FTMT's Favourite Five Top Tenets

Monday, March 02, 2026

Magpie




Oh, the magpie brings us tidings
Of news both fair and foul
She's more cunning than the raven
More wise than any owl
For she brings us news of the harvest
Of the barley, wheat, and corn
And she knows when we'll go to our graves
And how we shall be born

Chorus:
One's for sorrow, two's for joy
Three's for a girl and four's for a boy
Five's for silver, six for gold
Seven's for a secret never told
Devil, devil, I defy thee
Devil, devil, I defy thee
Devil, devil, I defy thee

She brings us joy when from the right
Grief when from the left
Of all the news that's in the air
We know to trust her best
For she sees us at our labour
And she mocks us at our work
And she steals the eggs from out of the nest
And she can mob the hawk

Chorus:

The priest, he says we're wicked
For to worship the devil's bird
Ah, but we respect the old ways
And we disregard his word
For we know they rest uneasy
As we slumber in the night
And we'll always leave out a little bit of meat
For the bird that's black and white

One's for sorrow, two's for joy
Three's for a girl and four's for a boy
Five's for silver, six for gold
Seven's for a secret never told



Written by: Davey Dodds

Album: Mount the Air

Sunday, March 01, 2026

Easter is Weeks Away


Easter is weeks away but Christmas is my nightmare.

I have long desired to testify against the holy weight of things,
to lay my worked on hands upon the altar
and whisper that it is lighter than it looks.
But I have testified to nothing.
The evidence dissolves in my mouth.
Proof abandons me in dim corridors
like a disgraced envoy,
like monkeys in a back room
tapping faithfully at their bright little machines.

The feasts arrive in their robes of weather.
They bow and withdraw.
No one keeps vigil
except the shopkeeper polishing his till
and the devout who kneel before a calendar
printed in red.

But the hot cross buns,
ah, they are another gospel.
They appear beside the Easter eggs
like rival messiahs sharing a shelf,
and I make no complaint.
I am not a difficult believer.

I have entered the order of the bun.
Two a day.
I have been faithful for one entire day
and already I feel the discipline
settling on my shoulders
like a modest shroud.
There are no revelations yet,
no troubling visions.

Sometimes a face emerges
from the flour and the glaze,
a human arrangement of sorrow and heat.
On the upper bun
there is a grimace, unmistakable,
angry perhaps,
or merely puzzled
by what has become of His dominion.
The cross rests there
like a question He did not mean to ask.

A comedian once murmured
that God is out of His depth now,
and I think of Him
wading into the darkened bakery
after hours,
robes damp with doubt,
searching the cooling racks
for an explanation.

And somewhere in a mythical Yorkshire village
two rival bakeries sharpen their knives of pride.
The ovens glow like minor suns.
They will call the story Top Bun,
and it will be spoken of as a comedy,
though everyone will understand
it is about hunger,
and the small, sweet wars
we wage
in the name of bread.

Anonymous.

Friday, February 27, 2026

Nixon's The One!



I know the actual post is posted below but I liked the way this graphic came how and I was eager to use it. So I did. Click it and you can read it again, possibly in a clearer layout with a better font etc. etc.

Tuesday, February 24, 2026

Economics

I live as though a midnight nurse might appear anytime and ask for my symptoms. Of course they vary hour by hour. Dawn cracks open like a soft-boiled egg and pretends everything’s fine. I no longer step in puddles. I detour. I strategize. A relaxed stroll in cheap shoes can apparently lead to pleurisy or some Victorian inconvenience. First you get the sweats. After that you’re on your own.

The Knitpic cafĂ© doesn’t make money. It just washes it's face when a white tour bus coughs up some retirees. Lochs, Castles and Bridges road trips. Then it shuts on weekends, because logic is optional. The toilets are closed too. They will be fine. You can probably guess my financial future.

I have a feeling of not knowing. It stays with me. I stand outside of things and watch them move. I do not always understand how they move or why.

I think about the men and women who design birthday cards. The ones who draw flowers and bright balloons and write small jokes in some careful script. They open Esty shops. I think about the people who shape up plates and cups, or print patterns on tablecloths no one will really remember a year from now because they’re not Ikea. They must earn their keep somehow. Most of it is made far away, in China, where the provinces are all different from one another and the work is hard and constant. So I imagine. I’ve yet to visit. There is talk of energy there. Of a work ethic that does not stall or complain. Brutal or just kind in a knowing, human way?

Here it feels slower. As if a man must be nudged out of bed. As if he must be promised money before he will bend to lift. And even then he gives no more than he must. But why should he give more, when the men above him take more than their share? When managers talk of discipline, tight lines and teams but reward themselves first. Who has more “rights”? Shareholders; they’ll let you drink the poisoned water for a profit.

Finance is a dark room to me. Investment and industry are words spoken with confidence by men in good suits that fit their bad mood. We are told the markets will correct themselves. That traders will be fair. That prices will find their proper level. It is like handing the keys for the till to a man who has already shown you his dirty money stained hands. He still calls on you to trust his speculations. I smell phoenix schemes.

There is a faint ringing in my ear. It comes and goes. It sounds like a signal carried on under the noise of the day. As if something unseen adjusts the dials. Turn down what is good. Turn up what is bad. You will have what we decide. They say it plainly. We will have what we can take. Easy money. Avert your eyes and don’t trust your senses.

The ringing stays.

Toothpaste costs seven Pounds a tube. Oral-B. Instant coffee costs seven Pounds a jar. Nescafe. A pint of beer costs seven Pounds in a clean city bar with polished taps and a quiet floor. Seven British Pounds - might be Bucks or Euros where you are. The numbers increase and repeat themselves like a joke told too often. Don’t believe a man who laughts loudly at his own joke. He’s not really laughing. Neither are you.

People shake their heads. They are angry. They are tired. But they get on with it.

The ringing goes on.

Now I blame Richard Nixon. I found the root. A lot of things grew up from that. Nests of snakes. Still putting their eggs out and about. There, that’s your economics.

Monday, February 23, 2026

Great Grids of Substack



Simply click your mousy wee thing anywhere upon this collage of wonderfulness and you'll be transported to the www. world of my substantial Substack offerings. It's that simple.

Friday, February 20, 2026

True Fiction



He told himself it was only a story.

Not one of the children. Not a favourite pet. Not a prized object or a tool. It was just missing.

A simple, small and architecturally sweet set of ideas that had been scaffolding itself up into life. Quietly working up behind his eyes for days. He had felt it’s beams slot into place while he washed dishes, when he heard his partner’s voice, while he waited at traffic lights, as he lay awake at night listening to the house breathe and the cats pad across the floor. It had weight. It had weather systems. It had a particular shade of day light. Mostly monotone but the colour splashes would come. There was a feeling. He could feel the feeling. He thought it might be a good piece of work. There was potential.

And then one morning he woke up and it was gone.

Not faded or pale, greyed out, but gone. As if someone had come along during the night and with careful, surgical hands, had lifted it cleanly out of him. The blue sanitised gloves had carried it away. Like a specimen. Out of sight, somewhere else.

He lay still, eyes open, scanning his mind the way you pat your pockets for a misplaced wallet. Characters? Nothing. Setting? Blank. A single line of dialogue? Not even a syllable remained. No tones or filler. Inside his head was a white expanse, naked paper, featureless and almost luminous. He had the unsettling sense that something had been removed by some precise pickpocket.

“This isn’t writer’s block,” he said quietly to the ceiling. Writer’s block suggested obstruction, a clot forming in the artery of imagination. You feel like you need to punch a hole in it. Free the pressure. This felt more like embezzlement. The funds had been siphoned away for a sports car or an exotic holiday. The account showed zero balance. It was an internal crime scene. Black and yellow tape sealed off further investigation.

Where does a lost story go?

He tried to reason it out while making a coffee. Perhaps it hadn’t been much of a story after all and had died quietly of plot starvation. Thin and threadbare as an old cotton shirt. Chewed by rodents or faded by the sun’s rays. Perhaps it had been too ambitious, too sprawling for the area available in his mind and it had slipped through it’s fences, bolting into the wild territories where ragged, unedited stories roamed feral and unfinished, over the hills and further away into some subconscious hidden valley never to be seen again. Or maybe it had been a hungry, weedy thing, embarrassed by its own smallness and lack of development, and had gone somewhere dark and private to wither in peace, for the greater good of everyone.

He closed his eyes and searched for clues or suggestions. Story style footprints in the mind’s muddy paths. A fragment of landscape. The contour of a face. Shapes in shadows. He found nothing. Only that white interior sheet, unmarked and waiting. He wanted to throw a can of red paint at it.

It was true, the waiting angered him.

He was angry that he’d not kept notes.

An own goal.

No reliable back up. No laptop memory storing the nuggets.

He spent the day interrogating himself. What had it been about? There had been a journey, surely. Or was that just because most stories have journeys? He pictured a coastline. That felt plausible. But when he tried to approach it, the sea evaporated like a mirage. Were there details? Hanging a jacket on a hook but the hook’s not really there and the jacket falls at your feet, crumpled. Yesterday was now an imagined thing that was not explainable.

He began to suspect that the story had not simply vanished, it had hidden.

“If you’re in there,” he muttered, tapping his forehead, “you might as well come out.”

Silence. The mind is good at silence. When it wants to be.

Nobody had ever said that before.

The day was finally spent. All knots and dead ends. All tangles of nothingness.

The log burner flames had risen and roared earlier in the evening. A burning fire god, it stood in the centre of the room. Once alight it seemed to have an awareness about it, as if it knew all the answers but revealed none of them. So the answers burned. He’d stared into those wise flames but could see no clearer. No clues or direction. Now they were dying back. Dead wood burned to ash. Light and energy gave way to a dark, inconsistent slow smoulder. Sleep would be welcome.

Later that night he dreamed.

He stood in a vast library with no shelves. Books drifted in the air like idle birds, covers fluttering open and closed. Some were thick and leather bound, paperbacks were more aerodynamic and hovered easily; others were stapled pamphlets and notebooks, embarrassed by their own brevity. They circled him warily.

“Mine,” he said, though he wasn’t sure how he knew. “One of you must be mine. Come back.”

A few books snapped shut defensively. One darted upward toward a ceiling he couldn’t see. Another hovered near his shoulder, then veered away when he reached for it.

At the far end of the room, if it was a room, he saw something smaller than the rest. Not quite a book. More like a stack of loose pages, wind tossed, edges uneven. A4. It did not flee. It did not approach. It simply hung there, as if undecided about gravity.

He walked toward it, and the other books parted slightly, not in deference but with the good manners of helpful, mild curiosity.

When he was close enough, he saw that the pages were blank.

A pulse of disappointment ran through him. “Empty,” he said.

The pages rustled. Not blank, he realised, faint impressions dented their surface, as if words had been pressed in hard and then erased. The grooves remained. He reached out and ran a finger lightly across the top sheet. The indentations formed no legible sentence, but they were not random. They curved and dipped with intention.

“You left,” he accused it.

Or perhaps it had never fully arrived.

The loose stack shifted, and for a moment he had the strange impression that it was studying him. Weighing him up.

“You weren’t ready,” he heard, not as sound, but as a pressure behind his eyes. Like hearing a long dead parent calling out your name through a fog.

“For what?”

No answer. Just that hovering patience.

He woke with his hand outstretched toward the bedside table, fingers brushing an empty notepad.

“Flying books, talking pages; Now Harry Potter and Mr Morris Lessmore’s tales have invaded my head.”

Morning light slid between the curtains. The white space inside his head was still there, but it no longer felt sterile. It felt noticed and expectant. Like ground after a fire, charred and darkened, but also cleared.

He sat up and tried again to remember the lost architecture. Nothing returned. No stupid coastlines, no travelling, no coming together of a plot. Only the faint sensation of grooves where something had once pressed hard.

He picked up a pen.

Instead of chasing what had fled, he began tracing the indentations he could not see. A man wakes to find his story missing. He suspects theft. He imagines it starving, or running wild, or choosing solitude, perhaps kidnapped. He dreams of a library without shelves.

The sentences came slowly at first, as if feeling for purchase. He did not know where they were going. He did not know whether this was the lost story wearing a convenient disguise, or merely the outline left behind by its departure. Like an unmade bed once a guest has left the house.

Halfway down the page, he paused.

There was a curious sensation, not of recovery, but of companionship. As though something just out of sight had settled nearby, watching without interference. Not hiding now. Not quite returning either. Did it have the eyes and patience of a cat?

He understood then, dimly, that perhaps stories do not belong to writers in the way phones or keys do. Perhaps they pass through, testing the shape of a mind, leaving when cramped, returning when there is space. Perhaps what he had lost was not the story itself but his certainty about it.

He wrote until the page was full.

When he looked up, the white expanse inside him had softened. It was no longer blank paper. It was foggy still but dense, and alive with the possibility of forms moving within it.

The original story did not come back that day. It did not snap neatly into place with a triumphant click like the correct Lego brick. No, but something else had begun, something that might, in time, grow branches and blossom and move in the breeze, on and around a particular shade of afternoon light.

And somewhere, whether in the wilder margins of imagination or in a dark, unreachable corner of his own consciousness, the missing story remained unaccounted for.

Not dead. Not dead at all.

Just uncommitted.

Sunday, February 15, 2026

Pink's Floyds



This is a little piece of whimsy in which I skate around some ideas I've formed about the music of a band that once was, but kind of still is; that band being Pink Floyd. Click the pic above to go to Substack where I've buried it in self doubt and inner conflict.

By the way the piece below is a different piece also about Pink Floyd.

Wish You Were ...



Click image to read on Substack.

Thursday, February 12, 2026

impossible songs: I Might Redo This

impossible songs: I Might Redo This: Everyone struggles with Captain Beefheart because they expect music to behave. They also expect other people to behave at funerals, to back ...


Friday, February 06, 2026

From Here to There



Having considered a number of different things this is really all I have to say on the matter right now.

Monday, February 02, 2026

Back Home to Highway 61


Has anybody out there on the corner of some virtual Tin Pan Alley ever written a song with the title “Back home on Highway 61?” If not then why not? Just another passing thought that I’ve recorded here and will likely forget as quickly as it came to me. So ... which in the name of heaven, earth and sourdough is the better album; “Bringing it all back home” or “Highway 61 Revisited”? Never mind the rest of his output, because I’m writing this, and a simple comparison of two albums is way is easier than any other evaluation piece that’s looking across Dylan’s whole career. Also, on which album sleeve does he sport the better haircut? It was the 60s after all.

Bringing It All Back Home is transitional by design; half acoustic, half electric, Dylan testing the voltage. Highway 61 Revisited on the other hand is the album where Dylan’s zappy electric upgrade stops being a provocation and becomes a fully realised world. Highway 61 is him saying that he’s found a new language. That kind of artistic confidence matters. Blah blah.

Also the songs themselves are more expansive and mythic. “Like a Rolling Stone” alone proves that, it doesn’t just redefine Dylan, it redefines what a pop single can become; length, structure, attitude, psychological depth. But then you get “Ballad of a Thin Man,” which turns alienation into a gothic horror story, “Desolation Row,” which feels like a surrealist epic poem smuggled into a cranked up folk festival and “Tombstone Blues,” which is basically Beat poetry strapped to a freight train, (I’ve a nagging doubt that it’s an example of a song that’s not aged as well as the others) but all of these aren’t simply powerful songs. No. At the time, in some NYC/Greenwich Village kind of “La Belle Époque” they reprogramed the world of popular music.

On 61 the backing band are sharp and mean. Rowdy with a chance of screwballs. Mike Bloomfield’s guitar isn’t just accompaniment; it’s gritty and antagonistic, pushing back against Dylan’s vocals in a way that heightens the tension. The album feels like it’s constantly on the verge of flying apart, something that suits Dylan’s sneering and doomed yet still prophetic delivery perfectly.

Bringing It All Back Home is playfully brilliant, witty, and an absolutely essential listen. “Subterranean Homesick Blues” kind of invents urban rap, “Mr. Tambourine Man” is pure, floating transcendence and the acoustic side might be Dylan’s sharpest folky style writing ever. “It’s Alright Ma” a scary car crash of images and pain woven into the tortured lyrics. Structurally, it’s split in two, and you feel that split, well an LP record had two distinct sides back in the day - still does. BIABH is the sound of an artist in an early state of metamorphosis, Highway 61 Revisited is the sound of that metamorphosis thundering towards completion. Until the next album ...

Bringing It All Back Home Dylan is kicking down the door, Highway 61 Revisited is him walking into the room, setting all the old school rules of song writing on fire, and grinning broadly as they burn. That said if you value intimacy, slick wordplay, and the last gasp of the folk hero Mr Dylan, choose Bringing It All Back Home. (Big) but if it’s all about an album where Dylan becomes an icon rather than an artist, it’s Highway 61 Revisited. Och aye. It all took place a long time ago, many good people were lost on the way, so not much of this opinion matters now. Get on with your life. Work on Maggie's Farm.



Sunday, February 01, 2026

LIFE + One



Life is brutal*. Man is a wonderful but brutal creation. What we create is often brutal. How we act is often brutal. Thankfully not always. There are many sides to the shapes of the things that make us who we are. 

People may find beauty in brutalism as a design statement. But nobody wants to live within a brutal regime - unless you're the ruler or have some powerful role in the regime. Then you're a brute. It's a strange world and brutal remains a strange word. 

Brutal.

Adjective -

Extremely ruthless or cruel.

Crude or unfeeling in manner or speach.

Harsh; unrelenting.

Like life.

*Photo by TB, KrakĂłw, Poland.

Thursday, January 22, 2026

Bored of Peace?



Just saw the wonderful and inspiring logo that goes with the newly launched "Board of Peace". The USA has set this up under the direction of some guy called Donald Tr*mp. Never heard of him. This marvellous piece/peace of design deserves to be shared widely. No expense has been spared in the race to the bottom. Also the golden map of the USA is certainly doing a lot of heavy lifting here and leaves the viewer in no doubt who's bully boy tactics are running wild here. Maybe next time they launch whatever vanity project they plan, they'll employ a decent designer. By the way I can't see Hawaii anywhere on the map. That's what a Poundland NATO gets you.

Tuesday, January 20, 2026

Street Art

Picked this report up the other day from a guerrilla art website I happened upon - not sure quite what to make of it. 

-------------------------------------------------------------------


"Edinburgh street art in the raw: Some great colour choices and brave use of positional composition here and of course a well articulated final message for all the pedestrians to enjoy up close. It's a good example of elongated and slightly distorted Golden Ratio use. Something rarely seen in these parts. Obviously the work of somebody who knows their stuff. Love the angled cone arrangement and how it leads onwards and up to such a simple punchline in the sign. It fits in well with it's surroundings too, without looking peculiar or absurd at all. Nice to see. Some decent sniffing around too for Wagwell the friendly art hound. Now we're off to Dune now for a hot recovery Capa and a slice. Chin chin."

Funk & Wagwell - 2026.


-------::::-------

Monday, January 19, 2026

GSA and the Jealous Gods


Postcards from the edge: The burning down of a temple of modern academia twice in a row cannot be an accident. It can only be the act of a jealous or incompetent god.

By the way the following words are not mine.

"Strange anniversary (somewhere around) today. It was a year ago today that I was told that I had been fired for advising the Parliamentary Committee that Muriel Gray and the other Glasgow School of Art attendees were lying to them about their own failures that led to the loss of the Mack. Also in my letter of dismissal they mentioned that I had told the press that the school had lied about the cause and spread of the first fire and that they had misappropriated charitable donations meant for rebuilding the Mack towards the buying of another building."

"What is funny about the whole episode was that in the letter of dismissal they did not claim that I was wrong. What I had evidently done wrong was to tell the truth about how corrupt and incompetent they were. What was sad about it was that I had to be got rid of before Muriel Gray came back to retake her post after her second period of hiding from her duties since the fires. So I was fired in the middle of term, in the middle of teaching my bespoke course, which negatively impacted on the education of around 250 kids."
"Move forward a year and honest and loyal staff of considerable tenure are still being hunted down by senior management and fired for mentioning their misdeeds. Senior staff are still leaving (two department heads in the last two months). However, strangely all those responsible for the disasters and the fallout, including Muriel Gray, still hang on for some reason. And we have the longest fire investigation in history still ongoing, with no information available on the outcome or its timing, while at the same time all the participants who can do so, are presently preparing to sue."
"Against this murky backdrop, the insurance money will surface and a Mack-like building will be rebuilt. However it won't be our Mack. With their vile hubris and their patent negligence, they let it go up in smoke, along with their parties inside the construction site, their squandering of resources on trips abroad, their pretend research (nothing authoritative was ever written), their silly redesign trifles and their attempts to subjugate the Mack to their will. And so it is gone and the reputation of the institution is sullied."
"So why are they responsible? They were wandering in and out of the building. They were using a vulnerable historic building when it was a building site. They signed up to a fire plan that relied upon a single watchman finding a fire in a void before it got out of control, in a historic building with ten levels within it. They had no sprinklers working in either of the two fires in 2014 and 2018. They should have put in sprinklers ten years before they did, when they were told to do it."

"They said they couldn't do it because they didn't have the money, while paying for the over-budget Reid Building monstrosity, and subsequently they never got round to doing it until it was too late. And then to add insult to injury, after the first fire and half way through the rebuilding project, the GSA Board decided to instruct the ripping out of the operable but unfinished sprinklers. And then they lied about it. Those sprinklers would have isolated and doused the fire and would have saved the building."
"Perhaps, after all, the Mack just died of shame."
- Professor Gordon Gibb (first posted 2021)

------------------------------

Friday, January 16, 2026

Vitrified Demon



A demon in glass. 
Perhaps he has a name.
 Perhaps he is aware, alive and listening.
 In the glass. 
In the glass prison. 
Five hundred years. 
Caught in glass after an exorcism.
Vitrified 
He listens ...
-:-
Don't break the glass. 
You may be first. 
You will be last.
What fate do demons deserve?
I can't say.

Monday, January 12, 2026

Mirror Talk



Driving me backwards: I may or may not enjoy a day out or even this day out in May provided I can get my diary fixed and my forward planning head on. I might just sleep late and not bother at all. Slippy performance expected. Been there and done it. Bring a picnic. It might rain. It could be busy. Things can happen. I got lost once ... but I made it.  Perhaps, perhaps, perhaps.

Wednesday, January 07, 2026

All Just Cosmic Soup


Another chance to say the obvious. So what.

I heard someone on Instagram talking about artists who don’t fit. Bands that won’t sit still inside a genre. They slide past the names we give things. That sounded right. Most artists would choose that, if they could. To float. To stay loose. To drift in the cosmic soup.

So what is a genre? It’s a way of sorting things. Music. Books. Sounds. It’s a box with a label on it. Some artists don’t belong in any box except their own. Zappa. Beefheart. The Velvet Underground. The Fall. Primus. Tool. The Cure. You can argue with that. I won’t stop you. This is only how it looks to me.

Do genres matter? They still do. But not the way they used to. They matter as much as you want them to. Enough for a pub argument. Enough for a look. Enough to feel right for a night.

Genres are useful. They’re a shared code. A language everyone half understands. Artists. Listeners. Shops. Anyone who’s worked behind a record counter knows this. It keeps things moving.

They set expectations. You hear “jazz” or “metal” or “folk” and you brace yourself. You expect a sound. A mood. A posture. It helps you step inside quickly. Or walk away just as fast. "Free jazz is rubbish. Dad rock is hopeless. Boy bands are beyond saving". You know where your bias comes from. Or you think you do. Try to exercise your self awareness muscles, just a little.

They carry history. Blues from hard lives and a broken gospel. Punk from anger and refusal. Country from fields, roads, and loss. You get a shortcut to why the music sounds the way it does. What it’s pushing against. What it’s holding onto. Sometimes that shortcut lies to you. Sometimes it doesn’t.

They build tribes. People don’t just listen. They commit. Scenes form. Clothes. Haircuts. Attitudes. Tattoos. T-shirts. Obsession. The kind that frightens people who don’t feel it.

There’s the practical side too. Playlists. Radio slots. Festivals. Shops. Marketing. It all needs labels. Even when the labels don’t quite fit.

But genres fail too. Modern music is scattered. Fractured. Often tired. Bedrooms replace studios. Experiments pile up. AI makes noise without any blood in it. Everything runs through its lifespan and fades.

The lines blur. Rap meets rock. Folk meets electronics. Jazz meets hip-hop. The old names start to wobble. They feel thin. Outdated.

Now machines sort music by feeling in playlists. They do the heavy lifting for you. By use. Chill. Focus. Workout. Sad. It’s less about where music came from and more about what it’s for. Emotion as product. Convenience as king.

Artists borrow from everywhere now. Traditions cross oceans. A single label can’t hold all that weight. Some people care about that. Some don’t.

Some artists reject genres on purpose. They make a point of it. They see it as freedom. Or identity. Or importance. Often they still fit just fine. Flesh and bone wrapped in ego.

Do genres help us understand what any of this means? Probably. I don’t have much more to say on that right now.

They try to explain the hidden language. The intention. The tradition. The rebellion. How we ended up here, awkward and loud and still listening.

So kick out the jams - if you can.

That’s enough for now

Friday, January 02, 2026

January 2nd

I stood looking into the same old void that always waits after the first rumblings of a new year. It was the second of January. We agreed it was time to take the Christmas things down. We said we would do it carefully. Without panic. Without pain. When the urge comes, it is best to act. Waiting never improves it.

The great season of excess and indulgence had passed. It had been loud and soft at the same time. Full and empty. Meaningful and meaningless in equal measure. It showed, perfectly, how lost we are, though not in any new way. There is no going back from it. So we buried it where it belonged. It wasn’t a bad Christmas. It was ordinary. A fair measure of the familiar things our small world always manages to produce.

With the right frame of mind, the hard work does not feel hard. We treated it like a task worth doing well. The lifting. The folding. The careful removal of tinsel and ornaments. Outside, the tide came in and erased our tracks and foot prints. The pale winter sun sat low and tried its best. It almost warmed us. Almost was just enough.

We breathed in, slowly.

We sang a Joan Baez organising song, softly and without irony.

We stopped and thought about things, then let them go.

I climbed a step ladder and felt better, in every sense.

We exchanged observations that did not need answers.

We untangled the cables. We did it patiently.

We breathed out longer than we breathed in.

We noticed there was less to pack away than last year and felt a quiet victory in that.

We freed the real tree from its stand and carried it back to the real garden, into the real cold. Everything felt unusually solid and true. As if the world, for once, was not pretending.

We spread brandy butter on baked things and ate them without ceremony.

I ate the blue cheese, though it had gone a little too far.

I used the dustpan instead of the hoover. 

Silence mattered.

I wore plimsolls.

We kept the room calm. We kept ourselves calm.

When the boxes were full of wires and gnomes, paper and stars, baubles and switches, we sealed them and sent them away to wherever such things wait. They will not return until around the thirteenth of December, 2026. I thought that sounded like a long time. I thought, briefly, that I might join them there.