Years ago I won a short story competition with an entry entitled ‘Zanzibar’. The competition was in aid of the local comprehensive school library, so not exactly the World Cup of short story competitions, but it was judged by a Proper Lady Novelist and there were over 200 entrants. Beneath it, for interest, I’ll post a poem, Zanzibar, based on the same experience /observations.
(Pssst!) Truth to tell I won first, second and third prize in that competition, which doesn’t say much for the other 197 entries. Entries were anonymous and Proper Lady Novelist had taken it for granted that because Zanzibar was written through the eyes of a man the author must be male, and therefore couldn’t possibly be the same person who’d written at least one of the other two winning stories. This leaves one story unaccounted for, gender-wise. I just wonder how she ‘did’ her heroes when composing her heart-warming historical sagas? Perhaps her husband wrote them.
The prize was a day at her house. She’s no longer with us, but I remember she was very kind. I remember being worried that I had left the electric iron switched on, and having to phone my husband, also that I got cauliflower cheese for lunch, and we both got photographed perched on the edge of her fishpond by a journalist from the county newspaper. The article was mostly about her latest novel, just published, which was fair enough. I remember being pleased I had worn my heavy, dangly, star-shaped earrings. I had some like moons too. This must have been the eighties. I was also disappointed that in the photo I looked as if I had great rabbit teeth, like my paternal aunt, and I don’t. Really I don’t have great rabbit teeth…
ZANZIBAR: the prize-winning, but also somewhat puzzling, short story
A tannoyed announcement drifted across the gravel on a warm breeze, mixed with sparrow song and the rustling of leaves. ‘The train now approaching is the two forty-five for Hastings, Brighton, Bexhill and Zanzibar.’ The rails began to jingle as they always did when a train was on its way, followed by the metallic click of the crossing gates going down. The girl was sliding off her stool, picking up the carpet bag, throwing back her hair. ‘So long, Joe,’ she was saying. Something like that.
She was going. Misery hit him. By way of an instant antidote he began to rehearse his Last Request. He always said the same thing, very slowly and carefully so that the words didn’t fuzz. ‘Well, Joe, think I’ve got time for another?’ And when he had drunk his Last Request he would walk towards the door, also very carefully, and Joe, who was a tactful fellow, would keep his eyes on his polishing.
He opened his mouth but the words didn’t come because the girl was standing right in front of him, looking into his eyes. There was no condemnation in her gaze, only friendship and a kind of recognition. It was as if the two of them had always known each other, and not just in this life, in life before life, going back and back and back. ‘Come with me,’ was all she said, in a low but perfectly clear voice. Then she was walking away, her sandals tap-tapping away on the bare floorboards.
A tidal wave of hope, anger and indecision rose in Zak’s throat. She hadn’t spoken. He’d imagined it. Girls like that just didn’t say ‘Come with me’ to men like him. She probably hadn’t been here at all; he’d imagined the whole episode. It was a cruel mirage, another trick of the drink.
They say there are certain moments when your life flashes before your eyes. In this moment Zak saw the old brick shed at the weedy, forgotten end of the sidings, hired from British Rail. He saw stacks of warped pine doors leaning against the walls waiting to be stripped, smelt the cocktail of acids he used to do the work. He looked down at the holes the stuff had eaten into his jeans, the scars it had left on his hands. He saw Andrea, his wife of fifteen long years. Sour, skinny Andrea who paid most of the bills out of the earnings from her job at the Co-op and reminded him of the fact every day. Andrea, who preferred what she called ‘Light Classical’.
He heard the train doors slamming. He heard a sort of screaming coming from somewhere inside his body, felt tears welling up in his eyes, brimming over and pouring down his cheeks. The table went down with a crash. The whiskey glass bounced once only and then broke, shards going everywhere. He aimed himself at the familiar oblongs of frosted glass in the door, not being careful now, not caring what Joe thought. Wrenching it open by its cold brass handle he ran, ran, ran towards the train.
ZANZIBAR: the poem
‘After the eighth whiskey there is no other’.
Zak’s mind plays tricks, turning all into poetry
And he’s on the border, somewhere between
A little drunk and very, and he’s very
Sad, but in a sleepy way. Seven trains a day
On this little line, where the weeds grow thick
And the sidings trail away
Into poppies and nettles,
Old cats and dusty rail.
He’s in the Station Hotel at his usual table.
Through high Victorian windows
Sunlight’s falling on the landlord’s beloved
Railway collection. Zak sees his reflection
In dented brass, watches the sunshine bathing
Brown photographs, turning the lamp-glass green,
Making the Station Master’s cap,
Already faded, fade a little more. Time shudders
To a stop – he likes this effect.
Joe behind the bar is embalmed in the act
Of polishing a glass and a train door slams, maybe now
Or an hour ago. Footsteps come across the car-park gravel
But somehow never get here.
People materialise all the same, bar-stools fill and empty.
The more he sits the less surprised he is
By this. Like the girl, who is suddenly here
With her back to him, drinking Coca Cola, a carpet bag
Forgotten at her feet. She acts like she’s been here always,
Treats Joe like a friend, and yet
He could swear he’s never set eyes on her
He needs another whiskey but he doesn’t trust his legs.
For a minute he sees her, quite clearly,
In some African market or other, gold bangles
A-glitter at her wrist. She’s throwing her hair back
And beckoning, and laughing. The sky’s so blue
It hurts to look up, and the ground’s so hot
It hurts to stand. And Zak remembers, quite clearly,
What it was to be young. Which hurts
Most of all.
Her train’s arriving and she’s sliding
Down off the stool and coming over to him. She’s
Standing right in front of him now and my God
She’s so beautiful and saying Come with me,
Just like that, but of course
She couldn’t be. And she’s gone.
And he’s trying not to think
It could have been real, simultaneously
Rehearsing his Last Request, Time for another one, Joe?
He knows Joe will look the other way as he makes it
The chair-strewn mile to the bar, and pretend not to see
How desperate he is for that golden oblivion, hear
How slurred he’s sounding. Joe’s a good bloke, Joe is.
Doors are slamming. Suddenly
Zak’s howling like a dog, the glass is shattering,
He’s up and staggering
Full tilt, longing beyond all longing
For bangles and hope, hejira
And the train to
The poem’s better, isn’t it? It’s got some of the actual pain in it. I am guessing it was written first.