“H pencils are best – anything softer needs sharpening too often –
and yet
a good pencil sharpener can provide a necessary break”
— Fabric fit finish
Essays in ‘Fabric fit finish’
“Searching for Perfect”
by Ida Valimaki
“What I want you to do now is embrace imperfections in your own writing.”
— Kirsty Gunn on November 9th at 14:34
The perfect world of words on a page is where I run. The sculpted, beautiful, elegant prose is my escape, the safe haven I long for in the storm of my thoughts.
As close to perfect as humanly possible. Alluring and fluent; a melody stuck in the air, and in your ears. A melody you don’t want to get rid of.
Something I’d be willing to believe is needed to stay alive.
And to intentionally ruin it,
to bring in the interruptions of speech,
the small ‘yeses’
and ‘y’knows’,
to have the narrator break the immersion,
hurts.
The imperfections some writers plant in prose
the ugly bits of real life, the reminders that it’s just an imitation
rip me out of the dream and the melody I want to live in. I don’t want real or accurate, I want perfect. Polished and perfect and beautiful. Speech not as it is, but as it could be, were we something other than this.
What I could be if I was something other than this.
And I want to challenge myself. To push the limits of what I can do and find new ways to express myself. Experimenting with language, with words, thoughts, and ideas, is what I live for.
But to make something imperfect on purpose? That I don’t think I could do.
And I know, I know, perfection isn’t possible. It has never even seen the realm of possible. But I need to try anyway. I need to believe there is something that can be perfect in this world. That words, no matter how frustrating and flighty they may be, can make something better than this world. That the poets were right, and magic does exist.
What is perfection anyway, if not trying to be our best self? Trying to be better, do better, achieve more? Always better, always more. And nothing will ever be enough.
What is imperfection anyway, if not defined wrong? Does it have to be faulty or incomplete, or an undesirable feature? Can’t it just be
chaotic?
Can’t it just be the right words, the right thoughts, spread across the page? Not organised in neat little paragraphs that look so proper, paragraphs that don’t break from the pattern? Can’t it just be interrupted thoughts and unfinished arguments, essays without a conclusion, sentences without a subject? Can’t it just be nonsensical for everyone but me for a change?
What is there to come back to in perfect? It leaves no room for movement. No side steps, no wonderings, no interpretations. There is nothing to think about, nothing to talk about.
Nothing to write about.
“topmiddlebottom”
by Teddy Rose
TOP
“Most of the strong feelings we have go unspoken,” says Emily.1 It’s a cold thought. A striking epiphany, for a conversation about a book on unspoken love. This line of prose grabs me by the throat and refuses to let go until I’ve thought myself into a spiral.
Strong feelings that go unspoken. Unspoken except when I’m off my face drunk, panicking and sweating in bathrooms, tears rolling. I am not a good person. The knowledge sits behind my eyes and presses against the nerve, an insistent pain. Every word out of my sober mouth comes parcelled and packaged sweetly, no one can know the truth. Vowels tied with ribbons and consonants wrapped like gifts. Tell me I’m good, the casing croons, tell me I’m worth it. I’m giving for the selfish joy of hearing thank you. I need appreciation like I need air. I am strangled with it. Imposter syndrome of the first degree. I map and script every interaction. The feeling has been festering for years.
Stomach wound.
I am swollen with it.
Bloated and undone with the need to please, to gag on being wanted, and only writing about it, never changing. The strong feeling goes unspoken unless I unspool like a bobbin and come apart completely. My whole design is loose stitches and dripping ink, so let me keep it, the lie I’ve made.
That’s the character. That’s the voice.
MIDDLE
What makes someone good anyhow? I think good and I think
Mother Theresa,
the Virgin Mary, I think
saints and martyrs. What makes them good?
Selflessness. Altruism.
The word of others.
We rely on others to make us good.
I am not a good person. No one is entirely good. I tell myself that to feel better. Sometimes I want to rip my heart out with the force of how good I want to be. Peel open my ribcage, offer up some skin as sacrifice.
“Make me good!” I yell at the sky, “I want to be good!”
Is that a sign of true goodness, that I want it so badly? Is my self-imposed kindness to others – kindness used to fill the pit inside myself – enough that others think I am good, am selfless, am altruistic? Does that take me back to the beginning again?
It’s so much easier to blame someone else. To make a god answer
for the rot inside. But it’s all me, you know? All me. Black to the bone.
Mildewed. Dead and dying again. Remember?
Do you remember?
B O T T O M
Edit: rewind. Cut the bullshit, try again.
“Most of the strong feelings we have go unspoken.” It’s an honest thought. A striking epiphany. It expects you to spiral.
I have talked about the strong feelings. The ones that press and pain. I try to out fake them but fall back into the rhythms. I tell myself I am just human, and this is the part that comes with it. My sufferings are not special. I am not the worst person to have ever existed. That is a selfish thought, to believe that I am the most anything ever. Humans put themselves at the centre of the universe. Individuals feel they are the very navel of the world. It’s all context. All perspective.
Let me live my lie because I am trying. The feelings mutate. Black mould in my lungs. No definitive answer. Morality is subjective, that’s the bitch of it all. Only I can teach myself to be good, tell myself I am good, I am trying my best. It’s an internalisation. An ending and a beginning, ouroboros eating its own tail. Cycle to be broken.
There’s no conclusion here, it keeps going on.
Kirsty Gunn, Caroline’s Bikini, (London: Faber & Faber, 2018), p. 86