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Overview
Martin Benson writes scripts for porn films. He didn’t always aspire to be a screenwriter; he once had dreams of becoming a great journalist. But life has a way of interfering with the best-laid plans. In this darkly captivating novel, Martin shares the story of his past— and a future that is yet to be written.
Martin’s search for that elusive thing called happiness takes him back to the Norfolk village of his youth. There, he meets and moves in with schoolteacher Suzi Richards, whose biological clock is ticking. But he is haunted by Elaine Keenan, the gorgeous actress who got away. Then one day the phone rings, sending Martin on a search for his lost love and a final reckoning with the past.
Filled with angst and longing, Real Life charts one man’s course back through his own history—a witty, lively account that blurs the line between art and reality, with an ending you will never see coming.
Product Details
| ISBN-13: | 9781504015226 |
|---|---|
| Publisher: | Open Road Media |
| Publication date: | 07/28/2015 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 167 |
| File size: | 1 MB |
About the Author
D. J. Taylor was born in Norwich in 1960. He is a novelist, critic, and biographer. His Orwell: The Life won the Whitbread Biography of the Year in 2003. His novel Kept: A Victorian Mystery was a Publishers Weekly Best Book of the Year. He lives in England.
Read an Excerpt
Real Life
A Novel
By D. J. Taylor
OPEN ROAD INTEGRATED MEDIA
Copyright © 2014 D. J. TaylorAll rights reserved.
ISBN: 978-1-5040-1522-6
CHAPTER 1
Early one afternoon in the late January of 1974 a young woman set out to walk the short distance from Piccadilly Circus underground station to the National Gallery in Trafalgar Square. Although her journey was in a certain sense premeditated she moved slowly and hesitantly, sauntering diagonally along Coventry Street and waiting for nearly a minute under the Swiss Centre clock on the outlying flank of Leicester Square. Later she could be seen drifting in the same strangely reluctant way along the square's western approach, pausing to stare at the cinema advertisements and the gaping tourist boutiques.
The young woman's name, for the purposes of this particular fiction, was Caroline. She was perhaps twenty-two or twenty-three, with square, regular features and shoulder-length blonde hair. In the fashion of the time she wore a short, belted coat and shiny, high-heeled boots, the latter impeding her progress even further and causing her to waver timorously on the icy pavements. At regular intervals she would stop and kick the toe of each boot rigorously against the kerbside to dislodge the particles of snow that had collected beneath.
Early afternoon in Leicester Square. Snow, fallen two days previously, lies banked up in off-white drifts. An opaque sky gives promise of more. A whirl of distant voices, given sudden coherence as from the south end of the square a procession of young men, shaven-headed and dressed in billowing robes, their vanguard chanting and banging small drums, comes clanking into view. Walking towards them the girl briefly disappears, caught up in the flow of shuffling movement and outstretched arms, re-emerges and turns hard right into a side alley.
In Panton Street, past a newsvendor's table and a cinema showing pornographic films, the girl's pace increases. The pavement is more crowded here – a traffic warden, a file of schoolchildren lofting satchels at one another – but she presses forward, stumbling occasionally when her feet catch on the impediments of kerb or paving stone. Two workmen's braziers, glowing against the grey frontage of shops and the muted light, give her passage into Whitcomb Street a faintly numinous quality: the hurrying figure at first dissolving into a haze of shaky air, then seen striding purposefully on past pale, empty windows towards the distant traffic.
The man stands waiting on the gallery steps. Women with heavily laden baskets, foreign students with clipboard files clamped under their arms, surge about him. Miraculously, as she approaches they clear and there is only the single dark figure, the shoulders hunched higher in the overcoat, the eyes nervous and intent. The man is in his early forties. He has sparse, receding hair which has been slicked back over his scalp with oil or grease. The girl divines that he has shaved recently – there are rough, red patches on his neck – but imperfectly, so that a small coin-sized blob of bristles sits on the point of his chin. As he sees her he flicks down a cigarette and grinds it with his heel. The eyes stray, down across the crowded pavement, upwards into the dense air, back to the girl. He says, 'I didn't think you'd come.'
'You thought wrong.' The tone is – artless? Obedient? Its precise nuance fails to register with the man. He goes on, 'It's not far. We could take a cab.'
'If you like.' The girl pauses, a look of intense concentration passing over her face. 'What sort of place is it?'
'Just fine,' the man says. 'For what you and me've got in mind, just fine.'
In the taxi – a dark, lurching vehicle allowing occasional close-ups of the passing street – the man says urgently, 'When we get back to my place I'm going to fuck your brains out.'
The girl leans back in her seat, legs splayed. She sticks out her tongue and lets it rest on her lower lip. 'I know,' she says, 'I know all about that.' She pauses again. 'Let's hope you're as good as you say you are.'
Charing Cross Road. Cambridge Circus. Past overbright shop-fronts. A brief glimpse of the lowering sky. Shaftesbury Avenue. The man, eyes staring blindly in front of him, takes the girl's hand and places it in his lap.
The flat is small, sparsely furnished. A bed. A chair. Pictures cut out of magazines taped randomly to the walls. The electric fire glows. Standing in front of it the man casts long, angular shadows. From the window behind there are views of huddled rooftops. In the distance the Post Office Tower. 'Let's talk business,' he says. 'How much is this going to cost me?'
The girl leans negligently against the door, arms folded across her chest. 'Twenty. Thirty. It depends what you want.'
'Whatever you've got. That's what I want.'
Naked, their clothes flung in serpentine coils around the room, they examine one another. It is an unfortunate contrast: the man's scrawny torso, grey haunches, white, tapering legs; the girl's plump, rosy contours, fresh dappled skin. Her right flank, edging nearer to the fire, is scarlet from the heat. Together they might form part of some medieval figurative painting: Spring and Autumn, say, or Maidenhood Sold into Bondage. The girl raises her hands above her stomach and begins to massage herself. By this stage, as the man lopes hungrily towards her, their conversation is barely intelligible, a series of muttered, raunchy monologues, spoken over each other's shoulders.
... You London bitches just fuckin'ask for it. Think you're so flash ...
... I want a man who can give me a good time. Are you going to give me a good time? Are you?
... So fuckin' flash. I could hurt you if you wanted me to. I could hurt you so bad that I ...
... A good time. A good time. A wonderful time.
... Fuck your brains out.
Once in the course of these poorly choreographed preliminaries, as the man lies prone on the cheerless bed, the girl sprawled across him, something unlooked for happens, something unplanned. 'Look at it,' the girl says, sinking back momentarily on her haunches. 'Look out of the window.' The man stares intently, his eyes registering both panic and bewilderment, until he sees the first restless flurry of snowflakes. 'Snow,' he says woodenly. 'Sure,' the girl says. 'It's starting to snow. Look at it.' They pause for a moment as the flakes drift down over the huddled Soho rooftops, pink and luminous in the glare of the lamp. The man smiles. 'I'm going to fuck your brains out,' he says with a touch of sadness.
Finally the act is completed, there on the narrow bed, a bizarre, self-conscious spectacle in which limbs are weirdly deployed across the white sheets, where there are strange tensings and pauses, inexplicable confusions and variations to the routine of push and shove, the warp and weft. Such is the intent synchronisation of gesture, the stylised breaking apart and coming together, that one might almost think there was a third presence in the room, staring out over the writhing bed towards the dark wall of glass. Beyond, the snow continues to fall.
Capital Pick-up, Leisurevision's first major feature, was filmed on location in central London and at the loft in Dean Street. The principal actors – two hard-up and unmemorable associates of Morty's named Jake Gordon and Irma La Douche – were paid fifty pounds apiece. I did the lighting: a row of raw bulbs placed a yard or two above the protagonists' heads. Morty directed. An afternoon's work, the editing completed two or three hours after Jake and Irma's departure, sweating and glassy-eyed, from the premises, the product transferred to an eight-reel later that night. Sound: Crazy Rodney. Camera: another of Morty's stringers. Executive producer: Terry Chimes.
Inevitably for a first feature shot on a shoestring there were problems. Chief among these was Irma La Douche's inability to learn her lines. The intent look, the grimaces of urgent concentration on which so many subsequent observers remarked, were the product not of mild overacting but simple amnesia. Later when we had dialogue coaches, printed scripts – all the careful paraphernalia that came to characterise Morty's operations – such deficiencies were grandly overcome. As it was, the game amateurism of these early forays was thought to suggest a certain ready verisimilitude, an authenticity which later productions with their practised starlets and easy dialogue were presumed to lack. Then there was Jake's inability to respond to any word or gesture not in the script. The exchange about the snow, for example, was entirely spontaneous, a consequence of Irma raising her head from Jake's puny torso at the exact moment when the first flakes began to fall, in sheer over-excitement with scene: a random, fleeting quirk which was to invest Capital Pick-up with its single moment of charm.
Inexplicably, several of Morty's early films were to possess this odd, elegiac quality, a characteristic which set them apart from other more clinical ventures, undertaken by other Mortys in other, similar studios peopled by other Jake Gordons and Irma La Douches, attended by other tensions and anxieties. There is the moment in Doctors' Wives in which Sheri La Grange, stepping out of the pile of hastily divested clothing, ignores the beckoning figure on the couch to turn and smile briefly at the onlooker, a mysterious Delphic smile, having no relation to any event taking place on screen or off. There is, again, the scene in Possession, with its country- house vistas of blazing log fires and coy maidservants, in which the camera moves falteringly beyond the savage coupling on the rug to record the spatter of rain on glass, a glimpse of dense, untended foliage. In his way Morty had some claims to being an artist. A vulgarian would have given these episodes an unmistakable ironic force, had Sheri La Grange deliver only a mournful pout, timed the slap of water on glass to coincide with another more obvious conjunction. With Morty there was a sense in which these minor detours in the forward march of the plot existed wholly in isolation, played no part in the wider development of theme or content. I recall in particular Latchkey Kid, another Leisurevision effort from about this time, filmed once more in the loft in Dean Street, the familiar outlines disguised with heavy curtains and hired furniture. Its plot again was rudimentary. A lissom schoolgirl (gym-slip, hockey stick, straw hat – Morty liked this sort of haute stylisation) is presented by her mother with a door key on the understanding that the mother will be delayed that evening. The daughter subsequently returns to the house accompanied by a brawny youth in a leather jacket. An inevitable sequence of events then follows, broken only – both parties by this stage maximally aroused – by the early arrival of the mother. Seen a decade later Latchkey Kid has little to recommend it, apart from a curious moment when the camera, ignoring the sight of Candy Barr sleekly unrolling fishnet stockings, swivels to take in the framed photograph which rests on a side table next to the sofa. It shows a wedding couple from a period perhaps thirty or forty years before, arm-in-arm, smiling fixed, snaggle-toothed smiles, ducking instinctively as a whirl of confetti descends upon their heads. The camera lingers, trawls slowly over the archaic hairstyles and the dilated eyes, and for a moment Candy Barr and her consort are forgotten, a blur of limbs dimly descried in the distance, a swish of abandoned clothing on the crackling soundtrack: a fugitive moment, suffused with poignancy.
More moments from these early days: Morty auditioning a pool-side scene in front of a line of thatch-haired girls in swim-suits; scripting Doctors' Wives in a rented Harley Street consulting room half an hour before filming ('Make it tasteful,' Morty said, 'and cut the crap'); the Dean Street loft awash in coruscating artificial light. Twitches on the thread. Rushes from the endless tape. Watching the rough cut of Possession at the preview cinema in Wardour Street with Terry Chimes asleep in his chair. Fiery dawns, intent and red-eyed on the cutting-room floor. And the girls: Sheri La Grange, Irma La Douche and Lila St Claire, Terri da Motta, Berkeley Lush and Corona d'Amour. Impossible complexions, improbable names. They came in waves. When we started they were all Sixties cast-offs, ageing waifs who'd had walk-ons in films about Swinging London called Keki or Boo or Jade. A little later they began to be named after hotels: Tiffany, Berkeley, Ritzy. A bit later still they had men's names: Sam and Joe and Jake. Only towards the end when everybody – producers, directors, actors – were casting envious glances towards America did they assume that three-pronged, EEC-diluted uniformity: Martina La Chasse, Gaby du Pont, Cornelia del Hacienda. As the names changed so did the attitudes. At the start the girls were naïve, generous and trusting ('Listen love,' I can remember Morty instructing some pouting ingénue, 'this is a pornographic movie, right? You take all your clothes off and get on the bed'), gamely tolerant of the indignities visited upon them. Subsequently amateur warmth gave way to wary professionalism: girls with agents, contracts, artistic integrity, scruples, percentages; girls who emerged frostily from bed, shower, embrace or pose to examine small print, call for a telephone, an understudy, a renegotiation. The scenes move sharply into focus now, lose the ethereal gloss imposed by distance. Filming Plasma Party in bare, angular chambers streaked with artificial gore. The prodigies of costume design demanded by Nazi Death Camp. That grim procession of sex, money and lies, lies, money and sex. Studio lights pulse through the fog of cigarette smoke. Morty smiles his mad, off-centre smile. The cameraman grins. The figures recede and fade away. At these times Irma and her rhapsodies over the snow remain only as a faint memory, a fading tint of romanticism in a picture since given over to harsh, brutal colours.
Nearly dark up here in the study. Outside the window and its vista of identikit terraced houses the streetlamps have begun to go on in that mellow, autumnal way they have. In the remoter distance over towards Heigham Park, a frail pinkish glow. A second, keener light shines up from under the door. From below there are odd, fractured sounds as Suzi roams noisily around the kitchen. Gusts of air blow in through the half-open window.
Sometimes I listen to the sounds people make as they walk by outside. You get to know them all: the fugitive clatter of high heels – they still wear high heels round here – the slurp of trainers as some lurching oaf shuffles past on his way to the pub, the whisper of the sandals the old women wear. The noises are rarely confined to footwear. Children slither by in the gloaming, a salvo of chatter that vanishes instantly on the wind; teenagers slink past to rustle the leaves of the hedge with their shoulders; burly women loiter for a moment on the pavement by T. Coulthard's grocery shop, leaving behind a snatch of gnomic repartee. I looked out once at two a.m. on an airy summer's night, alerted by vigorous rustlings borne on the breeze, and found Fat Eric from two doors down practically giving his girlfriend one in the front garden.
Such bucolic licence is long past now. From below there is another random crash of crockery. The radio rasps on, then off. Outside the cars purr by in the murk: sleek roadsters with wound-down sun roofs, nippy Minis driven at speed. Astonishing vehicles. Fat Eric from two doors down has a squat, hump-backed conveyance which, fleeting memory assures me, is a 1966 Hillman Husky. I listen to another gutsy squeal of rubber on tarmac, peer outside. There are lights going on all along the street now; the myriad flicker of the television sets. I light a cigarette and stand at the window considering the wide portholes into narrow, bookless rooms, the restless, screen-tethered heads. Downstairs the noises from beyond the kitchen door have quietened down to the staccato clink of Suzi chopping vegetables and Suzi singing disagreeably along to the radio. In the gloom of the hallway the telephone message pad gleams palely. Elaine rang yesterday. The message is still there, written in Suzi's Marion Richardson copperplate. 'A woman rang. Said she'd ring back.' Elaine, without a doubt. After all, what other woman would ring me up unbidden? Emma? Wouldn't have the number. One of Morty's actresses? Disappeared, disappeared into the random clutter of time. No, it had to be Elaine.
(Continues...)
Excerpted from Real Life by D. J. Taylor. Copyright © 2014 D. J. Taylor. Excerpted by permission of OPEN ROAD INTEGRATED MEDIA.
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