Grevel Lindop

Fiction

THE LOOP

THE VIDEO CABINS are on the right just after you go through the turnstile, beyond the racks of video cassettes and DVDs, and before you get to the first cinema. I never go into the cinemas now, I just come for the loops. The cabins are boxes about six feet high, made of metal and painted red. They're a bit like the cars on a fairground ride, except that you can't see out. Each one has a sign on the door saying that you get five minutes for five francs, and you can get a monthly season ticket though I don't think anyone does. Most people don't come here often enough, and anyway the boss doesn't change the loops weekly like it says on the signs outside. He just lets each one run until it's worn out because he saves money that way. He hasn't gone over to DVDs yet either, he still uses cassettes on a bank of old VCRs in the office that are wired up to the cabins. They run all day, noon to midnight. They're pretty clapped out.

You get into the cabin and sit on the plastic seat. Then you slide the door shut. There's a latch to keep it closed and so people know the cabin is occupied. There are four small screens in front of you so you can see what's on all the loops at once. They're labelled A, B, C and D and there are buttons you can press once you've put your money in, so the video you choose shows up on the big screen above them. If you get bored with that one, you press a different letter and you get a different picture and so on. There are also buttons for fast forward, rewind, freeze frame and advance, so you can find your favourite bit and keep it on the screen, but they don't work well and if you freeze the picture it goes jagged so I don't do that, although sometimes I wish I could. The films are called loops because they run all the time as if they went round and round, but they don't: they're just short videotapes and when one gets to the end, after ten or fifteen minutes, it has to rewind. Quite often one of the small screens is black while the tape rewinds. It takes a while because of the worn-out VCRs, so if you specially want to see that one you waste your money waiting. You can feed the slots as much as you like to buy more time.

I found this loop by accident. The first time I came in it was because I was feeling depressed again and I was hoping for something to take my mind off it. I think a lot of people come here because they feel like that. I put in my five franc piece and took a look at the small screens. There was a man having sex with two women on one channel, two lesbians on another, something I've forgotten on the third and on the fourth there she was, this girl on a sofa wearing nothing but a pair of thigh-high black PVC boots, playing with herself, sucking her fingers and stroking herself and wriggling about. I clicked on D to bring her up on the main screen and watched, hardly believing it. I drank in every detail with my heart pounding: the little pout of the lips she kept giving, the way she wriggled her bottom to get more comfortable on the leather sofa, the way she would lick her lips and stare out of the picture, narrowing her eyes so as to look wicked and sexy. She was so beautiful.

[A young man's apparent addiction to pornography hides a tragic secret. To read the rest of this story, order The London Magazine, February/March 2005 from www.londonmagazine.ukf.net/links.htm]

THROUGH THE LOOKING GLASS

IT WAS THE LAST THING she wanted to see. She was so taken aback that she flinched on the threshold, almost causing the man who had insisted on carrying her case up to bump into her. For a moment she thought of complaining, but found she could not remember the Italian for 'mirror'. Instead the words 'miroir' and 'Spiegel' circled confusingly, and by the time she had banished them in favour of 'specchio', he was flitting about the room, showing her the mini-bar, the dimmer for the lights and the switch for the air conditioning.

Once she was alone she looked at it again, sidelong. Bad enough to have spent two days trailing around Next and Monsoon without finding anything remotely suitable. Why did the mirrors in shops always make you look so hideous? By the end of that first day's shopping she was telling herself it was no wonder David had dumped her. Though if a man asks you to marry him, then spends six months secretly dating someone else, there has to be more in the equation than an inadequacy of looks.

On the second day she had bought herself several pairs of tights and settled for a black dress, short but not too short, for evenings. But the idea of this frumpish, twenty-something woman setting out for the bella figura world of Rome had almost scared her into cancelling the trip Only a reluctance to see the cost of an unrefundable flight disappear into the black hole that had swallowed the rest of her life had kept her on course. I'll make myself inconspicuous, she told herself. I'll stay invisible, and perhaps Rome will lift my spirits.

And now here she was in what should have been the refuge of her hotel room on the via Margutta, confronted yet again by her own unwelcome image - weary from the flight, mousy hair lank and unkempt, face reddish and sweaty from the airport taxi - reflected in a huge mirror that occupied far too much of the wall behind the bed.

[Bad enough when a woman who hates mirrors finds a huge one in her hotel room. But what happens when she starts to suspect that someone is watching her from the other side? To find out, read FOREIGN AFFAIRS: EROTIC TRAVEL TALES, ed. Mitzi Szereto: £9.99 or $14.95 from Cleis Press, ISBN 1-57344-192-9]

THE ARCHIVE

An elderly academic searches libraries for an author's manuscripts - and then destroys them. To find out why, read HYPHEN: AN ANTHOLOGY OF SHORT STORIES BY POETS, ed. Ra Page, £7.95 from Comma Press, ISBN 0-95446039-1-5]

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