The door in the floor

By : Icarus
Views : 293

Catherine was a waiting at the top of the escalator having already bought the tickets. The theatre was small and cold. She asked for blankets. The attendant came back after the anthem to say they were only available for the honeymoon seats. We watched the opening sepia images of The Hampton’s roll.

‘The reviews made out the film a bit heavy. If you don’t like it, just say, we don’t have to stay’

They were couple in crisis. He was author and philanderer. Their two older children had died tragically in an automobile accident rendering her stone with grief. They had had a consolation daughter.

So many Thai couples in the audience, surprising. Definitely mai sanuk.

A young man came gawkily off the ferry, hired for the summer. He would drive and service the wife. Lead her from mourning. The door in the floor was in their private squash court. In the end she was able to leave and he would open it.

I marveled at such European cadences in an American film

From the Major there were no taxis. Walking, half way home I said pidgin tinged ‘You want eat in my Bangkok’? We sat at the only free table, farthest from the kitchen, in front of the shuttered gold merchant. The tablecloth was holed and red velvety.

‘What did you think ‘?

‘The sex was so boring’ brightly. Remembering.

‘I wouldn’t know’ she said, biting her tongue because these days I had already claimed asylum.

Then: ‘They showed it by mistake’? So she thought it art-house too.

I shouldn’t speak. The only other time I had nearly left her had been ten years before. Our cities themselves were sepia then. We didn’t yet have a son but a chunk of money. I forget why. Or more exactly the money was held up. If it had come before a certain date I would have gone on holiday to Thailand alone and never come back.

Today was a holiday too. Out of middling Sukumvit gloom cars of the newly rich pulled up and pulled out, collecting extended family takeaways. We had ordered only soup and rice. I watched the stainless steel trolley rattle up the pavement. There would be too much ice in the beer glass again.

‘Falang couples cannot survive long in Bangkok. There are too many temptations’.

'You know I don’t want to go back to falang land’ I feinted

When the food came I only  tasted the noodles of Soi 23.

A second beer.

‘What about Kit then?’.....You always said you would do anything for him.

I could only think chaotically of how they didn’t speak when they finally separated. Old snake skins already shriveled disintegrating in the wind. Almost painless. Failing relations, dry like river beds. And then dangerously of Kim Basinger on all fours, gnawing the coverlet. And how, just now, she would be doing the same.

At home we were quiet and alone. Kit was sleeping over somewhere

‘Welcome to the rest of our lives ‘ We always joked

Finally, mercifully at 1:04 the SMS came through.

Requiem for the night

I turned foetally to sleep

 

© Icarus. All rights reserved by the author.


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Rating

Teen



Comments / Feedback

chuckwoww
May 4, 2008, 20:31

'Our cities themselves were sepia then' compensates perfectly for an overall sinking sensation.
Dana
May 5, 2008, 08:48

Oh boy, more challenges from Icarus. Please don't test me until I have read this over and over and over some more. And once again I feel the need to make a chart of the characters. I wish it was easier and I do not feel guilty for wishing so.

Reading Icarus for me must be what it is like to be a small child listening to adults. You get some of it but not all of it, and then you either give in or you give up. The placid child gives in, the future ego rich rebel gives up; already measuring the value of his time.

I know Icarus writes 'enough' for him; sometimes I wish he would write for me.
Marc Holt
May 6, 2008, 14:43

I must confess I read this and went away shaking my head in puzzlement. I still can't decide whether Icarus is so brilliant that we are all clods in comparison, or whether he is just one terse writer who expects readers to fill in the blanks. In this case, I gave up. Please Icarus, try fleshing out your stories. Maybe then we could understand them.
icarus
May 6, 2008, 18:16

Who said never apologise and never explain?

I post this against my better judgment

OR

This is for aficionados, be there any, and to dull Chuckwoww, Dana and Holt steel.



The door in the floor is a film (which can be Googled)

Catherine is the narrator’s wife.. see other submissions

The film is set in Hamptons and if I recall there are sepia images at the beginning

Throughout, the film and the narrators tale entwine and there are various resonances.
Do I need to tease them out?

Kit is their son, nearly explicit "We didnt yet have a son" about half way through this piece and in "Falangland" and perhaps others..

The Major is /was a cinema complex on Sukumvit

The narrator is having an intense ‘affair’ with a bar girl. This is only fleetingly alluded to here but is explicit in 'Festival notes' and ‘Jack Golf’ posted elsewhere on this site. Also the protagonist and family is tussling with going ‘home” Also dealt with in 'Therapy'

Soi 23 is adjacent to Soi Cowboy. The dinner reminds the protagonst of eating with 'her'

A Sms would often arrive after she had finished earning for the night, ostensibly. I can see that this might be unfathomable (ish) but for the rest of the piece it all seems less than rocket science….

So what am I doing wrong?
chuckwoww
May 6, 2008, 19:50

"I still can't decide whether Icarus is so brilliant that we are all clods in comparison, or whether he is just one terse writer who expects readers to fill in the blanks."

I can't decide either. I've never read anything quite like it. I enjoy the way he turns mundane events into something magical and mysterious. Yes it leaves one wanting more information but he is certainly a master of obtuseness.
chuckwoww
May 7, 2008, 06:43

Sorry icarus....I posted the above before your 'explanation' appeared. I don't think you're doing anything wrong. But perhaps you expect too much of the reader. I think I've read everything you've posted but I never saw the pieces as connected. I tend to take each piece as complete in itself. I almost prefer the prose without explanations. For me it's an elusive way of looking at the mystery of life.
icarus
May 7, 2008, 12:28

Chuck: Thank you for the clarification of the clarification but I am still adrift. How do I expect too much of the reader? Is it unreasonable to expect a recognition of the characters across different submissions? They are clearly labelled and most often behave 'in character' I feel.

That I obfuscate seems nearly a chorus here sometimes but I just dont see it..

Forgot to add that the phrase you liked; 'our cities themselves were sepia then' refers to Italy ( see Gestation myth)
Dana
May 7, 2008, 18:18

"Is it unreasonable to expect a recognition of the characters across different submissions?"

Yes, it is. Every submission should be a stand alone piece. The Internet participant can not be expected to go back and reread past submissions and bring forward past references. The Internet is not a book that you hold in your hand.
icarus
May 7, 2008, 19:10

"Is it unreasonable to expect a recognition of the characters across different submissions?"

"Yes it is"

Ok. But you answer my question with an assertion without reasons beyond the book analogy which doesnt stand up for me since the index/contents of a book is clumsier in use than the electronic elan of web pages.

So why 'should' each piece stand alone? Is this web lore I dont know (very possibly)

At first glance its seems merely prescriptive and unnecessarily limiting
Mike
May 7, 2008, 19:14

I rather like these works by Icarus. They make me think and keep me working to figure out what they are all about and how they are connected to his other offerings at times. They add another dimension to the stories offered here. He has a nice way with words, a different slant, and although sometimes highly cipher-ish due to the sparsity of verbiage I think that's what makes them fun and enjoyable, at least for me. They are different, and I like that fact and the challenge they can give for a reader. It's like working on a jigsaw puzzle sometimes, something I do enjoy. And his phrases can be striking in their depth and hidden illumination. I look forward to each submission, and I think others do the same, as can be seen by the quick amount of reads these get once they publish on the site.
chuckwoww
May 7, 2008, 20:35

Sorry again Icarus. Perhaps my clarification of your clarification needs some clarification. I like your writing and I don't want to get too analytical about it. It's precisely the strangeness of it I like most I think. I just hadn't realized there was a continuity between the various pieces.

I also enjoy the references and I don't think you need to provide footnotes. I don't see it as obfuscation. I am torn myself between the traditional (establish character, location, linear narrative etc.) and a more post-modern experimental approach. We all have our own ideas about writing. That's what makes this site so interesting. For me writing is a delicate balance....communicating ideas without getting too cerebral.
Persil
May 8, 2008, 06:06

>‘Falang couples cannot survive long in Bangkok. There are too many temptations’.

'You know I don’t want to go back to falang land’ I feinted<

Feinted is the correct word here. I knew that's what I was doing when I said that same phrase.

>And then dangerously of Kim Basinger on all fours, gnawing the coverlet. And how, just now, she would be doing the same.<

On my first read, this had me puzzled, then remembered you mainly call her "She", while Catharine and others get called by their name.

For the readers, there maybe many spaces between the dots, but when you connect them it all makes sense. Once again, this version surpasses the earlier draft.
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