Flight

It’s not that I’m afraid of flying. I am okay with being in the air. I like airports, and I like planes, and I like being in transit. There is a freedom to being between places, with little to do but wait. I read a lot, on planes, with a speed that I will never manage on the ground.

Nor, as the old joke suggests, am I afraid of the landing if things go wrong, although I do think about it as we taxi down the runway. I close my eyes and picture the moment of impact. Or, rather, a moment of impact, as I expect the image in my head bears no relationship to the reality of connecting with the ground. In my imagination the human body is like a squishy china vase, tipped from the edge of a table and allowed to hit the floor. In my imagination we do not squish, but shatter. We disintegrate on impact, reduced to wet, pink shards that scatter and take considerably effort to clean up.

But I am okay with that ending. It seems messy, but very quick.

What bothers me is falling. The helpless moments as I tumble, watching the inevitable rush towards me. What bothers me are those terrifying seconds when the end is coming and panic seems a perfectly sane response, because there is nothing at all I can do to stop me and the ground from connecting. There is time to think, as you fall. To realise what will come.

And it’s this that keeps me awake, the night before I fly. The terrible, awful but what if that is still less likely than being hit by a car.

It’s eight in the morning. I’m flying to Melbourne. I’ve already been awake for far too many hours.

#

The friends I love keep moving to Melbourne, and so I go down to visit. Rarely, at first, when I was young and broke. Now I am heading down for my second visit in six weeks. Melbourne has become an old friend, filled with old friends. Filled with people I trust with secrets, and hurts, and slices of my history, in ways that I can never trust the people I see every week.

When I tell friends at home that I am going to Melbourne, they ask the usual questions: what are you going to do? What are you going to see?

The answers are mundane: couches; friend’s cats; cups of tea and cups of coffee; board games and train lines that will get me from lounge room to lounge room. The occasionally café, in the city, when the logistics of getting around make it easier to meet somewhere central instead of visiting a friend’s home.

It wasn’t always like this. When I was younger, the appeal of Melbourne was the city. The book shops, the lane-ways, the novelty of a city with a population to support the weird and the niche. I grew up on the Gold Coast, dreaming of places like this: art galleries and theatre and comedy and books. When you grow up young and arty, in Queensland, Melbourne feels like an obligation. It’s the place you run to, first chance you get, in order to find your people. It’s a place where you feel like you belong, instead of fighting for space.

I thought it was inevitable once, and the lure of the city is still there. “When are you coming down?” Friends ask me, and I used to have an answer.

“One day,” I’d tell them. “When my job working with writers is done.”

But I’m done with that job now, and Brisbane keeps me still. Keeps me by dint of a mortgage and new gig; by dint of friendships that filled the gaps after older friends moved away; by dint of its familiarity, the feeling of home when I walk down the street, but also its ability to surprise me when I remember to pay attention.

These days, when I’m in Melbourne, I think of the bits of Brisbane I love. I think of the trees on the side of the road in Adelaide street, which I had not noticed for the first decade I lived in Brisbane. I think of my café where the owners know me, and the bookstore where they know my tastes. I think of my routines, and my small flat, and my train line.

And I think, you now, I’m happy there. Happier than I thought I could be, once upon a time.

#

The first time we flew to Melbourne, we took an early flight. I was not a morning person back then, and I was not comfortable on a plane. Fear made me irritable, when combined with the lack of sleep. I loathed the cabin crew for being too perky. I loathed the short, painless flight because I was stuck in a window seat. I hadn’t yet learned the pleasure of being in-transit. I didn’t read, and I didn’t write. I just sat and brooded and killed the time. Felt the pressurised steel shell around me and imagined them peeling away, folding back like the lid of a sardine cane before you shake the contents free.

I pulled down the window blind so I wouldn’t look at the ground anymore. Tried not to picture ten thousand empty meters I’d need to fall through in order to reach the ground. Tried not to do my back-of-the-envelope mathematics: terminal velocity averages out at 60 meters per second; that’s a whole lot of seconds to live through on the way down.

We did not crash. We landed in Melbourne. I went to my hotel room and removed my shoes, made fists with my toes just like Die Hard taught me.

There was no-one I knew in Melbourne back then, except for the friends who were travelling with me.

#

An incomplete list of things in Melbourne that have, at times, been used to convince me it’s a good place to live: the bookstore on Collins Streets; trams; The Maltese Falcon; the Azteca Hot Chocolate at San Churro, before the chain spread across Australia and you could get their hot chocolate everywhere; Minotaur Books; All Star Comics; the cocktails at the Americano bar, where one doesn’t so much order as suggest a flavour profile and let an expert do their job.

An incomplete list of things in Melbourne that actually tempt me to move: walking across the Yarra on the William’s Street Bridge; jacket weather; scarf weather; the presence of deciduous trees and a regular Call of C’Thulhu game; the baked beans I used to order, in this café down in Brighton, which were smoky and thick and served with crusty bread, even if the coffee that came with them wasn’t the coffee that Melbourne boasts about.

In truth, if I go, it will be none of these things that does it. The friends who truly want me to move don’t bother selling the city. I’m a writer, and not the wildly successful kind, which means I don’t have money. The books and the cocktails and the cafes are extravagances, easily afforded on a holiday but too unlike my ordinarily life.

The friends who want me to move simply sit me on a couch and give me a cup of tea and proceed to talk about things. They remind me of who they are, and how they haven’t changed, and exactly why I miss them.

#

I told a friend about my fear of falling, once. About the empty seconds where the air whistles in your ears, giving you time to think about what’s waiting below.

“At thirty-thousand feet,” they said, “you’re probably not going to be conscious. They pressurise the cabins ’cause there’s not enough oxygen. I think you’d pass out for some of it.”

I don’t know if they were right about that. I prefer to not know for sure. Any second I don’t have to be thinking sounds good, when I am falling.

#

I made plans to move to Melbourne once. I had the date, and the budget, and nothing left to loose. Brisbane had not been good to me, after being good fro a very long time. My heart was broken, and other parts of me joined it.,I felt the lure of being somewhere else, where the past didn’t dog my footsteps. And so I set my sights on Melbourne and hoped that it would change things. I would move there, and I would find myself. I would move there, and I would belong. I would move there, and if I was wrong, it did not matter how I landed. Breaking matters less, when you think you’re already broken.

I recruited friends to move down with me, sold them on the city and set their plans in motion. Their plans went through, and mine did not. I got a job, and my heart scabbed over. I figured it for a short-term thing, that the job would end and I would move. Instead, I stayed. Bought a flat. Worked at my job. Looked at the things that broke me, and tried to fix them, one by one. It’s slow work, gluing yourself together. It’s never as fast as you’d like.

Now, it’s six years later. It’s eight AM and I am flying, sitting in a window seat with a notebook, a novel, and a weekend with friends ahead of me. The cabin crew do the seat-belt demonstration. We taxi down the runway. I lean back in my seat and close my eyes, feel the lurch as we take off and the plane begins its ascent.

We rise, and we are flying. Me and a plane full of people. There is space underneath me. More space with each passing second. And I’m not so afraid of falling now, although the fear’s still there. I open my eyes and I keep breathing, watch the seat-belt sign and wait for the moment when tray-tables can be lowered and my writing time has started

I should write about Melbourne, I think. I should write about flying.

Then I pick up my book and start reading, because the seat belt sign is illuminated and none of things can happen until it has been switched off.

xander

Beard

I was thirty-nine years old when I saw my father’s beard for the first time. It happened quite by accident – he’d gone to the barber, asked for a close shave, and the beard he’d worn since I was a baby suddenly became this close-cropped fuzz covering the lower third of his face. Still a beard, if you wanted to get technical with the definition, but thirty-nine years is a considerable length of time to go without seeing a man’s chin. Its sudden appearance, as a visible entity behind the hair, made it a thing people commented on when they saw him.

I had my own brush with facial hair when I was twenty-two. It should be noted that I didn’t inherit my father’s propensity for thick, chin-hiding facial hair. Mine grows in patches, leaves broad swathes of the cheek unaffected. When I did grow a beard, at the suggestion of a woman I was dating, it mostly grew underneath my chin rather than on it.

I was not suited to facial hair, but I kept the beard until the end of that particular relationship, and I have never enjoyed the act of shaving quite as much as I did the day we finally broke up.


I would tell you my father, without a beard, does not look my father, but there are so many lies in that statement that it bears only the faintest whiff of truth. He doesn’t look like my father, with his chin visible, but the man sitting in the lounge chair with the freshly short beard was already so different from the father of my memories.

My father is in his sixties. He’s had a heart bypass, takes a series of meds for Parkinson’s disease and problems with his blood. He’s thinner than I can ever remember him being. He has trouble standing and moving, has trouble speaking at a volume the rest of us can hear. He’s not dying, specifically, but he has reached the point where the inevitability of death is always right there.  There is no longer any way to pretend that he will not be gone, one day.

The father in my memory isn’t a big man, but he is vital; a man who is strong and omnicompetent, underneath the omnipresent beard. He’s a man who surfed and played squash, all through my childhood; a man who built coffee tables and fishponds and canoes in his garage; a man who read The Hobbit to the kids in his classroom, and sang while he played guitar,

An ex-girlfriend once met my father and compared him to a dwarf. “He’s the kind of man you expect to fighting goblins with an axe and a beer,” she said.

And he was, back then, before illness started taking from him. He already had the beard.


There was a time, when I was younger, that people insisted the only difference between my father and I was the beard. Once, when I was seven or eight, a teacher actually put me in a fake beard to test the theory. These are the kinds of things that happen when you’re raised by teachers, and the people responsible for your education are also your parent’s friends.

It was assumed, perhaps, that the beard was inevitable. That one day I would grow one and the transformation would be complete. Instead, if I skip shaving in the morning it’s unlikely people will notice. If I skip shaving three days in a row, I start to develop the first hints of stubble.

There are men who can grow facial hair, and those who cannot. My father is the former, and I am not.


It shouldn’t be a surprise when your parents grow older. It’s right there, in stories. In television shows and films. Time marches on and people get older.Your parents become different people than you remember from your childhood.

Stories try to prepare you for that reality, but somehow, it’s not enough. Somehow, it’s still a surprise when you see your father’s chin, and it’s something that keeps bugging you long after his beard has grown back. Warned is not the same as prepared. It’s not the same thing as ready

And you adapt. You get to know the man who exists now, who is not the man you remember. And it is sad, sometimes. And happier, sometimes. And different, always different, even on the days you catch a glimpse of the father you remember in the man you talk to now.

You learn to embrace the duality. The man who is still your father, but is not the father of your childhood memories. The man who has become someone else, as everyone always does.


When I shave in the morning, I study my face. I notice the first grey hairs and the wrinkles around my eyes, the little patches of stubble that I missed yesterday because I still don’t shave with anything resembling a level of competence. It took me years to learn the very basics: shave with the direction of the hair; use shaving cream to soften the hair before you apply the razor; start with the cheeks and leave the chin for last.

It feels absurd that this is something that I still need to figure out, but it is. I do not shave well, and I cannot grow a beard. Not really.

So, instead, I study my chin. Try to imagine what it would be like, if I suddenly grew one of those beards I covet.

And somehow, I can’t quite make that image work. At worst, I can picture another patchy goatee, itchy and horribly uncomfortable. At best, I picture the rest of my life spent clean-shaven and comfortable.

Neither feels like much of a victory. Not today. Not right now.

So I rinse my face and get on with my day, rubbing my thumb over my face in search of the stubble I missed this morning in the hopes that I will finally – finally! – be completely clean-shaven when I leave the house.

Beardless

 

Dear Culture: Please Make Up Your Fucking Mind About What You Want Art to Be

No government ever lost an election by attacking the arts. It is, after all, the part of our culture where most people assume there is some combination of high levels of entitlement and low levels of actual work. This is the legacy of centuries of magical thinking when it comes to the art, associating the creation of artworks with genius or the muse.

No-one cares when the arts get less. In Australia, in particular, it’s right up there with attacking refugees, young people, and the unemployed as a safe tactic for the right and the left alike.

The last few years have been bad for the Australian arts sector. Not just in terms of the visible stuff: cuts to funding, attacks on the nature of copyright, a general hostility from the sitting government towards all things creative and its creation of a discretionary slush fund that is poorly managed and generally there to buy votes; no, the invisible stuff has been even worse.

When you cut funding, without notice, the way the government did last year, there are knock-on effects. The cuts happened, and the Australia Council responded, just as everyone was putting in four-year funding applications for funds that were no longer there. Hundreds and hundreds of organisational hours lost, then work that needed to be redone under the new model.

More work, because the increased competition means more competitive applications, which means the hundreds of organisational hours that were just spent now need to be re-spent getting a new application together.

The disruption is immense.

So, yeah, it’s a bad time to be an artist in Australia.

Today, ArtsHub released a list of organisations that had been de-funded in the latest round. 62 arts organisations in total. Approximately one-third of the applicants, and I doubt this is anywhere near the full list.

None of these organisations are 100% reliant on funding to operate, but the lack of funding will definitely mean that a bunch of them are going to close. Particularly those on the smaller end.

But the names are an abstraction. It’s easy to overlook the actual cost.

It’s easy to look at some of the literary journals on that list – Meanjin; Express Media; Griffith Review – and think, well, who cares? No-one reads that shit. Two of those three are big, literary magazines. Express Media, too, except it deals exclusively with writers under 25.

It’s easy to look at the small theatres and dance companies and think, well, if you can’t find an audience…

It’s easy to look at the bigger things – Brisbane Writers Festival, State Galleries – and think, well, they’ll find funding elsewhere, ’cause the audience is there…

But, honestly, all that is bullshit. New artists need spaces to explore their work, so they can develop and find their audience. Big events and institutions need funding so they can take a chance on newer works and artists, which may not get a look in when keeping the lights on is the main priority and established artists are a bigger draw.

This is not going to get better. I don’t expect this election to be fought on arts policy, although it would be nice if people did actually give enough of a shit to realise it’s a thing worth fighting.

This is a sideline, to the main problem.

If you want the arts to be treated like a business, you have to FIX THE GODDAMN SOCIETAL PERCEPTION THAT IT ISN’T.

You have to stop treating artists like creative weirdos, inspired by genius and the muse.

You have to build in facilities that help artists build their businesses like a business, and support them the same way you support other businesses like manufacturing, mining, or sport..

You have to stop telling artists that the creation of work is a gift, and they should not feel like they out to get paid, and you have to tell the culture around them the same thing.

You have to stop attacking copyright and suggesting shit like fifteen years of copyright, then you’re done, even as the entire system of how artist make money shifts to make life+seventy-five years an increasingly valuable thing.

You have to fix the cultural entitlement around the arts, which says, this exists, therefore I can have it for free. You have to make it clear that creators deliver value, and deserve to be compensated, even if it isn’t under the models that have been around for the last few years.

Stop telling artists this thing you’ve created has value, but we do not want to compensate you for it. If you want us to embrace arts as capitalism, treat us like any other fucking capitalist and pay us for our services. 

Basically, motherfuckers, you cannot have it both ways. The arts can be a cultural gift, or they can be fucking commerce.

Honestly, I do not care which. I just want you to make up your fucking minds.