Memories as ‘brain tattoos’, Siri Hustvedt

I remember when you called me lizard and looked into my face as though I was anything but. 

I remember when pies were sixpence and we used to swim in dams.

I remember when the Camberwell pool was shaped like a blue oasis, wide at the shallow end and narrow at the deep.

I remember when you stole lollies from my Lenten collection and imagined I would not notice.

I remember when your baby smiles melted my heart as though I could see nothing more enticing ever.

I remember when the house we lived in seemed as big as a church.

I remember when my mother replaced butter with Daffodil margarine because it was cheaper, she said, and better for us.

I remember when my father brought home a microscope and lined up the slides with ancient images etched onto each plate.

I remember when I looked through the microscope and saw strange shapes like a Rorschach ink blot, only I did not know this them.

I remember when the image on the microscope slide, a hair follicle, looked like my sister’s braided plait.

I remember when we ate maizena pop for breakfast and my mother promised it would fill us even when she made it with water.

I remember when I bought a sticky red toffee apple at the Xavier Maytime Fair and my tooth wobbled out of its socket.

I remember when my little sister fell on a dog bone in the back yard and it shot through her open fist right through to the other side.

I remember when a car collided with me on the zebra crossing on Canterbury Road and I was knocked out cold.

I remember coming to on the butcher’s shop floor, sawdust in my hair.

I remember the scream of the ambulance as it screeched its way to the Box Hill Hospital.

I remember my mother telling me I’d needed to stay overnight and I was scared.

I remember a nurse next day, who came to my bedside, took one look at me and asked as though I was an imposter, ‘What are you doing here?’

I remember when my brother’s bantams, housed in a makeshift shed in our back yard, burned down. 

I remember when our dog got hold of one of the bantam carcases and ran with it between its jaws down the lane.

I remember when night felt like bowl of thick soup I could not swim my way out of.

I remember when my father roamed the house at night and stood in the doorway in search of female children.

I remember the sensation of his brandy breath on my skin even as I turned away.

I remember the last time I saw him in hospital when he visited after my first daughter was born.

I remember his long slow trek up the corridor ahead of my mother.  Breathless with emphysema.

The last time I saw him. 

Don’t look now

Writers – and researchers – as Siri Hustvedt argues, ‘circle our wounds’. We have a sensitivity to areas of recollection and connection. We know the familiar triggers, in the news, in the loud voice of an enraged man on a tram, in the escalation of tension in an argument between loved ones. But there are times even when we are groomed and on alert that we can be surprised. 

I avoid horror movies. I’m amazed by people who deliberately look for the escalation of their fear. Life itself is fearful enough for me.

When I was in my twenties I saw the movie Don’t Look Now. I was distressed by the opening scenes when a couple’s young daughter drowns in the pond on their sprawling estate in England, later juxtaposed with the beauties of the main character – played by Donald Sutherland – restoring ruins in Venice, as part of his job. His wife played by Julie Christie encounters a blind and pupilless woman who warns her that her dead daughter Christine is in touch and warning them of danger. Then there’s the tongue-poking gargoyles who leer from the tops of buildings to the flashes of a funeral ferry through the canals, the widow in black mantilla. I should have seen the signs, but I did not. 

After the film, when I caught any glimpse of a crazed dwarf in a red hooded coat like the one the apparent daughter Christine was wearing on the day she drowned, I was reminded of the horror of Don’t Look Now. The father chasing a red coated figure across Venice up and down bridges through dark tunnels convinced his daughter has returned. Only to discover in the dark of a church where he cornered the red coated creature who turned to reveal the hideous face of a freakish person and then plunged a sharp knife into our hero’s neck. After the dwarf and that hideous face streaked across the screen, I could not sleep for days. 

I made myself watch this film again in my forties to come to terms with the memory and this time, the horror was more manageable this time, but still it lingers.

Linked I suspect to a fear I held as a child. A fear I remember with all the clarity of a fact. I could be on the bus with my mother on our way to the shops in Camberwell, walking back home after school with my sisters, He will kill us all. Starting with my mother. The thought popped into my head unbidden in the same way this monstrous murderer pounced onto the screen in Don’t look now