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Alex Carnevale
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Kara VanderBijl
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Mia Nguyen
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Durga Chew-Bose
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Senior Editor
Brittany Julious
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This Recording

is dedicated to the enjoyment of audio and visual stimuli. Please visit our archives where we have uncovered the true importance of nearly everything. Should you want to reach us, e-mail alex dot carnevale at gmail dot com, but don't tell the spam robots. Consider contacting us if you wish to use This Recording in your classroom or club setting. We have given several talks at local Rotarys that we feel went really well.

Pretty used to being with Gwyneth

Regrets that her mother did not smoke

Frank in all directions

Jean Cocteau and Jean Marais

Simply cannot go back to them

Roll your eyes at Samuel Beckett

John Gregory Dunne and Joan Didion

Metaphors with eyes

Life of Mary MacLane

Circle what it is you want

Not really talking about women, just Diane

Felicity's disguise

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Tuesday
Nov252014

In Which It Calls For A Different Type Of Drink

A House I Would Like To Live In

by NATHAN JOLLY

Past the long, dipped driveway, proud hedges block the neighbours out, while a bent basketball hoop guards those big, barn-style doors you pressed me against the night I knew I loved you in a different, more permanent way than I had loved before. The inside of that garage is still as messy as it was that night, but at least now it's an ordered mess - we know which box the CDs are in, and that the remote control boat we've only used once is in the clear blue plastic box under the piles of blankets we push against the inside of the barn doors when the rain begins sprinting down our driveway.

We know exactly how sharply that driveway slopes because we adjust for this with our bounce passes, and you sprained your ankle that night after the drunken RSL raffle where we won the meat-tray and hosted a second raffle to offload, buying twelve dollars worth of chocolate with the proceedings. Our daughters know how the driveway goes too, because they sit on skateboards with their laces tucked into the sides of their shoes, and slide down those same slopes until they crash into the barn doors.

You're on a computer near the front of the house, annoyed and late for some deadline your boss secretly set two days early to allow for your hopeless internal clock, and the girls pretend they can't hear you yelling at them to go out into the cul-de-sac and stop hurting the poor barn door. The girls laughed the first time you ever said that to them, because you showed them how it looks like a sad face with droopy eyes and a mopey handle-mouth and now every basketball dint is either a cute dimple or a gross pimple depending on which daughter describes it first - Barney is now a character that the girls wave goodbye to when we drive 90 minutes up the coast to stay at your uncle's beach house, which is in a nice enough area to deal with the handful of self-congratulatory references he makes to his own generosity each Christmas when we see him: "It's a good life down there, isn't it mate?"

It is making him money just by standing there, he tells us. It is his reminder of where he'd rather be. He bought it with the life that won't allow him to visit. You started sending him postcards each time we were down there, because you realised he just wanted reassurance that it was a good idea to buy a fibro-cement house on the beach a little too late for a little too much, and that it is waiting for him to return, yet keeping busy entertaining visitors. “Anyway”, you asked him one afternoon with the straightest of faces, “why exactly is a 58-year-old guy holding onto money anyway?” You were right, and that was when I realised that maybe you and I were just getting started instead of settling in somewhere. Life is long.

This afternoon I am arguing that the dents in the barn door add to the charm of our entire house, our entire life. You made our grumbling babies stand against the doorway, skimmed a school ruler through their hair and tracked their growth with permanent markers every few minutes. The barn door is another permanent marker: of our giddy girls smashing trikes, of our doctor hitting a cricket ball from the cul-de-sac into our door - in surf-shorts. We don't need the girls breathing in paint fumes either, and neither of our next-door neighbours know us well enough for us to breathe easy dropping them off there for a few hours - it's too cold this time of year to bundle them into the car and drive aimlessly, too.

You laugh at my flimsy excuses not to paint the door and then push me up against up it, softly this time.

When we moved up the coast to breathe salt instead of smoke, to wake early by choice, and curse bindis again, we couldn't believe we could afford this house; we were fresh from the trap of city prices and sizes and stoops sold as verandahs. We couldn't believe the takeaway store down the road with its ancient arcade machines, and fish plucked that same morning from an ocean you could see. We couldn't believe there was one local policeman, and that we knew his first name, that he lived in a four-room plywood extension carelessly nailed and glued to a store-front federation-era cop-shop, and that we bought stamps and parcel packs from his wife, and didn't inherently tense up when walking past him - unlike those policemen in the city that could own you just to own you. We've seen him eat coleslaw at a backyard barbecue in faded surf-brand shorts, and now we know a policeman by name, and a fireman and a shopkeeper, and a doctor - and we've seen them all in surf-brand shorts.

We stopped talking to our old friends, then we stopped talking about our old friends; pubs and doorways and bus-routes faded like the Darling parents and the idea of inhaling breakfast while buttoning a shirt and rushing around looking for ear-rings and squashy heels started to seem faint and comical. One Sunday newspaper came with free carrot seeds as part of some misguided promotion; now have a veggie patch, which gives us a new, more natural gauge on how time passes.

There are secret, future plans for that veggie patch but for now it sits sagging over the path as a grown-over reminder of two months last summer where days stretched into each other and we drank coconut rum because a new season in a new town called for a new more postcard-friendly drink.Tomorrow I have to go back to the city. I know that it will try to coax me back, and I know that I will let it. Tonight, I watch my daughters sleep, and watch you watch TV, and eat potatoes grown just down the road.

Nathan Jolly is the senior contributor to This Recording. He is a writer living in Sydney. He last wrote in these pages about communal living. He tumbls here and twitters here.

Paintings by Alex Colville.

"The Prettiest" - Adna (mp3)

"Rain" - Adna (mp3)

Monday
Nov242014

In Which Communal Anything Is A Nice Idea

The Host

by NATHAN JOLLY

We are at a house party, walking from room to room, while Charlotte points out the tiny signs that the host is a functional junkie. Things that only someone who had been a drug addict before would ever notice: slightly bent paperclips, odd items in rooms they should have no occasion to visit, snowflakes of ash on bookcases, slight burn marks on pillowcases, the 'Lost In Translation' soundtrack perched on the stereo.

Charlotte was once a drug addict and is now a drug user because even bread has habit-forming qualities and is probably killing us just as quickly. She was right about soy snacks, about plastic and fake sugar and Susan's old boss, and she swears she is right about this, too - so I believe everything she says. Charlotte fell asleep on her arm two nights in a row, and it scared her enough to slide slightly straighter. We split up weeks after that, and neither of us argued hard that this wasn't the real reason. This kitchen is immaculate, which Charlotte notices and now I notice, and she assures me this also means something, and I nod, and she smiles, and we wonder how firmly we need to ingratiate ourselves with the host before we can change the CD. I like when house parties have CDs rather than iPods, and I like when they have punch, too, because we all learned early from the same ten TV shows that punch equals party and therefore this is a common bond we share with every single host who serves punch - even if she is a closet junkie who spends hours manically cleaning and organising her fridge by food group. Charlotte tells me you can instantly tell a house party will be filled with terrible people if there isn't a bookcase and a stereo in a common room. We argue for a bit about how books are often kept in bedrooms, especially in share houses, before Charlotte points out there should be more books than bedroom storage, especially in a share house. This presents another wrinkle: does the overflow mean the books in the common room are an accurate representation of tastes - three people's least precious reads - or a greatest hits collection, a boast which vastly overstates each individual's true tastes, making the more-interesting seem less, and the less more? We can't decide. I helpfully point to a cracked tile, but it doesn't mean anything apparently - sometimes tiles crack.

The living room is filled with people I will never know. The stereo is loud and muffled, like it has been ordered to shout but is embarrassed by what it has to say. I take this music as a personal attack on me, but Charlotte sees it as a shortcut, the way she has seen most human behaviour ever since she changed majors from economics to sociology then back again. Charlotte never finished her degree and her mother still doesn't know. She has never needed it, and come to think of it, neither have I. "I need a T-shirt with a photo of Yoko on" she says lazily, before collapsing into a cane chair. Charlotte once told me the best time to interact with society while being on drugs was before 9am, because everyone looks like a shaken mess that early in the morning anyway. It made me skip back over every morning spent with Charlotte to try to remember signs: to remember her eyes, her reaction time, her pale, speckled face. But Charlotte was always quicker and much smarter than me (than I?) and now her eyes are dancing because she caught me looking at them for too long; I realised I didn't know what color they were - or thought I didn't - until I knew of course I did. She kisses me on the lips sharply, then slowly for a few seconds longer. I realise I'm now sitting in her lap, on a cane chair in a lounge room swimming with strangers, so I get up and walk with purpose towards the stereo, but am too scared to stop the music.

There are piles of blankets near the door leading out to the back porch; the evening is stupidly cool for an October and our host is kind in that pure-hearted way where she steps out future scenarios and makes sure she is prepared. I want to tell her that I'd noticed this but since she doesn't know me, it can't have anything resembling a positive effect, so I don't. The punch looks a different, more troubling color than it was when we first arrived, so I decide not to risk another dip in the bowl; communal anything is a nice idea but it runs a short race. Charlotte's friend Lucy is already asleep, her neck craned uncomfortably, and because the three of us had walked to the party together, we'd signed on to bring each other's bodies home - especially because this house is across from the dark corner of the dog park where the floodlights die and no taxi dare roam. I grab a bunch of blankets and cover her, and try to find a cup clean enough to fill with water and sit near her. She flinches and grabs my face and whispers to "Charlotte" to "try to bang [me] tonight", because "he is being so obvious" - I stay and stroke her hair until she either falls asleep or stops moving. I slide under her limp, coathanger arm, and head out into the yard to find Charlotte. Past the fire and the five-stringed acoustic guitar, she is scrunched against the fence, her phone shining a light on her face. "I was trying to find you" she smiles, and puts her arms out, as if she needs me to drag her to her feet. 

Nathan Jolly is the senior contributor to This Recording. He is a writer living in Sydney. He last wrote in these pages about cataloging. He tumbls here and twitters here.

Paintings by Julian Opie.

Friday
Nov212014

In Which We Attempt To Remove Ourselves From The Situation

When We Finished

by TRACY WAN

The caveat is that the feeding hand gets bitten, but no one warns against the bitten hand that keeps on feeding. It’s a process I was largely unfamiliar with, having never been the type to linger, having built up immunity against the very idea. Most of what we think of as virtuous — patience, tolerance, forgiveness — depends on stasis. To forgive, you have to stay. And I’ve always despised still life: a shark’s death. 

But it’s almost June and the air is intimate, pressing tightly to skin. When your body temperature approximates that of the breeze, there are few movements that feel necessary. Of those that do, few are sharp; everything is covered in a sleepy gauze. If we close our eyes, it’ll be morning again. 

In summer mistakes don’t feel real. Everything is equal parts possible and impossible; attainable without consequence, and forgettable in the same way. One day I returned home from the lake with a mild sunstroke, and found out he was sleeping with a girl — much in the same way he had been sleeping with me for the past two years. Intimate, pressing tightly to skin. She was the one who told me. 

I laughed to myself, and wondered why I was laughing. Was it because I did not expect this life? Was it that I knew this would happen? Nothing made sense except the fact that I had to leave, be in a space that was not decorated by his clothes, a space in which I could degenerate and reconstitute as someone who would survive this. I grabbed a bottle of whiskey, put on lipstick.

Around midnight I came home and told him to come over. I wanted to throw everything he owned out of my window but couldn’t; I wanted to slap him, but held his face in my hands. He cried while picking up his things, but it was then three a.m. and I wasn’t feeling cruel, just devastated. It is almost impossible to retain anger in its purest form; it takes years to be able to speak the body language we covet. The hand that was bitten keeps on feeding. 

When he asked me why I let him stay, I replied: to remember that we once gave to each other. He cried more. I kissed him - salty. In the tar dark he whispered I’m sorry and I said treat my body like it’s yours for the last time. He misheard: Like the girl I was with last time? I don’t want that. But he did. This was the proof. This was the fruit.

I cried when we finished, without moving, the tears falling ripe onto his face. It pooled with his into a dark puddle across my pillowcase. We slept with his knees folded into the small of my own: a first. I shifted away upon wakening.

+

It takes a rare degree of mastery to untie knots with the same grace and speed at which you secure them. This is because the knot is usually what we desire, far more than its dissolution: in shoelaces, ties, most boating situations. It’s a skill, something to learn as a child and practice frequently. Knotted, things stay together, and they do not part lest we want them to. The sheer numbers of this life dictate that we are more often apart than we are together; only endeavour, and will, bring people to each other. They separate effortlessly.

In life we “tie the knot” happily, willingly, but when the relationship nears its end, these bonds “dissolve” and “fall apart” — responding to a force that is bigger than us, or so it would seem. We rope ourselves in when it’s good, but are cast away by circumstance when it’s not. I watch this happen weekly. “Things just didn’t work out.” “I don’t know where it went wrong.” “We did all we could.” This was not a narrative that I was going to accept for myself. 

+

As my relationship ended, the most common advice I received was to make a clean cut of it. In other words, violently pull yourself away and tend to the wound later — at home, in the company of friends, sad music, dairy products. This did not appeal to me for several reasons. For one, sad music played the role of any music in my life, which was going to be unremarkable. Lactose intolerant, I also found french fries to be a far inferior wallowing food than ice cream. As for friends — I didn’t believe in breaking up in their company, since I didn’t really fall in love in their company. Intimacy where intimacy was due.

When you make a clean cut, the sacrifice is always a part of yourself. I did not want to emerge from this with a phantom limb — after all, one with a proclivity for devastating music should not be expected to recuperate quickly. The alternative, I reasoned, would be a gradual, self-dictated breakup; so that by slowly slipping out, I could loosen the grasp in time to make it out unblemished. This’ll be like kicking a caffeine habit, I thought,  the dynamics of which I was painfully familiar with. If a relationship is formed through an accretion of time with one another, then it can be taken apart in the same way.

+

Hours before the discovery that led to our dissolution, I had booked tickets for us to Montreal — where he lived, and where I was from. We were going to spend two weeks together before I began my internship in Toronto. Those two weeks were allocated to moments we were going to share — brunch at a favourite restaurant where the owner knew us by name, trips to the mountain at sunset, lying awake in a bed that I left him when I moved. When all that became no longer viable, I stared at the tickets until my eyes lost focus. Time seems to fall to half its rhythm in solitary. What was I going to do?

And, true to the constitution of anyone struggling to kick an established habit, I said ‘fuck it’ and went anyway. If choosing the structure of this breakup was something I wanted for myself, I wasn’t going to give up two weeks in my favorite place in the world — even though it had shifted during my own earthquake.

+

When the métro slowed to a halt at my best friend’s subway stop, he reached over to grab me, and kissed me on the cheek. We had spent the previous six hours fluctuating between touching and not touching each other, unsure of its degree of consequence and regret. In many ways, the end of a relationship (should you opt for the one I did) mirrors its beginning: every decision seems more crucial and paralysing than the last, every gesture ripe, almost fermented, with meaning. The first night we met, at the same subway station, I leaned over to kiss his cheek, and his mouth had met mine. He was nervous, the same way I am nervous at this point in time, two years later. This time, I wasn’t going to kiss him. This time, I didn’t want to get closer.

“I’ll call you every day,” he said — in the way that boys do, revealing, without a doubt, that they did not believe the rules of the universe applied to them — “You can pick up whenever you’re ready. I want to know what your days are like and how you are. Every day. I love you.” It seems hypocritical, but isn’t, in the same way that hurting yourself does not imply a death wish. Advocates of clean cuts hate this. They want to throttle him, pull him from sight. I just wanted to touch his face, the very instinct that I’ve felt since the day we met.

I took a step back.

“I’m going to go. Before this gets complicated, you know?”

Tracy Wan is the senior contributor to This Recording. She is a writer living in Montreal. She twitters here. You can find her website here. You can find an archive of her writing on This Recording here.

"Song on the Radio"  - Amelia Curran (mp3)

"I Am The Night" - Amelia Curran (mp3)