Don’t Break the Chain

Back when I worked as a library assistant, we had a cash register at the circulation desk for the overdue charges.

With each transaction, the cash register would sputter out a receipt.

“Would you like a receipt?” we’d ask the punter, to which they would say “No.”

Nobody wants a receipt for a 15p library fine.

So we’d tear off the receipt and put it in a little bin. The receipt bin.

What a futile life that cash register had.

During a busy spell one summer afternoon, we stopped asking people whether they wanted a receipt and we stopped tearing off the receipts and we stopped putting them in the receipt bin. The receipts just kept on sputtering out uselessly and soon they formed a long chain.

On one occasion, we took notice when 27 receipts had printed without breaking off. It was glorious.

“Nobody tear off a receipt!” someone said. “Let’s see how long we can get it.”

It was one of those little survival techniques–little games you make up for yourselves–when you have a boring job.

Sometimes, a new staff member not yet indoctrinated into the game would break the chain and put it in the bin.

“What have you done?!” we’d all shout. “Don’t break the chain!”

Sometimes, a persnickety customer would ask out right to be given a receipt and you’d be forced to break the chain.

“Are you sure you want a receipt?” you’d ask.

“Yes,” they’d say.

“Why?” you’d ask.

“Because I’ve spent some money and I am entitled to a receipt,” they’d say.

We’d hate that person forever. If the library had been a restaurant, we’d have all gobbed in his soup.

On one occasion, I saw a library assistant writing out a receipt for 50p by hand. I didn’t have to ask why. She didn’t want to break the chain.

Sometimes, a supervisor would tell us to stop being so silly.

“Break the chain,” he would say, “it is a pointless mess.”

Needless to say, I was suddenly driven to pass my supervisor exam as soon as possible. With me in charge, we could let the chain grow as long as we liked.

The longest chain we ever cranked out was 136 receipts long. It was the most beautiful thing any of us had ever seen.

We sent it to the Kelvingrove Museum along with a letter explaining how we’d like to submit it to their exhibition about working-class life in Glasgow. We got no reply.

A Geiger Counter for Christmas

Shrug this off if you like, but Montreal is set to suffer a deadly dose of Christmas Radiation.

“Christmas Radiation?” you ask. “What are you talking about?”

I’ve tried to warn you about it before. Pay attention. I’m doing a public service.

Overtly Christmassy objects emit Christmas Radiation. Got that?

We can withstand it for a month or so, but soon afterwards it begins to warp our minds.

If you know someone who is mentally ill, check their home for holly wreaths left up all year round or Christmas trees moldering in the spare room. Remove these objects and your friend will be fine. No need for therapy or drugs. I personally guarantee it.

After a month, Christmas things must be packed into cardboard boxes and stowed safely in an attic or crawlspace. These are the only environments in which Christmas Radiation can be stabilised.

Montreal is especially at risk. I live in Montreal and I can tell you that every year, all through the spring, people leave their decorations up. I’ll be out on my routine voluntary Christmas Radiation Inspection (RVCRI) and I’ll find decorations left up until April or May.

This is why there are so many people hanging out on Montreal street corners, wearing cycling helmets and shouting “Nipples!” at innocent passersby. They’ve had their minds warped by too much tinsel.

Check desk drawers for rogue baubles. Check the fridge door for excess nog. Check inside your anus (or have a friend check for you) in case any half-digested roast chestnut has become lodged there.

You owe it to your sanity.

Madness in the workplace can all too often be traced to an obvious source: tiny remnants of streamer stuck to blue-tack in the corners of ceilings. So enthusiastically raised in December, so mercilessly torn down in January. Ghosts of Christmas Past, I call these little dods of glittery tack. They haunt the office all year round, pulsing their radiation into the aching brains of otherwise happy data entry clerks.

How could such pretty objects emit such harmful rays? Well as everyone knows, Christmas decorations are forged by elves in the mines of Lapland (or Greenland or the North Pole or wherever it is you think Santa lives) and it is in these mines where Christmas Radiation spumes forth from subterranean figgy pudding deposits.

They’d ban this practice but it’s where Saint Nicolas derives his supernatural powers. How else could he visit every child in a single night? By commanding the power of the mighty element Festivium is how.

Don’t look for it on your periodic table. You won’t find it. Its position is so far south of Cadmium that it’s off the map.

Holly wreaths? Christmas radiation.

Candy canes? Steeped in it.

Nutcrackers? Don’t get me started.

Be safe this New Year. Take your Christmas shit down on Twelfth Night. To be extra safe, ask for a Geiger Counter next Christmas.

The Lives of Crane Operators

Tower cranes. They protrude from our cities like candles from birthday cakes.

I like cranes. I can see two from my window right now. They go about their heavy lifting as I go about mine. (What? I’m a humour writer. I lift people’s moods).

In idle moments, I watch the cranes and wonder what it’s like to be a crane operator.

The job is blue-collar, but their offices have the best views in town. White-collar psychopaths schmooze their way to what they think is the top, but the humble crane operator watches silently from an even higher top. Wanking.

It’s possible. Who knows what goes on up there? When I train binoculars on the cabin of a crane, all I see within is a tiny swiveling head.

Maybe that’s all there is. Tiny swiveling heads, all using their surrogate metal appendages to drop the imprisoning lids on new office blocks.

Unlikely I suppose. But the whole idea is unlikely to begin with: that there are humans in the sky, yanking on joysticks, under orders to plant sewer pipes. It’s a world gone mad.

The lives of crane operators are different to ours. They surely do not, for example, take elevators to their offices. They take ladders. A hundred rungs? A thousand? Just one big leap? Nobody knows.

They have special privileges. In most offices, workers are reprimanded if they so much as stand on a chair to unscrew a bulb. These people climb the sky.

Do crane operators bring their own lunches to work? Only two alternatives occur to me: food bundles delivered by owls; cheese rolls and oranges honked neatly into the cabin by the fancy air cannons used to distribute t-shirts at hockey games.

What do they most enjoy for lunch? If altitude numbs the senses, maybe crane operators like it salty. Does this mean they’re always thirsty? And if they’re always thirsty, do they quench their thirst or suppress it lest they have to climb all the way back downstairs for a wee?

I hope it’s not too big a slur on their character to suggest crane operators wee over the side. It must be better organised than that. Perhaps they take advantage of surface tension and wee down a 250-foot cable into an awaiting toilet. If so, the wees of crane operators must be among the world’s longest wees.

I once looked after my mum’s cat. She’d sit in the bay window, making eyes at next door’s cat who in turn was sitting in her own bay window, staring back at ours. Two blister-packed cats, locked in eternal speculation. I wonder if crane operators do that. Do they look out from their cabins into the cabins of other cranes? Or is that a faux-pas and crane operators all have to pretend they can’t see each other?

On the other hand, maybe they’re all good friends. Between cranes would be a exquisite way to play tin can telephone.

Do they ever get to work and realise they’ve forgotten their keys and have to go all the way back down to get them? Do they ever refuse bribes from government agents who want them to be their eyes in the skies? Do they drink from novelty mugs that say “crane operators do it while high”? Are crane operators successful with those mechanical claw games in amusement arcades or are the controls so different there can be no comparison? We will never know. They are out of our reach.

🏗

If you enjoyed this story, (a) shame on you, and (b) please consider buying my books A Loose Egg and Stern Plastic Owl for countless other flights of fancy.

The Day the Squirrel Got In

I like squirrels. They are living paradigms of mischief.

I also have a particular fondness for those occasions where animals get into human places, like when a dog gets into a school playground and anarchy breaks out. A clever child will leave a couple of doors open to be sure the dog gets into the school building, runs around excitedly in the halls and classrooms and offices and ends up licking the headmaster’s face. They can’t even keep a dog out! Viva la Revolución!

Imagine my excitement today then, when a squirrel got into the apartment.

I’d been baking a cake so things were already teetering on the edge of madness.

One moment there was no squirrel. A moment later there was a squirrel. It was as simple as that.

A squirrel! A squirrel indoors. A flippin’ squirrel — the outdoors being his normal preserve — indoors now with all the people things. A squirrel indoors. What will they think of next?

To make matters more exciting, this was one of the rare albino squirrels we have in Montreal. A proper spirit animal if ever there was one; a totem of mayhem; a familiar of full-blown devilry.

He was a real phantom: ghost-white, pink-eyed, and sitting on my chaise like he owned the place.

He looked at me, trying to ascertain what I would do next.

I looked at him, doing much the same.

This was quite the meeting of minds.

As honored as I was by his visit, I’d have to get him out. I couldn’t share my home with a squirrel. I’ve had flatmates before and I know how it goes. He’d be eating all the nuts and berries no matter how clearly I labelled the containers. He’d be wearing my slippers and smoking my pipe and making lengthy international phone calls to his grey relatives in the States and his red ones in Europe. Before you knew it, he’d be bringing weasels home to dinner and letting them use our bathtub.

No. The line must be drawn somewhere.

I lunged with a beach towel in an attempt at netting him, but he coolly sidestepped the danger, nimble as a squirrel.

No good. Think, Robert, think. Put that British state education into action.

Let’s see. The only animals I’ve escorted from my home of late have been spiders, for which I used the classic glass-and-paper maneuver.

Well it was just a question of scale surely. A perspex bowl and a record sleeve later and I had the blighter.

He stomped about furiously under the dome, pink eyes blazing with the vitriol that only an incarcerated squirrel can summon.

I marched him onto the balcony. Arrivederci, Nutkin.

At this point I’d normally drop the spider into the abyss, safe in the knowledge that a skillful spurt from the spinneret will save her. To my knowledge, squirrels don’t have such abilities. Not ones for web-spinning, the squirrels. They’re more at home obsessively hoarding acorns and forgetting where they buried them.

I briefly considered dropping him off anyway. He’d given me quite the runaround. Could I do that? Perhaps I’d make like William Shatner booting that Klingon into the lava flow. “I… have had… enough of you!”

But, as I say, I like squirrels.

This is how I ended up chauffeuring a squirrel downstairs in the lift.

The Bird Table

We live high up in one of Montreal’s tallest buildings, yet our balcony is a major social destination for sparrows. “The place to be” ★★★★ — What Roost.

How do sparrows get all the way up here? Probably some kind of flapping motion. I’m no ornithologist.

It’s all a bit sinister if you want the truth of it. I can only imagine they flock here in such numbers to watch my girlfriend undress.

I open the curtains each morning to four-and-twenty sets of peeping little eyes. I’m yet to see one blink, though I fancy I once saw a wink.

Still, I can’t help but admire their persistence to survive in our freezing, stinking city. Their diet of bagel crumbs, discarded prophylactics, and remaindered Expo 67 souvenir geodesic snow globes cannot be nutritious, yet they pull through.

I was suddenly overwhelmed by the desire to install a bird table on our balcony. As long as they visit us, I’ll lay on the hors d’oeuvres.

I pulled on my coat and hat, and with as much pomposity as I could muster, marched out to the shops to acquire a bird table and some seed.

It wasn’t until I was in the elevator that I realised I don’t have the first idea of where to get such things or even what they should cost. Twenty dollars? A million? It’s also true that bird tables went out of style with screen doors, cobblers, and toffee hammers.

But this was Montreal, dammit! A city foaming over with hipsters, or as they’re called here, les doofus analogues. Where there’s a store devoted to dead people’s eyeglasses from the 1930s, I could surely find some coiffured popinjay making a loss on bird tables, could I not?

I could not. After three hours trudging in the snow I found nothing of the sort. Pet shops, hardware stores, supermarkets. Nobody could help me.

“Do you sell bird tables?” I ask a cheerful clerk.

“A what?”

“A bird table? A table for birds? You set it up with some seed and watch the birds come to eat.”

“You mean a bird feeder?”

“Well, that’s a kind of hanging thing with nuts in it, no?”

You’re a kind of hanging thing with nuts in it.”

She had me there.

In the defeated trudge home, as is so often the case, I came to a realisation. A bird table was essentially a plank of wood. Is that what they don’t have in Canada? Ha!

I then remembered the wooden bar stool that’s been decomposing on our balcony for two years. There were also some unsalted sunflower seeds in our kitchen cupboard left over from a virtuous phase.

Why, that was everything I needed! Let this be a lesson to you all. Shopping is not the solution. Just use your own rotting bar stool and, as my grandfather Multiple Miggs Wringham, used to shout, it’s a rare problem that can’t be solved by throwing your own seed at it.

Curiously few sparrows have visited us since I laid on the grub. “Clichéd offerings from a naïve kitchen. A balcon to avoid.” ★★ — Modern Finch.

Only one sparrow has so far seen fit to grace our bird table. He pecked around most discerningly. Frankly, he had a rather regal air about him for someone who until recently ate off the floor. He kicked some seed about and flew away.

“Tell the others!” I plaintively called after him.

Once aloft, I imagined the sparrow communed with his fellows:

“You’ll never believe what I just saw. A bird table!”

“A what?”

“A bird table? A table for birds? The stupid mammals put seed on it and then sit around watching us eat it.”

“You mean a bird feeder?”

“Well, that’s a kind of hanging thing with nuts in it, no?”

You’re a kind of hanging thing with nuts in it.”

“You’ve got me there.”

“Humans. They’re ridiculous. Nice jugs on some of them, mind.”

Hardly an evocative number

Birthday is it? Passing Go to collect two-hundred are you? Another lap around the sun is it?

Yes, yes, Thursday was my birthday. My thirty-first. Leave me alone.

I was going to open this entry with something like “Thirty-one? Hardly an evocative number,” but on sitting down to do so, I’ve realised it does evoke something.

When I was 18 or so, I had a Saturday job in a warehouse and had a friend there called Steve Hill. He was a sociable if meaty-breathed fellow with a shabby-glamorous John Cooper Clark demeanor.

Steve was popular enough to have his own catchphrase and an impressively Dadaist one at that. The catchphrase was, simply, “thirty-one”.

Somehow it was always applicable. If he was feeling down in the dumps, he’d shake his head forlornly and say “thirty-one.” If he received good news he’d jubilantly cry “thirty-one!”

On one occasion, I happened to be present when Steve lost a piece of fingernail to a improperly-sealed crate and I swear he said “AAAARGthirtyone!

Imagine Steve presenting game shows. He’d come out and say “thirty-one?” and the audience with no further prompting would roar “thirty-one!”

What was the origin of all this? Steve, he explained, had been at a party one night when a comatose man had stood up suddenly from his drunken torpor and, seeing Steve, said “thirty-one” with great gravitas and import.

Perhaps the drunk had seen Steve’s future. Perhaps he’d picked up an important radio signal on his fillings. Perhaps he’d just had too much hooch and was completely insensible. We’ll never know.

“Thirty-one,” the drunk had said to Steve, and then collapsed.

Steve recounted this story to us and we liked it so much that “thirty-one” became a kind of halloo. You’d pass Steve in the corridor and shout “thirty-one!” and he’d shout “thirty-one!” in response.

It was a strange catchphrase, like something from an experimental spoken word night. After all, we were ten young men on the outskirts of an industrial estate, laughing at a number.

It did not take long for the original story to become lost in time. Staff turnover in the warehouse was high and the original gang who knew the providence of the catchphrase soon disappeared. The new kids on the team learned to say “thirty-one!” when they saw Steve, without knowing why. “Thirty-one!” in the corridor; “Thirty-one!” in the staff room; “Thirty-one!” when we were all stuck in traffic on the way home.

I remember thinking in the summer of thirty-one that I’d probably forget the significance of that number when I left that job, but that I’d maybe remember it with surprise in the impossibly distant future upon my thirty-first birthday. Amazingly, I did.

Happy Birthday to me! Thirty-one.

Old enemy of mine

Never learned to swim?!” they all gasp, groping around for something on which to steady themselves.

Honestly, they act as if I’d never tasted milk.

I never learned to swim, okay? Like those who live with the outsider burden of having never seen Gremlins or King Ralph, swimming, for me, simply never came up.

I don’t know why it’s so remarkable. There are many other things I can do which are seldom celebrated. Sleeping, eating, swearing. The list is endless.

Alas swimming–along with figure-skating, ventriloquism and javelin–is a life skill it never occurred to me to master.

And I stand by those sarcastic comparisons. Imagine you woke up one morning and everyone had gone javelin crazy and couldn’t believe you weren’t in on it. It’s all well and good, you might think, but what’s it got to do with me? In Cricklewood. That’s how swimming looks to me.

I grew up in Dudley, which, in Britain, is about as far as you can get from the sea. It’s the windowless office of the nation. I’d cite this as the reason for my never having learned, but everyone in Dudley was mad about swimming. Family legend has it that my six-year-old grandfather learned to swim in a local carp pond, so excited was he to master the backstroke. My father, if he is to be believed, learned in a bucket of turps.

But even now I find myself wondering why any youngster from Dudley, a place which hasn’t seen ocean since the Cretaceous, would get the idea that they must learn to swim. How could it serve one’s Dudley life? I suppose it might be a handy way to get to work in the morning: front-crawling up the canal to Birmingham.

While the other children were learning to swim in those chlorine-perfumed, wedge-shaped bacteria troughs they call public baths, I must was in my mum’s living room eating jam sandwiches and watching horror films taped off BBC2: something I do not regret. You should hear my Vincent Price impression. “They swim… the mark of Satan is upon them.” et cetera.

Swimming has nothing to do with me. But maybe I should make it to do with me, you may object. That’s what everyone else does. They live in cities, miles away from the sea or a Great Lake or even a decent pond, but they still find ways to submerge themselves, as if they have some primal need to reconnect with their jellyfish ancestry.

In one part of the city, we go to pains to pour cement into any hint of concavity lest a puddle form there. In another, we dig a pit and fill it with water for people to wallow in. It seems there’s quite the industry in digging holes and filling them up. It’s about time someone looked into that.*

(*On a similar note, have you ever noticed how bottled water in Birmingham comes from the Scottish Highlands, but the bottled water in Edinburgh comes from Shropshire? It can only be down to a lust for the exotic, and now there’s a whole industry in water-swapping. Further evidence that water makes people crazy and is best avoided.)

Safety was always the reason cited when I was a child to get to a pool and learn to swim. There was a fear among adults that children would wander off only to be found face-down in a waterlogged quarry. Why did they think we’d be drawn to such places? If I wandered off anywhere, you’d find me at the pictures. There’s hardly any drowning opportunities there. Unless perhaps you’d gone to see Jaws.

“You can drown in a glass of water,” was always the stern claim when they told you about water safety. To which I respond, “That may be. And how will backstroke help?”

Health. That’s the new reason. Swim! Swim! Swim for health! In the city. Yet there are many other ways to keep fit that don’t necessarily require speedos. Waving for taxi cabs, for example, or running from hoodlums.

Health? Safety? Nostalgia for trilobites? I remain unconvinced. Water thinks it’s such a big shot with its two hydrogens for every oxygen.

Bah, I say. It is nothing to me. You know what I do to water? I drink it. Take that, water. See how I consume you, old enemy of mine? You are nothing. You’re a jellyfish less the 2% solidity.

A Punch in the Face

The Great Outdoors is not my element. I’m more at home with The Slight Indoors: a telephone box, for example, or a lift.

It was somewhat out of character, then, when I went off (voluntarily!) to explore one of Canada’s national parks earlier this year. I even went so far as to take off my oxfords so that I could paddle in glacier water.

I suppose I wanted to prove it to myself. That I could brave untarnished air with the best of them.

None of this would have been possible, of course, without hours of advance preparation in the library. After digesting Dewey 796.5 in its entirety, I felt ready for the world unpaved.

On the trail, I patronizingly impart some new-found wisdom to my girlfriend. The best way to do this is to affect nonchalance and to pretend that you knew everything all along.

“If a bear should cross our path,” I say, “the most important thing is not to run”.

“I see.”

“What you must do, dear heart, is stride confidently up to the bear as if you own the place. Maintain eye contact and then, while he’s still getting his shit together, you abruptly adopt Fig. 49.”

“What?”

“Fig. 49 from Creg Dennehy’s Over-Easy Guide to Outdoor Survivesmanship. Fig. 49: A Punch In the Face.”

There was a time in our relationship when the revelation of such pearls would result in a raised eyebrow or two, but she must have overworked those muscles over the years, for her expression betrayed little but constant adoration.

“I think that’s for sharks,” she said.

“No, silly. Sharks live in the sea. There aren’t any sharks around for miles.”

The nearest shark, as a point of fact, was preserved in formaldehyde some fifteen-hundred miles away in a San Francisco art gallery.

An hour later, we chance across the cloven footprints of a moose. There is a strong scent of musk in the air. My smitten partner probably assumed the smell belonged to me. But no.

“Do you smell that?” I ask, “it’s probably the moose but there’s an outside chance it could be a bear.”

“Shall we track him down and adopt Fig. 49?”

“No, dear, I think we should leap ahead to Fig. 52 and move very quickly in the opposite direction.”

Back in the cabin, we reviewed our nationalparksmanship over a restorative lunch of cucumber sandwiches and a cheeky gee-and-tee.

We agreed it was more exciting to think about the bear I could have punched than to dwell on the moment I got the whiff of a moose and ran away.

The Thunderbolt Kid

Why must I be such a snake when it comes to getting what I want? Why can’t I ever just ask for something?

I went to a meeting this morning at the house of a wealthy client. Her opulent home was in some disarray — partly because of the major construction work being done on the house, but also because some real go-getters had come for the meeting and were all competing for the comfiest seat.

Coming in through the front door (traditional, like) I’d spotted a mountain of books packed haphazardly into cardboard boxes and stacked up in the hall.

It was clear that the books were to be disposed of. On the top of the pile was a glistening, potentially-unread hardback copy of The Thunderbolt Kid by Bill Bryson.

A rather grubby voice from somewhere in my avaricious, bibliophilic depths said, “I’m having that”.

But how could I ask for it? I was here on business. It felt rather shabby to say, “Are you finished with that?”

Incapacitated by the idea of simply asking for the book, I fell back on my time-honored slippery ways. I began to spin a web of complex psychology, with which I could manipulate everyone as if they were painted marionettes and I their nimble-fingered puppet master. By the time I was through with them, they’d be sending me every copy of The Thunderbolt Kid they could find in the province. It’s just a little skill I have, which means I’ve never done an honest day’s work in my life.

“I notice you’ve boxed up a lot of books,” I said, trite as a Thanksgiving turkey, “I suppose you want them out of the way while you’re having all the work done.”

“No,” she said, “I’m slinging them. Such garbage! I aught to give them to charity but I don’t know where to send them.”

I winced that she’d describe what would soon be my books as garbage but managed to keep my cool.

“Hmm,” I said thoughtfully as if the idea was only now forming in my innocent mind, “The library by my house accepts donations. I’d take care of this for you if only I could transport them. I don’t drive though.”

There was a pause as I waited for the synapses to fire. Somewhere up in the galaxy, a star burned out.

“Why, I could drive you!”

“Oh! What luck!”

It was beautiful. What a neat little heist I had arranged. Not only would I win The Thunderbolt Kid and every other treasure inside those boxes, I’d be getting a ride home in a Mercedes-Benz.

Later, as the meeting drew to a conclusion, I saw to my horror — my abject and undying horror — that one of the go-getters had spotted my books and was lustily fondling The Thunderbolt Kid.

“I love Bill Bryson!” he said. “Could I have this?”

“Of course you can dear!” said the client sunnily. “It’s one less for Robert to take”.

I’ve never mentally murdered anyone so brutally.

This was how I came to have five dusty boxes of art catalogues and National Geographics cluttering up my living room.

Does anyone know when they come to collect the bins?

Maximum Vicarage

More tea vicar? This is a catchphrase we have in our office at WringCorp. More tea vicar? More tea vicar? More tea vicar?

It’s a friendly way of saying “I’m bored. Let’s liven things up by watching the kettle slowly progress towards bubbly climax”.

It occurs to me today that I don’t know what a vicar actually is. I know they’re some kind of holy folk, but what kind? Catholics have Priests and I think Baptists might have Ministers. Are these all clergymen? Or is a clergyman a person who rods the drains?

It’s shameful that I’m so ignorant in these matters because I used to know a vicar. I could have asked him all about it. His name was Mark the Vicar.

Our primary school sat at the bottom of a steep hill. At the top, there was a toyshop with a clumsy shopkeeper, so we were never short of marbles.

Something else that rolled down the hill every so often was Mark the Vicar.

Mark the Vicar was a well-meaning fellow who took it upon himself to cycle from John o’ Groats to Land’s End once a year, stopping along the way to address the children of any school who’d have him.

Like a moth to a flame, Mark the Vicar came to see us.

Whenever his name came up in assembly, I’d shout “What with?!”

The other children loved this joke without understanding it. I knew they didn’t understand it because when our headmaster introduced an entirely different speaker one day called Madame Claudette, some of the other children shouted “What with?!”

Poor Claudette. She got such a Madamming.

Mark the Vicar’s schtick was to tell us about his adventures in between stints of pedaling in a Cornwallerly direction. He’d then find a tenuous way of connecting those events to something he believed had happened to a certain Mister Jesus.

“I had quite an adventure in Hadfield last week,” said Mark the Vicar, “when I ate some food in a Chinese Restaurant.”

Say what you like about Mark the Vicar, he was never one to use the word “adventure” correctly.

He then segued with the grace of a mangled hunchback into the most bizarre and quasi-religious story I’ve ever heard.

“A man died,” said Mark the Vicar, winning our attention immediately, “and his soul was welcomed into a large reception area by Jesus.”

By this age, I was fairly familiar with New Testament ideas about the afterlife and never up until this point had a reception area been mentioned. I wondered if it had a decorative fish tank or some old National Geographics lying around for while you were waiting.

“‘Take my hand,’ said Jesus to the man, ‘and I will show you your place in Heaven but also what you’ve avoided in Hell.'”

A gifted storyteller was Mark the Vicar. He did the voices and everything.

In a bizarre narrative twist, Jesus reveals that the people of Heaven and Hell alike use chopsticks, just like Mark the Vicar had done for the first time recently. Except, Johnny Deadfellow uses giant chopsticks.

Stop me if you’ve heard this one.

To theatricalise his incredible claim, Mark the Vicar, had brought along (on his bike? From John o’ Groats?) several pairs of six-foot-long chopsticks, with which he encouraged some volunteers to eat some crisps.

Salt & Vinegar Monster Munch, of course, is one of few staples common to Chinese, Celestial and Infernal traditional cuisines.

I wish I could report that the feat was impossible — for Mark the Vicar’s entire parable hinged on it — but one clever girl succeeded in eating the crisps by raising them six feet in the air and sliding them down the chopsticks, fireman-style, into her awaiting maw.

Redfacedly overlooking the girl’s ingenuity, Mark the Vicar revealed the “correct” technique. The volunteers must feed each other with the giant chopsticks. And so we learned a valuable lesson in cooperation.

Readers, please do not confuse the help-each-other-with-the-giant-chopsticks technique with with the putting-on-of-oxygen-masks procedure in a tanking airplane, or indeed any other situation which might actually happen.

“The people of Heaven are able to fill their bellies while the people of Hell are eternally hungry,” explained Mark the Vicar, “Because in Heaven, they have learned…”

He paused, composing himself for maximum vicarage.

“…cooperation.”

In the twenty years I’ve lived since this assembly from Mark the Vicar, I don’t think I’ve encountered such an impressive torrent of drivel.

More tea vicar? Yes, and perhaps a nice happy dose of Mister Benzodiazpam too.

Like a Wriggly Tic Tac

North Americans are awfully squeamish about maggots.

Barely a day goes by without some terrible slur against the noble corpse-dwelling pupae.

The North American vernacular is crammed with expressions derisory to the maggot. “The man’s a maggot!” they say. And, “I can’t eat that, there’s a maggot in it”.

I heard today that an otherwise tame horror movie can be honked up to an R-rating if a zombie happens to have a maggoty eye.

Keep the horror movies accessible to teenagers, I say, and whack a parental advisory on the poster, “warning: may contain thousands of maggots”.

You know, like certain supermarkets do with their microwavable pies.

What does this continent have against maggots? I cannot fathom it. They’re just baby flies. Goo-Goo, Ga-Ga, Wriggle-Writhe, Buzz Buzz. Adorable.

Yet you’d be a social pariah in North America if you were to make a special cradle for a maggot, dress it up in swaddling clothes and invite your friends to hold it.

Next you’ll be denying young millipedes of their rusks.

North America, I would like to take this opportunity to tell you a heart-warming story about the little maggot who grew legs. Proverbially.

In a science class at high school (and our school was very high — they built it in a tree), we were asked to race maggots against each other.

The point was to discover the experimental variable capable of building the champion maggot.

Would a maggot, for example, be empowered or crippled by exposure to light? Would it thrive or choke when soaked briefly in water? Would it chomp at the bit when shown titillating photography of celebrity maggots inadvertently exposing themselves while getting out of cars?

I was a step ahead in this guessing game because I’d witnessed fishermen along the local canal who’d used maggots as bait. Some of these stinking but wise oldsters would put the bait briefly under their tongue, thus warming the maggot and making it wriggle more appealingly when skewered on the hook.

Tongue heat! Tongue heat was the winning variable!

As any committed scientist would do, I copied the wacky angler.

Yes, I unflinchingly popped that maggot in my mouth, allowed it to squirm between the gaps in my teeth for a while (it felt to my tongue like a wriggly tic tac) and — upon the crack of the starter’s pistol — gobbed it from pursed lips onto the starting line and watched it gallop along the track to victory.

There were no photo finishes in this maggot race, I can tell you, North America. The other maggots — moistened maggots, lacquered maggots, maggots on the paleo diet, maggots who’d been trained in the Alexander Technique — were all left to eat my maggot’s dust.

What’s wrong with sucking on maggots, North America? If sucking on maggots is wrong, then I don’t want to be British.

Next you’ll be telling me you don’t like earwig caviar.

Trainee Millionaire

Originally published in New Escapologist Issue 9. Artwork by Kelly Tindall.

rsz_article_01

Between the ages of seven and ten, I loved to collect things. I collected postage stamps and cigarette cards like many children do, but some of my tastes verged on the absurd. I had, for example, a thing for ceramic owls and must have collected at least fifty different ones.

I collected jokey car decals. I’d fix them to the window, my bedroom becoming a shade gloomier with every trip to Kwik Fit. A particular decal pictured neat stacks of pound coins and the words, “Trainee Millionaire”.

From the psychic signals picked up from adults, I knew that money was important. The way my dad would try to preserve it and the way my mum tried to get rid of it as quickly as possible. Money never struck me as an end in itself but it was clearly a key to living well. You needed money to buy food and bicycles and cabinets for your ceramic owls.

Perhaps it was the signals from adult society or perhaps it was my existing tendency towards eccentric levels of accumulation, but the concept of a trainee millionaire was appealing to me. I understood that the decal should belong to a driver who was cynical about his financial prospects, but it was also totemic to this young man in his owl-crammed bedroom. I liked the idea of striving toward a million pounds.

If it were easy to extract a pound coin from someone (simply by asking “may I have a pound?”) then all you’d have to do to become a millionaire is to repeat the action one million times. The solution was purely mechanical. To become a millionaire, you must first become a kinetic sculpture capable of performing the same rotation one million times.

So I set out to become a child millionaire.

“Do you think we’ve ever had a million pounds?” I asked my mother one morning as she was cutting the battlements into my toast, a carbohydrate I’d apparently only eat if it were trimmed into the shape of castles.

“No,” she said, “I do not think we have.”

“Even if you count every penny that our family has ever seen? Even if we include all of our school lunch money and spare change inside the sofa and all those ten-pees we wasted in the machines on Blackpool pier?”

“No,” she said, “A million pounds is a lot of money.”

“Have you ever met anyone who had a million pounds?”

“Oh yes,” she said, “Barney was a millionaire”.

Barney was my mother’s boyfriend from before she met and married my dad and gave birth to an eccentric son and a cootie-infested daughter.

“How did he become a millionaire?”

“His father had a factory, which was worth a lot of money and he left it to Barney when he died. Barney runs the factory now and it continues to make him rich.”

This didn’t sound good to me. My dad was a part-time tour guide at the Black Country Living Museum. If he died, would I have to show tourists around the Newcomen steam engine every Wednesday, Saturday and Sunday? This didn’t sound like a fast way to millions. I’d never be able to fill a skyscraper with coins and swim around in it like Scrooge McDuck.

“Barney was also very frugal,” said mum.

This was true. Dad once told me that Barney had extracted a two-pence piece from a nightclub urinal. He willingly soiled his fingertips with the wee of drunk men so that he could add two pennies to his piggy bank, which must have been the size of Westminster Abbey. I loved this story partly because it was grotesque but also because it confirmed my idea that riches could be achieved through repetitive accumulation.

It was around this time that I saw the movie version of Richie Rich in which Macaulay Culkin plays the top-hat-wearing boy libertarian. In the movie, Richie had his own branch of McDonald’s in his garden. He was its only customer. This struck me as profoundly alienating and wasteful. It seemed that my brand of speculation had been established. I learned that I was more like Barney than Richie Rich. I was a pint-sized Puritan.

“Can I have a pound?” I asked my dad, who was in the mid-stages of building a scale model of the Clifton Suspension Bridge, the original of which had been designed and constructed by his boyfriend Isambard Kingdom Brunel.

“What for?” he asked.

I told him my plan. He sighed and told me it was time for a chat about how money worked.

Kablingy had, in his opinion, to be worked for. Just like Isambard Kingdom Brunel might work hard to build a bridge or a tunnel or even an aqueduct. An aqueduct was a bridge that carried water, and they didn’t just fall out of the clear blue sky without hard work.

I wasn’t entirely averse to work, I told him. The problem, however, was that I was eight and had no marketable skill that was worth even one pound let alone a million. I also had an addiction to acquiring decals and first-day covers and ceramic owls, which potentially left me in the hole. My first pound would almost certainly be squandered in celebratory owl acquisition.

“Hmm,” he said, “I see the problem. You know, Isambard Kingdom Brunel began by working for his father. Why don’t you work for me and I’ll pay you. I’ll pay you a pound today if you sweep the driveway.”

Elated, I ran downstairs, took a sweeping brush from the garden shed and started work.

It didn’t take long for my sister to appear to ask just what the sweet shit I was doing.

“I’m flying a helicopter!” I said with glee. This was the standard answer in our family when confronted with the question “what are you doing?”.

“No you’re not,” said Katy, “You’re sweeping the driveway and I want to know why.”

“It’s so I can save up for helicopter lessons,” I said, prancing elegantly in the minefield twixt sarcasm and fact.

“NO IT ISN’T,” she screamed in caps-lock. “TELL ME WHY YOU’RE DOING IT OR I’LL GET THE CHICKEN POO.”

The chicken poo was a hard black rubber ball that lived with the other toys in the garden shed.

It was different to the other balls — cricket balls, footballs — and as such garnered our scorn. I think it was probably an industrial thing salvaged by my dad from the inside of a water tank or an x-ray machine. It didn’t bounce very well and you couldn’t do much with it. It, a ball, was our enemy. Katy and I were also enemies but I now realise that only she had worked out that one’s enemy’s enemy can be one’s friend. Damn.

“Oh all right,” I said crumpling in the face of the chicken poo threat, “Dad’s paying me a pound to sweep the drive.”

“A pound!”

“Yes.”

“Do you think he’d pay me a pound if I also swept the drive?”

“Probably,” I shrugged, and before long she too had retrieved a broom from the shed and started sweeping.

Job done, we reported for our wages. “You got your little sister to help?” said Dad, “That is very enterprising”.

He pressed fifty pence into each of our outstretched palms.

“What’s this?” I raged. It was half of what I’d been promised and I was furious. He explained that I’d have to pay my employees. I protested. I was angry. I didn’t want to learn lessons. I wanted the first pound in my trainee millionaire project.

In protest, I gave my sister my share of the day’s wages. “Katy might as well have a whole pound,” I said, “Fifty pence is worth flip all to either of us.”

I stomped out.

This didn’t end the trainee millionaire project. There were several more frustrating incidents in which I was taught a lesson about money. One day, for example, I read in an encyclopaedia that the average human being lives for just 25,000 days. You’d have to convince forty people to part with a pound each day if you were to win your millionth pound upon your deathbed.

I wasn’t sure I had that kind of patience.

If you wanted to be a millionaire at fifty, you’d have to convince fifty-five people a day to give you a pound. If you wanted to retire at twenty-five, you’d need to convince 110 people. You’d also have expenses. You’d have to double that number of people if you wanted to eat. And then my dad told me about the 40% tax bracket for high earners, so I’d have to almost double that figure yet again. We’re up to 183 conversations a day now. You’d be better off showing people around a Newcomen steam engine at the Black Country Living Museum three days a week.

As with so many piano lessons, I went off the idea in the end.

💷

If you enjoyed this story, (a) shame on you, and (b) please consider buying my books A Loose Egg and Stern Plastic Owl for other get rich quick schemes.

Published
Categorised as Features

They have John Houblon on them

From the secret archives of Robert Wringham, this is a Glasgow-based diary entry about a frustrating day in 2009. Until today, it remained unpublished on grounds being too rubbish. But thanks to declining standards at this website and in life generally, it’s probably safe to air it now.

Cutting through the university quad, some animal rights protesters take me for a university employee (I’d be the Dean of Lint Studies) and one of them shouts at me through a megaphone:

“THIS UNIVERSITY IS RESPONSIBLE FOR ANIMAL CRUELTY!” he bawls across the quad.

“I DON’T EAT MEAT OR DRINK MILK!” I shout back through my cupped hands. “I’VE NEVER DRESSED UP A CAT FOR FUN AND I’VE NEVER BEEN ENTERTAINED BY A CHIMPANZEE SMOKING A PIPE,” I lied. “I’M ON YOUR SIDE!”

“WHAT ABOUT HONEY?!” he comes back.

“I EAT HONEY IN LARGE AND VISCOUS PROPORTIONS! I THINK WE SHOULD STIMULATE DEMAND FOR BEEKEEPING. GIVEN THAT WILD BEES ARE ALL BUT EXTINCT WE NEED APIARY BEES IN ORDER TO POLLINATE THE EARTH! I’M A VERY CONSCIENTIOUS CONSUMER!”

That got him.

“UM. OKAY THEN. CARRY ON.”

This is not the first time today I’ve been shouted at for things that are nothing to do with me. I can only assume that Messenger Shooting has been added to the list of unlikely sports at the forthcoming commonwealth games.

This morning, I am pilloried by a dental receptionist for trying to pay for treatment with a fifty.

It’s not my fault the bank produces unpopular currency. What’s wrong with fifties? They’re great. They have John Houblon on them, his serious face forbidding you to spend the note on anything too frivolous: a responsible gesture on behalf of the bank, especially in these harsh economic times.

I couldn’t imagine why the dental receptionist would have a problem with Houblon.

“I disapprove of his 1695 fiscal reform,” I imagine her saying, “Also, his wig lacks schnooze. See you in six weeks for a scale and polish”.

Later, a pharmacist lambasts me for my dentist’s handwriting on the prescription. He can’t make out whether I should be given a week’s worth of antibiotics or just five day’s worth. I suggest he level it out at six and he shouts at me. The dentist and I should take prescription drugs more seriously.

“Sorry,” I squeak.

On the way home, exhausted from so many arguments, I see a sign strapped to a lamp post which reads: “It’s your dog mess. Clean it up!”

I want to protest but cannot. The lamp post, being an inanimate object and all, would be unable to comprehend my predicament and I’m just a middle man in all of this anyway and didn’t really want to get involved. I doubted that the lamp post would have had any say in what went on the sign either, but was forced to wear it like a gaudy and lambasting medallion.

In that lamp post I had found an equal: someone else caught up in the argument of two sides and ambivalent about the causes of either. Neither of us owned dogs and neither of us had any strong feelings on poo disposal. Of course, he was accustomed to dogs peeing around his feet so he had a more informed stance than I.

This lamp post was the most rational individual I had met all day. We’re meeting for coffee next week.

You can’t get an app for that!

Fans of “But I need It!” will want to hear about the latest catchphrase to evolve in our house.

It is mainly used in moments that witness human ingenuity.

For example, instead of eating pistachios from the bag like some kind of hooligan, I’ve taken to eating them from a cup-and-saucer. I fill the saucer with the salty nuts and, as I eat them, flippantly discard the shells into the waiting cup.

This little system prevents me from eating too many pistachios and helps to perpetuate my reputation as an eccentric Englishman.

It’s also good if you enjoy slightly salty tea.

Amazed at my improvisational genius at inventing this neat little technique, I smugly announced: “You can’t get an app for that!”

It was met with much amusement. In my house, if nowhere else, I am the king of comedy.

Of course, the joke works even better when you use it for something for which there’s obviously an app. Scheduling, say, or goal motivation.

I like the new catchphrase. It’s a slight rebellion against iPad dominion and, at the same time, recognises the futility of rebelling against it.

I’m not very fond of iPads or other forms of jabscreen. They remind me of Fisher Price Activity Centres.

Another fine blog entry complete. You can’t get an app for that.

Richard Herring Book

511Off the back of my own amazing book, Go Faster Stripe allowed me to edit Richard Herring’s second volume of funny diary writing.

It’s called The Box Lady and Other Pesticles and is out now.

I’ve been reading Warming Up since it began in 2003, so it was wonderful to revisit the early entries. Amazing how well I remembered some of them and also what I could recall about my own life at the time. I could sometimes remember precisely where I was when reading a given entry. The book is a real-life time machine.

There’s loads of new content too. And if you prefer a plastic pal to real books, you can get a Kindle version.

Whistle and I’ll Come to You, Belfast

20th December 2012 will see the sensational Wireless Mystery Theatre perform my adaptation of the M. R. James ghost story, Whistle and I’ll Come to You at the Linen Hall Library, Belfast.

It’s part of a WMT evening of festive ghost stories (and mulled wine!) called Ghosts of Christmas Past.

Not familiar with the Wireless Mystery Theatre? Shame on you. Hear some snippets of their amazing work here.

And this is where to go for tickets.

I’m quietly proud of the script. Our version of Professor Parkin probably owes something to Johnathan Miller’s 1968 BBC television version, but he’s closer in spirit to the 1904 M. R. James original. I also added a scholarly extra touch concerning the Latin inscription on the whistle. As for our version of the ghost? Well, you’ll have to go along to find out.

Two new W&G podcasts

With a sense of profound embarrassment (and sexual arousal), we draw your attention to two brand new Wringham & Godsil podcasts.

This double whammy belatedly celebrates Halloween and Jesus Ween.

The sound quality is a bit crappier than usual, especially in the first half of Episode 30. Sorry about that. You can hear me very well but Dan sounds a bit quiet, which some might argue is an improvement. Hah!

Limited time? Listen to the first eight minutes and the last twenty minutes of the “deliberately foul” Jesus Ween episode. It’s properly, darkly funny. I got a bit carried away in the safe sex discussion and, listening back now, am genuinely shocked by some of the unsavory things I come up with (all of which are meaningless jokes of course). I also like a later bit about murderous milkmen in which Dan says, charmingly, “You could wipe out a whole community if you liked”. I love his comedy mind.

In Episode 30: Y is for Your Wife’s Vagina, we celebrate Dan’s recent wedding and the near-death experience at the reception; ruminate about Max Schreck’s smelly wee; make a long-awaited return to our Urinal Fly efficiency debate; consider the mechanics of The Rapture (as presented by Kilroy); debunk all garlic-based superstitions; and lament Dr. Beeching’s failure to close Highley railway station. This podcast also features gourmet tramps; indoor tramps; tramp restaurants; and spruced-up pissers.

In Episode 31: J is for Jesus Ween, things take a darker turn when Rob frightens Dan with his ideas for a death-based advent calendar; we educate the public about safe sex (at last!); market Dan’s new “splat mat” and Rob’s new “Jizzel”; wrongly predict that next week will see the first ever resuscitation of a cryogenically-frozen head; discuss living hams, psycho milkies, poisoned yakults, sliced bear faces, chapatti masks, murdered Josephs, nonchalant corpses; and family-sized telepathic bacteria dinners.

Happy Jesus Ween, everyone!

You Are Nothing: Extra Features

In 2012, I wrote a book called You Are Nothing about a comedy phenomenon of the mid-nineties called Cluub Zarathustra. Stewart Lee described my book variously as “Excellent,” “Interesting,” and “Important” and he sells it as part of his official tour merch.

It was published by the mighty Go Faster Stripe, who still make the book available to discerning people such as yourself.

This post collects some comments and cuttings about the book and about Cluub Zarathustra itself.

The Title

  1. For a while, the book didn’t have a title. It was known by its project code GFS42, about which Chris Evans rightly said “Sounds special doesn’t it?”

  2. I thought the confrontational title eventually arrived at would be brilliant, but I’m already tired of explaining it (and by extention, myself) to my girlfriend’s foreign family and people I sit next to on planes.

  3. The subtitle was originally “Or: a tonne of worms in an acre”. It’s a reference to Beckett and to The League Against Tedium’s infamous worm execution. In the end, it looked unwieldy, so like The League to a worm, I chopped it.

Shorter things I wrote about Cluub Zarathustra

“The club (or ‘Cluub’) saw some of the most exciting, experimental and downright weird comedy to ever grace the fringe. This is not hyperbole. Traditional stand-up was banned, and over the years it would feature sketches, opera, pyrotechnics, stunts, melting ice, and jelly in the shape of human faces.” — British Comedy Guide

“There’s a certain flavour of British comedy – perhaps epitomised by Munnery and Lee – that has never successfully exported to North America. Goodness knows we’ve tried. We’ve sent it to your comedy festivals. We’ve tried to get it on your telly. We’ve even had small victories by smuggling our writers into films like Borat and shows like Veep. But for all our efforts, the kind of comedy I’m talking about has never been taken to the American bosom, preferring to embrace, as you do, mechanical bulls and Toddlers in Tiaras instead. That’s what you like.” — Splitsider

Reviews and Praise

“Superb book” — Telegraph.

“Cluub Zarathustra was funny, fuddled, bonkers, lovingly curated. Thanks to Robert Wringham it has a likewise history.” — Ben Moor

“For many, Cluub Zarathrusta holds a unique, legendary status in the history of cult comedy. But then they probably never actually had to watch it.” — Steve Bennett on Chortle

“Normally, a book’s epigraph either gives us a sense of the diverse elements to its story or hints at something brilliant inside. With ‘Thee fyrst and onlie hystorie of Cluub Zarathustra’, Robert Wringham has opted to make the comedy outfit sound absolutely rubbish.” — The List

“Wringham unpacks the ideologies and inspirations for the cabaret/alt-alt comedy style of the Cluub with ease and a scholarly touch.” — Goodreads

You Are Nothing was an excellent read! Now annoyed that I was born in the wrong time and place. Anyone got a time machine?” — @Aino_K

“Our enduring ignorance concerning Cluub Zarathustra is sporadically alleviated by Wringham’s tentative delineation of the hauntology through which the Cluub excelled aesthetically. Accessed voices – both deliberately and accidentally accessed – abounded in the Cluub’s performances.” — HairyAppleFeed

The book was also mentioned favourably by Simon Munnery and Stewart Lee on Richard Herring’s Edinburgh Fringe and Leicester Square Theatre Podcasts.

And in Stewart Lee’s own newsletter.

“I’m only now realising that that book on Cluub Zarathustra is by the same person who does the New Escapologist magazine. Pleasing.” —@Lyeekha

Reposte

A reviewer for The List felt that a better book could have been written by someone who had seen actually the show. Well, maybe. Perhaps we should have given them another twenty years to step up.

My never having seen the show was part of the narrative thread of the book: an unreliable history pieced together by an enthusiastic outsider with only the blurry half-memories of the insiders for reference. We hinted at this on the back of the book.

Reposte II

Interviewed in The List in 2019, comedian Amelia Bayler mentions the book:

“my friend Gabriel Featherstone, who I perform with regularly at alt comedy nights Chunks and Project X, loaned me this book about a 90s experimental comedy night called Cluub Zarathustra. It’s called You Are Nothing by Robert Wringham. My fave bit is where he describes Stewart Lee mispronouncing Doritos as ‘Dorritoss’. Definitely worth a read!”

Legacy

“Cluub Zarathustra was shambolic, under-rehearsed, willfully obtuse, self-indulgent, amateurish and often in questionable taste” — New paragraphs from Paul Hamilton and The League Against Tedium in Kevin Eldon’s 2014 book.

“Cluub Zarathustra was a fringe comedy cabaret act and troupe active between 1994 and 1997.” — Cluub Zarathustra on Wikipedia.

Fun Facts

  1. To get the book started, I interviewed Simon Munnery in a Glasgow cafe called Cafe Rio. Sitting nearby were comedian Ian Macpherson and novelist Alan Bissett. Glasgow is a showbiz city.

  2. In Cafe Rio, Simon Munnery ordered soup and tea. Write that down, comedy fans. Soup and tea.

  3. Thanks to the rip-roaring success of this book, I got a gig proof-reading Richard Herring’s second volume of old blog entries, which was my evil capitalist plan all along. It’s about the long game, my friends.

Older Links about Cluub Zarathustra

“Let’s get one thing very clear: the only way that you can have ever seen anything like Cluub Zarathustra before is if you’ve seen Cluub Zarathustra before. This is one of the most obsessive, original and vicious shows at the Fringe. End of statement.” — A good fanzine review of the 1997 CZ Edinburgh show.

“I’ve always liked Simon as a person but it wasn’t until I saw Cluub Zarathustra at the Edinburgh Fringe in 1994 that I really started to appreciate his act. I thought the subsequent 2001 TV series Attention Scum! slightly watered-down the amazingly admirable nastiness of Cluub Zarathustra.” — John Fleming remembers Simon Munnery’s early work and the original CZ run.

“You also had an anti-heckling device” – An excerpt from Simon Munnery’s second appearance on Richard Herring’s Edinburgh Fringe Podcast, in which the two briefly mention my book and talk about Cluub Zarathustra’s ‘self-knowledge impregnator’.

Pilot – Watch the whole TV pilot on YouTube. For the full story of the pilot (and indeed the rest of it), read the book.

Cluub Zarathustra: British Comedy’s Weirdest Secret

Originally published at Splitsider

“I had no idea who he was,” says Marc Maron on WTF. “I had to do a cram course on him… I felt like an idiot because I don’t know much about British comedy.” He was referring to Stewart Lee: one of Britain’s most interesting and integral stand-ups, perhaps best known for his against-the-grain demeanour and deadpan delivery. In a later episode, Maron also meets Lee’s contemporary, Simon Munnery, described on the podcast, not unfairly, as “different”. For the duration of both interviews, Maron seems simultaneously baffled and delighted, like a baby coming to terms with a heron.

There’s a certain flavour of British comedy – perhaps epitomised by Munnery and Lee – that has never successfully exported to North America. Goodness knows we’ve tried. We’ve sent it to your comedy festivals. We’ve tried to get it on your telly. We’ve even had small victories by smuggling our writers into films like Borat and shows like Veep. But for all our efforts, the kind of comedy I’m talking about has never been taken to the American bosom, preferring to embrace, as you do, mechanical bulls and Toddlers in Tiaras instead. That’s what you like.

So what is this weird comedy? Well, we might call it ‘alternative’ if we’re being generous, but ‘alternative alternative’ would be more accurate: a secret comedy lineage of names like Richard Herring, Waen Shepherd, Dave Thompson, Tom Binns, and Sally Phillips. But it all started with Cluub Zarathustra.

Cluub Zarathustra was a midnight London cabaret show dedicated to atypical and experimental comedy. It was set up by Simon Munnery and his comedian friend Roger Mann. Stewart Lee joined the team a little later, along with a comic actor called Kevin Eldon. Simon hosted in-character as The League Against Tedium: a pantomimish Nietzschean dictator whose bizarre pronouncements (“A punch in the gob lets a fat man know his status!”) set the tone for the evenings. At the Cluub, straight stand-up was verboten and the performers were encouraged to branch out into avant-garde areas of performance. “We aim to fascinate, not entertain” was their backstage mantra.

Over the years, Cluub Zarathustra saw skits so outlandish that they’d have stumped even Monty Python. It would have been more at home in a pre-war Berlin cabaret bar, but even that doesn’t fully capture the tone. It was as wonky as a homemade spice rack, yet it was daring, experimental and ultra-modern. It saw opera, pyrotechnics, dangerous stunts, melting ice, weird short films, high-tech gadgets, and a selection of gelatin desserts shaped like human faces.

The audience were tormented en-masse by The League Against Tedium and his assorted minions. They were shouted at through bullhorns, insulted, drooled upon, physically carried around, graffitied with lipstick, and forced to wear demeaning hats. “You Are Nothing,” they were told. And, apparently, they loved it.

A genius thing about Cluub Zarathustra was the way they dealt with hecklers. One such method (still talked about by comedians today) was “The Cunt Ray”.

“It was known as the Cunt Ray,” says Simon Munnery, “but it was [actually] called the Self-Knowledge Impregnator. ‘Cunt Ray’ ruins the surprise of the joke.”

If someone heckled, a siren would sound, Munnery would shout “Activate the Self-Knowledge Impregnator!” and a large black box would be carried on stage. The device was equipped with a camera flash bulb behind a cleverly stencilled sheet of gauze. They’d point the device at the heckler and – boom! – it would burn the word “CUNT” onto their retina. “It’s probably illegal nowadays,” says Munnery, “Health and safety.”

Cluub Zarathustra started a chain reaction which lead to the development of much of the best British comedy of recent years, including the controversial Jerry Springer The Opera. Cluub Zarathustra is, quite simply, where it all began.

It’s a terrible injustice that nobody knows about it. Even though some of the biggest players in current British comedy were involved (Johnny Vegas, Harry Hill, and Graham ‘IT Crowd’ Linehan to name but a few), and thousands of people saw their shows in London and at the Edinburgh Fringe Festival between 1994 and 1997, hardly anyone can remember that Cluub Zarathustra ever happened. It never got filmed (aside from an unbroadcast pilot, which didn’t really work) and it was before the days of digital posterity. Thanks to a weird incident involving a PhD researcher being committed to a psychiatric hospital, even the original scripts and photography were lost. The only way you’d ever hear about the Cluub was if you were lucky enough to meet someone who saw the show or someone who was in it. So that’s what I did, thoroughly and systematically. I interviewed everyone I could find with a connection to the show – comedians, audience members, theatre critics, TV producers – and I wrote about it in a book.

So, yeah. If you’re interested in tragically obscure, outrageously experimental, and deeply influential British comedy, why not buy my book? Please buy my book. I need this. Sorry about the Toddlers in Tiaras thing.

You Are Nothing by Robert Wringham is out now. It is published by Go Faster Stripe, a Welsh media production company who specialise in DVDs, CDs, and books by comedians who tend to be overlooked by the mainstream. Robert Wringham is an English comedian, writer, and magazine editor currently living in Montreal.

Fizzy hand grenade

I’m three years older than my girlfriend. Occasionally we’ll alight upon a cultural phenomenon that I can remember but she cannot.

Nerf Blasters. Gina G. The Yorkshire Ripper. Things like that.

“Hey,” I said, “I bet you don’t remember detachable ring-pulls.”

“What are those?” she said, blinking naively in the morning light.

“There was a time,” I said, speaking grandly like wise man up a stick, “when the ring-pull of a drinks can was designed to come off in your hand.”

I may be imagining it now, but I fancy she may have gasped in youthful amazement. Like David Quantick on a Channel 4 clip show, I had put my hand on one golden recollection.

“It came off in your hand?” she said, nymphish eyes pinwheeling in fascination.

“Yes,” I said, nodding sagely, “But they banned them because they caused litter.”

I forget my girlfriend’s response but I expect it was something along the lines of a delighted “Wowee!”

“People would throw those ring-pulls everywhere, you see,” I said, “Even people who didn’t usually litter. As I’m sure you’ve observed, there’s an intoxicating sense of abandon when you open a can of 7Up.”

Ah, we were having fun scooping around in my adventurer’s memory like a couple of plongeurs groping around in a soupy basin of end-of-shift dishwater for an unaccounted-for teaspoon. Or whisk.

“You’d just tear that strip of metal right off the can,” I said with aplomb, “take a scrumptious swig of aspartame, and throw the damned ring-pull over your shoulder and into the face of Satan.”

“Those were the days,” I said, shaking my head nostalgically, tears beginning to well.

“Even as a four-year-old,” I whispered in a conspiratorial aside, “I preferred the detachable ring-pulls to the new ones. The new ones were far less satisfying. They didn’t allow you to pretend your can was a fizzy hand grenade. And when you take a drink from the can with a modern ring-pull, the damn thing can go straight up your conk. If you aren’t careful, a swig of Pepsi will claim an ever-so-fine layer of skin from inside your nostril”.

“That’s dangerous!” she definitely said.

“Right!” I said, laughing at the foolish design which has today become prevalent.

We both laughed at the drinks-can designers for about twenty minutes. Our breakfasts were going cold but that was okay.

“I wasn’t alone in feeling this way,” I said. “For years, people would tear off their so-called fixed ring-pulls, rip them from the lids of their drinks cans like a corybantic dentist excising a blackened incisor.”

Agog she was at my enthusiasm. And at my casual use of the word ‘corybantic’.

“Over the years, people lost their passion. Ring-pulls remained attached to cans and the numbers of discarded ring-pulls you’d see glistening in the gutters of the nation slowly declined. Many a pigeon remains unchoked.”

My girlfriend mulled over the story.

“When I was little,” she said, “My school would have recycling drives. We’d have to save the lids from drinks cans, which would be recycled into wheelchairs.”

“You see,” resting a case I didn’t have, “Everyone has a ring-pull story”.

Pants on fire: eleven crises witnessed by Momus

Originally published in CACTUS

“Every lie creates a parallel world. The world in which it is true”.

So begins the The Book of Scotlands: a novel of speculative vignettes, each chapter introducing a different version of Scotland. Among their number is the Scotland in which money is abolished, the Scotland in which ten or more children per family is compulsory, and the Scotland in which a giant goose roosts upon the country before eventually flying away, leaving a sense of loss in its wake. Some of these worlds are satires of our own, while others are whimsical and Rabelaisian flights of fancy. We are left to imagine the crises faced by these worlds when branching off from our own so spectacularly.

The writer of The Book of Scotlands is Nick Currie, better known as Momus: a monocular Scottish pop musician, performance artist, kulturkritik, futurist, and author. He has lived in Montreal, New York City, Berlin, Paris, Toyko and has recently made Osaka his home.

Momus is nothing if not prolific. To know his work is to know him. At the time of writing, he has twenty-two studio albums to his name, has written three well-received novels and published hundreds of insightful essays both in the mainstream media and on his blog. In addition to news and retrospectives on Momus’ career, the blog (Click Opera, 2004-2010) explored such subjects as our slow and steady adoption of alternative energy resources, the differences between an American- and an Asian-dominated world, and whether his pet rabbit’s personality remained intact after his unavoidable spaying.

A tag cloud for Momus would look something like this: identity, authority, perversion, time travel, fetishism, philosophy, Japan, internationalism, Berlin, Bowie, the avant-garde. He is known for his unorthodox fashion sense: baggy pants, aprons, a wig, Cold War-era eyeglasses and—most immediately striking—a patch over his right eye. His most-frequently cited remark perverts Warhol and anticipates the mass adoption of web-based social media: “in the future, everyone will be famous for fifteen people”.

Momus has been, if not a pioneer, then certainly an early-adopter and hearty embracer of social media and information technology in general. He produced a wave of synth-folk music in the 90s and his live music performances aren’t so much concerts as multimedia events. Online, Momus is seldom dumbstruck: even after the conclusion of Click Opera, he has maintained a regularly-updated Tumblr blog, packed with his own digital photographs and streaming video clips; and his Facebook and Twitter feeds are forever ablaze with ideas. He is certainly a futurist and, through his books, has become a cartographer of parallel universes. He has also unleashed a new performance creation upon the world in the form of the Unreliable Tour Guide. In this guise, Momus drags tourists and art lovers around museums and galleries, telling them satires, half-truths and lies about the venue and exhibits. Above all, Momus considers himself a storytelling enterprise and is a devil for asking ‘what if?’

I chatted with Momus (by high-tech and transpacific means, naturally) and asked him about eleven different flavours of crisis.

Mid-Life Crisis: How are you liking your sixth decade on the Earth? Have you endured/enjoyed a mid-life crisis? If so, how have you used it?

Martin Amis said that after 50 there’s a “thickening out” of life: “There is now an enormous and unsuspected presence within your being”. He didn’t say what that presence is, but I guess he meant death. That’s definitely coming through as a presence in my new songs, but death has always been a presence in my songs. My midlife crises (I’ve had a few) tend to come in the form of affairs with women much younger than me. They generally turn out badly, but the resulting songs are good. That’s the thing about being a songwriter: even when you lose, you win.

Identity Crisis. Did Momus come fully-formed into the world or did you develop your artist identity gradually? What moment do you consider to be Momus’ birthday?

Momus was born in 1985. I needed an identity to use on Mike Alway’s newly-formed él Records. Momus did already have a ready-formed identity, in the sense that he was a minor Greek god of cynicism and mockery who was kicked off Mount Olympus. I’ve kept fairly faithful to the obscurity, astringency and outsiderdom of the original Momus, I think.

Existential Crisis. You have lived in different cities in different countries. Do you change personally with your surroundings or do they help to confirm your identity?

Taking on a new city is like taking on a new romantic partner: you’re attracted because of affinities, but there’s definitely going to be some negotiation and some alteration if you want to get on. It’s a nice feeling to know that you’re going to be changed in ways that you trust, ways that are limited and pre-approved. But you never quite know what the result will be. Who knew that moving to Paris would get me obsessed with America, and with computers? Or that my New York idyll would be cut short by a Saudi Arabian called Osama? Here in Osaka I’m surprised to find myself haunting the slums and dressing like the dossers there. I suppose what these things tell you is that place is only one factor: time is pretty important too, in the form of your own age and in the form of history.

Fashion Crisis: When will people stop wearing jeans? What are you wearing in the alternative reality where aprons and baggy hose are in vogue?

Jeans are clothes that make sense in the context of American 20th century dominance. If the 21st century becomes predominantly Asian, as seems likely, that signifier will get fuzzy. American hard power will linger on a few decades as American soft power (nostalgia, cultural influence) but fizzle by mid-century, I think. So I’d be looking to see different trousers taking over by about 2050. I’ll be 90. As for your parallel universe question, in that parallel universe I’m wearing an apron with a trompe l’oeil pair of jeans printed on it.

Artistic Crisis. What do you feel most contributed to your transition from pop music to literature?

Well, I haven’t transitioned. I’m still making music — I’m making a new album right now — but I now publish books as well. I use the Momus name for both my books and my records because I see it all as part of the same storytelling enterprise. I was always a “singing author” (literal translation of the Italian term cantautore, songwriter).

Energy Crisis. Are you optimistic about our gradual move towards sustainable energy resources? Moreover, do you think the west will ever embrace kuruma banare and, like Japan, become a post-car society?

It’s all there in the word “sustainable”. This is not really a matter of choice. The only variable is whether we embrace sustainable energy through wise foresight or after a series of crises. Right now, here in Japan, we’re in the middle of exactly such a crisis, with Fukushima. Let’s see how it turns out. As for cars, my feeling is that cars will turn into train carriages. Computers are doing more and more in cars; eventually they’ll take over all the driving functions. Increasing car numbers will lead to congestion, but computer control will allow cars to travel bumper-to-bumper, even at high speed. Eventually the cars will link up, and sliding doors and corridors will be installed. This will allow services (snacks, meals, drinks, batteries, massage) to enter cars, which are currently woefully bereft of them. The trainization of cars will come more quickly in societies (like Japan) where citizens trust each other.

Industrial Crisis. What are the current challenges facing the worlds of pop music and print?

I’m totally bored by the technicalities of this question — how copyrights and payments are administered in a rapidly-changing world, blah blah blah. What interests me is the kind of music and writing people make even if they aren’t going to be paid a dime for it. Especially in the incredible world where these people have a device which gives them instant worldwide publication, which is our world right now. Of course, it may be that the answer is that a de-professionalized media is one that produces mostly inconsequential work. In which case we’re back to square one: how to keep professionals in the picture by making sure they get paid. I actually think Apple is quite clever, and that the Apple Store is a good model if we want to keep copyright alive. But I also rather like the cowboy world of Piratebay. I’m happy for both those things to exist.

Global Financial Crisis. As a sort of futurist and a cartographer of alternative worlds, do you think we will come out of this recession differently to how we went into it?

I think way too much is made of really tiny incremental changes. Is there growth in the growth, is there shrinkage in the growth? Who cares. What matters more is stuff like Gini — the rate of overall equality in a society. A lot more attention should be paid to distribution of existing wealth, rather than percentile changes in growth rates. Overall, I think the scenario for nations like the US, UK, Germany and Japan is what I’ve called “aftergold”: how to control shrinkage — and expectations — in such a way that happiness and fulfillment take over from growth and wealth as the dominant values. At a certain basic income level (about $20,000) our basic material needs are taken care of. Income increases beyond that don’t really increase happiness significantly. It’s up to us to decide what’s important to us, and find the optimal point between work and fulfillment. This requires quite a bit of self-knowledge and self-control, though.

Crisis in Japan. Japan sometimes seems defined by terrible events: the bombs, the earthquakes and the 1995 gas attacks. You may even refer to this in your upcoming book, The Book of Japans. What do you anticipate will be the lasting effect of recent events (the natural disasters but also the way they have been dealt with by the authorities) upon the Japanese popular consciousness?

Japan has been having earthquakes and tsunamis for thousands of years: this stuff is already built into the cultural DNA. It’s led to a certain detachment from material things; nobody has a venerable old family house here, they rebuild totally every twenty or thirty years. It’s led to the outlandish scenarios in manga and monster movies. It dovetails with the detachment built into Buddhism. The Japanese are incredibly stoical. I was amazed by videos of the March quake, how calm the Japanese were as it happened, just holding onto valuables and waiting for the shaking to stop. It was the foreigners who fled: they call them “flyjin” — the gaijin who flew.

Crisis in objectivity. What is a crisis for the unreliable tour guide?

Well, being an unreliable tour guide has made me very aware of the power of spin. Even the word “crisis” is spin. I could give you a tour of a crisis and show how it was a totally benign natural evolution, planned for in every detail.

What crises would you most like to see in the world? What needs shaking up?

We need to move from American modes to Asian modes, and from capitalist modes to communist modes. And we need to stop using fossil fuels, and fighting wars because of them.

Published
Categorised as Interviews

Renaissance Man: in conversation with Paul Bourgault

Originally published in Side Street Review

Paul Bourgault is a visual artist in Montreal. He usually works in collage and paints. Among his most recurring themes are those of Catholic and Renaissance iconography, and he often uses vibrant colour and sensuous imagery on his large canvases.

It is a privilege to visit Paul’s studio. Seven months previously, I’d been present at the opening of his exhibition Grande Consecration des Utopies Approximatives at Montreal’s Maison de la culture Frontenac and I’d seen a further collection of his works at the Toronto International Art Fair. On both occasions, his work had struck a chord with me, perhaps because of its imposing presence but perhaps because it reminds me of the closest thing I’ve ever had to a spiritual experience, absorbed in the splendor of Renaissance art in Vatican City. I have a lot of respect for the works of Paul Bourgault and so being in his studio and paying witness to so many works in progress is both an honor and disconcerting. The dozen or so canvases propped up around the room are incomplete but each is unmistakably a Bourgault. Seeing them, I think, is like bearing witness to half-formed stars in the depths of a nebula.

The studio is a small space on the upper floor of a tall building. There’s a city law preventing architecture from exceeding the height of Mount Royal, so the view from Paul’s window is a rare opportunity. The island’s snow-covered east side stretches out before us: the domes and spires of Mile End and Roger Tallibert’s organic-modernist Olympic Stadium on the horizon. A wall of Paul’s studio displays a quote from a motivational speaker called Les Brown: “Shoot for the moon. Even if you miss, you’ll land among the stars”. I suspect this was left behind by the studio’s previous occupant. Paul doesn’t strike me as aggressively ambitious: the act of creation is the important thing to Bourgault.

Paul welcomes me into the studio. After a tour of the canvases closest to completion (and one wholly incomplete, untitled piece that marks his pending transition from mixed media to pure painting), we crack open a couple of beers and our conversation begins.

I understand you were originally trained in film. Was it a challenging transition to go from film to painting?

When I started college in the mid-eighties, the art scene in Montreal—at least the art scene I knew—was not very open to certain types of painting or draftsmanship. It was more conceptual and installation[-driven]. I’m not saying it was the right decision, but it doesn’t take much when you’re young to intimidate you. Maybe I would go into studying art if I were to do it all over again but, you know, that’s impossible. I loved film but I was always more of a draftsman or a painter than a film expert or a film maker, so film was like an escape route. Also, I had very little interest in school, so film was interesting. It was one of those decisions of picking something that you’d like to do instead of making a smart decision with a specific goal.

Film brought me into working in sets. I was a scenic artist; a set painter in film, opera sets, television and television advertising. One thing I learned here was how to be efficient. When I do my own paintings—like any artist—a lot of my emotions and my vision of the world goes into it. When you’re a set painter, you’re almost like a painting machine, so while you have to reflect on the task, you don’t have to reflect on whatever the film maker is trying to convey. You only see pieces of it. You’re told ‘paint this barn’. You’re stuck with how to do it so there’s a lot of problem solving but you’re not asked to make decisions per se. So that was extremely useful. I did that for about ten or fifteen years at least.

So film gave you a kind of work ethic.

Yes! If you go on a film set, we agree that film is a true art form. As is painting, architecture, dance: there’s no doubt about it – that film is a true art form. Of course, there’s a lot of preparation that goes into it, but when the film crew is working, no one stops to look at their belly button. This is costing us ten-thousand dollars a minute, guys, let’s go! So I did learn that. I’m not always as good as I should be or as disciplined, but I do have a strong work ethic. I think that film might have given me the attitude that you can be a creator and be on the ball. Creating doesn’t mean sitting down and waiting for stuff to happen.

To what extent is your work autobiography? Do you bring much from your heritage or your family background or your own emotional landscape?

It’s mostly autobiographical. Mostly in an emotional, spiritual and philosophical way. I’m quite sure that we have old memories stored into us. I don’t know how it works. I’m not a neurosurgeon or an expert but my gut feeling is that we have some sort of very long-term memories stored away somewhere in our brains: cultural memories. Because we’re all mixed, it comes from everywhere. Most of my heritage is French, but the French were conquered by the Norsemen by the Germanic tribes and so on.

And we all go back to Africa ultimately.

Yeah, that’s it. I do believe that. Another thing is being here in Québec where the Catholic religion had quite a strong presence. My mother was probably of the first generation, as an adult, to get rid of it as an overbearing presence. I don’t think that the church in itself is that awful but I think there is a problem when it’s overbearing. There’s a lot of reference to Renaissance painting in my work. I think the main reason is that I simply love those paintings and the work that went into making them, but also there’s a link in there to the Catholic church in Québec. So there’s this dual interest. Some of those [Renaissance] paintings are just so stunning. They still shock me when I go to museums. To complement your question, I think all of my paintings are to a large extent autobiographical. I don’t know that it shows or that it should show, but they’re all based on ideas or doubts or fears or experiences or points of view that are personal. Why is there so much information flying all over my paintings? Our minds are always at work, always stimulating and being stimulated, buzzing. Life never stops, the atoms and the planets turn. Physics and mathematics were one of the few things I liked at school. We don’t think about it because it would be burdensome to do so, but right now there are five billion people thinking, moving, talking, fighting, being born, dying. The cosmos is spinning in every which direction. Everything is in constant motion. I like that idea, that everything is alive, that there’s a force in everything and that it’s always moving.

Something I get from some of your paintings is this idea about excess and abstinence simultaneously. I’m thinking of your exhibition, ‘Carnival at Lent’ specifically.

One thing that Chinese painting has taught me is that the empty space in a painting is just as important as the rest of it. When Chinese painters do their work, they look at the lines [but also] the space between the lines. Life is all about oppositions. In that sense, my work [contains] what I believe about life. You live, you die, there’s space between things and there are oppositions between desires, like carnival and lent. What would be one without the other? If you’re doing carnival three-hundred-and-sixty-five days a year, it would lose its meaning. Getting pissed and dancing all night would become just a normal day. I don’t think it would be interesting or possible to do it six hundred days in a row.

So the whole universe is vibrating with opposites.

Yes, absolutely. And that’s an important part of what motivates my work; the idea of—the way your phrased it—that vibration, the emptiness. The universe is kind of participating in my creation. It applies to everyone but I think some people are more conscious of it or have accepted it.

You are bilingual and spent a long time in Ontario as well as Québec. I don’t know, but I imagine, there might be Francophone and Anglophone cultures of art in Québec. Is that true? And if it is true, do you feel that you exist between them or that you have one foot in both worlds or do you feel like a true third thing?

To a certain extent, every artist is out of it [and] working on his own. As far as the language goes, because it’s a super-touchy question, I’m going to answer like a politician. But real seriously, with globalisation and the Internet, we’re all connected. You can see in real-time, the paintings at an opening in Saigon. I’m not saying there are no differences but there are so many crossover practices now. If there’s a difference between a French scene and an English scene, it might be more in relation to human friendship. If you go to an English school, you have those friends and most of those friends will speak English. I’m not sure that it affects the art. We’re all mixed. It’s not like there’s a big wall between us with the French world here and the English world there. I think it’s more of a social networking difference more than an art difference.

I’m not a big part of any crowd. I mean, I go to openings and I have artist friends but I’m not really into some specific theme. It’s not, like, a scene.

Do you have any thoughts about government funding of the arts? It’s obviously good in that arts have to happen and we shouldn’t be starving as artists, but also, do you feel there’s a problem with being sanctioned?

Out of principle, I think that financing for the arts is a very good thing. We live in a social democracy and taxes should be invested in a general manner. Of course, education and health is Number One, but we all pay taxes and I think its good that artists can get a little pat on the back. Receiving a grant is good for you because it gives you time to work, time to stop worrying for a few months. It gives you a form of recognition, which is great, but making art is like a quest; you should never wait for someone to sanction you as an important motivation. I apply for grants and I think it’s smart to do so, but what wakes me up in the morning and what brings me [to the studio] every day has nothing to do with being sanctioned.

Tell me a little about your ‘Chasse-démons’ painting. It’s a personal favourite.

It’s a talisman. Everyone has demons: personal hurts and broken parts from adapting to society, from childhood, from disappointments we have about life. We all have some open scars. Maybe some people are more sensitive about these, so I had this idea of painting something that could help you chase away these demons. But I also painted it for myself. I figured maybe some day a man or a woman could say ‘yeah, I could use one of those talismans’.

I was reading a lot about the Bohemians recently. About Nineteenth Century Bohemians. They’d often keep a skull around the place, and it was like a talisman against becoming bourgeois. It’s like a constant reminder of death, that one day you’re going to be a skull in the Earth.

That’s very interesting. It’s a Memento-Mori. I collect art a bit. I only have small works, but usually, the work that I buy are Memento-Mori. For me, and this is strictly personal, art has to do important things for you. There’s no reason it can’t be beautiful but if all art were beautiful it would be useless. In my own work, there are often little details of skulls, bones, trash and stuff that looks like dead animals, and there are dead birds. I don’t want anyone to be ‘oh wow, dead birds’ because I like my work to be beautiful, colourful, sensuous, vibrant, but I like that in almost every piece there’s a little Memento-Mori: just a little something to remind you that you’re passing through. You’re just passing through. I think that life is beautiful. To have a little reminder of death is very important but only if you enjoy life. Dancing is great, food is great, sex is great, friendships are great, the sunset is beautiful. I enjoy life, but as you were saying about the Bohemians, to always keep a little something, like a little wink that says ‘don’t forget’.

Well, it’s what encourages you to live vigorously. Knowing that this is it.

Yeah! And it’s like the opposites of the universe, as we were saying earlier on. If we had eternal life and we know it, boy, we’d be fucking bored. We’d only be playing cards or something like that, you know.

Are there other artists whose work you draw from?

Many. And I’ve noticed as the years go by that I’m more and more open-minded. I was not as open-minded when I was a young adult. Of course there are many strong influences, like painters of the Renaissance, Rubens, Rembrandt , the use of colour in Vincent van Gogh’s work has inspired me a lot. Colour has a hell of a lot of importance in my work. For me, colour is like an emotion, it’s like energy, it’s like life. I don’t mean ‘red is this, yellow is that’, but the interaction of colour is a really magical aspect of painting.

But yes, Rembrandt especially. I’m not nostalgic, but I like old painting because it’s kind of out of time. I like to think that my work might also be somewhat out of time. I mean, you can’t truly become out of one’s own time, but I like not to voluntarily push it into it. You know what I mean by that? This might be a bad example, but I use a computer and I find lots of things about it useful so I’m living in my time. But I’ve never had a Twitter account and I never will have Facebook. It’s going too far. I can understand why some people want to use those tools, but for me, I like to keep a safe distance. You can tell that my paintings are being painted ‘now’, but I like to think they are happening out of time a bit as well. The references are hopefully a little timeless.

As a self-taught painter, I learnt what I know about art history and art by reading and going to museums. I go to the library a lot. When you’ve absorbed so much information, you’re in a sense influenced by all of that. You have favourites but it all just becomes part of you over time.

I saw a documentary recently at the [Musée des beaux-arts de Montréal] about Warhol’s protegee, Jean-Michel Basquiat and, in it, he said a lovely thing. He was asked how he is influenced by other people and he said “it’s someone else’s idea going through my new mind”. Going through my new mind. Isn’t that perfect?

Painters have always had affiliation: ideas that are inherited from father to son. If you look at the history of art, I think everything has been done through affiliation because every artist is inspired by and inspires his contemporaries and his friends. The Basquiat thing is very interesting and true because painters nourish other painters. You look at Bosch and Picasso and you mix and match and something weird comes out and you sprinkle something else onto it. I’m inspired by many, many painters so it’s hard to pinpoint now.

[One of your art dealers] told me that you now want to do more painting without using collage?

It’s a shift. Every work leads you to another work, like communicating vessels. Sometimes you make drastic decisions but generally you carry stuff with you. You bring maybe ninety percent of the last work into the new work. I’m trying to paint myself out of collage and I’m finding it a gradual process. A thing about art is that I have to avoid being comfortable. If I’m too comfortable and safe in what I’m doing, it doesn’t stimulate me. You can’t cut all the bridges: you can’t one day say ‘I’ll never paint like this again’ and paint like someone else. You can’t run away from yourself. A singer doesn’t change his voice in five minutes. It is done over years. But collage helped me feel a certain danger, a certain risk, to do things I wasn’t comfortable with. But now it’s turning into a comfort zone. I’m starting, with painting, to get myself out of that zone.

*

We talk for another hour or two about work ethics, stand-up comedy, long-distance walking, Canada, physics and space, while the unfinished pieces around us – the embryonic stars in the nebula – vibrate with potential energy. Paul Bourgault’s channeling of primal, atomic, and universal forces is the very reason for these paintings’ existing ‘out of time’. While human beings may benefit from a Memento Mori, these ideas remain eternally untouched by the currents of time.

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Categorised as Interviews

Cluub Zarathustra

I’m researching a book about Simon Munnery’s Cluub Zarathustra (1993-1997).

If you performed at the Cluub or were in the audience for one of the shows, you’d be doing me a tremendous favour by getting in touch. Your account could sit alongside those of Stewart Lee, Richard Thomas, Simon Munnery, Kevin Eldon and many others.

I’m also eager to see any photographs, brochures, ticket stubs or promotional material relating to the show. A bootleg recording would have Holy Grail status. Cheers!

MAY 2012 UPDATE: The book is finished and available to buy. So do so! Though the book is done, I’m still very interested in receiving any new anecdotes or media relating to the Cluub, so always feel free to email.

Upcoming Performance: ‘The Salon’

On 10th October 2011, I’ll take part in The Salon for Untitled Projects at the Traverse Theatre, Edinburgh. The theme for the evening is ‘The Future’ and will involve my dressing up in Nineteenth-Century garb and performing my piece, The Escapological Eutopia: Five Dodgy Prophecies. There will be other speakers too, and even the audience will be invited to dress up!

Film appearance! The Way of the Dude

There’s not been much posted about the movie online yet, but I recorded a segment last month for Thomas Fazi and Oliver Benjamin’s documentary, The Way of the Dude.

The film is the latest creation in the Dudeism ouvre, a very cheeky religion based upon the ‘teachings’ of the Cohen Brothers’ movie, The Big Lebowski.

I’ll be in good company too. The crew also interviewed Tom Hodgkinson, John Naish, Mark Vernon, Mark Townsend, The Barefoot Doctor and others.