POETRY
AFTER ALL (OF US)
If Dolphins Had Thumbs, They Would Probably Destroy Us All, Says Science (Riot Fest)
Pollution
The spaceships we need to design
The story of a Staedtler Norris HB 122 pencil…
SCIENCE FICTION
ECHO BEACH
It was the only sea shell which didn’t contain the ocean. When held to the ear, it was silent.
Every shell, on a beach or miles inland, carries a recording: The last sound, to be played back innumerable times if anyone listened. But one shell contained nothing when he held it to his ear. A vacuum. It fitted perfectly into his hand. The size of an adult thumb, his fingers clasped the shell tightly as he walked along the beach.
He shooed some gulls from a discarded bag of chips and sat down to eat with his invisible partner. The birds strutted around, like impatient waiters keen to get home. The chips tasted of the sea: salt. If the ocean had contained none, he would gladly have drained it.
The water played tricks, as though enticing him to drink it: Small and gentle waves merely caressed the beach, like spilled pints of beer in a desert. The water was brown and the moonlight sparkled on frosty suds on the surface: A cola float. A plastic bottle was pushed temptingly towards him, but it was empty; not even a note inside.
The boy looked out over the sea. There were no lighthouses; no ships in the night. Just the spectral light of the sun reflected from the moon. It was silent. It was still. It was beautiful.
Clouds moved slowly across the sky, like the last sheep returning home after a storm. They cast shadows on the shore as they passed in front of the moon and were lit up like candyfloss. Then a figure walked from the shadows: A man, wearing a tall hat and a long coat, silhouetted against the moon, his shadow stretching up the beach to cover the boy’s feet.
The man scooped the plastic bottle up and turned to the boy: “Hello son.” The boy said nothing. He didn’t even look at the man. He just stared at the beach. The man spoke again: “Hello.”
“Hi. I’m not your son.” The boy still looked straight ahead.
“Of course you’re not. I’m so sorry”, said the man. “I’m not your father.” The man sat down and placed the bottle beside him. “What would you prefer?” The boy just stared at the man’s boots: Black pixie boots, with probably two inch heels. “Perhaps you don’t understand. Maybe you only know certain words.” The man stood. “I’ll write some down for you, here in the sand:
“Friend.
“Brother.
“Human?”
“I like that one.” The boy pointed. “Human”.
“Do you have a name?”
“Yes.”
“What’s your name?”
“I don’t know.”
“You don’t know your own name?”
“I lost it.”
“Do you have parents?”, said the man, sitting back down.
“I think so.” For the first time, the boy looked up. “They were out there.” He pointed to the sea.
“There are many things out there,” said the man. “That’s where I used to live.”
“On a boat?”
“No, beneath the waves. So much quieter.”
“But how?”
“In a kind of submarine.”
“Where do you live now?”
“I don’t.”
“You’re homeless?”
“Not really. I’ve made a place. Wanna see? Get a drink, have a smoke?”
“Is it far?”
“About five minutes away.” The man stood again. “If you don’t trust me, then you should thank your parents. I’m a stranger. Your parents aren’t here. If you like, I can just go and I’ll bring you back fresh water. You can wait here. But I have a story to tell you. If you don’t hear it, then you’ve lost nothing.
“You never know what’s gonna happen next. And the moment you think you do, that’s the moment you don’t know anything. This is what we call a paradox. Are you with me?”
“Who are you?”
“My name is Talus: Theodore Anthony Nikolai Talus. You can call me Theo.” The man looked at the sand. “I’ll call you Hugh.”
“Why?”
“It’s short for human.”
Hugh stood up. Theo offered his hand and the boy held onto his thumb: it was bony and gnarled; twisted and covered in callouses. As they walked, it became clear in the moonlight that the beach was a cove: Sand bordered by ocean and overhanging cliffs. Hugh felt safe, as though physical contact confirmed Theo to be real. He looked up at this man from the sea, the man who’d emerged from the shadows. As though sensing his gaze, Theo looked down. “How old are you, Hugh?”
“Nine.”
“Haha!” Theo stopped and grinned. Everything was quiet and a wave broke on the shore. “Hahaha! Sorry. I just had a thought.” Two more waves broke.
“What?”
“I just said to you, back there, do you want to come back for a smoke? And you’re nine!? I’ve just got this phrase in my head: ‘Act your age and not your shoe size.’” Theo looked down at his feet.
“I just need a drink.”
“Of course. Sorry. Not far now. About twenty Mississippis or elephants, I’d say.”
“What?”
“Seconds. A Mississippi is a second and so is an elephant. In fact, as one Elephant drank from the Mississippi, another one saw it. It walked over to join its friend and then there were two elephants. Others saw them and soon there were twenty elephants, drinking from the Mississippi. And here we are.”
Theo lead Hugh into a cave at the foot of the rock face. A wave broke on the beach; a Mississippi and an elephant; then they were at a small wooden door, marked ‘No. 7 ⅞’.
“No-one ever comes here. This cove is permanently cut off by the tide.” Theo opened the door and gestured Hugh inside.
“What does the sign on the door mean?”
“Nothing really. That’s just what was printed on one of the pallets I made the door from. Quite a few wooden pallets wash up on the beach. I just tell myself that this is life number seven and that I’m seven eighths of the way through it. Anyway, come in young Hugh man.”
Inside was like the interior of a wooden cabin, complete with an open fire in one wall. The walls and ceiling were lined with lengths of wood from pallets, and sections of wooden boxes. More boxes and pallets had been made into shelves which lined the walls and every shelf was full of items apparently washed up and collected from the beach: Bottles, tins and cans; sea shells, mermaid’s purses and petrified starfish; driftwood, fragments of metal and plastic.
“Could I get a drink now?” Hugh asked.
“Of course. Sorry. Wait here. I’ll just be a moment.”
Theo walked through a second wooden door at the back of the cabin and Hugh heard water being poured.
Dried seaweed hung over the shelves and there were two oil drums on either side: Both were filled with carrier bags and plastic drinks collars. The oil drums were marked, “IN” and “OUT” in white paint. Theo returned and handed Hugh the plastic bottle.
“That’s what I do some of the time,” Theo said, pointing at the drums. “Break the ties of the plastic things, imagining they’re the necks of the bastards who threw them away.” Hugh just nodded his head as he gulped from the bottle. “Sorry if that’s a bit warm. Nowhere to plug a fridge in, even if I wanted one.”
“It’s okay. It’s water; no salt.”
“Take a seat.” Theo motioned towards the wall opposite the shelves. A couch had been fashioned from packing crates and fishing net. To one side was an up-turned fruit box with a set of scales and sea shells on top, and on the arm of the sofa was a book. Assuming this to be Theo’s spot, Hugh sat at the opposite end.
Theo stoked the fire with his boot and pulled some dried seaweed from the shelves. He screwed the seaweed up in his hand and sat next to Hugh.
“Smoke?”
“No thanks.”
“Mind if I do?”
“No. It’s your home.”
“Mi Casa, su casa.” Theo tore a page from the book on the table and used it to roll a cigarette with the dried seaweed. “Let me show you something.”
“What are you gonna show me?”
“I’ll show you how much smoke weighs. Watch.” Theo pulled the table towards him and pointed to the scales. “These are liberty scales. On the one side here, we have a crucible; a bowl. I’ll put this cigarette on there, like so.
“Here on the other side, we have a flat plate. It’s empty, so it’s up in the air. Now I need to balance the weight to the cigarette.
“See these shells here? Lots of shells; Lots of shapes, sizes and densities: Many different weights. The bigger ones, they look like shells, but the others? You’d be forgiven for thinking that some of them were just large grains of sand. But if you look really closely, they’re tiny shells. Think how many of those might be out there on the beach and no-one would know. And all of them were once somebody’s home.
“So, by adding shells of different sizes…
“With trial and error…
“The scales should…
“Should…
“Take some off, and the scales should…
“Balance. There you go.” Theo sat back and pointed at the scales. “So, there you have my cigarette, perfectly balanced. Do you have a light?”
“Er, no. You have a fire though?”
“Of course. Excuse me.” Theo picked up the cigarette. The plate of shells dropped but none fell off. Theo lit the cigarette from the open fire and cupped his hand under it as he returned to the sofa. As he sat down, he tipped a few flecks of ash into the bowl of the scales. The scales moved just a fraction, as though caught in a gentle breeze. Were it not for that brief movement, the plate of shells may as well have stayed at their lowest point. The scales had tipped, barely discernibly.
The smoke from Theo’s cigarette transported Hugh: The burning seaweed conjured images of a roadside Chinese food market; Of flames doused with salt water. A burning street washed away by a tsunami.
With every draw on the cigarette, Theo carefully tipped the ash into the crucible and the shells rose, fractions of a millimetre at a time. When Theo had finished the cigarette, he supported the crucible from underneath and stubbed out the butt in the bowl. He slowly moved his hands away and the shells rose to balance the scales.
“You see? Almost nothing. That’s how much the smoke weighs. The same as the words on that page: Almost weightless as they just sat there in the book, but now free. Out there.”
“That’s quite philosophical.”
“A lot of the words in the book were. But I’ve been trapped here in this cove for long enough now that it’s time to let them go.
“That book was a journal when it was washed up on the shore. It can’t have been in the sea for long because it was still holding together, but the pages were just one pulpy lump. I could tell it’d been written in because the edges of the pages were streaked with blue ink. I hoped I might be able to read those words; someone’s diary or manuscript; someone lost at sea.
“So I hung it out to dry. Every couple of hours, I’d go out there and gently manipulate the pages, hoping they’d all become separated and that there were some words left; something to read, something to do. But when it had all dried out, it was nothing but blank pages.
“It was quite beautiful actually. Where the ink had run and dried out in different ways, some pages looked like sheets of marble; Others were like blueberry ripple ice cream. Pencils wash up on the beach all the time.”
Theo stood and walked to the shelves. He pointed to a box. “Lots of pencils. My favourites are the Staedtler Noris range: the black and yellow ones.” He picked some more seaweed from above the fire. “My preferred pencil is the Staedtler Noris 120: That’s an HB, or grade 2 in America.” Theo walked back to the sofa. “Even better than that though is the 122: The HB pencil with an eraser on the end. All wooden pencils float, of course; but it’s like the 122 has a little life preserver to help it to shore.” He sat down next to Hugh. “That pencil needs to be written with. And there are so many stories in a single pencil.” Theo tore another page from the journal and rolled a cigarette. “Can I get you anything, Hugh man? Another drink? I could probably rustle up something to eat if you like.”
“No, I’m okay. Can I use the bathroom?”
“Mi casa, su casa. It’s right out there.” Theo put the cigarette in his mouth and nodded to the front door. Hugh didn’t move. “What, you expect me to be all en suite?”, Theo continued. “All that’s out back is a store room: Go check for yourself. I’m here on my own, the cove is a cove and the cave is cut off. So, just do what you need to do out there.”
“On the beach?”
“Would you go to the toilet on your own front lawn?”
“I don’t have one.”
“Neither do I. So, do what you have to do out there, near the water. I normally go right where the waves break but I don’t want you getting washed away or anything dramatic like that. Nature will clear up behind you. There’s plenty of seaweed out there if you need to wipe but bring it in here and throw it on the fire when you’re done. I don’t want to smoke it.”
“I only need a pee.”
“Oh.”
As Hugh stood in the moonlight, he could appreciate why so much from the ocean was washed up in front of Theo’s cave. With the tide only about twenty feet from the front door, it swept debris along the curved edges of the cliffs stretching out to sea in an arc on either side. He could already see some of the next day’s haul: Plastic bags to go in the oil drums; Wood and paper to be dried and burned; Empty bottles and drinks cans to be used as storage or perhaps to make a sculpture; Dead fish to cook and eat; seashells and other things for the cabinet of curiosities.
Inside, Theo sat on the sofa with the cigarette still in his mouth, unlit. “I don’t suppose you found a light?”
“No. Even if I had, we’d need to dry it out anyway. May I?” Hugh took the cigarette from Theo’s mouth. He lit it from the open fire and took a drag before handing it back.
“Thanks.” Theo took a draw on the cigarette as Hugh sat back down. “You sure you won’t have one? I won’t tell.”
“There’s no-one to tell.” Hugh slid down on the sofa and gripped a wooden box between his feet. He manoeuvred it closer, then rested his legs on it. “Su casa, mi casa.”
“Mi vida.
“So, I started to write things down. First with a 122, then later I switched to a 120.
“Of course, the writer always has freedom with a pencil. The eraser gave me more freedom. I was writer and editor. Maybe I wrote that 122 down to a stub: I don’t recall individual pencils.
“In any case, I decided that the 120 would permit me yet more freedom. Even though it lacks the eraser and although I could still rub out the words if I really needed to, the fact that I couldn’t allowed me to write more freely. The editing was out of my hands.
“I filled that book with memories: mine and those of others.
“And when I say I filled the book, I mean, it was full. Towards the end, my writing was so small that you’d need a very good pair of eyes, a magnifying glass or strong glasses to read it. The odd pair of glasses wash up on the beach every now and then but it’s usually just the frames. So I could look sophisticated perhaps but someone would only have to poke at my eyes to see that I was a fraud.
“Once the last page was filled, I started again; in the margins and at the top and bottom of each page.
“Every day, I’d hope for a new delivery of writing paper. Lots of paper gets washed up but it’s all newspapers and magazines.
“Newspapers just disintegrate: They’re the lowest grade of pulp paper and revert quickly. Magazines are so heavily polished and covered in pictures that they don’t wash. I needed a certain kind of paper. I needed another notebook.
“But nothing got delivered. And that’s when I started smoking.”
“So the book with all your notes in…”
“Stories. Many stories. And there were many more left in the pencils but I had nowhere to write. So I smoked it.”
“Can you remember any of the stories?”
“All of them. I lived them.”
There are as many pictures in words as there are words in pictures. A good story is only one tenth in the words. If the writer chooses the words well enough, the other nine tenths doesn’t need to be written because it’s already there, in the words: It’s the images which the writer conjures; the dreams; the dark matter which makes up most of the universe. Every story ever written has a part of the writer within it, whether it be the author inhabiting a character or a story on the fringe of experience.
“Will you tell me one of the stories?”
“A bedtime story, at your age?”
“Something to connect me to the sea.”
“How about a story with no ending, until you fall asleep?
“It is a story with no ending, because the ending may never and will never be told nor heard. It concerns a man who has outlived his children, his grandchildren, and who will outlive every generation which will come after him.
“Ever since he was a boy, he was curious. So much so that his curiosity got him into trouble when he started to find answers. But his curiosity was eventually rewarded. He was given the means to find out anything he liked. But it was a poisoned chalice; a curse. There was a condition: He may not speak of his discoveries.
“This is just the beginning of that story. In fact, this is merely a summary of the first chapter; A synopsis.
“A synopsis tells the whole story on one page: Just a few well-chosen words which contain many more words and images within themselves; The stars visible in the sky: Cosmic pinpricks in the dark matter.
“The boy lived in the ocean, in a city deep beneath the waves. His parents told him everything they knew about the world around them. The more stories they told him, the more inquisitive he got.
“He was fascinated by the surface. Everyone said that there was nothing above the surface. In fact, even talking about it was forbidden. Travelling there was impossible. But the boy was convinced that beyond the surface, there was something else. And beyond that, something further still. He wanted to build a tower to the surface, to break through and be witness to what was above.
“The surface wasn’t the only taboo. Speculation about anything outside of generally held beliefs was frowned upon. Imagination was effectively illegal. But there were rebels: Those who would meet in secret to defy the thought police.
“The boy joined a fringe society: They called themselves The Biblical Dead. They broke the rules, discussed and even wrote about things which only existed in imagination.
“The Biblical Dead would meet in a den outside the city. They’d smuggle in words they’d written and read their stories to each other. The Biblical Dead had a members’ code: What is said to the dead, what is heard by the dead and who is seen with the dead, remains with the dead.”
Hugh was asleep, so Theo rolled a cigarette and stood outside on the beach, surrounded by the cove.
“And you must not hear the end of the story, young Hugh. The curious boy was unable to contain his ambitions and he betrayed The Biblical Dead, simply by referring to them in a story he wrote and which he lost. The society found out about this and he was banished.
“If he wished to tell stories, then he must do so only to himself. But he must have stories to tell. And so the legend has it that the curious boy was sentenced: To live every life which has ever been lived and all which will come. He must learn for eternity, as every human and every animal which ever roamed the earth and every creature that still will.
“But he must never speak of it.
“You never know what’s gonna happen next. And the moment you think you do, that’s the moment you don’t know anything.”
Hugh lived alone in his new home for many years. Every day, he would continue Theo’s work, collecting things from the beach. The fire was kept burning by a regular supply of wood and he collected many curiosities for the shelves: Shells, mermaid’s purses, tins, boxes and bottles. None of the bottles contained messages.
He quickly learned how Theo had made fresh water with a simple desalination plant: a saucepan of salt water, boiled and the steam collected in a funnel overhead. As the steam condensed, it rolled down the inside of the funnel and collected in a tray underneath the saucepan.
Most nights, Hugh would cook dead fish washed up in the cove. Occasionally, an expired crab would make a gourmet treat. There was a plentiful supply of seaweed, to boil, fry or smoke.
The supply of pencils was maintained by the tide but the paper was newsprint and magazines; only good for the fire. There was never another notebook: Just the remaining pages of Theo’s, with writing so small that Hugh couldn’t read it and so he smoked the pages just as Theo had.
If Hugh had had the means to write, there were two things which he’d like to have made special note of: an unbroken jam jar and a shell which scuttled across the cove one day as he was beach combing.
The intact jar, placed to his eye, would make an ideal magnifier. He picked up the walking shell and studied the homeowner inside: A hermit crab, perhaps looking for a new home.
Hugh took the jar into his shack. He placed shells inside which were larger than the crab’s then arranged them in a line on the beach. He went back inside and read the last pages of Theo’s book through his new magnifier.
The next morning, he checked the shells he’d laid outside. As he suspected, one had disappeared and a smaller one lay in its place.
Hugh picked up the discarded shell: It fitted in his palm like a gnarled thumb. He placed it to his ear and it made no sound.
© Steve Laker, 2017
Hugh was only human.
Dining on darkened stools
FLASH FICTION
PULP POLLUTION
As a one-time music writer, I’m crapping it, which is what every horror writer wants their readers to do, as they feed them to obesity in a crowded field. When I write fiction, there are parts of me in every story or character I create, but I’ve rarely lived the actual events in the stories. Now I’m seated alone in Green Inferno, a joint which prides itself on being carnivorous. My first observation is that if you’re in the story yourself, it’s not so easy to make it up as you go along.
The place is cavernous and filled with greenery, so that the experience is one of dining in a plastic south American forest, alone. As I look around, it’s hard to make out many other diners for the dense foliage, which eases my anxiety. Anyone walking through the bushes around me could be a customer, a lost tribe member, or one of the dishes. I hear running water but I can’t see a toilet. I turn my attention to the menu, which is the other point of this place.
It’s a meat restaurant, but with its focus on food provenance. All their dishes are locally sourced, and every cut of meat is traceable to an individual. Reared by organic local farmers, each animal was once a friend, and so every dish comes with a story, like Peter Davidson at The Restaurant at the End of the Universe, describing his lifestyle and how that’s improved his finer cuts.
Mine is a shallow hunger, so I browse the appetisers. Among them, I’m intrigued by the pygmy cutlets. The beast once burdened by these isn’t described by species (I assume pork, from a pig), but as a character:
He (we’re told that much) was unwell for much of his short life (not terribly appetising so far). Bullied by his siblings and shunned by his elders, he’d been adopted by other animals. They stop short of actually naming the individuals here, but I gather this little chap had a bit of an identity crisis (I know how he felt).
Another of these pygmy things sounded a bit of an arse: His partner and children had fled his abusive patriarchy, then he’d been ejected by his drift (the collective noun for swine) and become a nomad (and no mates). For years he wandered with lonely guilt, until he died of a broken heart (impaled). In some respects, I could relate to him too.
The stories of the menu certainly make me question whether I should be eating what was once a sentient, self-determining being like me. As a horror writer, I’ve sometimes reflected on the act of consuming dead flesh, questioning if it might be both the most and least respectful way of disposing of a body. On the one hand, it’s everything which was in that living body being taken on by another (so a bit like holy communion). Conversely, it’s power over the body of the lost soul as it’s consumed (not unlike holy communion then).
I decided on a cut from each, whoever they were. While they remained nameless, they’d be just like any other meat on my plate. As food, once the organism has ceased to function, it becomes organic. It’s consumed, drained of its nutrients for the nourishment of the host, then what’s left is excreted as waste: Life as pulp fiction, picked up on airport news stands, consumed in the air, and cast into the bin on different shores, like so much human waste. Perhaps there are beach combers there, and some stories live again, but I was growing distracted in the plastic green inferno.
My stomach was growing cramped, like my surroundings; vegetation everywhere, but not a leaf to eat. And yet, the dishes I’d ordered were once living beings with stories. I owed them enough respect to eat them while they were still warm.
I’m not sure if it was a server or a customer who ran through the foliage behind me. I couldn’t tell if the sound of flowing water was from a distant stream or the glass now being poured beside me, as my food arrived. I couldn’t wait.
I dined alone as always, with only myself for company, pondering publication of this review. The writer who shit himself.
“Door open or closed?” It made no difference, as I passed an effigy of me. It appeared to smile as I flushed it away to some distant beach.
© Steve Laker, 2018
Reducing plastics in my diet
THE WRITER’S LIFE
We’re now a week into the British summer which forgot about spring, and despite having my window open, I’ve had no visitors. When I write at night, my desk lamp shines from the window, but not a single moth has dropped by. It’s resigned me to eat less plastic.
A plastinated cow, from Gunther von Hagens ‘ BodyWorlds
I suspect this may be the year when we finally wake up to the damage we’ve done to our planet, and humans may have to re-evaluate their diets: Not just what they eat, but as a moral responsibility. If we don’t change soon, the entire planet’s food chain could collapse.
It’s only been in the last year or so that we’ve had our eyes opened to the extent of our planetary pollution with plastics, thanks in large part to the BBC’s Blue Planet II. We’re lucky that scientists have stumbled upon a bacteria which eats some types of plastics, but there’s a lot of food.
Since the invention of plastic, humans have created 9 billion tonnes of plastic waste. While some efforts are afoot, less than 10% has been recycled, with most of it sitting in landfill and not decomposing. We’re developing machines which can help clear the waste which is loose in the wider world, but the real problem is micro-plastics.
In a recent study, micro-particles of plastic were found in arctic waters, so it’s thought that every cubic metre of the oceans is contaminated. In turn, these particles are ingested by wildlife, and passed up the food chain. Water evaporates into clouds, then falls as rain somewhere else on the planet, dropping plastic with it. Every single living organism on planet Earth is part-plastic. While we might clear up the immediately obvious mess, the long-term effects of internal plastic pollution aren’t known, as it’s only a recently-discovered phenomenon.
Returning to the food chain and my lack of visitors, I’d welcome even a blue bottle or a wasp, if it at least confirmed the insects were still around. Since we missed out spring, those who survived are emerging far more suddenly (but in fewer numbers) with the rapid rise in temperature. But while they were asleep, nature couldn’t make enough food for them (because it usually does that in spring).
Fewer flowers means less nectar for the invertebrates who do emerge, and reduced pollination of plants. Fewer insects is less food for spiders, birds and small mammals, their predators and all the way up the food chain.
For the humans who place themselves at the top table, there’s a relatively quick-fix solution: Grab more land for farming, produce more crops and livestock, so that humans can eat. And make the problem worse.
To sustain our current (mostly carnivorous) population, humans need more of the planet they’ve already taken too much of. If we selfishly solve our own problems by driving wildlife from its habitats, the animals will continue to die out at an accelerated rate. Like the plastics inside us all, the mass extinction of animals will have repercussions and knock-on effects which we’ve never imagined.
More humans, farming and livestock, will lead to further rises in global temperature, sea levels rising, and even less land being fertile as a result. Increased climate change, affected by humans, will further erode the seasons, and increasing numbers of animals, from invertebrates to the largest predators, will die out as the food chain eventually collapses. And we’re seeing the beginning in the UK this year.
The only way to halt this destruction is to eat less meat. Less livestock would mean less land is needed for rearing, or growing crops for livestock feed (The argument, “If we don’t eat them, we’ll be overrun; it’s just like in nature”, holds no water, as the vast majority of what humans eat, they rear themselves). Fewer heads of livestock would also mean fewer arses producing methane gasses.
I can’t help feeling somewhat to blame, not just for being human, but because my family have always been farmers. When the first Africans and Europeans arrived in what is now Britain (having crossed what was then a connected land mass with the continent), they’d have found Iron Age settlements, the remnants of which are still visible today, close to where I used to live as a child (Oldbury Woods, in Ightham, Kent). Those first Europeans taught the ancient Britons how to use their weapons as tools, so that they eventually evolved from hunter-gatherers to farmers, raising their own livestock.
As someone who’s partly responsible for that, I’ve tried being part-vegetable in the past, and failed to varying degrees. I’m limited to just a Tesco Metro for food shopping, unwilling to travel and not wanting to contribute to air pollution with unnecessary deliveries. The greater limitation though is that I live alone and have a small appetite, meaning that a lot of food used to go to waste (I only have space for a small freezer).
So for now, I’m a “meat-reducer”, which may sound like a total cop-out (and it’s used as an excuse by many) but which does make a difference. I’ll buy fewer of the more expensive meats, so they’ll be free range, and with animal welfare at the top of the shopping list.
One bird will feed me for a week, starting with a roast on Sunday, when I cook the whole bird and eat a leg. When you’re used to mass-produced, growth-enhanced chicken, it’s surprising how much more meat a bird will yield, if it’s had time to grow and roam in relative freedom. Once the rest is carved from the bone, there’ll be a casserole, a curry, a stir fry, and some sandwiches. Sometimes I’ll boil the carcass and make a stock or a soup. One chicken for a week, so little packaging too.
Nevertheless, I still feel uncomfortable eating something which was once a self-determining sentient being, when I could choose not to. Even free-range, responsibly-reared meat was made for human consumption, but it’s still another person. Turned on its head, it would be like animals choosing only to eat Category D prisoners, help in open prisons.
This diner must try harder, and others might take a leaf from my book.
There are possible solutions to our planetary problems in my book, which are achievable if we work with those whose planet we share. It’s their planet, we just live with them, and we have a moral responsibility to protect them and their home, and to clear up the human mess we made.
Planet talking with Hawking
THE WRITER’S LIFE
First it was Mischa, the London Zoo aardvark. Douglas already spoke from beyond, and another one does today. He shared a birthday with the Starman: Stephen Hawking, the pan-dimensional cyborg, another voice from Cyrus Song, now with the stars, free of our polluted planet.
He was a cyborg who could speak to anyone, and no-one would much notice his disability, because he didn’t have one. He made communication between species possible, with no need for translation and all the inherent problems of perception of reception, such was the level of thought he put into each of his words.
The deep thought behind his every word was by condition, so he could transcend the thought process of most humans. He was someone who’d appreciated not just the music he heard, but the work of all those who’d arranged it. He’d probably read film credits (as I do) checking the names of the talented, however deeply hidden. And he inspired Cyrus Song.
Stephen Hawking prophesied that humankind faced a number of existential threats (nuclear war, chemical and biological weapons, alien contact, global warming, AI…). Then there’s our ubiquitous invention: Plastics, specifically, micro plastic.
It takes centuries to break down, and then into microscopic particles, never degrading completely. Human waste means that the particles are present in every cubic metre of ocean water (with countless times more, settled below the seabed), and despite filtering for our own consumption, even the “Finest” bottled water contains the particles. It’s in the rain, all wildlife, and every plant on Earth.
Humans are part plastic, and every part of the natural world is now infected. We’re killing the planet, and everyone who lives on it. We’ve fucked mother Earth, and everyone we share it with, permanently. The next great extinction event was of our own making, and it’s one which won’t only extinct humans, but everyone else as well.
Thankfully there’s Captain Mamba to get the animals out.
Like the fictional scientists within, Hawking made the science in Cyrus Song plausible. In the book, the pan-dimensional mice only know him from Earth broadcasts of The Simpsons. Because he was pan-dimensional himself, able to bridge the gap between academic science and popular culture.
In his memory, Cyrus song is free for the next three days: take it. It took me nine months to write, but I owe it to our planet to do all I can to get its message out. There is a perfectly plausible answer to life, the universe and everything in there, and a plot to save our planet.
Free eBook. Cyrus Song is also available in paperback.
Acclaimed by Stephen Hernandez (a translator and interpretor), as “An extraordinary juggling act,” the full review is here.
Delirium Tremens 