By Janet Olearski
‘I don’t think you quite understand, Nick. We’re out of time. Ten more days and they’ll want their money.’
‘Is that ten day-days or ten working days?’ I said.
‘Not funny,’ she said, and the phone went dead.
I shuffled to the fridge, rattled out the rum and re-powered the contents of my glass. Back at my desk, I took baby sips and tried to see around the yellow Post-It notes that obscured the view from my window. I reflected on the nature of obligation, read notes at random, and sipped on. I was none the wiser. I had an incoherent narrative. As the daylight faded, I saw my reflected self materialise in the shiny blackness of the pane. Then a profound thought – we need these once in a while – that without my work I would hardly know who I was. And, on staring into that dark mirror, I no longer recognised my own distorted image.
It was difficult to remember how I’d cajoled myself into starting, but I’d managed and felt smug about it. After that everything had petered out, all the juices used up, all the imagination wafted out through the air vent. I sat late into the night at my laptop, with nothing coming. A blank screen, a sense of guilt, of deep anxiety, of unhappiness. Woe, woe, woe, I’d think. Why me? Every day I’d be overcome by a bludgeoning weariness, and then I’d wake, slumped at my desk, my hair stuck to my forehead, my eyes bleary and unseeing.
Yes, I have always had a fondness for melodrama.
And now the ultimatum. I’d stalled to the limits of everyone’s patience and they were onto me. This long night I needed to step out and walk off the desperation, just follow the darkness. I needed to open some empty space in my head, like opening doors and windows to let out the bad air.
I wrestled into my jacket, my collar and cuffs askew, but what did I care? I caught sight of my face in the hall mirror as I exited the flat and it disturbed me. Surely I could look better than this? Not doing what I was supposed to do had wrecked me. Just thinking about having to do it had wrecked me.
Outside, the city slapped into my skin and blew me awake. I wandered down the road, along the pedestrian walkways, and into the market, passing stalls and small shops, cafes, restaurants, and multi-coloured people to suit all locations. I found myself a stranger in my own city, entering alleys and narrow streets I’d never ventured into before. It was Saturday night and the place was alive. This energy was a revelation to me. I’d been so wrapped up in myself and my private agonies that I’d forgotten there was a world out here to be enjoyed. I had lost months. Should I worry now about the loss of a Saturday night?
I thought I might choose some small bar with tables out on the pavement, and sit there, taking it all in, watching people come and go. I yearned for liberty, but shame was the greater emotion. So many months, so little accomplished. My conscience kept me moving. It kept me hoping that something would jar inside my head, and that I’d get one of those prophetic signs that we all pray for, the signal that tells us something … only we don’t always know what.
That’s when something did happen, and I did get the message.
I turned a corner and I lost my bearings. Not that it mattered, since I’d lost those long ago and wallowed in the self-pity of my self-imposed loss. I found myself standing, looking into the window of a dimly-lit shop. And in the semi-darkness, I saw a black, antique typewriter.
‘For Sale,’ it said, ‘one special owner.’
I pulled open the door and went in. A bell dinged. There was a man sitting behind a dark, veneered table that passed for a desk. He was turning the pages of a newspaper, his massive forearms covered in tattoos. A sliver of smoke rose from an oversized cigar in an ashtray by his side.
He looked up. ‘Hello, my friend,’ he said. ‘You need something?’
‘The typewriter,’ I said. ‘What’s special about it?’
He looked me up and down. He said, ‘It’s Hemingway’s. You know Hemingway?’
‘Hemingway the writer.’ He sat back in his chair. ‘You know him?’ he said. He had a sourish, almost confrontational look on his face.
‘How do you know that?’ I said. ‘How do you know that it’s his?’
‘I know. Of course I know. I’m Cubano,’ he said. ‘You see the name of this shop? You see it? Cuban Curios. That’s the name and that’s what we got – Cuban curios.’
The man reached for his cigar, took a puff. ‘For the typewriter? Three hundred dollars.’
‘Way too much,’ I said, and I turned as if to make for the door.
‘You no have to buy it, my friend,’ he said, ‘but someone else will. You type on that…’ He gestured with the cigar towards the typewriter. ‘You type on that – you buying Hemingway. You buying… the spirit of Hemingway.’
‘That’s rot,’ I said.
For a split second the man’s eyes flared. Then they relaxed and he grinned, revealing a set of tightly-packed spindly yellow teeth. ‘Maybe you right, my friend,’ he said. ‘But I know how it work. You come here because you blocked. I see it before. Buy this, you not blocked no more.’ He took another puff of his cigar. Behind him some kind of moth-eaten animal – a gazelle, or an elk – something brown at any rate – leaned out from the wall and cast a shadow over his face.
‘You give me the money,’ he said. ‘You take the typewriter. You problems finish.’
I looked at the typewriter. How it shone. How it glowed. I wanted it. ‘Yeah, like I’ve got three hundred dollars in my pocket…’
‘I take Mastercard,’ said the man, and he reached below the table and pulled out a card machine.’
I stared at him. He stared back. Then he rattled his newspaper and continued reading.
‘Okay,’ I said, and I felt in my pockets for my card. ‘What about ribbons?’ I said. ‘Don’t I need ribbons?’
So, there I was, sitting facing the typewriter. I hadn’t much idea how it worked but I sure as Hell was going to find out. I pressed down the shift key and felt it lock. Then I pressed ‘H’ – ‘H’ for Hemingway – and it went down nice and easy, like pressing your finger into a sponge and, as it went down, the thin metal bar reared up. I let it drop and then I slid my hands across the keyboard, across his keys. They felt as though they had been moulded to the shape of my fingertips. His touch was mine now. The lights came on for me at that precise moment.
I wrote that night, the next day, the next night… and on and on. And when my agent called and said, ‘You’re paying back the advance tomorrow, Nick,’ I said, ‘No, I’m not.’ And she said, ‘You can’t tell me you’re done…’ And I said, ‘Oh but I can. I’m done.’
Three books later, I was still going. I went out for air one Sunday evening. Dark shadows hung under my eyes, my shoulders were hunched and painful, my joints – knees, wrists, elbows – swollen, my mouth and throat parched from the self-neglect of the obsessed.
Hemingway had a lot to answer for.
I walked down through the pedestrian walkway, along the alleys and semi-familiar streets. Curiosity drove me. I realised I was looking for the shop. It took some time, but I did find it. At first I didn’t recognise where I was. The light was negligible. The building was in darkness. There was a chill in the air. I shivered and looked up, searching for the sign. And there it was – Cuban Curios. I levelled my gaze at the shop window and gave a start. A face stared back at me from the glass. My own self reflected. I leaned in close to the window, cupping my hand over my eyes. And as my vision adjusted to the gloom inside the shop, a large dark object gained definition. I blinked. And there it was, glorious and shining. Hemingway’s typewriter.
I mean… how many did he have?
‘Typewriter’ first appeared in the literary journal Jotters United in 2014.
Janet Olearski is a London-born author and writing coach, who lives in Central Portugal. Her short fiction has appeared in Constellate, Sleet Magazine, The Commonline Journal, Wasafiri, and elsewhere. A graduate of the Manchester Writing School at MMU, Janet is the author of the story collection A Brief History of Several Boyfriends, and the founder of the Abu Dhabi Writers’ Workshop. Find her at http://www.janetolearski.com Twitter: @JanetOlearski