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#1958
Why I believe in beautiful women on Venus. Queen of Outer Space is a 1958 American color science fiction feature film in CinemaScope, produced by Ben Schwalb, directed by Edward Bernds, that stars Zsa Zsa Gabor, Eric Fleming, and Laurie Mitchell. The screenplay by Charles Beaumont, about a revolt against a cruel Venusian queen, was based on an idea supplied by Ben Hecht, originally titled Queen of the Universe. The film was released theatrically in some markets on a double feature with the Boris Karloff film Frankenstein 1970 a 1958 science fiction/horror film, shot in black and white CinemaScope, starring Boris Karloff and featuring Don "Red" Barry. The independent film was directed by Howard W. Koch, written by Richard Landau and George Worthing Yates and produced by Aubrey Schenck. It was released theatrically in some markets as a double feature with the Zsa Zsa Gabor film Queen of Outer Space. Baron Victor von Frankenstein (Boris Karloff) has suffered torture and disfigurement at the hands of the Nazis as punishment for not cooperating with them during World War II. Horribly disfigured, he nevertheless continues his work as a scientist. Needing funds to support his experiments the Baron allows a television crew to shoot a made-for-television horror film about his monster-making family at his castle in Germany. This arrangement gives the Baron enough money to buy an atomic reactor, which he uses to create a living being, modeled after his own likeness before he had been tortured. When the Baron runs out of body parts for his work, however, he proceeds to **** off members of the crew, and even his faithful butler, for more spare parts. Finally, the monster turns on the Baron, and they are both killed in a blast of radioactive steam from the reactor. After the reactor is shut down and the radiation falls to safe levels the monster's bandages are removed and an audio tape is played back in which the Baron reveals that he had intended for the monster to be a perpetuation of himself because he was the last of the Frankenstein family line. Captain Patterson (Eric Fleming) and his space crew (Dave Willock, Patrick Waltz and Paul Birch) take a rocket to a space station near Earth. En route, however, the space station is destroyed by an intersellar energy beam which also affects their rocketship. The space crew crash land on Venus and are captured. They learn the planet is under the dictatorship of the cruel Queen Yllana (Laurie Mitchell), a masked woman who has most men, keeping only mathematicians and scientists on a prison colony moon which orbits Venus. In the palace, the astronauts are aided by a beautiful courtier named Talleah (Zsa Zsa Gabor) and her friends (Lisa Davis, Barbara Darrow and Marilyn Buferd). The women long for the love of men again and plot to overthrow the evil queen. When Patterson has the opportunity to remove the Queen's mask, he discovers she has been horribly disfigured by radiation burns caused by men and their wars. In a fury, the Queen decides to destroy Earth and its warlike peoples but she dies in the attempt. The Venusians are free again to enjoy the love of men.
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Nov 7, 2018
Nov 7, 2018 at 8:11 PM UTC
1958-2018 From Mimeographs to Bots & the Dark Web: Still No ETs.
Why I believe in beautiful women on Venus. Queen of Outer Space is a 1958 American color science fiction feature film in CinemaScope, produced by Ben Schwalb, directed by Edward Bernds, that stars Zsa Zsa Gabor, Eric Fleming, and Laurie Mitchell. The screenplay by Charles Beaumont, about a revolt against a cruel Venusian queen, was based on an idea supplied by Ben Hecht, originally titled Queen of the Universe. The film was released theatrically in some markets on a double feature with the Boris Karloff film Frankenstein 1970 a 1958 science fiction/horror film, shot in black and white CinemaScope, starring Boris Karloff and featuring Don "Red" Barry. The independent film was directed by Howard W. Koch, written by Richard Landau and George Worthing Yates and produced by Aubrey Schenck. It was released theatrically in some markets as a double feature with the Zsa Zsa Gabor film Queen of Outer Space. Baron Victor von Frankenstein (Boris Karloff) has suffered torture and disfigurement at the hands of the Nazis as punishment for not cooperating with them during World War II. Horribly disfigured, he nevertheless continues his work as a scientist. Needing funds to support his experiments the Baron allows a television crew to shoot a made-for-television horror film about his monster-making family at his castle in Germany. This arrangement gives the Baron enough money to buy an atomic reactor, which he uses to create a living being, modeled after his own likeness before he had been tortured. When the Baron runs out of body parts for his work, however, he proceeds to **** off members of the crew, and even his faithful butler, for more spare parts. Finally, the monster turns on the Baron, and they are both killed in a blast of radioactive steam from the reactor. After the reactor is shut down and the radiation falls to safe levels the monster's bandages are removed and an audio tape is played back in which the Baron reveals that he had intended for the monster to be a perpetuation of himself because he was the last of the Frankenstein family line. Captain Patterson (Eric Fleming) and his space crew (Dave Willock, Patrick Waltz and Paul Birch) take a rocket to a space station near Earth. En route, however, the space station is destroyed by an intersellar energy beam which also affects their rocketship. The space crew crash land on Venus and are captured. They learn the planet is under the dictatorship of the cruel Queen Yllana (Laurie Mitchell), a masked woman who has most men, keeping only mathematicians and scientists on a prison colony moon which orbits Venus. In the palace, the astronauts are aided by a beautiful courtier named Talleah (Zsa Zsa Gabor) and her friends (Lisa Davis, Barbara Darrow and Marilyn Buferd). The women long for the love of men again and plot to overthrow the evil queen. When Patterson has the opportunity to remove the Queen's mask, he discovers she has been horribly disfigured by radiation burns caused by men and their wars. In a fury, the Queen decides to destroy Earth and its warlike peoples but she dies in the attempt. The Venusians are free again to enjoy the love of men.
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34
The film starts with narration from Mother Nature herself, discussing an experiment with Father Time that went horribly wrong; On the fictional island of Wongo she has created a tribe where the men are brutish & ugly & the women exceedingly beautiful. She then creates another tribe on a nearby island called Goona where the women are repulsive & the men are strong and handsome; For years the two tribes lived unaware of each other's existence, until ape men from across the ocean attack the village of Goona. The tribe sends the son of their king to seek help against the invaders. The son finds the island of Wongo the day before the village men are to pick their brides & the women, seeing the handsome prince, begin questioning their life among the ugly brutes that dwell in their village. The men growing jealous of their visitor, plan to **** him. The women of Wongo, finding out about the plot, risk their lives to protect the handsome prince, in doing so offending the crocodile god of the Wongo people [portrayed by stock footage of a crocodile and rubber model]. The women are rounded up by the village men & sent into the wilderness until the reptile god has drawn blood for the slight; The women banding together, watch each other's backs until the ape men arrive at their village & the women dispatch the invaders to their god, the women then leave in search of the men that had abandoned the island of Wongo. In Goona, the men begin their rite of manhood, in which they go into the jungle without weapons for a month. The women of Wongo coming upon the weaponless men, decide to take advantage of their helplessness & one by one, claim them in marriage; The film concludes with all the beautiful men and women married & the ugly men with the ugly women.
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Aug 27, 2018
Aug 27, 2018 at 9:49 PM UTC
The Wild Women of Wongo
The film starts with narration from Mother Nature herself, discussing an experiment with Father Time that went horribly wrong; On the fictional island of Wongo she has created a tribe where the men are brutish & ugly & the women exceedingly beautiful. She then creates another tribe on a nearby island called Goona where the women are repulsive & the men are strong and handsome; For years the two tribes lived unaware of each other's existence, until ape men from across the ocean attack the village of Goona. The tribe sends the son of their king to seek help against the invaders. The son finds the island of Wongo the day before the village men are to pick their brides & the women, seeing the handsome prince, begin questioning their life among the ugly brutes that dwell in their village. The men growing jealous of their visitor, plan to **** him. The women of Wongo, finding out about the plot, risk their lives to protect the handsome prince, in doing so offending the crocodile god of the Wongo people [portrayed by stock footage of a crocodile and rubber model]. The women are rounded up by the village men & sent into the wilderness until the reptile god has drawn blood for the slight; The women banding together, watch each other's backs until the ape men arrive at their village & the women dispatch the invaders to their god, the women then leave in search of the men that had abandoned the island of Wongo. In Goona, the men begin their rite of manhood, in which they go into the jungle without weapons for a month. The women of Wongo coming upon the weaponless men, decide to take advantage of their helplessness & one by one, claim them in marriage; The film concludes with all the beautiful men and women married & the ugly men with the ugly women.
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35
The morning scene from the balcony of the flats is before you, the sky light blue, washed out, dim clouds. You see kids playing on the pram sheds, in the Square, skip-rope or football or riding bikes too big for them. Down below, Lydia, comes out of her parents' flat and stands on the red tile doorstep and peers out. You call down to her and she looks up. You ask if she wants to go see steam trains at London Bridge. She says yes and comes up the stairs. The coal lorry stops across the way; the coal man gets down from his cabin. Two boys play cowboys down by the fence, riding their invisible horses out of sight. Lydia comes up on to the balcony. She's dressed in her dull red dress; her straight hair is brushed unskilfully. You tell your mother where you are going and she says ok, but be careful. You walk with Lydia down the concrete stairs. She talks of her mother's moans and her father's talk of overtime and where he's going and on which train. You reach the ground floor and walk through the Square, down the slope and along Rockingham Street. You talk of the film your old man is taking you to see on Saturday, some Western film. She talks of her big sister coming in at an unsociable hour(her mother's word) and puking most of the night keeping her awake on and off. A train steams over the railway bridge noisily. You walk past the post office and turn right. Traffic passes by. You show her a pack of stamps you bought for your stamp collection. She looks at them disinterestedly.  You walk past the police station where you once took a pigeon that had a damaged wing trapped in cardboard box. You wonder what happened to it as you walk past. The policeman stared at you then the box and smiled at you an innocent child.
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Mar 9, 2018
Mar 9, 2018 at 3:42 AM UTC
Morning Scene 1958
The morning scene from the balcony of the flats is before you, the sky light blue, washed out, dim clouds. You see kids playing on the pram sheds, in the Square, skip-rope or football or riding bikes too big for them. Down below, Lydia, comes out of her parents' flat and stands on the red tile doorstep and peers out. You call down to her and she looks up. You ask if she wants to go see steam trains at London Bridge. She says yes and comes up the stairs. The coal lorry stops across the way; the coal man gets down from his cabin. Two boys play cowboys down by the fence, riding their invisible horses out of sight. Lydia comes up on to the balcony. She's dressed in her dull red dress; her straight hair is brushed unskilfully. You tell your mother where you are going and she says ok, but be careful. You walk with Lydia down the concrete stairs. She talks of her mother's moans and her father's talk of overtime and where he's going and on which train. You reach the ground floor and walk through the Square, down the slope and along Rockingham Street. You talk of the film your old man is taking you to see on Saturday, some Western film. She talks of her big sister coming in at an unsociable hour(her mother's word) and puking most of the night keeping her awake on and off. A train steams over the railway bridge noisily. You walk past the post office and turn right. Traffic passes by. You show her a pack of stamps you bought for your stamp collection. She looks at them disinterestedly.  You walk past the police station where you once took a pigeon that had a damaged wing trapped in cardboard box. You wonder what happened to it as you walk past. The policeman stared at you then the box and smiled at you an innocent child.
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41
She stopped at a passage of a page she'd been reading. You know what aphelion is? I looked out at the coal wharf over the way. No idea, I said, thinking maybe a villain of some kind. She drew her finger across the page. Means the furthest point in a planet's...she hesitated, in a planet's orbit from the sun, she said, turning to gaze at me. What's the book? I asked, looking away from the coal wharf, looking at her with her straight brown hair and deep brown eyes. I borrowed it from the school library, she said, about science. I looked at the book's cover with planet's, plants and two pictures of animals. She said about her big sister puking in the night into a bucket. She closed the book and placed it on the grass. I wondered about a planet and its orbit, but the image of sister puking came to mind pushed the planet away, and whatever the scientist had to say.
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Feb 24, 2018
Feb 24, 2018 at 8:05 AM UTC
States of Mind 1958.
Anne stuck her tongue out at the back of the departing nun. A third degree on her bad behaviour with the other kids at the nursing home and her attitude with other nuns had been noted. The stump of her amputated leg throbbed; her absent toes itched. The nun crossed the lawn and disappeared into the home. The Kid walked over to where she sat in her wheelchair and sat beside her. What did the penguin want? He said. She's had complaints about me, Anne replied, the sick prats have grassed. He gazed at the leg stump where she'd pulled up her red skirt. Looks redder than usual, he said. Have your eyeful, Kid, she said moaningly. Have you showed Sister Paul? He said. I wouldn't show her my backside if it was on fire, she replied, pulling down her skirt. Push me out to the beach, Kid, I need sea air, she said. O.k., he said, and pushed her wheelchair along the avenue of trees to the back gate and out by beach and sea. Breath in the air, Kid; this is it; the wildness of the sea and the wind blowing free.
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Sep 30, 2017
Sep 30, 2017 at 12:50 PM UTC
Girl and the Sea 1958.
Lydia's father was up early he was on an early shift. Lydia got up and drifted into the sitting room where he sitting at the table eating toast and sipping his tea. Up early Princess couldn't you sleep? Gloria's got most of the bed and she throws her arms out when she's sleeping, Lydia said. Her father looked at her: what are you upto today? Might go out with Benny. Where you going? Lydia shrugged: don't know depends on where we decide. Her father smiled: quite a couple aren't you. Might go to Victoria train station see the steam trains, she said. Mind the roads, he said. We'll probably go by bus if Mum'll let me have the fare, she said. He raised his eyebrows: good luck with that Princess; more chance of getting blood out of a stone. He finished his tea and toast and left. She sat there gazing at his empty all cup all alone.
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Sep 6, 2017
Sep 6, 2017 at 12:45 PM UTC
Blood From A Stone 1958
Shush shush the steam train started up. Lydia and Benny watched as the last few passengers jumped aboard the train. The guard waved a green flag When shall we go to the seaside? she asked. When we get enough money he said. How much do we need? she said. Don't know I'll ask at the ticket office he said. So they walked back up the platform passed the ticket collector who had let them on to the platform to watch the trains. Benny went to the ticket office. A man with glasses looked at him Yes? How much does it cost for two kids to go to South End? The man looked at him then looked at a book. Lydia stood patiently behind Benny. The man told Benny the fare and Benny said thank you. They walked back on to the platform to watch the next train come in. He told Lydia the amount of money needed for the fare. It'll take us ages to get that money she said. Guess it will he said. Ages she repeated. Want a glass of milk and a biscuit he said. Sure she said. So they walked to a small cafe on the railway station and had milk and biscuit instead.
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Aug 11, 2017
Aug 11, 2017 at 4:07 AM UTC
WATERLOO TRAIN STATION 1958
Lydia and I were sitting on the grass at the side of Banks House. We were playing Snap. She was wearing an old dress which had seen better days and grey socks which were once white. A big row this morning she said. What about? I asked. Well Dad came home late again last night drunk and was singing at the top of his voice some Irish song and Mum was not pleased. Anyway it started again this morning and ended with Mum throwing cups and saucers at him and him ducking trying to reason with her but once she off on one you can't reason with her so I came out Lydia said. Sounds exciting I said. Well it wasn't she said don't your parents ever row? Now and then I said. SNAP Lydia bellowed. I looked at the cards. I wasn't looking I said. Well you should have been she said. We started again. Will we row like that? she asked. When? I said. If we get married she said. We're only 9 and 10   I said bit early to ask that question. She kept putting her cards down quick. But if we did? she said. Guess not I said. When in fact it never entered my boyhood head.
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Jul 23, 2017
Jul 23, 2017 at 1:57 AM UTC
WOULD WE ROW 1958.
He would say when he got in from work: how's the dog and kids? Did you get my cigarettes and did Joe ring about the horses? Then he'd sit down in his armchair, sweat seeping into the chair back, and say: get us a beer. You'd get him a beer and flick off the top. He'd down it with that horrible slurping sound, and he'd turn on the TV box and sit staring at it. The dog bit the postman and the kids have played up something bad you'd say. He'd laugh at the TV, some programme he liked and say nothing about the dog or kids. Just slurp the beer and burp and laugh. You at the stove getting the dinner; and you could have stood there naked and he wouldn't have turned a hair. You wish it had been Max you went with instead of him. But Max was too quiet and was careful with his dough and said *** was only for after marriage and he only wanted the two kids a boy and girl. But no you went and married this **** and married merry hell.
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Jul 22, 2017
Jul 22, 2017 at 12:04 PM UTC
MOLLY'S MOAN 1958
She was a red head wearing a red dress smoking a cigarette sipping her coffee. You were sitting beside her black suit blue shirt black tie holding a cigarette between fingers. I think he suspects she said. Suspects what? You said. That I'm seeing someone else. You took a drag on the smoke does he suspect who? You said. Not yet but he will fish and get to find out. She inhaled smoke and looked at the guy behind the counter serving another man along the bar. Let him fish I don't give a **** you said. Maybe we should go off together she said. Go where? You said. Anywhere as long as it's away from him she said turning to look at you. I ain't going no where you said if you want to leave the **** come to my place he won't find you there and if he does he'll have me to see him off. She looked away and inhaled smoke again. He has a temper and a gun she said exhaling smoke as she spoke. Up to you Honey take it or leave it I don't run no place you said. The jukebox started up some Elvis guy singing. She sat silent moodily gazing at her mug of coffee. I'll see how he goes she said can't leave just yet see you tomorrow afternoon? Sure you said you bet.
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Jul 13, 2017
Jul 13, 2017 at 3:01 PM UTC
THORNTON'S OFFER 1958
Lydia's old man opened the door after I knocked. Come for the Princess have you? he said. Yes please I said. He looked at me where you going? Morning matinee at the ABC. He nodded how much is it? 6d I said. LYDIA Benny Boy is here he called out over his shoulder Lydia came to the door she looked half asleep. Here her old man said and gave her some coins into her small palm behave or I’ll tan your backside he went back inside. Morning matinee I said. O of course she said I forgot what time does it start? Soon I said.   Won't be long come in a minute. So I entered into the passageway as she disappeared into the kitchen/bathroom. Her mother came out of the kitchen eyed me she won't be long just having a quick wash and brush her hair come in the sitting room she said. I followed her into the sitting room. Lydia's brother Hem was sitting eating his breakfast he looked at me then looked away. We don’t talk since I punched him down after he threw a firework at my sister the year before. I sat on a chair and looked around the room for a few minutes in silence. Then Lydia came ready she said. So we went out and off through the Square sorry I wasn't ready she said I forgot. No worries I said. We walked down the slope and away the start of a new day.
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Jul 2, 2017
Jul 2, 2017 at 3:34 AM UTC
LYDIA NOT READY 1958
Bennett was a big boy a bruiser to look at but he was a ***** cat once you got to know him. He loved history like I did and he sat at the desk in front of mine. He was wide so I couldn't see past him so had to look over his shoulder to see the board. Bennett Mr Finn said where was the Magna Carta signed? At the bottom Sir Bennett said. Fits of laughter and guffaws. QUIET Mr Finn shouted I meant where about in England was it signed the teacher stated firmly. Runnymede Sir Bennett said reddening. Anyone else where is Runnymede? Kids looked at each other. I put up my hand (a rare occurrence). Yes Coles? Finn said eyeing me. Surrey Sir I said. Right who signed the Magna Carta? Finn asked anyone except Bennett? King Henry VIII said Dennis wiping his finger (snot green) on his grey trouser leg. Finn shook his head anyone else? ****** Mary a girl sitting next to Helen said. Finn sighed Coles? King John Sir I said looking at Bennett's back broad as an oxen. Correct Finn said and wrote it on the board with dates and names in white chalk. There was silence no murmuring no grinning no talk.
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Jul 1, 2017
Jul 1, 2017 at 3:51 PM UTC
BENNETT AND I 1958
Fredericks was a tall kid who lived opposite the school. He had black straight hair parted like ****** but without the moustache. We weren't friends just acquaintances who shared gossip or new items or swapped cigarette cards of footballers or movie stars. One day he stopped me outside school. Hey Coles you know girls don't have thingys. Thingys? I said. Yes you know thingys to *** from. Kids were passing going into school some hung outside waiting for the bell. Why not? Don't know he said. How'd you know? I asked. He looked back at his house. My big brother has this pin-up on the door inside his wardrobe some **** dame he said. How comes they don't have one? How do I know he said. Maybe it got a disease had to have it taken off I said. He didn't look convinced don't think so Coles he said. What they got then? He shrugged his shoulders nothing just a big bush he said. I nodded looked back at the school. You watch Gunsmoke with James Arness last night? he said. Yes it was good I said but don't think he's as fast as Wyatt Earp. No guess not or as flashy as the Cisco Kid Fredericks said. A prefect rang a hand bell standing on the top of the outside stairs. Best go I said. Yeah I might ask Finn about the girl's thingy Fredericks said. Yeah do that I said. He went up the stairs two at a time. I followed walking slow that was something new I didn't know.
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Jun 20, 2017
Jun 20, 2017 at 6:52 AM UTC
FREDERICKS AND SOMETHING NEW 1958
Biggs was a small kid had wing nut ears and bulgy eyes. We played games of football cards against the wall of the junior school playground in morning break. Usually I won but I liked him so let him win games so I could see his smile which would spread from ear to ear. One morning Cogan came over and took Biggs's cards from the ground and held them against his shirt. You want em Biggs you come get em Cogan said. Biggs's ear went red and his eyes bulged more. Let him have his cards back I said. What's it to you? shudup or I'll take yours as well he said. I picked up my cards and said is that your face or are you breaking in for a friend? You talkin to me? Cogan said. I stuffed my cards in the back pocket of my trousers. If you heard what I said why ask? I said. Cogan looked past me at Biggs. If you want your cards come get em he said. Biggs headbutted Cogan's gut and the cards flew in the air. There was a rumble of bodies and fists and legs. I picked up Biggs's cards and held them again my chest and stared. A teacher came and broke them up and took them inside to see the head. I pocketed Biggs's cards and walked ahead.
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Jun 18, 2017
Jun 18, 2017 at 10:36 AM UTC
BIGGS AND I 1958.
Vole was a small kid wore narrow wired framed glasses cropped mousey hair piggy eyes. He sat next to me in class smelt of yesterday's dinner and last week's wash. But I liked him he was funny and generous with his sweets and the occasional cigarette which we would smoke on the bomb site in a bombed out house on the way home from school. In class he was forever putting up his hand to answer a question or be allowed to go to the bog if he couldn't hold on any longer. He got into a fight in the playground at mid-morning break with some kid from another form. He was a big ugly kid with large fists and curly hair. Vole got smacked up but never went down. He caught the big kid with a cheeky left to the big kid's gut. But then the prefects came and the crowd broke up and Vole hid behind me as the prefects searched the playground and only his heavy breathing made a sound.
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Jun 16, 2017
Jun 16, 2017 at 3:43 AM UTC
VOLE AND I 1958
Ingrid's sister opened the door of her house. I asked if Ingrid was there. She looked at me frowning O it's you Benny she said no she's not here any more she's living with an aunt by the sea. I looked at her then looked past her into the passage behind in the hope Ingrid would appear. Why is she there? I said. Our mum's in prison for life so it was thought best for her to stay with our aunt who is older and can give her a more stable home she said. I see I said have you an address so I could write to her? She disappeared inside for a short time. I stood there on the doorstep waiting. She came back and handed me a piece of a paper with an address on it. How is she? I asked. Very upset of course her sister said but she'll settle with our aunt ok. I nodded and she closed the door. I walked back up the New Kent Road with the piece of paper guessing I'd not see her again. The sky darkened and began to rain.
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Jun 10, 2017
Jun 10, 2017 at 3:45 AM UTC
INGRID'S DEPARTURE 1958.
I knocked at Lydia's front door there were voices beyond the door. Then the door opened Lydia stood there. Coming out? I said. Not sure if I can she said they are rowing. I looked at her the unbrushed hair lank and straight her pale face and staring eyes. Why not? don't they always row? I said. Can't just ask while they're rowing Benny she said. Ok I'll be on the fence round the corner for awhile I said. She shut the door I walked round the corner sat on the green fence. The sun was out but lukewarm the sky was dull. Rowing parents was nothing new but I had to admit her parents rowed often usually about her old man's boozing. The milk man came past on his horse drawn cart the brown horse had a nosebag looked disinterested in his surroundings. Lydia came around the corner and sat on the fence next to me. Can't go far Dad said not more than a stone's throw away she said. Depends who is throwing the stone I said and how far they can throw. You know what I mean Lydia said moodily. So what do we do? I said. Talk about going to Edinburgh she said on that steam train we saw. I mused on the train ok so when and what we will need I said. So we got off the fence and sat on the grass within a stone's throw of her flat. We talk about going to Edinburgh on the steam train but just as we got to the list of things it began to rain.
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May 17, 2017
May 17, 2017 at 3:41 AM UTC
A STONE'S THROW 1958.
I had an altercation with the William brothers on the stairway of the flats. I had the tall one on the chin but the shorter one winded me with a crafty punch to my gut and I went down. The tall one put in a punch while I was down then went off up the stairs out of sight. I stood up and looked over the balcony at my manor below and off to the horizon as far as the eye could see. Blue skies pigeons in flight kids on and by the pram sheds the coal man delivering coal over the way. Girls playing skip rope or hand standing against the wall. Next time I'll have the short kid first leave the tall one after to pick at will. But a punch to the gut leaves me feeling out of salts and ill. But that's life some you win some you lose life is what comes not always what you chose.
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May 16, 2017
May 16, 2017 at 7:07 AM UTC
BENNY DOWN BUT NOT OUT 1958.
I went with Benny to Waterloo train station it was busy people rushing about getting on or off trains. The white and grey steam rising up to the station roof or puffing out across the platform. Your old lady wasn't keen on me taking you here again Benny said. I looked at him I think it's the money thing I said remembering Mum at the front door that morning eyeing him and me. She went and got the money. Only a few pence on the bus he said. That's how she is I said. A loud burst of steam took our focus. Benny smiled don't you just love that that power and the smell of these engines? Yes I do I said. A porter walked past pushing a wagon of mailbags his hat pushed back on his head sweat on his brow. I wonder where my dad went today? I said he went to Bristol the other week. Does he go to Scotland? Benny said. I guess he must I said. Edinburgh? He asked. Not sure I replied. Want to go one day Benny said. Me too I said. Could go together he said. I liked that idea the long journey looking out the window seeing the smoke from the engine going past the window. A loudspeaker gave out information about some train. Out beyond the station came hard rain.
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Apr 30, 2017
Apr 30, 2017 at 12:03 PM UTC
LYDIA AT WATERLOO 1958
Lydia tried to spin Benny's six shooter around her finger as he had done but it slipped off her thin finger and fell on the grass. How do you do it and I can't? she said. Practice and practice he said picking up the gun and showed her how it was done. Can I try again? she said. He handed her the gun she put on her finger and tried again but it fell off onto the grass once more. He picked up the gun and said here let me put it on your finger and so he did and held it there now turn your finger slightly upward and spin it. He released her finger and she raised her finger spun it around and it stayed on. She said done it done it and looped the gun into her hand now I'm a proper cowgirl. Sure are Benny said do it again. She spun the gun on her finger again and it spun around. Good see you can do it he said. He took the gun from her finger and spun it around his finger quick and slipped it into his holster at his side. She was pleased she'd done it. They walked off the grass and back up the slope into the Square as it was lunchtime and her mother said not to be late. So he left her at her door and went up to his flat to see if his mother had his lunch also. He liked that he'd showed her how to spin the gun and it had been good and fun.
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Mar 27, 2017
Mar 27, 2017 at 12:02 PM UTC
LYDIA'S SPIN 1958
Fireworks Benny's old man said for you to use and enjoy but be careful. So Benny and his sister Naomi went down the concrete stairs of the flats and into the Square with the small box of fireworks. Benny lit them they and others nearby watched and were thrilled. After it was over the other kids clapped. Then Hem Lydia's brother threw a banger at Naomi she screamed and Benny chased Hem but Hem ran fast. He ran through the Square down the slope leading to Rockingham Street. Benny was on his tail filled with anger that Hem had thrown the firework at his sister. Hem panicked when he saw Benny was on his tail ran across the road without looking but nothing was coming. Benny ran after him cornered him against the wall of the big factory pinned him there punched him with fury. Hem pleaded just for a bit of fun but Benny whacked him until his anger had seeped. He walked away leaving the boy on the ground holding his stomach. The evening was creeping in the sky darkening. Benny walked back up the slope looking behind at the big moaning dope.
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Mar 22, 2017
Mar 22, 2017 at 4:35 AM UTC
FIREWORKS 1958.
Drizzle came Lydia gazed out her bedroom window. She had wanted to go out now she'd have to wait. Her big sister Gloria slept in the bed behind her snoring. The boyfriend lay beside her mouth open sleeping soundly. Lydia sighed she had to sleep in the cot bed because of him which was getting too small for her. She looked as raindrops hit the windowpane. The radio was playing in the front room her mother singing along to some big band music. She wanted to go out and see Benny and go somewhere but now she had to stay in until the drizzle stopped. She could see the green grass and the abandoned bomb shelter outside the window of the flats. Sometimes kids played on it making out it was a castle or a fort to be fought over. Drizzle fecking drizzle she whispered not letting her mother hear her or she'd wash her mouth out with soap and water her 10 year old naughty daughter.
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Mar 20, 2017
Mar 20, 2017 at 4:42 AM UTC
DRIZZLE 1958.
Lydia watches trains beside me. Waterloo train station people pass for the train some in suits black pinstripes and women in all sorts of dresses or long skirts. What you think my dad said this morning? Lydia says to me. No idea I reply. Go away on a short holiday she tells me. Where about? I ask her. To Rams gate the seaside she replies. A whistle blows loudly a green flag waves madly the steam train puffs out steam grey and white going up to the roof. All of you? I ask her. Gloria's not going she's staying behind us so she can look after the old flat and she works she replies. The train's gone. Wonder where that's gone to? I ask her. Somewhere nice I expect she replies and are you having a holiday? She asks me. Don't 'spose so I reply go out days I expect. Another train comes in noisily and we watch as it stops hissing steam doors open passengers open doors and get out then walk on the platform with tickets to get out. Exciting isn't it? Benedict (she calls me not Benny). It sure is I reply taking in the steam smell and the sounds and the sight of power of engines we sit there on the seat without care.
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Feb 10, 2017
Feb 10, 2017 at 3:37 AM UTC
WITHOUT CARE 1958
Sunday morning and I walk down the concrete stairs to Lydia's flat on the ground floor over by the end. I knock on the door; her mother answers and stands there a cigarette in the corner of her mouth and her hair in a turban hiding curlers. Yes? She says, eyeing me. Is Lydia in? I say. Yes she is why? Her mother says. Is she allowed out? I ask. She went out yesterday with you to the cinema where now? She asks. Just out for a walk to the park maybe, I say. Park? What park? Jail Park just over the way, I say, indicating with my thumb. She looks at me sternly: she was out with you yesterday, I can't have her going out every day; last week it was the train station looking at steam trains, now the park, she moans. We like steam trains, I say. I don't care, she says. Lydia creeps to the door and appears by her mother's side. Hello Benny, she says. Her mother looks down at her: thought you were making the bed? I was going to but Gloria's still asleep snoring, Lydia says. Her mother inhales deeply on the cigarette and looks past me at the milkman delivering milk: Hey Milkie three pints today, she bellows, making Lydia jump. Righto Misses, he replies with a nod of his head. Can she go to the park? I ask her mother again. The mother blows out smoke like a dragon without a flame: I suppose so, she says, but not late dinner's at midday not later understand. Yes of course, I say, and Lydia confirms. The mother goes back indoors. The milkman puts the pints of milk on the doorstep. Lydia and I walk across the Square making our way to the park for an hour or two having nothing much else on a Sunday to do.
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Jan 10, 2017
Jan 10, 2017 at 5:01 AM UTC
ON A SUNDAY 1958.
Sunday morning and I walk down the concrete stairs to Lydia's flat on the ground floor over by the end. I knock on the door; her mother answers and stands there a cigarette in the corner of her mouth and her hair in a turban hiding curlers. Yes? She says, eyeing me. Is Lydia in? I say. Yes she is why? Her mother says. Is she allowed out? I ask. She went out yesterday with you to the cinema where now? She asks. Just out for a walk to the park maybe, I say. Park? What park? Jail Park just over the way, I say, indicating with my thumb. She looks at me sternly: she was out with you yesterday, I can't have her going out every day; last week it was the train station looking at steam trains, now the park, she moans. We like steam trains, I say. I don't care, she says. Lydia creeps to the door and appears by her mother's side. Hello Benny, she says. Her mother looks down at her: thought you were making the bed? I was going to but Gloria's still asleep snoring, Lydia says. Her mother inhales deeply on the cigarette and looks past me at the milkman delivering milk: Hey Milkie three pints today, she bellows, making Lydia jump. Righto Misses, he replies with a nod of his head. Can she go to the park? I ask her mother again. The mother blows out smoke like a dragon without a flame: I suppose so, she says, but not late dinner's at midday not later understand. Yes of course, I say, and Lydia confirms. The mother goes back indoors. The milkman puts the pints of milk on the doorstep. Lydia and I walk across the Square making our way to the park for an hour or two having nothing much else on a Sunday to do.
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You walk around the small cot bed pulling the blanket and sheet tidy. It's too small for you, but your big sister and her Spiv boyfriend occupy the double bed she once shared with you. You look at them there: him facing the wall, one hand over hers, and she lying there facing you, her mouth open as if catching flies, her eyes shut. The bedroom door opens and your mother stands there, a cigarette between her lips, smoke rising. Lydia, I've been calling you, that boy Benny's at the door, wants to talk to you, she says moodily. You leave the bedroom, closing the door behind you, and walk past the kitchen where your mother is, and walk to the front door which is ajar. Benny is standing on the red tiled doorstep. Hi Lydia, are you allowed out? I'm going to the flicks and wondered if you were allowed, he says, looking at you with his hazel eyes, the quiff of brown hair. You smile and say: I’ll ask Mum, see what she says, you leave him on the doorstep, and walk back to the kitchen, where your mother is sorting the washing. Can I go out with Benny to the cinema? You ask, putting on your little girl lost expression. Your mother looks at you through a cloud of cigarette smoke. Again? you only went last Saturday, she says, waving away smoke from her face. That was a week ago, you say. She sighs and stares at you. How much is that going to cost me? She says. 6 pence is all, you say, not mentioning 6 pence for an ice cream or ice lolly. All? What do you mean, all? 6 pence is 6 pence, your mother says, eyeing you. I'll do some chores afterwards, you say. She muses on the word chores. She closes her eyes a moment as if this might be a gesture of endurance. All right, just this once, don't make a habit of it, just because he goes every week doesn't mean you can too, she says, searching through her brown purse. She takes out a 6 pence coin and hands it to you. I expect a few jobs done for that, she says. You grasp the coin in your hand and say: thanks Mum. She puts her purse way and carries on sorting the washing, cigarette smoke rising again about her head. You walk to the door and say: Yes, I've got my money. You show Benny the 6 pence piece. Good, he says, didn't she give you any money for an ice cream? You shake your head, no didn't want to push my luck, you say. He nods and smiles. You go out the step, pull the door shut behind you. Benny waits for you. The morning sky is moving and a washed out kind of colour blue.
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Dec 3, 2016
Dec 3, 2016 at 2:30 AM UTC
NOT TO PUSH YOUR LUCK 1958.
You walk around the small cot bed pulling the blanket and sheet tidy. It's too small for you, but your big sister and her Spiv boyfriend occupy the double bed she once shared with you. You look at them there: him facing the wall, one hand over hers, and she lying there facing you, her mouth open as if catching flies, her eyes shut. The bedroom door opens and your mother stands there, a cigarette between her lips, smoke rising. Lydia, I've been calling you, that boy Benny's at the door, wants to talk to you, she says moodily. You leave the bedroom, closing the door behind you, and walk past the kitchen where your mother is, and walk to the front door which is ajar. Benny is standing on the red tiled doorstep. Hi Lydia, are you allowed out? I'm going to the flicks and wondered if you were allowed, he says, looking at you with his hazel eyes, the quiff of brown hair. You smile and say: I’ll ask Mum, see what she says, you leave him on the doorstep, and walk back to the kitchen, where your mother is sorting the washing. Can I go out with Benny to the cinema? You ask, putting on your little girl lost expression. Your mother looks at you through a cloud of cigarette smoke. Again? you only went last Saturday, she says, waving away smoke from her face. That was a week ago, you say. She sighs and stares at you. How much is that going to cost me? She says. 6 pence is all, you say, not mentioning 6 pence for an ice cream or ice lolly. All? What do you mean, all? 6 pence is 6 pence, your mother says, eyeing you. I'll do some chores afterwards, you say. She muses on the word chores. She closes her eyes a moment as if this might be a gesture of endurance. All right, just this once, don't make a habit of it, just because he goes every week doesn't mean you can too, she says, searching through her brown purse. She takes out a 6 pence coin and hands it to you. I expect a few jobs done for that, she says. You grasp the coin in your hand and say: thanks Mum. She puts her purse way and carries on sorting the washing, cigarette smoke rising again about her head. You walk to the door and say: Yes, I've got my money. You show Benny the 6 pence piece. Good, he says, didn't she give you any money for an ice cream? You shake your head, no didn't want to push my luck, you say. He nods and smiles. You go out the step, pull the door shut behind you. Benny waits for you. The morning sky is moving and a washed out kind of colour blue.
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