Showing posts with label cats. Show all posts
Showing posts with label cats. Show all posts

Saturday, 3 October 2015

Biffo - The Missing Weeks...

I was browsing on-line, as I do when plot-wrangling threatens to
implode my brain, and I came across this, questioning whether putting up posters about your missing cat ever helps you regain the cat.
     It reminded me of my beloved ex-cat, Biffo, and the time he went missing.




     It wasn't long after he moved in with me. I followed the rules for a cat-move. I kept him strictly inside for the requisite two weeks, buttered his paws and gave him cream and tuna, and other treats, designed to convince him that he'd fallen on his paws, and there was nowhere he'd rather be.
     But I had to open the door and let him out eventually, because he'd always had freedom to come and go as he pleased before.
     His first ventures into my back-yard and street went well, and he returned to base for food. And then he went out and didn't return. Not that day, not that night, not the next morning. 

     I knocked on doors and asked neighbours to check their sheds. Still no Biffo.  I concluded that, sadly, Biffo had probably been killed by a car.

But Davy, who was Can-Opener No. 2 (I was No. 3) refused to accept this. He was very attached to Biffo. Davy persuaded me to print off some flyers and we posted them through doors for several streets around.
     The result, after a week, was one phone-call from a concerned man who asked if we'd found our cat yet. He and his wife, he said, would be distraight if they lost their cat, and they felt for us. But no, he'd seen no cat like the one we described.

     Davy still refused to give up. On his insistence - Davy is really the hero of this story - we toured the neighbourhood again, talking to people we met in their gardens, asking if they'd seen our flyer and if they had any news. It was a warm, sunny autumn Saturday, in late October or early November, because the annual barrage of nightly fireworks had been going on for, well, nights.
     We wandered onto a patch of overgrown waste ground that backed onto some gardens, because it was the kind of place that a lost cat might hide during the day, or hunt at dusk. We stood there for some while, talking. Davy seemed sure that Biffo was simply exploring his new area. I argued that he was more likely trying to find his way back to his previous home, and was disorientated in the strange streets.

     We stood there, talking, for some time and a woman came out of her house into her back yard, which we appeared to be staring into. Could she help us, she asked, in that special tone that means: 'What are you up to, you suspicious types?'

     I apologised, and explained that we were looking for our cat. Mollified, she said she'd seen a cat, one she hadn't seen before, sitting on the fence posts at the edge of the waste ground, staring into the scrub. In other words, a cat hunting.
     I asked what the cat had looked like. 'It was a big cat,' she said. Now, on seeing Biffo for the first time, people said either, 'Oh what a beautiful cat,' or 'Oh, what a big cat.' Sometimes, both. I asked for more detail and the description - grey, striped, big bushy tail - all fitted Biffo.
     We thanked the woman, and returned to the road. I was thinking hard. A lost and scared cat, forced to find its own food, would want, I thought, somewhere quiet and hidden to lie up and hide during the day; somewhere there were plenty of small mice and other little creatures (and Biffo did catch mice and rats) and somewhere that people put out food.
     Assuming that he was continuing on down the hill, was he going to find anywhere like that?
     Yes, he was. Near the bottom of that very hill was the house where a good friend of mine lived. It was a corner plot, raised up above street level. Most of its long garden consisted of a steep bank sloping down to the street, thickly grown with trees, bushes and briars. There were apple trees, and plum, hawthorn and wild roses: a miniature urban wood. My friend had never tried to do anything with it: had simply left it to itself.
     She's also keen on wild-life and birds, and puts out food and water, every single night. She makes up sandwiches for the foxes (I kid you not) and sets out cat-food for the hedgehogs. There are peanuts for the badgers. If Biffo was still alive, I reckoned he would have sniffed out my friend's place - and once he'd found it, he'd stay there.
     I knew my friend had guests that afternoon, so didn't interrupt her, but I phoned her as soon as I could and described Biffo. A very large cat, a tabby, mostly grey but with a sandy undercoat. He has the look of a wildcat, I said, with a very thick, bushy grey tail, ringed with black. Amber eyes. Very upright, pointed ears. A big fluffy snow-white 'shirt-front.' Big paws. Hind legs longer than his front legs.
     That was Saturday evening. The very next morning, early, the
phone rang and it was my friend. She asked me to describe my missing cat again. Then she said, 'I got up last night to watch the foxes - ' Which she often does, because she's a life-long insomniac. 'And there was a cat just like the one you described eating from the hedgehog's bowl.'
     So I phoned Davy, and he grabbed his cat-basket and drove over immediately. As soon as his car pulled onto my friend's drive, Biffo emerged from the bushes, wailing. A very bright cat, he recognised individual car engines, and he knew rescue had arrived.
     There was no palaver, that day, about catching him and getting him into the cat-basket. Davy said he almost threw himself inside, purring with relief and gratitude. You know, freedom is one thing - the sky your roof, and your candle a star and all that. But a nice warm sofa and as much cat-food as you can eat is not something to give up lightly.
     After that adventure - he was on the loose for three weeks, with fireworks exploding every night - he stayed much closer to home, though he still spent most of every day outside.
     He's been gone for good since 2010.  I still miss him. In fact, as I lay in bed the other night, I heard him licking his paws beside me, as I did immediately after he died.
     So, did the flyers succeed in reuniting us with our missing cat? No. But Davy's determination to look for him, and asking questions around the neighbourhood - and my doing a bit of writerly imagining on, 'How would a cat think?' - led us to recovering him. And to eight further years of very happy cat life.


     He's welcome to come back in the night, and lick his paws and wipe his ears as often as he likes.

Saturday, 26 January 2013

In Conversation with... Judith Key


          This month the conversation is with Judith Key, the writer and artist.

          She contacted me recently because she’d seen, on my website, that my original agent was Osyth Leeston – and Osyth was also Judith’s first agent. So we got talking…

          Judith: I was interested in what you said about 'the daemon' and 'the editor.' (Previous ‘In Conversation’ blog with Jenny Alexander.) We all have daemons to a greater or lesser degree. It's that part of us we learn to suppress as we are growing up. As adults we control our emotions, and 'edit' our behaviour. On the whole it's a good thing. But that process of control can lead to all kinds of negative inhibitions too - it can be a double-edged sword. When it comes to artistic expression, young children show a natural creativity, while adults are hampered by all sorts of hang-ups.
          
When I was teaching art to adults, I saw how students were often afraid to make a mark, in case they 'got it wrong.'  Each had an editor on her shoulder with an iron grip on the paintbrush.
           For a long time I was like that with writing. I couldn't get the stories out. I didn't know why. I kept hitting a wall. For years I stopped writing altogether. It was an amorous tramp who freed me from it.
          Sue Price: Oh, yes? Tell us about the amorous tramp!
Judith and the tramp
© Judith Key
           Judith:  It happened one February morning, when I was sketching in a nearby village.  It was bitterly cold, but I was well wrapped up with woolly cap pulled down, scarf pulled up, fingerless mitts and old painting jacket, frayed at the cuffs and splattered with paint. I had my back to the village pump, looking towards the ruins of an old abbey.
          A figure appeared, weaving up the hill, evidently the worse for drink. He paused at the point where the road forked either side of the pump, and stood swaying, uncertain of which way to go.
         To my dismay, I saw we were dressed almost alike - old jacket, woolly cap, scarf and fingerless mitts. If anything he looked the smarter as his jacket wasn't spattered with paint.
          He must have misread my expression, because in the next moment I was buttonholed against the pump, and staring into his bloodshot eyes.
          Then came the chat up line every girl dreads: 'Hello, Darling, going my way?'
           Fortunately, the abbey grounds were open for the annual snowdrop walk. I managed to leg it and spent 3 hours wandering the grounds alone, mentally picking the petals off the snowdrops, thinking, 'He loves me, he loves me not, he's smitten. Help.'
           With the light failing, I had to take a risk. I stood at the exit and checked up and down the lane. No sign of him. But the car was half a mile away, and between here and there were any number of bushes behind which an amorous tramp could be waiting to leap out on his lady love...
          But that day marked a turning point in my life. Our love remained unrequited, but a few weeks later I found myself standing in front of an audience that had paid good money for a painting demo that was going wrong. The paint wouldn't dry and I ran out of chat.  It must have been the repeat of that 'rabbit-in-the-headlights' moment, when I was accosted by the tramp, that triggered what came next. I said, 'A bizarre thing happened when I went to sketch this abbey...' and out spilled the story.
          It was unplanned, natural and spontaneous.  I drew an off-the-cuff caricature by way of illustration. The story and the drawing just seemed to do it themselves, without any help or hindrance from me.
          I'll always be grateful to that tramp, as his unwanted attention had the effect of shifting my chronic case of writer's block, and unleashed a second career as a performance storyteller.
            It was a turning point. From that day, stories were back in my life. Storytelling and caricature went hand in hand. Each informed the other.
          But when I turned from oral to written work again, I had trouble. I was right back to where I was before.  I'd get so far and hit that wall. Maybe I wasn't a writer...
           Then I twigged that what I was doing was trying to edit the thing before I'd written it. Instead of allowing myself to be a conduit for the story, I'd turned myself into a dam.
           I had to get the story out, however bad, fractured, uncontrolled. Then I'd have something to work with. To do that I had to forget the 'self', just as I had that day during the painting demo. Whatever was compelling me to write this story, I had to stand aside and give it free rein.

          Letting the daemon take over can be scary - where is it going to take you? You can find yourself in a headlong gallop over some hair-raising territory in a direction you hadn't planned. Helen Cresswell once said to me, 'If you don't know where your story is going, it will sure as Hell get you there!' I didn't know what she meant at the time, but now I think I do.

          Sue Price: I know what you mean – and I often find myself writing about things I know nothing about, or scenes I find disturbing, because the ‘daemon’ has dragged me there. But if anything, I’m more scared of the daemon leaving me to find my own way! I know that, without it, my writing is mechanical. The ‘editor’ can’t do it alone!
           Judith: But at some point the editor has to get involved. When daemon and editor work hand in hand, I see it as a relationship like that between horse and rider, the one all power and energy, the other harnessing that energy and with a guiding hand on the reins. When daemon and editor are at odds, it's more like a wrestling match. The work they are trying to create ends up as a casualty.

          Sue Price: Yes! 



'Evening Light' © Judith Key
          Judith: I'm inspired by landscape. Wild places. Heath, woodland, marsh. One of my favourite places is the Wash. It's an open, floating world. The editor in me sees structure, shape, tone, this colour set against that. But what excites me is the atmosphere, the shimmering light, the racing cloud shadows. Then I hear the lonely call of an oystercatcher, and I'm taken to a different level again.There is sadness and longing in those marshes. 

          That's when I tell myself I've found the 'soul' of the place. But what am I actually connecting with? Maybe some aspect of myself.

          Sue Price: Whatever it is, I can see it means a lot to you – your description is beautiful.

           But you said you’d tell me about when you had to paint a portrait of a psychotic cat… Though it’s a bit harsh to call it ‘psychotic’ if it just didn’t want its portrait painted. I hate being photographed myself.

          Judith: Oh, its psychosis went deeper than a simple reluctance to have its portrait painted. It was the most maladjusted creature I have ever met, and what was worse, its owner could see no fault in it. Maybe it sensed that I was a doggy person. It certainly took an instant dislike to me.
           I had to snatch photos of it scowling from the top of a book case, bristling under the coffee table and glaring out of the coal bucket. Then it shot under the settee where it cowered, hissing like a nest of vipers. Its owner was unfazed. 'Oh bless him, he's gone all shy!'
           I ended up with some hurried sketches, a two inch claw mark down the back of my hand, and a whole lot of snarling, spitting cat imagery burnt into my brain.


© Judith Key
          Back home, a string of monstrous caricatures flew from my pencil. (Daemon 6, editor 0). They captured the cat's character to a T! I knew it wasn't how the client saw her cat but I had to get them out of my system before tackling the chocolate box image she wanted. I managed it, after bending both my will and my pastels to her doting vision. Commissions can be a nightmare - (editor 6, daemon 0).
          Animals feature strongly in my stories, but it was only recently that I realised how that cat haunts me. Since 2010 I've written two children's books and a rough draft of a third. Flicking through them to see how I've progressed, I realise that all of them have scenes featuring the same scowling creature. And here it is again - muscling in and dominating our chat. My daemon is a cat with attitude.         
          Sue Price: Or an amorous tramp! 
          Judith: I shouldn't moan because it has given me much material over the years. Negative situations can yield much fruit. Humour works best if it has something to kick against. And yes, actually, I do like cats. It was just that cat.
           I'm sure you must have had characters that you just can't shake off - who walk into scenes uninvited and demand to be written about. Sometimes they belong there and that's fine. In fact, they can take you on a journey you hadn't expected, and that is exciting.

          Beware! Your blogspot might end up forever haunted by a glowering feline spectre...

          Sue Price: That’s okay – I’m sure Blott can cope with even a psychotic cat spectre. What are you working on now?

A cat Judith liked - © Judith Key

          Judith: Oh, I'm lugging my latest book, The Goat Boy, up the North Face of the slush pile! I try to deal with it by visualising the slushpile as a parallel universe - 
          Lit. agent 1 - 'It's a nightmare - I came into the office and there was this goat on top of the slush pile.'
          Lit. agent 2 - 'It's that Judith Key again - she never seals up her submissions properly. Don't put your hand in there - last time she sent us a psychotic cat - it had claws like Johnny Scissorhands, and I'm scarred for life.'
          Lit. agent 3'Think yourselves lucky - A M Heath's had an attack of the Sterkarms - the whole place has been taken over by battle hardened horsemen and time warps. Poor old Sarah Molloy's in a right state - her desk's in the 16th Century, the photocopier's in the 21st, and the phones don't work...'
 

        Sue Price: Thanks Judith - for talking and for making me laugh! - You should set up your own blog, and make us laugh reguarly!
 
           Some of Judith's work is available as greetings cards. For those, or if you're interested in her art-work, she can be contacted at inkandbrush99@gmail.com

          And here's Blott, ready, willing and able to sort out any psycho cat spectres around here...