'How the hell did you use all these to make that?'

'It's just what I needed.'

'What? Where did the lawnmower fit in?'

30

Arguments. There are many arguments we have over arguments. 'Who started argument x', for example, is a old favourite that has not had its vigour dimmed by age nor its edge blunted through use. Another dependable companion is, 'I'm not arguing, I'm just talking — you're arguing,' along with its more stage-struck (in the sense that it relishes an audience — parties, visiting relatives, Parent's Evenings at school, in shops, etc.) sibling, 'Right, so we're going to get into this argument here are we?' An especially frequent argument argument, however, is the result of Margret NOT STICKING TO THE DAMN ARGUMENT, FOR CHRIST'S SAKE. Margret jack-knifes from argument to argument, jigs direction randomly and erratically like a shoal of Argument Fish being followed by a Truth Shark. It's fearsomely difficult to land a blow because by the time you've let fly with the logic she's not there anymore. A row about vacuuming gets shifted to the cost of a computer upgrade, from there to who got up early with the kids most this week and then to the greater interest rates of German banks via the noisome sexual keenness of some former girlfriend, those-are–hair-scissors-don't-use-them-for-paper and, 'When was the last time you bought me flowers?' all in the space of about seven exchanges. 'Arrrrrrgggh! What are we arguing about? Can you just decide what it is and stick to it?'

31

The key to a successful relationship is communication. That's the First Rule. Margret's corollary to the First Rule is the Timing clause. This states that the best time to initiate a complex and lengthy talk about, say, exactly how we should go about a loft conversion is (in reverse order of preference):

— When you see that Mil is playing a game online and is one point away from becoming Champion Of The World, Mil is racing out of the house to catch a train, Mil is in the middle of trying to put out a kitchen fire, etc.

— During the final minutes of a tense thriller Mil has been watching for the past two hours. Ideally at the precise point when someone has begun to say, 'Good Lord! Then the murderer must be…'

— Just at the moment, late at night, when Mil has finally managed to fall asleep.

— In the middle of having sex.

32

When Margret used to go shopping and she'd see, for example, a pair of jeans in a department store, do you know what she used to do? Try them on. I think you're all with me here, but just for anyone who's joined us late, I don't mean she'd go to the changing rooms and try them on. That would be a preposterous idea wouldn't it? No, she'd just get undressed there in the middle of the sales floor to try them on. It took me some considerable time to persuade her that this wasn't normal behaviour in Britain, despite what she might have seen on Benny Hill. Even then, she only stopped — amid much eye-rolling and, 'You and your silly social conventions,' head shaking — to humour me. It rubs a tiny circle from the misted-up window through which you can view the tormented, horizonless landscape that is My World to mention that I'd entirely forgotten about all this until someone sent me a email yesterday that accidentally exhumed the memory. With Margret this kind of thing just gets drowned out by the general noise. I wouldn't be surprised if, a few months from now, I'm here writing, 'Ahhh — that reminds me of Margret's role in the John Lennon shooting…'

33

Wherever I'm standing is where Margret needs to be standing, and vice versa. Doesn't matter where we are — the kitchen, the bathroom, Scotland — we each infuriatingly occupy the space where the other one wants to be, urgently. Over the years we've developed signals for this situation. Mine is to stand behind her and mutter under my breath. Margret's is to shoulder-charge me out of the way.

34

Margret flooded the kitchen last week. Turned the taps on, put the plug in the sink, and utterly forgot about it (because she'd come upstairs and we'd got involved in an unrelated argument). She goes back downstairs, opens the door and — whoosh — it's Sea World. The interesting thing about this is, if I'd flooded the kitchen, it would have been a bellowing, 'You've flooded the kitchen, you idiot!' and then she'd have done that thing where I curl up in a ball, trying to protect my head, and she kicks me repeatedly in the kidneys. As it was, however, there's a shout, I run downstairs and stand for a beat in the doorway — taking in the scene, waves lapping gently at my ankles — and she turns round and roars, 'Well, help me then — can't you see i've flooded the kitchen, you idiot?'

35

There are certain verbal shortcuts to a lot of our arguments. Sure, we could ease into things, build up momentum slowly, but that's so wasteful when you can fit in three arguments in the time the slow-burn approach would take to brew only one. So, we often favour more of a dragster-style, zero-to-argument in 1 second approach. Thus, over the years, ways of ensuring a spitting, scratching row with just one sentence have been polished to a high shine.

For example, Margret once said to me, 'Am I your favourite woman in the world?' The world? I mean, really.

Other times she'll lay mines so we can explode into an argument later with the minimum amount of run-up. She'll go out and, over her shoulder as she closes the door, call, 'You can vacuum the house if you want.' I'll settle down on the computer for a couple of hours. When she returns she'll stomp up the stairs, crash open the door and growl, 'Why didn't you vacuum the house?' I, naturally, will reply, 'You said I could if I wanted to. And, after thinking about it, I decided I didn't. Obviously, it wasn't a decision I took lightly…' and we're already there.

Another dead cert is when I can't find something — the TV Guide, a shirt, my elastic band rifle, whatever, it doesn't matter — and the exchange goes:

'Gretch? Have you seen my sunglasses?'

'Have you looked for them?'

(Oooooooo, I, it, when, argggh! My teeth are gritted just typing that.)

Margret, of course, has done the ultimate and discovered a way of ensuring an argument using no words at all. The technique is this: She'll have one of her friends round and they'll be chatting away animatedly in the living room — until I happen to walk in, at which point Margret will abruptly and conspicuously stop what she's saying, mid-sentence… Yep, one of us is going to be sleeping in the spare room tonight.