‘So I’ll pay for it.’
‘What with, shirt buttons?’ Ha ha, Mum. Hilarious. ‘You’re only a year away from leaving school, Laura. You need to be thinking about the future, thinking about university. You need to save money, and so do we.’
‘Whatever,’ I reply. I try, hard as I can, to put my own definite full stop onto the word, the way that they’re both so good at doing when they want me to know there’s nothing more to say or be done.
‘Not whatever,’ she says. ‘This is serious. Important. Don’t forget to look at my computer tomorrow, please?’ and then she’s gone, the soft pad of her feet down the hallway, and the click of the light switch to let me know that her and Paul have gone to bed; that I’m expected to do the same.
Headphones out and on. Big, clunky ones that I found in a box in the loft; and I think, from what I can gather, they were Dad’s. The wire is coiled, like a spring, and they sound wonderful. Warm. That’s what people say about music. You read it in the NME, when they’re talking about how an album sounds. The recording sounds so warm.
It’s time for a new mixtape. I take a blank cassette, one of the few that’s not been used yet. I don’t want ghosting, where you can hear the sound of what was on the tape before sneaking through, like a reminder in the gaps between the songs; or worse, underneath it all, in the quiet parts. I’m going to ask Shawn for his address and send him it. He deserves a fresh one: a C90, forty-five minutes a side. The perfect length. I unwrap the plastic from it, and pull open the case. Everything is ritual. There’s nothing better than a clean inlay card. I pick my cassette brand because it has the best ones. Sony, always. Always. Maxell if you can’t get Sony, but the Sony ones, there’s enough space to write ten song names on each side, even though I only usually go to eight or nine. The songs have to fill the full hour and a half. No random cutting off, no breaks or pauses. That makes getting the track list perfect a bit of an act of clinical perfection. Sometimes, somebody from school will make me a tape, and they’ll be so amateurish. You’ll get to the end of side A – usually struggling through iffy taste, at best – and you’ll hear the start of a song you know is going to cut off because there just isn’t enough time to finish it, like I’ve got a sixth sense of song length. Then, you flip their tape over, and either they’ve repeated that song, because they think they have to, or they just give me the second half of it, which is next to useless. And there’s no art to their tapes. You have to pick the song at the end of a side carefully. Because the tape is thinner, or weaker, or something, and it distorts there, so you need to go quieter with it. Don’t pick something that will distort. You need to structure it like a proper album as well. Nobody ends on a single.
Track one: Radiohead. I think there’s a Radiohead on every tape I’ve ever made. Hard to pick the right song, though. It needs to be something rare enough that it’s not obvious, but not so weird it sounds freakish. The first song is the most important choice you’ll make. Most important apart from the last one, that is.
I listen to their songs, to the first few moments of every song. Settle on the one I’m going to use – a B-side, but it was also on the soundtrack to Romeo & Juliet, which isn’t me dropping a message, but then also it kind of is. I sync the tapes up, and I press play on one, record on the other. Let them go, let the sound flow across while I listen to it. I picture it, for a second: not as data being copied over, but as those sound waves. Copying the intent, the emotions, the performances. An act of creation.
Track two is even harder. This is where you can lose your listener; where you need to pin them to their headphones. This is where you play the single.
I go for an old song. Something with meaning. My fingers flick through the cassettes, rest on my Kate Bush tape. My dad recorded this for me, from his vinyl. It’s still got the crackle, this tiny skip at the end. I put on my favourite song from it – I still dream, the first line goes – and that’s the one. I still dream of Organon.
I named my imaginary friend after the song. I dreamed of him, and then there he was. So when I was looking for a name for my bit of software, it seemed to be the only logical choice. I told myself I’d change it, but I never did. It stuck.
The screen changes to a blank space; slightly off-white, like a very, very light grey. It’s calming, which is what I was going for. In the middle of the off-white there’s a text box, just sort of floating there. Some words fade into it: the ones I’ve programmed the software to start with every time.
> Hello Laura. What would you like to talk about?
So I do what I’ve done every night of my life for the last six months: I tell my computer what I’ve done today, what’s happened and what I’ve felt. Everything, because that’s what the point of Organon is. Somewhere to log my memories, to keep them all recorded. To get my thoughts out, and to see them there. And kind of poke them, as well.
Then, when I’ve told it about school and Shawn’s emails and the BT bill and my parents shutting me off from the Internet, Organon asks me questions.
> How does getting an email from Shawn make you feel?
> Don’t you think your mother is only trying to help?
> Why do you hurt yourself?
I remember going to have casual-sit-down-cup-of-tea-and-a-chats – that’s what Mum called them, because she didn’t want to admit that we were in therapy – with this woman, in the months after my dad went missing. She lived near the park, only a few streets away from home, and every time I saw her she made me a mug of hot chocolate, even when it was sweltering outside, and we went and sat in her conservatory and talked about how I was feeling. Back then, I thought she was just a nice lady who was taking an interest. I didn’t understand what she was actually doing. How much it made a difference, or how much it felt like it did. And that’s what Organon is. That’s what it does. It doesn’t judge you. It just asks questions, and you give it answers. It won’t tell you if you’re right or wrong. I remember the woman – I can’t remember her name, but I can smell the chocolate, taste the nutty biscuits that felt like they were almost so full of health-food stuff they might be good for me – saying, How does that make you feel? But not telling me how it should. There wasn’t a wrong answer. That’s Organon, kind of. Almost. But then, sometimes, it tries to help you see what you’re talking about. If you’ve got a lot to say, it’ll dig deeper. If you use a lot of key phrases, it’ll work out what’s important, and keep nudging in that direction. That’s what I want it to be able to do, in the end. Somebody – something – you can just spill to, get everything out, and hopefully get something back. Maybe it’ll help you work out who you are. If it can understand you, it can do that, I suppose.
I hope.
Thing is, the therapist would forget. You’d tell her something, and sometimes you’d have to tell her again. And it was obvious that it wasn’t her helping me; it was me helping myself, after a while. I was seven years old, and even I could tell that. That’s where Organon improves on things, or can. The real beauty of a computer – where they’re better than us, even – is that it’ll remember something for ever, if you want it to.
Tuesdays are almost the worst, because they never contain any surprises. Monday, you’ve had the weekend for things to change. Tuesdays, all you’ve got is the drabness of a Monday night separating you from the stasis of the day before. Wake up to the stupid DJ on the radio, playing songs I like and talking over them, or songs that I don’t like and I can’t understand why he’s playing them. On Tuesdays, both Mum and Paul start work slightly too early to drive me to school, so I walk in. I stop on the way to get a croissant from the stand in the shopping centre. Or, sometimes, if I’m late, I get a Double Decker from the Londis. Double maths to start, then after break it’s double art, then lunch, and then our whole year’s afternoon is given