Alison Moore - He Wants

‘Did you join the RAF?’ asks Lewis.

Sydney looks puzzled. ‘No,’ he says.

‘You wanted to be a writer too.’

‘I did,’ says Sydney.

Lewis glances at Sydney’s watch, which he cannot read. ‘I’ll have to go in a minute,’ he says. ‘It’s a bit of a walk to the surgery.’

‘I’ll take you,’ says Sydney. ‘I’ve got the car outside.’

Lewis, whose knee hurts when he walks, is quick to accept Sydney’s offer.

Sydney stands, putting on his coat and shouldering his rucksack. Lewis is still wearing his coat and shoes from before. As he follows Sydney and his dog out of the kitchen, Lewis feels strangely as if he has only been visiting, as if he does not really belong here at all.

LAWRENCE WRITES HIS letters with a dip pen that once belonged to his Uncle Ted. He still has the original ink bottle, with a little purple ink left inside it. The ink, when it dries on the page, is the same shade as the interior walls of the nursing home. Lawrence thinks he could write all over the walls with this pen and no one would even know. He could say the things he would rather not say to anyone’s face. Your dog , he would write, is too small . And: I’m not all that fond of the processed meat . And: You don’t always come when I call . He could write these messages in big capital letters, like shouting that no one would hear. He would write to the craft lady: I’ve always liked the way you smell. It would be like using invisible ink.

He once sent a girl a Valentine’s Day card. He put it boldly through her letterbox with his name inside, written in lemon juice. She never mentioned it. On some occasion after that, Lawrence did something he shouldn’t have done (he does not remember now what it was; perhaps he had taken someone’s sweets) and it occurred to him that he could make his confession in that same way, in writing, with his home-made invisible ink. That way, he reckoned, if he died in the night, he would get into heaven but without the grown-ups ever needing to know what he had done. (Perhaps it was that time he took some jam without asking, getting into the pantry and sticking his fingers right into the jar.) His mother, though, lit a match and held it close to the surface of his white sheet of paper, revealing his secret writing with the flame, and sent him to his father to be punished as his father saw fit. (What crime had he committed? He might have cut off his sister’s dolls’ hair. It would be something like this, something small and quick but irreversible.)

His handwriting is good; he is careful with the pen. He dots his ‘i’s and crosses his ‘t’s and the loops beneath his ‘g’s and ‘j’s and ‘y’s are small and neat. At school, he was naturally inclined to write with his left hand but that was soon forced out of him and instead he learnt to manage with his right. A poem he transcribed using his best calligraphy won him a certificate, presented in assembly, after which his Uncle Ted gave him the pen. He sat Lawrence down at his kitchen table and asked him to demonstrate his fine penmanship. He winced to see how Lawrence pressed the nib of this lovely pen against the paper, bearing down on it so hard that it splayed, and splayed to such an extent that the inked line split. The solid white line of bare paper left down the middle was like the line on the road that means you must not cross it. ‘Don’t press so hard,’ said his Uncle Ted. ‘You’ll damage the nib.’ The forcefulness of Lawrence’s full stops made him gasp as if he himself had been stabbed with the nib. Lawrence wondered whether his Uncle Ted regretted, even then, saying that he could take the pen. Perhaps he would have liked to say, ‘I’m afraid I’ve changed my mind. This pen is very valuable to me and I do not think you are exhibiting sufficient care. I do not want to give it to you after all. I do not want to put it into your hands.’ But he did not say that. He did query the granting of the certificate, as if it were like a qualification, a licence, paperwork for a skill that Lawrence did not yet seem to have mastered. He still gave Lawrence the precious pen though, and Lawrence tried to press more lightly on the paper, striving to write well with his Uncle Ted’s pen in his right hand, always hoping for another certificate. Even when his Uncle Ted went away, he did not ask for his pen back; he did not speak to Lawrence at all.

Even now, in his nineties, in the twenty-first century, when no one would care or especially notice if Lawrence wrote with his left hand, he still uses his right. No one would bother if he pressed down too hard, but if anything he does not press hard enough — the marks he makes are light, and shaky, his hand unable to hold the pen quite as steady as he would like. He uses a proper writing pad, containing forty sheets of nice, watermarked paper, and a guiding sheet that he puts underneath, the thick black lines keeping him straight.

He sends his opinions to the local newspaper, in letters alerting people to the dangers facing society, threats to the community, vandalism and graffiti in the streets, the damage to the bus shelter and the amendment of street signs. SMELL STREET . His most recent letters were intended to discourage people from visiting the medium who was coming — according to the nurses, according to the notices on the telegraph poles and the gossip at the church — to the function room of the nearby pub, to commune with the dead. Lawrence signs his letters ‘Mr L. Sullivan’. Lewis wishes he would not. ‘What if people think it’s me?’ he asks. ‘What if people think I’m the one complaining and saying these things?’

Lawrence’s letters are never printed anyway.

After Lawrence’s third and final missive about the medium, the nursing home staff decided to take the residents along to this event, this evening of communication with the spirits of the dead, as a treat. The craft lady expressed an interest in joining them, which left Lawrence conflicted. He pictured the two of them strolling up the road arm in arm, the craft lady’s vanilla scent on the night air. But, he said, he would not be going, because that sort of thing — summoning the dead — was just not right. At worst it was toying with the devil and at best it was a con.

‘But have you ever been to one of these evenings?’ the craft lady said. ‘It might not be like you’re thinking it will be.’ She’d been to one, she told him. She’d expected the room to be dark, ‘like how you’d turn off the lights to do a Ouija board. But they kept the lights on,’ she said, and more than anything else, it made her believe in heaven; it made her believe that we go to heaven when we die and that our loved ones are waiting there for us.

And so, on the evening of the event, the craft lady helped Lawrence out of the minibus and into the pub, and then up to the function room whose plastic chairs were set out in rows. She sat beside him and held his hand. ‘See?’ she said. ‘They keep the lights on.’

When everyone was seated, the house lights were lowered. ‘Oh,’ said Lawrence, and the craft lady squeezed his hand. A young man in a plain shirt walked onto the stage. He was going to point out the exit, thought Lawrence; he was going to tell them about the fire assembly point and the happy hour deal at the bar. But this, it turned out, was the medium. Lawrence had been expecting a woman, robes, a bit of shimmer. The audience, sitting in the dim half of the room, gazed expectantly towards the spotlight, towards this man who was preparing to bring messages through from the other side. Lawrence looked around at the rest of his party. Even the ones who had said that they did not believe in this sort of thing were waiting, he reckoned, to hear their name called out or the name of someone they had lost.