Take the packet firmly in the hand,
Peer at instructions, move closer
White on red, red on white,
A blur….. (Oh Parklife!)
Eyes peer harder….. Memory grasps
A distant image of mother making jelly
Move packet further away, twist in the light,
Little clues appear from the smudge
One hundred millimetres or millilitres, cubes, cut, stir
Or was it cubes, cut, stare….
**** these eyes,
Yesterday they worked fine,
When did I wake up so old?

© Nick Strong 2014

Vacant people with vacant peepers
stare with them fixed on flickering screens.
Monday morning's wide-eyed sleepers
sit missing the window's passing scenes.
Mere millimetres apart from each other,
they drift in worlds a million miles away.
Bodies so close, close enough to smother,
as the train rumbles along, they sway.

Two inches was the measure, of young Stevies blunder,
Digging out concrete, not knowing whats under.
He felt a nugget, that wouldn't yield to the Pick,
So he used the Jack-Hammer, until he got that "kick".
Caught fire on the spot, looked at me, shocked,
Died in flames, got a days pay docked.
Cut the main cable, Fifty millimetres, metric,
I know you hate to ask, but Friends aren't Electric.

Dennis stepped back, pleased with his graft,
Fell two hundred foot, down an unguarded shaft.
Been on the Grinder, cutting out steels,
So the Elevator boys could fix , their cogs and their wheels.
Never said a word, no shout or no fuss,
Dennis died like he lived, just one of us.

Me and Baz on a roof, we knew was asbestos,
Brittle like toffee, temperamental as Kate Moss,
Had no crawling boards, so we tip-toed like burglars,
Clinging on tightly, think Ivy on Pergola's.
I heard the crack, leapt to the hip-tile,
Baz clawed and scraped, resistance was futile.
They spread out the sand, where Baz hit the deck,
To mop up the blood, from a broken neck.
Health and safety, if's and but's,
Shoddy workmanship, taking short-cuts.
We have no say, we try our best,
Hard hats, harder boots and high-visibility vests,
Are all that we leave, not Time-Shares or Merc's,
Just daughters in tears, Dads not home from work.

The feet should descend towards the ground gently
But not quite touch
A few millimetres above will do nicely
Proceed thus through these parts in the darkness.

Here among the short grass blades,
Among the busy beetles
And the briefly alighting bees,
The sensitivities bleat.

Souls wounded, but still hanging on
At once in repose and contemplative
Rising soon, again, I'm sure,
To coalesce into corporeal beings
And to rage again toward the hills
Where all manner of adventures await.

The elusive necessity was plaguing his waking
Thoughts so long had it been numbed beyond
Reproach but like a scratch it had haemorrhaged
In his latent thoughts and then like a dove,
Bludgeoned, choked white turned crimson.

He had made them into fractured images, abstract
Monuments to his mind diluted thoughts of beauty.
But he needed to mould form once again. Those of
No addresses were his trail and error his fingers were
A master piece of arcane excellence, creation was to bleed.

He used a diamond headed drill thinnest you can get,
With that inclination he descended in to their thoughts
Targeting the synaptic transmission centres of where
Pain metaphorically existed. Like trimming roses he did
The same with the spine, peace of mind and body as one.

His perfection of his profession  had released his ominous
Side that  was now at play the ones that tendered his first
Tries were brain dead from the trial and error of his drill.
Then their was the unfortunate vein nicked her and there,
Some bled internal while others like waterfalls it descended.

No one ever discovered his human errors, all were ash
Cinders filled his  crematorium of hellish demise. For those
Now gone no pain just silence shards of bone all that's
Left is memories in wisps of fading smoke. That was the
Past now all that exists is his first of many creations.

The insertions were made bone muscles removed slowly
Like an artist his scalpel glides effortlessly it creates his
Vision of the beauty of the desires, depictions of what
He see's within them and creates it with flesh and bone.

"You are my creations of will and my perfections of canvass,
"I name you the Cheshire breed, look upon your grandeur,

They blink saying nothing but smile from ear to ear their lips
Gorged, plump, but all that whispers on their features are
Tears rolling down on their stapled smiles. He always liked
Pairs an image reflected in both their views of his twisted
Perfection and then released them on the watching world.

He felt like Noah leading them into salvation two by two, they
Were insignificant before but now they were a tapestry of flesh
Reinvented upon imagery of their own makings. Waiting for
His beauty to be eyed by the masses. As his new edition to this
Collection was now being created in the depths of his operations,
He stroked there hair never knowing what he had done to them.

Outrage monster they called him, he was an artist of unparalleled
Sophistication, in time they would admire his work. And so he
Readied the new forms, the radius also ulna and all ossa bones
Were removed. And so was birthed the clingers, huger's of
Self loathing. Neatly knitted they adhered to their ****** silhouette.

I release you beautiful creations of my inner most yearnings.
They couldn't scream a voice box severed, only tears descended
Upon themselves. Hooded they heard only a voice, it would
Linger for what life they deemed worthy to live. Screams were
Collected upon their sights at what was observed in dismay.
He expelled joy seeing his work displayed to  the masses via TV.

"My art of the flesh is descended to those lowly souls.
"All can now envisage my creative genius unbound,

"Now the final form can take place, the puppets will fall,

He had planned this endeavour for so long, no one was any the wiser
As he had planned this over years. So many had he seeded,
Only thought of missing time that they had for unknown reasons
Past out. But that was then and this is now, each was injected
With a cylinder only millimetres across but when a frequency
Released, then they would be like puppets without strings, they fall.

He would release his puppets upon the world, he released a
Message to the media that his puppets would fall down that
They would all lie in silence.  He told them of his art forms become
Flesh and this was verification of what he claimed. weeks had
Past and no words were heard, but then a video surfaced that
Would tell of his needing to create and that they would all fall.

"News at 6 the homicidal artist, has now released this video,
"VEIWERS DECRESTION IS ADVISED,

"Hello my puppets so many have a stringed along.
"Not knowing that you were mine all this time,

"I am an artist of the flesh, I must admit a spilt much,
"But they are but ash for artwork that fails isn't worth keeping,

"But to what is important my public, my new piece of creation,
"This has been a long time in the making patience is a virtue,

"Have you ever felt an itch, that cant be reasoned with,
"That itch is me beneath your skin, that's me,

"Now for the finally, this is going to be something people,

"I now cut the strings of life, you puppets of life no longer,

EXISTS,EXISTS,EXISTS,

Then all went silent in the news room, and then where shock
Feel panic arose. He just stopped mid sentence, then news came
In that the video had a submerged signal buried within its layers.
So many fell, their strings were cut in moments. But that wasn't
The worse for months people just died they tried to delete it.
But once on the web its always their to be looked upon.

"Curiosity was a killer, I dare you to watch,

They tried in vain, but he was a shadow in a thought, an urban
Legend of reality. So many surgeons were questioned. But self
Taught was their theory, how many had he killed before perfecting
His master pieces of flesh. their were a few copy cats but his were
The real deal. Two are still alive today he didn't implant them
His creations had to live. the others deemed life unliveable, sorry.

His last words would hang around the country if not the world
For a long time to come, he has never or she has never be found.

*"We are a tapestry of creation, let life be your art. For we must
Bleed to feel alive for without doing this how do we know were
Even existing or for that matter alive,

Inches apart in our nylon skin,
The distance electric.
You shudder in the corner of my eye
From centimetres to millimetres
But yet we do not touch.
A learning curve,
A lesson in self control
With no self involved.

Summer seems intangible
As if autumn’s been here for years.
The season becomes me:
A brown husk of what I used to be,
Falling away from you
Drifting gently downwards
Whilst you stand tall and proud,
An arching trunk.

But inside you’re rotten.
I think I always knew.
I could slice into your chest
And black would ooze
Like the infected sap
Of a diseased willow
Bending under the strain
Of your bitterness.

Yet to the eye you’re pleasant.
And your voice still rings the same
As when it rang in my ear
Under laboured breaths
Of lusts and desires.

I check myself again
And count the distance between us
Which spans across miles and eras
While you’re seated by my side.
Planes of existence
Separate dimensions
But somewhere the twain shall meet.
And I know that.

Sometimes I want to run.
This closeness is too much distance
For me to bear.
The world is my playground
But I only want your swing
And the motion does not cease,
I do not have the will to stop it.

So I keep the same rhythm
And maintain the distance
Across the inches between
Our nylon skin.

Mmmmmmmascapone
with sun drenched
honeyed figs
soaked in sweet wine
I revel in your taste
close my eyes
your flavours divine

You are worth every
savoured minute
as you pass
through my lips
that go straight to form
extra millimetres
of flesh on my hips.

We were frolicking through the streets, amusing ourselves
with what was noting less than bliss.

"Points mean prizes my friends,

"Knock the door go on,
"You do it man,

As they walk up to the door one is smiling the other of a
nervous disposition, "relax man,  they discuss the doorbell
or the policeman knock?
The knock is better louder of course attention grabbing
but then other neighbours will hear its echo and curiosity
will awaken them to phones and regrettably police.

The door bell is rang, but not a murmur so repeatedly
they tap it until luminosity awakens and words of
profanity dripped out like a leaky tap. "Dam,
Looking at each other, as hallway lights emerged and
footsteps danced down the stairs a melody of F's P's
and a kaleidoscope of others painted the air.

If I had a swear jar on this house I 'd be a rich man,
as he unlocks the many bolts. "Not a trusting man I see,
The door takes an age to open as we wait eagerly and
then he grinds it open slower than a snail in a race
with a bullet we start to get frustrated.

"Foot meet door, door meet foot,

As the door releases back and the chain is deprived of
its clasping the gentlemen is thrown back not with a
racket but more like slow motion. Then he hits the floor
Like china thrown from a fourth storey balcony.
Then there is silence, "Check his pulse man,
As one of them linger over him listening to what
ever sign of life is left and then like he was reanimated
from the dead he lunges forward and grabs a clump of
hair. One laughs while the other one screams in a girly
kind of shrike. Composing himself quickly, one swift
five knuckle plant and again the gentlemen is out cold.

"You scream like a girl man,
"Did you see that, it was like one of those zombie flicks,
"Ye right, your just a wetter ma man,

As they stood over the man, now joined by his hysterical wife.
Luckily they always carried a roll of duck tape, you never know
when this will come in handy. As the other wrapped it tightly
around her thin lined lips, and the storm became a drizzle of
crying murmurers. Looking at each other knowing that this only
works in the dark they thought of ways to awaken the sleeping
beauty?

"I'll punch him, "Really that got us here in the first place,
Pondering on thoughts one skipped into the adjacent room,
"Dude what are you six,  A silence of embarrassment lingered
as into the kitchen he rummaged through the cupboards like a
homeless dog in the litter bin. Looking in the fridge he found
what was needed.
"What ya going to do rub it under his nose that kipper stinks,
"Some thing like that,

He unwraps it gagging at the odour that perforates the air,
"How can you eat this it smells like a prostitutes well used bits,
The woman smirks in a half terrorized quarter amused mumble.
As he nears his prey fish wrapped in a hand towel, whiffing it
below his nostrils. This isn't working the thought, "F#ck it,
Raising his arm up in the air he slaps the unconscious gent clear
in the chops. He stutters awake in confusion wandering what
was happening then in realization he speaks in ferocity.

"What the hell you doing my house, violating our residency,

"Now that's we like the feisty ones,

An edged smile greets the bound hostages, then the rules are
read out, "Are we listening, the untapped swear tin is about
to release a tirade of profanity on both so they bind his mouth
with what is needed (Shut Um Up Duck Tape) [tm] then silence
is blessed on there ears and they begin quickly to explain the
happenings they find themselves in.

"Why you slumbered we went through your thinks,
"Madam that was quiet a section we found in the bedroom,
"Sir are we on the limp list, there are tablets for that,

"Rules stick to them and maybe you'll survive,
"Not and a lot of bad things can happen,

1. Try to alert anyone they and you die.
2. If you try to escape we have family members addresses
we will hunt them and end them with no hesitation.
3. Have fun as your life depends on it, be imaginative.
4. We have rid the house of any and all knives and blades
5. creativity is the master of invention, you understand.

As the old guy rumbles on trying to speak, he un-tapes
his mouth and listens to his frustrated rabbling's.

"How we know you'll not just **** us,
"This isn't our first or 26th no 27th in fact rodeo.
"There were six of us unfortunately there have been
winners and losers on both sides,
"We are but three lonely shepherds now,
"Three I only see two?
"Our friend is outside guarding the entertainment value
of this diverting fun tonight,

And then without words he said two his playthings,
"You have to the count of 100 to hide to do what must be done
make your peace fight or die its your choice,

They untapped there mouths as to not be muffled of sound
easier to hear on the ear if there crying in fear, and with that
the gentleman gives a capture a five knuckle tap.

"Good shot, and good on you, now run dead man walking,

They both scarpered hand in hand, love will **** you the
other man thought as he watched them run like rabbits.
1,2,3,4,5,6,7,8,9,10.................100,
You wouldn't believe it but a hundred seconds takes
quite a long time in the aspect of what were doing.

They at first play games as stomping upon the laminated floor,
so many had ran when they had done this, Idiots. but these
two never flinched, hats off to there courage. Then tactic No2,
we know where you are, were going to come to play with your
insides with our loving blades they like to penetrate you deeply.

As wandering feet did walk on the cold floor they heard the
scurrying of ill footsteps, "we have a rat scampering beneath
our very feet, Both with smiles lingered on the basement footsteps
and slowly descended as what was waiting clambered around in
aimless wondering. Both thought it was the lonely cowering wife.
Not as once thought as the swear box in the darkness gave birth
to profanities and in the midst of our arrival he was weeping like
a new born child. Our knifes were his voice as blood silenced it.

We wiped the memories of his last lingering moments from
the existence of his blade, this fool thought he had strength but
in the end it bled out faster than others before him.
But wait a moment what about the one that blubbered her
fear in a cascade of tears where was she hiding?
"I can smell your fear it sweetens the air,
Both separated to find and cull the last of this herd.

"Please don't hurt me,
"I'm all alone,

He snuck through the hall way hearing here speech in the
darkened bedroom. His knife drawn, to plunge into its
awaiting pray. heading towards the cupboard he thinks
the prey is getting easier these days. "Found you, as
he opens it wide to find a tape recording on repeated play
and a note saying heel *****.... A confused look on his face
till blood seeped silently down his face. In rage he swipes
missing her by millimetres, then she says one final word.
"These are $500 shoes, and gouges it deeply into his throat.

Screaming in gargled silence, his last sight was her giving him
the finger and her foot gently crushing his throat. She got her
manicured fingers and gently grabbed her neck, cracking the
stress out with each crunch.
"There were three little pigs now there are two...
"Oink, Oink, she giggled in nervous thought.

He stood on the stairs shouting in a lulled voice his partners
name, but with no echo of voices he knew that the game was a
foot and another of his clan had paid the ultimate price.
So the husband with all his voice was a lamb to the slaughter
but the wife, the quiet ones are always the ones to look out for.

He was more cautious now that only the two of them breathed,
they were both the prey but who would be the winner of this contest?
he looked upon the box emptied earlier in haste, the gun?
looking inside a note was penned in scribbled in quickened haste.
"If your reading this well done you found only one of my guns,
"BANG,

He jumped back in embarrassment, he looked around in case the
other was lingering in silence behind him. But no one was there
to his pride and ego he sighed out loud. now was the time to seek
the prize, the hunt was needed as in the next room he found the
still warm but deceased comrade with the heel still in his neck.
"That is so not your colour my man,
He thought there isn't many places to hide in this house, yes it
was larger than the pervious ones but that was half the fun or
was It half there down fall?

She crept within the walls this house was of the cotton days,
hiding those needing escape, through the mirror she saw him
wanting nothing more than to end his life.. but she had no
weapon, or was that a false thought as there were the old swords
Sitting ideal in the loft. They were still sharp as she had found out
not but a few months ago. Paper cut my ****... it needed six stitches
but that had now healed as she subconsciously ****** her finger.

He was getting agitated at the aspect that he maybe next,
but brushing aside that thought he went into the mode of hunter,
seeing if odours of perfume lingered in the air but noting greeted
senses except the smell of blood festering on the air.

"Come out and play I haven't got all night to linger in this place,

She could hear fear in his voice he tried to hide it beneath his manly
fasard that was crumbling like a weather worn cliff on the presapace
of collapse. She was a very varied woman that they didn't know,
fear had collapsed her in the first moments but now that had faded
like a sunset, she was a ventriloquist by trade in her youth quite the
entertainer. But she was retired and welcomed the rest, but no time
was there to catch a breath let alone to breathe.

He was starting to think, he should count his loses and leave.
then he heard voices but not from one spot but other places in
the house. Unbeknown to him there was an intercom system
and she was throwing her voices though out the house.
"Who is that , what do you want, How could there be more
than one? There was only two he thought, were  they wrong when
they entered this house? A lone wolf that needed the blood before
his blood was spilt.

She was happy that she took out one with her skills, now it was
the other two players turns she was going to quarter back slap the
hell out of this final invader of her sanity. But how could she play
him? Her husband was dead, she knew that for a fact they were bragging it through out there gloating verses. This was her moment
to show who the wolf was and that they were the sheep herded to
the optimistic place of the final ****, her or them.

She saw him silent and still, she had never seen him this weak, but
this was his chance to save her skin, she found fishing wire, and a
pardon the pun, a broom you know where that went to keep him
stable and up right. The intercom crackled she played his voice
over and over again she used to drive him crazy with he
impersonations of him, it always brought a laugh but the were silent now.

"Come on think I'm dead you cant **** anger you child of
pathetic consequence,  

He feverishly thought of moments past was he dead?
they had gutted him like a fish, how could this be.
Phoning the cover outside he said this was his play and
if It ended he was exiting stage left. One final voice spoke
that he knew the rules if he was to exit then he was to end
his existence, there were rules for a reason.

She was had it planned the recorder the fish wire and that broom,
saying her apologies to her dearly departed but it wasn't anything
strange those toys upstairs weren't only hers you know.
Calling over the intercom, "Lets party you, swear box was
blessed with over a hundred coins the tirade of vocal words she
expelled on the air waves. He recognized that expel of vocabulary
as that person he ended not so few hours ago and confusion ignited
on his features to what the hell was going on in this place.

Stepping in palpitating haste he descended in slow motion, not
with the vigour of what was replayed earlier in the night.
"I killed you once old man I'll do it again,
But fear was expelled this time not courage of the **** like before,
He took played his fingers on the wall to find the switch.
No longer did it enlighten the surroundings, he was in darkness,
and then before him he stood, but he cant stand he had gutted him
and no one comes back from that.

"Who says I'm dead, your just a poor excuse for a mummies boy
go on cry ya little...,

Then in haste he lunged at the oldd man, not thinking straight.
fear and anger eclipsed ratinal thought as he sang his blade into
his skull. Cold eyes stared back, then he realized It was a trap,
He felt it but it was not as he thought he would have felt his
skin screamed out in tears of crimson. A sword was visual
through the front and back of his own self. He swore at her
knowing his time was moments away. she spoke from the dark,

"Its not this that's going to **** you, remember what you found
in the bedroom,

"Oh come on lady just plunge the blade in again I cant move,

But she didn't listen  as she bludgeoned his face with it, different features greeted with each impact till his features were just blooded and
he no longer moved anymore. Her face was a collage of blood from
those she had ended, holding her husband in her arms stroking his
remaining hair. Kissing him on the head she gently put him down.
Opening the porch door she spoke out, "I have ended this playtime
I am the queen of this house, the others are still, static you going to
end me now?

"Rules are rules I'm sorry but I must leave you now,
"Congratulations for winning your life,
"Sorry you lost whoever pasted in the game,
"Know if they had walked out they would have been dead,
"Rules are rules,

There was silence, then on the doorstep she rested her bloodied hands
on her knees and tears of fear, of courage poured out.
She was the winner of this even though she felt totally lost.
Sirens were heard in the distance and she just sat there still....

As he cried in to the wind
      snow flakes did descend
                 each one unique like a
                                  t
                         ­       e
                                  a
                ­                r
                                   d
                                      r
                   ­                     o
                                        ­  p
                                            s even though eyes
black as coal it knew that these would only fall
for a limited time.

A child's innocence when given the joy of virtue,
put on a hat of a cold little snowman.
Yellow and black like a bubble bee had nestled on
this cold but cheerful snowman's head.

No smile was given, a work in progress as this little
one was only 5 years old. But the next morning a carrot
was perceived as a nose then little twigs not only one
but two three and four where put in a pride of place.

Now even though a creation of a thousand snow flakes
balancing on the wishes of a child, this snow man gently
erodes ever so slightly to where misplaced twigs perceive
a smile. Running a child says "I love you cold Mr Fluff,

Everyday he gets a little smaller only by millimetres as
winters sun raises and falls and a little part of him now
drips,
        ,
      ,
    ,
   ,
,
, in to a puddle of lost memories never captured again.
But still there is a smile on the face that slowly one by one these
twigs fall till only one s left then non at all. But then this little
ones uses fingers and a new smile is etched deep in frozen snow.

But on that faithful morning when all that was white is now green
once more, and tears not of snow flakes, but emotions do fall.
A father tells his little one.
Even though Mr Snowman is gone,

"He always had a smile from his creation till he now is gone,
and now he has evaporated look up see that cloud its smiling his memory still lives on,

The little one smiled and knew that even though not there,
he was still smiling for the attention the little one had given.
And that little cloud for a brief moment snowed upon
his house and showed he appreciated what he had done.

If we were a perfect hook and latch
Where one fell for the other abruptly
We would but miss our target catch
A few millimetres out
We clash quite brusquely

She said, ‘You are funny, the way you set yourself up the moment we arrive. You look into every room to see if it’s suitable as a place to work. Is there a table? Where are the plugs? Is there a good chair at the right height? If there isn’t, are there cushions to make it so? You are funny.’
 
He countered this, but his excuse didn’t sound very convincing. He knew exactly what she meant, but it hurt him a little that she should think it ‘funny’. There’s nothing funny about trying to compose music, he thought. It’s not ‘radio in the head’ you know – this was a favourite expression he’d once heard an American composer use. You don’t just turn a switch and the music’s playing, waiting for you to write it down. You have to find it – though he believed it was usually there, somewhere, waiting to be found. But it’s elusive. You have to work hard to detect what might be there, there in the silence of your imagination.
 
Later over their first meal in this large cottage she said, ‘How do you stop hearing all those settings of the Mass that you must have heard or sung since childhood?’ She’d been rehearsing Verdi’s Requiem recently and was full of snippets of this stirring piece. He was a) writing a Mass to celebrate a cathedral’s reordering after a year as a building site, and b) he’d been a boy chorister and the form and order of the Mass was deeply engrained in his aural memory. He only had to hear the plainsong introduction Gloria in Excelsis Deo to be back in the Queen’s chapel singing Palestrina, or Byrd or Poulenc.
 
His ‘found’ corner was in the living room. The table wasn’t a table but a long cabinet she’d kindly covered with a tablecloth. You couldn’t get your feet under the thing, but with his little portable drawing board there was space to sit properly because the board jutted out beyond the cabinet’s top. It was the right length and its depth was OK, enough space for the board and, next to it, his laptop computer. On the floor beside his chair he placed a few of his reference scores and a box of necessary ‘bits’.
 
The room had two large sofas, an equally large television, some unexplainable and instantly dismissible items of decoration, a standard lamp, and a wood burning stove. The stove was wonderful, and on their second evening in the cottage, when clear skies and a stiff breeze promised a cold night, she’d lit it and, as the evening progressed, they basked in its warmth, she filling envelopes with her cards, he struggling with sleep over a book.
 
Despite and because this was a new, though temporary, location he had got up at 5.0am. This is a usual time for composers who need their daily fix of absolute quiet. And here, in this cottage set amidst autumn fields, within sight of a river estuary, under vast, panoramic uninterrupted skies, there was the distinct possibility of silence – all day. The double-glazing made doubly sure of that.
 
He had sat with a mug of tea at 5.10 and contemplated the silence, or rather what infiltrated the stillness of the cottage as sound. In the kitchen the clock ticked, the refrigerator seemed to need a period of machine noise once its door had been opened. At 6.0am the central heating fired up for a while. Outside, the small fruit trees in the garden moved vigorously in the wind, but he couldn’t hear either the wind or a rustle of leaves.  A car droned past on the nearby road. The clear sky began to lighten promising a fine day. This would certainly do for silence.
 
His thoughts returned to her question of the previous evening, and his answer. He was about to face up to his explanation. ‘I empty myself of all musical sound’, he’d said, ‘I imagine an empty space into which I might bring a single note, a long held drone of a note, a ‘d’ above middle ‘c’ on a chamber ***** (seeing it’s a Mass I’m writing).  Harrison Birtwistle always starts on an ‘e’. A ‘d’ to me seems older and kinder. An ‘e’ is too modern and progressive, slightly brash and noisy.’
 
He can see she is quizzical with this anecdotal stuff. Is he having me on? But no, he is not having her on. Such choices are important. Without them progress would be difficult when the thinking and planning has to stop and the composing has to begin. His notebook, sitting on his drawing board with some first sketches, plays testament to that. In this book glimpses of music appear in rhythmic abstracts, though rarely any pitches, and there are pages of written description. He likes to imagine what a new work is, and what it is not. This he writes down. Composer Paul Hindemith reckoned you had first to address the ‘conditions of performance’. That meant thinking about the performers, the location, above all the context. A Mass can be, for a composer, so many things. There were certainly requirements and constraints. The commission had to fulfil a number of criteria, some imposed by circumstance, some self-imposed by desire. All this goes into the melting ***, or rather the notebook. And after the notebook, he takes a large piece of A3 paper and clarifies this thinking and planning onto (if possible) a single sheet.
 
And so, to the task in hand. His objective, he had decided, is to focus on the whole rather than the particular. Don’t think about the Kyrie on its own, but consider how it lies with the Gloria. And so with the Sanctus & Benedictus. How do they connect to the Agnus Dei. He begins on the A3 sheet of plain paper ‘making a map of connections’. Kyrie to Gloria, Gloria to Credo and so on. Then what about Agnus Dei and the Gloria? Is there going to be any commonality – in rhythm, pace and tempo (we’ll leave melody and harmony for now)? Steady, he finds himself saying, aren’t we going back over old ground? His notebook has pages of attempts at rhythmizing the text. There are just so many ways to do this. Each rhythmic solution begets a different slant of meaning.
 
This is to be a congregational Mass, but one that has a role for a 4-part choir and ***** and a ‘jazz instrument’. Impatient to see notes on paper, he composes a new introduction to a Kyrie as a rhythmic sketch, then, experimentally, adds pitches. He scores it fully, just 10 bars or so, but it is barely finished before his critical inner voice says, ‘What’s this for? Do you all need this? This is showing off.’ So the filled-out sketch drops to the floor and he examines this element of ‘beginning’ the incipit.
 
He remembers how a meditation on that word inhabits the opening chapter of George Steiner’s great book Grammars of Creation. He sees in his mind’s eye the complex, colourful and ornate letter that begins the Lindesfarne Gospels. His beginnings for each movement, he decides, might be two chords, one overlaying the other: two ‘simple’ diatonic chords when sounded separately, but complex and with a measure of mystery when played together. The Mass is often described as a mystery. It is that ritual of a meal undertaken by a community of people who in the breaking of bread and wine wish to bring God’s presence amongst them. So it is a mystery. And so, he tells himself, his music will aim to hold something of mystery. It should not be a comment on that mystery, but be a mystery itself. It should not be homely and comfortable; it should be as minimal and sparing of musical commentary as possible.
 
When, as a teenager, he first began to set words to music he quickly experienced the need (it seemed) to fashion accompaniments that were commentaries on the text the voice was singing. These accompaniments did not underpin the words so much as add a commentary upon them. What lay beneath the words was his reaction, indeed imaginative extension of the words. He eschewed then both melisma and repetition. He sought an extreme independence between word and music, even though the word became the scenario of the music. Any musical setting was derived from the composition of the vocal line.  It was all about finding the ‘key’ to a song, what unlocked the door to the room of life it occupied. The music was the room where the poem’s utterance lived.
 
With a Mass you were in trouble for the outset. There was a poetry of sorts, but poetry that, in the countless versions of the vernacular, had lost (perhaps had never had) the resonance of the Latin. He thought suddenly of the supposed words of William Byrd, ‘He who sings prays twice’. Yes, such commonplace words are intercessional, but when sung become more than they are. But he knew he had to be careful here.
 
Why do we sing the words of the Mass he asks himself? Do we need to sing these words of the Mass? Are they the words that Christ spoke as he broke bread and poured wine to his friends and disciples at his last supper? The answer is no. Certainly these words of the Mass we usually sing surround the most intimate words of that final meal, words only the priest in Christ’s name may articulate.
 
Write out the words of the Mass that represent its collective worship and what do you have? Rather non-descript poetry? A kind of formula for collective incantation during worship? Can we read these words and not hear a surrounding music? He thinks for a moment of being asked to put new music to words of The Beatles. All you need is love. Yesterday all my troubles seemed so far away. Oh bla dee oh bla da life goes on. Now, now this is silliness, his Critical Voice complains. And yet it’s not. When you compose a popular song the gap between some words scribbled on the back of an envelope and the hook of chords and melody developed in an accidental moment (that becomes a way of clothing such words) is often minimal. Apart, words and music seem like orphans in a storm. Together they are home and dry.
 
He realises, and not for the first time, that he is seeking a total musical solution to the whole of the setting of those words collectively given voice to by those participating in the Mass.
 
And so: to the task in hand. His objective: to focus on the whole rather than the particular.  Where had he heard that thought before? - when he had sat down at his drawing board an hour and half previously. He’d gone in a circle of thought, and with his sketch on the floor at his feet, nothing to show for all that effort.
 
Meanwhile the sun had risen. He could hear her moving about in the bathroom. He went to the kitchen and laid out what they would need to breakfast together. As he poured milk into a jug, primed the toaster, filled the kettle, the business of what might constitute a whole solution to this setting of the Mass followed him around the kitchen and breakfast room like a demanding child. He knew all about demanding children. How often had he come home from his studio to prepare breakfast and see small people to school? - more often than he cared to remember. And when he remembered he became sad that it was no more.  His children had so often provided a welcome buffer from sessions of intense thought and activity. He loved the walk to school, the first quarter of a mile through the park, a long avenue of chestnut trees. It was always the end of April and pink and white blossoms were appearing, or it was September and there were conkers everywhere. It was under these trees his daughter would skip and even his sons would hold hands with him; he would feel their warmth, their livingness.
 
But now, preparing breakfast, his Critical Voice was that demanding child and he realised when she appeared in the kitchen he spoke to her with a voice of an artist in conversation with his critics, not the voice of the man who had the previous night lost himself to joy in her dear embrace. And he was ashamed it was so.
 
How he loved her gentle manner as she negotiated his ‘coming too’ after those two hours of concentration and inner dialogue. Gradually, by the second cup of coffee he felt a right person, and the hours ahead did not seem too impossible.
 
When she’d gone off to her work, silence reasserted itself. He played his viola for half an hour, just scales and exercises and a few folk songs he was learning by heart. This gathering habit was, he would say if asked, to reassert his musicianship, the link between his body and making sound musically. That the viola seemed to resonate throughout his whole body gave him pleasure. He liked the ****** movement required to produce a flowing sequence of bow strokes. The trick at the end of this daily practice was to put the instrument in its case and move immediately to his desk. No pause to check email – that blight on a morning’s work. No pause to look at today’s list. Back to the work in hand: the Mass.
 
But instead his mind and intention seemed to slip sideways and almost unconsciously he found himself sketching (on the few remaining staves of a vocal experiment) what appeared to be a piano piece. The rhythmic flow of it seemed to dance across the page to be halted only when the few empty staves were filled. He knew this was one of those pieces that addressed the pianist, not the listener. He sat back in his chair and imagined a scenario of a pianist opening this music and after a few minutes’ reflection and reading through allowing her hands to move very slowly and silently a few millimetres over the keys.  Such imagining led him to hear possible harmonic simultaneities, dynamics and articulations, though he knew such things would probably be lost or reinvented on a second imagined ‘performance’. No matter. Now his make-believe pianist sounded the first bar out. It had a depth and a richness that surprised him – it was a fine piano. He was touched by its affect. He felt the possibilities of extending what he’d written. So he did. And for the next half an hour lived in the pastures of good continuation, those rich luxuriant meadows reached by a rickerty rackerty bridge and guarded by a troll who today was nowhere to be seen.
 
It was a curious piece. It came to a halt on an enigmatic, go-nowhere / go-anywhere chord after what seemed a short declamatory coda (he later added the marking deliberamente). Then, after a few minutes reflection he wrote a rising arpeggio, a broken chord in which the consonant elements gradually acquired a rising sequence of dissonance pitches until halted by a repetition. As he wrote this ending he realised that the repeated note, an ‘a’ flat, was a kind of fulcrum around which the whole of the music moved. It held an enigmatic presence in the harmony, being sometimes a g# sometimes an ‘a’ flat, and its function often different. It made the music take on a wistful quality.
 
At that point he thought of her little artists’ book series she had titled Tide Marks. Many of these were made of a concertina of folded pages revealing - as your eyes moved through its pages - something akin to the tide’s longitudinal mark. This centred on the page and spread away both upwards and downwards, just like those mirror images of coloured glass seen in a child’s kaleidoscope. No moment of view was ever quite the same, but there were commonalities born of the conditions of a certain day and time.  His ‘Tide Mark’ was just like that. He’d followed a mark made in his imagination from one point to another point a little distant. The musical working out also had a reflection mechanism: what started in one hand became mirrored in the other. He had unexpectedly supplied an ending, this arpegiated gesture of finality that wasn’t properly final but faded away. When he thought further about the role of the ending, he added a few more notes to the arpeggio, but notes that were not be sounded but ghosted, the player miming a press of the keys.
 
He looked at the clock. Nearly five o’clock. The afternoon had all but disappeared. Time had retreated into glorious silence . There had been three whole hours of it. How wonderful that was after months of battling with the incessant and draining turbulence of sound that was ever present in his city life. To be here in this quiet cottage he could now get thoroughly lost – in silence. Even when she was here he could be a few rooms apart, and find silence.
 
A week more of this, a fortnight even . . . but he knew he might only manage a few days before visitors arrived and his long day would be squeezed into the early morning hours and occasional uncertain periods when people were out and about.
 
When she returned, very soon now, she would make tea and cut cake, and they’d sit (like old people they wer