the house and verandah.
Thank you again, Angus. Have I missed anything?
For a while longer than is comfortable he stands frowning.
Well, never mind, he says. We can go inside now. No, youâre leaving arenât you? I should leave too.
She puts her hand on his forearm.
Forget I said that.
They must been looking at each other for too long. It is more complex than hugs and silly music. In her mind it is wonderfully silly music.
Maybe you could go into business with this house design, she suggests. Patent your designs and get them through as government regulations. That might make another line of profession.
Nah, I could, I could. However⦠there are serious risks.
Financially?
Yeah, sure. The money side of it. Very. But I was really thinking aboutâ¦
The designs?
People always argue about new initiatives, and danger, but we reckon this house is unique, and some locals have looked at it and agreed and weâve let them copy it. So the risk⦠is their own.
Angus, you have to be more savvy. You lost a house and this is what youâve gained. Sell it. The design, I mean.
I dunno why, you know, but I canât.
She has no idea where this will lead, as he continues:
People say things like that, that after someoneâs died, oh if they fix up the road, or the crossing, or the laws, then their death will have meant somethingâ¦
I donât follow. Are you saying the designâ¦?
Iâm saying it doesnât make a death worthwhile. An essential imÂproveÂment after a disaster means something, of course. I suppose⦠what Iâm trying⦠it sounds like the thing you say if you want to say something deep. It ends up on the TV news, it just trivialises the death, or whatever the loss was. There are some very bad places for cliché.
He turns around and rubs the blackened edges of the house:
This house has real meaning, a serious design based on traumatic experience. Nothing less. And so, the cliche may even be true.
Thatâs because you earned it. The truth of it. You put your mind to the problem and hereâs the result. You turned the cliché back into a truth again.
Suddenly his face seems lighter.
I couldnât have said that, he adds.
Ah, but you made it. Iâm just an academic so I can describe it.
It makes her smile, a kind of oddly skewed understanding going on.
No wonder he feels lightheaded. Then he stops and thinks about it, looks up into the canopy of trees on the eastern side of the road. But I am, he says, changing. Iâve lived out here but I work in the city. I thought I couldnât live in town again. Now I think itâs about time to move, to see Melbourne close up. Iâve earned it the hard way, but stillâ¦
Still�
Earned it. As you said.
Suddenly it seems the table of good tidings must lighten a little.
They hug each other and kiss goodbye, full lips kissing and arms around each other. Neither lets go. What a night. Maybe the emotions and even grief have effected her emotionally, even (could it be?) carnally. Jasmin is certain she can smell smoke all over him. Smoke in his hair and on his collar and smoky sensual heat rising from his throat and neck. She offers her lips for one last kiss, and then holds onto him for a few more moments. He is smoky and leonine. And silent. They are both tall and they stand like trees moved together by wind.
Home and Everyone
Home for Big and Little is a many-roomed rooming house. Or hostel. Or boarding house. Old terms for the same thing never quite nailed by a name. The many mansions of which are blatantly un-spiritual except for the presence of St Thomas. Thomas is their resident born-again, as he never stops reminding them. In his small room with its single window glued over with brown paper â farken Jesus, the others have said, without noticing the blasphemy, we havenât got a window and you lucky sod youâve papered yours over, you mad bastard. Tom with his
Nikita Storm, Bessie Hucow, Mystique Vixen