Showing posts with label New writing. Show all posts
Showing posts with label New writing. Show all posts

Wednesday, 10 November 2010

Solovino - He came alone by Alona Ferber



It’s past midnight. Outside the street is dead quiet. No car drives past the colourful houses. Even the cars speeding down the avenue at the end of the street cannot be heard. The local dogs that live on these doorsteps are all sleeping too, guarding the people they wish were their owners. Solovino, one of the most famous dogs on the block, the one who knows all the faces and is known by them all is curled up outside number 16, dreaming of rabbits. As he chases them through his field of dreams, his raggedy ears twitch nervously and his dirty paws scratch at the pavement. In his dreams Solovino is a champion. No rabbit can evade his sharp sense of smell. He is a graceful huntsman, shiny of coat and wet of nose, who can track down any of those fluffy, big-eared little creatures with hardly an exertion. Yes, Solovino is feared and respected in this field of dreams. No bitch can resist his canine charm. They wait eagerly with their bums raised exaggeratedly in the air, just waiting for him to sniff. While he is sleeping, the speeding taxi that caught him unawares that fateful morning disappears from the limited view of his memory and his right hind leg becomes not an impediment but a definite advantage. What dog would be more attractive than one who not only is the best hunter for miles around, but who does it on the strength of only three good legs?


And so it goes. Every night he waits outside the girls’ house. He cries and whines and scratches on the door, just waiting for them to say yes. He knows he has convinced one of them. Every time she sees him there is the warm pat on the head, the “oh Solovino, how are you?”. He has taken to following her whenever she leaves the house, just to prove how faithful he can really be. The other two, however, are a different matter. They never stop to say hello, always walk away as quickly as they can and try not to look him in the eye. So Solovino makes a decision. He is going to try harder than he has ever tried, he is going to make them love him, make them need him and make them feel guilty as hell for not having given him a home sooner.


Luckily for him, or not so luckily, depending on your point of view, the rainy season is just beginning. Every afternoon round about four o’clock, the sky opens, and as everybody knows, in a few weeks or so every afternoon will see inundations as heavy as anything. So Solo, as those close to him sometimes like to call him, parks himself outside the house at rain time and whines away like a poor lovesick little puppy. He knows that maybe you can ignore a dog crying at night, when it is still warm and dry outside, but when the street is like a river? When all the other dogs, or at least those who are lucky enough to have owners are safely tucked up inside? What he wasn’t counting on however, was how little the other two girls feel when they see him there outside as they run home in the rain, or quickly make their way to the metro station under their umbrellas. Of course girl number three still looks at him with those wish-I-could-adopt-you eyes, but the other two don’t seem to budge.


Solovino has to think long and hard about this. In his experience, there are two types of people. People who love canine company and those who can think of nothing worse than waking up to a dog slobbering all over them first thing in the morning. And even worse, a vast majority of these are actually self-professed cat people. He suspects that the other two girls are of the latter kind. The first one, he has noticed, is the glamorous type, the kind of girl who never leaves the house without at least two coats of mascara and exciting shoes on, whatever the weather. Girl number two is the smart, down to earth, type. His tactic of following them down the street, nibbling at their shoes and placing his filthy paws affectionately on their breasts has done him little or no favours so far. He could almost kick himself now he thinks about it. He has even noticed that girl number three has started to recoil at his affections.


One Saturday afternoon, when the girls have still not stepped out of the house, Solovino is curled up outside their door in the sun, dreaming once again of rabbits. Solovino rarely dreams of anything else. In fact, it is a secret little known to humans, or cats or even birds for that matter, that dogs, even those who will probably never ever meet a rabbit, are hard pushed to dream of anything but the eternal rabbit chase. The colour or species of rabbit might change, the dream might take place in a field, or a car park or even a road filled with cars racing past, but the subject will not change. The rabbit, the universal rabbit signifies a host of things to dogs worldwide. It is the vehicle through which the humble dog understands the world. And so when Solovino awoke from a dream where there were no rabbits in sight, where he felt the absence of rabbit so deep within his soul that he started to howl and whine in his sleep, he realised that the only recourse left to him in these desperate times was the one thing that he had never tried before. After all it is not only humans who know the old saying. Absence certainly does make the heart grow fonder.


Solovino makes all the necessary arrangements. He makes sure he explains what’s what to the other dogs on the street. The new guy, who came to the street a few weeks ago, who looks like he hasn’t washed in years and who no one on the street has deigned to give a name, is sad to see him go, but understands. The ginger cat, who Solovino has never been particularly close to, gives him a brotherly nod, wishing him luck on the road. The other dogs of the street, of which there are about five, promise not to let on that they know he will come back, and more importantly, promise not to try to win their way into the affections of Solovino’s girls. “Don’t worry, they’re yours Solo”, says the one with half of one ear chewed off, “Yeah m’ijo, don’t worry, just make sure you come back”, says captain, the graceful dog who has not let the hard life of the street life rob him of the good humour of the Labrador. Bertha, the big mama dog who has been pregnant a million times and always lets the others in on it when she finds food and makes all the newbies feel like part of the family, gives him a reassuring lick on the neck.


With one last bark, Solovino makes his quiet escape. He runs all the way to the big avenue at the end of the street, makes a left and runs up the avenue, passing little streets identical to his own, stopping every once in a while to sniff the scent of other dogs, eat food left on the pavement and relieve himself. A long life on the road has made Solovino see life with eyes wide open, and one of his favourite past-times is to make his mark in just those places that humans would really rather he didn’t. It is not only that he finds it funny to watch them scream and shout as they step into the shit he has just left on their doorstep. There has been many a late night where he and the other dogs have discussed at length the political implications of controlling where a mutt can go to the toilet. Defecating and pissing where he shouldn’t is his way of protesting the human arrogance that assumes that they own the pavement.


The life of a street dog is not easy. Solovino has been doing it since he was a pup. His is the old story of the unwanted Christmas present. It only took them a few weeks to realise that she was allergic and then that was it, it was either little Juanita or him. Of course, they chose Juanita. Solovino had never really been able to get over that rejection. He had never been able to fully accept ownership again. But now, after so many years living la vie en rue, he was ready to settle down. And the girls were not like any other family that he had ever seen.


Not that he hadn’t enjoyed life. As he walked along now, nibbling at a broken ice-cream cone over here, picking up the scent of a bitch on heat over there, his mind was flooded with the memories of a lifetime under the stars. The first time he had ever come to the street, all the faces were different. The families who live in the same pile of bricks generation after generation had changed a little of course. The little girl in number 18 had started wearing make-up, and he had noticed that relations between her mother and her grandmother had started to strain under the weight of their daily convivencia. The old lady across the road had started curtain-twitching less and less as the pain of arthritis kicked in. But really it was the animals, his extended family, which came to mind.


Bertha, the stereotype of the dog mama that every dog knew, had made him feel welcome in the way that she had made many a dog feel welcome over the years. She was the strongest, most generous dog he had ever met. A mongrel who had never met her real parents, she had been raised by an assortment of dogs and humans over her many moons. When Solovino first rounded the corner into the street, she had been lying in the sun across the road from number 16, nursing a brood of seven newborns who were the result of a one night stand with a sexy Alsatian. This was before Solovino’s accident, when his four legs were all working fine, and he could run as elegantly as any dog. Bertha had explained to him which houses tended to leave food out, which humans were receptive to doggy affection, which were the good places to shelter from the rain. Him and Bertha had become fast-friends, and a tear welled up in his big brown eyes as he remembered the day that the last of that particular brood, now grown-up and independent, had turned arses to Bertha and trotted off round the corner to find their fortune. Bertha had been through this many a time, and it never failed to make her melancholic. Which of course was only natural. It was never long before she would forget and get pregnant again, only to live through the same agony.


One time, one of Bertha’s children had actually made his way back to the street by accident. The reunion was very touching, and Bertha’s pup, who had been away for years, regaled the dogs and cats on the street with the adventures she had lived in the city. Most of the dogs in the suburbs rarely made it very far into the big smoke, where the dogs where mean, and the humans worse. Not that life in suburbia was not full of its own tragedies. Solovino could remember the countless dogs who had made their lucky escape from cruel owners only to be found again and kidnapped, or the many a dog caught unawares by the irresponsibility of a speeding and thoughtless driver. And then there were the men who came quietly in the dead of night, who would put a dog to sleep and carry him away to an uncertain future. The dogs on the street had organised a watch to protect each other, but very often it would be the very dog on watch, the only one awake who would have disappeared by the time everybody had woken in the morning.


Yes, Solo had lived many an adventure on that street, it was a part of him now, and he was determined to make it his permanent human home, with all the benefits that that entailed. His friends understood that it wasn’t that he was abandoning them, but that at his age, he craved a little stability. And so he would make himself disappear for a while, until the girls would begin to wonder where he had gone, would begin to miss his crying and whimpering outside their door, the affection in his eyes to welcome them home when they had had a bad day. He had known dogs who had won their way into the most icy of hearts, and he was determined to follow in their footsteps.


Time passed. For a dog there is no more accurate measure of time than the ebb and flow of smell and sound and light. A dog knows that when the complicated mix of what humans know as daytime smells has faded in intensity, when the distant whrrr of cars, which to a dog is as loud as thunder, really has reduced itself to something more like a whhrrr, then another of life’s mini cycles has come and gone. Soon the light will slowly seep its way into the world’s four corners, and life will begin again. But as far as measuring long periods of time goes, for a dog it is slightly tricky. Having no calendars to rely on, the humble dog can only try to remember how many times life’s mini cycle has renewed itself, and more often than not, loses count somewhere around 20. Solovino was not sure exactly how long he had been away from the street, but what he did know was that he had seen the yellowy-white circle in the sky, known to humans as the moon, change shape significantly, that he definitely had got past the count of twenty and that the rainy season was now in full throttle.


The day that Solovino decided to go home was a Thursday, unbeknownst to him. He sniffed his way along the street, picking up the distant scent of his friends and neighbours until his nose led him round a corner and into his old familiar territory. The closer he got the more excited he became. He started to run awkwardly towards Bertha and the dog who when he left had been the new guy, who were sitting on the pavement in the sunshine, his tongue hanging out of his mouth with happiness as he ran. As soon as they caught smell of him they stood on all fours and began to bark in surprise. He sped up and jumped towards them in a scene that would seem to the untrained eye like a fight in the making. Bertha began to lick his face and paw him with glee. The new guy began to chew one of his paws to welcome his return. The little girl at number 18, who happened to be staring out of her window at the house across the road where a certain handsome young 15-year-old gentleman lived began to shout “Mama, mama, Solovino’s back!” Yes Solovino had certainly been missed by some.


When the excitement had died down, Bertha started to fill him in on the goings on while he was away. Two new dogs, one young bitch and an old (unlikely) mongrel mix of chihuahua and dalmation had started coming to the street and stealing the food left out by the good resident folks for the good resident street dogs. One of the other street regulars had been killed by some poisoned food. Bertha and the New Guy weren’t sure enough to name names, but had their theories about one family who had shown nothing but contempt for the streets animals ever since they had moved to the street. Captain had finally been adopted by the old curtain twitcher, who had always shown a special fondness for him. A series of break-ins in the neighbourhood had made her realise the extent of her love for the old dog, and she had opened up her doors for him, living room and all.


“What about the girls?” he asked, “How are my girls?” The ensuing silence and averted eyes told Solovino everything that he needed to know. Bertha gave him a reassuring lick on the face, and the new guy pawed him and said “I’m sorry Solo, but you were gone for so long…” Solovino couldn’t say that he wasn’t disappointed. Away on his own, walking unfamiliar city streets, one of the only things that had kept him going was the idea that awaiting him, finally, was a home. That the three girls would have grown to miss his whining and his company on their way to the metro station so much, that they would even have bought special dog food bowls just for him to welcome him on his return.


“So come on then, who was it?” The answer to his question was a long and awkward silence. “Come on, I can take it. Did they adopt the new guy?” Bertha started to whine a little, “It was wasn’t it, or was it Captain? Yeah that whole curtain twitcher story was a good cover, last time I trust any of you…” Solovino was so far into his monologue that he was yet to notice a small, elegant ginger cat, wearing a brand new sky blue collar complete with tinkling bell, glide his elegant cat way along by the gate of number 16 and up and over it into the overgrown, messy garden on the other side. If he had stopped for just one minute and looked in that direction, he would have noticed the brand new metal bowls, one full of milk, the other full of cat food, which had been placed outside the front door of number 16. If he had seen the direction in which Bertha’s eyes, filled with compassion for her dear and disappointed friend, were looking, he would have seen girl number one actually holding that smug ginger cat and letting it claw her brand new jumper and get cat hair all over it. But Solovino would not find out about this treachery until later that day. And when he did, he would want to kick himself forever having let old ginger know his plans. After all, you never can trust a cat, especially not when there are cat-people involved.

Wednesday, 21 July 2010

Hate Yourself Thin! with Dr Marilyn Baedecker

Dr Marilyn Baedecker’s revolutionary Hate Yourself Thin! Lifestyle Programme is devised to help YOU get in touch with those reserves of self-loathing deep within.

‘Friends used to say to me, “Marilyn, how do you stay so thin?” I realised that what came naturally to me – utter self-hatred, a cruel and punishing inner voice, deeply ingrained shame and guilt – were attributes others had to strive for. That’s when I started to devise my Lifestyle Programme. At first I worried that making a blessing of my curse would encourage me to feel good about myself, but soon I remembered that any small success is easily countered; for no singular success is ever good enough, and however well I did, I knew I would never truly achieve my imagined potential. So - I can stay thin and help you to get there too!’

This 5-step programme is proven to work! Just try it!*

1. Learn to focus your energy

Learn to focus your energy on parts of yourself you truly hate. Try focusing on a physical defect while looking into the mirror. Dr Marilyn says she used to spend time staring at her left nostril, which is fractionally larger than the right, and is upturned at a greater angle, to enter into the mindset she calls VMD – Voluntary Masochistic Disgust. ‘Once you’re in a state of VMD, bring to mind other areas of your body that force you to recognize just how much work you need to do on yourself to become a person worthy of love, goodness or happiness.’

2. Channel your anger

Anger is self-hatred turned outwards! Don’t go about blaming others for your misfortunes: deep down, you know its all your fault. Stop wasting your time feeling angry about the state of the world. Turn your passionate engagement with climate change, slave labour or the credit crunch into zealous self-loathing and see the pounds drop off!

3. Set your goals

Set yourself some unachievable targets. Add one or two more things to your daily to-do lists and watch yourself fail to get where you want to be! Unfulfilled potential is the mainstay of self-hatred. Go for it! You know you can’t do it.

4. Join a group

Dr Marilyn now has weekly groups running in almost every city. Join us for some group work, where we’ll focus on false modesty, shallow interpretations, back-handed compliments and crushing humiliation. Weigh-ins allow each participant to prove just how badly they’re doing.

5. Buy Dr Marilyn’s books

Dr Marilyn has recently brought out two sequels to her international best-seller How to Hate Yourself Truly and Get Thin Quick. In her book The Self-Hatred Diaries, read stunning testimonials of the Hate Yourself journeys, while the Low Self Worth Bible: Esteem, What Is It Good For? provides hints, tips and a schedule for the loser who wants to be a winner at being a loser.

* The Hate Yourself Thin! Lifestyle Programme can lead to compulsive over-eating and associated weight gain, anorexia nervosa, bulimia nervosa, EDNOS, suicidal ideation and mental health difficulties. Consult your doctor if concerned.

Helena Michaelson

Wednesday, 9 June 2010

F is for Fiction


Not yet out of his teens, Rock Tiller is already regarded as Hollywood hot property. The heart-throb romantic lead in the hugely successful Sing-Along-a-Schoolathon blockbusters, and then the too-dreamy-to-believe love interest in Vince Walden’s 2008 remake of the 70s classic Blonzy, Tiller is set to break the mould in his next role. Rumours abound about the teen star’s religious upbringing, his contractual obligation to retain his virginity. Disney has relied upon his squeaky clean boy-next-door-image since he first appeared on our screens aged 9 in Super Summer as the adorable little brother of teen bimbo Summer Solstice, played by Tamar Lovejoy. In his good-looking, good-hearted portrayals of the All-American boy, we have watched him sing, dance, shoot hoops and hit home runs, walk with his arm around the shoulder of the right kind of dozily flirtatious girl, his sports jacket folded carefully over the little puffy armlets of her prom gown, corsage in view, right up to her doorstop, to chastely kiss in the full admiring glow of her adoring parents, before soberly driving home to help his disabled brother do math.

In the new independent release, F is for Frenzy, Tiller plays Franz Bollinger, a troubled, dope-smoking outcast, trying to find a way to deal with his violent urges to rape and maim, the voices inside his head, and the lifetime of abuse he has suffered at the hands of his alcoholic parents and disturbed older sister. Need it be mentioned the contract with Disney came to an end last year, and though they bid big money to keep him on until he turned 25, the statement from his agent suggested that though he was very grateful for all Disney had done for him, ten years was long enough.

Tiller is in London, on a promotional tour for the film, which itself has been rather frenzied. “It has been non-stop since I got here,” he says. “I’m kind of wiped.” But he doesn’t look wiped: his famed blue eyes sparkle out at me across our knees, and though I am twice his age – more than twice his age – I feel myself blush when he smiles at me. I’ve come to meet him in a place about as insalubrious as they come, a titty bar, downstairs from an institutional-looking cafeteria in Dalston, which you enter via a spangly curtain of metallic ribbons. Neon signs reading Physical Emotion! and Girls! grimly light the black walls of the bar. In the section we are sitting, a skewed sticker on the mirrored walls lets us know we’re in Champagne Corner. This comes as a surprise: I would have attributed the stickiness on all the surfaces to almost any other kind of spillage. The carpet, where there is carpet, is spongy underfoot and slopes muggily towards the toilets. The darkly empty dance-floor is almost gluey – more spilled champagne? Why here? I ask.
“Back home the reaction to the film has mostly been shock,” he says. “People have been outraged; distribution’s been pulled in Louisiana, South Carolina and Georgia. There’s talk of a projectionists’ strike in Mississippi. And that’s my home.” He fixes me with a wide smile, his eyes look surprised and resoundingly innocent. “To my mind, it’s an overreaction. I’m proud of this movie, I’m proud of the part I’ve played in it. I think it’s a story that needs to be told and I think Lawrence [da Silva, the movie’s director and executive producer] has done a great job. I think people are shocked because of the parts I’ve played before. But this was a huge role for me, a break from playing myself. The audience hasn’t wanted to see the Rock they know disgraced. But I don’t feel disgraced,” he explains, with a shrug, “I feel like a real actor now. I’m me, and playing a part doesn’t change that. But I want people to know that I know how the world is. I know strip-joints exist.”


I ask him how the response in the UK has been. “Everywhere in Europe had accepted this film, accepted my part in it.’ Accepted is an understatement: the film won the prestigious Prix du Jury at Cannes this year, but was panned at Sundance. “The critics over here have been really kind. Not kind – compassionate. They’ve understood the drive of the movie and they’re saying it's well made. I think it says something dark about the States, that it still can’t accept what lies beneath the surface. The States doesn’t want me to grow up.”

How about your parents, your family, I ask. He looks away, focuses his gaze on the stage at other end of the bar where a girl in tassels is titillating the lone customer. It is 5pm. Rock and I are sitting very close, on high bar stools that were difficult to mount and which swing cheaply, and now as he turns away, our legs interlock at the knees and we turn left and then right, trying to disengage. He laughs. I blush hotly. “My folks aren’t too happy about how I’ve been treated,” he says. “But we’re close. They support me.”

Despite his reticence, it’s impossible not to know about his severed engagement to Natalie Luana, his co-star in the Sing-Along-A movies. The tabloid press have been printing teary-eyed snapshots of her for weeks; in the last week there has been a plethora of photographs of Natalie with Jot Toberman, son of the staunchly Republican Congressman Abraham Toberman.
When I ask about America’s new premier, Rock says he’s never taken much of an interest in politics, but that despite the seeming swing to the liberal that Obama’s Democratic presidency represents, in theatre audiences, at least, America is still fiercely conservative. His single-mindedness in talking about the movie is surprising; he talks of it as if it awakened him to art, and to politics, as if, in acting the outcast for the first time in his life, a social conscience was born. There is something of the eighteen-year-old activist in him; of the white girls with dreadlocks and the trustafarian boys who parade banners about the approaching end of capitalism on anti-war marches. Yes, he is smiling magnificently, and yes it is with a certain debonair charm that he addresses me, and our photographer Geoff, and the sour looking barman and his agency’s British representative, Carlotta; but even ordering his coca-cola (“Hold the rum’” he quips), I can see that this is a boy in pain.

His childhood was happy, he tells me, but the family order was strict, and unlike his ex-fiancée’s family, who are portrayed as pushy Hollywood types, his family were firmly against his move into performance at such a young age. Tiller grew up on his father’s small dairy farm, outside of Picayune, Mississippi. His mother was a god-fearing home-maker, his father was a hard-working Methodist, stern and irascible. Rock stands up smoothly from the bar stool, which swings impertinently having lost him, and pulls his wallet out from his back pocket. He flips it open to show me, in the seedy lighting, a picture of perfect America. The family stands between the swinging seat and the two rocking chairs on the porch of a largish farmhouse, placed to catch the evening sun, which slants artistically over the kids. They are ranged in height order, and the beam of light matches it exactly, spotlighting each sandy head, each freckly face, leaving their chests in shadow. There is a screen door. To the far left of the shot I can make out a picket fence; and yes, it is painted white. The boys, two big and one little, are holding out a baseball bat, a baseball, a catcher’s mitt. The two young girls are dressed prettily in flowery dresses and grin cheekily towards the camera. Mom and Pop stand behind them, their faces beatific in the glow. He is small and wiry, she - buxom and grey. They look far too old for these children, but full of energy. “This isn’t really your family,” I say. “Disney put this together for a remake of The Waltons.” He laughs at my joke, and then winks at me coyly. “Wouldn’t you like to know,” he says. The third of the five children, Rock is the only Tiller to have flown more than half a mile from the nest. Eldest brother Bud took over management of the farm from his father Harrison two years ago, and lives there in a small house he has built on the land. Second brother Junior is working on a small-holding not far from home; the two girls are finishing off high school and are thinking of teaching for a few years before marriage. But from a young age Rock wanted something different. He says it was a nativity play that sparked his love of performance: Christianity was – and is – central to his life. “I love Jesus,” he says without a trace of irony, which is a shame, because I guffaw immediately at his American sincerity. “I pray every day. But I’m growing up.” I ask him – what about the virginity? “I’m a young man,” he says, “I’m almost 20.” I’ve got no idea whether this is supposed to affirm or confound the rumours, but I find myself unable to speak for a moment, because Rock has casually laid his hand on my knee, ostensibly to whisper something to Carlotta. I am pretty sure he squeezes.

“Have you seen the movie?” he asks turning back to me, and gently removing his hand as if he never knew he had laid it down. I have seen it. It is cuckoo, crackerjack, f for effing amazing. It is neither indie tongue-in-cheek nor cutesy dark humour; it’s not cartoonish, its not horror blood and violence. It is the quiet intensity of sitting on the end of the bed as your son cracks up; crying as he babbles and raves. It is Bergman, reborn an American in the time of Dubya, Eminem and Dancing with the Stars. There is a gripping stillness to the movie; it could almost have been a play. He nods “The writer, Mike Orly, started writing it as a play, but Lawrence got hold of it and insisted.” [Da Silva and Orly go back a long way: they met in the off-off-Broadway circles in the early nineties and have been friends ever since.] “Its because of the dreams – he insisted the dreams would only work on film. And the voices.” The voices, those that Franz ‘Frenzy’ Bollinger hears in his head, are terrifying and strangely compelling. They seem to be speaking from inside Tiller’s head. The camera watches the breeze in his hair compulsively, and yet it is somehow understated, somehow heart-breakingly subtle.
I tell him how much I liked the film, and he smiles eagerly throughout my compliments, and thanks me. But then his smile drifts away. His face takes on a bitter look. “You know I’ve received hate-mail because of this. I’ve been spat on. I’ve…’ He looks at Carlotta and abruptly stops talking. I follow his gaze, but her face looks calm, unperturbed. He continues, tentatively. “They don’t seem to get that…”
“F is for fiction?” I offer. He comes back quicker, sharper than I would have expected: “F is for farce.”

The outcry in America, however, is concentrated around the fact that this movie may not be fiction at all. Franz Bollinger may be a fictitious name, but Johan Doolethey, the man whose life Frenzy is alleged to follow, is not. You may not remember the name, but it’s unlikely you will have forgotten the Thanksgiving Murders, four of the most grotesquely sterile slaughters ever tried in America. On November 22nd 2001, Leonard and Cynthia Doolethey of Avalon, Georgia were gathered for Thanksgiving with their daughter Gabriella Sheers, her husband Steve, and their two daughters aged 6 and 8. Johan, their 23 year old son, was long estranged from the family and had not been invited, so it must have come as a surprise when he rang the doorbell at seven that evening, bearing a pumpkin pie as an offering and expensive presents – a new bicycle and mini-scooter - for his nieces. From the stony faces and the stiffness of the poses on the photos taken that night on Leonard’s new digital camera, all signs point to an unhappier-than-average family reunion over turkey, yam and plenty of greens. The last few photos are of the two girls, whippet-thin in pink chenille, trying out their new toys in the yard. What we know happened next takes a dark and disturbing turn. The girls found that they were locked out of the house. They tried the front door, then went round to the back. The doors wouldn’t budge. They made their way around the side to see that all the curtains were closed. Unsure what was happening, they pushed their scooter and bike up the road, to the house of their grandparents’ friends, Deon and Celeste Williams. Deon soon came out to investigate, and suspecting something was up, put in a call to the police. But he was second in line in making the call - Johan had already turned himself in.

The scene in the house was described by police reports as ‘shocking and macabre’. Doolethey first poisoned his victims - the pumpkin pie he had brought for desert was laced with large doses of a mild sedative - then they were rolled and sealed in polythene bags, and stabbed once each, a kitchen knife straight through their sternums. The photographs of the scene make it seem surreal in its cleanliness. The blood from the knife wounds had spilled and eddied within the plastic wrapping but none had leaked. The four bodies, laid out neatly in height order, in their reddish, bubbly shrouds appear like vacuum-packed joints of meat.

This is no spoiler. None of what I have described above appears in the movie. And yet Bollinger is as close to the real Doolethey as ‘real-life characters’ come. Where is the link? And why does the movie not feature these murders, gory, and terrifying and dramatic as they are?

The Thanksgiving Murders were big news, for a week or two. During his trials, Doolethey was featured in the press all over the south eastern states. A pop psychologist chatted with Oprah on a segment entitled Bloodbath, the inside story of the Thanksgiving Murders. When he was sentenced to death at Georgia’s State Prison, a number of highly-publicised suicide attempts kept him in the papers. It was the attempts on his own life that drew the young playwright, Mike Orly’s, attention: "He suddenly realised, he knew this guy," Tiller tells me. He knew him? I ask, knew him personally? "No, I don’t think so. But he felt like he knew him – he felt – this is a man I know – so he wrote him. And Johan wrote back. And then they kept on writing." The full correspondence between Orly and Doolethey, Death Called to Me, is being brought out later this year by HarperCollins. It is, according to the press release ‘a stunningly beautiful and empathic account of death row and the life that lead there.’ Four of the letters will be printed in tomorrow’s Observer to coincide with the release of the movie in the UK. It was their publication in The New York Times last month that precipitated the uproar in America.

The selection of letters featured is comprised of Orly’s first letter to Doolethey from January 2002, Doolethey’s bewildered, heartfelt response, and then two more letters from the death row inmate, dated 2005 and 2008. Orly’s letter is a powerful tract of recognition.
‘Dear Johan Doolethey,’ it begins. ‘You may well receive a hundred letters like mine, and I’m certain you won’t have the inclination to answer them all. But I write to you because your story speaks deep to my gut and my gut is a cruel master whose demands I can’t ignore. I can’t be sure, but my sense is that you have similar troubles with your gut too. I would like to understand – and that’s all. I’m not interested in the way you killed your folks. I want to know why you had to do it. Because if your gut is anything like my gut, you only did it because you had to. And I’m only writing to you because I have to, and I hope that’s clear.’

The three of Doolethey’s letters selected for pre-release, reveal a mind that works at breakneck speed: there is the sense in Doolethey’s writing that he is sprinting after his thoughts, panting, trying to catch up, and sometimes achieving it. The letters span his lifetime in jail, from the ‘excruciating hollowness, the living death, of life in the can’ which his first letter describes, to the last letter he penned before his execution, which ends, heartbreakingly: ‘Mike, Mike, my truest friend. I’m sorry. Thank you. And goodbye.’

But it is the second of the letters around which the storm of hatred for the movie has whirled. Described by the Facebook group F is for Frenzy Must Be Banned as ‘the work of patent sanity masquerading as gross madness,’ this letter is being portrayed by the right in America as a cynical and pointed attack, and along with the movie and the book, is considered as a major weapon in the arsenal of the Campaign for the Cessation of Capital Punishment. I ask him, was it Mike Orly’s and Lawrence Da Silva’s intentional that this movie was a political protest? "I don’t think it was the aim. That makes it sound so cynical. This is a homage to their friendship,’ he says. "I didn’t know Mike back then, but when Johan died? It was really bad. He told me he was drinking, he could barely get out of bed, it’s like his life was going off-track. He told me that the only way he started to get better – started to deal with this loss – was by continuing to write." And what started out as more letters to Doolethey, became a fictionalised version of his early life, and then a play – and finally the film as we know it now.


So what’s the fuss about? "As far as I get it, it’s that the movie doesn’t feature the murders, or death row. It’s that it’s a compassionate look at a guy who’s been really cruelly treated and about how that affects him when he’s young. Also, from this movie, there’s no doubt he’s not well… I mean, this guy is very sick. He wasn’t in touch with reality. There are moments in the letters when he’s clear as a bell, but other times… Mike got to know him as a person, and he managed to understand that sickness a bit, and he was completely convinced that they would win the appeals. It’s not legal to execute people who are insane, right? So he appealed – Mike was there, helping him out, all the appeals you can do from death row, and the judges just kept on loop-holing the psychologists reports which said that he was psychotic and whatever else. So now all this shit storm is about the fact that the movie portrays him as mad, which the courts say he wasn’t. It’s like – when did America become a country when an artistic endeavour can’t criticise the authorities?" He pauses, looks down at his hands. There’s something of the undergraduate about him now, the way he seems to be watching his own naïveté spin him in circles. He looks up at me, and asks "Or is that what it’s always been like?"



Helena Michaelson




Tuesday, 29 September 2009

Poem

I have constructed the moon into a lamp

So that it can bear its days without shrinking

Like a soap, but be a head proudly shaping

Over the clouds into the white vanity it deserves

For its force. Dragging seas and women

Behind its back in a heavy bridal veil,

Horses envy its strength. Corpses

Leave sleep in their graves to hold

their hands under that lamp again,

My lamp, my kitchen lamp.



Rebecka Mustajärvi