The Fall of 2015 | The Chauffeur’s Flat

We fell asleep with the laptop on watching Bob Ross the painter dragging colors down to form a reflection, shapes along the shorelines in reverse.

And I went back to poking a coal of memory, a no-name place in the southwest of Scotland that Thanksgiving: the outline of a dimly lit doorway leading me there, the orange/pink glow of a lamp out back, all the castles, the estate houses made from the same tired-looking limestone that like the countryside looks battered down, but resolved to remain that way.

The estate house with its long road leading in, the drive that started that day in Edinburgh and led us west where we’d leave the country for Ireland next, then work our way from Dublin to Galway, south for Wexford, ferrying to Wales after Christmas—ending in England where we’d settle in for January, and try to relax.

I picked the chauffeur’s apartment because I liked the sound of it. And it looked spacious and moody, desolate: the photos on the VRBO of the surrounding gardens and knobby trees, the wood fire in the living room with its soft light. I thought it would be perfect to spend Thanksgiving there as a family, didn’t mind if the internet was slow.

But it was dark when we finally arrived and unclear if we were still on the road: the road dissolved to a mash-up of leaves and mud, and with the rain and wind we couldn’t see right, and I was frazzled from a day in the car, just wanted to get there and get out.

It was cold in the place but they had a bottle of wine, a handwritten note, a cake we descended upon called Victoria sponge made by the baker, covered in fresh cream and strawberries, with jam in the middle.

As I did with each rental (and by late November, it was our ninth), I got our things out of the car and went right back out to the store, often a Lidl, much like the one near my mom’s house in Germany, that made us feel both at home and distant from her—the fact we wanted to spend nine months in Germany but couldn’t without a visa, we had to leave for three months right in the middle of the nine, had to exit right over Christmas, and couldn’t come back until February.

The Lidl (like my mom’s in Germany) gets special foods around the holidays, and in the UK the emphasis is on game birds, leg of lamb, jellies, jams, accompaniments: potatoes in goose fat you just toss in the cooker.

But I got lost on my way back from the store, the navigator seemed off, and I sat in the car in the dark with the rain slapping the broadside, imagining the sea right there: we’d picked this place because it was close to the ferry routes to Ireland: and it was an angry November wind coming off the water, and I wondered what the hell I was doing, where I was going.

For three days we lay around the chauffeur’s flat, named for that express purpose: living quarters adjoined to the main estate, its tall windows and scenes we imagined inside but couldn’t really make out from the road—it made us feel a bit like intruders, having met the owners out on a walk once, when the man rolled down his car window and greeted us, invited us to stop in if we wanted, but we got the sense he didn’t mean it, and so we never did.

And yet, with all that space we had and the tall windows, sneaking peeks of the moon getting full through the trees, it felt timeless for Dawn and me: we wanted to come back when the kids were older, just the two of us, to spend a month and just be creative, write, there was a feeling about the place that allowed that: topical maps of the area framed in each room, unusual names of the nearby mountains and woods, the sense we could be far away from anything, anywhere we imagined.

On our last night the moon was full again, full when we left the Netherlands in late October and crossed the sea, full when we arrived in Germany, late July…and though the wind was up I had to get out in it, down a side road to the river, the woods we walked earlier in the day all muddy and queer-feeling, enough color in the leaves and trees still, you could imagine yourself in a painting, somewhere far away.

I stood beneath the trees in the wind with the moon and tried to drink it all in, to take what I could from it, what sense of god or purpose hid in those gray-blue eyes, a face that twists like it’s in pain…and beyond, the frame of the estate in the milky dark, the windows dim slivers…and next door, the house with Dawn and the girls on their recliners with books and puzzles and movies: it made me sad I had to be out here trying to find whatever it was I couldn’t inside.

In the ferry line the next morning Dawn said there’d been an attack in Paris last night, terrorists: we got off the boat in Belfast and made our way to the next rental, unloaded the car—I drove back out to the store, came home, made a fire.

 

 

 

 

 

 

 

 

 

 

 

 

About pinklightsabre

William Pearse publishes memoir, travel journals, poetry and prose, and lives in the Pacific Northwest.
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14 Responses to The Fall of 2015 | The Chauffeur’s Flat

  1. I’m hearing two meanings in “trying to find whatever it was I couldn’t inside.”

    Hope you’re having a fine Sunday up Seattle-way.

    Liked by 1 person

  2. Oh my throat got all lumpy with the line that you had to be outside trying to find whatever it was you couldn’t find inside. The Irish poet John O Odonohue says sometimes we have to step into landscapes, beautiful landscapes, to find the beauty inside. But of course being a poet he says it much more poetically. https://onbeing.org/programs/john-odonohue-the-inner-landscape-of-beauty/

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    • pinklightsabre says:

      That’s a super interview. I’m only about 10-15 minutes into it, but will come back to finish…I like what he has to say about time…thanks for sharing it. I’m lucky, I got to see his homeland too (the Burren): have you ever been there? Not far from the cliffs of Moher, but the Burren itself, those rocks, really neat looking. Have some photos of me with my kids when they were quite small climbing around on those rocks in the morning sun. I think the landscape idea is something; I’ve been going back to that, to physical places, to try to work out my inner “things.” So I connect with this, thanks for sharing it Angela!

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  3. ksbeth says:

    trying to make home wherever you were.

    Liked by 1 person

  4. Tonight, just broke out the evaporative cooler. Ten post meridian and still 28 degrees and still late Spring. But tonight I responded to Bill sitting in his car, a bit lost, rain against the driver’s window. I’m listening to the last Talk Talk album. That’s probably the problem.

    Liked by 1 person

    • pinklightsabre says:

      Now I know a handful of Talk Talk albums but unsure which, the last. They do have that singular quality, don’t they? I’m glad you spent what sounds like a moody moment with my post, thank you Bruce. I am all about the moody moments in case that wasn’t PAINFULLY obvious yet. My daughter Lily read some positive news about marriage equality possibilities there in Australia, she read aloud pre-dinner. 28 degrees sounds not like what you expected, I’m sorry. Now I’m popping out to look at Talk Talk discographies. All you ever do to me is TALK TALK

      Liked by 1 person

      • “The Colour of Spring” is a great place to start. “Spirit of Eden” is the pinnacle, though not quite as accessible. As you say, a singular quality indeed.
        Yes, 62% Yes, is good (though why not 90%?). Now we watch the right wing polies try to stuff it up. Sigh.

        Keep those moody moments coming, mate.

        Liked by 1 person

      • pinklightsabre says:

        Spirit is Eden is the one they spent ? 12 month’s on, in the studio…and rarely saw light, I think uh did some drugs maybe?

        Liked by 1 person

      • Plausible, I guess.
        PS. That was 83º F. You didn’t seem impressed enough, so I thought I’d convert it to the obsolete unit. (Giggles in the slightly disturbing manic fashion brought on by lack of sleep)

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    • pinklightsabre says:

      TALK TALK TALK TALK, all you ever do to me is TALK TALK

      Liked by 1 person

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