Professor Zazzo Investigates – 9. Thiim’s Theorem of Constant Recursive Footnotation

THIIM’S THEOREM OF CONSTANT RECURSIVE FOOTNOTATION

*There has been much speculation lately about the concerns of a certain Professor Zazzo Thim. Those close to his entourage have hinted of great discoveries coming from his academic research, although the actual manner of these advancements have not, as yet, been made public. However, mindful that the majority of my readers will not be familiar with the particular branch of literary extremism, of which Thim is an expert, let me condense the findings of his research into one simple paragraph: Professor Zazzo Thim has discovered that we are all living in a footnote.

          For the last few weeks this pronouncement has vexed me greatly and I have been unable to conduct my life normally, that the entire world around me and all the people in it – and that everything we have done and everything our civilisation has achieved – is nothing but a mere academic footnote at the bottom of a non-existent page. To think that the vastness of our reality should be condensed as such – into smaller script, denoted with a tiny star at the beginning of the first sentence – not only cheapens the act of living, but hints that we are missing something within the main body of the existential text. My mind, this last week, has positively been buzzing.

          This morning I decided I would seek out this eminent professor and perhaps divulge from him the exact manner of his discovery. When I arrived at the facility where he is employed, however, I was told that I would only be able to enter if I had the correct security details and paperwork stamped by the relevant departments. The staff of the facility were loath to let me enter, that I might stumble into some literary laboratory and blunder against some experiment, thereby ruining years of precious work. Yet when I explained that I had come to see Professor Zazzo Thim, they were only too glad to let me enter. ‘Don’t bother knocking’, they said, ‘Just walk straight in’. Something about their manner told me that Thim did not command the greatest respect from his colleagues.

          I was guided to his door at the end of a corridor and the receptionist wished me luck before running quite smartly back the way she had come. Hesitantly, I knocked on the wooden door quite feebly, and was surprised when the door opened immediately and Professor Zazzo Thim stood before me. ‘Come in!’, he said, ‘Come in! I don’t care who you are, come in! His old hand gripped round my upper arm and pulled me, physically, into the room. ‘Dear boy, dear boy!’, he said, enthusiastically. ‘How honoured I am that you have come to visit me! Sit down and make yourself at home! And mind the bomb in the corner…’.

          I did as he said and cleared a space on a wooden chair next to his radiator. The small office was windowless, and dominated entirely by a desk in the middle, which was piled with papers and folders which seemed destined at any moment to tumble to the floor. Thim himself was an energetic fellow, despite his advanced years, with white hair and a confused expression offset by a long woollen scarf which almost reached to the ground. ‘I suppose’, said he, ‘That you have come to ask me about my new theory?’ As he spoke he walked round the desk, picking up papers at random and throwing them, disgustedly, back on the desk or even the floor. ‘I suppose, like others in this institution, you regard me as a mad man? Or have you come to write one of those sarcastic pieces for a Sunday tabloid? I may be a learned man, dear boy, but, gosh!, I ache just as much as the next person.’

          ‘The truth is”, I said, standing, That I am intrigued by your hypothesis, that the whole of our existence is nothing but a footnote at the bottom of a page. The very idea of it strikes me as philosophically redundant, yet at the same time, who would not deny that existence was – shall we say – not as important as we had otherwise thought? And who hasn’t once had the sensation of missing something more interesting, that our whole lives are relevant, yet not quite as integrated as we had once thought? In other words, just like the information contained in a footnote. Professor Thim, I have become so interested in your hypothesis that I just had to come and hear it from your own lips’

          The Professor stopped what he was doing and looked at me. ‘No!”, he said. ‘No, no, no! You’ve got it all wrong! Completely and utterly wrong!’ At this, he threw his hands in the air and stood with his back to me, his nose almost pressed up against the wall. At last he turned around and regarded me with a suspicious stare. ‘Just like other tabloid journalists, you twist your words to suit your own bitter ends, and make me look a fool in the process. I expect you haven’t even read my hypothesis, that you got the details from hearsay and gossip’.

          ‘My research’, I told him, ‘Depends on facts.

          ‘So where did you learn about my hypothesis’.

          I swallowed, and told him the truth. I read it on the back of a packet of corn flakes.

          ‘Indeed’, the Professor said, whirling round and facing me, an act which sent the end of his scarf in a wide arc, flicking pages from his desk on to the floor. ‘Come with me’, he said, ‘And I will explain in more detail.

          ‘And you will tell me everything?’

          ‘Everything that needs to be said. You will find me harmless, I am sure, and quite safe. Oh, and mind the bomb as you get up’.

The facility in which Thim works is set in an area of wooded park land and gentle slopes. We walked among the trees, the Professor and I, and he explained to me the finer points of his philosophy. ‘Everything is a footnote, that is true, said Thim, ‘If one considers existence as a cohesive narrative. At the beginning – whenever that was – there was but one story, but each nuance of that story has sprouted a footnote, and all the footnotes themselves have also sprouted footnotes. Indeed, there is a line of footnotes spreading almost to infinity, millions of them, like the roots of a massive, colossal tree. The Professor stopped, and fingered the leaf of an overhanging branch. This leaf, said he, ‘Is a footnote. It’s a footnote to a footnote, which in itself is a footnote to a footnote to a footnote, times a thousand, times a million. The fact I have touched the leaf is a footnote in itself. And this footnote – the one about me touching the leaf – would also beget footnotes describing other leaves I have touched, and perhaps even the fact that we are having this conversation. On the other hand, the leaf itself is a footnote to the story of the tree, and perhaps there will be other footnotes describing the millions of other leaves that this tree has grown. Don’t you see? This could go on forever. There are footnotes everywhere, superfluous pieces of information which we maintain merely for private interest or later study.

One could go crazy just thinking about it.

          ‘Then why do you think about it?’ I asked.

          The Professor frowned. ‘Because it’s my job, I suppose’.

          We carried on walking and a spring breeze ruffled the old man’s scarf. ‘I call it my Theorem of Constant Recursive Footnotation. And because of it, one could track any event, any thought, any aspect of our living world, back through the footnotes to the original event, the main narrative of the text in which we exist.

          ‘Which is?’ I ask.

          ‘The big bang’.

          ‘Ah!’

          ‘An event so catastrophic, and so powerful, that everything which happened after it was, quite literally, a footnote.’

          ‘I see.’

          We continue walking and a squirrel clambers up the side of a tree. It gets to the top and regards us with suspicious eyes. I consider pointing this squirrel to the Professor, but I already know where it will lead, and that he would feel compelled to give a commentary on the squirrel’s parentage, the introduction of grey squirrels to the British Isles, the evolution of the squirrel from some more slovenly, ineffective mammal. So I don’t tell him about it. We walk in a wide circle and come back to the walls of the facility.

          ‘So you see,’ he says, ‘Everything we do is connected, by various lines, back up to the main event and then down a different line to something completely different. A yak on the slopes of Everest munching at grass. A wave rolling up a sandy beach in Thailand. A Hong Kong taxi driver picking his nose. Each event has its own history of footnotes, and we are all connected as a result. Makes you think, doesn’t it?’

          I nod. I have already decided that the Professor is a nut. I cannot wait to get back to my car, and thence to the city.

          ‘The Theorem of Constant Recursive Footnotation’, he says, somewhat grandly, Takes everything into account.’

          It is clear that the Professor sees himself as a literary Einstein, that his theories, he hopes, will change the way we look at the world. We enter the facility and I ask him if he has a mathematical equation which will formulate his theory for the uninitiated, but he just laughs and says, Tell them it’s all in the footnotes’. And when I get to his office, that I might retrieve my briefcase, I ask what he intends to do next.

          ‘Alter the footnotes’, he says.

          ‘What do you mean?’

          ‘We need to get back to the main narrative. We need to start again. Don’t you see? Humanity has done too much, it needs a rest, a clear conscience, if you like. There’s too much history around us. Imagine how fresh we would be if we approached each day with an unhindered view of what we should be doing’.

          ‘And how are you going to do this?

          He picks up the bomb which, I only now notice, has been sitting in the corner of the office the whole time.

          ‘Like this’, he says, pressing the button on the top of the device

          Panic! A grin spreads out on the Professor’s face as a clock ticks down the seconds of a half-minute. 

          ‘Good bye!’, he says. 

          But I move quickly and grab the bomb from his arms, then start running down the corridor to the fire escape at the end. Incensed, the Professor runs after me, his scarf flying, though he has to stop halfway and lean against the wall. At the fire escape, with seconds to spare, I lob the bomb through the air and watch as if sails out of the facility, bouncing on the ground amid the trees just the once, to explode with a mighty detonation, ripping shards of tree and leaves and causing a shockwave which smashes several windows. I watch, aghast, as several deceased squirrels fly through the air only to land with a thud around us, before the smoke engulfs the building, and a distant, urgent fire alarm sounds throughout the facility.

          ‘Uh-oh’, Professor Zazzo Thim says, standing next to me. ‘I think I might be in some trouble’.

I leave it a couple of days before calling him. His voice, on the phone, is unrepentant, though I have heard through several channels that he has been fined for his exuberance, even if it was conducted in the name of literary exploration. I ask the Professor if he is okay and he replies enthusiastically, that his belief in the Theorem of Constant Recursive Footnotation is undamaged, indeed, heightened by the explosion, although he has received several threatening letters from animal rights extremists over the shocking numbers of squirrel fatalities. I ask him if the explosion was enough to obliterate the footnotes and bring us back to the main narrative.

          ‘No such luck’, says he.

          ‘But the explosion? Would this have been a footnote in itself?’

          ‘Quite possibly’, says he, ‘Although it depends, of course. If someone were to write a story about it, I suppose it would be a pretty major event. But in the history of – say – the evolution of squirrels, it would be more a minor detail.

          ‘Minor detail?’ I ask. ‘It was a positive massacre!’

          We both laugh at this joke.

          ‘On the other hand’, says he, There has been a startling development. Indeed, the explosion was not enough to cause a return to the main narrative, and would therefore be considered a footnote of its own. However..:

          ‘Yes?’

          ‘The explosion itself would be – I don’t quite know how to put this – a piece of punctuation, superfluous to the footnote itself, like a grammatical error in the middle of the sentence.

          ‘My word, I whisper.

          ‘More of a smudge, actually’, he continues. Right in the middle of it. And visible even from other footnotes.’ 

          A dry chuckle escapes from the Professor.

          ‘So what does this mean?’ I ask.

          ‘It means, dear boy’, the Professor says, ‘That we have changed, very slightly, the whole character of the page. It is imperfect now! And there are no explanatory notes to tell the reader why this should be..:

          He laughs again. I replace the receiver and walk to the window of my flat. The sun appears from behind a cloud. In the street, a woman walks past wearing a blue hat, tilted, at a jaunty angle.

I’m really looking forward to Edinburgh!

Last year I went to the Edinburgh fringe with my show, Static, and lots of things happened simultaneously. I lost my passport on the first day, (I was due to fly to New York just a few weeks later), didn’t know where my accommodation was, and I had a show that depended on a lot of mime and movement and moments of silence, that was put in the corner of a noisy bar. I became very philosophical while I was there, but by the end of the run I was questioning everything and I was ready to consider giving up on spoken word. The usual fringe madness, then.
Last year was a learning experience. I went in softly with Static, an autobiographical piece which I’m still proud of. Indeed I performed the show one last time earlier this year. But on the whole the experience had been a negative one, and I wrote about it in a blog. 
This year, I feel completely different. I have a brand new show, Juicy, which is a completely different beast. Rather than set out with a story and an idea, I just opened up my mind and threw everything at it. The result is a show which has the potential to be different every day, with different poems and different linking material. It’s adaptable, loud and doesn’t rely so much on props and long quiet set pieces. It’s also, I hope, very funny.
But the other thing that’s different this year is that I know more. I know exactly where my accommodation is, I know how it works, I have the travel all sorted out, and I’m pretty sure that I’m not going to lose my passport. The other difference is that my venue is more suited to the kind of show I’ve written, and I’m really looking forward to performing at Banshees Labyrinth every day. Last year, I didn’t know what my venue was like until I arrived, late, breathless, straight off the plane. This year, I know everything about the venue, and I shall be there a day before.
A lot of people helped me over he last year get the new show together, too. At the end of the fringe last year I had a breakfast meeting with one of the top fringe performers, who was good enough to impart all of his wisdom, which I have used to make this show. In particular he told me the importance of music, and this is where my long time colleague Bryce Dumont comes in. He’s helped create a soundscape for me to perform against, and made me familiar with the technology to do this. There has also been support from Melanie Branton, Jackie Juno, Margoh Channing and the mysterious fringe performer, all of whom have offered advice and their own voices for the soundscape of the show.
But the biggest difference this year is that I will know more people there. More friends than ever will be up there with their shows and I aim to see all of them, perhaps several times!
So I’m looking forward to Edinburgh this year!

My writing life.

I started my writing career in 1981. I was seven. In a style which I have later adopted in my poetry, my first novel didn’t have a title, it just had a giant R on the cover, which stood for Robert. I can’t remember much about if except that the villain was an entity known only as the Blue Moo. The Blue Moo was what I used to call my sister, because she wore a blue coat. Which is kind of cruel, seeing as though she was only five at the time.

I would write at school during playtime, whenever it was raining. It rained a lot, I remember, when I was a kid. I’d always get excited about rainy days because it meant that I could write. I still get excited shout rainy days, even now.
By 1984 I was at middle school and I used to fill notebooks with stories. I was encouraged to do this by my teacher, Mr Shaw, who would then let me read my stories out in class. The first of these was called Bully Bulldog’s Ship, and for reasons which I’m still not sure, all of the characters were dogs. And secret agents. The cover for Billy Bulldog’s Ship shows explosions and a radar screen and has he tag line, ‘Featuring car chases, underwater bases, kings and prime ministers and that sort of thing’. It was rubbish.
By 1986 I was still at middle school, but now I’d progressed to writing about humans. I wrote a whole series of short novels about a skier, called William Board, and his friend Ed Butf, and how they would get into all kinds of adventures during and after skiing tournaments. I have no idea why I picked skiing tournaments, but I did watch an awful lot of Ski Sunday back in the day.
In 1988 my grandparents gave me a typewriter, which I still use now whenever I’m Poet In Residence anywhere. By now William had left the skiing circuit and was a policeman in a small Surrey village called Englemede. I’d type up these stories and inject as much humour as possible, because this would make my English teacher, Mr Smith, laugh as he read them. This was probably a big moment in my adoption of comedy. The stories were still rubbish, but my grammar and spelling had improved.
By the time I got to sixth form I was still plugging away, and remarkably, William Board was still the focus of the stories, his ineptitude as a policeman and his promotion to detective providing much mirth. My magnum opus of this time was Impending Headache, set at a sixth form college in Surrey much like the one I attended. And in between chapters I’d write over the top comedic poetry.
By 1992 I had my first job and, amazingly, William Board was still my main focus. By now his detective work would take him to a supermarket in Surrey, round about the time that I worked at a supermarket in Surrey, in a novel called Bar Code Blues.
In 1994 I got a job in a village shop in the suburb of Englefield Green, and I wrote a new novel with a new main character, the trainee guardian angel Genre Philips. The novel was called Englefield Green Blues, and like Impending Headache, it would be influential on my writing career in that I’d re-use chapters and stories to form the novel I’ve been working on this year.
At this stage, I’d started sending novels off to publishers and agents, and one or two were very supportive but would ultimately say no.
By now I’d dabbled in comedy poetry, filling up notebooks with poems written with a pen I’d been using since sixth form. I’d stay at my grandmothers house in the hot summer, she lived on a hill overlooking the whole of London from the airport to Canary Wharf, and I’d listen to the jazz stations and just write whatever I felt like. This would form the basis of my one man show, Static, in 2016.
In 1995 my Grandfather passed away. I went to see the pathologist and watched as he signed the death certificate with a cartridge pen, and that afternoon I went out and bought one for myself. Amazingly, this is the same pen I use today for anything creative, and it has written every poem, short story, novel and play since 1995.
In 1996 I moved to Devon. By now I’d discovered Kafka, Camus, Beckett, and my writing became dense, impenetrable. I used my own system of punctuation which made even the reading of it impossible, and to further add to the misery, my novels had numbers instead of names. RD05, RD06, RD07, and so on. I’d send these off to publishers and I could never understand why they’d come right back.
I joined a band of local amateur actors and I would write short sketches and funny monologues for them, we’d rehearse and make cassettes, but never got anywhere near the stage. One of my monologues was about a rocket scientist who’d fallen in love with his rocket. Not phallic at all.
I came out in 2000. I didn’t write much at all for a while. I was busy with other things.
By now I had a job, and I’d studied a-levels, undergraduate and postgraduate at night school, so I didn’t have much time for writing. For a laugh, I got a part in a professional play, and while it meant I would never act again, (oh, it was so traumatic!), it led me to write a play called Fuselage. Amazingly, it won a playwriting competition at the Northcott Theatre. I remember getting off the train in Exeter thinking, wow, it’s my writing that has got me here. This all happened in 2008.
In 2009 I discovered performance poetry, accidentally, and kind of got in to that. Around the same time I wrote a short novel called Reception, based on an ill fated trip I took to Tokyo, but by now my main focus was performance poetry and spoken word, shows and comedy one liners. In 2010 I had my first paid gig, at an Apples and Snakes event in London, and amazingly, this was the first time I made any money from my writing since I was 8!
So that brings me up to date, more or less. I now write every day, still with the same pen, and I still use the same typewriter every now and then, though mostly for performance. And I’ve kept a diary, every day writing something about the previous day, which I’ve kept up since 1985 uninterrupted. It’s only taken 37 years to find the one thing I’m halfway decent at!

Ant – A solemn investigation 

It has been apparent for some time that a solemn investigation were needed into the effects, physical and psychological, of an ant crawling on someone’s hat. Seeing it as upon myself, (the theme, not the ant), I set out, in a somewhat grave manner, and yet bravely, into such an investigation. 
The manner this investigation took soon revealed itself to be poetical in nature, and within a couple of hours I had completed a poem based on the theme of having an ant crawl on someone’s hat. Yet this did not fully satisfy me, and a further poem was written.
At this time, I was bitten by the bug, (again, not the ant), and more poems began to arrive. The theme of an ant on a persons hat soon took over my life and all of my creative output, until such a time arrived that I could think of little else. Indeed, the poems began to resemble a Groundhog Day syndrome, the same repeated themes, the same story with different outcomes, different languages and tones, until within a month I had thirty such poems.
The good people at Mardy Shark publishing soon recognised their worth and a pamphlet was soon produced, titled, simply, Ant.
Ant stands as the zenith of my creativity, a full flow measure of poetic and literary sensibility, all inspired by the horror and the bizarre situation of having an ant crawl on ones hat.
You can download the Kindle version of Ant herehttps://www.amazon.co.uk/Ant-Robert-Garnham-ebook/dp/B071JDZJ7X/ref=sr_1_1?ie=UTF8&qid=1497201234&sr=8-1&keywords=Robert+Garnham+Ant
Or you can send off for the physical version here http://www.lulu.com/shop/robert-garnham/ant/paperback/product-23218401.html

The most significant full stop (Part Three)

It was murky today, delightfully so. The day dawned with a thick set fog which loomed down with a strange intent. And this was weird because I’ve been looking at the full stop again, the fact that it exists, zooming in and trying to focus on the exact place where the full stop ends and the world around it, the non-full stop, starts.
Which makes me wonder if there really is any boundary in life at all. Because the more I zoomed in, the foggier it got, until it began to resemble the weather itself. Indistinct, a place with no form, no substance, no being.
When I was a kid I was obsessed with insignificant moments. I remember once my sister walking down the stairs. She got as far as the landing and banged her hand on a book shelf, she said, ‘ow’. But she continued walking down the stairs and by the time she got to the bottom, she had forgotten that she had banged her hand. The banging of her hand had been such a monumental event at the time that it warranted an ‘ow’, but seconds later she had forgotten that it had ever happened.
How much else in life do we forget? I asked her if she remembered banging her hand and she said no, she wondered what I was talking about. Life is full of insignificant moments which we forget, just like those tiny dots 

The boundary between one facet and the next is often so hard to define that it cannot be successfully declared where one thing ends and another begins, even with a full stop. Rather than worry about this, perhaps it is just better to wallow in the present moment, and not care too much about such boundaries.

The most significant full stop (Part two).

Hello.

This morning I typed a full stop and by means of social media, attempted to make it the most famous full stop in the history of existence. So far the plan has not been a success. As many as sixteen people have viewed the full stop on social media.

For the next phase of this project, I have decided to focus on the full stop itself. This solitary mark of punctuation was generated electronically rather than handwritten which means that it does not exist in any tactile form. It exists purely as electronic information. Which makes me wonder if it exists at all.

So I have taken a screenshot of the full stop, magnified the picture, and each time taken another screen shot, so as to get to the very essence of the full stop and see how it exists on a massively intensified form. The results thus far have been inconclusive.

Here’s the original full stop, followed by the several magnifications.


It is interesting to note that the magnified full stop has particles, ‘ghosts’, if you will, orbiting around it, which our scientists are very interested in. Perhaps all marks of punctuation have these orbitings, and every letter too, making one wonder if there is hidden meaning in the most simple of texts which we subconsciously glean from any reading.
More news will be forthcoming, and further investigation into the full stop, will be provided, as and when.

Your continued patience is much appreciated.
Robert .

The most significant full stop.

The aim is to make this the most famous full stop in the history of mankind.

It was originally typed at 0845 on a Wednesday morning, at a Costa coffee shop in Paignton, Devon, UK.
There will never be a full stop as momentous as this one.
Why, you ask. Why should it get all of the acclaim? To which we reply, why not?

The font is irrelevant.

This full stop could have gone anywhere but it gave up on all that potential because it sees the bigger picture.

Feel free to share this full stop. It needs you help.