I don’t know who you are. Please believe. There is no way I can convince you that this is not one of their tricks, but I don’t care. I am me, and I don’t know who you are but I love you. I have a pencil. A little one they did not find. I am a woman. I hid it inside me. Perhaps I won’t be able to write again, so this is a long letter about my life. It is the only autobiography I will ever write and oh god I’m writing it on toilet paper.
I was born in Nottingham in 1957, and it rained a lot. I passed my eleven plus and went to girl’s grammar. I wanted to be an actress. I met my first girlfriend at school. Her name was Sara. She was fourteen and I was fifteen but we were both in Miss Watson’s class.
Her wrists. Her wrists were beautiful.
I sat in biology class, staring at the pickled rabbit foetus in its jar, listening while Mr. Hird said it was an adolescent phase that people outgrew… Sara did. I didn’t.
In 1976 I stopped pretending and took a girl called Christine home to meet my parents. A week later I moved to London, enrolling at drama college. My mother said I broke her heart, but it was my integrity that was important. Is that so selfish? It sells for so little, but it’s all we have left in this place. It is the very last inch of us…
… But within that inch we are free.
London: I was happy in London. In 1981 I played Dandini in Cinderella. My first rep work. The world was strange and rustling and busy, with invisible crowds behind the hot lights and all the breathless glamour. It was exciting and it was lonely. At nights I’d go to Gateways or one of the other clubs, but I was stand-offish and didn’t mix easily. I saw a lot of the scene, but I never felt comfortable there. So many of them just wanted to be gay. It was their life, their ambition, all they talked about… And I wanted more than that.
Work improved. I got small film roles, then bigger ones. In 1986 I starred in ‘The Salt Flats.’ It pulled in the awards but not the crowds. I met Ruth working on that. We loved each other. We lived together, and on Valentine’s Day she sent me roses, and oh god, we had so much. Those were the best three years of my life.
In 1988 there was the war…
… And after that there were no more roses. Not for anybody.
In 1992, after the take-over, they started rounding up the gays. They took Ruth while she was out looking for food. Why are they so frightened of us? They burned her with cigarette ends and made her give them my name. She signed a statement saying I seduced her. I didn’t blame her. God I loved her. I didn’t blame her… But she did. She killed herself in her cell. She couldn’t live with betraying me, with giving up that last inch.
They came for me. They told me that all my films would be burned. They shaved off my hair. They held my head down a toilet bowl and told jokes about lesbians. They brought me here and gave me drugs. I can’t feel my tongue anymore. I can’t speak. The other gay woman here, Rita, died two weeks ago. I imagine I’ll die quite soon.
It is strange that my life should end in such a terrible place, but for three years I had roses and I apologized to nobody. I shall die here. Every inch of me shall perish…
… Except one.
An inch. It’s small and it’s fragile and it’s the only thing in the world that’s worth having. We must never lose it, or sell it, or give it away. We must never let them take it from us.
I don’t know who you are, or whether you’re a man or a woman. I may never see you. I may never hug you or cry with you or get drunk with you. But I love you. I hope you escape this place. I hope that the world turns and that things get better, and that one day people have roses again. I wish I could kiss you.
I post this every year. Every year, I think perhaps I should not. I think of the need to explain to Americans that Guy Fawkes Day is not about supporting revolution. I think about how the V masks get used in American politics. I think about the binary nature of this incredibly effective and affecting piece of writing makes it irredeemable and cruel for some.
And then I post it anyway.
Because I don’t ask it to speak for or to anyone but me. But it’s become more and more personal to me over the years, wound in with my history, with my anxieties not just about politics, but with the medicalization and institutionalization of the marginalized. My celiac symptoms developed the day I saw the V for Vendetta film. I spent at least a week thinking the movie had merely traumatized me into illness because I trusted a story more than I trusted my own sense of my own body. This is what we are taught, that we are not our own.
So the cadence of this piece is, always, my posture and my grief.
That it is a backstage story is always less-remarked on than I think it should be. All lives are backstage stories, after all.
It is strange how all its dates live in the past now. They didn’t once. And it was terrifying.