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carluke
listen, there’s no a soun noo …
gaun tell us it, sir! …
love
gly
Haikus

Author: Fitzgerald Kusz
Translator: Donal McLaughlin

Franconian by Fitzgerald Kusz Glaswegian by Donal McLaughlin
1
kalchreuth
carluke
zwaa maaddlä schdeing
in kalchraid assm zuuch:
su könnäd ä romoon oofangä
obbä in kalchraid
fangä ka romoon oo
two lassies get aff
the train in carluke:
the start ae a book it kid be
cept: hiv ye ever heard ae a book
startin in carluke?
Kalchreuth/two girls get off/the train in kalchreuth:/the start of a novel it could be/except in kalchreuth/novels don’t start
English by Donal McLaughlin
2
horch edz is allers
ganz leis, blouß
di muggn häiersd brummä
und dä wind gäihd
durch di bamm
edz mäimä langsam hamm
bevuäs findä werd
sunsd ferchdimi
ganz allaans mid diä
im wald. sooch hald wos,
du wos allers bassiän koo
neili houi glesn dou houd
annä liebesbohre däschossn
im wald. hobb gemmä
miä is dou einfach zleis –
sooch hald wos
listen, there’s no a soun noo,
it’s jist the midgies ye hear
an’ the wind
in the trees
we’ll hiv tae heid home soon
afore it gets dark
ah’ll be afraid otherwise
all alane wi you
in the forest
say sumthin, will ye
aw the things that can happen eh
ah wis readin there recently
someone’s been goin roun
shootin at couples,
in the forest an’ aw!
come on, let’s go!
it’s faur too quiet fur me here
say sumthin, will ye
listen! it’s gone silent/all you hear/is the midges humming/and the wind/in the trees/we’ll have to head home soon/before it gets dark/otherwise i’ll be afraid/all alone with you/in the forest/say something/all sorts of things can happen/i was reading recently/someone was shooting couples/in the forest. come on, let’s go!/it’s just too quite for me here/say something!
English by the editors
3
hä lehrä
däziehlns uns mall
däi schäinä gschichd
däi schäinä gschichd
vom gräich
wäis gschossn hamm
im schidzngroom
aff däi bäisn
bäisn feind
däziehlns uns mall
vo iäm luuch
des wos dou hamm
im kubf
vo derä bäisn kugl
vom bäisn feind
däi gschichd
däi is su schäi
hä lehrä
soongs doch mall
wenn kummd denn ball
wenn kummd denn ball
dä nächsde gräich
gaun tell us it, sir!
it’s a cracker!
tell us again!
the wan
aboot the war
hoo ye fired
frae the trenches
at they totally evil
cunts
tell us again – gaun!
aboot the hole
the wan in yir heid
frae they cunts’
evil bullet
it’s a cracker
sir
thon story
tell us
wul we hiv tae wait long
hiv tae wait long
fur oor ain war?
sir/go on – tell us/that great story/that great story/about the war/how you fired/from the trenches/at evil,/evil foes/go on – tell us/about the hole/the one in your head/from the evil foe’s/evil bullet/it’s great that story/sir/go on – tell us/is it goney be soon/is it goney be soon/the next war
English by Donal McLaughlin
4
liebe love

gechern hungä
hilfd ä schdücklä broud

gechern dorschd
hilfd ä schlücklä wassä

gechern reeng
hilfd ä scherm

gecher di käld
hilfd ä mandl

obbä gecher diich
hilfd nix!

agin hunger
a bit o breid helps

agin a drooth
a drap o water helps

agin the rain
a brolly helps

agin the cauld
a coat helps

agin you but
fuck-all helps

love/against hunger/a bit of bread helps/against thirst/a drop of water helps/against rain/an umbrella helps/against the cold/a coat helps/but against you/nothing helps
English by Donal McLaughlin
5
muggn fly
däi frau vuä miä
in dä schdraßnbohn
wou zeä rolln gloobabiä
zum schboäbreis umarmd
wous houdn däi dou
in meim gedichd väluän?
edz is drin:
ä muggn im bernschdein
the woman in frontae me
oan the tram
huggin ten rolls
o bargain toilet-paper
whit business his she
in ma poem?
Aye, well, she’s in it noo:
like a fly in amber
fly/the woman in front of me/on the tram/hugging ten rolls/of bargain toilet paper/what business has she/in my poem?/now she’s in it:/a fly in amber
English by the editors
6
deä wech is es ziel
du redsd di leichd:
iich find inn wech ned
the way is the goal.
easy said, like. me, ah
cannae find the way
the way is the goal/easy for you to say:/i can’t find the way
English by the editors
7
hobb, raus assm bedd
reiß alle fensdä auf:
di amseln singä widdä
mon, up oot yir bed
get they windaes open
blackburdz ur back, singin
come on, get out of bed/throw open all the windows:/the blackbirds are singing again
English by the editors

 

liebe xii
es meer
iich möchäd ämall …
4 Haikus

Author: Fitzgerald Kusz
Translator: Alexander Hutchison, Donal McLaughlin, Sarah Tolley

[Translations into Scottish by Alexander Hutchison and into English by Donal McLaughlin and Sarah Tolley]
liebe XII Love XII Love XII

lou
ä
mall
inn
roll
loo
roo
nou
lou
i
di

row
the
blin
richt
doon
noo
an
a’ll
row
thee

let
the
roller
blind
down
now
and
I’ll
let
you
Fitzgerald Kusz
From:
morng sixtäs suwisu nimmä,
Rothenburg ob der Tauber, 1973
Scots by Alexander Hutchison English by Sarah Tolley
es meer the sea the sea
es meer schbrichd middi felsn
es blaudäd, es brülld,
es flüsdäd seid millioonä joa

es meer werd ned mäid
es hörd ned auf
es machd immä weidä

es meer is blau
es is gräi
es is grau

es meer schbrichd middi felsn
di felsn horng zou
si schweing seid millioonä joä

es meer schbrichd middi felsn
di felsn braungs meer
es meer brauchd di felsn

miä väschdennä es meer ned
miä väschdennä di felsn ned
weä schbrichd mid uns

the sea claiks to the craigs
it’s been gabbin’ an bellochin
an wheeplin for millions o years

the sea nivver gets wabbitit
nivver stauns still
it’s aye tyaavin awa

the sea is blae
is green
is grey

the sea claiks t’ the craigs
the craigs are herkin close
their tongues have been tethert for millions o years

the sea claiks t’ the craigs
the craigs are thirlt t’ the sea
the sea is thirlt t’ the craigs

we canna faithom the sea
we canna faithom the craigs
fa’s spikkin til’s?

the sea speaks to the rocks
it’s been chatting, been roaring, been
whispering, for millions of years

the sea doesn’t tire
doesn’t stop
it keeps going and going

the sea is blue
is green
is grey

the sea speaks to the rocks
the rocks listen
have been silent for millions of years

the sea speaks to the rocks
the rocks need the sea
the sea needs the rocks

we don’t get the sea
we don’t get the rocks
who speaks to us

Fitzgerald Kusz
From:
wouhii, ein lesebuch,
Cadolzburg 2002
Scots by Alexander Hutchison English by Donal McLaughlin
iich möchäd ämall …
A widna mine … I’d like to write

iich möchäd ämall ä gedichd schreim
des mä iberoll miidhiinehmä könnäd
su klaa daßs in jede husädaschn bassäd
ned viel gräißä wäiä daschndäiglä
obbä wemmäs rauszäichäd und vuälesädwirräd
aff amm schlooch allers anders

iich möchäd ämall ä gedichd schreim
wemmä draffrumdrambläd
derfäds ned kabuddgäih
wemmäs oozindäd
derfäds ned brennä
wemmä midderm messä neischdechäd
derfäds ned bloudn
iich möchäd ämall ä gedichd schreim
des kannä meä aufhaldn könnäd
dessi ausbreidäd wäi ä krankheid
gechä däi ka kraud gwachsn is
bissi jedä mid iä ooschdeckäd
iich möchäd ämall ä gedichd schreim
des einfach oofangäd
und nie meä aufhöräd
und middndrin iich

A widna mine, ae day, comin up wi a poem
that ye could cairry ony place:
that teeny it wid fit intil ivry trooser pocket
nae muckle bigger nor a hanky –
but if ye took it oot t’ read
aathin wid chynge in a blink

A widna mine coming up wi a poem
that if you danced aboot on it
widna faa t’ bits
that if you pit a licht til’t
widna be consumed
if you jabbit a knife intil’t
widna bleed

A widna mine comin up wi a poem
that quidna be foonert –
that wid spreid lik a dose o somethin
for which there widna be ony remeid
afore aabody wis richt smitten

A widna mine comin up wi a poem
that wid jist get under wey
an nivver come t’ a close
an smack dab in the middle o’t aa
wid be me

I’d like to write a poem at some point
that you could take anywhere with you
so small it would fit into every trouser pocket
and not much bigger than a hankie
but if you took it out and read it out
everything would change instantly

I’d like to write a poem at some point
that if you jumped about on it
wouldn´t fall apart
that if you set it alight
wouldn’t burn
that if you stuck a knife into it
wouldn´t bleed

I´d like to write a poem at some point
that couldn´t be stopped
that would spread like an illness
for which there wouldn´t be a cure
until everyone had caught it

I´d like to write a poem at some point
that would simply start
and would never end
and right there in among it all
would be me

Fitzgerald Kusz
From:
muggn, gedichte,
Cadolzburg 2007
Scots by Alexander Hutchison English by Donal McLaughlin
4 Haikus
in jedä nachd vo
jemand anders draimä:
su kummd mä aa undi di laid!
tae dream o ither fowk
ivry nicht – jist anither
wey o gettin acquantit
dreaming of someone else
every night
it’s just another way of meeting folk!
Fitzgerald Kusz Scots by Alexander Hutchison English by Sarah Tolley
ä naßkalde novembänachd:
wenn di audo schloufm
fangä di bamm zum blaudern oo
a caal dreich November nicht
fan the motors are nappin
the trees crank up wi their claik
a chilly damp november night
when the cars are sleeping
that’s when the trees start chatting
Fitzgerald Kusz Scots by Alexander Hutchison English by Sarah Tolley
drei zeiln ibern schnäi? aff di erschd fälldä
aff dä zweidn bleibdä lieng
aff dä driddn schmilzdä
three lines aboot snaa
first it faas, syne it bides
neist it’s aa meltit awa
three lines about the snow? on the first it falls
on the second it lies
on the third it melts
Fitzgerald Kusz
From:
wouhii, ein lesebuch,
Cadolzburg, 2002.
Scots by Alexander Hutchison

English by Sarah Tolley

so edz gäihi middä fernbedienung
aff di schdraß und drigg:
obbä di laid senn immä nu dou
richt, a’ve taen my remote
on a daunner ootside an thoombed it
– bit the fowk dinna tak the hint
so now i’ve taken my remote
out onto the street and pressed it
but the people are still there
Fitzgerald Kusz
From:
schdernla, 144 haikus,
Cadolzburg, 1996.
Scots by Alexander Hutchison English by Sarah Tolley

 

Idendidäd
Ach Goddla fell …
Neia Reifn drauf

Author: Helmut Haberkamm
Translator: Alexander Hutchison, Donal McLaughlin, Kay McBurney, Robert Alan Jamieson

[Translations into Shetlandic by Robert Alan Jamieson; into Scots by Alexander Hutchison and Donal McLaughlin; and into English by Donal McLaughlin and Kay McBurney]
Idendidäd
Ydentitie
Identity

Wurri herkumm, wirri haaß, wemi
Gleichsiech, wemi noochgrood

Wosmer kaaßn hemm, wosmi
Baggd, wosmi miedgnumma hadd

Wossi gsehng hobb, wurri
Gweesn bin, wossi glernd hobb

Weni droffn hobb, wossi
Derlebbd hobb, wossi waaß

Wossi kann, wossi kenn, wossi
Du, wossi sooch, wossermer denk

Wos dief drinhoggd, wosmi
Ausmachd, wosmer noochgehd

Wossermer aufkalsd, wossermer
Kolld hobb, wosmer oodoo hemm

Mid wossi wos oofang, wosmer
Wos oogehd, aus wossermer wos mach

Fier wossi groodsteh
Fier wossermi grummleech

Obber wossi woor, binni nämmer, wossi
Bin, bleibi nedd, wossi sei meecherd

Binni nunni – Ach
Wos waaßn iech?

Quhar A’m kum fæ, quhit I ans ta, quha A’m
Da læklie o, quha I takk eftir

Quhit d’ir kaad me, quhit’s
Grippt me, quhit it is’at’s shiftit me

Quhit A’m led een apo, quhar A’m
Gien till, quhit ler A’m hed

Quha A’m kum apo, quhit A’m
Livt trow, quhit I wat

Quhit I kan, quhit I ken, quhit I
Dø, quhit I sæ, quhit I miesel tink

Quhit hookers doon ati’me, quhit’s ati’
Mie makk-up, dat’at byds wie me

Quhit A’m yoakkit me ta, quhit A’m
Gottin t’miesel, quhit d’ir døn t’me

Dat’at I dø wie, quhit ta me
Hæs wirt, dat’at I makk wie

Fir quhit A’m upstaandin
Fir quhit I krug me owir

Bit quhit iens I wis, I im næ mær, quhit I
Im, A’ll no byd, quhit I wiss I wis

A’m no yit bien – Ach
Quhit dan ken I?

Where I come from, what my name is, who I
Look like, who I take after

What they promised me, what
Grabbed me, what swept me along

What I’ve seen, what
I’ve been, what I’ve learned

Who I’ve met, what I’ve
Been through, what I know

What I can do, what I know well,
What I do, what I say, what I think to myself

What’s deep within me, what
Makes me different, what’s on my mind

What I’ve brought upon myself, what I’ve
saddled myself with, what they did to me

How I begin something, what is
My business, what matters to me

What I accept responsibility for
What I pinch and scrape for

But what I was I am no more, what I
Am I won’t remain, what I’d like to be

I’m not yet. Och –
What do I know?

Helmut Haberkamm
From:
Frankn lichd nedd am Meer,
ars vivendi verlag, Cadolzburg, 1992
Shetlandic by Robert Alan Jamieson
English by Donal McLaughlin
Ach Goddla gell mei Guuderla
Loard Abøn, Feth, mie Pierie ting
Oh lordy-me, rightey-oh, my babykins
hobberla sodderla siggsdersla etzerdla
hammer des aa widder gell

mei Guuderla

sabberlodder bloß a Momendla nu hobberla siggsdersla
braungmers scho morng nämmer machn no fraali gell

mei Heichderla

ach Godderla iech soogs ja bloß a wengala
bloß a Momendla nu siggsdersla

mei Muscherla

bloß a Hämpferla a Habbla a Hardla a Hafdla
bloß a Schieberla a Straiberla a Fardla a Steigla

mei Schlaggersla

gell nacherdla haddmer hald gschwind a Drimmla
un a bisserla sei Ruh aa widder gell

mei Waggersla

mei Bobberla mei Engerla mei Zeiserla
gell des säggsd du aa mei Scheißerla

siggsdersl

O waatch noo, dat’s de noo, sies du dis, noo
jun’s wis nierlie don noo, feth

mie pierie ting

mersie me, choost a pierie start, O waatch, sies du dis
we winna hæ dis t’dø da moarn, trootæl, feth.

mie pierie swiet

O Loard abøn, A’m sayin, choost a pierie græn a’dis
Choost a pierie start mær, sies du dis

mie pierie spoot

choost æ haandfu, æ kælhert, æ gadderie, æ koos
choost æ løffu, æ bowlfu, æ kyshiefu, æ kjist

mie pierie tingaboadie

feth we’ll hæ wis wir pukkil in a mienit
an dan spell wis a pieriemintie start, willin we

mie pierie jooil

mie poppit, mie pierie aenchil, mie lintie
feth døs du no sæ da sam mie pierie skittrie-ers

na sies du, don

Oopsadaisy, there we goesy-woesy,
that’s-a-better now, rightey-oh

my babykins

bless my soul, just a wee minute, oopsadaisy, there we goesy-woesy,
now we won’t need to do it tomorrow, will we now

my sweetykins

oh lordy-me, only just a little-bitty more now
just a wee minute, there we goesy-woesy

my honeykins

just a teensy-weensy handful, a spriglet, an itsy-bitsy clump, a titchy-witchy heap,
just a bunchy-wunchy, a posy-wosy, a sacky-wacky, a boxy-woxy

my cheekykins

rightey-oh, we’ll have a piley in just a jiffy-wiffy
and then we’ll be able to relaxykins, won’t we now

my cutykins

my poppet, my angelkins, my little chickadee
you think so too, don’t you, my shittiekins

here we goesy-woesy

Helmut Haberkamm From:
Des sichd eich gleich,
ars vivendi verlag, Cadolzburg, 2001

Shetlandic by Robert Alan Jamieson

English by Kay McBurney
Neia Reifn drauf
nooch Bertolt Brecht
Njoo Quhiels On
eftir Bertholt Brecht
New Tyres On
after Bertolt Brecht
Iech hogg auf der Staffl am Oostraafer doddn.
Mei Vadder dudd di Winderreifn nooschraum.
Wui herkumm, moochi nedd grood noo.
Wui hie will, moochi aa nedd grood noo.
Is Gscheidsde wär, iech langerd mied noo
Un dääd helf derzu bein Schraum. Obber
So hoggi bloß doo un hald mei Goschn
Un schau un waaß nedd, wossi meecherd.
Sixd, etz sinn di Reifn aa scho droo.
Mei Vadder wingd, iech fohr dervoo.
A’m hookirt’po da briggstenns, bie da bøt-daddir.
Mie fædir snøds da wintir-quhiel bolts doon.
Quhar A’m kum fæ, I hæna will t’gjing dær.
Quhar A’m set fir, neddir hae I will t’gjing daer.
Da thing wid be fir me t’rekk a haand dær
An gie a pierie spell apo da bolts. Bit
Dær I hookir me, haddin mie chaas
an gaan, no kennin quhit A’m eftir.
Sies du, fu shøn da quhiels ir gød t’læv.
Mie fædir wævs, as oot a’dær I dræv.
I’m on the front step beside the shoe-scraper.
My father’s putting on the winter tyres.
I don’t want to go to where I’m from right now.
I don’t want to go where I want to go to, either.
The best thing would be to lend a hand
and help put the tyres on. I remain
sitting there just, though, and keep my mouth shut.
And watch, not knowing what I want.
Look – that’s the tyres on already.
My father waves, I drive off.
Helmut Haberkamm From:
Frankn lichd nedd am Meer,
ars vivendi verlag, Cadolzburg, 1992
Shetlandic by Robert Alan Jamieson English by Donal McLaughlin

New Tyres Oan

ahm on the front step aside the shoescraper.
ma faither’s pittin the winter tyres oan.
where ah come frae, ah dont wantae go right now.
where ah want tae get tae, ah dont wantae go either.
The best thing wid be tae get a grip
an’ help pit the tyres oan. ah keep
sittin there just but an’ keep ma gob shut.
An’ watch, no knowin whit ah want.
Look – that’s the tyres oan awready.
Ma faither waves, ah drive off.   Scots by
Donal McLaughlin
New Tyres Fittit

A’m oot front on the step aside the buit-scratter.
Ma faither’s pittin on the winter tyres.
Far a’m fae, a dinna wint t’ ging richt noo.
Far a micht seek t’ging, a dinna wint t’ ging aither.
Giein him a haun t’ fit the tyres wid be
The thing t’ dee. Hoowivver, I jist bide
Humphin here an zip ma moo.
An watchin: nae kennin fit a wint.
Aye, look, at’s the tyres on aready:
Ma faither gies us a wave, an I heid aff.
Scots by Alexander Hutchison

 

on yir doorstep, christ

Author: Daniel Oliver Bachmann
Translator: Donal McLaughlin

Translator’s Note

This story was first translated when Daniel and I spent the month of June at Hawthornden Castle, just outside Edinburgh, as ‘Hawthornden Fellows’. I was keen for the other writers in residence – Canadian poets Nancy Mattson & Jeanette Lynes, and New York novelist Emily Raboteau – to be able to enjoy Daniel’s work at our fireside readings each evening. Even when producing that first draft, I realised that while Daniel’s story was conversational in tone, rather than written in Bavarian, finding an equivalent voice in the translation immediately involved more dialect: in this case, Glaswegian. This did not seem inappropriate in that issues in the story such as the arrest and deportation of immigrants were also dominating our newspapers at the time. The pull of Glaswegian became so great that, in the end, with Daniel’s consent, I transferred the entire story to Glasgow and changed the characters’ names. Fellow translators with theoretical objections to such an approach should be assured that I expect this to be a one-off!

Donal McLaughlin

 

on yir doorstep, christ

Tellin ye: thon boy that lives in the same block as us, wan everywan calls Tony, is a strange wan. Really strange. He’s naw frae here, that boy, he’s frae Africa, he’s black. Kenya, he said, or the Congo, or thon place Jack McConnell likes tae head tae, whit’s-its-name? Och, how shid ah know? How shid ah know whit all they African countries are called? It’s the same wi Tony. His name’s naw really Tony. He telt us his name, it’s the kinda name nay cunt can remember but. Bula summit. We jist call him Tony. Tony, as in: Tony Yeboah, the boy Leeds Utd bought frae Eintracht Frankfurt. He wis really good, Yeboah, naw a patch, but, on Asamoah, or the boy Owomoyela. Tam wished oor wee team coulda signed Yeboah. He woulda fitted in well, he reckoned. Fitted in well wi the Juniors. Stickin point, but, wis his age. Naybody knew whit age the boy wis. He didni know himself. Imagine! There wis only wan thing for it, Otto Pfister said – cut his leg open. Cut it open an’ coont the rings.
Manager of the national team – Ghana – Pfister was.
It’s naw as easy as that but, is it? Ye canni go roon cuttin folk’s legs open. Naw if ye’re plannin tae gi’e the boy a game, anyhoo.
Anyway, oor Tony – he’s involved wi fitba an’ aw. He’s the wan that cuts the grass, an’ he’s really guid at it. Totally straight lines he mows; perfect, they are. Bernard frae up above us says he wis gobsmacked first time he seen whit the boy can do. The way he gets the lines totally straight. We call Bernard Gina cos he fancies that Gina lassie. Ye know Gina Wild, don’t ye? – the wan that makes aw they films. Bernard’s got every single wan, an’ we watch them thegether sometimes. Wi’oot Tony but. “Cos the lines widni be very straight themorrow, otherwise, boys, wid they,” Bernard aye says.
He’s actually met Gina, Bernard. It wis at thon big Expo thing she’d a slot at. Shoved his way up tae the front, he did – naw that it wis easy, mind – an’ he took a photie wi his mobile phone. Ye can see Gina in it, an’ Bernard’s thumb. They’re baith in it, the mobile-phone photie. Once he’d took it, she gi’ed him a kiss, apparently, above his right eye.
“Above ma right eye,” Bernard annoonced, “is a pairt o ma anatomy ah’ll never wash ever again!”
Ye canni actually see the kiss oan the photie – so it mibbe isni true.
Tam’s convinced it isni: “The cunt’s pure lyin when it comes tae the kiss,” says he.
Tam’s the type that says whit he means.
He caws Tony Blackie an’ aw; an’ he caws his own wife his bitch.
He only says it, but, when she’s naw there tae hear it.
He says it when he’s up the stair wi Bernard, an’ the Gina video’s oan. His wife never wants tae go wi him. Disni want tae look at stuff like that.
Which is how Tam makes oot his bitch has loadsae hang-ups.
Was Tam got Tony the wee job at the Club. The cuttin-the-grass-job. Tam knows Joe, an’ Joe knows Kenny, an’ Kenny said jist to pop along, there’s always stuff needs doin. It’s cos he’s guidhearted Tam done that. It’s naw as if it’s his fault, sure: fact his bitch has loadsae hang-ups.
Tae tell ye the truth but: if ye’re askin me, ah don’t think she has. Jist cos she disni want tae see the Gina video disni mean the woman’s got hang-ups. Naw – she’s a class act, hersel, mair like. Sometimes, sure, when Tam’s up wi Bernard, ah gi’e it “Ahm away oot tae dae ma roons”. Ah used tae be a night-watchman, an’ as everyone knows: that means ye’ve roons tae dae. Ahm naw a night-watchman any mair, but ah hivni telt nay cunt. Bottom line is: when Tam’s up wi Bernard, an’ they’re all geed up for the new Gina’s “Best of”, ah know that’s me, like: know ah won’t be disturbed for an hour or so.
So ah gi’e it: “Ahm away aff tae dae ma roons” an’ doon ah go tae Tam’s wife. Already waitin for me, she always is, an’ all jokin aside, there’s nuthin – not a thing – Gina Wild could teach that wan. Which leaves me thinkin Tam’s mad: whit’s he daein, up watchin videos, when he could be doon here, daein this? Ah dont say nuthin but, naw even when she makes oot “it’s aw cos o Tony – Tam canni keep his eyes aff him, so he canni.”
“Hiv ye noticed?” she asks. “Hoo he’s always staring at the boy?”
The only thing ahv noticed is hoo Una frae the basement stares at Tony. It’s naw as if it’s any wunner. She’s three weans, Una – aged six, eight an’ ten, aw by different men.
“Every single wan o them fucked off,” says Una, “an’ left me wi the weans.”
They left her in the basement flat, where Sandy used tae have his offices. The basement flat’s awright, it’s jist a bit dark. That’s how, any time ah drop by tae check everythin’s okay, the lights are always oan. Ah always give it, “That costs money an’ aw, ye know – ye don’t get electric light for free,” but she jist gives it: “Whit am ah supposed tae dae, like – sit aroon in the dark? Sit in the dark till His Royal Highness happens tae have a meenit?”
Hiv tae say: Tam’s wife is less hard work than Una.
She’s also mair fun.
Ah see it as ma duty but. An ye only get oot whit ye put in, eftir all.
Same goes when it’s a buildin ye’re sharin.
Ye hiv tae give as well as take – that’s whit ah say.
Sandy doesni see it that way. The boy used to drive a Porsche. Used to figure everything oot doon in the basement: aw the tax stuff he done. He’d a hedge fund, whitever that is. Rosie disni know either. Yir man came up, but, one day, she telt me, an’ the tears were trippin him. Said he wis goney shoot himsel, he did. He wis greetin like that cos aw his hard work wis aw doon the drain, he said. For a while there, folk kept comin roon: they were wantin tae shoot him an’ aw. Ringin oor doorbells, they were, at all oors o the night. Livid, they were. Tam said tae Tony wid he plant himsel at the front door – that wid frighten them off. Tony’s well-built, ye see. The boy didni want tae but. Ended up: naebody shot Sandy an’ he didni shoot himsel either. Wan time eftir that but, Rosie suddenly said: “Ah shoulda done it!” That wis the time Sandy confessed the company wis in her name. Suddenly, she’d a loada debt roon her neck. She came up tae ma flat an’ gi’ed it: “Ah shoulda! ah shoulda flattened the bastard.” Frae that moment onwards, she didni want tae dae it any mair. Or mair like: she did, only for money but, an’ ye had tae pay up front, in cash. Jist cos that bastard was givin it: “Go on up, if ye want tae. Jist make sure ye come back doon wi dosh but.” Ah tried tae gi’e it: “Ye canni dae that. Ye canni ask for money eftir aw these years.” She insisted but, an’ that wis me: up shit creek.
Morally, ah mean.
Ahm naw that well aff, am ah?
Wi the new benefit regulations, nae cunt’s that well aff.
So across tae Tony ah goes tae ask can he help me oot?
Had he therty quid he could gi’e me?
Ah gave it tae her, ah did.
An’ that’s the way it’s been ever since. Ah keep thinkin: it’s naw right. Me payin aff Sandy’s debts, like. Ah end up doin it again anyhow but – an’ head o’er tae Tony’s tae scrounge therty quid aff him.
The boy’s at the table, hunners o books in front ae him. Scribblin in an A4 pad, he is, an’ watchin the telly – baith at the same time.
They boat people are on. D’ye mind they refugees? Wans that landed in the Canaries? Wans that sailed frae Africa? Well, they’re the wans they’re showin. An’ Tony’s watchin it.
“Teneriffe,” the boy oan the TV says, an’ ah gi’e it: “Ahv been there an’ aw.” Wi Senga an’ the weans, it was. A long time ago.
That’s naw even true, actually.
Tony points at the screen an’ says summit that sounds like Hulahula.
His patter’s naw frae roon here, that’s for sure.
Tellin ye: he is a bit strange.
“Whit did ye say?” ah go – an’ he’s like that, “They shid stay at hame.”
Tony gi’es it: “It wid be far better if they aw stayed at hame.”
Ah go: “If you’re sayin that, it must be true. Can ye len’ me therty quid, by the way?”
He gi’es me it, an’ ah take it o’er tae Rosie – who hauns it straight tae Sandy.
An’ so the three tenners stay in circulation.
Which is mair than can be said for me. Since aw that hassle wi Senga, ahv hardly been oot ae the hoose. Ah leave it tae go tae the playin fields, aye, wi Tam on a Sunday, mibbe; or noo an’ again tae go tae the Unemployment Office that’s no’ called that any mair (the name has changed – nuthin else has but, needless tae say). Every noo an’ again, ah’ll go up to see Bernard, or droap in oan Tam’s missus. Ah should show my face there mair often, but ah don’t feel like it any mair. The need to’s gone. Disappeared – just like the therty quid.
Anyhoo: Tony’s at the table, writin somethin.
He’s a strange wan, right enough.
Then it’s nighttime an’ there’s a pure racket oot in the street. We’re used tae hassle, of course, frae the days when Sandy’s clients were aye wantin their money back. Part frae that, it tends tae be quiet aroon here, unless there’s a dawn raid – then there’s a racket, awright. It’s nighttime but, as ah say, an’ naw the crack o dawn, an’ there isni a function in the chapel hall, far as I know, an Sandy’s clients have aw calmed doon or hung themsels, in the meantime. Nevertheless, there’s a total racket but. First, there’s a racket at the stair door, then there’s a racket in the stair, then there’s a racket across frae me cos some cunt’s kickin the door in: Tony’s door. There’s shoutin an’ bawlin an’ aw. A blue light’s flashin, oot in the courtyaird. Tam comes runnin oot, an’ so does his wife who looks at me right angry, like, cos ah stood her up again. Suddenly, Sandy’s staunin there, an’ Rosie, – an’ Bernard comes doon frae up the stair. All he’s on him’s his Y-fronts, an’ he’s Gina in his haun. Una comes runnin up frae the basement an’ aw – in a nightdress that’s seen better days – an’ screams “Ur yis mad? Ur yis mad? There’s weans tryin tae sleep doon they stairs, so there is!”
A guy comes ootae Tony’s. He’s a tie oan. There’s loadsae folk in uniform an’ aw.
“You’ve ten minutes to pack,” the guy wi the tie shouts, intae Tony’s hall. “And not a second more.”
Una goes, “You got a problem, mister?” an’ the guy gi’es it somethin involvin illegally an’ deportation an’ assures her things’ll be back to normal in ten minutes.
“This will be the last time you’ll have this kind of bother, Madam,” he says. “You won’t object to that, I take it?”
Tony appears, wi a wee suitcase in his haun. Way he looks at us, ye’d think he wants tae say summit. He doesni but.
Then he does say summit, eftir all – tae me: “They books in there, maybe they’ll be some use tae ye. Dictionaries, they are.”
An’ ah think tae masel: whit wid ah want dictionaries for, but ah gi’e it: “Course, mate. Ah’ll see tae them.”
Whit ah said disni make much sense, ah know.
Then they ones in the uniforms take Tony between them an’ make tae go doonstairs.
That’s when Tam gi’es it: “Jist a meenit!”
Tam gi’es it: “Who’s goney cut the grass, like?”
Tam gi’es it: “That’s Tony’s job, an’ he manages tae get the lines totally straight.”
Tam gi’es it: “Naybody can match that boy.”
The man wi the tie looks at Tam an’ goes: “Have you tried using a goat, Sir? Or doing it yourself?”
The wans in uniform grin. There’s nay jestin wi Tam but, when it comes tae the fitba.
“There’s a game on Sunday,” he gi’es it, “an’ the grass is still tae be cut. Tony’s gaun naywhere.”
An’ Una gi’es it: “An’ ah need Tony for the weans’ hamework. He writes Colum’s essays for him. An’ he does Marie’s algebra. Tony’s gaun naywhere.”
An’ Sandy gi’es it: “An’ he’s still figurin oot the new hedge fund. No way am ah hivin a repeat o the last time. Tony, yir country needs ye. Yir gaun naywhere.”
An’ Rosie looks at me an’ gi’es it: “It’s no jist his country needs him. Ah fuckin need him. He’s gaun naywhere.”
Ah pure hate the way she looks at me.
An’ Tam’s wife gi’es it: “Sactly. He’s stayin where he is. Ah need the fucker an’ aw.”
Ah like that even less.
“Right, that’s it, folks,” the guy wi the tie says. “Back to bed, everyone. Have a nice day – what’s left of it.”
They stomp doon the stairs wi Tony between them, an’ Tam goes: “Shit, whit ur we goney dae noo?”
Bernard looks at his Gina video as if it holds the answer. Then he goes: “The chapel! Sanctuary!”
Bernard goes: “Sanctuary! O’er in the chapel! Oor Lady o Perpetual Help an’ aw that! Ah mean, if she doesni help us noo, when wull she?”
Rosie nudges me wi her foot an’ gi’es it: “On ye go, you! Dae summit!”
Why’s it always me? ah think. Since aw that hassle thon time, ahv naw done fuck all. Ah jist stood an’ watched Senga get intae the car, sure. Wan turn o the ignition, an’ off she went, wi the weans. Watched an’ did fuck all, ah did.
Rosie, but, gie’s it: “Wakey, wakey!” an’ ah can hear an engine runnin, doon below.
So ah runs doon, an’ aw the others run doon an’ aw, an’ when we get there, ah wallop the guy wi the tie on across the heid, an’ ah hiv tae admit, it felt good. So ah thumped him another wan, for Senga an’ the weans, an’ wan for the new benefit regulations, an’ wan for the machine that noo does ma job, an’ wan for the night-watchmen job ahm suddenly tae auld for. Sandy kicks wan ae the cops, that was for the fund that went doon the drain, ah reckon. Una’s tearin the hair frae the head ae anither wan, for the dark basement flat, wi three young children in it. Tam bites wan in the finger cos nuthin angers him mair than a fitba pitch that isni tended tae. His wife gets completely the wrang idea as usual an’ kisses the wan that has Tony by the neck, but that works an’ aw cos the cop lets go. Bernard grabs Tony by the arm an’ we run across an’ hammer the door ae the chapel. It nay sooner opens than we’re safe inside.
Bernard’s shoutin: “Sanctuary! Sanctuary!” an’ we laugh an’ hop roon Tony like bushmen roon a totem.
That’s where we’ve been livin ever since.
Six months has passed, an’ ah hiv tae admit: livin in a chapel isni bad. The block we lived in’s empty, the cops are keepin guard, anyhoo, but. Bernard sneaked across wan time an’ came back wi aw the videos an’ the machine. So we’ve summit tae dae noo. We watch Gina Wild. The priest does an’ aw.
It’s only Tony disni. He does the hamework for Una’s weans but, helps Sandy tae figure oot the hedge fund, an’ sneaks off intae the sacristy every noo an’ again wi Tam’s wife, Rosie or Una. He tried tae slip me therty quid wan time. Ah didni want it but, naw any mair. So he took it an’ forced it intae a collection box. Forced them aw the way in, he did: three bloody tenners.
Hiv tae say: he’s a bit strange, that wan, right enough – Tony.