Departing from platform 10

I had an hour and a half to kill before catching a train to Scotland, so I got myself a tea in the café which occupies the old signal box at the end of the footbridge on York station. I was just recovering from being unwell and had that unreal feeling, where you feel somehow a stage removed from what is actually happening around you: even my own words as I struggled to place the correct change in the hand of the assistant seemed not quite to be spoken by me, as if I was listening to myself speak from behind a door. This is often a fruitful state of mind, where you get odd insights. It was mid afternoon on the 29th November. A peculiar yellow winter sunlight permeated everything, turning the atmosphere solid. Solid time. Cold. Low winter afternoon sunlight makes everything seem of like substance; the normal divisions of material and surface are obliterated. Everything is alabaster. Everything is tarte au citron. People wander like ghosts, or seem trapped in amber on the knife edge of annihilation; the nanosecond before an errant planet slams into the earth, dissolving everything in an instant into a vast plume of dust which rises in slow motion up into space: atmosphere, water, rock, people, buildings all converted by unimaginable forces into pale grey dust. Even sounds seem clogged.

I settled myself by the window and peered through the grimy pane out at the railway track and the people blowing and scudding up and down the stairs and over the footbridge. My mind settled pleasantly into itself, the wizened rind of the day’s thoughts collapsing in on the mush of the now absent core. Other people hunched over lattés and anxiously chattered to stave off the clawing sunlight. Decades and decades worth of layers of paint on the window frames morphed into outlandish knobbles and cankers. I started to read the introduction to my paperback copy of Moby Dick and it was with some surprise that I found my mind managed to form itself around the ideas, themes and motifs that the introduction’s author drew out of Melville’s text and picked over. Moby Dick the unreal was co-substantive with the unreal afternoon; with the blubbery sunlight and pulp paper. The light was sweet spermaceti oil. In the benevolent fug I made a pact with myself to read de Tocqueville’s Democracy in America.

A goods train rumbled slowly through the station below me. An endless train of open trucks full of ballast. I imagined that the trucks were exhibits being passed before a jury. That they were prophecies of doom being thrust below the noses of the passengers waiting on the platform, whether they liked to hear or not. That they were not full of pale grey stone, but of bleached human bones: skulls, pelvises, ribs, femurs, tibias, scapulae, sternums jumbled up together, like the bones of Varus’s three legions piled in waves after the battle of Teutoburg. These are your bones; your future. Look how jumbled and dry they are. We are using them to construct the future. A red blinking light on the final wagon said “enough, enough, enough, enough, this is the end, it has come”. The freight train reminded me of the sparrow passing through the mead hall in Bede.


Afterwards, on the train, the light continued to decay, this time breathing brick dust over the world. The world seemed ready to crumble. Acid grey pylons carried news of victory or defeat, their arms raised like Moses’s. The defeat of Varus. I remembered the warm waiting room where I spent a few minutes after leaving the café. Clouds brushed right across the sky by an idiot, or as a warning. Solid state world: information flow without mechanism. Queequeg: the world as a joint stock company at all meridians. It gets dark. Moby Dick is a novel about all things.

Most of the similes I could think of to describe the afternoon sunlight were of food or drink: lemon tart, pease pudding, white wine, cheese, Lucozade. The world as edible: what you eat/experience becomes you. In death and burial the world eats you; in life you eat the world. Eating as passing through: it is no coincidence that our mouths face forwards and our anuses face backwards. There are parallels between our movement forwards through time; our movement forwards through space; and our eating and shitting – the organic process that sustains all our forward movement. Movements forwards and movements backwards; the eating body forwards and the shit backwards. Art is like shitting. Martin Creed frequently says this. We shit that which we cannot assimilate, what is insoluble to us, what doesn’t nourish us. Art is made of that which we can’t absorb, which doesn’t pass simply into our lives; what is insoluble becomes a problem and art is a solution. Bones are that which is insoluble to the earth. Art and bones are what is left. Bones are used for decoration – what else can you do with them? Bury them, make lime or pigment from them or use them for decoration.

Now it’s dark, north of Darlington at 1625.

Weld: a dye plant which frequently grows up through the ballast by railway tracks and metal welding. Ahab welds his crew. Ahab is the crew of the Pequod’s “one lord and keel”. Moby Dick is a quest for light (whale oil used for light). I like the author of the introduction to Moby Dick’s remark that, “Beyond the books, men’s signs and inscriptions are to be found on all the surfaces of the world”. Ishmael and Queequeg both are covered with tattoos. Books everywhere: in the pulpit, in the bedroom, in the cabin, on the deck. “But when leviathan is the text, the case is altered”.

A man glimpsed through the glass of an office stairwell in Newcastle, as he carries a box down the stairs.

On the train going north to Scotland I always try to sit on the right hand side, so that I can see the sea north of Newcastle. But it’s dark. Can I tell when I’m by the sea? Will the darkness have a different quality? If I put my ear to the glass, will I hear the sound of the sea through the double glazing, over the hum of the train? Will I smell the sea? Feel the sea breeze in this heated sardine tin? When are we on the edge? No, I look for where the darkness is most and there are no twinkling lights, but it’s impossible. Whenever I think we must be passing the sea I suddenly see the tail lights of a car in the distance, or a shopping centre appears.

What do they mean, shopping centres and office buildings? What kind of world are we entering if these are its flags, its dark Satanic mills? If Ahab is the man of iron and cogs of the industrial age, who is the man in the bland electrostatic sweater carrying a box of documents down the stairs? Instead of the brutal the bland, the homogenous, the plastic. Houses on a hill by the Forth Bridge hover like bioluminescent sea creatures, transparent and empty. Light boxes.

The warm interior of the coach is like an overcoat. Coat-coach. Moby Dick has chapters about the counterpane, the nightgown and the blanket. The blanket is about the whale’s overcoat of blubber. The journey fizzles out as I concentrate my small remaining mental spark, with rising panic, on the task of getting off at the right stop, as the stations north of the Forth strike with increasing frequency like the very sleepers beneath the track. I have to cast off the warm overcoat of train, but I want to sleep in the haze and light, not brave the brisk dark Scottish night.