, fanboy attitude to her uncle’s house. “I can’t believe I’m actually here,” I kept saying.

Gray’s flat, after all, is in the Lanark novel, when the protagonist walks through a hole in reality and meets his author. It was not this very flat, unfortunately, for the book was written when Gray lived a few streets further east, but the feeling was still uncanny. For just a little while, I felt like I was in Lanark. Well, I almost always feel like I’m in Lanark, actually, because there are so many recognisable Glasgow landmarks in the book, but by being in the flat I was in the very heart of Lanark. Sort of. In fact, one of the things I spotted was a metal trunk with the words “Lanark manuscripts” scrawled on it.

Anyway, blah-blah-blah. Get to the shell!

I met Kat for brunch a few weeks later. The efforts to box up her uncle’s archives was complete. And she’d brought me a memento: one of the seashells.

Gray had actually doodled on or inscribed some of the shells, but those were all destined for the archive and, I daresay, closer friends. But I have something from Alasdair Gray’s flat, for goodness sake. A talisman! A small but giddy treasure.

Here’s a picture Kat sent me of the shell before it was removed from the flat (next to another shell displaying Gray’s handwriting):

And here’s one last quiet photograph I took in the flat. The drafting table is where he worked:

*

Kat runs an Alasdair Gray website called A Gray Space. It includes, among other things, a virtual tour of the flat.

Here’s me and Kat, meeting for the first time in February 2020, in another pic taken by Alan.

Bra

I’ve been expecting a delivery of nice envelopes, so I can improve my posting-things game. It’s all go around here.

I thought they came today, but when I tore into the packet a bra came out.

I’d opened my wife’s mail by mistake.

Ordering bras on the internet though. What a pervert she is.

Generations 2

Young people are so charmingly earnest.

I was watching Buffy last night with some new friends who are a bit younger than me. It was the musical episode.

I like the bit where Anya sings about bunnies, so I joined in:

🎵 They aren’t just cute
Like everybody supposes
They got them hoppy legs
And twitchy little noses
And what’s with all the carrots?
What do they need such good eyesight for anyway?
Bunnies, bunnies,
it must be bunnies!!
🎵

I hadn’t been singing along until that point, so the suddenness of my 30-second rock ballad must have seemed like Lucky’s monologue in Waiting for Godot.

Friends my own age would have either laughed sarcastically or thumped me into jam, but the younglings said “wow, yeah, great singing voice,” and (I kid you not) “wow, thank you for that.”

Ridiculous.

And yet, I feel really good about myself now. I left the party feeling like I really might be the next Celine Dion.

Generations

The judgy young host of an interior design channel: “the previous owner lived here for eighty years and they smoked throughout.”

Yes, terrible. And yet my prevailing thought is: people used to have such wonderful, wonderful, wonderful lives!

Attractive to Woodlice

You’re attactive to woodlice
Root-a-toot-a-too
Yes, you’re attactive to woodlice
Bim-bam-badoo

You’re attactive to woodlice
How could that be deplorable?
Yes, attactive to woodlice
Because you’re adorable

You’re attactive to pillbugs
They nibble your toes
Yes, you’re attactive to pillbugs
They gobble your nose

You’re attactive to slaters
They trail you en-masse
Yes, you’re attactive to slaters
They have a ‘ting for yo’ ass (bit racist)

You’re attractive to cheesy bobs
and roly-polies too
But each of those has far too many syllables for this poem
so we can’t really use them now can we?

Oh, you’re attactive to woodlice
Root-a-toot-a-too
Yes, you’re attactive to woodlice
Bim-bam-badoo

You’re attactive to woodlice
Haven’t you heard?
Yes, you’re attactive to woodlice
But flies prefer turd

Tarantula Caviar

There is a treat
that’s hard to beat
by sous chefs, near or far

There is a snack
that’s hard to whack
in any first-rate buffet car

Not meat
nor sweet
not veg
nor fish
not anything but totes delish

It’s loved by all
for lunch or tea
in high ranks
of society

It’s real fine nosh
hard to kibosh
better than
lamb rogan josh

It has no germ,
fat saturate,
no mono-sodium glutamate

It won’t cause strokes
or heart attacks
safe and fine
for celiacs

It’s really rather
lah-de-dah,
It’s Taran-tula caviar!

Oh, caviar
Oh, caviar
Brewed by arachnoid ladies

Oh, caviar
Oh, caviar
Delectable in gravies

From spinneret,
you’ll not regret
a spoon with aphid wine

From silken sacks
their young won’t thrive
outside your lower intestine

It makes you ticklish
in your tum
And creepy-crawly
out your bum

And squibbly-dibbly
inside-out
And prompt a Mona Lisa pout
And all the fancy gourmands shout:
“Tarantula Caviar!”

Nowness: January 2025

It’s January 2025. I live in Glasgow, but I’m writing to you from my Montreal volcano lair. 🌋

I just got back from a performance of The Nutcracker (it was a girls’ night out but one of them got sick) and then played a largely useless part in a minyan. How are you?

2024 was a busy year for me, so I’m taking some time off now. It’s a proper months-long sabbatical in which I’m doing very little.

And yet I dabble.

Projects

The edit continues on our film, but I’m not an active participant in that. What I do at the moment is text back “excellent!” when a new cut comes in.

I’m futzing with the novel I started last year. It will be published mid-year, in a mysterious way with no blurb, synopsis or cover design.

I’m editing, for publication but without deadline, the diaries of an English dandy.

Submissions for New Escapologist Issue 18 trickle in for release in December. Thanks for your patience on that front.

Reading

Two-Headed Doctor: Looking for Ghosts in Dr. John’s Gris-Gris by David Toop (Strange Attractor, 2024)

Love Junkie by Robert Plunket (New Directions, 1992/2024).

Travel

I’m preparing for a leisurely trip to Paris this month to see Jenny and Landis.

I’m dreaming of a trip to Stockholm and Helsinki in April, but I’m not yet sure I have the airfare.

Samara and I are planning a June trip to Italy.

I just bought tickets for my third visit to Le Guess Who? festival in Utrecht in November.

Culture I’ve Been Enjoying

Librarie Drawn & Quarterly in Montreal is a magical land

Kuts by Gamma Knife

Truck Violence

Sky Peals in a concretey motorway service station.

Robert Eggers’ (like a bird’s eggers) Nosferatu

Our pub quiz nemesis, the wool historian Karie Westerman, is the Captain of this year’s Open University team on University Challenge. She’s doing really well but my team keeps kicking her team’s ass in real life. Make of that what you will.

I prefer this Open University anyway.

Physical Form

Here’s what I look like /
at the start of the year /
in my snuggly and delightful /
Montreal gear:

Old Now pages (Then pages?) are squirreled pointlessly into the Now Page Archive

Published
Categorised as Nowness

Third Technician

With Samara’s help (well, she basically did all of it), I’ve made this Red Dwarf-inspired jacket, which is a sure sign of crisis.

What am I, some sort of “fan”?

Urgh.

The website we bought the patches from has plenty of user reviews from young people saying they bought these patches “for father’s day.” I am old.

It’s not supposed to be “screen accurate” and it’s not for cosplay. It’s just a Listerish look to delight the other old men in the pub.

On the TV show, Lister’s khaki jacket is normally worn over the shirt that has these patches. I still might get one of those London Jets tee-shirts though. We’ll see how long this crisis lasts.

I wore the jacket to our Edinburgh WIP screening of Melt It! and you can see it in this pic, albeit before the shoulder patch went on:

You know what my jacket is? It’s historic re-enactment. I’ve been described as a comedy historian a couple of times recently (by Stewart Lee and Oliver Double no less) and I have at least written some books (and now a film) in comedy history so that’s fine by me.

Anyway, I’m about to start a six-month break from doing much of anything. I’ve been far too Rimmerish of late and this will remind me to slob properly.

I want to get custard stains and gravy marks all down it. That way it can be screen accurate.

Object Number 4

This was written for New Escapologist‘s now-defunct Patreon situation in 2020. It was part of a show-and-tell series called Hypocrite Minimalist.

Object Number 4 in our inventory is a velvet jacket.

Full article here.

Velvet Jacket

This was written for New Escapologist‘s now-defunct Patreon situation in 2020. It was part of a show-and-tell series called Hypocrite Minimalist.

Object Number 4 in our inventory is a velvet jacket.

In 2016, I was friendly with the performance artist Diane Torr.

She’s associated with New York but was Scottish and lived around the corner from me in Glasgow. I think we’d have become great friends but she died in 2017 before we properly got to know each other.

Friend Laura took me quite insistently to one of Diane’s performances at the Buzzcut festival. She must have known I’d be impressed because I was blown away.

Diane was a drag king. She was very funny and clever and had the power to move us with her stories and ideas.

On top of the concept of the drag king, a theme of that Buzzcut performance was “loss.” One of the show’s set pieces involved us (the audience) writing down the names of people who had died and then incinerating them one at a time in a burning pestle as a way to “let go.” My Nan had recently died but I wasn’t quite ready to incinerate her name, so I wrote “Olive,” the name of an elderly neighbour who was the first person I could remember dying.

(I remember thinking that, should I ever do a show about Minimalism, part of the show could be a “wanton destruction ceremony” where people could “let go” of a physical thing by destroying it with me on stage).

Later the same day, my pals and I were hanging out at a festival-adjacent art installation. We were gathered inside a tent, listening to strange recorded sounds being piped out of hanging speakers. Such was contemporary art in 2016. Don’t ask me how, but I recognised the sounds as the magnetic field oscillations of a comet that had recently passed through the solar system. I did so!

I’d already spotted that Diane was in the room, drinking wine from a paper cup, but suddenly she was with our group inside the tent, just as I was murping on about the comet. She accused me of mansplaining! But is it really mansplaining, I asked, if the only person who knows a thing happens to be male?

She launched into an analysis of my body language and vocal tics and how the women in the group had looked to me for validation on what they were saying. Needless to say, this was very entertaining, even flattering, to me as someone who has never felt particularly macho. I could be an arsehole with the best of them!

And it wasn’t just anyone telling me this: it was Diane Torr, who’d studied the bottom-line minutia of masculine behaviour in the interests of performative realness. I was a tad smitten. I think everyone knew it.

“So where are we going now?” asked Diane.

“Well,” I said, “we were thinking of going to an experimental music thing at the City Halls.”

Our friends Graeme and Sven were scheduled to floss the strings of an exploded piano with lengths of horsehair.

“Excellent,” said Diane, “that’s just what we should do!” and she went off to get her purse.

And that’s how we met.

When Diane died, an email from her daughter went around to say there’d be a “giveaway” at Diane’s flat. We could all go along and take something from her collection of drag clothing to remember her by. Friend Neil had already been along and was now walking around the Merchant City in a pair of Diane’s pink Doctor Martens. Dead “man’s” shoes, as it were.

One could talk here about Tsukumogami (how, in Japanese folklore, frequently-used objects develop souls) or atom exchange (how, in Flann O’Brien’s The Third Policeman, a copper rides his bicycle so much as to gradually become one with it) or how The Velveteen Rabbit only becomes “real” when he has been loved by his human boy, or “uniquely bereaved objects” — a phrase I picked up from Nina Conti’s film about what happens to ventriloquist’s dummies when the ventriloquist dies.

I couldn’t imagine there’d be anything for me in Diane’s wardrobe. She was a little potato while I look like something you’d grow sunflowers against.

But there was this jacket.

“I think it was made for you,” said Diane’s daughter.

It was hard to deny. I can’t imagine Diane ever wore the jacket on stage: I can’t see it fitting her. But maybe it did once? Or maybe it had been worn by a double-act partner or something? Who knows. It fits me perfectly. Better even than a lot of jackets I’ve bought for myself.

I wear the when I’m feeling a bit theatrical and confident enough to shut down any unwanted attention. It’s good for that because, thanks to Tsukumogami or something like it, I can channel Diane and her total understanding of masculinity and knock any heckler into the ground like a tent peg.

I wore it yesterday. Not a single person commented on it. Bastards.

You can see me wearing the jacket Max Crawford’s photography in this 2022 interview.

I also wear it in the interview segments of Melt It! The Film of the Iceman.

Too Far

Samara’s mum reads Internet funnies to us as we watch the hockey.

“You got the dough,” she says, “We got the ho.” It’s the sign on a whorehouse door.

Well, I can do better than that, I think.

“You got the scratch,” I say brightly, “We got the snatch.”

I worry I’ve gone too far, but I’m disappointed by the positive and unscandalised reaction.

So here’s another one in case she’s reading:

You bring the green, we’ll bring the pink.

Doesn’t even have to rhyme. The secret is being vile.

Triple Header

Reunited with family in Montreal, a younger sister-in-law helps to juggle our schedule. It’s important to see everyone.

“The only way to do it all,” she says, “is a triple header.”

“I’m 42, Lisa,” I moan, “I can’t do triple headers any more.”

And we all laugh because I am old now.

Once the hilarity has died down after a full twenty minutes or so, I realise I’ve misunderstood. By “triple header,” she meant three parties over three nights.

I thought she meant three parties in a day.

God, I’m smashing.

I didn’t let on about the confusion though, in case it looked “old” baffled.

I Can’t Do That, I’m Afraid

Something that never took off — never became a catchphrase or entered the popular consciousness — but definitely should have:

It’s when Neil on The Inbetweeners says “I can’t do that I’m afraid” when asked to stop doing something irritating or appalling.

I haven’t been watching The Inbetweeners. I just remembered it. Because it’s good.

She Knows About These Things

Spite is an underappreciated energy resource. It’s infinitely renewable.

A final act of spite, I’ve been thinking, might be to leave my organs to a local dogs’ home.

My wife — she knows about these things — tells me that would not be legal.

Could I leave my body to a cannibal?

“No,” she says.

You can legally put these things in your will if you want to, but anyone acting on such a beautiful bequest would be face criminal prosecution.

“Only technically,” I protest.

“Only actually,” she says.

Back to the drawing board then. The drawing board of spite.

Don’t Cry For Me, Wolverhampton

Sometimes, I have an idea that will only ever amuse myself.

Overhearing the word “Argentina” this morning put me in the mood to sing “Don’t Cry for me Agentina” from Evita. It quickly became an earworm and, by the afternoon for some reason, I’d semi-consciously changed “Argentina” in the song to “Wolverhampton.”

Soon, I imagined a Wringham & Godsil live show in Wolverhampton, in which I slag off the Midlands for an hour — hopefully being booed and heckled the whole time — while Dan defends it. At the end, I tear off my suit to reveal a Wolves strip and sing my breakout song.

All I have to do to make this happen is convince Dan to come out of his well-deserved retirement from showbiz, build up enough of an audience in the Midlands for us to sell more than half a room, find a way not to throw up when debasing my body with sportswear, and learn (a) the lyrics and (b) to sing.

Other than that, it’s an obvious goer.

That’s Showbiz

Originally published in the Winter 2024 edition of Etrog.

Ivor Dembina is touring a show called Millwall Jew. It’s about about his support for Millwall FC in the context of Jewish Londoners traditionally siding with Tottenham.

That’s probably a real rib-tickler if you like football. Fortunately for softies like me, Ivor brought an additional show to the Fringe this year called Nineteen Ninety-Four, a celebration of his 40 years of schlepping up to Edinburgh with little but a suitcase and a mouthful of zingers.

As I approached the venue, the Dragonfly, I spotted Ivor flyering outside. Always a good sign.

“Hello Ivor Dembina,” I said, “I was just coming to see you.”

“Then that places you in an elite crowd,” said the stalwart, “you’re my only ticket.”

40 years, folks. That’s showbiz.

Despite moving in adjacent and overlapping circles for 20 years, I’d never really met Ivor before. We once said hello at a Political Animal midnight show circa 2008, but we were both blind drunk. Blind enough in my case to be trying to chat up Andy Zaltzman. Then, this July, we both played South London’s PEN Theatre on the same weekend and would have shared a dressing room if only he’d not been doing the Saturday and I the Sunday. I was 24 hours too late, which, curiously enough, is precisely how long it takes to get some of his cleverer jokes. No wonder people were laughing so much.

“Give me some of those,” I said, and started handing out flyers, all time-honoured like.

It was getting on to 4:30 in the afternoon and the people trudging past were all wage slaves, escaping West Port with a sly half hour in the bag. It’s about the little victories with some people, which wasn’t much use to those of us in the Ivor Dembina business.

I stuck flyer after flyer under their noses, but each commuter was determined to push on Waverleywards. The most generous of their number made a sort-of “bleurgh” noise in acknowledgement of, one assumes, our common humanity. It’s terrible what’s been done to them really; they can never know the bracing freedom of the jobbing comedian. Or be bothered to help alleviate our bracing poverty.

“Well then,” said Ivor after a few minutes of drive-by rejection, “I’m going inside,” leaving me, armed with some leaflets and my wit, to drum up a crowd. I’m not sure why. It’s never worked before.

A couple stopped to talk to me. No office workers, this pair. Salt of the Lanarkshire Earth. “Who is he?” said the one with the NSFW tattoos.

“He’s Ivor Dembina,” I said, affecting a note of the flabberghast, “a legend of the fringe. 73. He won’t be coming up forever, you know. Catch him while you can?”

Unbelievably this worked and soon we, the audience, went inside to take our seats.

“Look,” said Ivor to the four of us (hey, it had threatened to be an audience of one), “this isn’t as many as I normally get in. Shall we see how it goes? We don’t need to do the full hour.”

“Get on with it!” someone shouted. Though I say it myself, we were a good audience.

But we were also a strange audience. There was me in my winklepickers, Mr. and Mrs. Lanarkshire 1962, and a depressed young man whose one-person play, he said, was being done a disservice by the stinker he’d cast in it. Ah, the Fringe.

The show was great. Ivor did his an-oldie-but-a-goodie jokes about his life as a Jew, delivering them not at the front of the room like some run-of-the-mill comic, but while striding around, weaving in between us, which had the effect of making the room seem fuller than it was. Now, that’s a gift.

“So I was walking down the road, as the comedians say…” said the comedian.

“Which road?” I asked. Technically this was a heckle, but he’d been doing so much crowd work that he could hardly fall back on “look mate, this isn’t a collaboration.”

“The Holloway Road,” he said, “Joins up with the A1.”

“Glad I asked,” I said.

“Good heckle,” he said, “You’ve earned a pound.”

Later, he asked us what a Jewish equivalent of Playboy magazine would be called.

“Playmensch,” I suggested.

“No,” said Dembina, “not that…”

“Playgoy?”

“That’s it. 50p.”

The spirit of the Tunnel Club is alive in Edinburgh.

As the audience filed out as “en masse” as four people can realistically manage, Mr. Lanarkshire stopped to say something unsavory about Palestine.

Well folks, Ivor and I have 60 years of comedy chops between us, which qualified us to marshall our not-inconsiderable wits and to say in unison: “oh fuck off!”

As retorts go, it’s a classic really. Try it yourself.

🍋

If this resonated with you, (a) shame on you, and (b) please consider buying my books A Loose Egg and Stern Plastic Owl or reading my blog at www.wringham.co.uk

Ivor Dembina’s book, Old Jewish Jokes, and a short documentary film about Millwall Jew can be ordered and watched respectively at www.ivordembina.com

Published
Categorised as Columns

A Fun Sound

Sqelchy, squelchy.

“That was a fun sound,” said Samara.

I’d used my right hand to rub my left eye.

So I know exactly how to make that sound now.

Should I ever be called upon to do so.

The Last-But-One Session

Today saw my last-but-one phototherapy appointment at the hospital. It was my 25th session and I’m feeling crumbly.

My eczema is much better for the treatment, but it dries me out so much that I sometimes look like Jacob Marley from Scrooged. What do you mean, you don’t get that reference? It’s top-five Bill Murray. Kids today. Fine. Pictured above.

It’s hard work as eczema treatment goes. I have to vaccum the flat every day lest we become ankle-deep in flakes.

Unfortunately, I shed as fast as I can suck so it makes no difference. I’m like that cleaner from the Monsters Inc. factory who leaves a trail of slime as quickly as he mops. That a better reference for you is it? Kids. Honestly, I’ll have to start putting up signs. “Your brow must be this high to ride this ride.”

The best shedding day saw my whole back peeling off in big salty curls. For a morning I knew what it was like to have feathers.

I plucked one off deliciously, saying “thish one’s a keeper.” Any good? Goldmember. 2002. Dividing the room that one, I can tell.

“Don’t pick it,” said Samara don’t-fall-off-you’ll-spoil-the-holiday Leibowitz, “get your creeaaam.”

If I had a penny for every time I got my creeaaam…

Anyway. As I said, today was the last-but-one session. I got in the tube and was blasted with the now-familiar UV rays. Well, I say “now-familiar” but there was a lot of excitment at the hospital this week because, and I quote, “we’ve got a new bulb.”

The dematology nurses have become used to me and I can tell they’re going to miss my Singing Detective references. There’s an end-of-term vibe in the department and they keep asking me what I’m going to do next.

Well, they ask me that every time, but they usually mean in the short term. “Home to get my creeaaam,” is the only answer I can ever give them.

But they mean longer-term now. Travel plans. Career moves. That sort of thing. They’re moving on themselves because the hospital is being demolished. These appointment have been like stepping into a chapter of Swing Hammer Swing! Look, don’t make me tap the sign. Jeff Torrington didn’t die for me to have to tap the sign. This high, I said.

My first walks to the hospital looked like this:

But now they looks like… well, I haven’t taken a picture of how it looks now because it’s not very dramtic, but this shot should do the job:

My final session is on Monday, which is lucky because I’m not sure I can lose any more parts. I’m to feel like Brundlefly. No good? Oh naff orf.

And then, as I told the nurses, I fly to Paris to begin a two-month period of travel. Paris, Utrecht, Amsterdam, Barcelona, Zagreb, Belgrade, Athens, and (assuming they let me in) Montreal. Beat that.

I didn’t say “beat that” to the nurses. While I’m out there, they’ll be stuck here, breathing concrete dust. Mind you, I’ll be still breathing bits of myself wherever I go.

I’ll miss my little chats with the nurses. I’ll never see them again, but, if they want me they can follow the trail of feathers.

*

If you’re affected by cripsy skin, call the National Eczema Society on 020 7281 3553.