There is a definite upside to living in a creaky old house next to a canal with a doctor and four housemates: you’re alive. The downside is only slightly less obvious than that: you and the housemates have to get along with a degree of functional civility, which in Oxford generally means avoiding each other in the hall.
This seems perfect. I’m an introvert by nature and I don’t actually like the company of other human beings for extended periods of time. Someone told me that this almost makes me English, but I don’t believe it. I don’t believe that the culture of Oxford is a very accurate representation of English culture in general. And I don’t believe reclusiveness and introversion necessarily characterize all of Oxford all of the time. Only some of Oxford part of the time. The part involving beer.
I’m not talking about pubs. I’m talking about survival. Beer is essential to cohabitating in Oxford. If you drink wine, you’re out of luck. Get your own place where you can listen to Brigadoon and sing to your cat while making courgette hummus for your dinner guests. I’m talking about something far more exacting and necessary, something essential: the redemptive power of beer to make everything okay when you have to get along with people completely terrified by the prospect of disclosing anything about themselves.
I don’t mean to imply that it’s necessary or even desirable to drink beer with your housemates. On the contrary, you will often drink beer because of your housemates. And the world of difference between these simple and compound prepositions is the world in which you will take 4 cans of the Fursty Ferret up to your room, lock your door, and watch old Trapper John, M.D. episodes as you sip your way toward a better tomorrow.
You will do this because the alternative is staring at the ceiling—listening to your neighbor give sexual dictation to his girlfriend or a meth-head talking to an owl down by the water—while thinking about the psycho-spiritual train wreck that passes for personal relationships in this town. And I say that with nothing but love in my heart for Oxford, its children, and its ales.
Of these particular housemates, though, there isn’t much to say. I think, if we were shipwrecked together on an island in the North China Sea, we would probably converse from time to time. Maybe if we were interned together in a work camp. But, even then, it’s possible that few words would be spoken. As a writer, I have a tendency to catalogue and amplify the personal eccentricities of the people around me. And, in that way, I come to appreciate them. But there is a certain type of person who sends me straight to Trapper John.
This is not without some theoretical precedent. In a creative writing workshop, when someone has written a supporting character who is a two-dimensional rat-bastard, who is such a complete bastard that he never evolves beyond a state of fundamental, luminous bastardy, we call that character “plot furniture.” In other words, he exists as a prop. But if we’re talking about a central character, maybe the main character, the writer has more work to do. Instead of dismissing this character as furniture, we tell the writer, “Look, you have to give the character something.” This means you have to round the character out. He can’t just be a prop; he can’t just be a bastard. You have to give him something that shows another psychological dimension. Because no one is ever just one thing in life. Uncle Wiggily might be an “engaging, elderly rabbit who suffers from rheumatism.” But he only really gets interesting when you learn that he performs a Satanic black mass every Thursday in the bobcat’s basement. Like that.
So when I write these therapeutic blog posts, I try to give something to the people I write about. I was trained to do this in the sadomasochistic hellworld of MFA writing workshops. And the fact that I’m mostly writing creative non-fiction* here never gets in the way. Giving your characters something is the “creative” part when you’re writing about people who exist in real life. But the type of person who short-circuits this, the writer’s kryptonite, is someone who can’t be given anything without you having to completely make it up.
In other words, there is a type of person who has pushed his libido down so far, who has conformed so perfectly to a kind of fastidious, highly curated, social acceptability, that the most compelling thing about him is his sweater. Sure, we can say that he’s interesting in that he tries so hard not to be interesting. We can give him that. And we know he probably has dark squirmy things crawling around in the sub-basement of his soul, but getting down there, drilling down through all the conformist blast-shielding and cautious evasiveness is tedious at best. At worst, it’s exhausting.
Of course, there’s money in being boring. It pays to be socially careful, even if it does inspire a certain degree of contempt in those of us who never could fit in. Sometimes I wonder, when such people lie awake at night beside a partner just as meticulously uninteresting, if they can hear those squirmy little devils scraping their proboscises on the other side of the blast doors—the ghost sound that torments people through their long dull miserable lives into late middle-age depression and a pension they don’t know what to do with. Then they buy a camper, I guess. Masturbate less or more. Eat a lot of soft-serve ice-cream.
It may be that I don’t have enough material on the housemates to even write a very substantial piece on them or their calculated sweaters. But, while deciding whether to write it, I remembered something Arthur Miller wrote in Death of a Salesman:
Willie Loman never made a lot of money. His name was never in the paper. He’s not the finest character that ever lived. But he’s a human being, and a terrible thing is happening to him. So attention must be paid. He’s not to be allowed to fall in his grave like an old dog. Attention, attention must finally be paid to such a person.
In a perfect world, we’d be able to stave down the horror of having a full conversation with each other. We’d actually step out into the hall. But a terrible thing is happening, has been, I think, for as long as social pressure has rewarded people for not standing out in any way and avoiding human contact as a rule. Krypton is a boring utopia. And every utopia is a dystopia.
So beer. Instead of speaking to the housemates, everyone listens behind the door until the hall is empty, until it’s quiet in the house, and it’s possible to creep down the stairs and over to Sainsbury’s where four cans of the Fursty Ferret will run you £4.30. A small price to pay for equanimity, I guess. And I guess this post is the lagniappe.
* I publish two types of writing on this blog: creative non-fiction and short stories I’ve already published in magazines.