This is the Life. Joseph O’Neill

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       ONE

      The other day I was queueing up at the bank. The man in front of me, a man in black leather trousers and jacket, had long fair hair which was tied together below the shoulders with ribbon. The hair looked as though it had not been washed for several years, and its strands were so intertwined, so caked with adhesive, that it had solidified. It was impossible to tell which hair was which, or where it came from or led to. The filaments started pretty distinctly, each springing cleanly from the scalp; but once they reached ear level, where they melled, they became indistinguishable from each other and lost in a blur. I stepped back slightly in the queue. It was not a mane that I wanted to get too close to.

      I mention the incident because the events I am about to relate are ravelled in my mind like those hairs. Their meanings are twisted and tied together in unfamiliar knots that will not easily undo – at the moment, at the start of this undertaking, I feel like a blindfolded man fingering at running bowlines, marling hitches, sheepshanks and cuckold’s necks. This is partly due to my own entanglement in what I am preparing to describe, and the cock-eyed viewpoint that results from such a snarled involvement. Spectators, after all, see more of a play than its players.

      What I am aiming to do is run a comb through the matted locks of my memory, run through the facts one more time as I remember them in the hope that, in doing so, as the threads separate and disentangle, a pattern of sorts will emerge. When I say pattern, I do not mean a swirling motif of significations: I mean a straightforward, ordinary picture of what happened. I am not a philosopher or someone looking for ultimate truths or breathtaking revelations. What I am after is something I can get by with, so that I am able to get on with my life in the way that I am used to: because at the moment I am having difficulty getting on with anything. At work I sit listlessly at my desk, toying with a pair of scissors, snipping meaningless shapes in the air, unable to concentrate. June, my secretary, has never seen me like this before. She suspects that I am lovesick and brings me steaming cups of tea at regular intervals.

      ‘Thank you, June, but I’ve just had one,’ I say. I raise my hands. ‘Really, I’m fine.’

      She will not be deterred. ‘Drink, it will do you good,’ she says, bossily pointing at the cup. ‘Come on now.’ She stands there, arms folded, watching me. I drink.

      ‘Thank you, June. That’s a lot better,’ I say weakly. When she has gone I return my gaze to my work. Again the print fuzzes over and once more my eyelids weigh kilograms. Again, after leafing through a few pages, I am exhausted and have absorbed nothing.

      I will not dwell further on these symptoms, which anyone who has ever worked in an office will recognize. The important thing to note is that never before have I been afflicted in this way. The experience is, for me, unprecedented, and therefore doubly alarming – I, who am so happy in my work, struck down like this!

      I must without delay go back to Friday, 9 September 1988 – the day, you could say, when I first began to be hauled from my element and enmeshed by Donovan’s quickly unspooling life.

      That Friday I travelled to work on the underground. As usual I was reading a newspaper as the carriage hurtled through the tunnels towards the Embankment. Just before we reached my stop (we were slowing down under the riverbed) I read the following piece in a column of ecological chit-chat:

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