Material Girl. Louise Kean
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know it’s a fucking cliché but I believe it. Of course there is always the danger that somebody is going to become unspeakably aroused, but that doesn’t really affect me … Do you know he inflicted some terrible defeats on his enemies, on the invincible Japanese! And he believed the best way to survive tropical heat was a diet of raw onions.’
‘Have you tried that as well?’
‘Yes, I tried. It gets tropical in Streatham in August. But it gave me terrible flatulence. I was like a human wind machine, and the stench! It is impossible to function when you are terrified to be in small spaces, afraid of what your own body might inflict upon those around you … I couldn’t be in here, right now, with you, if I were still doing it. Of course sometimes it was wonderfully amusing, it depended on the company. In lifts, hilarious! Inevitably it was my mother that made me stop. She’s a wonderful woman but with little tolerance for anything other than her own peculiar rituals. It’s nothing to do with her legs, she’s just that way.’
‘Her legs?’ I ask.
‘They barely work any more,’ he replies, nodding.
I remember reading in the Standard that he lives with his mother in Streatham, and that she is disabled, but I can’t remember how it happened.
‘Why don’t they work?’ I ask, trying my best to seem sincere and not just nosey.
‘She has a tumour, Make-up, that is pressing down on her spinal cord, and is hard for them to reach without risking complete paralysis. She says that she is lucky, of course, that it has only affected the lower half of her body, but that’s bullshit. She’s a religious woman, and I thank God that she is, even though of course I don’t believe in it at all.’
I want to say, ‘But you’ve just thanked God’, but decide that now isn’t the time.
‘So she fell over one day and never got up. Dad’s dead, so that’s that. She’s going nowhere, and she cooks a wonderful lamb curry, and …’ He nods his head quietly, and squeezes his eyes shut.
I don’t know what else to say, so I change the subject. ‘Do you think Dolly might be here soon, Tristan?’
He presses the balls of his palms into the sockets of his eyes. ‘I fucking hope so, love, otherwise we’ll never open!’ he shouts, and whips away his hands to clap loudly, spinning in a full circle and biting his lower lip with his teeth, thrusting his groin back and forth like a 1970s porn star, like some second-rate Russ Meyer gyrating horror.
‘Are you okay then?’ he asks me.
‘Yes, but I think I need biscuits.’
‘Kitchen’s down the hall, didn’t bouncy Gavin show you?’
‘He told me, I’ll find it, it’s fine.’
‘Lovely Gavin, I have to remind myself that he’s not, you know, slow … simple, retarded, him being so big. But he’s sharp as a tack really. Acid-tongued. I like it. It keeps me on my toes.’
‘Okay, well I’m going to go and find those biscuits I think.’
‘Good for you, but just the one, mind! Keep your chin up, Make-up. Stop thinking about your bloke if you can. We aren’t worth it!’ He throws me a huge grin – he doesn’t believe that for a second.
‘I’ll try,’ I say, and edge past him to leave. He trots off in the other direction, singing what sounds like ‘Anything Goes’ segued into ‘Let’s Get It On’.
I edge down a grey hallway, in and out of the patches of dirty light cast by infrequent and dim bulbs, speeding up through the strange shadowy spots that make me nervous with Tristan’s talk of shootings and blood-spattered walls. My heels clicking on the hard cold floor announce me to any potential murderers or psychopaths or evil spirits lurking behind dark doorways: they’ll hear me coming and be fully prepared to leap out and grab me, pull me into the darkness with them, smother my face and paw me to near death. I am convinced that’s what will happen. I make this daily exhibition of myself, in my heels and my skirts and my gloss, and I put myself on show even though I know that it is dangerous. I don’t go unnoticed, and it’s a cracked-up world. Soho is full of loners and losers, producers and pirates, prostitutes and pimps, directors and producers and more producers. Everybody claiming to produce something, so where is it all? I click my way into everybody’s view, and it’s a perilous route to take. Two roads diverged in a wood, and I – I took the one with the biggest audience, and that has made all the difference. My heels tap out ‘look at me, look at me, look at me’, and by the way please note that I won’t be able to run that fast in three and a half inch stilettos. It is as if I have accepted my fate. I’ll be strangled with my own sparkly scarf, a victim of my own need to be appreciated in a world full of crazies.
In a badly lit 1970s kitchen that is dusted in crumbs I hunt through grubby cupboards for some Digestives or Rich Tea.
‘Can I help?’
Someone is lurking in the doorway behind me and I freeze, one arm in the cupboard, precariously reaching out on tiptoes back to the furthest corners, looking for the good biscuits that have been scrupulously hidden.
What if I just don’t turn around?
‘Can I help you?’ he says again, but louder this time, and yet I sense he doesn’t move an inch, he doesn’t come and reach for the biscuits for me. He doesn’t really mean to help. What he means is ‘turn around and let me see you’.
I rest my weight back onto my heels and drop my arms in exhaustion. I recognise his voice. I don’t want to turn around.
‘I was just trying to find some biscuits.’ I address the Cortina-beige wall in front of me.
There is a dramatic pause, so dramatic it would be noted in a script and the audience might be fooled into holding their breath. I hold mine …
‘I know you,’ he says, quietly, evenly, ‘have we worked together before?’
My heart sinks like Leo at the end of Titanic.
‘Only at Gerry’s,’ I say.
And still I don’t turn around.
It was spring. It was the first week after the clocks had changed, when you feel that extra hour of daylight every evening enriches your life. Every year, that first week after the clocks change, the light takes us all by surprise, and I feel enlivened and hopeful for a summer of love and laughter and finally fulfilled dreams. That first week after the clocks change is the most magical week of the year.
I was working a nothing job that day, which paid only average money. A reality-TV star was filming his exercise video. We were in a studio located off a newly sanitised Carnaby Street. It’s all flagship sports stores now, surf brands and trendy trainers. More thought goes into the image on the front of the plastic bags than it does to war or peace or revolution or anarchy or any of those things, that don’t seem relevant any more to girls who like to shop and boys who like to watch football. Apathy and the end of conscription go hand in hand, at least that’s what my grandfather used to say. The only people that care are extremists. Protesting at anything these days seems at best disruptive, at worst showing off. Just shop instead. I don’t even protest at the interest rates on my store cards. Walk through central London on a Saturday waving a placard with a group of gypsies with dogs on bits of string? For what? The spirit of Carnaby, of fashion or punk or change, has become nothing more than a Daily Mail headline, a national ticking-off at the odd drug habit. Nothing is persuasive enough to sweep us up, up and away any more. The only counter-culture I’m interested in is the Benefit counter in Selfridges. That’s just the way it is. Some things change. Unless I want to picket Chanel to use fatter, shorter models because this impossibly young and impossibly skinny ideal is starting to hurt me, at thirty-one and one hundred and forty pounds. But then I just look unattractive because I can’t keep up, because I’m not pretty enough or skinny enough any more. Better to just take a little longer in front of the mirror, spend a little more