Farewell to the Old Plastic Cubby House

It’s school holiday time in this Great Southern Land of ours, and we have been blessed with some wonderful spring days: the sun has been blazing up the blue, keeping the chill from the afternoon sea breezes at bay.  Blossoms are budding.  I’ve started sneezing more (a lot more).  And the kids have been relishing the opportunity to play — raucously, for hours — in the back yard.

So far, these holidays, there have been no casualties.

Well, not until Friday afternoon, that is.  Marvel Girl came belting into the house, barefoot and wild-haired, shrieking at the top of her lungs: “The cubby house! The cubby hoooouuuuuse!”.  She was closely followed by Miss Malaprop, wide-eyed and aghast, wailing that, “It’s fallen over! And the roof has come off…and now it’s broken“.  These last words were uttered at a whisper, her hushed tone no doubt adopted in anticipation of the maternal tirade they both expected to follow.

“Well, that was good timing!” I responded brightly, “We have Council clean up this weekend, so we can put it out for collection.  Let’s have a look at it.”  Two pairs of eyes, one dark greeny-brown, the other light greeny-blue, watched me suspiciously.  Surely they were not going to get away with this so easily?

Like most siblings, Marvel Girl and Miss Malaprop are a study in contrasts.  They are two very different individuals who love and fight each other in fairly equal measure but, fortunately, they complement each other too.  They’re like chorizo and haloumi, smoked salmon and capers, any other quirky combination you care to name.  When trouble is afoot, however, they tend to follow that timeless pattern of behaviour I remember falling into with my own brother: stick together, deny everything, and when all else fails — blame the other person.

Outside, surveying the damage, it was clear there was no coming back for the cubby house.  It was busted.  Completely kaput.  Bits of broken plastic were littering the lawn and a surprisingly large number of spiders crawling out from the newly exposed cracks in the frame.  Just regular, garden variety spiders, you know.  Nothing to get upset over.  This is Australia, after all — we don’t get too wound up over arachnids unless they are the poisonous kind, and we learn to identify them from an early age.  “They don’t have red spots, Mum,” said Marvel Girl cautiously, peering down at the rapidly disappearing spindly-legged creatures.  “Nup,” I replied definitively, “No Redbacks here, but it’s always good to check.”  She nodded solemnly in response.

Miss Malaprop, uncharacteristically blasé about the spiders, had other things on her tiny mind.  “You pushed it over,” she said accusingly, pointing at the shattered panels, glaring hard at her sister.  Once the ensuing shouting match had been dealt with, we set about dismantling the rest of the cubby house, the setting of so many imaginary adventures.

Ah, the old plastic cubby house.  It has been an ice cream shop and café that catered to customers’ every passing whim, a pirate boat from which many a scurvy dog as been sent to walk the plank, a hidden base for jungle explorers when covered with fallen fronds from the palm tree in the corner of the yard.  Climbing unassisted onto the faded yellow roof was a rite of passage for you and so many of your little mates, with the cry of surprise that “I can reach now!” inevitably being followed by a triumphant rooftop shout: “Look at ME!”

The back yard looks a whole lot bigger now, and perhaps even a little bereft now that those garish plastic panels, stairs and slippery slides have disappeared.

Farewell, old plastic cubby house.  You served us well.

Just Getting it Out There…

Last weekend, having a rare evening to myself, I sank into the sofa with a glass of red wine and watched Only Lovers Left Alive, Jim Jarmusch’s take on urban decay and modern life (more decay) through the eyes of a disillusioned and depressed vampire.  I had been wanting to watch the film for a while, and its languid pace and dark palette suited my mood perfectly.  Not to mention the fact that the inimitable Tom Hiddleston plays the part of the disenchanted vampire, Adam, opposite Tilda Swinton as his blood-sucking though weirdly ethereal wife of many hundred years, Eve.

“I’m sick of it—these zombies, what they’ve done to the world, their fear of their own imaginations,” Adam complains to Eve, compelling her to travel from Tangiers — all night flights, of course — to where he is living as a reclusive and very reluctant rock star in Detroit.  The suggestion that it was possible to live in fear one’s own imagination was one of three things that stayed with me long after the film was over.

The second thing that lingered for me was the film’s soundtrack, comprised mostly of moody guitar riffs in minor keys, lit up towards the movie’s climax by a mesmerising performance by Lebanese singer Yasmine Hamdan.  I had not thought the music would remain with me for so many days afterwards, but strangely enough there it was, the memory of it filling my ears at unexpected moments.

And then, finally, there was the idea of “getting the work out there” which posed such a problem for these long-lived vampire types.  How is it possible for a vampire to create, publish, record or (gasp!) perform, without revealing something of their identity or, shall we say, the “peculiarities” that constrain their nocturnal lives?  And what of the “delicious chaos”, as Eve puts it, that would result from owning up to authorship?  As Andrew Tracy says in his review of the film, “[t]hrough equal parts design and conceptual confusion, Jarmusch sets up his vampiric protagonists as both the secret source of some of our culture’s greatest accomplishments and admiring, discerning critics of the best that we have attained, both participants and observers.”

So why did this third idea, in particular, haunt me?

Because I am neither a vampire, not any other sort of immortal.  The problem of “getting it out there” is not one that I face.

Nor am I afraid of my own imagination.

And so, here it is: my first blog post.  It won’t be Shakespeare (or Marlowe), it won’t be Mozart (or Salieri) either.  What I write here may never be great, or even particularly good, but it will be mine.