Jun 082017
 

A tiger has lost his pride and seeks direction from a snake crushing apples in a tree. I’m not usually one for animal parables. But in this moral tale, the fifth in Emmons’ collection—A Moral Tale and Other Moral Tales—the elegant prose, precise plotting, and ingenious dialogue transform a relatively straightforward—and often comic—exchange between two species into a remarkable meditation on futility and free will. —Michael Carson

 

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The tiger stopped at a break in the rain and realized he was no longer on the path he’d been following. He scratched the side of his belly against a coleus bush, shook free of the water coating his back and legs, and studied the ferns and mosses growing all around him, a blurred patchwork of greens. He listened for the rasp of Cousin, which like a gnat’s buzzing at his tail had annoyed him all through the hunt, and for the whelps of Sister’s underweaned cubs, and for the irregular footsteps of 2nd Cousin, but heard nothing.

“I’m six furlongs west of the den,” he thought, catching the scent of the dead opossum. “At most nine.”

He was tempted to scoop up with his tongue an ant dragging a webbed mass of tsetse flies, but refrained. What could be seen of the sun seemed to shift and ripple in the sky like its reflection in disturbed water. Was he west of the den, or north? Perhaps he was northwest. Cousin, despite his uselessness in a kill, had a perfect sense of direction, and the tiger felt his absence. Not long ago, for example, Cousin had found the way home after a two-day journey through alien trees that had marooned them in an unfamiliar glade, where they were so famished that Aunt had proposed eating 2nd Cousin.

“Sister!” he called out. “Niece!”

The chittering whir of life in the forest slowed and then sped up again.

“Can I help you?” came a voice from above.

The tiger looked up and saw a snake wound around the gnarled branch of a tree that curved at its base into thick tumorous roots burrowing underground. “Yes, you can go up to a good vantage point and look east for a pride of six tigers. One has a limp, another is missing both ears, and a third has no tail.”

The snake’s mouth opened slightly.

“They can’t be more than a furlong away. Maybe two.”

After making a complete revolution around its branch, the snake glided toward the trunk and then up to another branch. “What happened to your left eye?”

“It was removed by a great rhinoceros. You’re not high enough there to see any real distance.” The tiger sat on his haunches and felt the sharp pain in his groin that had troubled him since the last famine. He covered the furless patch on his stomach with his right foreleg, and the long, sparsely plotted whiskers on his face hung like wilted plume grass. “The rain must have disoriented them. They’ll be desperate to find me. 2nd Cousin already suffers from nerves. Go to the topmost branch and scan the area and you are sure to spot them.”

The snake projected a third of its body into midair and peered up at the tumescent sky. “There is an eagle circling.”

“You are too large to be carried off by such a small bird.”

“Just as you are too powerful to be maimed by a rhinoceros?”

The tiger considered leaping up to seize the snake in his mouth but suspected, with his injury, that he couldn’t.

The snake remained motionless.

“If you don’t help me,” said the tiger, “I will find them on my own and then return to kill you.”

With its tail the snake plucked an apple from a leafy nest and squeezed until it liquefied and streamed to the ground. “Before you arrived, I saw six tigers to the southeast, standing in an attitude of respect around a young tiger half again your size. When he trotted away they followed him in single file, and there were a tail-less male and limping female among them.”

The tiger protracted his claws deep into the earth and objects around him grew less distinct. His heart beat erratically. “You saw a different pride that coincidentally and superficially resembled mine.”

“Yes, certainly.”

“There is no possibility of one being the other.”

“I didn’t mean to suggest there was.”

After a minute in which he shivered as if still wet—a ringing in his inner ear, a cold hard trill, made him wish for the sun’s full return—the tiger squinted at the snake and said, “You are lying about what you saw. It is your nature to trick noble animals, as you did man.”

The snake dropped what remained of the apple to the ground, where it landed on a pile of rotting cores around which flies were buzzing ecstatically, and slid down to hang suspended with its tail coiled around a short spiky branch. From close up the tiger could see its skin reticulated into a network of fitted, glistening scales that were honeycombed with tiny red diamonds. A change occurred in the opossum scent; a new bloody aroma mingled with the old decay, as though its body had just been torn open; he could almost hear skin being ripped away and flesh stripped from bone.

“I will not tell—”

“How old are you?” asked the snake.

“I will not tell you again: either go up and look for my companions or prepare to die.”

“You shouldn’t blame them for following another tiger now that you can no longer procure food or protect them.”

The tiger rose from his seated position and paced back and forth unsteadily, trying to determine how high he could jump without further straining his groin muscle. If the snake descended another two branches and then lowered its head and relaxed, he’d have a chance. “I can procure enough food for twenty tigers; at this very moment I am hunting prey. As for guarding them against danger, in the last six months I have fought off two jackals, a wombat, a marbled cat, an olingo and a sambar deer. The few among my pride who have been injured during that period understand why I was unable to prevent it, such as, during our encounter with the rhinoceros, my own loss of an eye. They are loyal in a way that you, a solitary creature hated the world over, cannot understand.”

The snake seemed to consider this and then said, “I wonder how a sambar deer, or a marbled cat or an olingo, could threaten a tiger. An olingo! The smallest cub could swallow one whole without thinking. Though the real question here is why your pride has waited so long to abandon you.”

The tiger sprang up at the tree from a meter away, felt a sharp bolt of pain, and fell to the ground.

The snake said, “Despite your obvious helplessness, if your former pride comes this way its new leader will have to kill you. The old must ever make way for the young.”

The tiger turned away and tensed his muscles and clenched his jaw and didn’t make a sound. From between his legs agony radiated out in regular, insistent waves. It would soon subside. He watched a chameleon blend into a fern stem as hardy as a shoot of running bamboo; the wind moaned and the sky darkened two shades with the sun’s full retreat behind layered clouds. He felt a drop of rain, heavier and more deliberate than any in the shower that had fallen earlier. The opossum scent was faint. He said, “I look forward to meeting this other tiger. Before ending your life, I will beat him in front of you so that you can see your error.”

The snake plucked off another apple and reduced it, as he had the one before, to pulp. “Let us stop this absurd talk of you harming me, because the only animal you can hurt now is yourself. It would be best for you to accept this and everything to follow.”

The tiger said, “Do you want to know why you are everywhere despised?”

The snake said nothing.

“It isn’t just your willful insincerity, the way you manipulate the truth and consider honesty to be a sign of mental frailty, as though animals who treat each other fairly are too stupid to do otherwise, but rather that, unable to build anything yourself, you concentrate on destruction. I almost pity you.”

“Then we might start a mutual pity society.”

“Friendless, heartless, and deluded into thinking cleverness worthier than love and affection, you could vanish and no one would miss you.”

The snake’s head rested on its coiled body, ten feet off the ground. “And how are you any better off, since your life has come to the same solitary end?”

“I am not solitary or at an end.”

The snake looked meaningfully at the empty space around the tiger. “It’s especially unfortunate because your solitude is not the result, as mine is, of your possessing taste and refinement in a place that values neither, but because when young you used brute force to dominate all the creatures of the earth. Those you didn’t eat you frightened, displaced or ignored. How love and affection, which you claim to value, have operated on or through you beyond the limited confines of your immediate family, is a mystery.”

“Having limited sympathy is not the same as having none at all. Everyone privileges his own and his relatives’ survival above that of others.”

The snake’s forked tongue moved up and down in its open jaw at an invisible speed. “Whether or not that’s true, you’re exceptional insofar as power and compassion are directly correlated; the more one has of the former, the better able one is to bestow the latter. You, being all-powerful, have the potential to be all-merciful. You have chosen not to be, however, which is both convenient and beneficial to you, and which eliminates the moral advantage you might otherwise have had over me. In fact, it is safe to say that your obligation to help instead of hurt weaker animals equals or even exceeds your capacity to do so, making it the greatest mandate in the forest now that man is gone, something only a monster could ignore. And yet you think that having been born a tiger you can pursue your pleasure regardless of its cost to others.”

The tiger caught no more scent of the opossum. He did not need to keep listening to the sophistry of a snake when somewhere in the vicinity Cousin and Aunt and Sister and Great-Niece and Niece and 2nd Cousin were either huddled together, too hungry to move or cry out, praying to the hidden sun for his return, or under the influence of a young pretender stealing what belonged to him.

As he considered where to look for them, a rustling sound to the east preceded the appearance of fifteen zebras galloping across the clearing in a westward direction, followed immediately by a herd of long-necked giraffes. The rain was falling steadier now and vast puddles formed on the ground. Then from opposite corners of the clearing two new sets of animals emerged—from the southeast peacocks, and from the northeast rabbits—to unite on the path trampled first by the zebras and then by the giraffes.

“Where are they going?” shouted the tiger to the snake, who had ascended to the topmost branch and was staring into the distance.

The snake didn’t answer for several minutes, during which bunches of toads, rhinoceroses, goats, horses, gorillas, short-haired cats, mice, beetles and marmots filed past, until finally, with an unreadable expression, it returned to its perch on the fourth lowest branch and said, “They are headed west.”

“But why?”

Rain poured down so heavily now that the tiger felt a uniform pressure on his back. A flock of geese flew above while an assortment of chimpanzees and foxes and deer raced by. The puddles converged into an unbroken pool. Next came wolves and bears and badgers and lambs, and it was a marvel to see the peaceful—the non-murderous—lockstep of predators with their prey.

The tiger said to the snake, who still had not answered, “Is there higher ground to the west, or perhaps a fire to the east?”

“No.”

“Then what did you see?”

“Earlier you said that I delight in destruction and trick noble animals such as man. I’ll tell you what I saw, but first you must hear something.”

The rain fell insistently and the tiger was too weary to protest.

“When Eve came here she was a child. Not biologically, but in temper and intellectual development she was little better than the clay from which she and Adam were formed. I lived on the ground then, and ate a sparse diet of mice and other small fry, with little interest in this tree. Eve used to stand where you are now and ask herself whether she should or shouldn’t eat its fruit. Her life was tiresome, she’d say, without variation or intrigue or intensity of feeling—everything she did produced the same dull note—and eating the fruit would change that. Unless it wouldn’t. What if, she’d say, an unpredictable life of alternating pain and joy and mystery was as unsatisfying as the one of regular contentment and predictability she currently led? What if the afterwards were different from the before in kind but not in substance? And while the prospect of death might invest life with greater meaning than it currently possessed, on the theory that something’s value rises in proportion to its scarcity, it might do the opposite and fill her with a sense of life’s futility.”

The water level had reached the halfway point on the tiger’s legs, and he decided to start walking west with the blind hope of finding his companions, who might intercede on his behalf with their new leader. There was no reason to stay here.

The snake said, “One day, after months of ignoring me, she asked what I thought she should do. Stay and suffer in a familiar manner, with an inevitable increase in boredom as time passed meaninglessly, or eat the fruit and be banished to a place and mode of being that might as easily be worse as be better, and that would come to an end? She couldn’t ask Adam because he wanted nothing more than to love and admire creation; he wouldn’t condone her eating the fruit of this tree because he was not dissatisfied. I told her that if that were the case she could do no wrong that would not also be right.”

The tiger’s stomach now grazed the water’s surface, along which a thousand raindrops ignited in tiny explosions that added to and overlapped and canceled one another out. A memory came to him of standing on an open plain during a heat wave when he was young, under a bleached white sky dirtied in the distance by specks of vultures circling over the elk he had just slain, at which time, stupefied but not yet made frantic by thirst, and for a moment on the other side of a small hill from the others, a single droplet of water had fallen on his nose. There had been no clouds or birds above him, and no rivers within sight to produce this moisture. He’d licked it away and in the fraction of relief it afforded him he’d felt his yearning for more spike to an unbearable degree, and he’d had a vision then of endless water, of a flood like the one now arising, and he’d understood that the leadership responsible for taking the pride so far from a fresh drinking supply, and which just moments before had failed to help him bring down the elk, needed to be replaced.

“Do you know what she did then?” asked the snake.

The tiger could clearly see his father’s body perched that evening at the mouth of the cave where the pride was sleeping, his muscles thin and shrunken, his ears perfectly still, lost in a memory of the world as someplace new, when the cycle of rise and fall was not yet known.

“She walked away and never returned.”

A strong current ran through the water. The tiger’s feet were firmly on the ground, though he couldn’t say for how much longer they could stay there. The rain stripped leaves and pine needles from the trees around him and left bare branches stabbing the blackened sky. A bolt of lightning lit up the clearing in a white flash as the tiger bent down to lap up a mouthful of water, which tasted of loamy soil and bones and aloe and bark and insects and iron and sap and stone and the dust of an ended drought, diluted by tears and thickened by blood. As he drank more the tiger became thirstier, with every drop coming from nowhere and the last of its kind.

“To the west,” said the snake, now on a lower branch, “not far from here, no more than two furlongs away, is a giant ship. A gangway connects the ground and its deck, and is being used to convey up pairs of animals. Even in your condition you could reach it in time.”

The tiger kept his eyes down and drank away his recent hunger and the whelps of Sister’s cubs and the illusion that there would never be a young tiger half again his size. He swallowed his father’s murder and the years he’d led his pride through a shrinking forest and the moment he’d known that his confidence was built on a decaying foundation. He consumed the love and hatred that had once given him vitality, and the times when his survival had been in question, and when it had been a foregone conclusion, and when it had been a matter of neither indifference nor consequence.

The snake came down to the lowest branch and extended its head to within a foot of the tiger’s and said, “We could go to the boat together. I could ride on your back and navigate.”

The tiger didn’t look up or stop drinking. There was so much more to take in. He’d only just begun.

—Josh Emmons

N5

Josh Emmons is the author of two novels — The Loss of Leon Meed (Scribner, 2005) and Prescription for Superior Existence (Scribner, 2008)and the short story collection A Moral Tale and Other Moral Tales (Dzanc, 2017). Read a review of A Moral Tale and Other Moral Tales here by Numéro Cinq‘s Michael Carson

N5

May 162017
 

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The following is a story of desire and memory. It comes to us from Franci Novak, a poet and story writer from Slovenia. Novak’s debut story collection, Podnebne spremembe (Climatic Changes), was originally published in Slovene by LUD Literatura. This English translation is by Olivia Hellewell. Hellewell has previously translated short stories and poems, and her first book-length translation, None Like Her by Jela Krečič, was published by Istros Books and Peter Owen Publishers in 2016.

— Benjamin Woodard

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The first thing I remember is the first bonfire and that drunk guy who came staggering out of the woods with a big log on his head, grinned, and then threw the piece of wood into the flames. It flickered fiercely, it was as if a storm was brewing over the fire, it was beautiful and magical. It was then that I summoned up the courage to go up to him, he was sat on the other side of the bonfire, on a bench, with friends, I asked him if he wanted to come and dance with me, his friends smirked and cracked jokes, the way boys usually do. I watched him all evening, I knew that it was him, that he was the right one that I had to have for myself. He was meant for me. I felt awkward, I was trembling inside myself, not that I let it show from the outside, but I knew that I had to do it. I led him away from the bonfire, away from his friends, and then the two of us danced; it wasn’t easy at first, then he yielded to me entirely, even starting to lead me over the pebbles which ground beneath our feet. We went back towards the bonfire where we talked and made jokes and stared into the flames, some girl was dancing around right in front of us, she was swaying back and forth as if making love to someone.

Whenever someone threw something onto the fire, thin red veins pulsed into the dark air, a fountain of sparks erupted again. The two of us were drinking a sweet spirit from a glass and our breath smelt strongly and intensely, but neither of us was bothered as we kissed; we had our eyes closed, as did the girl who was swaying with a glass in her hands and laughing and bending her knees.

A few of us stayed right up until morning, I remember the large warm rocks around the smouldering bonfire and the tiny lizards that darted over them.

But then I also remember those things before, even further back; it’s crazy how I return to the past so easily, how like lightning I dart back and forth, like lizards over warm rocks: I remember how I had longed for a boyfriend months before. I’d had guys, just like all girls my age, but I no longer wanted to search for anyone else, I wanted a boyfriend to just—materialise. So I took a piece of paper and described him: tall, dark-haired, slender, friendly and so on, I filled the entire piece of paper with beautiful handwriting—the best I could manage—and more, I imagined him in every detail. I pictured him vividly, how he moved, how he smiled and spoke, I really did imagine everything about him, then I jotted that image down, with all the details, on the piece of paper, even though I couldn’t jot all of it. But the image was complete, the pen and paper didn’t know how, but it would know how to see the image, how to create it out of the components I’d noted down, I thought to myself at the time. I pinned the paper to the wall, there above the table, and just beneath it made a mini altar. I wasn’t religious, not in the way others wanted me to be, but in my own way; I’d got a figurine of Mary and baby Jesus from somewhere, but any god would have been fine, it could have also been Buddha or some other god, as long as my image found a way, a passage. I stood the figurine in a corner of the table and surrounded it with flowers, and then I placed a whole armful of tea lights around and lit them, making my room quiver and prance in the flames. Then I put my hands together and prayed for my wish to come true.

If you truly wish for something, your wish comes true, for your wish affixes itself to strings of energy, that’s what’s written in books, that’s what I’ve read, a wish is like a plectrum which glides along the strings of a guitar and compels them to release a certain sound: the sound of your wish coming true. And what is written in those books is true, that is just how it happened, there I am once again, sat with my boyfriend, the drunk guy carrying a big log on his head, the dancing girl bending her knees, a fierce flickering, as if a storm is brewing above the fire, beautiful and magical. The two of us are sitting and dancing, sitting and dancing, his breath smells of strong, sweet spirits, my breath smells too, I look at him and quiver, he is here, my wish come true, we drink and we kiss and we chat long into the night, right up until morning.

And then there’s one other day I remember too, the one when the two of us went for a walk together: it was around a month after our first bonfire, it was an unusual day, the wind was blowing, storks were hovering high above in the sky and the white track that we were walking along was sunken in tall, wavy grass, like a long white tongue with small birds hopping along it. Our hair was tangled, I felt the wind on my body like a third body, we held each other’s hand and walked. A thick smoke swirled in the air, we heard the crackling of branches and leaves and noticed how smoke was coming from a bush beside the path and thought that the bush must have burnt down spontaneously like in those biblical tales; then we caught sight of people who were stood behind and setting fire to the abundant undergrowth. We laughed at their stupidity. I stroked the long, slender grass. We passed a woodpile, I placed my palms on the planks, on their skins which were warm from the afternoon sun.

“Why don’t we light a fire too,” I said. I took out a lighter and tried to light one of the planks with it. He pulled an amusingly serious face and looked around worriedly. I wanted us to play, but he was too serious for games, it seemed like he didn’t understand. I burnt my fingers from holding on to the lighter for a long time.

“I’d need petrol to light that,” I said to him with an entirely serious look on my face. “Shall we go and look for a can?”

He looked at me in astonishment, almost frightened.

“Just kidding,” I smiled, then we lit a joint behind the woodpile, it was getting dark, the clouds were piling up in the pure red sky, the wind blew and the tall grass rustled. For a moment it seemed as if he wasn’t beside me at all, so I had to take hold of his hand in order to feel him.

Then for a few months we lived together, the two of us went to lectures and worked, we never went out anywhere, only for walks nearby, or to the cinema or nearby town. He had his own flat, we cooked together and talked together and loved each other. It was nice.

But one day the fires came back, what had to happen, happened.

Tea lights were burning on the tables of the bar, in the half-light the DJ was dropping some crazy good house, we drank sweet, intoxicating drinks and danced, me and my friends, he and his friends. Before we set off to the party he said that he didn’t want to go, that he’d rather just be with me, that he was fed up of these so-called friends and useless parties and that he was already past all this. But I said that we had to go out, because people had to get together and re-establish contacts and build networks, like ants, colliding with each other all the time with those flickering, quivering feelers. So we just went, it was great, we all danced. When it came to the time that we’d all been waiting for, we ran out with glasses in hand and watched the fireworks. Shadowy figures ran across the car park in front of the bar and placed trembling rockets on the floor until blinding flames spurted out of them; the rockets shot into the sky, sparks hissed through the cold winter air and explosions rattled the window panes; the floor was illustrated with glorious patterns of light and a translucent smoke was carried away across the car park; it was like the start of some insane, new war. Light and shadows, the whistle of rockets and the smell of gunpowder settled into our bodies whilst fires bloomed in the sky.

Some guy wearing tattered gloves and a hat that was too big for him was stood in the car park, looking gloomy with a starting pistol in his hand, whilst the reflection of the fires slid along the metal of the cars like flowing magma; I felt sorry for him, but I knew that not everyone could be a wish come true and that’s the way it had to be. I looked into his eyes as I walked past, all the others looked away.

Then we returned and everyone sat around the table together, we ate, drank and talked, it was happy and noisy. Sometimes I looked at him, at my boyfriend, I saw that he couldn’t wait for the two of us to leave, but I didn’t want to go yet. The waitress came over to us and lit some sort of strong spirits with a lighter, we were drinking cold blue fire, we were drinking fire, the drink extended warmly in my body, I stood up to go and dance. I was wearing insanely good shoes, really tight light-brown boots, then I went to the bar and drank more blue fire; when I went back to the group and sat on a stool, I wanted to dance with him but he didn’t want to, as if his body was numb, he just sat and watched as if he were half-dead.

That guy with the tattered gloves and the hat that was too big came inside, he just came inside with his starting pistol in his hand; a throng of people gathered, everyone looked at him askew, because he was not anybody’s wish come true. The guy fell to the floor, the gloves came off his hands and the hat skidded across the floor. When he got back on his feet, I slipped a glove back on his hand and popped the hat back on his head, as if I were putting a new man together, while the others were laughing; then I stroked his face, his sad, angry eyes shining like tiny fires.

I went back to sit next to my boyfriend, people were still laughing at the guy, who’d left the bar with the starting pistol in his hand. Then it happened, I don’t remember too well, it was like a dream: I was gently embraced by a veil of smoke, it wrapped itself around my legs like a playful cat and crept up and tickled my skin and my shins from the inside. I felt a warmth in my boots, on my heels, burning me, it seemed as if I were burning from all the fire that I had drank; something in me was kindling, the fire was glowing, I jumped on the table and danced with burning boots, like in some film, but I only remember fragments, only still images come to mind: someone brought some water and poured it on my feet, someone else took one of my boots off, we were all laughing a lot, I remember fingers stroking my bare foot and the smell of burning, thick and intoxicating like the trains that once used to pass through my village. I cried out: “Find me the one who threw his fag end at my boots, find him, kill him”, but my voice was like the voice of another, separate and outside of my body. A glass smashed on the floor, from it slowly grew a damp star, blue flames shot out from the glass.

I took off my second boot and walked around barefoot for a while. I went back to him, my wish come true. He’d been sat at the table the whole time and he didn’t budge, he was just watching; I sat on his knee and asked him if something was wrong, he stroked me and said that nothing was wrong. He asked me if it stung at all and if everything was ok, without looking me in the eye. Then I asked him if he was ashamed, and he said he wasn’t ashamed, but I knew and I got angry, I sat on his friend’s knee and said to him that if he was ashamed of me I’d go with someone else who wasn’t ashamed of me. I then drank a whole load of other drinks and sat on his friend’s knee and danced barefoot on the tables.

He came up to me, drew me in towards him and said that I wasn’t capable of love. I stared at his talking mouth, his face turned into fire, went up like a piece of paper thrown into the flames; I didn’t tell him how big, how enormous the love inside me was, how in a moment of complete clarity, complete focus I cautiously look around, how I slowly, tenderly, lovingly let go of the burnt-out cigarette onto my boot, how I feel a slight sting, a slight ignition, a warmth down there, how I then dance, I light and extinguish my own fires, how I am my own fire myself.

When I stepped outside, everything was insanely open, winter was vast and free and thousands of fires trembled above, and a shot fired from a starting pistol burst into a single white flame in the sky.

— Franci Novak, translated from the Slovene by Olivia Hellewell

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Franci Novak is a poet, who after leaving secondary education took classes in theory and practice at Ljubljana’s School of Art. His first poetry collection, Otroštvo neba (Sky’s Childhood), was published by Mladinska knjiga in 2011. In 2010, Novak was awarded the title of Knight of Poetry for Pivec Publishing House’s Poetry Tournament, marking the best unpublished Slovene poem of the year. His first collection of short stories, Podnebne spremembe (Climatic Changes) was published by LUD Literatura in 2014.

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Olivia Hellewell is a literary translator from Slovene and is currently writing her PhD thesis on ‘Translation and Cultural Capital in a Small Nation: The Case of Slovenia’ at the University of Nottingham, UK. In 2013 she was awarded the Rado L. Lenček prize by the Society for Slovene Studies for her essay on translating the poetry of Dane Zajc. Olivia has previously translated short stories and poems, and her first book-length translation, None Like Her by Jela Krečič, was published by Istros Books and Peter Owen Publishers in 2016.

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Jan 122017
 

david-huddle

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I come looking for a job,
But I get no offers
Just a come-on from the whores
On Seventh Avenue
I do declare
There were times when I was so lonesome
I took some comfort there.
–Paul Simon, “The Boxer”

1.

God help me people used to say. Maybe they still say it but I haven’t heard it in years. And now I who have no business saying it find it hovering in my mind all day every day.

Even as a girl I never thought of the deity as having a sex or being particularly human. I never doubted that something out there was responsible, but I was sure it wasn’t anything you could ask for help. In my seventies now, I see god as a kind of science cartoon. A mass of pastel gases in different hues, a seething cauldron of divine belligerence and whimsy, with equal measures of pure meanness and blinding kindness. No gender, nothing like a human language, doesn’t eat, doesn’t sleep, pays more attention to beetles, Koala bears, hummingbirds, and rocks than to the affairs of homo sapiens. Watches all of it like we watch TV. Turns it off and turns it on. Switches channels.

Moody, though–I could get behind a god who throws temper tantrums or falls into decades of a deep sadness that won’t go away. I have stupid, stupid thoughts, a head full of them! I sometimes wonder if intelligence of any sort has ever paid a visit to my brain.

I who have always questioned the intellect of others now find myself doubting everything I think. Maybe the god I am so reluctant to ask for help configured us all to be idiots. Seven point eight billion stooges.

Only a dozen or so people in my lifetime have found my conversation desirable. Of those I’ve been able to tolerate maybe five or six–and one of those was a dead man I chose to continue talking to for nearly a year after I read his obituary.

2.

When I was in my early twenties I lived with a man in New York. I left him not because there was anything wrong with him but because being with him magnified the awful things I saw in myself. He was probably the only person on the planet who could have put up with me year after year–and I think I knew that, but I also knew I couldn’t stand who I was in my own eyes when I was around him.

After I moved out, I got pretty crazy and went into what I’ve thought of as my “Sound of Silence” phase. I listened to that song a lot, but it was “The Boxer” that I fixated on. The verse of it about the whores on Seventh Avenue just kept ripping my heart out. For several months I was at its mercy. I needed to feel the pain of it again and again.

I began to think about going down to that corner of Seventh and Broadway where I knew the prostitutes still snagged their customers. At first it was just one of my ridiculous ideas, especially because I was a woman. But given what I’d just been through I definitely wasn’t about to look to a man for help. And the worse I felt the more seriously I took the notion of seeing what a woman could do for me–a stranger and somebody who knew about hard times. I had a little money, I’d seen where they did their business, and it would be easy enough to get there. What was to stop me?

I thought I might ask one of them—one whose looks I liked—just to go someplace and lie on a bed with me, maybe snuggle up and talk about our childhoods or what we liked to eat. I was pretty sure I didn’t want to have sex with a woman, but I felt so alone it was like I had a terminal illness.

One Saturday afternoon I took the Seventh Avenue bus down to 42nd Street and the minute I stepped down onto the curb, I saw the prostitutes. Their outfits weren’t subtle, and I didn’t hesitate–I walked by the line of them and did it slowly. Even though I looked into the faces of a couple of them–women about my age whose looks appealed to me–they paid no attention to me. So I wandered around mid-town a little while and ended up going to the bar in the Wellington Hotel.

The sight of those prostitutes from close up–and there must have been fifteen or twenty of them, black, white, and brown–had riled me up in this peculiar way. My excitement was too general to be desire but it felt like desire’s first cousin. I wondered if it would be so bad just to ask one of the prostitutes for sex and pay her for it and see what it was like. Even if the sex was horrible, I knew it would at least temporarily stop the lonesomeness that was making me crazy.

In the bar at the Wellington, I took a booth, nobody on either side of me, and when the barkeep walked over I ordered a Whiskey Sour. Good choice of a place to sit, bad choice of a drink. But that was okay, because it meant I’d drink it slowly. The place was dimly lit and quiet; there were only a few customers. I figured it was around three in the afternoon, a warm sunny day outside, as I remember it, though that bar was completely set off from the street–it was like its own little world. The only thing it lacked was a jukebox that would play Simon & Garfunkel for me. If I’d been able to hear my songs, I knew I could unleash one hell of a good cry right there in that booth. But even without music, the place was just fine the way it was. It answered my need of the moment.

I became so absorbed in my thoughts that I paid almost no attention to what went on in the bar. The sadness I was going through had a way of narrowing the world around me and insisting that I pay attention to it and it alone. People came, people went, while I stared at my hands, reviewing the faces and the outfits of the women on Seventh and Broadway. I kept remembering how purposeful they’d been in ignoring the signals I’d tried give them. No come-on for you, my dear, was what their manner had conveyed.

I was savoring my misery, which I was sure was the worst I’d ever experienced. I wasn’t hurting quite bad enough to try to get in touch with the man I’d been living with, but that thought did cross my mind. I knew he’d come if I called, but I definitely didn’t want to pick up our old life again. I didn’t feel like apologizing for leaving him, and I didn’t want to see disappointment in his face–ever again.

“May I join you?” said a man standing beside the booth. He seemed to appear from nowhere, and he startled me, even though he’d kept his voice soft and stood a polite distance away. I looked up at him, the words No, thank you, making their way down from my brain and up out of my chest. He’s old, was what my eyes told me, and I suspect that fact alone stopped me from saying anything at all to him, at least for a moment. Instead, I let my eyes pass down over his clothes and back up to his face in what he must have considered a brazen way.

He wore a gray suit, a navy blue tie, a white shirt, and shiny black wingtips. He was clean-shaven and his silvery hair had been recently cut. So this was a businessman who had an understated polish in his face and the way he dressed. Not quite handsome, probably in his early sixties, he looked like a man who was accustomed being treated with respect.

My trance of misery and mild general arousal still had its hold on me, and I knew it would be ever so easy to send this man on his way. Thank you, sir, but right now I need to tend to my loneliness. I was on the verge of saying something like that when I suddenly saw myself through his eyes.

I’d been silly enough to wear a dress that was more maroon that it was red but that was sleeveless, that fit me nicely at the neck and shoulders, and that modestly presented the little bit of bosom I had to offer. I’d picked my outfit with the aim of making an impression on the Seventh Avenue ladies, but clearly it had not impressed a single one of them enough to meet my eyes as I’d walked past them.

The man I’d lived with once observed that I had a Sunday school sexiness about me, a remark that pleased me. It was the closest anyone ever came to saying that I was sexy or pretty or good-looking or cute or any of those terms. Beautiful and terrific had always been out of the question, but I’d often wished for a word or words that went further than the nice-looking my parents awarded me all through my teenage years and that a boy named Felton Wadhams was rumored to have said of me in high school.

At an early age I’d reconciled myself to the fact that my physical appearance did little to recommend me. So I wasn’t surprised that the prostitutes had paid me no mind. But evidently the way I’d tricked myself out for them worked for at least one person in the city, and here he was politely asking for permission to join me. I almost snickered at the term, which I was sure he hadn’t intended in a lascivious way.

It was a what-the-hell moment, of which I’d had probably fewer than half a dozen in my life, and most of those I’ve refused. Something kept me from speaking, but the private joke I’d made of his word-choice helped me put a tight grin on my face, and I lifted my hand in a little welcoming gesture toward the seat opposite me.

The man scooted into the booth–with some grace–folded his hands in his lap, and straightened himself a bit, all the while not looking at me. After a moment of settling himself, he raised his eyes to mine, so that I had an instant of thinking he’d noticed how carefully I’d scrutinized him.

“Joe Arnold,” he said. He had the good judgment not to extend his hand toward me. And not to smile.

“I’m Hazel,” I told him. My smile was long gone by now. In fact I felt a jolt of wishing I hadn’t let him join me. I wanted my loneliness back–I knew it would give me no trouble. I leaned back and gave him the least friendly face I could come up with.

Joe Arnold nodded, as if to acknowledge my bad attitude toward him. Then he looked over at the bar and around the room. I thought maybe he was checking to be sure that I was the best company he could find at the moment.

When the barkeep appeared, Joe Arnold asked for a Coca Cola for himself and a fresh drink for me. I told the barkeep that the whiskey sour wasn’t working for me, and I asked him to recommend something. When he said he made a really good Rusty Nail, I told him that sounded like just the drink I needed.

After the barkeep was out of hearing distance, Joe Arnold told me he knew better than to start drinking this early in the afternoon. I told him that I wasn’t much of a drinker at any time of the day.

Then we sat and regarded each other while we waited for our drinks to arrive. I thought that when we did speak we might both say in unison, “So what are you doing here?”

That wasn’t how it went. The barkeep set down our drinks and went away. We let our glasses sit untouched. And I liked it that Joe Arnold didn’t seem to know what to do or say in the silence. I was fine with neither of us saying anything. Maybe this would be all there was to it, an afternoon of sitting in this booth, occasionally taking sips from our glasses, and saying nothing. Just sitting in proximity with each other.

“You first,” he said.

“What?” I said.

Then he nodded. He knew I knew what he meant.

I did know. I also knew that no matter what I told him, he probably wouldn’t challenge it. He just wanted me to tell him something. Or make some noise. I could have hummed “She’ll be Coming Around the Mountain,” and he’d have been grateful. So I thought I would see how much of the truth I could pry out of myself. I felt reckless. What did I have to lose?

“I’m originally from Vermont. I’m doing graduate work at Columbia. I’ve just moved out of an apartment I’ve been sharing with a man for the past year.” I paused between sentences and said each of the sentences slowly while looking directly at Joe Arnold. “I can’t seem to adjust to living by myself,” I told him. I was certain I’d said more than I should have, but I didn’t care. I’d liked hearing my voice deliver those solid facts to another person. I was proud of myself for having stuck to the truth.

Joe Arnold had stared at me while I spoke and seemed to absorb each statement as I made it, but now that I was finished, he looked away. I thought maybe he was blushing and I wondered if I’d embarrassed him.

“I’m sorry for what you’ve been going through,” he said.

Whether or not he meant it, I appreciated the sympathy. I nodded.

Then he couldn’t seem to bring himself to speak. I was determined not to say another word until he took his turn, but he seemed paralyzed. I noticed that now he was indeed blushing. For a minute or so I thought he might simply stand up, apologize, and walk away.

Finally he shook his head and raised his eyes to meet mine. His face was slightly contorted. “I want to leave my wife,” he said. The words erupted out of his mouth in way that made them sound like I think I’m going to throw up.

I wasn’t horrified. I tried to be sympathetic since I knew what it felt like to leave somebody. I made myself say, “I’m sorry.” He probably heard the truth I wasn’t saying: I wish I could feel your pain, but I can’t.

 “I can’t imagine you’d want to hear the details,” he said.

I nodded. He was right–I didn’t.

“I haven’t ever said it aloud,” he murmured. “Maybe that’s all I needed to do. Get it out there where somebody could hear it.”

I blinked at him. Our conversation seemed to be moving us farther and farther away from each other.

“If you want to, you can leave,” he said, his voice very soft. “I’ll pay for our drinks.”

I didn’t know what I wanted to do. And didn’t know what to say. So I stared at him with what had to be a very stupid face.

“I probably would if I were you,” he murmured. “Leave,” he said. His expression was a weird combination of shame and relief. Truth be told, I preferred this look on his face to the tight-and-in-control version of himself that he’d presented when he asked to join me.

So I smiled at him. Or rather I realized that I was smiling at him–I hadn’t exactly decided to do it.

He seemed to relax then. “Look,” he said, leaning forward, clasping his hands together on the table top between us. “I asked to sit with you because I thought maybe I could persuade you to let me get us a room. I thought we could go upstairs and spend some time together. I guess I hoped for sex. Sure, I should just say so. Because you’d know it even if I didn’t say it. I’m sorry if you’re insulted. It’s taken me a little while to understand that you weren’t sitting here by yourself because you wanted company.”

I heard what he said and understood him perfectly well. And having recently cruised the line of Seventh Avenue whores hoping for a come-on, I could hardly be insulted. But I couldn’t put everything together in any way that helped me know what to say or do. I didn’t want to go upstairs with him–maybe just because I couldn’t imagine how it would go once we closed the door and stood in the room with a bed directly in front of us. I didn’t want to take my clothes off, and I definitely didn’t want to see Joe Arnold naked. But I also didn’t feel like standing up and leaving the bar. And I didn’t want to go on sitting in this booth by myself.

I wished I could just beam myself out of there, but then I realized I couldn’t think of a destination.

I closed my eyes and thought maybe this was the lowest moment of my life.

I kept my eyes closed until I was sure I wouldn’t cry if I opened them. The thought occurred to me that maybe Joe Arnold would take the opportunity to leave some money on the table, slip out of the booth, and head for the door. But when I opened them, he was still there.

And he was putting money on the table in front of him.

So he’s about to leave was my thought. I felt myself blushing. Out of some weird sense of decorum I didn’t look at the money.

I watched his face while he put his wallet away. He looked relaxed now, a little pleased with himself. I didn’t blame him. He’d hoped I’d be somebody other than who I was. I had often hoped the same thing.

“Yours,” he said, tapping the table.

Lined up like Monopoly money were four one-hundred dollar bills.

He saw my shocked expression. It made him smile. “Yours,” he said again.

I couldn’t keep my eyes from glancing out through the lobby toward the elevator–the Wellington was a one-elevator hotel.

He chuckled. “No,” he said. “It’s not for that. It’s just that I could have gone the rest of my days without ever saying aloud that I want to leave my wife. If you hadn’t been here. If you hadn’t let me sit with you. If you hadn’t said what you said, I’d have never gotten those words out.”

I know I looked down at his money again, and my expression must have been really comical, because he laughed out loud.

“Look,” he said, “here’s the thing. I may never leave my wife–I almost feel like now that I’ve said those words, I don’t need to leave her. But whether I do or not, you’ve saved me thousands of dollars I won’t have to pay my therapist if I keep on going to see her. Which I’m pretty sure I won’t.”

I stared at him. I wanted to feel like he felt. Free of something. Out from under this loneliness that was like a bully waiting for me every morning when I woke up!

“Yours,” he said.

It was the third time he’d said that word, and what struck me then was that maybe he didn’t know it, but this man was trying to buy his way out of hell. I wasn’t offended. In fact I was sort of thrilled. It came to me then that maybe I could make the deal work for both of us. I sat up straight.

“I’ll take it,” I said. I picked the bills up one at a time, all the while looking him straight in the eyes. I took my time because I was excited by what I was about to tell him.

“But I want to go upstairs,” I said.

His face changed. He actually looked a little afraid.

“With you,” I said.

He flinched.

“You and I, Joe Arnold,” I told him. “We’re going up there.”

3.

I was a lot worse off than I realized that day in the Wellington Hotel fifty years ago. And Joe Arnold was just as bad off as I was. He had no idea what a deep pit he’d been living in for years. Maybe that ignorance is a mercy of some kind or else a survival component that comes with the human apparatus. Like those soldiers who get shot up so bad they can’t live more than a few minutes thinking Hey, this isn’t so bad, I’m going to be fine.

I’ve come to believe that relentless pain can sometimes be a help to you. It humbles you, it realigns you with your brother and sister human beings, and it prepares you to be healed if you can find your way to something or somebody that can fix what’s wrong with you. Maybe non-stop hurting even guides you to that right something or somebody. Ridiculous as this may sound, I’ve come to think of loneliness as a kind of corrective angel. My deity of the pastel gases and the seething cauldron might dispatch such an angel to nudge a human creature who needed to be turned in one direction or another

4.

Joe Arnold and I got our clothes off pretty quickly in that room. I’d had no faith we could get that far without one or the other of us saying, I can’t do this and walking out. But we didn’t turn on any lights as we walked through the door, so what we had was just the late afternoon sun beaming through the window shade. Probably if I’d had a look at Joe in better light, I’d have been put off by what age had done to his body. I don’t think he’d have been put off by the truth of my body, but he also would have seen very little to convince him he should have come to that room with me.

A meticulously made-up big bed is a thing of beauty, a beacon of comfort, a reminder that respite is possible. We sat side by side on it and took our shoes off. From there the bed gave us permission, so that getting naked was easy. Joe and I had no problem making our way into that bed. From opposite sides we hopped under the covers like sixteen-year olds. Clean, ironed sheets whisper sweet messages to almost anybody’s skin.

All right. About the sex. We had it–I can certainly say that. It was clumsy and funny for a while, then it turned sad when it looked like we weren’t going to be able to make it happen. I think we both had thought failure was inevitable, and I don’t know about Joe, but I would have been in seriously awful shape if I’d had to walk out of that room without even being able to have intercourse.

Joe propped himself over me while we both struggled to get him inside me. Finally, when I knew he was about to give up, I told him to let me get on top and try something else. I asked him to turn with me, and I said please. Desperation can improve your manners. Something had transpired in those minutes of his trying so hard and wanting it so much and failing. Just plain old flat out failing. So I knew it was up to me, and at that point when we had every reason to be angry at ourselves and each other I think we both saw that kindness was really our only option.

I nudged him over, and I rolled with him so that for a second or two we were the beast with two backs. On top of him I snuggled in, I tried to get my belly and chest as close to his as I could, and I had my head on his shoulder so that my mouth was right up to his ear. This was a way of lying together that I’d never experienced with the man I’d lived with, though I’d always meant to ask him if we could try it.

I talked dirty to Joe. Or rather I whispered dirty to him. And my level of talking dirty was probably about that of a seventh grader. I told him I was really, really wet. Which wasn’t true. I told him I wanted his cock. Which was true. I told him my nipples liked the hair on chest. And I moved my skin on his skin while I said these things–and some others–again and again in his ear. I licked his ear, too, and I’m pretty sure that’s what woke his cock up. I sensed it down there, and God help me I felt like I was his voodoo princess. “I’m your whore, Joe,” I said. “I want your cock, and I am most definitely your whore.”

Okay, I don’t think either one of us thought we’d get much further than hooking up, as they call it nowadays. For damaged people like we were it would probably have been okay if that was all we could do–intercourse without orgasm. Not ideal but better than nothing.

You probably think it is crazy and inappropriate for a woman in her seventies to talk this way, and I completely agree with you. But I have one more thing to say, and it’s maybe the most useful observation I have to offer. Suffering can teach you how to say and do what’s necessary, and even then maybe all you’ll get out of it is more suffering. But doing and saying what’s necessary can sometimes—maybe just occasionally—take you to the other side of your anguish.

So Joe and I got our clothes off, made our way under the sheets, and miraculously accomplished the act of penetration. When I felt him holding his breath, I realized that was what I was doing, too. We were right at that point of understanding we might not have more than a minute or two of being properly and happily joined. It felt really precarious.

“I’m your whore, Joe,” I whispered. I swear to the god of divine belligerence and whimsy that my sex registered his sex gaining what I’ll call conviction. So our bodies were doing their best to take us where we needed to go. “What are you?” Joe asked in a kind of rasp-whisper that startled me with his mouth so close my ear. I told him what I was. And when he asked it again, I told him louder.

It came on us fast–like maybe seven minutes. I could feel Joe moving way too quickly for me, and just about the time I was about tell him to stop or at least slow down, he bucked and grunted and trembled, so that my body spoke back to his body with a couple of contractions that brought a little shout up out of my chest. It barely qualified as an orgasm, but I never had one that made me any happier.

I stayed on top of Joe until I could feel him wishing I’d get off. So I did. And we lay on our backs for a while. Then he turned on his side toward me and said, “You know what?”

I turned on my side toward him, put my hand on his chest, and said, “What?”

I watched him getting his words straight in his mind. Then he said them slowly. “I didn’t even know I was dead. And now look what you did to me.”

I didn’t really want to, but I knew I had to cry, and so I just let it go. And Joe Arnold, bless his heart, just scooted up close and hugged me and let me keep crying as long as I wanted to.

5.

Okay, half a century later, I’m the same fool I always was. Except that I don’t live in hell any more. What I did with Joe Arnold in the Wellington Hotel was nothing I ever wanted to do again. I might have thought of doing it if I’d ever gotten that deep down into sadness again. But I didn’t. I got back on track and I’ve more or less stayed there. I don’t think I lowered my self-esteem because of what happened in that room, but I did find it lots easier to see things in other people that made me respect them. I guess that’s what Joe Arnold taught me. If I had to say what it is that I know from what I hope has been a thoughtful life, it might be just that. Finding ways to respect other people makes me happier with myself. I’m a natural born fault-finder, so I have a lot of trouble doing it. But I’ve got this voice I sometimes hear when I need it, and I listen hard. What are you, Hazel? I’ll hear. And I know the answer. I’m your whore, Joe. I’m your little whore.

—David Huddle

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Originally from Ivanhoe, Virginia, David Huddle has lived in Vermont for 44 years. He teaches at the Bread Loaf School of English and in the Rainier Writing Workshop. His fiction, poetry, and essays have appeared in The American Scholar, The New Yorker, The Sow’s Ear, Plume, and The Georgia Review. His most recent poetry collection is Dream Sender (2015); and his new novel is My Immaculate Assassin (2016).

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Nov 112016
 

author-photovia UnionHidalgo

 Pho

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Regardless of the common wisdom that, as Willa Cather said, “Most of the basic material a writer works with is acquired before the age of fifteen,” writers cannot escape being influenced by their environment, at any age. Just so with the Mexican writer Agustín Cadena, Mexican born, raised and educated, who has been living for years in Hungary, returning to México only for the three months of summer. In his recent collection of stories, Las tentaciones de la dicha, (The Temptations of Happiness) 2010, the permeating influence of Eastern Europe can be felt in at least four of the eleven stories. “Maracuyá” is one of these, set in a Black Sea resort town at the height of the season, in a vast club by that passionflower name, where one drinks Becherovka and meets people of a dozen nationalities, including an old Russian with a mysterious briefcase. What makes the story Mexican is its Spanish, the use of words like “cornudo” which fit smoothly in Spanish but seem so awkward when we write “cuckold” in English, and in this story, there’s a different twist on that characterization.  

— Translator Patricia Dubrava

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WE WENT TO that Black Sea resort because Dasha wanted so much to go back there. She had been once, six years ago, and said it was incredible: every summer, in August, the little fishing town transformed into the biggest tourist attraction of the Crimea. For a week, clubs, bars and restaurants stayed open 24 hours, hosting hundreds of tourists from all the Slavic countries and more distant places. Dasha fondly remembered dawns dancing on the beach among drunks singing in incomprehensible languages and couples who slept in each other’s arms on the sand after making love.

I agreed to go out of curiosity, but also because I wanted Dasha to have a rest. She was sick of working at the Peep Show, exploiting the beauty of her no longer so adolescent body and performing fellatio on fat tourists for twenty Euros.

So we pooled what money we had and, a day later, were on the train crossing the pine forests of the Carpathians, toward the Ukraine lowlands. To save money, we hadn’t wanted to pay for a sleeper, so made the whole trip in a coach compartment; during the day we talked, read, looked at the countryside, had brief conversations with passengers who accompanied us for an hour or two, on their way to some intermediate town. And at night we took turns: one watched so no one stole our backpacks while the other tried to get some sleep in spite of the cold, with our shoes on and wearing all our clothes. If we wanted something to eat, we had crackers.

We arrived tired and hungry, with barely enough energy to put up the tent in a more or less quiet section of the beach. But there was the sea, at last. The sea: a longing to live intensely and forever, escape to a timeless space where one could be eternally young, where love was imperishable. We sat contemplating it a long time, without talking.

We left stuff in the tent and went to town to look for something to eat. It was much as Dasha had described it: an idyllic place full of light, as if from a book of ancient poems. One high, winding street of old houses and shops full of shadows climbed a hill at whose peak stood a church, its twin towers topped with golden onion domes. The glow of polished metal, the sounds, the smells…it seemed as if we were seeing everything through the glass pane that separates reality from dreams.

We were starving, but didn’t want to go to a restaurant; we’d agreed that alcohol and entertainment were top priorities for our money, and we’d keep the minimum for secondary things. We bought four slices of bread, a quarter pound of bologna, another quarter of cheese, some pickles, and ate on a bench from which, in the distance below, the sea was visible.

We drank sweet wine in a small tavern, then went down to the beach to wade in the surf, watch the sunset and as it was getting dark, bathed in a public bathroom. An hour later, we arrived at the biggest nightclub: Maracuyá. They sold admissions for a day, for three days or for the whole week. Dasha wanted to buy the last even though it would take half our money.

“It’s cheaper that way,” she said. “And besides, I don’t intend to miss even one evening.”

The place was decorated as if it were on the Caribbean instead of the Black Sea: hammocks, fishnets, barrels half buried in the sand and live palm trees growing beneath large crystal domes.

We worked our way through the crowd, found a free table and looked over the menu: there was an incredible quantity of liquors, beers and wines from exotic places.

“What is this?” I asked Dasha, almost shouting because of the loud music. At the end of the wine list there was a question mark with a price; below that, two question marks, also with a price; then three, then four, five…

“Those are drugs,” she responded, also shouting. “One question mark is marijuana, two is hashish, three is cocaine; the others, I don’t know. Do you want something?”

“No,” I told her. “Pretty pricey. And you?”

“Get me a Becherovka.”

I went to the bar for the drinks. The place was a zoo. There were strange people of all ages, races and nationalities: old lechers, nymphs, aging women in search of adventure, young men with bare torsos covered in tattoos, Japanese, Scandinavians, Arabs…In the walk from our table to the bar, I overheard random words in unrecognizable languages; my sense of smell was saturated with a mix of sweaty skin, salt water, expensive perfumes, common deodorants…there was a line at the bar; I had to wait until the bartender took care of a six-foot blond and then a gay guy in a pink suit who didn’t know how to ask for silk stockings.

Finally, I returned to my table.

“Thanks, baby,” Dasha said, dancing in her seat to the music.

She took a sip of her drink, smiled at a guy who was giving her the eye from a nearby table and went to dance with him. I thought dancing a primitive display, so we had an understanding: she was free to dance with whomever. And “dance” meant whatever else also. It didn’t bother me. On the contrary: poor Dasha, it was only right that at least once in a while she could sleep with someone she liked. And in reality, she almost never exercised that option.

She didn’t exercise it with that guy. She danced with him a while, then changed partners, then sat to drank a glass with me, danced some more, sat some more…Near dawn, already a little drunk, I left her enjoying herself and went to walk on the beach. With each stride I took, the music of the various discos faded and mixed with the hiss of the waves that came in to break near my feet. Like weary fireflies, the lights of the little town floated in the distance.

We went to sleep in the tent at seven, woke around noon and after polishing off another package of crackers, swam in the sea. Dasha seemed happy: she smiled and hummed a song. She asked me every little while if this wasn’t a marvelous place, if I wasn’t enchanted, if I wouldn’t remember these days forever when we were no longer together.

In town we ate at McDonald’s, the cheapest alternative after bologna sandwiches, and walked through the streets, visited the Orthodox church. In the souvenir booth at its exit we stole a small fake icon. Then we returned to the tent to sleep at least a few hours before the new round of drinking and dancing in Maracuyá.

That night was very like the previous one, with the difference that a gang of 30 or 40 bikers dressed all in leather arrived, and set about making more noise than there already was. Before dawn I saw them on the beach, doing acrobatics with their motorcycles, the moon casting glints of light on the chrome of those enormous machines.

§

Leo appeared the third night. Dasha and I were sitting in the disco drinking Becherovka.

“Look at that!” she suddenly exclaimed. Near our table a man in his sixties, dressed in white, wearing sunglasses and a Panama hat, danced alone. But what was even more odd was that he was dancing without letting go of his briefcase; he had it hugged to his chest as if he was afraid someone would steal it.

“Perhaps it’s full of money?” I asked Dasha.

“Or drugs?” She speculated, amused.

We continued watching him. He didn’t tire of dancing nor of having his arms in that uncomfortable position, because no matter how little the briefcase weighed, anyone would be tired. But he, on the contrary, seemed to be enjoying himself enormously; he danced clumsily and it didn’t matter to him; nor did it bother him not to have a partner. A smile of satisfaction, of an old man realizing a long cherished dream, illuminated his face.

“What a marvel of a man,” Dasha declared. She downed in one swallow what was left in her glass and got up to dance with him.

After a few minutes she came back to the table. “Either he’s dancing with his eyes closed or he’s blind,” she told me, taking a drink from my glass. “He didn’t even notice me.”

“Why don’t you talk to him?”

And that’s exactly what she did, when she saw that he was going to the bar to get a drink. She approached him in English. The man answered her amiably, and by his accent, Dasha understood that he was Russian. She then changed to that language, which was also her mother tongue, and that’s how everything started: his name was Leonid and he was from Novosibirsk. Dasha brought him over and introduced me. The three of us had a drink together and then they went to dance. All this happened without Leo letting go of his briefcase.

At some point he disappeared. He didn’t say goodbye to us; we simply didn’t see him anymore. Dasha was upset.

“Do you think he thought I was an idiot and got bored?” She had that complex; it surfaced every once in a while.

“No. I think he liked you.”

“Why do you think that?”

“Didn’t you see how he looked at you? He even stopped dancing with his eyes closed.”

 “You think so?”

“Yes. Why don’t you have a fling with him? He seems like an interesting person. It would make you feel better.”

Dasha stared at me.

“But he’s gone,” and she twisted her mouth into that bad girl look the Peep Show clients liked so much.

“He’ll be back tomorrow.”

And in fact, the next night, Leo returned to Maracuyá. With his briefcase. Dasha avoided looking at him. If he’d left without saying goodbye, she said, he ought to make the first move now and apologize. “Men always scorn what’s easy,” she explained. That night she was especially seductive, with a black sleeveless dress—the best that she’d put in her backpack—that contrasted in a harmonious way with her tanned skin; a black choker around her long neck and a gold-plated chain on her left ankle.

Confirming the correctness of her theory, Leo came to sit at our table as soon as he saw us and apologized for having left like he did.

“The strange food,” he explained in English out of courtesy to me, without for a moment letting go of his briefcase. “It set off a revolution in my stomach. I was barely able to reach the hotel.”

More relaxed than at our first encounter, he mopped the sweat from his forehead with his handkerchief, bought us a drink and began chatting about how difficult it was to prepare well an apparently simple dish from his country: Shuba, potato salad, carrots and peas with mayonnaise, anchovies and beets.

“Of course, it doesn’t go all mixed together,” he said. “The salad goes inside, like a filling. The beets and the anchovies smother it. That’s why it’s called shuba, which in Russian means “overcoat,” and he continued talking about that and a pasta dish with mushroom sauce that didn’t matter much to us. What we wanted was to ask him about the briefcase, but we didn’t find the right opportunity. Finally he took Dasha out to dance.

It soon became obvious that he wanted to seduce her. And she began plying him with all the tactics learned in her not very long life. “Old men like you to make them believe you’re innocent,” her philosophy went. “Only young men are capable of valuing experience.” But Leonid didn’t look like an idiot: he couldn’t really believe that an inexperienced young woman would be vacationing with her boyfriend at an amoral beach resort, drinking Becherovka in a disco where anything and everything was for sale. Regardless, he seemed to enjoy Dasha’s company.

The night passed, along with her plan and desires. At three a.m. when Leo seemed more lively than ever, the young innocent said goodnight. She wasn’t used to staying up so late, she said, and was already very sleepy.

The next day we spent resting on the beach, walking around town and speculating about the mysterious briefcase.

“I tell you, it has to be money. It has to be the lump sum of his retirement, or pension, or liquidation of his assets or whatever, and he came to spend it here.”

“What if he’s a terrorist? From Chechnya? He doesn’t look like it, but he could be. He could be carrying a bomb, one of those that you make explode with a cell phone.”

Dasha was disposed to uncover the mystery and with that objective, employed the rest of her many charms that evening, with the result that she disappeared with Leo and I didn’t see her until the following morning. About eight, she appeared in the tent. She lay down by me without saying anything and also without saying anything, began to make love to me. It was her custom when she’d had an adventure. She said that was how she rid herself of the other skin.

We woke after eleven.

“O.K.,” I said. “What’s in the briefcase?”

“A book,” she told me, without the slightest sign of disappointment.

“A book?”

“Yes, a manuscript. He wrote it. It took him twenty years to finish it.”

“But, why did he bring it here?”

“Because he came here to throw it into the sea,” Dasha explained with a surprising naturalness, as if she were talking about the most normal thing in the world. “Only before doing it he wants to have a good time. It’s his double farewell.”

“Why double?”

“Leo’s saying goodbye to his book and to his literary career.”

“But, why?”

Dasha shrugged her shoulders.

“I didn’t understand his reasons at first either. But after he told me the whole story I began to get it. He spent twenty years working on that mountain of papers. And you know what for? For nothing. He’s taken it to more publishers than he can remember and all of them told him to go to hell with his book. Some—the least stupid—simply told him no. The others suggested that he change things, cut this or that. But Leo doesn’t want to change anything and I understand that. Why let a bookseller tell him how he ought to write? He got sick of it. If his book is trash, he told me, well then it will go to the trash.”

I didn’t ask her anything else and didn’t want to keep thinking about Leonid and his story. I was hungry. “Let’s get something to eat.”

“Leo invited us to dine at his hotel. He asked me if you would want to and I told him yes.”

“Good,” I said, “but let’s go. I guess we don’t have to take the backpacks?”

“No, leave them here. Only let me get my wallet and cell.”

The lunch was very pleasant. When he wasn’t talking about food, the old Russian was an excellent conversationalist. And the whole time he comported himself with Dasha in a respectfully paternal manner, as if there’d been nothing between them nor would there be. He told us that the next day he was going home.

“Would you read me something from your book before throwing it into the sea?” Dasha asked.

“Are you really interested?” Leo seemed incredulous.

“Of course I am. And I would love to hear it in your voice. That way I’d remember it forever.”

“Well, if you want…” He responded in the tone of a grandfather resigned to complying with the whim of a favorite granddaughter. “We can read something this afternoon.”

After a few minutes, he clarified, looking at me. “The book is in Russian.”

“No problem,” I told him. “Anyway, I can’t join you. I have a date with a friend at Maracuyá.”

It wasn’t true, but I wanted to leave them alone. The role of complicit cuckold isn’t comfortable. But a cuckold who knows himself cuckolded, accepts it and still makes a nuisance of himself is the most pathetic of all.

I spent the remainder of the day on the beach and when I got bored, went to play soccer with the bikers who had arrived two days ago. I made friends with one of the girls—a platinum blonde, thin as a stick—and that night accompanied her to Maracuyá. After a while we went to walk on the beach. We arrived at the end of the jetty, where the music from the discos could barely be heard and sat to look at the moon. Although it wasn’t full, it still looked enormous and orange, hanging quietly over the sea.

In the morning, Dasha arrived to wake us at the tent. She couldn’t even wait until I introduced my friend. “Come on, “ she said. “I want to show you something.” She looked very happy.

“What?” I asked, opening one eye, groggy with sleep.

“I’m going,” said the blonde, who perhaps didn’t want to be an inconvenient presence. And in fact, she dressed rapidly, gave me a kiss and left.

It was very early and somewhat chilly. The tide was still high and the last stars appeared and disappeared as if winking. From somewhere came a scent of roses and gladiolas.

Seeing that the territory had been vacated, Dasha crawled into the tent. “Look,” she was carrying Leonid’s briefcase. “He gave it to me. He gave me his book!”

I’d never seen her so happy, so satisfied.

“Did you read it? Is it a good book?” I asked.

“What does that matter? It took him twenty years to write it, do you realize that? As long as I’ve been alive he’s spent working on it. Something like this is a treasure regardless of what some critic or editor might say.”

She took out the manuscript, bound together with cardboard covers and put it in my hands with great respect.

“He’s gone,” she sighed. His train has to leaving right now.”

Dasha had never been sentimental, but at that moment she seemed on the point of tears. She turned to put the book back in its briefcase, took off her clothes and squeezed herself into the sleeping bag with me.

“What nasty perfume that woman left here,” was all the comment she made before embracing me and falling asleep.

At noon we went to eat in town. Bologna and pickle sandwiches. We told each other everything we’d done. We hugged. We promised that, come what may, we’d always be together.

We walked along the beach holding hands, talking again about Leo. We were happy—even more—we were deliriously happy. Stupidly happy.

When we reached the tent, our joy vanished: someone had robbed us. The backpacks were there, but the briefcase had disappeared. “Money or drugs,” the thief must have thought, who surely had seen it when it was still in Leo’s hands.

—  Agustín Cadena, translated from the Spanish by Patricia Dubrava.

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Agustín Cadena was born in the desert region of Valle del Mezquital, México, 1963 and currently teaches at the University of Debrecen, Hungary. Essayist, fiction writer, reviewer, poet and translator, he has published over 20 books. His awards include the University of Veracruz Prize for short fiction and essays, in 1992; the National Prize for Children’s Literature, in 1998; the San Luis Potosi National Prize for Short Fiction, in 2004; and the José Agustín National Prize for Short Fiction, in 2005. His works have been translated into English, Italian, and Hungarian, and adapted for radio and TV broadcasting. Cadena blogs at elvinoylahiel.blogspot.com.

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Patricia

Patricia Dubrava was born in New York and chaired the creative writing program at Denver School of the Arts. She has published two books of poems and one of stories translated from the Spanish. She is an essayist, poet and translator whose recent translation publications include a dozen Cadena stories, most recently in Fiction Attic, Exchanges and Mexico City Lit. A Cadena story was included in NewBorder: An Anthology, in 2013. Dubrava blogs and has more information on her publications at www.patriciadubrava.com.

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Oct 122016
 

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THE SIGHT OF you in the bustle of the late winter street paralyses me. I had better turn tail and flee, I think: my words squeeze me out of my apathy, seeing you I am embarrassed as though I had inadvertently opened the bathroom door and found you standing naked in front of the mirror, I am startled and would like to back out. What strangers would settle with one phrase I embellish with a lengthy explanation and over-emphatic apologies until my patience runs out and I turn on you because you don’t answer. But how come this imaginary bathroom scene occurs to me? We met on the street by accident, mother and daughter. I recognize myself in you, I find this intrusive and despair at once: how dare I appropriate what is yours, your beauty, as if it were my merit in the least, how dare I presuppose that you inherited it from me, that you resemble me. You fear my love as I do yours, I ratiocinate to myself, and despair at once. If you are weary and the premature, erroneous shadow of age shows on your young face, my heart shrinks, for I cannot help thinking that if one morning you should see yourself as I have just seen you, you will be hurt. Still, I don’t want to rush time: may you stay young yet, I wish, a cruel teenager; I have already burrowed myself in my hole, but please don’t demand explanations from me.

You were around eleven; through the window the light of the full moon illuminated our home: the stage. I tidied up your room while you two were fast asleep; I picked up your scattered things from the floor: a book, one sock, paper tissue, a ballpoint pen and lastly, the half-gnawed apple fallen on the rug, and went out into the bathroom to wash your white blouse for the school festivity the next day. I spotted my careworn face in the misted-over mirror. I was washing your blouse as romantic heroines wash their child’s linen shirt in the rippling creek. Self-commiseration brought tears to my eyes, they flew over, into the water foaming with the washing powder, into the world, into the thick steam, I don’t know why I consumed so much water to wash one single blouse. I tried to cool my swollen eyelids in the cave-like bathroom but my tears continued flowing, I kept wiping my eyes, that is, I was lacerating myself in the usual way. How do you see me, I asked myself and answered my own question: A shadow, a body no longer living, a black contour chased by the routine activities. I jotted down my words on an envelope at hand—for what we write down we manage to distance from ourselves: a mute slave, an hour hand—so I phrased my complaint—that unprotestingly walks the clock face of days, nights and years for you. I hung up your blouse above the bathtub to dry, then sat on your bed and watched you sleeping, taking in your beauty, relishing your free-flowing tresses, my lovely terrorist: as if you were permanently running away from your hunters. A few years later—you were no longer living with us—you showed up on the street all of a sudden, with your cascading gold-chestnut hair: a strange girl in a black shawl, a strange woman was walking uphill on the other side of Török Street. At her sight my heart jumped, but she pretended she didn’t recognize me, she didn’t even greet me. Had you really not noticed me, or did you merely not want to see me? I haven’t dared to ask you ever since, for you always tell the truth and would say, Yes, I had seen you and avoided you.

Quite understandably this time I am overcome by the desire to flee, to disappear in the opposite direction before you see or don’t see me, to be spared the disappointment: you are not happy to see me. I immediately recall that the year before, during the first term you were coming to my university to attend English classes—by that time you had been living apart from us for seven years—we finished at the same hour, we could at least have walked together to the subway station, but you chose to walk with your girlfriend instead, only sparing the time to say hello. So I get off the bus like one drawn on a string, I hasten my steps towards you. I often feel as though I were pulled on a string by a foreign will, for I wouldn’t otherwise stir an inch by myself. I will not put on it the label: on such occasions I get a whiff of the cellar breath of depression. You are approaching with arms wide open, quickening your pace. We wear identical jackets. I had bought you, your little sister and myself identical jackets in America—for financial reasons, it had been a rational decision. They were available in one colour only, this fashionable off green, I risked wearing the same jacket as yours. I rejoiced at the thought of us wearing identical clothes and I thought you wouldn’t mind. On that despondent winter, far from each other on the overcrowded city’s streets, three women would go on their shadowy errands, unaware of one another’s itineraries. But why should winter be despondent? From now on we would embrace each other when we met, for from now on you would come towards me with arms wide open, and I hardly dare believe my eyes.

I would have liked so much to finally tell you—we have always liked to discuss men—that not long ago, on an empty Sunday when your little sister was baby-sitting in England and I, slowly recovering from an unreal love, was going to the swimming pool on a tight schedule, on one of my swimming sessions I suddenly halted in the middle of the pool as if an engine had stopped in me. (The engine had tired of the tight schedule, strength ebbed from it, the water reached up to its mouth.) I made my way to the lane rope and gripped it. I had known the man who was swimming on the next lane for years, our paths often crossed at noon when the others would be eating their lunch, napping or whatever, when there were few people in the pool. He swam to the lane rope in his strange, funny swimming cap (I had anticipated this) and said hello. What a pretty cap you have, I smiled at him (I often smile in self-defence). He took advantage of the situation and proposed that we walk together for the length of a few bus stops after swimming. I said yes. I had indeed wanted to walk, bored by the emptiness of the Sunday afternoon (as if I were kicking an empty barrel upwards on a ramp), I longed to hear a man’s voice next to me. I was of course not a bit embarrassed because of the ambiguity of the situation, for I had no plans with him, I merely wanted him to talk to me in his deep voice—as though social mores did not apply to me (and they did not, indeed). He was well-proportioned, a bit younger than me. At that time I, too, was still considered beautiful or, more precisely, one that’s got the look. On the same summer a short, pig-faced professor who was to become the rector of the Technical University shortly, and whose twin daughters had been your groupmates in kindergarten about twenty years ago if I’m not wrong, came up puffing after me on the roof terrace, stopped above my chaise-longue and renewed his boorish proposal, familiar from the years before, but, as he pointed out, for the last time. My refusal had been unequivocal, but it seems he hadn’t learnt his lesson (neither have I ever learnt how to shame those who make loutish proposals. In addition, the pig-faced man happened to be my colleague.) Next year you won’t be so attractive any more, he warned me, huffing. He stayed some more by my bedside, expecting his sincerity to make me think twice. Even if his offer fell on deaf ears, his prophesy proved to be astute.

I could hardly recognize the man with the swimming cap who was waiting for me at the entrance according to our agreement. He wore a check shirt, jeans and worn trainers. Dressed like that, he looked penniless, which made me feel embarrassed and moved at the same time. We walked in the heavy smog along Mártírok Street (or was it already Margit Körút?), we could hardly hear each other in the traffic noise. The ambiguous situation irritated me and I was sorry for wasting the day. He stopped in front of a restaurant whose name sounded familiar, I couldn’t recall from where. I invoked some non-existent appointment for family lunch to get rid of him; at this he asked if I would like to have a glass of wine with him. I felt ashamed for my fib that he must have seen through, for up to that moment I hadn’t appeared to be in a hurry. Against my better will I ended up saying yes, for the second time already. We entered the dining hall redolent of kitchen smell, sat down at a table with soiled table cloth; with princely nonchalance he ordered a bottle of white wine. The restaurant and the bad wine made him more self-assured. I asked about his profession but, lest he might take my question for a cross-examination, I added that I taught literature at the Faculty of Arts. This was another lie (of course I wanted to cover up the traces beforehand). He asked me if I knew Shakespeare. Well, I’ve heard his name in conversation, I laughed. Do you also know Richard III?, he inquired further. “My life would be incomplete without him”—and this was even true. But he made a remark that suggested strong skills of observation. “You tend to exaggerate. Or are you just doing it for my sake?”

Ever since I bought these three olive-green jackets in America I have often toyed with the idea that if somebody observed us from high above and placed us next to one another on account of the identity of our outfit, then we three do belong together. You look at me with tenderness, it is perhaps the first time you notice that the lines around my eyes show not only when I’m laughing: they stand at attention, ready to grow deeper, even when I’m watching something with my face going stiff. “What’s up with the two of you,” you ask, “how’s life?” Well-behaved, I answer your question as though it were a stranger’s, quickly going over the tissue of my days and weeks, but can’t find anything worth mentioning, anything your eyes should linger on, or in which your palpating fingers should get caught. Still, I cannot whole-heartedly say I feel this way because of my forsakenness. I myself cannot tell what was first, the thousand small signs of your love withdrawn from me, or this even more unbearable, even more telling feeling of forsakenness in me. (I feel that everybody is happy with their grown-up children, except for me with you.) So I bravely drag forth some promising topic, academic success, travel, I don’t remember what. I can obviously not speak about what preoccupies me most, what I phrase to myself, alluding to its unbearableness, as “I live wounded to death,” and that “I ought to see a doctor before it’s too late.” Not only because of you but also because of the fresh break-up that put an end to our seven-year affair with K. “Nothing worth mentioning,” I answer, but immediately start wavering, perhaps you will find me indifferent and would say good-bye rightaway and then the magic will dissipate. My sharp-eyed swimming-pool acquaintance might be right in the smelly, smoky restaurant: I exaggerate when I talk about myself. Although I might bring up an excuse: it is not only my words but also my feelings that are so passionate. Throughout my teens I was convinced that everybody was like me. I couldn’t understand where the indifference on the faces of others came from, their sheepish patience in front of injustice, I couldn’t comprehend why they didn’t rebel. Later, in my arrogance, I arrived at the conclusion that the others saw halfway and dimly, while I saw far and clearly. I was already a grown-up, the two of you were born, when I realized that the ability of too sharp phrasing was at once my strength and my weakness.

“Now is the winter of our discontent / Made glorious summer by this sun of York; / And all the clouds that loured upon our house / In the deep bosom of the ocean buried. / Now are our brows bound with victorious wreaths, / Our bruised arms hung up for monuments, / Our stern alarums changed to merry meetings, / Our dreadful marches to delightful measures.” My acquaintance in a poor man’s apparel halted for a moment in the middle of his recitation, I thought his number was over but I was wrong. He gave me a searching look to see if I was with him. I could see the unuttered question in his eyes, so I named the play. Like an award-winning student I added: first act, opening scene, but it seems I misunderstood his question, for he waved his raised finger at me to be patient and continued quoting Gloucester, the future Richard III: “I am determined to prove a villain / And hate the idle pleasure of these days. / Plots have I laid, inductions dangerous, / By drunken prophecies, libels and dreams / To set my brother Clarence and the King / In deadly hate the one against the other. / And if King Edward be as true and just / As I am subtle false and treacherous…” At this verse he halted and gave a laugh with a mysterious expression. My face was all amazement. “So you are an actor?” I didn’t quite believe it, I was trying to acknowledge his stunt rather. “You missed it narrowly,” he said in a mystifying tone, but I could see on his face that my guess flattered him. “Then let me ask something else, do you have a regular day job or are you a freelance?” “I am unemployed.” I tried to avoid the dangerous high waters. “And where did you get your swimming cap?” His answer was no less surprising than his performance: “I had sewn it myself,” he said. “So you are the one with the sewing, while your wife goes to work,” I was trying to joke, although I would have liked to steer clear of discussing our family situation by all means. I felt like biting my tongue, but fortunately he didn’t take up the issue, he merely answered that he was not married and lived with his mother. In the meantime he was diligently pouring himself one glass after another, his eyes were shining already, while I barely touched the sour wine and, although thirsty, didn’t dare to order water for fear I’d offend him, as a short while ago I warded off his invitation saying I was not drinking of the wine because I was not thirsty. So I returned to the play: “Do you really love Shakespeare so much?” “I needed him. I can quote whole acts by heart.” I liked the past tense, and the arbitrary, lordly “I needed him” suggested an adventurous life or else, serious professional dedication.

You will of course have your own stories of me, memories that I perhaps don’t remember at all, or at the very least remember differently, out of self-defence. Not for absolving myself but rather, in order to be able to lull myself into the conviction: basically everything was all right between us. For I love you, and the birth of the two of you has been the best decision of my life. And you love me too, it is only our temperaments that are not suited. The realization that one’s treatment of one’s children can be tackled as a methodological issue, and that the books on parenting give outstanding recipes for coping with conflicts with teenage children, came like a cold shower—to stick to the imagery of the bathroom memory. I found the awareness that we ourselves could be characters in a case study, and that the positive or negative outcome of our conflict depends on my skillfulness, humiliating. I refused to believe that the first child, if a daughter, is a rival of her mother and if a son, a rival of his father. My shelves were laden with psychology handbooks, I fooled around with ha’penny horoscopes you could pick up everywhere on the street, with cheap booklets about famous people born in different zodiac signs, I bought everything to persuade myself that it was not my fault and perhaps not yours either, to doom our lives was maybe the unfavourable constellation only. It was chance that helped me learn the lesson “at the dawn of our love” with K. (to use his phrase). His presence changed our relationship. I simply had no courage to burden this relationship with my despair over the latest evidence of your inability to love me. At fourteen for instance, one Friday afternoon you announced that on Tuesday you would move out. K., as my sympathetic witness, said that I should be glad, for this way the situation would be solved in the most peaceful manner possible, and that I shouldn’t be brooding over the fact that you told me in the last moment. It was the last possible moment anyway, it would have been too late to fight for you, something that I would never have done to your detriment or against your will, by the way. We were invited for a dinner that evening, so there was no time to get engrossed in my failure or inquire about the practicalities. (I knew so much that instead of your mother’s, from then on you would be under a father’s supervision.) I can remember well the moment when you chose to communicate your decision, I was just putting on my thinnest coffee-coloured tights. “I have already arranged about moving my things out on Tuesday,” you said. I answered only that I was sorry I would not be at home and therefore unable to help with carrying your things, because I had classes that afternoon. You were so taken aback by my calm that on the day after your moving out you unexpectedly came over for a visit. We were just celebrating K’s birthday—alone for the first time. Perhaps you felt that you were losing me, that day you stayed with us late. Your little sister was away on a school trip.

“Do you need the Shakespeare quotes for your work?” I inquired. I would have been glad to hear that my interlocutor sought an outlet for his intellectual energies, or that he had learnt lengthy scenes for emotional reasons, but he said nothing of the kind, just continued to play mysterious. “Indeed. And not just in general but in the most concrete way possible.” I suspected that he wanted to test my inventiveness and that it would please him if I guessed sooner or later, even if slowly and with some help, what he did for a living before becoming unemployed. But nothing came to my mind apart from the theatrical professions, because the thought that he was getting drunk and I couldn’t get rid of him paralyzed me. Much help it will be to me, I joked to myself, if he turns out to be a prompter who is a dipsomaniac. I also remembered why the restaurant’s name rang familiar: the waitress living in our house worked here, where I was sitting at a table decked with a soiled tablecloth, in an intimate tete-a-tete with the stranger of doubtful circumstances. If she spots me, she would spread rumours in the house that I led a double life, I panicked. I hastily removed my elbow from the table, knocking over the wrought iron ashtray. At the loud clatter that startled everybody on the premises the waiter came to our table; I apologized but he didn’t grace me with an answer. With a commandeering gesture he replaced it, as if I had pushed it off the table deliberately. “Are you a theatre prompter?” I risked the question I came up with a moment ago. “You’re getting closer and closer,” he laughed complacently, with satisfaction, as if he had hidden an object from me that I was supposed to find. “I give up!” I answered impatiently, at which he said: “There is a time for everything.” And added that he wanted to see me open up entirely, whereas I was very reserved. As though I had been at a police interrogation, his unmasking observations uttered in a tone of superiority rained down on me. On top of it, every time the waiter passed through the swing-door, the light of a naked electric bulb pierced my eyeballs. “I loathe it when they analyze my soul,” I answered, closing my eyes. “How typical!” he commented without apparent rancour. “But allow me, how do you know that there is such a thing as a soul?” “I feel I have one.” I immediately realized the stupidity of my reaction. How can I be debating this issue, with this wretch? So I suggested that we talk about him rather. “Ask me, and I will answer,” he offered. “What do you live on if you have no job?” “I hold a few shares.” Once again I was surprised. “I had always imagined shareholders differently.” “You don’t live in this world, do you?” He fixed his velvety eyes on me.

I don’t even know for how long I’ve been living not in this world. I would have liked to tell you this when to your question, what was up with us, I answered, nothing special, I was just busying myself with my dream of the Last Judgement. It must have been about ten years after the death of my mother, your grandmother. In my dream we were all together in the garden expanding into an infinite square, of our last common home: not only the family, but all the living and the dead. The people came stepping on one another’s heels, in a controlled vortex. Trams pulled in with passengers hanging in clusters around the open doors; taxis came; crowds of pedestrians. The air filled with the excitement of apprehension. People were walking to and fro on the road, on the pavement, along the garden paths strewn with pebbles, their mouths moving mutely as if they were memorizing something, or trying to remember some important event by reciting their story. I heard the flutter of angels’ wings approaching and, now and then, a clash imitating the striking of a clock. All through, a dull, repetitive popping, as in the houses, through the wide open larder windows the souls of preserves tore open the cellophane and broke free from their jars and, crossing the airspace above the square, the erstwhile fruits flew back on the branches of surrounding trees. In my dream I felt the beatific state of belonging together; the boundaries separating me from the others dissolved, my senses were sharpened as if I had taken drugs. But I knew that if I started relating my unrelatable dream I would phrase it wrongly and you would correct me at once, saying: rather than beatific, my vision seemed downright terrifying.

Do you remember the Christmas Eve we spent with your grandmother, when she was no longer let out of the hospital? We brought in the plates, the cutlery, the Christmas dinner. We laid the table on the corridor, dressed the Christmas tree—it would be undressed in an hour and a half—and started eating. Unexpectedly the doctor on night duty stopped by our table—he bore a serious grudge about the fact that every Monday mother’s one-week pension would go to the ward doctor, never to him. “Are you at least aware that you have become a drug addict from taking so many painkillers?” he unleashed himself on mother. Never has the worn-out cliché sounded more truthful: “food turned bitter in my mouth.” We were eating the dessert, the Gerbeaud cake, its taste instantly turned to gall; I spat it out into my napkin and mother, too, pushed the plate with the cakes away from herself, we all put our forks down and started packing. I don’t even know why you came home with us after dinner at all? Probably for the books you got as present, in order not to offend me by leaving them there, or for your lovely leather gloves that you left in a taxi that very night. When you said good-bye I was arranging your shawl; you pulled out violently and shouted at me: Take your hands off me! At this I smashed a cracked Meissen plate on the floor. I can’t even say I grabbed it up in an irate moment: I knew exactly that I had placed it on the edge of a library shelf because I decided it was ready to be thrown out. So I dashed it on the floor and it broke to pieces. I have often heard that the best way of releasing built-up tension is to smash plates. I followed the advice like a half-hearted reveler, and it brought little relief. But my clownish role hurt me to the quick. As though the stage-prop wooden rifle had gone off, shooting the one who was brandishing it. I gasped for air, my heart stopped, I collapsed into an armchair. From that time I stopped sharing my dreams with you. Just as I don’t tell you that at Christmas time the Child is not born for me. Even though not from that day—for there had been signs before that I was on the doorstep of peril. I even phrased it for myself: “I don’t want to live in this world anymore.” I had believed myself to be strong enough to drink the bitter cup and stand without a scratch, for I had sufficient routine in unhappiness. At most I would sleep more, or sit listlessly in the armchair mentioned above. But, however concise my phrasing, later it proved to be too self-indulgent. I had smashed a cracked plate. I had not denied the world but merely the circumstances I lived in. I chose another place for my home: music. For weeks I would listen to the same pieces of chamber music. But instead of sounding ever clearer, the trios or quintets repeated to the point of madness became increasingly fragmented; the possibility of continuous reading between the lines was lost, the weighty beats were punctuated by overlong pauses, the musical phrases rapped like so many clots of earth on an (imagined) coffin lid. My workplace, too, became a stage, although it was at exactly that time that I was appointed chair and so could travel all over Europe. I couldn’t have imagined earlier how many things you can do by being half present, without anyone taking notice of my half-absence. I was overcome by a strange feeling: it was as if I were invisible and anybody could stick their hands or walk right through me. At times, riding tram 4 or 6 to work, I fell out of time; at the sight of a Gypsy girl’s beautiful, bare shoulders my eyes filled with tears and I forgot I was going to the exams. In short, the ever thinning sentence, “I don’t want to live in this world anymore,” losing its complements (or concessions), was soon reduced to five words, not reducible any further, and my wish—which by that time appeared far too compromising—became “I don’t want to live.” As soon as I found this brief negation I felt relieved. Soon I resigned from my position at the university, thereby losing the severance pay, the condition of which would have been common assent, but I wasn’t sorry. I didn’t want to profit from my behaviour. My dream of the Last Judgement seemed to justify, retroactively, my rash decision.

So for the moment my swimming pool acquaintance observed that I was not living in this world, although his observation was meant to refer to the world of shares and dividends. “I remember a poster of a fat capitalist with a top hat and cigar,” I answered lightly, “with a gold signet ring on his sausage-like fingers. And you forgot to put on your signet ring!” I joked, gazing at his shapely hand and suddenly a clever idea about his profession struck me. “Are you a psychologist by chance?” “As you could have seen, I have studied psychology,” he answered, placing his fingers on the bottom of his glass. And—” He stopped suddenly. I looked at him: “And?” “And I have known lots of people like you.” “You have no idea how consoling it is to know that there are many people like me,” I continued joking, “so I’m not such a strikingly pathological case after all.” “At least not among my former acquaintances,” he nodded approvingly at his own words, “there are many similar ones.” He leaned back in his chair. The light of the naked lightbulb glared in my eye, I saw our waiter, holding the swinging door open with his foot, exchanging a few words with the receptionist. After your births I would have loved to have a third child, but had to realize that our marriage would not last another trial. Then I kept daydreaming about adopting an abandoned newborn from the nearby orphanage, before it became “manageable,” that is, before it got used to the lack of love. As a result, our walks took a turn towards the home on Lóczi Street, perhaps you remember the terrace, sunny even in winter. According to the strict rules, the nurses weren’t allowed to form closer bonds with the babies, for it would have made it even more difficult for these to cope with the fact that at one year old, then at three, and then at regular intervals throughout their school years, they were taken out of the community imitating a family where they may have taken roots. With my hopes connected to you and then with their repeated dissolution, I myself became distorted into your easily manageable, abandoned child. Don’t worry for me, but don’t try to love me either, I wished for later, for my eyes got used to the dark and your love would blind me.

“When the Company was dissolved,” my swimming-pool acquaintance revealed his cards suddenly, pulling the ashtray in front of him while his dark brown eyes pastured on my face, “they gave us a few shares.” It was the first time I heard the code name Company, but I knew at once what he was talking about. Perhaps I had already solved the riddle when I phrased my experience, inwardly, it is as though I were at an interrogation. So, I was having a conversation with a member of the dissolved Legion in the third-rate restaurant. I knew exactly what kind of shares he was talking about, because on one of our organized trips the driver informed the passengers about them when he stopped at a certain gas station. I must have become stand-offish. “Does this rule out our meetings from now on?”, my acquaintance asked. “Does the truth disturb you?” “It does.” I couldn’t tell anything else. Slowly we got up, he fished an one-thousand banknote, the only one, from his seedy purse, I protested in vain to share the bill at least, he insisted to pay.

The third yes. She was lying on the fresh bedsheet bleached from overwashing, covered with a blanket. She was numb, she remembered her negation, “I don’t want to live!” She was surprised that she had believed it to be irreducible any further, but now she knew one sentence that was shorter even. “I don’t live”: this was her conclusion. The ticking of an alarm clock was chasing the dust on the shelves decked with lace coverlets. The lace hung over the edge of the shelves. She could never understand why someone who is not good with plants would keep greenery in pots, if not for wanting to test the endurance of agonizing with leaves turned yellowish-brown. “Since my mother was taken to hospital”, the man apologized when they entered the flat, “everything’s been untidy.” She took a good look at the room. In fact everything was tidy. Tidy and dusty. She started dressing before becoming herself a stage prop, she rushed through the mechanical gestures, wanting them to be over the soonest possible, just as she wanted the ones to which she had lent herself a short while ago in the bed to be over. She picked up her blouse from the chair, disturbing the daytime sleep of a moth. She remembered her first love, the overwhelming bliss of thirty years ago, that barely let her sleep at night. Back then the flutter of a moth’s wings would wake her up at night, or at least she would have liked to believe so, as her senses got so sharpened that even noises inaudible to the human ear could startle her. In those days she was sorry for the time spent sleeping. Probably it was not the moth but the sense of her happiness that shook sleep from her eyes. She had read somewhere that in the empty hours, while waiting for a bus, queuing in a shop or bank, the thoughts of ninety percent of grown-ups revolve around love. It is curious, although perhaps understandable, that in this very situation she should remember this word, so out of place. She glanced at the door: the key which the man had turned at the moment of their entrance, probably mechanically, was no longer there. She tried to open the door but couldn’t. “How will I escape from here?” she asked, aghast. In the meantime they must have been talking about some thing or other with the man, because she could remember his pleasant voice coming in from the kitchen now and then, but had no inkling what the subject was. Did he want to hold her captive? Or was he merely warning her that she had walked into a trap?

To this day I can’t understand how it could happen. For a month my parents took care of you while I was in Madrid with a research scholarship—almost fifteen years ago now. I worked from the morning into the afternoon in the Cervantes Library. I lived in a depressing hostel where a lone 40-Watt lightbulb spread its sickly light in the windowless room, in utter solitude, without friends or company, dividing up the two-week grant to last a month. I lived like a hermit, even if not on berries and roots but on the two-course menus of cheap restaurants; rising early and going to bed early in the narrow iron bed; forever warding off the insistencies of the postman who would knock on my door on his free Sunday afternoons, put his foot in the gap when I opened the door, and whom I had to push out into the corridor. I toyed with the idea that I was all alone in the world, I didn’t even have you. I was always hungry, eating or carnal desire was forever on my mind. Often I dreamt of my father who had been dead for six years already. He had had a beautiful death, as they say, a heart attack took him away very quickly. It often occurred to me that, had he been alive, I could have asked him for advice. I didn’t see him die; perhaps he was still alive in some intermediary state, I codded myself. I would have liked to tell him that in my dreams I got letters from him, as thin as gossamer, they were handed to me by our dipsomaniac postwoman from back home. Leaning over the railings of the stairs I could barely reach her held-out hand, I would have complained; the sheets of the letter, sticking to one another, became unreadable and were torn in my hands. But, to return to my story: I had agreed with you that when I saw the light at the end of the tunnel I would call you. I had reckoned that it would happen halfway through my stay, so I had asked you to be at home on the 17th, on a Thursday afternoon at 6 o’clock. Back then it took twelve days for a letter to reach me from Budapest, and ten for one from me to travel home, so I didn’t have any fresh news from you, or you of me. From your little sister’s doodles I gathered that she missed me very much. In my happier days there I recognized her in all the black-haired little girls in long skirts. Once a little girl of about seven even greeted me: “¡Buenos días, seňora!” and I answered happily, to be ashamed in the next instant when she corrected me with the self-confidence of a proper young lady: “It wasn’t you I greeted, Madam!” Howeer absurd it sounds, her rejection made me very despondent. Her greeting was answered by the woman walking behind me. Your plump, trusting letters I interpreted now as a promise of the return of our lost happiness, now as its refutation. When I imagined how good it would feel to hear your voices, I immediately became insecure: you might be dismissive. I conjured up the possibility that they organize a school-wide ping-pong championship on that day, or that you would want to enroll in an orienteering competition but either have to drop out or leave earlier because of me. I feared that my mother might over-emphasize my importance and this would fuel your resentment. I tried to ward off my depressing thoughts with diligent note-taking and museum visits at luxury entrance fees. Then one morning on my way to the library I saw a poster announcing the screening of Bardem’s film, Calle Mayor, at a reasonably priced downtown cinema.

I had a season ticket for ten single journeys, I had to be tight with money, so I only took a bus or trolley-bus for long distances. That afternoon, too, I started out on foot on the Princesa to the cinema, leaving myself sufficient time. I had already bought the ticket and still had about half an hour to spend, so I walked on for a few streets’ length when I noticed a large glass office building or emporium on the corner; according to the billboard, a “Sala de Conferencias”, a “Conference Hall”. There were rather many people waiting inside, I thought I would take a look around the hall flooded in light, to see with whom you could have a conversation in there, and on what. I would like to ask my father, I toyed with the idea, if I was allowed to have cheap adventures. I craved the velvety skin of men and the touch of their long fingers, exactly as he used to crave women. As if my yearning had no further aim beyond aesthetic pleasure, and as if one step did not engender the next one, my desires appeared in lamb skins. As if I could stop this side of the instant of complete abandon and could be satisfied by running my fingers along the line of their mouths, or rest my head on their naked chests. Can I keep my name secret from them, and—as soon as I step out the door—become a stranger to them, just as they would remain strangers to me? I would have liked to hear his approval to such questions. But he kept silent until the night of our return from America. He only spoke to me in the mist of the night separating All Souls Day from All Saints Day, when I said good-bye to K. with whom I met for the first time after my long absence in an acquaintance’s flat. When I was groping in my handbag for my key to open the gate, at that moment he addressed me: “You live rightly.” But perhaps you have already guessed what the glass office building or emporium was in reality? The post office headquarters for long-distance telephone calls. The day of my cinema outing fell on April 17th, the Thursday of our agreement, and the hexagonal clock on the wall showed exactly a quarter to six. So I called you exactly at the time when you expected it. Your sister picked up the receiver, then my mother followed, and in the end you arrived (you had a ping-pong championship at school). There must be a rational explanation, to do with the working of the unconscious, for the fact that I didn’t forget about the call, although I had well-nigh forgotten about you. I was filled with gratitude towards providence that you were not disappointed in me, that I could keep my word.

The secret police agent soon reappeared in the shabby room with a flowery majolica plate full of sandwiches. On the one hand she was hungry, on the other hand she thought she couldn’t offend her one-time partner, provided he would let her out at all, so she took a bite. The bread with pork grease and Lajta cheese wrinkled up around her teeth. The grease reminded her of the most tortuous period of her childhood, the months she spent on a farmhouse without her parents; fortunately she couldn’t detect in the taste that smell of the pigsty, the swill and of the boar, which always made her stomach turn; it was its consistency rather that disgusted her. She watched the man’s boyish upper body, familiar from the pool. She didn’t even feel a passing tenderness towards him, her head would not rest on his smooth chest, although she had believed that in her dejection she was ready for this betrayal even.

Thus we started out together with my swimming-pool acquaintance from the restaurant to the bus stop. I wore his company like a thistle sticking to my coat after a walk through the thicket, all the way to Moszkva Square and from there on tram 59 for a few more stops, until the thistle finally detached itself from my coat and got off, for, as he said a short while ago, he lived around there. I imagined his apartment (his mother had been in hospital for some time). Perhaps women go up to his place and help with the cleaning up, perhaps they even cook for him, I mused. Provided he kills his time with women. His neighbours hardly knew anything about him, he told me when we were still in the restaurant, because his apartment opens on a closed corridor, so they can’t check. He must have a secret cabinet with drawers from which he takes out his documents, starts a strategy game, lays out photographs. With me too he proved to be a sharp observer, so at home he would open a new file and put down accurate notes on my behavior. “She has two grown-up daughters. Teaches literature at the Faculty of Arts. She is easy-going and open by temperament but is cautious and backs out before the decisive step. Has a bit of intellectual arrogance. Makes hostile statements on the past regime, doesn’t like to talk about herself, her behavior is tense. The one surveiling her should expect her to lose her nerve at any moment, or to simply turn round and leave. She has her weak spots through which she can be easily approached, these are to be specified, provided the relationship with her continues.” I had already got used to the fact that you would ridicule me. That my feeling of isolation would culminate this evening and I would drown in its high waters, but tomorrow morning, eternal survivor, I would surface again. It is not entirely bad to be a stranger—even to our own child—if we dive into the depths. By giving a shape to my story I tried to gain your sympathy, but I am not trying to get anything, for I’m afraid of change. That you should send me into exile among the happy, and be born to me again? It caught me unprepared that you embrace me, that two identical jackets embrace each other—this makes me lose my bearings. Once the daughter of a well-off family left off her university studies and went to work in the Renault factory: from that time whenever somebody spoke to her kindly she thought their kindness was merely an effect of a misunderstanding. For a long time to come I will live with the faith that you are mistaken, and that your error will shortly become obvious to you, too. Yet out of weakness, for a moment I rest my head on your shoulder.

— translated from the Hungarian by Erika Mihálycsa

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Zsuzsa Takács is the doyenne of Hungarian poetry. She started publishing in the early 1970s, gradually developing a consciously understated, slightly elegiac lyric voice coupled with profoundly personal themes, addressing both private and historical traumas. A former professor of Romance literatures, she has translated St. John of the Cross, Pessoa, Borges and others into Hungarian. Her story “Conference Hall” originally appeared in her 2007 volume A megtévesztő külsejű vendég. Önéletrajzaim [The Deceptive-looking Guest. My Autobiographies]. Her work is widely anthologized, and has been translated into English by George Szirtes, Laura Schiff, and Ottilie Mulzet, among others. Her poems and stories have appeared recently in World Literature Today, The Missing Slate, and Locomotive Magazine. Reviews of her work and an interview can be read on Hungarian Literature OnlineShe lives in Budapest.

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Erika

Erika Mihálycsa is a lecturer in 20th-century British literature at Babes-Bolyai University Cluj, Romania, a Joyce and Beckett scholar. She has translated works by Beckett, Flann O’Brien, Patrick McCabe, William Carlos Williams, Anne Carson, Julian Barnes and others into Hungarian. Her translations of contemporary Hungarian prose and poetry have appeared to date, or are forthcoming, in World Literature TodayThe Missing SlateTrafika Europe, and B O D Y Magazine. A regular collaborator to various Hungarian reviews, she is editor, together with Rainer J. Hanshe, of Hyperion, issued by Contra Mundum Press.

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Sep 132016
 

MLbuganvilias1 (1)

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Happiness

IT WASN’T LIKE they’d been invited, but when they saw that house in the distance, they left the highway and took the dirt road that led to it. Nor were they accustomed to dropping in at strangers’ homes, but the fact was the long trek from Belize to Guatemala, the hours it’d taken to cross the border—as if the young couple traveling in a camper with the young man’s father were suspicious—had left them hungry and thirsty. If they drove up to the house it was to ask where they could eat. As they neared the structure of amber wood, evidence of the occupants’ life comforted them: a bicycle tossed on the grass, a tire swing hanging from the branch of a tree, sheets hung on a line. The sound of their motor attracted the attention of the inhabitants. First the children, then two small blond women and then a man with a long beard came onto the porch and smiled as if they had been expecting the visit. The couple and the boy’s father got out of the cab and the latter took the lead, greeted them in a mix of English and Spanish and quickly discovered English was the language to communicate with that friendly family. Rose, Wendy and Bob introduced themselves and gestured at the children, indicating that they were Wayne and Stephanie. The man and the young people also introduced themselves and then explained that they were looking for a place to eat, if they could give them directions, but Rose, Wendy and Bob immediately insisted that they were their guests, they were making lunch and would be delighted to share it with them. They emphasized the words “share it” and among the three exchanged glances as when a husband and wife consent to a decision taken on the fly, without consultation. Rose, who was wearing an overall which exposed her shoulders crossed by the turquoise straps of a bikini, directed the children, by way of giving them the news: we have guests, set three more places at the table. The children, without copying the welcoming smiles of their parents, said, yes, Mamá, and with looks of annoyance went into the house. Wash your hands, Wendy ordered, lost within a shimmering red dress. Yes, Mamá, the children answered without enthusiasm. The young couple exchanged a fleeting look, trying to disguise their discovery without being able to say a word; only confirming their suspicions by squeezing each other’s hands. They’d heard about communes, different ways of living together, thought they knew all about it, thought they owned the word “freedom” (maybe this trip derived from such a conviction) but now they were witnessing a lifestyle that embodied that word. When they were seated at the table, a bowl of salad was passed around, accompanied by rice with carrots, squash, sprouts, beans and eggs, the main course. They were vegetarians, they said, smiling; they were sorry not to be able to offer anything else, but the eggs supplied protein, Wendy said, and the legumes, the lentils and beans they mixed with the rice. The boy’s father, who traveled with a plethora of vitamins and minerals lined up each morning like beads on a string, endorsed Wendy’s nutritional knowledge and said that in addition these were foods rich in lecithin and nobody took lecithin into account.

During the meal, while Wayne and Stephanie opened their mouths and showed the guests their chewed balls of vegetable protein when their three parents weren’t looking, the young pair and the boy’s father learned their hosts had moved to Orange, Belize five years ago. Before the children were born, the three took a trip to Tikal and were convinced that Central America was the place to start a new life, far from the conventions of capitalism and hypocrisy, with the mystic force of the native cultures. They found a bit of land they rented from a British relative of Rose’s stepmother, and as it was very complicated to explain that, they summed it all up. Here they were, they had chickens, they made soy cheese, ground wheat and corn to make bread, grew fruit trees because vegetables were difficult; the climate didn’t permit tomatoes, for example. They said it rained a lot. We have beehives, Rose informed them when she served the dessert, and it was she who took care of the bees; the guests had to try the mango blossom honey. And she passed the pot with its dense aroma so the guests could pour the divine product over the mangos of their orchard.

The young couple kept exchanging glances; they had arrived in a place as sweet and yellow as the flesh of the mango that they lifted to their mouths in juicy bites. They were eighteen and on the point of deciding what to do with their lives. In the light of that golden well-being, their world seemed made of asphalt and motor noise, too much clothing and too many school exams: insipid routine. The boy’s father talked enthusiastically, asking about methods of cultivation, how they made compost, collected water. He’d just sold his automobile wheel factory and had bought the camper to explore his new life. He’d invited the couple to come along on this journey of recovered freedom, if indeed he ever had freedom, he told them when he spoke of his plans. Wanting to be together and on the road, they readily joined the father’s curiosity and imagination, felt an astonished and joyful complicity with that man twenty-five years their senior. They supposed it was his attitude about the trip and adventure that excited them. They didn’t realize that they shared the same question—what was happiness?

When Rose, Wendy and Bob invited them to see the water reservoir which supplied the house, and which they drank after boiling, the three were elated by the goodness of the paradise their hosts had built. One could live isolated, eat well, laugh and love each other, create a home. The young couple walked slowly in the tropical heat, seeking refuge in the shade of trees on the path. The children got on their bikes and sped by, splattering them with mud from the puddles. But all that was fine. Much more than taking the camper through the middle of the city, much more than the parties where they danced and drank, much more even than going to La Marquesa and climbing to Cruz Blanca at nearly 13,000 feet. Here they were more together. The boy said his friend Aldo would be happy to go with them. She understood his meaning: the three of them could be hand in hand and sleep curled up in the same bed of the camper if need be.

As if to demonstrate he was versed in engineering issues, Bob explained how the water drained down the sides of the pond and how it was fed into another lower reservoir from which it was piped into the house. The gradual slope and quantity of rain were ideal. If the reservoir overflowed, the canals they’d designed carried the water as far as the orchard and then the river below. Under that high sun, the children took off their rubber boots and stripped rapidly to throw themselves into the pond. Bob watched them with satisfaction: the water’s fresh and irresistible, he informed the guests as if he were the narrator of an ad. And he also sat on a stone to take off his shoes. Wendy and Rose joined forces to advise the guests to swim: they had to refresh themselves before getting back on the road. The young couple looked at each other again because they’d left bathing suits in the camper, but their hostesses had already taken off the red dress, the overall and blue bikini, and Bob his pants and t-shirt. He didn’t wear boxers. How annoying they are, he said, when he saw that the boy’s father lingered in his briefs before exposing himself completely. The girl looked at her boyfriend, hesitating. They were still protected in their pants and tee shirts, and even worse, lacked the skill to undress quickly and fling themselves into the coolness with the naturalness of their hosts. The boy began: took off his tennies and shirt, and she, without looking at the boy’s father out of modesty, rushed to take off her playera, bra and finally her pants and socks. When she saw the boy going ahead to jump into the water, she tossed her clothing carelessly on the grass. Alone and naked on the shore she felt destitute. Running after him more as a chore than for pleasure, she submerged herself in the water that revealed their bodies. She looked for the boy because she needed his protection, but it was Bob and Wendy who swam to her side and bragged about the benefits of bathing in their crystalline water. Rose emerged naked and round on the shore, the sparse down of her sex dripping, her breasts pink and large, while the boy and the girl, separated, avoided looking at each other. The women shouted to Wayne not to urinate, which he was doing in a sumptuous arc, on the water where everyone was swimming. And Wayne took off running after his sister.

The young couple began to feel comfortable in the water, in front of the others. As Wendy went over to Bob and embraced him sweetly, as Rose hugged Wendy, as Bob kissed them each tenderly, and then gave them a pat on the butt when they moved away, kicking toward the boy’s father, the shame of nudity seemed to abandon them. It was a thing of the past, of the shore minutes earlier. Submerged near the shore the boy’s father needed a little push, Wendy and Rose said, challenging him to a race. Then he, without saying a word, left his reserve and set out swimming, leaving them far behind while the young people looked at his white rear emerging from time to time. The two women revenged his triumph by splashing him, and then warmly embracing him. Rose kissed him on the lips and swam across to Bob, who laughed while Wendy boldly kissed the guest. The young couple got closer together, there in that water, whose muddy bottom they dipped toes in. They didn’t go near the others, although Bob called them to where he and Rose were playing. He cupped water in his hands and let it fall over her breasts. The young couple weren’t prepared to share their nudity with others; it was enough to feel their submerged bodies beating with a pulse that hadn’t ever manifested like this before: in the midst of a liberty without restrictions, a naturalness like mango flesh. They kissed their wet mouths and his erection brushed her thighs. They’d made love before the trip and during it had dared to while the boy’s father slept in the upper bunk, and also when she stretched out in the back bed, because the tight curves had made her carsick.

This time, with the laughter and nearness of the others, they discovered secret, prohibited sex. There was something public and private in that rubbing under the water; their nakedness, no different than that of the others, excited them. They didn’t talk to each other nor let Bob coax them over; there was enough mystery between them to add something new. The children came back asking that one of the parents peel them a green mango and fix it with lime and salt. Rose moved away from Bob, Wendy from the boy’s father, and Bob stopped calling the young couple and started getting out of the water to take care of the kids. No help for it, he said, and invited the others to eat green mango. He’d wait for them on the porch. He walked his naked, hairy body in front of them all and only the girl looked at it openly. The nakedness of men was something recently added to her experience, and she compared the sex of the boy with that of Bob, who had not been circumcised. The pubes of Wendy and Rose, whose rosy bodies passed near them to get dressed and help with the green mango ritual, didn’t provoke the same curiosity in her.

They didn’t notice when the boy’s father got out to get dressed. Now that only they remained, they wanted to stay, oppose themselves to the rest and the children, kiss each other rabidly because they had participated in a definition of happiness they hadn’t known before. They didn’t know if they wanted it for themselves or if the boy’s father would adopt it.

They said goodbye to Bob, Wendy and Rose, and the children Wayne and Stephanie, who ran next to the camper along the dusty stretch of road, throwing dried mango pits, irritated by that world of smiles and living in harmony, of rice with vegetables and pond water, of nakedness and shared bodies, of Papá and Mamá and Mamá and we love you very much, of that way of being happy. The couple looked at the approaching highway. They paid no attention to the sound of pits striking metal, had their hands interlaced as if to protect them from the need to find answers. When they reached the asphalt and the camper slid along smoothly, the boy’s father broke the silence: good people those Dutch. They didn’t respond, only abandoned themselves to the serpentine road in the midst of the luminous green of the countryside.

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The Textbook Case
……..
for Emilia

HAVE YOU EVER dialed a wrong number? I’m talking about when you’re stressed because you’re not going to get to an appointment on time and then in the car, at a red light, trying to keep the traffic cop from seeing you, you open your day minder, quickly punch in the number of the person you’re going to meet? Since he doesn’t answer, she leaves a message on his cell: “I’ll be there in fifteen minutes, wait for me.” Relieved, she drives to the meeting and there he is with the documents that have to be reviewed so that her paper can be considered for the conference, the first in her anthropology career: “Single mothers in middle class neighborhoods of the city.”

Has it happened that you don’t even realize you’d left a message on a wrong number because the person you had the appointment with doesn’t mention the call and has simply waited the fifteen minutes imposed by familiarity with city traffic? She parks and apologizes before sitting down, but he has no complaints because after all, he’s been comfortably waiting in a café while she’s been the one driving and dodging through traffic, her mind racing like the motor of the car. They begin immediately to review the objectives she had posed for the research: he’s a member of the committee that selects presenters and had been her professor besides. He knows she’s brilliant. During the discussion, her cell vibrates within her jacket pocket; she feels it because she didn’t take the jacket off. She wouldn’t have answered it anyway, because she doesn’t like to be interrupted. She knows when she should take a call and when not to. This isn’t the time. Warming up by her second coffee, she sheds the jacket, so doesn’t feel the insistent vibration–like a dentist’s drill—demanding an answer.

§

She’s back home before she realizes that she has five calls from the same number. The number hasn’t been registered under a name—it would have shown on her screen. There’s a message. “What do you want? Stop bothering me.” The number appears to be similar to her professor’s, which she’d called when she was going to be late. She checks the call and confirms it. But it isn’t her professor’s voice. It’s someone else who answered her call while she was in the café. The voice is unpleasant; she listens to it again. The “what do you want” is loaded with irritation. While she searches for the professor’s number to see what the error was, someone leaves another message. She listens to it: “I told you not to call me.” It’s the same irritated male voice. The insistence angers her and she thinks how absurd it is that an attempted apology set off this series of calls. When she gets a call from someone she doesn’t know, she simply doesn’t bother to answer it. To do this, someone must be very lonely. At best, it’s a message in a bottle washed up from the sea, like in the story she read by some Bernardo Ruiz, where a girl calls numbers at random from prison to see if someone sometime will answer from the outside. And someone does.

§

She fixes dinner: a sincronizada, grilled tortilla sandwich with lots of salsa and beans. She’s happy with the professor’s comments: it’s likely that she’ll be chosen to read her paper at the conference. She feels good, like when she made paper boats with her father and blew on them so they’d sail in the fountain at the park and the boat didn’t fall on its side, but kept going straight. As she sits to eat, the cell phone buzzes. She’d put it on vibrate, and on the table the sound resembles a compulsive cicada. That’s what her mother says: “Answer your compulsive cicada already.” She’d never seen a cicada. Her mother said they were big, ugly, nocturnal insects. That their looks match the disagreeable sound they make. She answers without thinking, and the voice at the other end scolds her: “I told you to never leave me messages.” She thinks about the cicada’s appearance; suspects this man has a wart on his big nose. “Look, mister, I don’t know who you are. I called a wrong number,” she says, liberated and looking at the sincronizada on her plate. “I made a mistake,” she mutters in an exasperated tone after a silence. The cicada seems to have realized he doesn’t know her voice. Another silence; she’s on the point of hanging up but he finishes with: “Then don’t go around making mistakes, stupid,” and hangs up. She returns to her lukewarm dinner. Now on top of feeling guilty for arriving late to her appointment, she’s supposed to feel bad for having dialed a wrong number. She has the urge to call the imbecile back and tell him that surely he’s never made a mistake. He’s never confused a two with a seven, which is what happened to her.

§

Has it ever happened that the mistake you made kept coming back? That once you’ve sighed the relief of confusion clarified and begun to forget the voice of the bothersome, disconcerting cicada, and are in bed reading the novel that lulls you to sleep, the phone rings again and you find that at such an hour (when normally only family or your partying friends would dare to call) the wrong number is calling again? She doesn’t even consider answering. If it wasn’t clear enough and he can’t stand getting an erroneous message, then he should see a shrink, give that a shot, just stop bothering her. She mutes the phone and sleeps. The next morning its red blinking makes her realize there’s a message. She sighs, reluctant to listen to this intrusion. She thinks the word and it seems curious to qualify someone who calls that way, because actually she was the one who inserted herself into a stranger’s life, by bungling a simple courtesy call.

§

While drinking her coffee on the edge of the bed she listens to the message. “Slutty woman, leave my husband alone. Damned whore.” The strange voice is fraught with aggression. It’s astonishing that her misdialing has resulted in all this. She supposes that it’s the old, where there’s smoke…or she fit like a glove in the wrong place at the right time, someone’s tail has been stepped on…She’s upset, making explanations in proverbs like her grandmother. She wants to call the woman and shout at her that she’s done nothing, that they need to leave her alone, that their fights are their problems and if her husband is despicable, they have to deal with it themselves. She clears herself with those words with which she would like to pierce the idiot’s ear. Then she starts thinking about how absurd the situation is and how laughable. What if she calls and says to the man: Look, I already told you I called your number by mistake, straighten things out with your wife but don’t put me in the middle of it? She imagines him explaining: “Sweetheart, honestly, the girl called by mistake. She can tell you herself.” He hands over the phone. She says: “I’m Elsa, an anthropology student, you’ve mistaken me, ma’am, and I’m neither a whore nor do I get mixed up with repulsive cicadas, and even less married ones. If you are not disgusted by your husband I am.” And the wife replying: “Ah, you know him? Don’t think that I’m going to believe you, dead mosquito. It doesn’t matter to me whether you study seals or whistles, don’t students fuck? Or do books inhibit sex?” She wasn’t going to bare her breast for the other woman to unload on. She didn’t want to begin her day that way, fed up to here, or better yet, up to her ass, in the middle of the bed of Mr. & Mrs. X.

§

Haven’t you done the same out of sheer exhaustion? On the tenth message from the wife infuriated by the infidelity of her husband, by her jealousy justified or not, after receiving insult after insult each time more obscene, more grotesque, wouldn’t you opt to put an end to the situation? Of course, she could have shut off the cell, asked for a change of number. But she thought she shouldn’t have to be made the victim of the game and suffer the consequences: having to advise everyone that her number’s changed, especially the professor who should call her in the next few hours. And no way he ought to get that “the number you called is no longer in service” routine. The messages have intensified so drastically that she thinks only confronting the gross, obscene woman will resolve things. So she answers the tenth call in the afternoon and tells the woman they can meet in the Vips on Revolution. Sufficiently far from her house. She will explain who she is and why the woman should leave her in peace. Perhaps the two of them can get a load off their minds.

§

She sits at the table nearest the entrance, as they’d agreed, and orders a coffee. She doesn’t like the coffee in that place but only wants to pass the time and calm her nerves. She doesn’t know how she’ll react when she sees the enemy: what’s the woman like, with her shrieky voice and beside herself? Short? Curly hair? Does she have a big nose? Doesn’t wax her moustache? Dresses in loud colors? By the jealousy, she supposes the wife’s neither very young nor very old. Forty-something, she thinks. Typical case of the husband who betrays her with young women because her fading looks and domestic preoccupations have killed his appetite. Typical case. She, young, nice-looking, tall, a bit plump but acceptable, fell into the middle of a textbook case (so says the professor). If the jealous wife sees her, she won’t doubt that her husband has been having an affair. The thought floors her. She looks at her watch: the fifteen minutes have lapsed. The woman ought to be there already. She looks around: tables with couples, groups of women, two men, a family, various young people. She realizes that she’s the only woman by herself in the place. The cell rings. She recognizes the number and answers cautiously. Nobody speaks on the other end. She looks around thinking that a cell at the ear would allow her to discover the accuser. She feels afraid. Better to go.

§

Wouldn’t you have done the same? Now she doesn’t want to face the person who has not appeared. She’s been naive. The textbook case doesn’t end like this. Go. She leaves quickly after paying and stamping the parking ticket, looking around as if she were guilty of something. Not wanting to run into the woman who was perhaps just calling to say she was late. But the voice didn’t speak. Would she repeat the situation that started this distasteful appointment in the first place? She gets in her car and goes down Revolution, takes Rio Mixcoac to her house: she’ll get home and throw the cell in the trash. She’ll send her professor an email, trying to make sure he doesn’t think it’s just a way of trying to find out the committee’s decision; she’ll say her cell’s not working, that she missed anything if he called or texted her. If there was anything, of course; and then she’d tell him what happened as a result of her appointment, the textbook case…

§

The last two blocks seem interminable; she turns, parks in front of the house and when she starts to get out of the car it hits her. Noticing a car parking behind her, she’s struck by an urgent need for safety. Instead of walking away, she runs to the front door of the house. She goes in and, without lighting the lights, closes herself in her room. Then the cell rings again. She knows that if she looks out the window, a woman will be standing on the sidewalk with a phone to her ear. She moves the curtain and peeks out. The woman’s a tall redhead. And determined. The cell continues to ring. She has no reason to get rid of it now.

— Mónica Lavín, translated from the Spanish by Patricia Dubrava

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Mónica Lavín is the prolific author of short stories and story collections, including Manual para enamorarse, 2012. Her novels include Yo, la peor, about Sor Juana Inés de la Cruz, which won the Elena Poniatowska Prize, 2010. Lavín has also won the Gilberto Owen National Prize for Literature among other awards. www.monicalavin.com.

§

Patricia

Patricia Dubrava is a writer and translator whose translations from Spanish include stories by Mónica Lavín in Metamorphoses, Reunion: The Dallas Review, K1N, Lunch Ticket, and Norton’s Flash Fiction International, 2015. Most recently, in 2016, Lavín stories have appeared in Aldus Journal of Translation and Mexico City Lit. Dubrava blogs at www.patriciadubrava.com

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Mar 272015
 

Windsor Review2

A new little story of mine, a jeu d’esprit, a micro-story (a three-pager), called “A Noir Romance” has just come out in the fall issue 2014 (yes, a bit late) of the Windsor Review, a special Alice Munro issue. This is a print magazine, so you’ll have to go buy a copy to read the whole story. This issue of WR is blessed with work from several other Numéro Cinq bad girls and boys, including Marty Gervais, Karen Mulhallen, John B. Lee, and Amber Homeniuk.

Here’s a bit from the story, the opening lines.

“The short one, you say?”

“Yes. I believe that’s him. He had a mask. It was dark in my bedroom.”

“He had a mask.”

“Yes, sir.”

“But it was definitely the short one, you say?”

“He had a mask, but he was short just like the one in the middle.”

“The short one.”

“He had that look, you know. Short. I was wearing my nightie and putting cold cream on.”

“In the dark.”

“Yes. I’m really rather sure it’s the short one. He looks like a man who would steal up on women in their bedrooms.”

“Because?”

“Well, he has that look. Short. Shortness. Like the one in my bedroom.”

“Ma’am, the short one is an officer from the precinct. He picked you up and drove you here.”

“No. I would have recognized him.”

“He’s a police officer.”

“No, sir. It’s the man in my bedroom.”

“Because he’s short.”

—from “A Noir Romance” by Douglas Glover @ the Windsor Review

Jan 312015
 

 

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Tom Take 4

Tom Faure is a Contributor at Numéro Cinq. A graduate in the MFA program at Vermont College of Fine Arts, his work has appeared or is forthcoming in Waxwing, Zocalo Public Square, Splash of Red, Chattanooga Times Free Press, The Journal News. He lives in New York, teaching English and Philosophy at the French-American School of New York.

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Oct 152014
 

Woodard Bigger

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Daisy sits in a fast food restaurant booth, waiting for a man named Red Carnation to arrive and purchase her soft pebble of a baby, who is propped atop the Formica table, fast asleep inside a bassinet. She listed the child online as “like new” and included photographs of him clowning with a stuffed rabbit to up the cuteness factor.

Daisy’s unsure why, but over the past month, she has traded, sold, or discarded every item that ties her to this town. Gone are her souvenirs and trinkets, her albums and yearbooks. The purge feels cleansing, and the tyke is her final fragment to shed.

Questions had inundated her inbox: Is the father strong? What is the average height of the men in your family? How well can the baby see in the dark? In the end, Red Carnation seemed the most straightforward of potential patrons: He had few queries and plenty of cash dollars. There was also the fact that he too was named after a flower. Daisy saw that as a sign.

When she described herself to him in their last telephone exchange—medium height, medium weight, medium length blonde hair—Red Carnation didn’t reciprocate.

“Those who frown upon the selling of children are always listening,” he told her in a wise, gravely voice.

Her body begins to itch with anticipation.

Has the baby reacted unusually to a full moon?

The door opens and a small man enters wearing a tie-dyed t-shirt, jeans, and a red carnation tucked behind his right ear. He approaches Daisy with a smile; her pulse quickens. “Hello, Red?” Daisy says. Sitting across from her and the tot, he shakes her hand and replies, “You look conspicuous without any food.”

She eyes the blank table space in front of her. “Oh, I didn’t know. I’m sorry. I’ve never sold a baby before.”

“Baby or no baby, it’s about appearing normal.”

“I’m not very normal.”

“That’s all right,” Red Carnation says. He slides a five across the table. “It’s on me.”

She looks around for others. “And you’ll steal my baby while I’m away?”

“This isn’t my first rodeo, and I’m no monster, miss.” There’s a cowboy twang in his grit that appeals to Daisy. It’s the twang of trust.

Daisy slowly inches off her seat, keeping a close eye on Red Carnation as she walks to the register and buys a cheeseburger. A bead of sweat skates down her cheek. The boy serving her resembles a reflection in a funhouse mirror, and he concentrates on a Chemistry textbook resting on the counter. “You wouldn’t happen to know the difference between an ionic and a covalent bond, would you?” he asks as he makes change.

“One steals and the other shares,” Daisy says.

“Sounds like my friends.”

Daisy groans. “I’m talking electrons.” She takes the bills and coins from the boy. “Look, I’m no tutor, OK?”

Is the baby afraid of loud noises, particularly loud motors?

The child shifts as she unwraps the cheeseburger in the booth, but still does not wake. She holds the wax paper close to his face and scrunches it hard. Again, no reaction. Daisy nods at the impressive feat, at the perfect baby in front of her, with impeccable manners.

Red Carnation says, “Did you medicate him?”

“Who drugs a baby?” Daisy replies, then remembers why she’s here and feels a tad sheepish. She stifles a laugh and reaches out to give Red Carnation his change, but he tells her to keep it.

“Like a bonus?” Daisy says.

Red Carnation gently runs his fingers over the baby’s wisps of hair. He is about to ask her why she’s giving up the child. The inquiry hovers in the air, like a radio wave. Daisy inhales a mouthful of cheeseburger. “We don’t have much of a connection, I guess,” she says as she swallows. “He’s not good at reading my mind. And there isn’t a daddy.”

“He’ll be very happy with us,” Red Carnation says. He withdraws a phone from his pocket—not the phone he used to contact her, a burner most likely snapped in two and dwelling in a dumpster out back—this is his everyday phone, and he shows Daisy photos of his farm. On the small screen, the landscape looks pleasant, welcoming. He does not reveal the farm’s location, but extra radio waves tell Daisy it is upstate New York, or Vermont, or New Hampshire, or Maine, or maybe Arkansas, or Oregon.

The final photo he pulls up is of the rest of his family. They’re all dressed in white shirts, including the little ones, sitting and standing in a cornfield. There are so many faces and bodies they don’t fit in the frame.

Daisy imagines her son with this group. There would be bunk beds and campfires, sing-alongs and fishing. As a boy, he might climb trees, ride horses, pass through a screen door into a kitchen thick with the smell of broth. He could drift on vapors into a room full of couches, where a sister, the same age as him, practices a violin. The tune Daisy conjures is that of a lullaby, and the boy curls tight on a cushion and shuts his eyes. His mouth bends into a smile, a truly genuine smile. He is so very happy.

“You don’t have room for one more, do you?” Daisy jokes.

Red Carnation plucks the flower from behind his ear and hands it to her.

What is the precise sound of the baby’s cry? Have you played the lottery since the baby’s birth (and, if so, did you win)?

From here, the transaction lasts less than three minutes. A crumpled contract is signed: Daisy’s hand shakes and her name is illegible, but Red Carnation says it’s fine as he photographs her with the contract in hand. A small bag replaces the bassinet.

“Any last words?” Red Carnation says.

“You sound like an executioner,” Daisy replies, to which Red Carnation laughs. She places the bag next to her on the bench.

She doesn’t remember watching Red Carnation and the baby leave, but the flower remains on the Formica, a token, like in the movies when someone wakes, saying, “It was all a dream,” before finding an important object under the bedcovers.

Daisy thinks about that broth, the horse rides. She thinks about the sigh of the violin as she loiters in the restaurant. While she’d like to leave, she finds that she cannot separate her legs from the booth’s bench. It is as if all of her energy has evaporated during the transaction. The act of walking, of standing, feels too great, too grim.

Even as she swallows her fourth bite of cheeseburger and spies a long, brown hair, shocked golden with mustard, drooping from the sandwich bun, Daisy does not rise. Gummed to her seat, she looks back at the boy learning Chemistry, so very lost in science, in terms, then turns her attention to the restaurant’s large bank of windows. It is dark outside, and the restaurant’s neon sign, boasting of billions served, paints the night a wash of red and yellow, the colors of action and cowardice.

— Benjamin Woodard

Benjamin Woodard lives in Connecticut. His recent fiction has appeared in, or is forthcoming from, Cheap PopdecomP magazinE, and Spartan. In addition to Numéro Cinq, his reviews have been featured in Necessary FictionPublishers WeeklyRain Taxi Review of Books, and other fine publications. You can find him at benjaminjwoodard.com and on Twitter.

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Aug 092014
 

Lee Thompson

 

George and Chiara spotted the sea monster not far from where they had set down their picnic blanket and basket.  It was George who had recommended this spit of rocky tongue that overlooked the sea, but not because he thought a monster might be floundering a stone’s throw from Chiara’s smooth, tanned knee, but because he wanted to be alone with her, away from the hotel, and on Chiara’s map she had written ‘hidden lover cove’.  But it was while gazing at her knee – which had small, pale scars – and while letting his gaze slip higher that something beyond her hip caught his eye.  That hip now, the hip he had held and pulled to him last summer, that hid beneath a thin summer dress, there was no reason for his eye to leave that hip, especially as his cock began to stir against his thigh.  It is not so easy this time, Chiara had said as they set the blanket down.  There are… complications.

It is hungry, was what Chiara said, after they had wandered to the shore.

It was green-black, serpentine, had a dog’s head and fur here and there where its stubby limbs joined the body. The fur was more a bronze colour, and thick.  It didn’t look real.  It had nostrils that flared and closed, like a seal, and Chiara said it is just a weird sea lion, George, and George remembered her way of saying weird, and other strange inflections.  Its mouth, when it opened its mouth, was wide, sucker-like.  OK, it is not one of those, said Chiara.

I do not like it.

But we should feed it.

.           

If there was divine form in the universe, it was that sweep of hip, that fall and cradle for a cheek or a palm. In bed last summer, in Chiara’s childhood bedroom, her mother having stepped out to get a few things at the market, George had thought this and tried to tell Chiara.  You think too much, George, she said.  Once, I thought too much.  But no more.  Do you understand?  And she had moved over him so slowly, like a curse, and took him in her mouth.  She did not stop when her mother returned, calling out from down the stairs, nothing George understood for he was distracted and not good at Italian.

How did he feel when she went below and then kissed her mother on the forehead?

And how did he feel when her mother kissed her, on the lips, and then met George half way up the stairs and kissed him, too?  I love… this man, she said, proud of her daughter’s choice, and her own passable English.  Keep him.  And they ate.

.

Why does it not like fish, George?  It is a thing of the sea, it has the smell of the sea, but look, you throw it fish, dead fish, alive fish, and it is like you give it shit.

George told her not to stand so close.

Why, it won’t eat me!  Chiara stuck her foot toward the monster, told it to take a bite, and before George could move – for they were on slick rock – the thing had lunged and perhaps only her falling back had saved her, that and her swearing.  She had bloodied her elbows but was never one to feel pain, unless it was the pain of the past.

It needs a pig, she said.

So they left it in its shallow pool on the edge of the spit and gathered their picnic blanket and basket and hopped in her old French car and drove inland, to the mountains, where she said they would catch a pig, a wild boar, with their hands, no, but with the blanket and put it in the basket, yes, that was a better idea.  George recalled last summer when she would not make love in the forest for fear of boars, and now she wanted to scoop one into a basket?  She laughed.  Just a baby one, but you will have to keep the mama away.

They did not catch a wild boar.

But she told him about the complications.

.

There once was a man and a woman, George.  And the man and the woman lived very far from each other.  They lived so far from each other that there was water between them.  So much water.  And the water was full of salt, like tears, like crying tears, not tears like rips.  Am I saying it right?  Tears. Teers.  Stupid language.  Why is your language like this?  Why do you not fix it?  How do you English talk to each other without every body saying what, eh, huh, excuse me?  Squid!  Stop the car, turn around, George!

It’s context.

What? Turn around.

At the roadside market she bought too much squid, but she liked it, too.  And squid was also a weird word, she said.  She squeezed her hands together, delighted.  Squid squid squid, she said, pretending to squirt something then looking him in the eye and saying oh Georgie, I want to squid you.  I am very serious. So they drove back to the serpent while the sun sank through the sea and set the blanket down once more and made love.  The serpent thrashed in its shallow pool.  Its odour, and the odour of the squid in the bag, and the scent of Chiara’s hair and the musk of her body lotion and the breeze from the shore had George drunk and not worrying about anything beyond Chiara’s movements.  Her mouth covered his and she held him between her thighs, would not let him pull out.

I am pregnant, she said afterwards.  So do not worry.

Naked, they threw squid into the tidal pool.

But it did not eat.

.

It wasn’t his, and that was the complication.  She would not say whose it was, saying only there is so much water, George. He had his hand on her brown belly, his pinky finger in her pubic hair and his thumb over her navel.  A baby?  She shrugged.  Are you sure?  She nodded.  I stopped bleeding, did the stupid test, now it grows in me.

Could he make love again?

She took hold, tried to tease it back to life.

Why won’t you eat, she said to it, then laughed.  She spread her thighs.

They left the motel and stopped the car alongside the highway, for there was a stench.  A bag of hot squid in the trunk.  George said it was a waste but Chiara said the sea birds and homeless cats would not let it go to waste.  But yes, it is sad to throw it out.

The tide had ebbed, flowed, left behind wrack and dreck, had easily washed over the sea monster’s pool, but had left the creature behind.  It is dead, said Chiara.  And I am hungry.  Throw a stone at it.  George lobbed a stone underhand and the sea monster sloshed its tail.  Chiara swore, said she would not spend her vacation doing this, said let’s grab it and George said we should just tell someone.  Who?  Isn’t there a marine centre, or?  They have seals and dolphins, George, not these.  She took off her sandals and before George could stop her – he had returned to the car for his camera – she  entered the pool.  Are you fucking crazy, George shouted. Chiara, turning, made a small sound deep in her throat and collapsed.

.

He would rescue his beloved with her car.  He would put it in neutral and push it over the edge where it would tumble down the rocks and land atop the beast. He stood at the edge of the pool and saw the car topple, pin the sea monster. Just kill it, kill it.  But how do you put a standard transmission in neutral?  Where are the keys? Hit it with a rock!  Who had she fucked?  Why did she do that?  There was a metre of water between them.  If he leaped in?  Distracted it? Call, call for help.  If it ate her it would also eat her baby.  He couldn’t watch it eat her.  He was doing nothing.  How could she just stroll in like that?  Really, how messed up is that?  It’s like you’re that kid who strolls into the tiger exhibit holding out his sandwich.  But that’s it, isn’t it?  That explains why she had fucked around.  And come on, there was Paul, remember?  George, Paul will not be happy with me, I should not see you.  What about Ringo?  She paused, then laughed, was sputtering, was crawling for the edge of the pool reaching for George, who pulled her out.

If anything, the sea monster had moved farther from her.

It won’t even eat me now, George.

It was electric, she said, lying in his arms.  Zap.  Zap zap.

____

Days later, when Chiara could walk again, for she had indeed taken quite a shock, they returned to the tidal pool. It was dusk and high thin clouds swirled.  On the salmon-hued horizon a sailboat’s mast swayed and they could hear the sea crashing.  This is the Ostro, Chiara said, or the unhappy wind, so we mustn’t stay long.

He told her he wished she wouldn’t.

My hair?  It is mine to do with.

But I love your hair.

You are leaving, George, what do you care?

On the drive along the rocky spit she had said she could feel it in her hair, the creature, that it had discharged in the pool, peed or squirted something, but you wouldn’t understand.  This is because no one understands.  She placed her hands on her stomach.

She hadn’t lost the baby.

At the hospital George changed the story Chiara had burbled while under pain killers.  Not a monster, he said, non e monstro, non e animale, era… uh, lightning… rumble sounds and sky gestures.  The doctor’s brow furrowed, una tempesta? ieri sera?  Si, George said, ieri sera, tempesta, ma… piccola tempesta.

You should not even try, Chiara had said.

Little storms pop up all the time, George had said.

You are foolish, Chiara had said.

And the mood was no better an hour later.  Why should he be bothered if she wanted to cut her hair?  It was long and black and cutting it would make her much less attractive and, but what did that matter, too?  She was expecting another man’s child.  How did that happen?  With him she was always  insistent on condoms, saying a baby would be a disaster, there would be rumours in her hometown, her father would know she’s not a virgin (she laughed), she’d have to quit her job teaching kids to dance, which would leave those kids with nothing to do all summer and maybe they’d start smoking, drinking, get pregnant…

The sea monster was still there.

.

We will get gasoline and set the pool on fire.  But we should do this at night, when no one will see the smoke.  I know what you are thinking, but smoke will hide the flames.  No, I do not have experience with this, George. But it is common sense.  This is cruel, though, so we won’t do this.  We should get a shark and put it in there.  Well, a small shark, please George I am not stupid.  But we have to do  it. It is our responsibility.  What if children come here to play?  It will kill them all.  We will be guilty.  Maybe you can throw a stone at its head?  You throw stones well.  But that could take a long time.  A gun?  No that is crazy, you cannot get a gun on the island.  Why are you looking like that?  You don’t think we should kill it?  It tried to eat me, George.  Let’s wear boots and drain the pool, OK?  Yes, this is the best way – it will leave the pool when there is no water, or it will die.  Both of these things are the best things.  So we need the little buckets and rubber boots.  But you cannot buy rubber boots here, we must steal them from fishermen, who buy them off the island.  They only sell sandals here, and flip flops.  No, no we don’t need to stand in the water, we’ll just scoop the water out.  We will do this tonight.  I will make us sandwiches. 

.

To Chiara, a sandwich was a brick of dry bread with a chunk of brie stuck in the middle and George wondered what kind of wife she would be.  She had a fear of corners, and she talked about this as if it were a common thing.  My fear of corners is worse than most.  She didn’t allow him to touch her clitoris directly, but would tear the hair from her loins with a brutal, buzzing device.  He watched her while she did this, one leg set on the bathtub ledge.  You like to watch me torture myself, George?  But everything was a kind of torture. 

In bed she was erotic, but a prude.

She often called him a sorcerer.

You have a big belly (he didn’t!), so how do you do this to me?

They lay in bed, the sheets soiled from two weeks of heat and secretions, his cock aching and his underarms rank.  She was two months along, she’d said.  She liked not having her period, not bloating like a seal.  It hadn’t set in, really, that she’d be a mother.  She asked if he was angry?  She said no you are not, you do not anger, and George shrugged.  Or is it only fucking, George?  He said it wasn’t, but it was, though it wasn’t, so he didn’t say anything for he saw her as volatile, not dangerous, not a storm, just…  Well, admittedly, if he’d arrived and she’d said I’m pregnant and we cannot have sex, it would have been different.  He’d be unhappy, yes.  She started to stroke him, no longer surprised that he was hard again.  She wondered if it, the monster, had a cock.  Maybe he only wants a girlfriend?  Maybe he is the last of his kind.  Poor guy.  She stroked him slowly.

.

As midnight approached and the rising moon slipped in and out of mackerel clouds, the creature began to keen.  Above the falling surf it keened, a sound that was not like a baby’s mewling, though that’s what George thought of.  It keened as they scooped seawater from the dark pool and Chiara said it knows what we are doing, George, but George said perhaps it keens every night.  Chiara started to cry.  George held Chiara.

They were racing against the tide.

There is too much water, said Chiara through her tears.

.

They slept in the car, the back seats set back and Chiara sprawled over George, who woke to the sound of rain.  The remnants of a dream slid across the rear windshield and the car shook.  His heart raced.  It had been in here, or it had tried.  Through the rust it had moved, the vents.  The car shook and it was the wind, he knew, lashing from the sea. The Ostro whistled through the rocks below and he moved out from under Chiara, an arm numb, moved out and slipped into the front seat, started the car and turned on the headlights, saw sheets of rain and white crests of waves, tried to put it into gear, stalled, remembered that she had parked too close to the edge, the drop was there, the passenger side.  He turned the headlights off, then the car, slept in the front seat until the sun woke him.

When it did, his lover was not there. The car’s rear hatch was open.

And he did not find her down at the shore, sitting at the edge of the tidal pool, watching over the  serpent, which was gone.  He walked, then ran along shore, stumbling over rock, seaweed, stung by plump purple jellyfish when taking to the water, thought he saw her offshore, on a jagged excuse of an island the locals called Scoglietta, the Little Stone, so he stripped nude and swam part way, but nothing was there and the current took him far from the spit.  He drifted, tread water, trusted the tide would return him to shore.  After an hour he stopped calling her name.  After two a local on a surfboard helped him to a beach, which was filling with sunbathers.  His nudity did not shock them, but the violet blisters from the stings did.

____

George, wake George.  Wake up please.  Why can’t you wake up, George?   We don’t have all day.  Can I slap him?  Why did he swim?  What kind of fool swims with jellyfish before breakfast?

George.

He felt a soft touch on his face, then his cheek being pinched.

Were you looking for me, George?  You were?  Yes?  No?  He heard her ask if people swim in their sleep, heard a grunt in reply, heard her say he talks in his sleep all the time, talks nonsense.  He could see her gestures, but the rest was a blur.

You are a mess, George. You are like… bubble wrap.

Crap, he said.

I don’t think we can have much fun on your last week.

Damn, he said.

She whispered, Well maybe you can watch.

She said that, he knew, to wake him, rouse him under the sheet.  Was there stirring?  He was very tired, he said, but tried to smile.  You swim for, like, ever, George.  They found you in the lido next over!  I drove to the hotel for my phone, and then there are sirens so I thought yes, those are for George….

You know me well, he said.

And then I thought no it’s just a crazy man showing his penis to every body.

Oh…

She sat on the bed next to him.  But I kind of recognized…

.

Chiara drove George back toward the hotel the following morning, happy that he’d only truly been suffering from dehydration and exhaustion.  The stings would heal, but leave purple scars.  She liked scars, she said, scars told the truth.  Her mother, she told him, was arriving later that evening, so they had to meet her at the port.

My mother likes you, George.

The sea monster, she said, laughing, it was some kind of plant.  Like a vine.  She’d gone down to the pool while he’d slept snoring like a toad, and everything was a mess, seaweed and sand and garbage and there it was, George. I gasped. It was trying to get out. It was crawling toward the car and I had no time to wake you so I grabbed a piece of drifting wood and I thought it’s going to eat me and my baby but I smashed it.  I am a tiny woman, you know, but when I get angry, bam bam bam.  She laughed, then shuddered.

It had strings in it, and green blood!

Strings?

You know, like rope, like… sedano.

Fibres?

It was a stupid stupid plant. That is all.

Well, but… no, Chiara, that’s not

Yes, and it lives in the ground, George.  I bashed it and it started to move, just a little bit.  And I said George, George come and see and then like, like a noodle it was sucked back in.  Into the hole, George!  And then all the water, too.  I must be hallucinating, I must be dreaming this.  And then I go back to the car and you are gone, so I run down the road looking for you.

Crazy, crazy morning.

.

Chiara did not stop at the hotel, but drove on through the royal palms and roadside agave saying she hated the hotel and wasn’t it too much like a hospital room?  You smell like a hospital, my lover.  On the west side of the island there will be no one, she chirped, the beaches are too rocky, but the wind is happier.  It is the Mistral. We will lay you out on the shore, George, take off your bandages, cover you with a soothing balm and we will kiss you where you have not been stung.  Will you show us where you have not been stung?

George’s cock stirred against his thigh.

And then we will go get mother.

—Lee D. Thompson

 

Lee D. Thompson was born and raised in Moncton, New Brunswick. His fiction has been published in four anthologies, including Random House’s Victory Meat, New Fiction from Atlantic Canada and Vagrant Press’s The Vagrant Revue of New Fiction, and in more than a dozen literary journals across Canada and the US. Lee’s first novel, S. a novel in [xxx] dreams, was published in 2008 by Broken Jaw Press. An e-book, Diary of a Fluky Kid, appeared with Fierce Ink Press in February 2014. In addition to writing fiction, Lee is a guitarist and songwriter who records under the name Pipher.

 

Jul 142014
 

photo(7)Michael Bryson & friend

 

There was the matter of the orgasm. Years later he suddenly remembered. She hadn’t been the first, but she was the first on a regular basis. She wanted him, and he wanted her, and they did it almost every day. He was thirty-one and his sexual self-esteem had crashed harder than the Leafs in the playoffs. Woody Allen had called masturbation “sex with someone you love,” and Barry had long lost any shame associated with being alone. Then he met Sherry, and she would unzip him almost before he’d closed the door to her apartment. She would fondle his penis when they went to the movies. One time he was watching the news and she told him to relax. Unzip. Ping. She went down on him as Peter Mansbridge went out of focus. But she almost never came.

That was a long time ago now. Thirteen years ago. He was with Sherry two years, and their second Christmas together he knew she was angling for a proposition. Knew it very late. He thinks now the thought crystallized on Christmas Eve at her sister’s house. Sherry had made mashed potatoes and fretted over them. She had told him how the dinner would go. Everyone was making a different dish. A certain standard had to be upheld. The potatoes had to be creamy without being milky, spiced with a hint of garlic but not rot full. The food would be served, places taken, minor words of religiously neutral thankfulness spoken. Dig in. Dished out. That’s nice, oh, that’s nice, oh, that’s nice. And that’s exactly how it happened.

You learn something in every relationship, and what he learned from Sherry is that two years isn’t long enough to get to know anybody, but then again maybe they were just at that age when they were still changing. They were in their thirties and unmarried, childless, living out an extended youth. He knew she wanted four children. He’d said he was okay with that. He’d thought about marrying her, but he wasn’t going to propose over Christmas, and he wasn’t going to do it at New Year’s either. Then he suddenly caught the hint that she was expecting it. Who had given her that idea? Certainly not him. Her mother, probably, or her sister, or some girlfriend. Some girly conspiracy had indicted him in a test case. They were watching. He would fail.

Getting through Christmas, having fun, sharing laughs about the silly family stuff, these were his tests. In the first week of January, would they still be friends? Could he imagine himself with these people, her people, twenty years hence? Would they show any interest in him? Any empathy? Any common cause? Sherry had already warned him repeatedly about her father. Mid-way through dinner he would go off. “Just duck,” she said. “Let him blow it off.” And he did, J. Edgar Hoover style. Barry was good at nodding. Listening, noncommittal. Something similar had happened at Thanksgiving. This was 2001. The American’s hadn’t yet attacked Afghanistan. The towers were still smoking. “It’s terrible how they treat women,” Sherry’s mother had said. She was prepared to go to war for that.

He remembered walking home through the park after that October dinner, Sherry raging at her parents’ stupidity. She had a Master’s degree in Public Administration. They weren’t interested in her opinion on any subject. She worked for a major polling firm as a senior manager. Her title was Vice President. In her spare time, she painted. She wanted to paint more. She was tired of statistics and politics, but she knew she was good at statistics and politics, and it paid the bills. Barry was the antithesis of her parents. He encouraged her art. He affirmed her social analysis. He got hard for her every night, but he couldn’t make her come. Sometimes she came close. She would squeeze tight and the friction on the head of his penis would make him explode.

He didn’t propose, and she got mad at him, and on New Year’s Eve she didn’t want to touch him. “I want to be alone,” she said, so he went back to his place. Two days later she called him. “I want to see you.” They were all over each other in the hallway. Her roommate was away. They went into the roommate’s bedroom, and she came, the best ever. “Why can’t we do that every time?” He didn’t know. He hadn’t done anything different. When he thinks of her now, he remembers her easy smile and her soft tongue, the struggle of her personality to find peace in the world. She was tall and beautiful. Sweet and large-breasted. Smart and confused. Talented and lost.

Weeks turned into months, the new year progressed, her unhappiness worsened. “So quit your job if you want to,” he said. “Let’s move in together.” It wasn’t marriage, but it was something. He still needed to know they could be happy together, not just compatible. She quit her job and became more unhappy. Barry became more concerned and suggested that she see her doctor. “I think you’re depressed,” he said. He went to work and came home and she said she hadn’t done anything all day except watch TV. “Don’t tell my parents, okay?” She hadn’t told them she’d quit her job or that they were moving in together. They practically lived together anyway, just he still had his place, which he was giving up. He’d given notice.

Then one morning she woke up with a dead zone look in her eyes. “I don’t feel well,” she said, “and we didn’t even have sex last night.” Barry said, “Yes, we did.” He straightened up and touched her face. Whatever this was, it wasn’t depression. This was a separation from reality. He told her to lay down and went to fetch a glass of water. What else? What to do? Buy time. She sipped the water and laughed. “I feel strange,” she said. “Strange how?” he asked. She said, “Just strange.” He considered calling his mother. No, this was his to deal with. He couldn’t leave her like this. Something had to be done. “Do you want me to take you to the hospital?” he asked. “Do you want me to call your sister?” Sherry indicated she wasn’t sure, then she was. “Sister. Call my sister.”

Her sister came, and by then Sherry’s confusion had multiplied. She asked the same questions every ten minutes, not remembering she’d asked them before. The sister decided to take her to her shrink, the one Sherry had ridiculed for the weak marriage counseling the sister and brother-in-law had sleep walked through. “She told them they don’t have any issues! They just need to talk more!” Well, that day she spent an hour with Sherry and then told everyone that they needed to back off. Everyone was putting too much pressure on Sherry, and she needed to be able to make her own decisions in her own time. Then she sent Sherry home with Barry, but this time they went to his place.

He tried to feed her, but she wasn’t interested in eating, and a day later they hopped in a cab back to the shrink because Sherry felt crazy sick again. Then they went back to her place, and she called her parents. “I need to go home with them,” she said. “I need them to look after me.” Okay, he’d said, but he should have taken her to the hospital. Fuck your parents, he should have said. You’re coming with me. But he wasn’t that kind of a person, not then. He wasn’t that kind of a hero. A month later, though, he knew what he should have done, but then maybe she wouldn’t have let him. When her parents finally did take her to the hospital, it didn’t take the doctors long. Her brain was ringed with lesions. Her sister told him Sherry had a brain of a 70-year-old. Multiple Sclerosis, significantly progressed.

When he visited her in the hospital, she was happy. What she had had a name! She wasn’t going crazy! Holy shit! When he visited her in the hospital, her father was sitting in her room and he wouldn’t leave. They made small talk until he got the hint. She had an IV on a poll, and she took him on a stroll around the ward. The woman across the hall was a couple of years older. She had a six-year-old and a husband, and she came to the hospital about once a year for treatment. Steroids. To calm the inflammation. It was a quick, brutal and effective intervention, best administered as soon as possible. Barry thought about that month-long wait and knew he would never forgive himself.

They went into a room full of exercise equipment and closed the door behind them. He leaned in for a kiss and put his hand under her shirt. “I missed you,” he said. “I missed you, too,” she said. They wandered back into the corridor and around a corner where they came to a dead end and encountered a man with half a face. “Oh,” she said, “I thought this went somewhere.” She looked at the half-face man and asked, “How are you?” He smiled at her and went back into his room. Barry loved her then, more than at any moment before or since, her uncomplicated compassion on magnificent display.

He was concealing on that visit the encounter he’d had with her father shortly after her parents had spirited her away a month earlier. “If I find out you’ve given her drugs,” her father had confronted him, “I’ll fucking kill you.” “I haven’t given her anything.” “We’ll see.” It was unbelievable! Him! A drug pusher! Of all people, no, no, never! And what a crime noir fantasy anyway. A ludicrous cliché. But Sherry had warned him, hadn’t she? Those were her parents, ludicrous clichés. Her father a hardened GM executive, her mother a neurotic housewife turned late-life real estate agent. They had separate bedrooms and would never divorce, Sherry had told him. Her father couldn’t get it up.

“How do you know this?”

“My mother told me.”

He went to visit his own doctor, who advised him to break off the relationship and prescribed him anti-anxiety pills to help him sleep. Oh, what crazy stress. He started smoking. He stopped eating. He had to move out of his apartment because he’d given notice. There was no way he was going to move into her apartment, so he had to scramble to find a new place. One weekend he came home from work on Friday and went to bed at 6:00 pm. He got up the next day at noon, then went back to bed at 6:00 pm. Then did that again on Sunday. No, he thought now. I was never going to marry into that family.

He didn’t follow his doctors orders immediately. He tried to stay friends with Sherry, who moved back in with her parents after leaving the hospital. He spoke to her on the phone and she was getting bored. She wanted to get away. He suggested he book a hotel and take her away for a night. Dinner and dancing. He picked her up, and she was in a foul mood. “I don’t want to talk about it.” They drove in silence. He tried to make small talk. Finally she said, “My father said something that made me mad at him. I don’t want to tell you what.” Barry said, “Okay.” By this point, he didn’t want to talk about it either. He just wanted to forget about it, forget about her father, forget about everything that had happened and try to pretend that they were together like they had been before. They had had good times. They had been happy. Was that all they were going to get? Was there more?

The dinner was okay, the hotel room standard. They were tentative with each other as they undressed, washed, brushed, slipped between the sheets. He reached for her, but she was unresponsive. She rolled towards him and kissed him, but she was cold.

He said, “I know what he said.”

“Who?”

“Your father.”

“What did he say.”

“He said, ‘Barry only wants sex.'”

She nodded. “How did you know?”

“I can’t believe it,” Barry said. “I can’t believe he actually said that. Like we were teenagers. Like you weren’t thirty-one. Like we need his permission.”

“I didn’t want to tell you,” she said. But you did, he didn’t say.

And then they had sex, but it was dry and uncomfortable, and very, very bad.

A month later, she visited his apartment for the last time, and they fucked every which way, but she didn’t come, and then she said, “We probably shouldn’t see each other any more,” and he said, “You’re probably right.” A week later, she called him, she wanted to see him, and he said he would see her, but he had to say this first. “I’m not going to sleep with you. That’s over.” So they got together and talked, and she said she guessed she would never have children, but he said she shouldn’t think like that. “You would be a great mom,” he said, and she cried, and he kept smoking nine months after that. Four years later, he met Jessie and her two kids and proposed inside six months. Three years after the wedding, she was diagnosed with breast cancer. Twenty-one months later, she was dead.

—Michael Bryson

.

Michael Bryson tweets @buzithecat. He is interested in how things fall apart and what’s left after that. In 1999, he founded the online literary journal, The Danforth Review, http://www.danforthreview.com/, which has just published its 51st issue of new short fiction. He blogs at http://www.michaelbryson.com/ and posts the odd book review at The Underground Book Club, http://thenewcanlit.blogspot.com/.

 

Jul 052014
 

Dawn Promislow

 

My husband and I were driving down a country road, a two-lane highway in Amish land of western New York, rolling green farmland and countryside, in the late afternoon. The road unfurled as we drove, and we spoke, then were silent, and the light was the old light of September, golden. But a black horse, glossy and young, and unharnessed, appeared ahead of us in the middle of the road: cantering, stopping, then cantering again. We slowed, my husband slowed the car. The horse cantered past us, a few metres from the car, down the road. I’d seen his dark eyes, clear, his smooth coat. We drove on.

And then we saw an Amish man standing on the side of the road, a horse harness in his hand, and a group of women alongside, dressed in long dresses and bonnets, in the still heat. The man was in black, his hat was dark against the surrounding green. We realized it was their horse running loose and free. We continued driving. Then my husband said, perhaps we should help them? We realized, it dawned on us slowly, slowly, like the afternoon, or like a morning, that they needed to chase the horse, but they could only chase the horse on foot, as they had no car. Feeling guilty that we hadn’t offered them a ride before, we turned around, my husband made a turn in the middle of the road, carefully, and we drove back. The man was walking along the road in the direction of the cantering horse, I seem to feel he was limping, although perhaps he wasn’t – but the horse was out of sight now.

We offered him a ride, he accepted without a word, and got in the back of the car. With his black pants he wore a white shirt, it was a worn white, almost not white, and loose, as he was lean, and he was bearded so his voice was soft it seemed to me, or there was a strange accent in which he spoke, and together with the horse harness he was carrying a pail with oats in it.

We drove back along the road, the three of us looking out and around, across the fields and farmland and clumps of trees, the fields were beautiful and golden in that afternoon light. The car slowed, there was just its low hum, no other sound, and we saw slanting light and pale blue, and green green green. But we did not see the horse. I kept imagining we would see him, I wished to see him, to catch sight of him, of his live, living black, moving against the green golden, or under some trees, shaded. But we didn’t see him. The man said, never mind, he was sure the horse would be found. I couldn’t think how he would be found. The man said let’s go back, he wanted to go back, I felt his strong wish to go back. So we drove him back to his farm on the side of the road (I saw its red barn, I see it still in my mind’s eye), and we dropped him off, saying we hoped they’d find the horse.

My husband and I drove on, we followed on that two-lane highway through the countryside of western New York, green-clad. We wondered about it as we drove, we wondered what would happen to the horse, and to the farmer who had lost him. The afternoon wound down in its beauty as we drove, and we neared home, our home. It became less beautiful because it was the city then, but I have imprinted the green-gold, and the black-trousered man, and the coal-black horse (and the red barn), and the few words, but soft ones.

My husband thinks they must have found the horse after we were gone, when the afternoon became so late that it ended, but we don’t know, and we won’t know, and we’re in the city now, and far away, and it’s not that afternoon any more, it’s even winter now and white here, and night as I write this.

—Dawn Promislow

 

Dawn Promislow was born and raised in Johannesburg, South Africa, and has lived in Toronto since 1987. Her debut short story collection, Jewels and Other Stories (TSAR Publications, 2010), was longlisted for the Frank O’Connor International Short Story Award 2011, and was named as one of the 8 best fiction debuts of 2011 by The Globe and Mail (Canada).

 

Jun 122014
 

 Tim Conley

This is a wry, witty, ingenious story, a tour de force of whimsy, not really a single story, but ten completely different micro-stories hung on the same peg. Tim Conley is a bit like Scheherazade; you get the feeling he could spin out a different story every night ad infinitum. He sets you up with an introduction in the voice of a folklorist or linguist who’s found a peculiar idiom in rural Quebec — le voisin n’a qu’une maison. It means something like “the neighbour has only one house,” which, well, makes no sense. But the folklorist opines that there might have been a story behind the idiom, a tale lost to the ages. With that, Conley is off to the races, inventing those tales, from slapstick to faltering romance, completely different sets of characters and life-situations, wonderfully told.

dg

 

In a small agrarian town in northern Quebec, they have a saying: le voisin n’a qu’une maison, “the neighbour has only one house” or “the neighbour only has a house,” depending on where one prefers to hear the emphasis. Exactly what this phrase means has proved a puzzle for linguists and sociologists. Though not altogether inhospitable, the steely-eyed townsfolk do not much care for the questions of outsiders. Suggestions of an unknown story behind the expression –of its being a mnemonic tag (of no known specific use), of its being part of an allegory or homily (perhaps distorted by abbreviation, the way “the proof of the pudding is in the eating” has disintegrated to the incoherent “the proof is in the pudding”), or of its having some historical basis (an account of a specific someone’s neighbour, maybe, or a particular house)– all remain unverified. Unfortunately, it has not even been determined whether the following scenarios are accounts of real incidents or inventions produced for the very purpose of illustration, but they are faithfully recorded here as they were found, received, or told, with as much detail and context as were available.

After a long rainstorm, a man out walking is struck by a large, sodden branch that breaks off from a very old tree and pins him to the ground. Two sawyers working nearby rush to his aid and he informs them that he is barely able to breathe; they must hurry. But the branch is too heavy for them to lift. The first sawyer offers to run and fetch a saw, not sixty paces away, but the second sawyer becomes concerned that the pinned man might die in the interim, and while the first sawyer would be subsequently commended for his fast thinking and valiant efforts, the second sawyer would look like a dolt waiting and helplessly watching the man die, and so the second sawyer tersely accuses the first sawyer of not lifting his part of the branch with all of his apparently little strength. So the sawyers again try to lift the branch, and ultimately collapse with even more huffing and panting than before. The pinned man signals that he is without air. The second sawyer announces that he will fetch the saw, and the first sawyer, seeing what his unscrupulous partner is playing at, promptly socks him in the jaw. The second sawyer gets up from the ground and rushes headlong into the first, the two of them crashing together into the tree. This impact causes another branch to break off, and it bounces off of one end of the first fallen branch, neatly knocking it off the gasping man, who crawls toward the other people who have now gathered at the scene. The two sawyers have hit each other half a dozen more times before they realize what has happened. A witty bystander might aptly remark: le voisin n’a qu’une maison.

Children play in such tall grass that they cannot see one another. They soon become separated but, each thinking that the others must be together, none wants to be the first to cry out for help, and thus the first branded a coward and surely taunted ever after. One finally has the ingenuity to call out accusing another of being lost. Years later, the friends recount this story at a reunion and own up to their common fears, but they cannot agree which of them came up with the solution. Angrily the inspired one leaves the party, muttering, c’est vrai que le voisin n’a qu’une maison.

Making summer afternoon love by a stream, a young couple is interrupted by cries for help, but they cannot see who is calling and cannot bring themselves to break their exquisite rhythm. The voice shouts that it is drowning, drowning, drowning, but neither lover can see anyone in the unconcernedly flowing water, and their ardor won’t let them part. By the time they are sated, the cries have stopped. They explore the area, and walk downstream a good mile or more before they give up. When they say goodbye to one another, each seems embarrassed and uncertain. Each attends closely to the local news and town talk for days afterward, but neither finds any report of any drowning, and the absence of any such report stymies their communications with one another. They can speak of nothing else, but of this subject they have nothing to say. She changes her hair, and he silently judges the style wrong. He is offered a new job in the next town, a town the two of them had habitually remarked upon as an undesirable place to live, and she tries to be encouraging. After he has moved and eventually finds that the job and the town both suit him, he writes a letter to his friend and tells him about the incident that summer afternoon, and reflects on how fickle the heart is. His friend’s reply: “You idiot, le voisin n’a qu’une maison.”

A father accuses his son of stealing his boots, and the offended son leaves home. In a distant town he finds work as an assistant to a rheumatic sawbones, a kindly man who recognizes the young man’s talent for swift and acute diagnosis, begins to teach him about more than the ordinary ailments and tried remedies. The young man devotes himself to medicine and becomes so trusted by the local people that he very gradually takes over the old doctor’s practice. Within a few years he finds himself brought in to deliver the mayor’s child, a difficult operation because the woman’s cervix is, like her husband, anything but flexible, and the labour lasts three days. On the morning of the third, a message is brought to the physician: it is from his father, who reports that he has found his boots, and all is forgiven. The mayor’s wife pauses in her shrieking when she sees her doctor’s face momentarily lose its imperturbable aspect, and asks him what is wrong. He answers, le voisin n’a qu’une maison, and resumes his work.

Complaining of his breakfast at an inn, a guest unconsciously runs his fingers through his beard as he is dressing down the manager, a woman who takes this gesture as a lewd suggestion. She takes greater offence than she might because, sordid truth be told, she was feverishly fantasizing about this very guest’s beard the night before, which is not at all the sort of thing she would normally do. She more than matches his barrage of insults. Not accustomed to hoteliers abusing him, and surprised and upset to hear that his beard-stroking was in any way vulgar, the guest begins stammering an apology, whereupon the manager, realizing that she has overdone it, herself begins to apologize. She says that his dinner will be on the house, and he replies that he will only accept if she will dine with him. Just then the manager’s miserable, lazy, and cleanshaven husband, who has just been stealthily coming down the staircase behind them, snarls, le voisin n’a qu’une maison, but chokes on the last word, and rolls down the remaining stairs to the floor, never to be revived. On his headstone his widow has written: le voisin n’a qu’une maison.

An unmarried schoolteacher arouses the distrust of a student’s mother, who thinks that such situations are ghastly beyond words. This mother circulates the story that the schoolteacher is known to walk the streets at night, perhaps asleep but perhaps not, and the story’s vagueness ensures that it spreads like wildfire in a high wind. The schoolteacher finds herself unwelcome in certain places and unacknowledged by certain people. One day she overhears two of her students recounting a version of the story, and she decides to take up walking the streets at night, but dressed in her mother’s bridal gown. The story evolves and diversifies in quick response to witness accounts of her wordless, almost ethereal perambulations: she is a widow, longing for her dead husband, in love with a ghost; she has been seduced by some man in the community, who will not do right by her, perhaps because he is already married, and these nightly marches are her mute but moving protest; she is a lunatic, imagines herself wed to the moon; she has been hypnotized by the wicked schoolchildren, and unknowingly seeks a groom every night; she is holy; she is cursed; she is the picture of sorrow; she is a sign of hope. The mother’s original story and spite are eclipsed. Without exception her students all become more attentive to their studies. One cloudless night a man walks out to intercept her in the middle of the street, falls to his knees and asks for her hand in marriage. She says with a voice not her own, le voisin n’a qu’une maison.

A man loses his boot walking through an extremely muddy field one rainy evening. He arrives home and his father-in-law, with whom the man, his wife, and their children live, asks him what inspired him to go out in such weather in one boot. Trying to assume the patience necessary for dealing with this suspicious, narrow-minded old goat, the man explains that on the eve of the feast of St. Bunions it is considered good luck to walk in the evening with only one boot. His father-in-law scoffs but is still thinking about it when he retires to his room. He wonders whether there is some truth to the story, or whether it is simply some excuse meant to conceal something, and his inability to decide between these possibilities sends him out later that night, when the others are asleep in bed, in one boot, determined to find out which is the case. In the now quite fierce wind and the rain he hobbles and anxiously looks about, without having any set idea as to what he is looking for, and before long he is completely lost, though he does not admit as much to himself, and keeps hunting for his answer. He is found, shivering in a small wood, early the next morning. A doctor asks him some questions as he examines the old man sleepless in his bed, but obtains only nonsensical answers about hidden treasure, his many enemies, a saint nobody has heard of. The doctor is asked by one of the children whether grandfather will be all right, and he answers, “It is difficult to say, but le voisin n’a qu’une maison.”

A daring fox has been attacking a number of adjacent poultry farms, inspiring wagers in a popular tavern as to who is to be the next victim. One evening, when the betting is high and the laughter loud, the odds-on favourite, a grizzled and gruff man to whom life has seldom been kind, loses his composure and openly sobs into his drink. Early the next morning, the fox is killed by hunters and its carcass is brought to the sad farmer. He holds it up by the tail and says, le voisin n’a qu’une maison. The next day he puts the farm up for sale and leaves the country.

Recounted by a nonagenarian in a Sherbrooke nursing home: “If you threw a stone in a pond, and there was this large pond near the old cottage, one of my cousins nearly drowned there, and we teased him for years afterwards, called him the fish, there goes the fish, he hated that. What they don’t know, I’ll tell you, is how long a grievance can last. And I doubt their medical credentials, I’ll tell you that. But it was the pond wasn’t it, to return to our subject, if you threw a stone in a pond, you would naturally expect what are they called ripples, yes, but if you threw a stone in the pond and there were absolutely no ripples, and though this has never happened to a stone I threw, and look at me, I’m not going to be throwing any stones now, but do you know, never count anybody out, I’ll tell you that, never count anybody out. But that pond. Any pond, really. The trick is to throw a stone into it without causing a single ripple, and once I saw this done by a small girl nobody thought capable of anything, she was always following our gang around, and after all of us gave up on the game, she picked up a stone and threw it right in, not a single ripple. That girl went on to marry a big shot, I heard, I don’t remember who told me, but what I said when I heard about it was le voisin n’a qu’une maison, as my grandmother used to say when she cut up the lemons. And that really summed it up, you know.”

A talented singer finds herself unable to master a particular score that she has agreed to perform. The piece is not especially demanding, she admits to her mother, but invariably her breathing becomes irregular somewhere in the middle and her enunciation falters. She must impress this patron and cannot turn down the commission without injury to her reputation and career. Her mother assures her that everything will be all right, that she will surely master the piece soon, that it is probably just nerves. The daughter seethes in silence: how she wishes her mother could be more severe with her, slap her across the face and shout at her to work harder, or else be less encouraging, say to her that the commission doesn’t matter, that this only shows that music was never really her future; but instead it will always be all right, according to her mother. She decides that she will disgrace herself on stage to shatter her mother’s unwavering faith in her, and ceases practising for the concert. The night before the concert, however, her mother accidentally reveals that she is having an affair with her daughter’s patron, and it is only as a favour to his lover that he has invited her daughter to perform. The daughter appears to applause the next evening wearing the gown her mother has bought her for this occasion and, instead of singing the advertised work, trills the words votre voisin, n’a-t-il qu’une maison? to the tune of a ditty she learned in childhood.

—Tim Conley

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Tim Conley’s short fiction, poetry, essays, reviews, and translations have appeared in various journals in seven countries. He is the author of two collections of short fiction, Whatever Happens (2006) and Nothing Could Be Further (2011), and a book of poetry, One False Move (2012).

May 142014
 

Dede

Dede Crane writes the anatomy of an affair of the heart in her story “Tattoo,” which is, yes, the story of a tattoo and what that can lead to. Two sisters lounge on a Mexican beach; it’s their last day; the sisters practice their sibling rivalry; Corona beers mark the hours in the sun. A Mexican tattoo-artist, auspiciously named Jesus, plops down beside them and starts his spiel. The narrator has not been lucky with men; she rescues dogs instead; she is acutely aware of stereotypes and the tepid bourgeois agonies of the North American tourist class. Should she? Shouldn’t she? She wants to pay; Jesus considers it a gift. Something is happening. Eventually, there is dinner and more drinking and Jesus ends up carrying the drunken and unconscious sister to their room. And then he stays. What follows is not, as I have somewhat disingenuously called it, an affair — something else, more revealing and innocent, surprising and right.

dg

 

 

Late afternoon, we had ordered beer and tortilla chips. Two ahead of me already, my sister thanked the waiter for her third Corona and squeezed the slice of lime down its neck. Our last day in Mexico and she seemed determined to squeeze as much good time out of it as possible.

It was only my second.

I’d had enough of the sun, the salt and my know-it-all sister. I felt like going back to the room, packing for tomorrow, ordering dinner in and finishing reading Donoghue’s Room.

The last of the daytime hawkers were trudging down the beach with the same cheap goods you found in the market, half of them made in China. Yet another one, a backpack slung over one shoulder, was making his way over to us. I sipped my beer and looked right through him at the banana boat about to flip its thrilled passengers into the sea.

“Henna tattoo for your shoulder, ankle, breasta,” the hawker announced in slow but impressive English, all his T’s crossed. He stopped in front of us, blocking the sun for which I was grateful.

“No gracias,” my sister and I said together, a reflex now, like brushing away a fly.

I scooped guacamole onto a chip. Did he say breast?

“My tattoos are the besta, they last longest and do not wash off in the ocean.”

I ate my chip ignoring him. I’d instructed my sister not to respond to hawkers a second time. “It’s like training dogs,” I’d said, “you give the command once not six times or you’re training them to not respond until after six commands.”

“Today, ama feeling generous.” He spoke in such a grand yawning accent that I looked up. Taller than most Mexican men but with the same barrel chest, he had a goatee and bare hint of a moustache. The black curls that blew round a face that made me think of third grade and the boy I’d loved, Freddy Quintana.

“Two for the one price.” He held up his fingers like a peace sign and smiled.

Like Freddy, his cheeks bunched high at their corners when he smiled and his round-cornered teeth gave them the appearance of Chiclets. I used to imagine the sweet taste of Freddy’s teeth.

I was about to break my own rule and repeat ‘no, gracias,’ when my sister said, “Let’s see your tattoos then.” Seeing my expression, she said, “Jim thinks tattoos are sexy.” Jim was my brother-in-law, a mortgage broker and former college football player. “Come on. I’ll pay.”

The hawker dropped to his knees in the sand and swung off his pack. He looked up at my sister with sad gratitude like some sort of beggar.

No, he didn’t. His eyes ran the length of your legs.

My sister was an emergency room nurse. Forty-one, she lived in Denver with her husband and thirteen-year-old son. She’d paid off her mortgage, had a pension plan, an investment portfolio, and international condo shares which was the sole reason I was in a wet bathing suit watching a fleet of bucket-mouthed pelicans fly over the Pacific. Waves crashed on the beach before me while the narrow streets of old Puerto Vallarta, its white stucco buildings and clay tile roofs, raced up the hills behind me.

I lived in Nanaimo on Vancouver Island, in a rental house, and my life savings amounted to two thousand dollars. Never the stomach for a nine-to-five, I grew medical marijuana for cancer patients and painted houses, interiors.  I rescued dogs and found homes for them. At any given time I had between three and eight mongrels warming my bed. A dog, I discovered, was more faithful than a husband.

On the beach that day: for the first time in years I had shaved my legs, knowing my sister would have felt embarrassed on my behalf. I’d also allowed her to buy me a pedicure and my toenails were a shiny Bruised Plum. I hadn’t used nail polish since junior high and every time I looked down, my feet startled me, as if they were someone else’s.

The hawker handed us a black binder of sample tattoos and of photos of smiling teenage tourists wearing his product. My sister paid his two-for-one asking price which seemed no cheaper than two tattoos, then picked a lotus flower for the small of her back. He introduced himself as “Hayzeus” was what I remembered, but my sister remembered him saying the English “Jesus.”

She lay down in the sand while he straddled her legs.

He did not straddle me. He sat beside me.

His back arced over her, his bare thigh muscles taut as he pressed a rectangle of paper along her bikini line to transfer the image. Apparently he wasn’t an artist but a professional tracer. He took up his ink bottle and squeezed out not the brownish-orange color of henna but a black viscous line that looked like crude oil. What sort of cheap and unregulated substitute did they use down here? I imagined blood poisoning, raised welts, skin cancer.

When he was done, he told her not to wear her cover up nor sit in her chair until the ink had completely dried. He stood and kneaded his right thigh.

“How’s it look?” she asked me.

It was precisely like the lotus picture in the book and not at all smudgy. “Nice,” I said. “It’s very black ink, just so you know.” I waited to see if this might concern the nurse.

“I’m going to get a prawn skewer,” she said, eyeing the vendor down the beach. “Want one?”

I shook my head, not trusting shellfish that had been out in the sun all afternoon, and Jesus said, “Thank you, yes.”

We looked at him and a smile raised the flags of his cheeks. My sister laughed and walked away twisting happy feet in the sand, her newly painted black flower swiveling side to side.

I’d looked through the book filled with dragons, skulls, hearts, geckos, swastika-like armband and anklet designs and didn’t see anything I cared for. I didn’t have someone at home who thought tattoos were sexy and didn’t want to further tax Jesus’s thighs.

“I choose for you?” he said and his face turned serious. Then, as if searching for something, his eyes, yes, did run down my legs. Shaving had raised and reddened the pores and my pale legs resembled the skin of a plucked chicken.

“Sure.” I was not at all sure. What was in that ink? I should have asked for an ingredient list. He took the book from my hand and tossed it on the sand.

“Please stay in seat” – he looked around for another chair – “I want to work on your feet.”

“My feet. Okay.” It was still winter back home, so the swastikas would be safely covered when I returned. I watched him pull over a chair, knowing that chair cost the price of a drink. The head waiter, also watching, promptly came over and said something in Spanish, the sounds curling up and over each other. It was a language, I thought, born beside the ocean.

“Cervaca por favor,” answered Jesus and pointed to my bottle of Corona.

The waiter gave me a strained look as if he wanted to tell me something but didn’t have the English. A warning? Did he know this Jesus fellow? Was Jesus just a name he used on female tourists?

“Me, too, gracias,” I said and waved my bottle in the air.

I was embarrassed by the whole tourist invasion thing. Jesus could speak near perfect English and I couldn’t say more than ola, gracias, quanto questa and el bano.

Jesus took a paintbrush from his pack and squeezed out a pool of ink onto a plastic lid palette then sat directly across from me. His short sleeved shirt was missing its first two buttons and revealed the same hairless brown chest of the male dancers we watched the night before on the malacon. A professional group from Mexico City, twenty couples performed traditional folk dances. The men were mesmerizing with their bull fighters’ posture, their macho, muscular movements, feet beating down the floorboards as they led the women with such forceful yanks and throws, and at such speeds, the women wouldn’t have had a second to resist much less think. It was breathtaking.

Jesus inched his chair forward until our knees almost touched. He was my age.

He was thirty-three, tops.

Without asking he lifted my leg and planted my foot on his thigh which caused me to slip down further in my slouchy chair. “I painta top of foot.”

I smiled warily and sipped my beer, tried not to think of my bathing suit, old and too small. I had shaved my legs but that was as far as I’d go.

He hooked his entire arm under my calf to steady my leg and wiped down my foot with a rag drenched in what I trusted was rubbing alcohol judging by its coolness. On the beach in Puerto Vallarta, I imagined telling my friends back home, Jesus washed my feet.

Skipping the paper transfer, he began directly with his ink bottle.

“You’re improvising?” I pictured a cartoon-eyed gecko, a smiley faced sun.

“I like to painta,” he said.

The waiter arrived with our beers. As he set them on the table, Jesus did not look up. I pointed at myself and scribbled on my hand. “Our tab, please.”

When the waiter left, Jesus gave me a shy glance. “Thank you.”

“Thank my sister. I don’t have any money.”

“Then we are not alike. Because none of my sisters have money.”

I laughed and though he was concentrating on my foot, I sensed a smile.

Down the beach waving her half eaten skewer – and was that another beer in her hand? – my sister was bopping up and down alongside a small Mariachi band and its harried sounds of forced cheer.

Staring at the top of Jesus’s head, I wondered if I should make conversation – did you grow up here? Where did you learn your English? What sort of work do you do on the off season? I could tell him I legally grew marijuana for profit, see what he thought of that, considering his country’s drug wars. I said nothing, took off my hat instead – it was past sunburn time – leaned back and let Jesus have his way with my foot. Keeping my eyes closed, I tried to guess what he was drawing… something that started between my first and second toe and fanned out towards my ankle… a lop-sided heart? The waves inhaled and exhaled the distant music, the exclamations of children and broken conversations in Spanish. Jesus blew his cool breath around my toes. Being touched felt ridiculously good and I relaxed in a way I hadn’t since meeting up with my sister in the Phoenix airport.

After an unknowable amount of time, Jesus carefully placed my foot on a towel and then raised my other leg. Would two feet, I wondered, still count as one tattoo? Was it his pride making up for the free beer? He said nothing and I pretended to sleep.

You were sound asleep and snoring.

I was snoring?

I must have drifted off because I woke to my sister’s lightly distrusting voice, “You’re still at it?” before it dropped into genuine surprise, even admiration. “Oh wow. Now that is amazing.” The click of her phone camera and I reluctantly opened my eyes as she apologized to Jesus about the prawn skewer. “I was really going to get you one but he ran out.” She was slurring a little.

I was not slurring.

“Let me buy you a beer to make up for it,” she said and signaled the waiter.

“You already did,” I told her and tried to sit up to look at my foot but Jesus said, “No, don’t move.”

“Well, let’s have another. I’d like one.”

“Not for me,” I said, but she ordered three anyway and talked at Jesus’ bent head as he painted up the inside of my ankle. “My sister lives next to a reserve,” she told him, “Native land, and once a month drives over there and picks up half dozen undernourished dogs and puppies.”

“I know many of the families,” I said so it didn’t sound like kidnapping.

“And they’re happy to let her take them. They can’t feed them, don’t keep track of them and let them roam in packs and breed like… dogs.”

I had told my sister these things with an exaggerated exasperation, knowing it would rouse her sympathies.

“Yet, yet” – her finger shot up – “when she offers to have her vet friend come spay and neuter the dogs, for free I might add, they refuse the offer.” She shakes her head. “It would drive me crazy. Why bring all these unwanted dogs into –”

“But they are wanted,” said Jesus. He blew on my ankle and a shiver sailed up my spine. “If those people not let the dogs do what dogs do, then your sister will not be able to rescue them.”

My sister laughed as if he was being funny but Jesus didn’t smile. And in that instant I saw the reserve situation differently, saw it from above the fray of human interference and labels of right or wrong, as simple cause and effect. The notion that I was some kind of savior to these dogs rang not so much false but unnecessary.

Part paisley, part labyrinthine, part Japanese art, yet not any of those, fanned out from between my first and second toe to cover the tops of my feet, the left design curling asymmetrically up the inside of my ankle like a rogue wave. My first thought was that nothing in my wardrobe would do my painted sandals justice. My second was how much worse my blood poisoning was going to be compared to my sister’s.

“Painted on shoes” – my sister spread her hands as if surprised no one had thought of it before.

“I be back,” said Jesus, his eyes brightening. Leaving his bag and book, he jogged off down the beach, the muscles of his calves being worked by the soft sand.

My sister snorted, a little puff of air. “What’s he doing?”

Though we wanted to head back to our condo to shower and change for dinner, we couldn’t leave Jesus’s pack.

You thought there might be a bomb in it.

I was kidding.

Fifteen minutes later, we startled when he came up behind us.

Jesus, I said, not his name but His name, and I wondered how often his head was turned by swearing tourists. From his sagging shirt pocket he drew out a silver anklet. Little filigree bells hung from the chain and as he lengthened it between his hands, it swung back and forth and the bells made a dull tinkling.

“Lovely,” I said.

“My friend, he makes them.”

Quanto questa?” I asked because nothing in this country was free. Cheap yes, free no.

He drew a quick breath and gave me a hurt sideways look.

“Sorry” – I felt terrible – “but I assumed you had to –”

“Dinner.” A mischievous smile.

“We’d love to take you to dinner,” my sister said then looked right at me. “Being  local, he must know the best places.”

I didn’t know what to say.

“That I do, yes. What time shall I meet you?”

My sister suggested in an hour’s time and he gave us directions to the restaurant of his choosing.

“Why did you invite him for dinner?” I asked once out of earshot. “I was planning on staying in. Packing and finishing my –”

“Come on. It’s our last night. I want to go dancing.”

“I don’t dance.”

“I know. That’s what Jesus is for.”

True, I didn’t dance except around the privacy of my living room with a couple paws in my hands. It was a great way to stop a dog barking. “Aren’t you worried he’s just using us?”

She waved me off. “Relax. Maybe we’re using him?”

My only real sandals wrapped up to the ankle Roman style or had a thick strap across the top of my foot. Both threatened to ruin my tattoos.

“Go barefoot,” said my sister. “You won’t be able to tell.”

“Barefoot, suggests the nurse. On these streets.”

“Not going to wear your anklet?”

“It’s something a thirteen-year-old would wear,” I said, guessing that’s what she was thinking.

“Looks like a dog collar for a Chihuahua.”

I had been going to put it on, thinking Jesus intended it to compliment his tattoo. But the adolescent in me still cared what my sister thought.

On the way to the restaurant, I purchased a pair of black flip flops which blended in, sort of, with my foot art. Jesus was waiting for us on the street outside a dingy looking building whose stucco was cracked and stained. His hair was wet or greasy, I couldn’t tell which, and he wore what looked like a brand new white shirt which lay open at the neck and had the sleeves rolled up. A gigolo’s shirt. His backpack from this afternoon hung from one shoulder and for a minute I wondered if maybe he was homeless.

“You’re not still working?” My sister pointed at his pack as he shrugged good-naturedly.

“I never know.”

We followed Jesus up a single flight of stairs to a dim lit room with a tiled floor, rusty punched tin walls and no more than eight or ten tables. The restaurant was full, not of tourists but Mexicans talking noisily over flickering votive strewn randomly over the table. As the head waiter showed us to our seats, he and Jesus laughed and joked in Spanish. I listened hard, hoping to understand but it was as though I was hearing them from underwater and if I could only reach the surface I’d comprehend the words. As we were shown to our table in the far corner, I could have sworn we were walking ever so slightly uphill. The head waiter gallantly pulled out my sister’s chair for her and Jesus pulled out mine.

Jesus must have told him who was paying.

I don’t think so.

The wooden chair with their thick woven backs were uncomfortably upright and each mango yellow tile on the table’s top was cracked or chipped. There were darkened spots on the red cloth napkins. Grease stains? From a dramatic height, the waiter filled our water glasses before I ordered a bottle of Evian. I’d had my bout of Montezuma’s revenge and that was more than enough.

“It is naïve spelled backwards,” said Jesus.

“What?”

“Evian.” He recommended the margaritas.

“Our margaritas?” echoed the waiter and kissed the fingertips of one hand and my sister ordered a pitcher.

The margaritas turned out to be the perfect blend of sweet and tart and strong. I only hoped the alcohol killed any bugs thriving in the ice. The best guacamole I’d ever tasted was mixed with a pestle at our table in a rough black bowl of volcanic stone – “a molcajete,” Jesus told us – and topped with a deliciously salty cheese, “cojita from Cojita.” The homemade tortillas melted in one’s mouth, the beef for a change was tender, even the refried beans somehow tasted fresh. We exclaimed over the food and Jesus looked genuinely pleased. It was not until half way through the meal did I realize that the room not only had no overhead lights but no roof, and that the dim lighting was moonlight.

“What happens to this place in the rainy season?” I asked.

“It gets very wet,” said Jesus.

My sister laughed too loud.

He pointed back toward the entrance. “The floor, she is tipped a little. And the far wall does not quite reach the floor, you see.”

I pictured rain drumming on the tiled tables and floor, water gushing over the eaves to the street.

“It’s called the washing season,” he added and my sister rolled her eyes.

“Is it true?” I asked.

“Everything is true,” he said. “What else could it be?”

“False,” barked my sister and poured herself another margarita.

After dinner, we went to a crowded disco two stories high, where they played an eccentric mix of the Beegies, Santana and Lady Gaga. I kept watch over our table and a bland and watery pitcher of margaritas safe and while my sister danced with Jesus. During the slow ones, her face rubbed against his white shirt like a rooting infant and I wondered how my brother-in-law would feel about it. And if I was the one with the high stress job and investments portfolios, I’d also need to dance in public, get drunk and rub my head on a stranger’s chest. Jesus’ cheeks bunched every time my sister called something into his curls yet I thought he looked a little bored.

On our walk back to the condo, the alcohol catching up to me, I was drunk enough to believe that the night air off the ocean was the source of the surrealist sculptures that graced the malecon. When you lived in a place where you couldn’t tell where your own skin ended and the air began, ordinary perceptions, I decided, didn’t stand a chance.

I pointed out my favorite sculpture to Jesus; a free standing ladder to the sky, thirty feet tall, with two caped girls made of the same burnt-gold metal, climbing it, one nearly at the top. Their hooded heads were shaped like fat triangular pillows, their capes hanging down their back in severe pleats. A larger version of the girls, the caped, pillow-headed mother, stood down on the ground, her open O of a mouth and extended arms imploring them to come down.

“That is Bustamante,” said Jesus. “It is named In Search of Reason.”

“The mother seems to be saying, don’t go up there,” I ventured, “as if she knows their childhoods are about to be lost.”

“The sculpture,” he said, “makes reason look very dangerous.”

“Ladders are meant to be climbed,” my sister said, steering unsteadily toward a nearby bench. “I can’t walk anymore,” she muttered and laid down on it.

I sat down on it.

“Not far now. I’ll carry you.” He hooked his left arm inside the other strap of his backpack and hiked the bag onto his back. Then he hoisted my sister, too drunk to resist, into his arms.

I felt I should have protested but I could neither carry her nor leave her there so what would have been the point? Besides, like a dog who instinctively trusts certain strangers, I realized I instinctively trusted this one.

“I know a short cut,” he told me and soon I was following him down a narrow alley.

Despite the hour, men, women sat around open doorways, some smoking, others cooking on hibachis, playing guitar or cards, nursing babies or beers. A small pointy eared dog, something larger mixed with Chihuahua weaved around our feet, nose to ground, tail wagging as it hunted. Jesus greeted people and people greeted him back.

“Ola Hayzeus. Como esta?”

I was glad to hear the name was really his. No one in that alley seemed the least bit troubled or impressed by the sight of him carrying a drunk, middle-aged white woman. Was it a regular occurrence? A young Mexican woman pointed at my feet and clucked, then said something to Jesus in a teasing tone.

“What did she say?” I asked when we’d passed.

“That you must have inspired me.”

“Amused you,” I said.

“Amuse, yes,” he said though he may have meant a muse for all I knew.

#

Arriving at the condo, he laid my unconscious sister carefully on the couch.

I was not unconscious.

I arranged her arms and legs and though the air conditioning was off, covered her with a sheet and blanket. As I stood there watching her settle into sleep, Jesus, now standing by the French doors to the balcony, asked if he could paint me.

“We’re leaving tomorrow,” I said, flattered.

At dinner we’d learned that Jesus drove cab in the off season and painted watercolors, his real passion – “of the old buildings and churches” – which he sometimes sold at a gallery in one of the big hotels. So I’d thought he meant paint me on paper. But that wasn’t what he meant.

Then he proceeded to undress you.

He did not.

I went to the bedroom and undressed. For an awkward second I considered putting on my bathing suit then thought of how silly dogs look in doggy raincoats and sweaters. My nakedness felt utterly ordinary as I walked back to the living room. He was outside on the narrow wrought iron balcony, adjusting the placement of a lamp he’d moved outside. As I passed my sister on the couch making sure she was sleeping, I imagined her bolting upright to rip the figurative needle from the record. She didn’t move and when I looked up, Jesus was looking at me with an eagerness akin to hunger. Whether artistic hunger or sexual hunger I didn’t know though both, in that moment, seemed aspects of the same urge, the same need. I continued towards the deck and Jesus stepped back as one steps back to appreciate a painting before he gestured where he wanted me to stand.

Hidden from neighbors across the way by a jungle of parota trees, the balcony overlooked the bay below and vast sky above, the single blackness lit by a three-quarter moon that much larger than the one back home, its reflection spilling a wavy path along the water.

He took my arm and turned it over. “If the moon were flesh,” he said more to himself than to me.

The single point of his brush was achingly soft where it defined my skin, traveling from elbow to shoulder and down to my breast only to turn and go back again.

He stole the cash from my purse.

No. You bought dinner with cash and left a ridiculously big tip.

We didn’t speak but it was a conversation nonetheless, an exchange of charged molecules, vibrations and wonder. Angled into the light, I arched my back for him, extended an arabesque across his knee, draped my hands shameless behind my head. His depth of concentration stilled my thoughts and made me feel cherished for the simple fact of possessing a body. Only later did I wonder if it was a case of an artist unable to afford his paint and canvases.

He probably drugged our drinks.

The horizon was a pale line of fire by the time his painting reached my inner ankle where it hooked under the wavelike curve of this afternoon’s tattoo. As if all evening he’d been patiently waiting to finish what he’d started. As I turned in a circle, arms in the air, his design spiraled up one side of my body and down the other. He asked me to put on the anklet, then had me keep my face averted as he took several pictures with his phone. Said he planned to transfer me to the canvas some day, that he’d send me a photo of the painting.

“Maybe I’ll buy I,” I said.

“With your sister’s money,” he said and we laughed.

His art and I one and the same, when we kissed he was careful as to where he placed his hands.

He was a con artist.

He was an artist.

Afterwards, energized and unable to sleep, I felt a curious presence in the air as if we were being watched but my sister remained sound asleep on the couch. If there had been eyes in the trees, well, it was too late now.

Jesus left well before the harp sounds of my sister’s ring tone sent her rolling with a groan off the couch. By then I had covered the evidence with long pants and sleeves, a turned up collar, was all packed for the flight home.

I woke to stamping and the tinkle of bells. Saw you dancing on the balcony, hands twisting in the air.

You must have been dreaming.

No, you must have.    

—Dede Crane

 

Dede Crane is the author of five books of fiction and co-editor along with Lisa Moore of Great Expectations, a collection of essays on birth. Her work has been shortlisted for the CBC literary prize, a Western Magazine award, the Victoria Butler Book Prize, the Bolen Book Prize and a CLA prize among others.  Her most recent book, a novel in stories, is Every Happy Family.  She lives in Victoria, B.C. with her husband, writer Bill Gaston, and their children.

 

May 042014
 

CaptureGiulio Mozzi via www.wuz.it

“I read Giulio Mozzi’s first book with real enthusiasm. What struck me most was his everyday language. Even when his subjects rely on metaphor, his words are plain, and so turn mysterious.”
—Federico Fellini

Giulio Mozzi’s This Is the Garden is an astonishing debut short story collection that English readers can now enjoy thanks to Open Letter Books. First published in 1993 (and winner of the Premio Mondello) and translated this year by Elizabeth Harris, these short stories all play in some way in the garden of the mind, the sandbox of introspection. Reminiscent of the work of Borges and Kafka, Mozzi’s psychologically acute, trenchant prose explores the self-conscious idiosyncrasies of the troubled mind. 

The story below is “Claw,” in which Mozzi imagines the later years of Yanez, the right-hand man of well-known Italian fictional pirate Sandokan. The once-infamous Yanez, known as the Tiger’s white brother, has now for years sat peacefully in his small, square, and white house, relying for subsistence and cigarettes on the daily visit of a woman from the nearby village. He sits in his small, square, and white house, smoking his cigarettes and looking meditative—but we do not believe he is meditating. The villagers react to the arrival of their “first real Englishman,” a threatening missionary who claims to be a saint sent by God. The villagers wonder how their own outsider Yanez will react. You can read my review of This Is the Garden by clicking here.

—Tom Faure

Capture

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he house is small, square, and white. The roof is flat. The door, centered on the eastern side, is just a curtain with red and yellow flowers. The other sides have one square window, also centered. There’s no glass in the windows, just yellowing, loosely woven cotton rags nailed to the wood like mosquito netting. The house sits on a slight rise in the middle of the plain, and anyone looking out the windows could see a long way. Down the slope from the door, there’s a water pump. A leather razor strop hangs from a couple of nails in the pump’s wooden handle. A small washboard rests against the pump. The house has just one room. A hundred feet to the west, there’s a small shack for bodily functions. The house has a packed dirt floor. Two feet off the floor, a built-in shelf or bench runs along all four walls, interrupted only by the doorway. At the center of the room, there’s a wooden table, a single chair. A few things sit on the shelf: a bowl with a set of flatware, one fork, one knife, one spoon; a covered metal bucket with a curved handle and inside, a thick soup or mash; a basin with a few soap chips and a brush; a tiny, round mirror in a metal frame, a straight-edge razor resting on the mirror; a small rectangular basket with a lid, probably for linen or clothing; a rolled-up mat. On the table, there’s a white enamel pitcher with a blue rim and next to it, a slightly flared drinking glass, the bottom thick, rounded. The glass is cloudy, tinted pink. On one corner of the table, there’s a canister of cigarettes with a lighter. There’s a white man sitting on the chair. He has on khaki trousers and a light, collarless jacket, also khaki, but faded nearly white. He’s extremely thin: those clothes were meant for someone more muscular. The man’s face has a few deep lines. He doesn’t have a hair on his head. He could be fifty, someone who’s spent his life outdoors, but you can tell he’s extremely old because he’s so unnaturally thin. Another way you can tell his age: he barely moves. The man sits, facing the door, smoking. He’s not looking at anything in particular, or maybe he’s focused on the red and yellow curtain stirring just slightly in the breeze. The man sits rigid on the chair, left hand in his lap, right hand resting on the table, holding the cigarette, bringing it to his lips now and then. This man is Yanez, the Tiger’s white brother, and this ground where his house stands is far, far from any sea, in a part of India that appears on British maps as just a milk spot scratched with a few uncertain paths that could be swallowed up at any time by thriving forests or flooding rivers.

Once a day, in the morning, a woman comes from the village (which is close, just past the line of trees to the south), and she carries the bucket of food, and once a day, in the evening, she takes the empty bucket back again. Yanez has lost his teeth and his sense of taste; the bucket holds a milky broth with small bits of meat, boiled vegetables, rice. When he started eating only from the bowl, he gave the woman his metal plate but kept the fork and knife in case a large piece of meat needed cutting. Over the years, his throat has nearly closed. The woman also brings him soap and cigarettes when he runs out and sometimes a lantern wick or a piece of flint for the lighter. Sometimes the woman brings Yanez a shirt or a pair of pants, used, but still good enough to wear. She’s the only one who goes inside his house. Anyone could, but no one does. Yanez hasn’t asked to see anyone in years. For what the woman gives him, Yanez gives her nothing in return. When he dies, his few belongings will clearly go to her. But no one will live in the house—no one in the village can live outside the village. Yanez only leaves the house to fill the pitcher at the pump, or to wash his few clothes or to wash himself, pouring water over his body with the soup bowl; or else he’ll go to the small outhouse and relieve himself. To work the pump, Yanez must lean on the handle with all his slender might. Once a year, around the time of her wedding anniversary, the woman goes to Yanez’s house with her three sons dressed in their newest, cleanest clothes. She has her sons wait by the door, she pulls back the curtain, and Yanez looks at them a while. Years ago, there were two sons, and before that, one. Yanez looks at the young man, the youth, the child, and after a while, he smiles. Then the woman drops the curtain and sends her sons away. They’re healthy, handsome boys, and she’s a healthy, handsome woman—she hasn’t really changed with age. Yanez has never seen her husband. Years ago, Yanez went to the village by himself sometimes for supplies. The villagers knew who he was, but they never asked him any questions. The woman went to his house for the first time after they all realized no one had seen Yanez in nearly twenty days. She went once a week in the beginning; for years now, she’s gone every day. The two times she was in labor, her mother-in-law took her place, but didn’t go inside the house; the bucket of food she left outside the door in the morning was there by the door in the evening, empty. Yanez has given the woman two gifts: the metal plate, and on another occasion, his one book, a volume the size of his hand, three fingers thick, an English merchant vessel’s log of a voyage along the eastern coast of China.

The book was filled with small pictures: strange animals, strange plants, strange buildings, men and women with narrow eyes and strange clothing. The woman’s sons spent hours on boring or rainy days staring at those pictures, imagining all the strange and wonderful things he must have seen in his long, long life—this thin, silent man that people spoke of as a hero, a sea voyager, a great hunter of man and beast, brother in spirit to the Tiger. One day, before the youngest could even walk, the two older boys crept as close as they could to Yanez’s house and hid in the high grass and brush and watched Yanez leave his house with a torn shirt, the basin, the brush and soap. They watched him strain to pump a little water in the basin and wash the shirt, scrubbing it on the small washboard with the soap and brush. Then Yanez pumped a little more water, rinsed the shirt, and hung it over the pump handle to dry. They were quite impressed that he’d done this women’s work so easily, and they decided he could do anything at all. They never told anyone about their expedition and only admitted it to their little brother a few years later, after he swore a thousand oaths of secrecy. Their little brother knew he’d been made part of a great mystery, and he always kept his pledge.

No one knew what went on in Yanez’s mind. Some of the villagers thought he’d grown old and simple. Others thought he passed the time, in the absolute silence of his house, remembering his great adventures, his friends and brothers in spirit killed by accident or men, the thousand places where his name had been pronounced with reverence or rage, friendship or fear, love or loathing. When he first arrived from an unknown place and built his isolated, small white house, even then, Yanez was silent. He only said his name. And apparently, though he’d never been to this or any other nearby village, he knew his name would be enough for whatever he needed. And he needed little. He barely spoke, only if he needed something. When he still went to the village marketplace, he barely spoke a word. For years, the rumor had been that Yanez had died, but then he arrived in the village. The village boys imagined he’d taken refuge in this safe and tranquil place to plan his next great adventure. And they waited for him to tell them that they had to choose: either the safe, boring life of the village or the brief, glorious life of the hero.

But Yanez never told them. After almost a year of talking, meeting, stalling, the most spirited boys finally gathered up their courage and went to his house. They sat by his door and waited. Yanez came out almost at once, and then the boys spoke to him, taking turns, speaking passionately, for a long time. They recalled his great adventures, told him of their own desires to win glory in this life and honor in the next. Any adventure would do—it didn’t matter—it would be a glorious adventure, and they were ready for victory or defeat, because defeat at the hands of an overwhelming enemy would also bring glory on earth and honor in the heavens; they didn’t know their enemy, but they weren’t afraid; they’d fight anyone in his name, on the plains or in the mountains, in the rocky desert or the woods, even on the ocean that no villager had ever seen, but they knew it must be like a river with just one bank, and they weren’t afraid of any river or riverbank. Yanez stood in the doorway and listened, paying close attention to each boy, fixing his eye on the one who spoke, and when they’d all said their piece, and it was clearly his turn, the minutes passed in silence, and then he bowed stiffly and stepped behind the curtain. The boys spent a long time talking about this silent answer, what it could mean. Some boys started belittling Yanez, almost mocked him. Suddenly his race mattered. Others said, “The Tiger’s Claw has broken,” and they were sad. It took a few years—time for the village boys to become village men—before most of them realized what Yanez’s answer meant. The village was isolated, distant, and no one had ever seen an Englishman, but there still wasn’t a home without something made in England that had passed through a thousand peddlers’ hands. One villager, though quite suspicious, bought a sack of seeds from a bragging peddler, and it yielded thirty times the normal crop; from that year on, the children grew stronger. Some of the young men who longed to travel had gone off with peddlers to villages closer to the English, and they came back with stories of English medicines that cured almost anything and tools and machines that helped with every sort of labor. Who could resist the English when they brought such useful things? The village men wanted to consult with Yanez—he’d know everything about the English, everything good and bad—he’d fought them for so long and, really, was almost one of them, and the men wanted to know whether it was right or wrong to let the English take the village, even with fertile seeds, and strong medicines, and useful tools. The men talked a long while, but in the end they never went to Yanez—it was absurd, really—they could never keep something out that made life so much better. And then, around that time, a small caravan of peddlers arrived and brought the village its first real Englishman.

He was extremely robust, both muscular and fat, dressed all in black, with strange hair the same color you saw behind your eyelids when you closed your eyes and faced the sun. The Englishman’s hair shone in the sun, seemed almost to course with blood—not the dark blood of the body—a thinner, brighter blood. The Englishman could almost speak their language, but he used strange-sounding words, and once in a while, he’d go on and on when he was really saying something fairly simple, the same way children ramble when they’re first learning to talk. In the village square, the Englishman’s voice thundered that he was a saint of the English god, come for their own good, to save their souls from certain death, a death they’d all soon face, he insisted, if they refused his help. The village elders met for a long time, and finally they went to the square and told the Englishman they truly didn’t understand how a god, even the English god, could want or even allow men to die whom he hadn’t known existed until yesterday. The English saint laughed and said he admired the village elders for their intelligence and thought their answer was especially appropriate, coming from men who had understood the best ways of thinking when considering gods; but, he added, perhaps he hadn’t made himself quite clear, or the elders hadn’t quite understood. He asked permission to stay a while in the village, and they agreed. For a year, all the children, women, men, and elders listened every night while the English saint told stories about his god and the people to whom his god had first appeared. The English god treated his people (who weren’t English yet) like any good, stern father might treat his young son bursting with energy, both good and bad. When his people made mistakes, he punished them severely, and when they behaved, he rewarded them with his moderation. In the end, the English god wanted to teach his people a definitive lesson about the one true path, so he came down to earth as a man, yes, a real man who left his home and family when he was thirty and traveled around teaching the true path and living off the charity of others. Was he a buddha? the village asked. No, he wasn’t a buddha: he was god. An avatar? Something like that. A person could get along with this English saint; his topics were interesting and sparked debate. And he knew so many other useful things: how to cure certain childhood diseases, how to get an even larger yield from English seeds. The village men thought the god of the English saint seemed just and good, though they weren’t sure what to make of this idea of one god only; they might be willing to admit that he was a great god, and maybe—and this was extremely delicate—even a god more dignified and powerful than all the rest; but the English saint just kept insisting, ignoring all the evidence, that his was the one true god, and this, the village elders thought, was virtually insane; this pretense, this boundless pride was so out of character for a god who seemed so just, and kind, and good.

The English saint had been there almost a year, when much to everyone’s surprise, Yanez—who hadn’t left his house in years—showed up one night in the village square. He asked for the Englishman—so this was why he’d come. The English saint was astonished to see him, though Yanez didn’t say his name, at least in public, and somehow no villagers had mentioned it, either, so they’d kept Yanez hidden almost a year by just not saying anything. The English saint and Yanez wanted to be alone; they shut themselves away in the room of a house, and someone spying on them through a crack in the planks said Yanez dropped to his knees before the English saint, and stayed on his knees for over an hour, almost whispering—you couldn’t tell what he was saying—and the English saint listened, face attentive. You couldn’t see Yanez’s face, but his voice, that voice you couldn’t understand, that was the voice of a crying man, a man pleading to a vast superior, even pleading to a god. After a long time, the English saint and Yanez came out from the house, the saint in front, looking as if he could scarcely believe what he’d seen with his own two eyes; behind him came Yanez, his face, as always, revealing nothing. Together they went to Yanez’s house; meanwhile, in the village, people were making up stories; some were furious that Yanez had bowed down to this English saint, who maybe wasn’t so saintly after all; some said if the Tiger’s Claw welcomed the English saint into his home, the English saint must be good; but then others wondered if this applied to him and him alone, or whether all English saints were good (the English saint had said there were many saints like him spread all over the world, commanded by a saint of saints who lived in a very ancient city with a name that rolled beautifully off the tongue . . . Rome); and then what about the rest of the English—saint or otherwise—were they good, too? They discussed this in their homes; later, in the village square; finally, in the council of the adults and elders; and since they couldn’t send a delegation to Yanez and violate his privacy, they went directly to the English saint and questioned him in the square for an entire day, the people crowded all around him. They wanted to know—and the English saint could see the change right away—they wanted to know what his intentions were, not as a saint of his god or a saint in general, but as an Englishman, if he was there on his own or if he’d been sent by other Englishmen, and if anyone else, saint or otherwise, might be coming; quite simply, they wanted to know who he was, this man who’d made Yanez kneel down and cry and plead, this man who could break the Tiger’s Claw with just his presence, or better, who was so powerful, the Tiger’s Claw had come down to the village of his own free will, to be broken. But their questions served no purpose. The English saint still seemed like a good man, English, yes, so different from other men, but a good man all the same.

He’d lived in the village nearly a year and told wonderful stories. He’d taught the children new ways of doing figures. He’d taught the boys and men how to make English seeds yield more. He’d taught the women how to lower a child’s fever. He’d talked with the men and elders about the gods, about suffering and death. He’d laughed at births and cried at deaths, always in good measure. But he’d humiliated Yanez, they all said or thought. That isn’t true, someone stood up and said: Yanez humiliated himself. Following this day of questions came a night of talk, and in the morning they all said: Yanez humiliated himself. It was a surrender, not a defeat. The English saint could stay.

After his confession, Yanez barely slept. When it grew dark, he would unroll his reed mat and lie down, but he barely slept. He’d always been a light sleeper, but he slept often. Now he lay stretched out on the mat with his eyes closed, not sleeping, and this was like sitting and staring at the curtain moving slightly in the doorway, and really, if staring at the curtain was doing nothing, staying awake with his eyes closed was doing even less. He had only a short time to live, and he wanted to live every second of it, awake. He’d made himself a bet: if the priest absolved him and kept his confession, then god existed and was good and great, because only a true, and good, and great god could do great deeds with small men; and Yanez knew that he’d committed many large sins and pardoning them was a great deed, but above all, Yanez knew that even the smallest sin was enough for damnation, so even pardoning the smallest sin, and saving a soul from damnation, was a very great deed. If the priest refused to absolve him, then he had every reason to doubt the priest’s god. Yanez always knew the only one he could really count on was himself. He’d sailed a hundred seas, built and destroyed cities, been king and beggar, Portuguese and Oriental, loather and lover, friend and foe, only to find in the end that salvation comes not from what you take or lose, but from the gifts you’re given and keep forever. Yanez had been given three gifts: the friendship of the pirate Sandokan, the Tiger of Malaysia; the friendship of the woman who brought him food; and, maybe, the friendship of god. Sandokan had been dead for many years now, but their friendship wasn’t dead. They were friends together and friends apart, and now the great distance between them didn’t matter at all. Sandokan died young and handsome, as he should—a life like that couldn’t end with a frail body, a toothless mouth, a nearly closed throat, and soup trickling down your chin. This was Sandokan’s gift: the lesson that all lives are different, and each ends as it should. The woman was alive and gave Yanez almost everything, asking almost nothing in return; she fed him, honored him, named her sons for him. Yanez didn’t mind the woman’s devotion; he knew the woman considered this to be right because of what he was: an old man who needed her. Yanez knew the woman honored him for his age and for the wisdom gained with age. That’s why Yanez wanted to gain some wisdom, after so many years of life, because it was all he could give the woman in return for all her silent care. His desire for wisdom was the woman’s greatest gift. The English priest came just when Yanez realized that, for all his effort, wisdom was slipping away, because, quite simply, he wasn’t worthy: he’d wanted to live a thousand lives instead of one, the right life, his life. Perhaps the priest had the power to free him from all those superfluous lives, to strip him down to the least, the poorest. This power, perhaps the priest had it, and Yanez went to the village the day he felt strong enough and weak enough to find out. Now Yanez lies stretched out on the reed mat, awake, eyes closed, and he feels like a newborn child in a basket of rags who doesn’t know yet that he has arms, legs, a belly, and a back, who sees those limbs waving all around him without knowing that they’re his. Yanez grabs his left hand with his right; he clasps his hands, knits his fingers; he touches his face, his neck, his chest, his belly, and his thighs; he squats, hugs his knees, caresses himself, lightly kneads his lower back; he counts his toes, touches his hard soles, the backs of his knees; he hugs his shoulders, touches his throat, the back of his neck. He struggles to his knees, as he’s done only a few times by choice and as he was forced to do as a child. On his knees, almost without thinking, he prays, he gives himself.

Now he can die. When god’s claw decides to strike him.

—Giulio Mozzi, Translated by Elizabeth Harris

Giulio Mozzi was born in 1960 in the small town of Camira Vicentino in Northern Italy. He is the author of over two dozen books of fiction, poetry, and writing craft, and is credited with helping to launch the careers of numerous young writers in Italy. “The Apprentice,” a story from This Is the Garden, appeared in the anthology Racconti italiani del Novecento, edited by Enzo Siciliano for Mondadori Press. Mozzi lives in Padua.

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harris

Elizabeth Harris‘s translations include Mario Rigoni Stern’s novel Giacomo’s Seasons (Autumn Hill Books), Giulio Mozzi’s story collection This Is the Garden (Open Letter Books), and Antonio Tabucchi’s novel Tristano Dies (forthcoming with Archipelago Books). Her prizes include a 2013 Translation Prize from the Italian Ministry of Foreign Culture (Rome), a Banff Centre Translation Residency, and a PEN/Heim Translation Fund Grant from the PEN American Center.

 

May 032014
 

Capturevia www.paolomerenda.it

Beyond the raw emotion and deft psychology contained in these stories, each of Mozzi’s parables drifts into the tall grass of that other garden—the garden of creation, of story-telling, of finding the right word. —Tom Faure

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This Is the Garden
Giulio Mozzi
Translated from the Italian by Elizabeth Harris
Open Letter Books
Paperback, 121 pages, $13.95
978-1-934824-75-7

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What is a garden? For Adam and Eve, it is the warm kingdom of innocence from which they have fallen. For Candide, it is the final plot he must dedicate his life to cultivating. For Giulio Mozzi, the garden resembles a Borgesian labyrinth—a mysterious, perplexing place in which people constantly write, read, and rewrite the ever-shifting planes of some elusive salvation. Mozzi’s garden is both the sandbox of the imagination and also an idyll his sad, thoughtful characters can never seem to achieve.

Mozzi’s This Is the Garden is easily the most rewarding book I’ve read this year. First published in 1993 (and winner of the Premio Mondello) and translated this year by Elizabeth Harris for Open Letter Books, these short stories each explore a combination of metaphors that plague and sanctify the human experience: the word, the letter, the sheltering garden, and the postlapsarian dream of succor.

The first piece in this brief, eight-story collection gives us a petty thief writing to his most recent victim. He is returning two letters he found in the purse he snatched. While detailing the thought process of a criminal observing potential victims, he digresses into disclosures such as that letter-writing seems more honest than the ephemeral, blunt honesty of direct conversation: “I don’t want you to get the wrong idea about me, and perhaps that’s making me too verbose; my apologies.” Such an existentially conscious and narcissistic character offers his victim enough gems about the letters that perhaps she’ll even forget her material suffering:

“Anyway, since your friend’s descriptions were completely unreal, I took to them at once. Children view reality this way, too, and I’m not sure if it’s instinct or habit that makes adults tell fairytales and stories to reinforce this idea of the world as somehow magical, or if adults are too lazy to explain the way things really work.”

A perfect opening to a story collection, “Cover Letter” tells us what to expect: very fine sentences, outcast characters, tacit ruminations on everything from first impressions to deontology and consequentialism, all held in check by a steady hand. Control is the order of the day and it is mesmerizing to see how much Mozzi packs into just under 120 pages.

His Kafkaesque characters—old, young, male, female, adroit, spacey—do not know what plagues them, necessarily. The second story, “The Apprentice,” tells of a young man who wishes to be more than just a delivery boy, but rather a true apprentice who might grow in time into “a man, a worker.” He experiences the joys and pitfalls of laboring for an uninterested boss who might hold, not only the keys, but the existential manual, to his future. He suffers the futility and anomie of his work, furiously certain that “he’s certainly much more than nothing, even if he doesn’t know what.” The boy haplessly considers the merits of punishment as biblical path to salvation, recalling the garden in which men first foolishly attempted to be like gods.

Each of these stories does indeed evoke or otherwise explicitly depict a garden, but the collection is not purely religious in nature. It’s thoroughly human, it’s Kafka, it’s experience of love and the puzzles of human connection and communication.

“To Mario, the dreams you can’t remember are the most important kind—they protect your vital secrets.” Mario is whiling the time on a five-hour train ride that reminded me in its style of Venedikt Erofeev’s masterful fugue Moscow to the End of the Line.  “Today, Mario is headed to Rome where, perhaps, a woman is waiting for him. A few days ago, he got a letter from her saying: ‘I miss you’ and ‘I wish you were here.’ But the letter didn’t say: ‘Please come.’”

“What he thought were her dreams turned out to be his instead.” What a line—and Mozzi offers many like this. “Trains” is my favorite for its relentless burrowing—again, a Kafka reference of Mozzi’s—into the seismic trepidations of the romantic experience.

Beyond the raw emotion and deft psychology contained in these stories, each of Mozzi’s parables drifts into the tall grass of that other garden—the garden of creation, of story-telling, of finding the right word.

“You might say that in some letters, maybe all letters, the important thing is only said after the final sentence, in the silence that follows.”

Or: “I ask myself what compels all this to hurl itself headlong into something so precise and defined as a story that has a beginning and an end. I think there must be some kind of grudge against reality in all this.”

But fear not—Mozzi does not stake his claim to meta-narrative navel-gazing. The experience that fascinates him most seems to be more primal, more guttural: a person’s simple search for how to speak to another, for how to begin, for how to end: “There’s something I keep trying to say, that grammar won’t permit, won’t allow.”

“I’ll never forget this pain. I beg you, all of you here, and I think I’ve finally managed to say what I had to, after all this hemming and hawing that was more from fear than anything else, because just bringing up certain things is scary, I beg you, please, try and understand my pain even a little, or at least try to accept it as something that could happen and could be true. The books I’ve read have taught me many things, but above all, they’ve taught me to preserve my life and to tuck my voice away inside my life and keep it safe—my voice, unique and private: my unique treasure and my health. I love you all.”

This is not easily digestible and forgotten. Mozzi’s is a European sentence—meandering, introspective, borderline Proustian at times. It is a sentence that demands its place on the page, that, without meaning to, reminds us of how many sentences don’t merit the space we give them. His words breathe in the vastness of their own possibilities, do not want to waste their breath.

“There have been many times, during intense conversations full of affection and emotion, with people I loved very much or at least wanted to love very much, that my words slowly disappeared, until all I had left in my head was one tiny phrase, or a few phrases, incongruous, but full of meaning, mysterious phrases, impossible to say. And in those moments, you can almost hear your brain creaking, straining to raise too great a weight. To say these words, to transform their mystery into a simple sequence, compressions and decompressions of air, to hear them disperse, scattered, useless, this would have been too much. As I stop writing this letter, I apologize to you that I can’t even sign it. Good luck.”

But to rave about the maestro’s sentences is insufficient—what of plot, drama, explosions? There is plenty of that here, in Mozzi’s dream garden. The conflict is buried deep in and burrows deep into the psyche of these perturbingly mundane characters. Mozzi’s little gem is not called This is the Garden, but rather This Is the Garden. The first thought upon finishing the last story of the collection is: ah, yes—there—I must return.

—Tom Faure

 

Tom Take 4

Tom Faure is an MFA in Fiction student at Vermont College of Fine Arts. His work has appeared in Zocalo Public Square, Splash of Red, Chattanooga Times Free Press, The Journal News, and undergraduate magazines at Columbia University. He lives in New York, teaching English and Philosophy at the French-American School of New York.

Contact: tomfaure@old.numerocinqmagazine.com

 

Mar 152014
 

DSC_0046Photo by Will Johnson

Meet Shepps and Gwen, Sid Vicious and Nancy Spungeon avatars, young and punk, but without even a hint of the aura of glamour that seemed, briefly, to redeem the stars. This is a love story of a decidedly bent sort, droll, fiercely witty, Rabelaisian, candid, amoral, real. Did I mention real? Susan Sanford Blades is a discovery. Her story has panache. She spanks out line after quotable line as if she speaks in aphorisms. “This one lied due to the unbearability of truth.” “Parenting is simpler for the absent.” Sentences carved out of the ether but anchored in an incredibly convincing, grubby, and hilariously inept reality. “She let him come in five minutes, tuck his limp sea cucumber into his pants, and slosh away because Gwen was twenty-one years old and beautiful boys didn’t need to try.”

dg

 

Shepps appeared at Pluto’s Diner carrying a duffel bag stuffed with Dorothy’s Rainbow posters and a roll of masking tape. He wasn’t an official band member but they let him play second bass sometimes. They’d adorn him with a black spiked wig and track marks on his forearms—a nod to Sid Vicious that guaranteed him a Nancy after the show.

Pluto’s offered two waitresses that day for the young and horny gentleman wandering Cook street with a stomach for grease. Tiffany of the two-inch tall sprayed-straight bangs and bra-less, off-the-shoulder sweaters and Gwen of the bleached-blonde witch’s broom and ever-moist Fire Red pout.

Shepps introduced himself to Gwen as the lead singer of Dorothy’s Rainbow but she had a nose for liars. Shepps couldn’t command a sentence, let alone a stage. Boredom and intrigue for this flop-footed sprout drove Gwen to let him lie to her at a booth in the corner while he drank glass after glass of apple juice. He told her he dug the band but wanted to quit. He bemoaned his toad voice. The girls. Every night like a line up for the dole outside his van—myriad desperate faces with ready palms. Shepps’ lies endeared him to Gwen. This one lied due to the unbearability of the truth.

She let him eat her out in a booth after closing that day, his lips sticky from the apple juice. When Gwen came he leaned his head on her slick thigh and said, you’re delicious.

Gwen kept strict rules for Shepps. He could visit her at the diner but not at home. He could fall in love with her if he wanted but he could not call her girlfriend. They smeared themselves over every inch of vinyl in the diner. Gwen’s boss pulled her into a booth one morning and said, “smell the bench, Gwen. What is that? Bleach? Pancake batter?” She dipped her nostrils, shrugged and told him Tiffany closed the night before.

Gwen attended her first Dorothy’s Rainbow show flanked by her roommates Mona and Christie. Mona blew Hubba bubbles and yelled menstrual anxieties into Gwen’s ear. “Can you tell I’m wearing a pad? Is there blood showing? I felt a gush.” Christie, a Bryan Adams fan, stayed only because the bassist was cute.

Shepps played second bass to Donny. Donny ferried to Seattle every five weeks to give blood for a living and, due to his anemic state, was the most punk-rock looking member of the band. Both twiddled their E strings with the same useless fervour. The real lead singer was Damian Costello. He was not 1983 beautiful. His hair had not made the acquaintance of gel. His testicles had not been heated to the point of sterility by a pair of tight, acid-washed jeans. His beauty transcended decades. God, how he moved. Skinny and lithe as a garden hose. Johnny Rotten’s death grip on the mic stand without the toothy maw.

The after party took place in Shepps’ home—an orange Westfalia he parked at Clover Point. Donny grabbed the available flesh around Christie’s waist and took her up to the pop top. The drummer, Ricky, supplied the band with weed, a steady beat, and a throaty guffaw from time to time, but spoke little and was therefore considered sexless. Damian stretched and released Mona’s bra strap a few times then excused himself to wade in the ocean.

“Keep Mona company,” Gwen said to Shepps. “You can finger her a bit, I won’t mind.”

“Where are you going?”

“I need to pee.” Gwen opened the sliding door. “Mona, I’ve told you about Shepps, right?”

“Sure,” Mona said. “Inarticulate, likes to eat pussy?”

Damian was out to sea, knee deep in kelp.

Gwen plunged out like a spoon through Jell-O and said, “howdy,” then wished she’d opened with something more punk-rock, like oi!, then realized that was too effortful and howdy was so unpunk-rock it, in fact, was punk-rock, then felt satisfied with herself. Smugly so.

“How’d you like the show?” Damian remained at attention to the Olympic range.

“You sucked.”

He spun to face Gwen. “Yeah?”

“Yeah. ‘God Save Pierre Elliott Trudeau’? What is that?”

“I live in Chinatown on Daddy’s dime. How about you?”

“My parents disowned me when I bleached my hair.” Gwen scratched her scalp. “They still pay my rent.”

“We’re privileged Canadians. We could never be punk-rock.”

“I know,” Gwen said, then felt stupid because if she knew, why ask?

Damian yoinked a sea-salted strand of Gwen’s hair and said, “why look like Nancy Spungen? She was psychotic.” And everything Gwen had ever wanted for herself, at least since high school, shrank. “You look cute though,” Damian said. He lifted Gwen and carried her and splashed and stumbled and shimmied her onto the beach and banged her head on a rock like the furthest thing from a punk-rocker. She let him fuck her like a man who’d returned home after a day inking paper to his aproned wife and slipper-bearing dog, meatloaf firming in the oven. She let him come in five minutes, tuck his limp sea cucumber into his pants, and slosh away because Gwen was twenty-one years old and beautiful boys didn’t need to try.

Next month Damian’s coffee table supported five bags of Cheetos, an ash tray, Gwen’s bare ass, two guitars, seven pipes, Ricky’s spare change, Damian’s heels, Gwen’s heels, Damian’s bare ass, the soles of Gwen’s shit-kickers, one issue of Flip Side, seven tea lights, one burning stick of patchouli, three boogers, one wad of Hubba Bubba, and a small, terrifying white object.

Gwen pointed to the urine-soaked blue line and said, “do we want this?” Damian noodled on his guitar a few minutes, then peered over the sides of his knees toward the coffee table.

“Has it been long enough?”

“The line doesn’t disappear with time.”

“Baybeh.” Damian half-sang this and Gwen wasn’t sure whether it was a noodling emission or a proclamation of their future.

“So?”

“Do-we-want-a-baybeh.” Damian sang this.

“So, no?”

“Do-we-want-to-kill-a-baybeh.”

“I don’t think I do.”

“Me neither.”

“Which one?”

“The killing one.”

Damian put down his guitar. Gwen watched him pull up his socks from the corner of her eye. His saggy socks. She wondered if Johnny Rotten wore socks, and if he did, were they from the sale bin at Thrifty’s, greyish white with the elastic gone.

Damian picked up the test. “Fuck, yeah. A baby. An experiment. Mind control.” He waved the test around. Conducted.

“It’s not in the stick.” Gwen raised her eyebrows. Pointed to her stomach.

He tossed the stick back onto the coffee table. “I know, Gwen.” He grabbed the waistline of her shirt. Clenched, one-handed like he was unloading hot socks from the dryer. “We’ll get married,” he said.

Gwen smiled.

“We won’t tell anyone.”

Gwen frowned.

“Except Shepps. He’ll be the ring-bearer.”

Gwen smiled. “And the flower girl.”

“We’ll make him wear a dress.”

“Such a sad flower girl.”

Shepps did not wear a dress but he grasped the flowers like a little girl. Held with index finger and thumb, flopped over to the side as though ambling to the tune of his daydreams. He brought them himself. Lavender and daisies he’d picked on the way to City Hall. “I love lavender,” Gwen said. Shepps said “I know,” though he never knew.

Gwen wore her grade twelve graduation dress—a fuschia, puff-sleeved, polka-dotted number—because punk-rock would soon die but polka dots were forever. Damian wore something Gwen had never seen. Low-cut corduroy bell bottoms he’d rolled up tight to conceal their outdated girth and a black suit jacket sized for a ten-year-old boy. He looked like a lanky giant dragging two lumpy doughnuts at his ankles. Gwen wondered if she should marry someone whose full spectrum of pants she was not yet acquainted with.

Once declared man and wife by the province of British Columbia, Shepps took Gwen and Damian to Pluto’s for a milkshake. “My treat,” he said. Shepps hadn’t been to Pluto’s since he’d last secreted into a booth. Gwen cringed at the ease with which he sauntered in, waved his wallet around, said hello to Tiffany, lingering on the Ls to flaunt his skilled tongue. And Damian. How, when Tiffany nodded toward Gwen’s shoulder soufflés and asked “what’s the occasion,” he said “it’s Gwen’s birthday.” Then turned to Gwen with a finger to his lips, as though the secret was theirs to share.

Shepps shuffled into the postnatal ward of the Royal Jubilee Hospital two days after Sara Rae Costello was born. He had always been loose-gaited but that day he seemed invertebrate. Gwen was without company, baby, or makeup. She looked less desperate-for-heroine, more desperate-to-have-her-hemorrhoids-looked-after.

“You had a baby.” It was the most punk-rock thing Shepps had ever said.

“Long time no see, Shepps.”

“How’s married life?”

“The masochist in me loves it.”

Shepps smiled and looked at Gwen as though to say you’re delicious but he said “you’re tired.” Gwen asked him how he was and he nodded and said, “good” in a sleepy elastic tone that made her not want to know how good. So she said, “good.” And they sat and looked at the walls until a nurse brought in the baby. Shepps said, “she’s beautiful. You look beautiful holding a baby. You look beautiful feeding a baby.” And they sat and looked at the baby until he said, “I should go.” He left a pile of lavender on her night stand. Typical Shepps, to bring flowers without a vase.

Sara had a sly smile Gwen loathed. The same smile Damian formed when conjuring alibis. After two years of marriage, Gwen’s nose was full of lies. Sara reserved her smile for moments of mischief. Cheerio-paste paintings on the carpet, feces on the bathroom wall. She sensed Gwen’s frustration and up those lips curled, followed by a plea for Daddy. Daddy received genuine smiles. Giggles, even. Sara offered Gwen a jowly, Churchillian scowl.

Gwen dreaded all times Sara was not close-lidded. Dread of building blocks, tea parties, empty hours. Dread of mistakes. Every motion, emotion, utterance potentially lethal. This child weighed too much. At times, she would offer Gwen respite. Run a peanut-buttered finger through Gwen’s ratted hair and pronounce her unicorn-pretty. Allow Gwen’s lips to reach the crown of her head. Succumb to sleep on Gwen’s downy stomach.

Damian had no trouble with the girl. She responded to his muted commands. Parenting is simpler for the absent. Gwen understood. Damian’s quiet disinterest was a siren to her as well.

Sara’s limbs had softened to curlicues around afghans and bears and mythical creatures. Gwen retreated to the balcony. She watched passersby and felt glad she wasn’t them. They were old and crippled. Saddled with groceries and offspring. Fashion victims. Having obvious, pretend fun. Slumping along, zombie-like as though every crack in the sidewalk were an abyss to traverse.

Gwen yelled through the bars, “who’s that trip-trapping past my balcony?”

Shepps swayed like a poplar in the July breeze. “Is that you, Gwen?”

Gwen was dishevelled, though now not purposefully. Thinner of face, thicker of hip. A small plum under each eye. Her hair long and unbleached. Squirrel brown.

“You’re not playing tonight?”

“There’s no gig.”

“Oh. Then where’s Damian?” Gwen dangled her arms between the bars. “Why don’t you come up?”

“You know why.”

“Why don’t you come up?” Her fingers grasped at the air as though to bail out the sky between them.

“Because,” Shepps said. “Maybe for a minute.”

“Five more minutes,” Gwen said. “Come in. Talk to me. Lie with me.”

Shepps lay with Gwen in her bed, a paternal palm to her hip. He told her the truth. About pumping at the Esso. She smelled his sweet and sour fingers. About quitting the band. “I don’t know if they need two bassists,” he said.

Then Shepps lied to her about a girl. Cindy or Sandy or Mindy. Worked the coffee stand at the Esso. Filled her uniform well. “Snug,” he said. She’d been to his van for a beer. He’d undone a few of her buttons. And a few more. He might take her up island, introduce her to surfing, black bears, his parents. “You don’t even have parents,” Gwen said. She pressed her palm to his palm on her hip. Gwen thought about his sickly sweet tongue. How disposable it once was. And how much depended on it right now.

—Susan Sanford Blades

Susan Sanford Blades lives in Victoria, BC. “Poseurs” belongs to a manuscript of linked short stories she’s currently working on. Two others from said manuscript have been published recently in Grain and Filling Station.

 

Feb 112014
 

Trey Sager

“The Plot” is a pun that pays off at the end of Trey Sager’s terrific new story “The Plot,” which is notable, yes, for its plotlessness. Instead of a plot, the author rather brilliantly substitutes a couple of backstories that keep weaving into the text and a set of motifs that he juggles like colored balls before the reader. There is even a sex scene; it’s in a dream. “The Plot” is thus an anti-story of sorts that depends on structure and the strength of the author’s wit and writing skills to capture the reader’s interest. And wit and writing skills Sager has in abundance as well as a poetic sensibility that makes the words into images on the page. I love the way the dead birds that collect outside the windows of the protagonist’s house turn into letters. And the way the poet is described as “an indecisive shopper in the dead mall of language.” Also the lush word “passerine,” which means, yes, what it means but passes over the story like a dead hand. The poet is a passerine and the word sounds like melancholy itself. Trey Sager is the fiction editor at Fence; you can read a terrific interview with him on the subject of his novel Fires of Siberia

dg

 

At the end of his life, Ronald Reagan raked his lawn each day, and at night the Secret Service dumped the leaves back onto the grass. Guy wondered if whatever degrading plot the future had in store was already upon him and, like the Gipper, he was simply oblivious to it. But he was only fifty-three. Surely there was more time for him to disappear into his lawn. He sat in front of a half-eaten English muffin and a damask-patterned mug of coffee, both of which looked abandoned, as if part of a crime scene. A Sunday abduction. No, a murder, he speculated, picturing himself prone on the living room rug, his assailiant’s skin under his fingernails, his fish eyes open and staring at the carpet fibers and dust particles he could no longer see. He felt unhappy to be dead. Then he heard a knock at the door.

He thought it might be the mailman. Everyone else would be at church or at home, playing with their round, overemphasized children. He was friends with the mailman. They’d met at the grocery store shortly after Guy moved to town, standing in line with a young girl singing “escargot, my car go.” The mailman lifted his eyebrow as an invitation to deride her, but Guy opted for a joke about snails. Occasionally Guy brought Dickel whiskey to the tracks and the two of them passed the sweetened gasoline back and forth, taking tolls on their mutual emptiness. The more the mailman drank, the more he acted like a thirteen-year-old girl.

It could’ve been a bird at the door, Guy speculated. They were often slamming into the back bay window, beckoned by the reflection of the pines and, for someone who isn’t fully paying attention, the sound of a fist clapping against a wooden door resembles a bird thunking against a house. Guy hated the birds more than he felt sorry for them. He was a poet, and spent his time laboring over which words to pair, an indecisive shopper in the dead mall of language. But the birds were ever oncoming. One was always on the verge of cracking its sunflower seed–colored beak and feathered skull on the glass. At a party a woman asked him what’s the last thing that goes through a bug’s mind when it hits your windshield. Its asshole, she laughed. The birds (he looked them up) were passerines.

Of course Susan came to mind, as she often did, but it would not be her either. He’d last seen her a month ago when she came to collect her toothbrush, a package of aromatherapy candles from Target, a few Sade CDs, and an unwashed yellow summer dress. She’d called out of the blue. “I want my things,” she said. Guy lamented the idea, that words came from the blue. The sky. He worked hard to find his. Susan was happy to retrieve her belongings, though she did not expect the toothbrush. She took it in her hand the way a policeman handles a piece of evidence.

Once, Guy dreamed that he and Susan were at a bus station in Los Angeles, and she wanted a package of Razzles. Somehow she slipped inside the vending machine. “I want you to buy me,” she flirted through the glass. Guy checked his wallet but it was empty, and Susan slinked to the bottom of the machine, pretending that she’d been purchased, hiding behind the flap. “Come on, buy me,” she repeated. “Guy, buy me.” A woman whistled behind him. Guy turned around. She was wearing a chinchilla coat and cheap pink scuffs, and although she was not very attractive and wore too much makeup, Guy reached under her skirt and his middle finger whished inside her. She slipped a dollar bill into his other hand and pushed him away. Guy hurried to insert the dollar into the machine, but when he turned back the woman in the chinchilla coat was gone.

“You want to hear a joke?”

“Sure.”

“A guy breaks up with his longtime girlfriend and moves across town. He’s carrying a chair to the front door when he notices a snail on the welcome mat. He brings the chair inside and on his way out, he picks up the snail and chucks it onto the lawn. He finishes moving everything inside and settles in nicely. A year passes. One Sunday afternoon, the man is at home. He hears a knock at the door, so he puts down his bag of potato chips and gets up and opens the door. To his surprise, there’s no one there. But then a voice says, ‘Hey, what’d you do that for?’ He looks down at the ground and sees the snail staring at him from the edge of the welcome mat.”

More than once Guy fantasized about standing outside the back bay window, knocking the birds down with a rake. But he hated that the birds died so it didn’t make sense. Anger offered only a sideways path. Early on he wanted the dead birds to transform somehow into the letters or even the words of a new poem, as his karmic reward for enduring their deaths. He tried to write about that idea in a poem, but it turned into a drawing of a deer wearing an army helmet. Eventually Guy decided the birds were killing themselves on purpose. They knew the glass was glass and, like so much on Earth, their lives had nothing to do with him.

He once considered tossing the dead ones into his neighbor’s pool. What else could he do other than imagine them. It was difficult to watch them convulse on the mulch as their broken necks communicated death. Susan said his poems were like cut flowers in a vase, and that she wanted to have sex with the flowers. But you can’t have sex with flowers, she complained, because they’re too delicate. What about a bird of paradise, he asked. After she left him, the mailman brought over whiskey and the two drank in silence, looking at the constellations from his back lawn. Guy convinced the mailman to drive drunk to the supermarket. They bought a giant can of red Kool-Aid powder and, after a few more whiskeys, they dumped the Kool-Aid into the neighbor’s pool so that in the morning it’d look like blood.

What had gone wrong with Susan was the same thing that always went wrong. She loved his books, loved the idea of them, of being with a poet, she thought he was special, and he was special, but special in the way a salamander’s asshole is special. He had interesting secret thoughts, he once imagined straightening her pubic hair with a flat iron, but he could not share those thoughts with her, or in his poems, and she grew bored with her safety. It seemed that a salamander needs its asshole to be interesting.

His poems were full of fruit on crooked tables, a spray of young forsythia, the weary baker walking home to a family saga. He’d made a living off his work, won the Walt Whitman prize and published every year in the New Yorker. Like a telescope he revealed the world in constellations, but Guy did not love the stars. He was the kind of telescope that wanted to spy on his neighbors having sex. Not his new neighbors, of course—the ones he’d abandoned in Los Angeles, they were attractive. But he’d sickened of their enthusiasm, so many charlatans declaring themselves poets, like chocolate chip cookie bakers telling Julia Childs they cook.

If everything is possible, can something be impossible? Guy had discovered the question as a child and felt proud for coming up with it. Some kids got good at baseball, while Guy relished articulation. He hated sports. He thought them uncomplicated symbols of sexual processes, golf the crudest of all. “Get in the hole,” the crowd shouted, like an audience cheering on sperm. You could practically see the flagella in the tracer paths of Titleists. Each competition whittled down the field to a single winner. Unless there was a tie, which they say is like kissing your sister. Always a ball trying to penetrate a goal, usually a circle or a net. Once on television he came across a basketball player dancing at center court after a game, and the man bellowed toward the rafters, tears mixing with sweat on his face. “Nothing is impossible!” he screamed.

Barefoot and in chinos, no shirt, corrugated hair on his lower arms and across his chest, much more than what was on his head, Guy found himself outside. He continued down the street, passing the homes of people he knew the last names of: the Riggs, the Lyons, the Lims, the Carters, the Hardens and the Agbayanos. Their houses were stanzas in a sestina called “Eggshell.” The Carters were right next door, the ones with the aboveground pool. Their son practiced free throws well into the night and everyone knew it would amount to nothing. A few homes down Mrs. Harden had a flower garden, and there she was, crouched on all fours, transferring mums from clay pots into the rich soil. Guy wondered if it had been her at the door. Mrs. Harden sensed someone and turned. She put down her spade, then clapped her garden gloves together and said his name.

Guy.”

“Do birds ever kill themselves on your windows?” he asked her.

“I’m not sure what you mean.”

Guy nodded.

“Are you well?” she asked.

“No, lately I’m not myself,” he confessed.

“Maybe my mums will inspire you,” Mrs. Harden smiled.

Quietly he watched her scoop the dirt and deposit a bright yellow mum into the earth. He remembered an art installation he’d once seen in Los Angeles. There was a giant representation of a forest, about forty square feet, inside a gallery. When he walked into the room, he heard something squeaking, a machine with an A-B-A-B-A-B rhyme scheme. Soon he discovered the source of the sound was a man made out of plastic having sex with a tree. The man wore a suit, with his trousers at his ankles, and his face was solemn yet ambivalent. Guy thought it was a lurid variation on the myth of Apollo and Daphne, but after watching Mrs. Harden in her garden, he was no longer sure.

“Maybe,” he replied.

“What do you think of my hair?” she asked Guy, her eyes stuttering upon his chest.

A flock of Canada geese passed overhead, honking and honking, a southward bound V.

“I should probably go,” he said.

“Nice to see you.”

Shortly after collecting her toothbrush, Susan had sent a letter in the mail. The stationery smelled like jojoba. Sometimes he took the note from the drawer and breathed it in. All she’d written on the perfumed page was “Thank you.” Guy drove through her neighborhood once or twice. He wanted to write a poem with her looking out the window, forlorn, unemployed, smoking again, terrified. A mirror, in other words. But Susan was never home.

The mailman had announced early on that he did not like poetry. He didn’t want there to be any misunderstandings. At the town lake, they sometimes fished from a rust-trimmed canoe. What a way to pass the time, the mailman said. One afternoon his friend pulled up a small porgy, nothing worth keeping, and he flashed Guy a wolfish grin. He swung the rod in the air, whipping the fish back and forth, then slammed the porgy onto the side of the canoe. Don’t do that, Guy pleaded. The fish bled through its silver scales while suffocating outside the water. Guy had childhood friends who’d strapped fireworks to toads and poured gasoline down the holes of anthills. He wanted to tuck a large metal hook into the mailman’s mouth and swing him into the sun where he would be annihilated in flames. The mailman ripped the fish off the hook and tossed it into the water, where it lilted down, a feather in the breeze.

On his front lawn, three passerines pecked at the grass. Guy went to the front door and rang the bell. No one had been outside. No one would be inside. He waited, regarding the birds with a mild suspicion. They kept their heads down, snapping at insects and hidden grubs. Soon Guy wandered to the back, where he stumbled across a rake and a shovel leaned against the house. He’d once read that John Hinckley was allowed to visit his mother from time to time, and that he roamed the grounds of the mental hospital feeding stray cats. That Ronald Reagan was something else, the pundits often said, but no one knew what. Guy grabbed the shovel and went to the center of the lawn, where he slid the blade into the ground. The earth was surprisingly soft. If April showers bring May flowers, what do May flowers bring?

Guy worked for hours. The passerines watched him as if he were a different kind of glass. They disappeared at sunset. Crickets replaced the birds, along with a half-hearted moon, which, as the night wore on, faded behind a thick prison of clouds. All the while Guy shoveled dirt from the hole. He dug through the night, and only stopped when the light returned, a mystical pre-dawn that illuminated brush strokes of pine trees and houses and aboveground pools, all cast upon the window that was really the Earth.

The hole, a six-foot pocket, was narrow but deep enough to stand in. Guy slid into it, leaving his arms at his sides, his eyes level with the edge, a gun in its holster. He tiptoed in a small circle, taking in his surroundings, the world of living pine trees and all the rotting houses mocking him with their false precedents. Soon one would become the other. The rising sun would flash across the back bay window, summoning the passerines. They would fly, they would flee one world for another, and each desperate bird would break its neck on the glass. Each would become a word in Guy’s poem, the same word. New life born from death, as if that were possible.

—Trey Sager

Trey Sager is the author of Fires of Siberia, a romance novel loosely inspired by Tea Party champion Michele Bachmann, published by Badlands Unlimited. He’s also written two chapbooks with Ugly Duckling Presse (O New York and Dear Failures), and is a fiction editor at Fence magazine.

Jan 152014
 

JenSteelePhotography_073Author photo by Jen Steele

Oh, yes! This is a wickedly smart, wise story, artful, too, told from the point of view of a dissatisfied husband with an alcoholic wife, a man who only wants to be free of what he thinks of as his own worst nightmare, a man who abandons his wife, finally, in a Puerto Vallarta bar as she dances drunkenly with a stranger, but a man who, in the end, discovers that his nightmare wife was not the real woman, that he had never paid attention, that, without him, she wasn’t even a drinker. Like James Joyce’s “The Dead,” “To Mexico” focuses on the moment when the husband discovers the essential otherness of his partner, when he breaks through the assumed intimacy of couples to the real, secret woman beyond. In this case, it’s too late; in Joyce’s story we are left to wonder. The artfulness is most obvious in the pattern of bookish juxtaposition: she (the apparent drunk) loves Malcolm Lowry’s Under the Volcano while he prefers the ersatz magical heroism of Carlos Castaneda, two visions of Mexico, two visions of the world, false contraries as it turns out that only feed the narrator’s mis-perceptions of his wife, himself and love.

dg

 

The first night, Dale was standing by himself out on the balcony, in the early dark. Somehow he relaxed enough to notice the sky. “Relaxed” wasn’t the word, it was more that he was worn down, not just by a day’s airport grind but by the months at home that came before. On the balcony, gently mouth breathing, Dale was tiredly alert and the moon caught his eye. It was the famous curled white sliver, but instead of vertical it lay flat. A tiny coy smile. A tiny smile in a black face the size of eons. The two could hardly be comprehended together. He saw more: one pale star up in a far left corner of sky, and then up in the right corner, another. Two tiny eyes for the tiny smile. He had to pivot his head to see the whole face, which gave off wall-eyed irony the size of the universe. He tried to relax and feel amused by it. He knew a nose would appear if he looked for one.

He heard Anna emerge from the bathroom. When she clunked a glass down, loud on purpose, Dale turned from the comical sky to his worst nightmare, who wasn’t looking at him from in there on the couch.

“Want some?” Anna waggled her empty glass in his direction.

“Sure,” he said. “You should see this sky.”

“It’s completely dark out there.”

“No, it’s not,” he said, regretting it right away, not wanting to show her the impossible face. She wouldn’t get it. That is, she’d get it but wouldn’t let herself enjoy it, the magical distortion, the brain stretch, because it was his idea. It had come to this. At one time she would have joined him and they’d have laughed together, excited by the size of space. She would have found the nose.

Anna brought Dale a glass of tequila and sat in one of the balcony’s wrought iron chairs. She had refilled hers; he’d see how that went. Back when they were planning this trip she’d asked him, straight-faced, “You think I’ll do a Lowry down there?” Though a binge could happen anywhere, her joke haunted him. Tequila was a favorite poison and here it was almost free. Her hangovers were when they usually almost ended it.

The chairs were heavy and ornate and Anna was surprised how comfortable hers was. Normally he didn’t care for heights, and they were perched way up a hill, their balcony hanging cliff-like over Puerto Vallarta’s southern outskirts and the sea. Maybe because it was dark and he couldn’t properly see the danger it couldn’t grab his gut. Or maybe he was too drained to be afraid. Of anything. Chances were—he mused as he touched tequila to his lips—if things got ugly between them tonight, if they started coming apart, he just wouldn’t care.

“It’s beautiful here,” she said to the darkness. It sounded like a peace offering.

“I knew I’d love it,” Dale agreed. He added stupidly, “I really want to see an iguana.”

“Hey. To Mexico. We did it.” She held out her glass and they clinked. She tossed her whole drink back, so he did too.

That night there were no eruptions and no plummets off the cliff. Anna was tired too and there on the balcony they barely managed some mumbling about tomorrow’s plans. She wanted to check out silver shops, he wanted to hire one of those boats to go snorkeling. They both wanted to eat authentic Mexican and she asked him, still friendly, if he was going to challenge himself with hot sauces. They had one more tequila each then yawned and stared dumbly into the dark. When they went in and she was in the bathroom he scanned the TV channels to see if there’d be any point ever watching it, and when he came to bed Anna was asleep, her back to him.

Which was fine, which was as usual. And it would make things easier. They were intending to split up here. Nothing had been discussed or announced, but Dale was almost sure that this was her plan.

He hired a boat for not very much money, making the arrangements at the public dock with a tall and handsome man, Vasiliev. Why the man had a Russian name, Dale never did learn. He announced the deal to Anna somewhat proudly because it included all snorkeling gear, which she’d thought they might have to buy. Now, chugging off toward Los Arcos, a trip that at this speed would take an hour, he wasn’t pleased to be crammed on board with another couple and their two kids. They didn’t look pleased either. His assumption had been that fifty bucks got them their own boat, which seemed to be the assumption shared by the dad, a guy older than him, maybe pushing forty. The boat had one seat too few and the dad was standing. At one point Dale shrugged at him, but he didn’t shrug back. His kids, a boy and a girl, looked about ten, and his wife never stopped rifling through her day pack for treats, lotions, water. The motor roared too loud to talk over. Vasiliev, apparently just the fixer, was back on the dock. Their captain was a Mexican with an eternal smile, caricature of a Mexican mustache and not much English.

But it was a beautiful afternoon. Anna leaned on the boat’s side, face into the breeze, which blew her hair back, a whipping bronze flag. She let her eyes close. She was into her own day pack for the mickey of tequila and discreet sips. Disappointed by the silver prices, which were double what she’d expected and which meant she probably wouldn’t be buying anything, Anna had been quiet most of the day. She was in that mood where something badly startling might emerge.

Dale watched the slow approach of Los Arcos—small islets that arched high from the water. The breeze was a relief. He caught the dad’s eye again, stood and pantomimed him coming and taking Dale’s seat and he waved, smiled this time, shook his head. He was fine, clinging to an iron post, hand to his brow like a pirate.

It was paradise, it truly was. The swelling blue sea, the friendly heat, a quaint old boat that smelled of rust and bait, taking them somewhere they’d never been. Arking frigate birds, diving pelicans. Chased by something larger beneath, schools of small fish thrashed at the surface where they ran out of water. The view landward was of old Puerto Vallarta, its white masonry, palm trees, wild green hills up behind, and then the hills above Conchas Chinas, where their villa was. Dale couldn’t quite see their place, or their balcony, but he knew there were green and yellow parakeets in those trees. Anyway, what could be better? At one point Anna caught the captain’s eye and pointed languidly at something off the bow. The captain slowed, quizzical, then pointed himself and shouted, “Turta! Turta!” Dale finally saw it, a turtle’s head, maybe thirty yards off, a sleek black fist sticking out of the water, then it was gone. Anna had already ceased looking at it. The boy never did see it, apparently, and when the engine roared them back to speed again, he was crying.

A few minutes later, when the little guy had calmed down, and after another pull from her bottle, Anna gestured Dale in close and said, “Next time we’re here, let’s pick door number 3.”

That she was mocking this boat, and his arrangements, was clear. He always despaired when Anna became a willfully hateful person, because it wasn’t her, it really wasn’t. And when he pulled back and looked at her, what also became clear was that she mostly mocked the notion of a “next time.”  She smiled dramatically and falsely, and her eyes, her beautiful deep-sky hateful eyes, dared him to join her and say something back and take things up a notch.

Now the captain was pointing and shouting, “Manta, manta!” They slowed and all of them saw the black fin cut the surface, identical to a shark’s, a big one. And then another fin, ten or twelve feet from the first, the manta ray’s second wing tip. A plankton eater, harmless.

“Are there any sharks here?” he asked the captain.

The captain thrust his finger at the gliding wing tips. “No shark. Manta!”

Dale shrugged and pointed all around them. “Sharks? Any sharks? Ever?”

“No way sharks, no way!” he yelled, smiling non-stop, shaking his head, for far too long a time. Dale didn’t believe him. He could imagine every captain in town agreeing not to see the sharks they saw every day, keep the tourists coming.

The third night, they were in J’s Corruption, a bar they chose for the name alone. Puerto Vallarta had lots of colourful names and they figured it was the gay influence. Some buildings, they’d noted, had rainbow flags painted on an outside white wall. J’s was nearly full but people sipped at their pink or green margaritas as an afterthought, many heads propped on a hand, elbows on the table. It looked like the end of a long hot day. Dale had learned that, like them, most tourists arrived on a Saturday and left on a Saturday and so, city-wide, each new batch went through the same rhythms of recovery and liveliness. Anna, for one, had a formidable hangover from the night before. The cruise back from Los Arcos, her first mickey of the day empty, she’d leapt off the bow at full-speed, shouting in Spanish. But tonight she didn’t show it. Dale was used to this, how she climbed up through her pain to appear pretty much normal. Because there’s no way she wasn’t in pain. She masked it well, though she wasn’t saying much, or meeting his eye. Dale stared at the severe part down the middle of Anna’s head, wondered if that dark freckle had always been there.

He recalled how they’d decided on Mexico three years ago, after a particularly tectonic fight, the one that resulted in them reaffirming never, ever to have a child they were sure to ruin, and then also agreeing never to buy a place together. They’d been lying in bed after making restorative love and she was being wryly humorous, but in the air hung the dire truth that, before long, one of these fiery bouts would end them. At some point she’d said, “Let’s at least get to Mexico.” She’d said it twice.

They both had involvements with it, with Mexico, and neither had ever been. Years ago she’d written her M.A. thesis on Under the Volcano and it was her all-time favorite book. That it was deemed inappropriate to teach her high school English class—not due to content but difficulty—depressed her, perennially, beyond words. And, also years ago, Dale loved Carlos Castaneda, enchanted by the instructive maybe-not-quite-fiction, the magic that just might be true, and he’d read them all. And so they’d often agreed it was a shame that they’d never made it down, to see the world of their favourite books.

Now that they were finally here, Dale wondered if she remembered having said it. Let’s at least get to Mexico. Of course she did. All the travel plans had been made, and the flights taken, the bags checked, the bed turned back and the turtle spotted—all with those words chiming in her ears. It was almost grotesque to think about. He eyed her as she took medicinal sips of her margarita. No. What was grotesque was that he couldn’t ask her. That they wouldn’t talk about these things, their difficulties, was a mark of how far apart they were. Funny, but it used to be the opposite—it was a mark of how close they were that they didn’t have to speak. It had been clear right off the bat—maybe when they started having sex, maybe even at the party where they met, Jonathan’s, that birthday—that they somehow saw each other inside out, right to the embarrassing bones, without having to cloud the view with words. It was a starkest intimacy, and they decided to call it love. Yet it hadn’t taken long—though they never talked about it—for this involuntary nakedness to feel more chilling than warm, and under her biting gaze he lacked enough hands to cover himself up.

J’s huge dance floor was empty. The music tended to retro, 80’s, new wave. It was probably ten-thirty. Anna commented on how dead things were, flicking a finger at the seated crowd, languidly sipping. Dale joked that everybody, like them, was trying to digest several days of tortillas and tequila. When she said nothing, he asked if she wanted to try another place.

“All these heads are knobs,” she said, “waiting to be flowers.”

Because they were at tables and the tables were in rows, in the dim light the heads did look like a pattern of knobs. “Flowers?”

“Why not.” She still didn’t bother looking at him.

“What kind of flowers?”

“Crazy come hump me flowers, I don’t know.”

“Maybe peonies, dripping pheromones,” he said. He wasn’t funny like her but he was trying to go along, add to it, join in. That’s all he was doing. “You know peonies? Those big bulbous lush—”

“I know what peonies are.”

“That have to be opened by ants? They’re like weird foreplay machines.”

“I know the peony.”

“Why,” he asked her, brave, or maybe just really tired, “do you hate me right now? Right this second?”

Anna turned away, shaking her head. She didn’t hate him, the sadness said. Her look was desolate. He knew was that he wouldn’t be getting any straight answers from her. Maybe there were no straight answers to give, but she wasn’t even going to try. The day before at Los Arcos, snorkeling, after they’d anchored and gotten into the mismatched masks and flippers, she’d had him swim with her around to the other side of the first small islet where, making sure they hadn’t been followed, they found a ledge about four feet deep, to stand on. She doffed her bottoms and got him going and got herself going and they managed a fast one, underwater, surrounded by yellow and blue fish and the horrendous squalling of birds roosting on the island ledge twenty feet above  heads. Pelicans, frigates, boobies almost shoulder to shoulder. The smell of bird-shit was so ripe that Dale felt its sour acid in his nose and throat once he got to breathing hard. Her seduction was aggressive, and more of a dare than anything else: since they were in slap-dash Mexico they might as well fuck in public. He truly didn’t like it that those two small kids were a few fins kicks around a corner. And he was still thinking about sharks, and what he’d do if he saw a manta wingtip. But he managed her dare, glad when it was over. She said only, “Okey-dokey,” caught her breath, squeezed his bicep, got her bottoms back on, and swam away from him. Sex was never a problem for them. Unless you saw it as a thing that had kept them together too long.

In J’s Destruction, saying banyo under her breath, Anna stood and walked from their table, snapping her fingers and popping her hips to a Bowie, one of the dancy ones. For two days she’d been surprising Dale with Spanish words, like banyo. She somehow knew the difference, in Spanish, between mackerel and tuna, when she ordered a skewer from a beach vendor. Without resorting to a word of English she had haggled over a T-shirt. She knew how to get the good tequila and the darker beer. She told him that “diablo” wasn’t the real hot sauce. Had she been studying? When he asked her this she regarded him with cool concern, and said, “You don’t pay attention, do you?” It was the kind of accusation he no longer pursued.

She didn’t go to the banyo but made right for the dance floor. It was a bad sign, maybe the worst sign of all, when she danced solo to start off an evening. As if conspiring with her, the instant she set foot on the dance floor some staff person in the dark recesses flicked a switch and the floor lit up in glaring red and blue squares, popping off and on randomly, hideously. If colour was noise, it would have been deafening.

After gulping all the ice-mush of his margarita down so fast he got brain-freeze pain, Dale left the bar. And left Anna.

He’s been back home a year now and it’s been six months since he stopped checking the mailbox compulsively. He has no idea if news would come in a letter in any case. That was just romantic, archaic. If word from her ever comes, it would be her voice on the phone, a simple, “Now what?” Or it might be email, just as flippant, the subject line “Geoffrey Firmin Needs Money.” He hasn’t seen her for a year. She might be dead. Though he doubts that. He knows she might be anything at all.

He sees that he now thinks of her fondly. It helps him with the troubling times, though you’d think it would be the opposite. When he pictures her she’s usually in the pool, there in Mexico, where he watches her swimming from up on their balcony where he stands slightly frightened, two feet back from the railing, not touching it, and leaning forward to peer over it. She wasn’t a fluid swimmer and the punchiness of her stroke was somehow juvenile, and oddly sexy for it. He was perched three storeys above, so if he called her up for a sandwich or if she cajoled him into joining her they had to shout. The time he remembers most was when, poolside, on the lounger reading his Carlos Castaneda book, Anna suddenly dropped it, unfinished and unbook-marked, beside her onto the concrete. Done. It looked like she’d read maybe twenty pages. She dropped it sadly, gently, maybe because she knew she was dropping something dear to him. He witnessed the whole thing. It was the third book in the series. He really should have brought the first one for her, because it did a better job of preparing for the wise insanity that followed. The third book assumed a lot, too much. So maybe it was his fault. In any case she dropped the book and stared off, her sadness continuing, probably deepening, at what she saw to be the naivety of the man she’d married. Then she looked up. He doesn’t know if she already knew he was up there watching. But she looked up, saw him, tapped the dropped book with a finger and shouted, funny and sad both, “Come on.” And then, “Really?”

She knew that he wanted it to be true. She knew that he respected its instructions on how to live, on how to hunt life’s hidden purpose. How to see. When Anna dropped the book, there was nothing of her feeling superior. Nor was she sad for him. She was sad for them, this much was clear. She hopped up from her lounger then and, without another word, dived in. Whenever she wanted to feel better, Anna jumped into water, went for a fresh walk, or uncapped a bottle.

They did try. She’d also brought Under the Volcano, for him. He’d been sitting up there on the balcony with it resting on his lap. Heavy as hell and intimidating. Likely because he was trying to read it only for her, he found it impenetrable. And in the end, despite the colourful self-torture of Firmin drinking himself to death, surrounded by spiky Mexican exotica, it was boring. Let’s call a spade a spade. In any case, the two books only proved how wrong they had been that the two Mexicos they’d imagined might be remotely the same country.

“Why do you hate me right now? Right this second?” was the last thing he’d asked Anna, there in that bar, in J’s Corruption. He’d stood for a while watching her dance, by herself, for two songs. Her unabashed style wasn’t unlike her swimming. Using her body to get a job done. At the start of the third song, a well-built guy, white shirt so tight that Dale suspected he was Mexican, joined her. No conversation, but their chests stayed pointed at each other through the dance, George Thorogood’s “Bad to the Bone,” which made Dale snicker through his nose as he hurried out. He had no evidence that she’d ever cheated on him, and he didn’t want evidence now. On his way out he stopped in the banyo. As he peed, something smelled wonderful–he looked up to see real vanilla beans—that is, the long black pods–maybe a dozen of them, dangling from the ceiling, just out of jumping reach. He remembers that, even at the time, angry as he was, right away he realized that the women’s banyo would have them too, and so he’d wondered, when Anna did visit the banyo, what would she think of them? She’d instantly see the contradiction between their look and their smell. She would call them God’s little shits, or something like that. Something wittier and better. Satan’s dreams.

He doesn’t know if she came back to their villa that night, after J’s, because he didn’t go back himself. Technically, he left her more than she left him. Two days later, when he did return to their villa, he timed things for when the maid would be going through it so if Anna was around she’d be down at the pool. Dale didn’t go to the balcony to check this because he didn’t want to know. Nor could he tell if the bed had been slept in because it was already made. There was no scatter of empty bottles, but they might have been cleaned up. He noticed a new birdcage, of ornate bamboo wicker. The fruit bowl was full of green papayas and the small, wrinkled, yellow mangos she loved. He nodded to the shyly smiling but perplexed maid, stuffed his clothes into his suitcase and taxied to his new room on the modern, less colourful side of town.

The next afternoon Dale saw Anna for the last time. He encountered her by accident, on the Malecon boardwalk. It had been their favourite haunt so he shouldn’t have been walking there in the first place. He don’t know what he was up to, maybe he wanted to see her. Maybe he wanted to grab her back and protect her from everything, especially herself. Maybe she wanted him to, and maybe he knew that. He’d even got badly drunk, in a bar by himself, the night before, telling himself he was doing it in sympathy, in communal spirit, sharing that magical expansion, that wise loving embrace that alcohol can sometimes perform. It was in the seediest corner of the seediest bar he could find, no English to be heard anywhere, and on a windowsill he saw a dirty brown lizard that made him laugh and swear and point, and some macho caballero shouted something at him, and Dale may actually have been in danger, even as he turned to him and smiled dumbly and shrugged. All that kept him from going off in search of Anna that night was his staggering state—he felt certain he was embracing her in any case with his own Lowry-drunkenness, and he felt certain she’d wait for him every night at J’s Corruption, because that’s what forlorn lovers did.

But when he saw her that next afternoon on the Malecon, she wasn’t drunk. Dale followed at a distance. He noted bracelets and bangles, silver, stacked halfway up both wrists. She was carrying a bouquet of dyed feathers in the most garish colours. She wore a new peasant blouse, that unbleached cotton. She appeared pretty much carefree. She wasn’t looking for anyone, for anyone at all, that was clear enough. Every twenty seconds or so Dale mumbled “No, gracias,” to the latest vendor shaking a trinket or T-shirt in his face, and he watched her strategy for handling the same. She had the pockets of her shorts pulled out, and to turn down a vendor she shook her bangled silver wrists at them and then pointed to her empty pockets, smiling. She had a phrase or two to share with them and, to a man, they laughed back and left her alone.

Leaving the Malecon, after several blocks she entered a cafe called The Blue Shrimp. The way she turned into it, without looking, told him she’d been there before. He waited outside long enough to hear her say something in Spanish, hear something said back, a clutch of women it sounded like, and then Anna laughed as loud as Dale had heard her laugh in years.

He realized what was different about her. She had the look of someone who hadn’t had a drink in three days. The exact amount of time since she’d last laid eyes on him. She looked uncomplicated, and fresh. She looked free of both of them.

No, she’s not dead, though they do say it’s either all or nothing for people like her. It’s not a case of being smart or stupid. Lowry was a genius, as Anna never ceased pointing out. It all might just be luck. Or who your companions are.

But what’s she doing? He doesn’t know what she’s thinking right now, doesn’t have a clue. He suspects that their famous fatal intimacy was bullshit all along. How could he not have a clue? He opened new bank accounts but kept their old joint account with enough in it to keep her going a while, though the two times he peeked it hadn’t been touched, and he’s since forced himself to stop looking. He’s checked and knows she would have had to come north to get her visa renewed by now. So likely she’s been in town. She might still be. Her work never did call, nor had any of her friends–so they all must know, and they must have been given instructions. He takes nothing from it; it could mean love or it could mean hate, and isn’t that funny? Mostly what it means is confusion, because that was their epitaph. In any case he bets he’s not far off when he pictures her wearing something colourful—turquoise, white, yellow—and giving lessons of some sort, maybe working in that café where he heard her laugh. Keeping up a simple, clean, one-room place. Keeping birds. He sees her as someone he’d like to meet, and take walks with. Have adventures.

Dale was back home over two months before he noticed the Speak Spanish! book. He was in the process of packing everything up to move to a smaller apartment, because a single man does not need two bathrooms, and he found one with a decent view from the balcony, a silver-blue glimpse of Burrard Inlet up through to Indian Arm which, irony of ironies, was where Lowry lived when he wrote Volcano. (Delighted, speechless as a little girl, Anna had taken him along to explore Lowry Walk there, a surprisingly serene path through beachfront forest.)

Dale found the bright red Speak Spanish! book in the small bathroom, as they used to call it. The book was sitting plain as day on the back of the toilet where she’d left it, ready for her to pick up and commit one or two more words to memory. As soon as he saw it he realized he’d seen it quite a bit, lying around the place. He thinks he’d seen Anna lying on the couch reading it, saying words aloud, trying her accent, excited for their vacation and boning up for it–but to tell the truth, she was right, he hadn’t been paying attention. None at all.

Only since finding the book had he begun seeing the size of their mistake.

Now every few days he opens her closet to check her clothes, feeling the fabric, trying to remember her wearing this blouse, or those jeans. Sometimes he can. But these clothes of hers, which was what she chose not to bring to Mexico, feel like cast-offs, and part of what she’d happily left behind.

—Bill Gaston

“To Mexico” will appear in Bill Gaston’s next collection, Juliet Was A Surprise, due out in this spring with Penguin/Hamish Hamilton. His latest novel, The World, won the Ethel Wilson Prize, and his previous collection, Gargoyles, was nominated for Canada’s Governor General’s Award in fiction. He lives in Victoria, British Columbia.
Oct 172013
 

CynthiaSample-spring2013

In the spirit of Ror Wolf’s microstory just published yesterday on NC, we offer a homegrown micro author Cynthia Sample, a Texan who finds the strictures of story form an inspiration for jokes, whimsy, serendipity, found texts and mixed form. Call this an antidote to all the awkward 20-page monsters that so earnestly deploy characterization, backfill, social issue thematics and deep meaning. Don’t look for deep meaning here, at least not that kind of deep meaning. But the spirit of play is at work, irony is at work, the author possesses the flexibility of mind to see that a text can have more than one economy of use.

dg

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This is the automated Emergency Blackboard of the Town of Highland Park. The National Weather Service has issued a Severe Thunderstorm Warning for Dallas, Collin and Tarrant Counties which includes our area.

Take cover immediately.

Winds are expected to be 50-60 miles per hour.  During a Severe Thunderstorm, tornadoes can develop with very little warning.

Take cover immediately in the safest place within your home, either a central hallway or in an enclosed bathtub in the lower level of your home.   Cover yourself with mattresses or other padding if you are able.

Stay away from windows.

Do not drive.  Flash flooding is expected along all major highways and roads going into and out of the Town of Highland Park.  Be aware that heavy winds can damage power lines.

This warning will be in effect until 8:45 p.m.

Take cover immediately.

Press * to repeat this message.

Press 2 to be removed from the Early Warning Emergency Blackboard.

Press 3 to speak with the Town Tax Collection Department.

Press 4 to be connected to the waste management team.

Press 5 to speak to the Police Department.

Press 6 for directions to the Town Hall.

Press * to repeat this message.

Press * to repeat this message.

Press * to repeat this message.

—Cynthia Sample

——————————

Cynthia Sample received a MFA in Fiction from Vermont College of Fine Arts in 2005.  Her stories have appeared in Between the Lines, the Wichita Falls Literary & Arts Journal, Numéro Cinq and Love After 70.  She has work forthcoming in The Summerset Literary Review and Sleet. In 2007, she was one of four Emerging Writers to present her work at the WordSpace Literary Festival in Dallas, Texas, where she is a lifelong resident.

Oct 122013
 

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Herewith a new short story by Greg Gerke, a writer out of the tradition of Gordon Lish, the second generation, sentences that ring of Gary Lutz; characters reminiscent of Sam Lipsyte; the whole exuding panache and cool and the inner seediness of the soul, ever hopeful.

Last month Greg Gerke, David Winters and Jason Lucarelli published “Learning from Lish, a Roundtable on Style in Fiction” at The Literarian (published by the Center for Fiction in New York) — Gordon Lish, the tradition, Lish’s aesthetic and his influence, the place of art in life; I am still mulling over this amazing conversation. One thing Gerke wrote especially hit home:

Isn’t the way of literature to tap into the source self, since writing bores into the pit of the brain better than any other process? Maybe that “last thing you would ever want anyone to know” is exactly the first thing any reader wants to know—otherwise, what is the point? The world is so full of deception that not to spread oneself out naked on the page or the screen or the canvas is senseless.

Think about this as you read the story.

dg

—-

Though they had been friends for ten years, Bret never fully trusted Ted. They would make fun of the same people, praise a select set of dead artists, and stuff themselves with Indian food, but about women they did not agree.

Short with a gecko-shaped face, Ted could talk and after a few laughs and drinks, even men wanted to rub his bald head. We like this every day guy, this new century Ralph Kramden, they thought. Maybe if we touch him we’ll find a hundred dollar bill in the gutter.

On Fridays, Ted would hoist a drink, twist his thin lips, and stretch his red cheeks to construct something resembling cute. “To all my friends,” he said sanctimoniously, aping a movie scene, though he’d long forgotten the title, even the story. “Let’s just say I invented it. Where’d you get that shirt?”

Nervous since childhood, Bret came at things like he continually walked the side of a 2×4. “What do you mean you forgot the Frisbee, did someone steal it?” he would say, wrinkling his forehead under straw-colored hair spidering out from his crown. People tolerated him because of Ted, but couples who knew them whispered about Bret before they went to bed. If he did finally lose it, they hoped to God they wouldn’t be around.

Bret’s plight. That phrase stuck in Ted’s head one morning after he completed a cardio workout at the gym. He approached the new girl at the front desk. “One of my best friends is so shy, babe. What do you say about a guy who likes to put a time table on when he’ll sleep with someone?”

She turned a magazine page and avoided Ted’s oily face by moving her lazy eyes to the far wall of gold-plated trophies. “I’d say nothing.”

Ted wiped his neck with a towel. “He’s great. He’ll make you frittata for no reason. He’d drive twenty miles to help me with my car—the man is a living, breathing, fucking AAA.” After a harsh laugh, he quickly judged her bicep tattoo of the grim reaper a worthy effort.

“Yeah, well.” She went back to the magazine.

“Where do you live, Martha?”

“On a street you may know, but will never visit.”

One afternoon before they played tennis, the two friends sat on Bret’s porch drinking lemonade with a splash of rum. Bret had found a set of childhood pictures. He bunched his shirt sleeves and grinned, “Look, this was me as the sad clown. Don’t I look ridiculous? My mom spent two weeks making the costume.”

Ted pouted his lips in appraisal, “Your eyes are pretty expressive—they say I hate Halloween, I hate my mom, and I hate my life.”

Bret gathered the stack of Kodak processed photos into his lap and ordered them neatly. “Don’t be a dick.”

“What? You told me those things about your childhood, bro. It was a tear-stained day in the mighty month of May.”

Bret scowled. “I only told you half the story.”

“Why only half? Am I half a friend?”

Bret laughed. “Hey, arsehole, why do you always deliver the punch lines?”

“Cause you’re the straight man.” Ted burped and hearing a car’s passing music, shook his arms to the groove.

Bret put the photographs back in a bubble envelope. “I’ll show you some other time when we don’t have a big match pending. Now, who is this woman? You said she played tennis at Irvine?”

Checking the money in his wallet, Ted said, “Sherri or Sharon. I don’t know, it begins with Sh. And no, I don’t know if she played tennis there or knew someone on the team. All I know is she’s wanted to play for months. Does massage. You know she’s trying to find her way here.” Ted made a wind sound. “The skin, I’m telling you. She could be in a mag a couple notches below Vogue.” He stretched his arms proudly. “Maybe one notch.”

The trio hit balls for less than a half hour. Bret wanted to let them play one on one and sat down for five minutes. We’ll go out, get some drinks, and then they’ll go and sleep together, he thought. What do I really want in my goddamn life?

The ball bounced off his foot and Sherri bounded over. As she blocked his sun, she twirled her old racket, still carrying a smudge of cob-web just below the strings. “Is our little ball boy tired already?”

“I just want to watch the professionals.”

Sherri giggled and he smelt her apricot body wash. Ten years ago, after she finished high school in Seattle, she had joined the army. She’d been in Oakland only three months. A middle-eastern restaurant venture in Portland had failed and now she lived here with her sister. She was lonely and when she smiled her gums showed.  Dropping Cézanne’s name made Bret want to take her in a corner and rub colors into her muscular chest.

Ted announced the Giants had won in extra innings and then kissed his cell phone.

They drove into Berkeley and after three rounds of mojitos on a patio with Tibetan prayer flags waving, Bret started doing impressions. He tilted his head and spoke in a baby-like staccato, “Yeah, gotta see Wapner at 4:00, then Jep-Jep-Jeopardy.”

“Rainman, ole!” Ted cackled, calling their waitress to also salute Bret’s skill.

It had been months since Bret didn’t feel terribly dependent or stricken by a sense of not belonging. For one grand moment he didn’t care about childhood or not being able to swim. He pictured pummeling his abusive father and being celebrated for it with a ticker-tape parade on Fifth Avenue. His blood ran faster and all the ideas and words that could never get out in time were readily available, like they hung on a snazzy tool belt. Four hours ago he had cursed the wireless signal in his house. Now his life was heaven.

When Sherri touched his knee, he knew he’d gone about the enterprise all wrong. Be a loud ass like his beefy friend, not a timid, sulking bore who dusts when he can’t think of anything better to do. Be sloppy and ruin the tawdry perceptions people hold to. Invite them to be entranced by your feelings. Give them what they can’t give themselves.

Sherri reeled from his Katherine Hepburn, holding his shoulder for support. “My parents took me to On Golden Pond. I was five. I totally hated it.”

Bret’s eyes lit up. “Mine took me, too.” Then he stalled like his battery had died, like he didn’t believe his bullshit anymore. He looked to Ted who grinned devilishly while composing a text that would surely make someone miserable.

Sherri went to the bathroom and Ted snapped his fingers. “You have a mini-stroke?”

“Fuck off. I’m having fun.”

“I know you are, but she likes you and you have to close it. Talk her up. Tell her she has strong legs.”

“Why?” Bret snorted. “Why legs? She has strong everything. A strong, warm per— And I’m goddamn thirty-two, dad. I don’t need pointers.”

Ted sat back and made the peace symbol. “Loving you, brother.”

When Sherri returned, Bret yelled, “Basta!” She smiled and the tip of her tongue showed like a cat in the midst of licking itself.

Bret motioned toward her with his drink. “You must have jogged a bunch in the army, right?”

Ted went to a birthday party, and Bret and Sherri walked into the hills of the campus at dusk. Giant fir trees swayed. Heat bugs rattled. They scooted to a prominence overlooking the football stadium and sat down to kiss. With his hands fastened to her breasts, he ejaculated. Quietly, he sunk his head into his armpit, but she yanked his chin up and opened her eyes to him. “I have an incredible feeling about you, Bret. I want you to come to my bedroom.”

His face finally softened.

She nibbled at his ear and whispered, “I just put on clean sheets.”

In the morning they couldn’t stop laughing. They’d made love all night and the world smelt raw and unrelenting like it had been created a few hours ago. When Sherri went to the bathroom, he pressed the pillow to his face to keep her sweet scent in his head. Joyously he lunged over the bed and noticed a hairpin underneath, along with some popcorn kernels. Also a white object that after he dug it up turned out to be her vibrator. A yellowy streak on the side momentarily disgusted him. He shrugged his shoulders and put it back. There were probably stale tissues under his bed.

Sherri came back gleaming, her skin golden. Everything she had stood out before him in the daylight. She sang, I want to thank you, for giving me the best day of my life.

“Please,” he said, raising his arm like a matador.

Her sister was gone for the weekend and later they sat in the living room naked—cuddling and listening to music. “I wanna hear all about the army,” he said brightly.

“No, you don’t and I don’t really want to talk about it, baby. It’s very overrated. Nothing big happened. It’s just like living. You work, then you party and have fun.” She took an apple slice off the coffee table and wiped up a spot of cinnamon.

Bret did a double take. “What is it? Two o’clock and all we’ve had is an apple?” They laughed and hugged. Outside a dog barked.

“You like chihuahuas?” she said.

He stared at her genitals, judging her labia’s breezy swirl the greatest work of art in North America. “Chihuahuas are number one.”

She looked across the room. “I want to get a dog, but I don’t have any money.

“My sister’s getting me some stuff, but I’ve got to get a real job. I live off of two massages a week. That restaurant debt,” and she shuddered. She turned up the sound on one of the few cds she had brought from Portland—Coltrane’s Giant Steps. “No worries,” she said and she danced back to the couch.

“Let’s get a pizza!” he shouted.

Sherri leapt for the telephone book while howling like an Indian and Bret closed his eyes in triumph.

When the doorbell rang Sherri went to get some clothes. Normally skittish about showing his rail thin body to the public, Bret threw a towel around his waist. “Oh, just use my wallet. It’s on the kitchen table,” she yelled from the bedroom. He would insist on getting dinner.

He took the wallet and opened the door to a short, pimpled delivery driver with a pale face. Part of Bret wanted Sherri to show herself behind him so the teen could see more of his new life. Her wallet had a ten and a clip of twenties with handwriting on the back of the outside bill. Bret’s eyes buoyed slantwise. He took a twenty from the middle and impatiently tossed it to the driver. After he closed the door, he read the note on the last bill. You’re the best. Tubby

Sherri ran in, dressed in a white bikini and clapped her hands as she jumped up and down. “I smell artichokes!”

“Who’s Tubby?”

“Huh?”

He turned the clip and showed her.

“Oh, just an old friend.”

“He owed you money?”

“Yeah,” she said.  She reached for the bills, but he pulled them away.

There was a fork in the river and Bret could have taken the way that didn’t lead to the falls, but he knew she lied. He’d been made to pick at the slightest mark on the wall. Bret wiped his face and handed her the money—all four cold, heartless twenties.

Sherri kept staring at him and then opened the pizza, but he slapped the cardboard shut. “When did you meet Ted?” he said.

“This year.” Her head lowered like a dog. “Two years ago in Portland. We had a short thing, it was nothing. It was when the restaurant—”

“Stop talking.” Bret tried to step outside himself. The cords in his throat were going stiff and his right leg began to shake.

“Okay, Bret.” She felt the bikini’s pinching fabric on her once sleek body and crossed her arms over her breasts. “You alright?”

He sat down on the carpet and bunched the towel out to cover his parts. Silent tears slid off him. “He fucking paid you to sleep with me.”

“No!” she said. “No. I’m giving it back. It’s a misunderstanding.”

He beat the floor at his side.

“Stop, Bret. I like you. It’s not what you think.” She reached toward him.

“No,” he said. “It’s worse.”

Bret confronted Ted at his house. An embarrassing scene. Ted had offered himself to be pummeled. “Take me out, man. Do it. It was rotten, but I tried to help. I thought I was doing good.”

Six months later Ted again called and they exchanged pleasantries but when he tried to get him to go out, Bret laughed. “I can’t forgive you, Ted. I’m sorry.”

“Can’t or won’t?”

“Ahhhh.”

“Cut the shit. We’re  friends for a long time. You’re my brother,” Ted said mincingly.

Bret would often go to dinner by himself. It calmed him in some way. Chinese, Thai food—anything. He watched the slight waitresses and thought, Why can’t I let it go? I’d be happier. Bret once asked his waitress the same question. A smile raised her eyes and she walked to the back, returning with two spring rolls.

Ted had been out till dawn carousing. He bought a soda and drove up the foggy coast into Marin and parked at Muir Beach. Two couples had slept there and they were just waking up. A man with a bushy beard ceremoniously poured milk into cereal bowls while one of the women began tumbling on the shore. Dressed in purple yoga pants, she performed very precise somersaults and headstands, posing after each like an Olympian gymnast.

Ted sat on his patch of cold sand and felt the weakened sun on his neck. The limber woman sauntered before him—he wanted that dance. Twisting slightly, his bones ached and he ground his fingertips in the sand to erase last night’s woman. Then he stroked his growing belly like a slothful king.

The surf crashed loudly, almost otherworldly. Booming and bright white. A scene he hadn’t appreciated in years. Though fifty yards away from the group, he yelled and pointed at the ocean, raising his soda and laughing. They nodded briefly and went back to their breakfast. The woman in purple hadn’t noticed at all, she went onto cartwheels.

He’d had every kind of woman there was to have and they all felt amazing. Each time. The supply staying steady, with the women getting younger, but more disenfranchised, more insecure. He could easily relax. But he couldn’t. As the woman rolled about and yipped, as gulls strode the shoreline like pontiffs—he knew there was something in his life he hadn’t learned and women couldn’t help him with it. Massive and unwieldy, it kept stable at the top of his vision like a boulder fastened to his forehead. He couldn’t sit right until he faced it, but he didn’t exactly know what it was.

Ted burped and nodded, trying to assure himself everything would work. He looked for a big rock to toss into the ocean. He settled for a small black pebble.

 —Greg Gerke
———————
Greg Gerke’s fiction and non-fiction has appeared or is forthcoming in Tin House, The Kenyon Review OnlineDenver Quarterly, Quarterly West, Mississippi Review, LIT, Film Comment, and others.
Oct 012013
 
Photograph: Christopher Pillitz/Getty Images

Photograph: Christopher Pillitz/Getty Images

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Borges at 80: Conversations
Edited by Willis Barnstone
New Directions, 192 pages, $18.95

Professor Borges
Edited by Martín Arias and Martín Hadis
New Directions, 288 pages, $26.50

Jorge Luis Borges: The Last Interview
Translated by Kit Maude
Melville House, 176 pages, $15.95

Jorge Luis Borges is a dead, white male. But he isn’t European. So he lacks imperialist cred and isn’t taught among the typical classics. As editor and translator James E. Irby remarks in the 1961 New Directions edition of Labyrinths, “Not being French has undoubtedly also relegated Borges to comparative obscurity in the English-speaking countries, where it is rare that a Hispanic writer is ever accorded any major importance at all.”

A lover of contradictions, he would appreciate the paradox of his current position: he is sometimes overlooked, often mislabeled. Some lazily lump him in with Marquez, with magical realism. Others tie him to dadaism, surrealism, modernism, post-modernism. Borges was a dreamer who described himself as constantly puzzled, stuck in a labyrinth, so perhaps he won’t mind being labelled so haphazardly. Probably aware of the futility of the exercise, David Foster Wallace attempted to classify him more accurately, calling him the “great bridge between modernism and post-modernism.”

He was barely even a writer—more a librarian, a professor of literature and philosophy who just happened to translate and write free verse poetry and brilliant experimental stories. His prose is usually short—compact yet expansive, deeply-rooted in a mixture of traditions yet simple in its fascination with time and eternity. A symbolist, Borges thought in metaphor from the beginning, but turned deeper into his imagination when he began losing his eyesight in his fifties. What results are his story-puzzles of infinite regression and infinite possibility.

New Directions was the first to bring Borges to an English-speaking audience when they published Labyrinths in 1961. That same year he and Samuel Beckett shared the Prix International, awarded by the Formentor Group (created by Carlos Barral). This brought more attention to his work. That collection of stories and short essays remains the essential primer to Borges. Now New Directions has released in short succession Borges at Eighty: Conversations and Professor Borges: A Course on English Literature. The former presents the interviews he gave to Willis Barnstone, Dick Cavett, Alastair Reid, and others during a visit to the U.S. in 1980. The latter is a transcription of twenty-five classes Borges gave in 1966 at the University of Buenos Aires. This spate of new material was just barely preceded by Melville House’s Jorge Luis Borges: The Last Interview, which came out in June, and contains a 1968 dialogue with Richard Burgin, a fantastic discussion with the editors of Artful Dodge, and of course the last interview Borges gave before his death.

In a short meditation written at Borges’ death in 1986, Sven Birkerts called him “the Euclid of the secret orders of time.” Birkerts, writing in the Boston Phoenix, captured the Argentine’s writing in as close to a nutshell as one can: “These are not stories at all. These fanciful narratives are the author’s way of telling us his truth; they are whimsical-looking ciphers in a most serious code.”

Nothing in Borges is superfluous or forgettable. But he was not much interested in character. Borges obliquely addressed this in The Last Interview. Burgin asks about writers like F. Scott Fitzgerald who have (Burgin’s words) “no metaphysical feeling.” Borges says, “They take the universe for granted […] They don’t think it’s strange that they should be living.” His stakes were metaphysical and only somewhat existential. One of his most memorable characters, Pierre Menard, decides to rewrite Don Quixote. To do this he seeks to immerse himself in old Spanish, recover his Catholic faith, and fight some Turks so as to become Cervantes. Menard’s work would be more formidable than the original, because Cervantes had the benefit of living in the sixteenth century. Cervantes had the benefit of being Cervantes. And the story is about identity and authority instead of personality.

In one article-cum-story, Borges invents a world where the spoken language contains no nouns (among other deformities). In the logic of Wittgenstein, the language dominates the world. On Tlön:

…they do not conceive that the spatial persists in time. The perception of a cloud of smoke on the horizon and then of the burning field and then of the half-extinguished cigarette that produced the blaze is considered an example of association of ideas.

Borges was a poet steeped in Leibniz and Spinoza, with a preference above all for Schopenhauer. He loved Whitman and Stevenson. He admired but also criticized Kafka and was fascinated by Zeno’s paradox of Achilles and the tortoise. He described himself not as an author but rather as an interpreter through which writers of the past were filtered. He found a fascination in mirrors and labyrinths, in the distortions not only of the senses but of the mind. Everywhere he saw tradition, variation, and the fictional hrönir.

Centuries and centuries of idealism have not failed to influence reality. In the most ancient regions of Tlön, the duplication of lost objects is not infrequent. Two persons look for a pencil; the first finds it and says nothing; the second finds a second pencil, no less real, but closer to his expectations. These secondary objects are called hrönir and are, though awkward in form, somewhat longer. […] Curiously, the hrönir of second and third degree […] exaggerated the aberrations of the initial one; those of fifth degree are almost uniform; those of ninth degree become confused with those of the second; in those of the eleventh there is a purity of line not found in the original. The process is cyclical. (Labyrinths)

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Born in Buenos Aires in 1899 to a bookish father and a mother whose forefathers were criollo soldiers, Borges was outspoken against Argentina’s support for Mussolini. Early in his life he took firm liberal stances—especially against the ruling Perón family. He became disenchanted by his home country, or at least he became more careful in public proclamations, which lack nuance. He also became less productive in general when he began to lose his sight. As with Milton, blindness did not end Borges’ writing career. But it slowed him down and hampered his reading of contemporaries, which might have contributed to the complaints that he ignored his country, its literature, and its politics.

Meanwhile he was too shy (and, perhaps, too clever) to fully embody a public persona, presenting himself as humble and apologetic for all the fuss made over his work. In his short essay “Borges and I,” he plays with the duality of his life as both a public figure and a quiet, sociable person. Just read this and shudder:

I like hourglasses, maps, eighteenth-century typography, the taste of coffee and the prose of Stevenson; he shares these preferences, but in a vain way that turns them into attributes of an actor. It would be an exaggeration to say that ours is a hostile relationship; I live, let myself go on living, so that Borges may contrive his literature, and this literature justifies me. It is no effort for me to confess that he has achieved some valid pages, but those pages cannot save me, perhaps because what is good belongs to no one, not even to him, but rather to the language and to tradition. (Labyrinths)

Twenty-seven years after his death, these new books show how much he affected to prefer the non-writing Borges to the controversial, acclaimed writer. That said, whether at the podium or in an interview, it’s not always clear which one is speaking. Though he says he hopes his work will be forgotten, and that he’d like to become Ellison’s “invisible man,” he seems to enjoy these conversations too much to completely disown the public Borges.

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Though Borges tells Richard Burgin in The Last Interview that he hates cameras (because “a camera is a kind of mirror”), Borges clearly enjoyed being interviewed, and evidently also loved to teach, to converse about the writers he felt a closest kinship to—not Marquez or Cortazar or Joyce but Whitman, Shaw, and James. In Professor Borges, he covers a selective history of English literature from kennings to Stevenson, for Spanish-speaking students who have never encountered the tradition before. The main pleasure of this collection is to wade into the mind of a lover of books, the one-time head librarian of the National Library of Argentina. Borges again seems more like a curator of tradition than an inventor of fictions.

In Borges at Eighty, the writer comes alive, touring various universities and the New York PEN Center. Of all places, he is most revealing on The Dick Cavett Show. The discussion ranges from the differences between Spanish and English, to Hitler, to Citizen Kane. When Cavett asks about Argentina’s fascist past, Borges sounds resigned:

Look here. I think the Argentine Republic cannot be explained. It is as mysterious as the universe. I do not understand it. I don’t profess to understand my country. I am not politically minded either.

Borges’ literary games were so much more than clever tricks—they were metaphors through which he conveyed as poetically the strange, lonely world he inhabited. Cavett asks whether they are artistic flourishes or “something alive.” Borges replies:

I am always being baffled, perplexed, so a maze is the right symbol. They are not, at least to me, literary devices or tricks. I don’t think of them as tricks. They are part of my destiny, of my way of feeling, of living. I haven’t chosen them.

In other conversations from Borges at Eighty, he explains why free verse is as difficult as prose, and how either is more challenging than structured verse. He describes immortality as a threat, rejects his early work as too baroque, and explains simply that he never wrote novels because he could not do it. He admits, “I am a bit of a prig,” and expounds on the importance of saving humanism. He bemoans his inability to reason, finding in himself instead a preference for dreaming.

In these new books there is much to like about Borges the dreaming librarian, but, oddly, neither the writer nor teacher seems interested in including women in the library. He will say things like, as he tells Burgin, “I think men are more prone to metaphysical wondering than women. I think that women take the world for granted.” When asked to identify significant women in literature, he offers Emily Dickinson. When asked whether there are more, he says, “Yes of course.” He then suggests Silvina Ocampo, “who is translating Emily Dickinson at this moment.” Sometimes his remarks borders on the condescending. In The Last Interview, he tells Burgin:

I have known very intelligent women who are quite incapable of philosophy. One of the most intelligent women I know, she’s one of my pupils; she studies Old English with me, well, she was wild over so many books and poets, then I told her to read Berkeley’s dialogues, three dialogues, and she could make nothing of them.

It can be argued that Borges’ gender gap is also a gap in the tradition he so loved. Borges might have recognized this flaw, though he did not address it very well. As Colm Tóibín notes when discussing the Menard story, Borges is keenly aware of his difficult role as a writer and “the concept of the writer as a force of culture imprisoned by language and time.” Like many of his compatriots, Borges faced a crisis of identity: embrace Western modernism or turn back to the “gaucho” sensibility and poetic style of the earlier Argentina, exemplified by José Hernández’s poem El Gaucho Martín Fierro. But nothing captures better Borges’ conflict with identity—personal, visual, aesthetic, national, gendered—than the short epilogue to Borges at Eighty, from an interview held at the National Library in 1979. The statement touches on a number of problems with the notion of universality:

Reading should not be obligatory. Should we ever speak of ‘obligatory pleasure’? […] I have always advised my students: If a book bores you, leave it; don’t read it because it is famous, don’t read it because it is modern, don’t read a book because it is old. […] If a book is tedious to you, don’t read it; that book was not written for you.”

It is a shame Borges did not recognize his weak position on female writers. His critics either will not forgive him this, or perhaps they do not understand the Argentine’s general appeal to cosmopolitanism. His accepting of an award from Pinochet and professed admiration for Franco did not help either. Such utterances form one contradiction too many for the contradictory universalist.

 Borges

Of the three new books, The Last Interview stands out in that it brings us the English translation of Borges’ last interview, with journalist Gloria López Lecube. He spoke with her right before his departure for Geneva, where he planned to die. In this “last” interview, he speaks fondly of his mother and describes for López Lecube how he dreams in color. We see a man anticipating his death with the air of a giddy boy who will finally learn how the magic trick worked.

Spinoza says that we all feel immortal, yes, but not as individuals, I assume, rather immortal in a pantheistic way, in a divine way. When I get scared, when things aren’t going well, I think to myself, ‘But why should I care what happens to a South American writer, from a lost country like the Republic of Argentina at the end of the twentieth century? What possible interest could that hold for me when I still have the adventure of death before me, which could be annihilation; that would be best, it could be oblivion…

This is the most interesting thing about these new books, ultimately—not the lectures on Stevenson, but the description of his late solitary walks through Buenos Aires, or the colors of his blindness:

It came like a slow summer twilight. I was head librarian of the National Library and I began to find that I was ringed in by letterless books. Then my friends lost their faces. Then I found out there was nobody in the looking glass. And then things grew dim, and now I can make out white and gray. But two colors are forbidden me: black and red. […] I live in the center of a luminous mist. […] Grayish or bluish, I’m not too sure. It’s far too dim. I would say that now I live in the center of a bluish world. (The Dick Cavett Show)

One of the problems with writing a review of three recent books about Borges is the books do not bring much new attention to Borges’ texts, but rather to his persona. He comes off sounding self-deprecating and amiable, curious and perhaps a bit embarrassed by his fame. Though the books are by no means a definitive take, readers will enjoy immersing themselves in the wandering, conversational writer/non-writer Borges. Professorial dictums and self-deprecating jokes aside, his writing is more important. It must be read, reread, and played with. His work is universal and cosmopolitan in nature, and generally runs shorter than the average New Yorker article. Within a five-page story you will find a new language, a labyrinth, a library.

—Tom Faure

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Tom Take 4

Tom Faure is an MFA in Fiction student at Vermont College of Fine Arts. His work has appeared in Zocalo Public Square, Splash of Red, Chattanooga Times Free Press, The Journal News, and undergraduate magazines at Columbia University. He lives in New York, teaching English and Philosophy at the French-American School of New York. Contact: tomfaure@old.numerocinqmagazine.com

Jul 052013
 

Laura K. WarrellLaura K.  Warrell

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THE DAY AFTER KOKO’S FIFTEENTH birthday, two bombs went off during the marathon in downtown Boston, eight miles from where Koko lived with her mother.  She was at the mall buying a bottle of perfume called “Reckless” with the fifty-dollar bill her grandmother had slid into a Hello Kitty birthday card when her mother phoned to see if Koko had heard from her father and to tell her to come home. Koko bicycled through the streets, her legs – made clumsy by their pubescent lengthening out – now worked effortlessly, spurred on by fear.  The television was on when she got home, her mother, Pia, chewing at the palm of her fist and watching the footage play on loop.  The crack of the blasts at the finish line made Koko jump, the gush of smoke swelling in the air reminded her of a dream she had had once of ghosts.  The shattered glass and wrecked sidewalks, the scramble of people and rupture of screams already began to haunt her until she grabbed hold and pushed the scene firmly away, like so many other awful things.  Still, the eeriness of it all made her forget for the moment that her father had forgotten her special day.

[SPACE]

Friday morning, four days after the blasts, Koko untangled herself from her bed sheets and went to the living room to watch the news.  A hunt for the suspects – two men, one in a black baseball cap, the other in a white cap – had lasted through the night.  The first suspect, the older man, had died in a shootout with police who were still searching for the second suspect.  School was cancelled and the city was on lockdown.  A manhunt, the news called it.  Koko watched the footage of the two suspects crossing the sidewalk near the marathon finish line, backpacks strapped to their shoulders.  A photo of the younger man flashed onto the screen as Koko nibbled at her thumbnail, suddenly exhilarated, as if she’d woken up on a movie set.  A warm tickle moved through her.

“Have you seen him?”  Koko sent a text message to her best friend Bree.  “The younger one.  He’s beautiful.”

“Just thinking the same thing,” Bree replied.

“No one so beautiful would do this.  He must be innocent.”

“He better hope so.”

Koko’s mother blustered into the room, a gust of breathy sobs and wet tissues tumbling from quaking hands.  Her tatty silk robe flapped behind her as she sipped an orange juice with a splash of vodka Koko could smell.  She hadn’t left the house or changed clothes since the bombings.

“I can’t get hold of your father.”  Her bird-ish trill always sounded sharper, more brittle when she was frightened or needed something, which was often.  “I keep leaving messages.  You try him.”

“He doesn’t answer me either.”

Hovering above the television, her mother pulled the phone from the pocket of her robe and dialed.  “Circus,” she whimpered.  “We need you here.  Goddamn it, look what’s happened.  Those guys are out there somewhere.  What if they come here, what would we do?  Your family needs you.”

Through the screen of her mother’s nightgown, Koko watched the footage of the blast play again on television, the crack of the bomb, the plume of smoke, the bodies rushing.  Her mother tossed the phone onto the sofa, let out a raw cry then slunk back through the hall toward her bedroom.  Koko tried to take the scene in as something real, as an actual event that had occurred a mere bicycle ride away from where she watched on television.  But a bombing couldn’t happen, not in real life.  She couldn’t sense it like her mother seemed to.

Only the face of the younger man seemed fathomable, the smooth, pale skin, the slinky mouth and crumble of beard on his chin, the mess of dark hair, shadowy eyes lit with danger.  Koko imagined he was looking back at her and blushed, hot inside and skin reddening, as if she had a fever, though this was good.  Other boys had made her feel like this – pop singers, movie stars, a boy once or twice at school.  But he was different.  Something inside of her reached out and grabbed this boy.

Impatient, she texted Bree.  “I want to find him.”

“Nuts.”

“I need to meet him.”

“As if.”

“We’re smart, we know people.  Someone we know must know him.”

“True dat.”

“Whoever finds him first wins.”

[SPACE]

The suspects were identified hours later – two brothers, nineteen and twenty-six from a town near Russia.  Soldiers searched door-to-door for the nineteen-year-old in the town where Koko lived while she looked for him online.  There were photos from the boy’s prom and wrestling matches, a picture of his family cat.  She found the high school he went to then sent messages to everyone she knew with connections there.  No one knew anything.  A post on Facebook came up with nothing and a search of the boy’s Twitter feed revealed little more than a fondness for parties, hip hop and weed.  The month before the bombing, he had posted a quote that read, “If you have the knowledge and the inspiration all that’s left is to take action.”  Koko wrote the words in permanent marker on her forearm then quickly covered them with her sleeve just as her mother called from her bedroom.

Koko grumbled and went to her.  Lying in bed with her knees at her chest like a sick child, her mother asked, “Sweetheart, will you bring me an aspirin?”

“They know their names,” Koko called on her way to the bathroom where she grabbed the aspirin bottle and a glass of water.

“Monsters.”

“I think he’s beautiful,” she said when she got back to the bedroom.

Her mother lifted her head from the pillow.  “Who?”

“The younger one.”

“You’re out of your mind.”

“We don’t know if he did anything.  And if he did, I’m sure there was a reason.”

“What possible reason could there be?”

“I don’t know.  Someone must have hurt him.”

Her mother downed the aspirin with a swig of the vodka orange juice then fell back onto the pillow.  “I haven’t slept.  I’m starving.  I haven’t eaten since yesterday.  Where’s your father?  Why isn’t he thinking of us?  I’m so, so hungry.”  She reached out and Koko loosely took her hand.  “We’re so alone, you and me, aren’t we?  I’m sorry, sweet girl, I didn’t want us to be so alone.  This wasn’t how anything was supposed to turn out.”

Koko slid her hand from her mother’s sticky fingers and folded her arms over her chest.  Even sick and drunk she was still so pretty, her mother, delicate, her long blonde hair flowing over the silk pillowcase, gold-colored and shimmering like some holy light.  “Do you want me to make you something to eat?”

Her mother sniffled.

“Tomato soup from the other night?”

“Would you do that for me?  That would be so nice.”

Koko went to the kitchen and took the pot of soup from the fridge as her mother’s phone rang.  Hoping it was her father, she ran to the living room to answer.

“Darling!”  Her grandmother’s voice always reminded Koko of clucking chickens.  “How are you?”

“Okay, I guess.”

“How absolutely terrible.”  Koko could hear her grandmother’s exhale of the expensive cigarettes she smoked that smelled like cinnamon.  “Darling, there are terrible, terrible people in the world but we mustn’t allow them to frighten us.  That’s what they want and we mustn’t give those brutes anything they want.”

“I’m not scared,” she said.  “I know one of them.”

“My God, Koko, call the police.”

“Well, I don’t really know him.  I just feel like I do.  And I don’t think he’s terrible.”

Silence on the other end of the line, an exhalation of smoke.  “Put your mother on.”

Koko brought the phone to her mother then went back to the kitchen.  “I’ve already called and he’s not answering,” she heard her mother say.  “Why do you ask when you know I have no idea where he is, mother, you just want to torture me…he missed Koko’s birthday, you know…no, she’s fine about it, but me, oh, I’m not feeling well about all of this…A woman answered when I called yesterday.  She said, ‘Pia, are you okay?’…She’s not concerned about my well-being, Mother, why do you never take my side?”

Koko slid on her headphones and listened to her favorite song of the week, the Foster the People one about kids shooting kids, the one with the easy beat, the one her dad liked to whistle.  As she stirred a dollop of cream into the tomato soup, she imagined the younger suspect at the front door.  A chill went through her as she thought of him standing there, trembling and afraid.  He would look down at her ready to defend himself then see she wasn’t afraid of him.  He would sense how she could see he was gentle deep down, that she understood him.  She would sneak him into her room and make him something to eat, watch him take a bath, wash his back.  If her mother came in, she would hide him under the bed.  At night, she would crawl under to sleep beside him.

“Did you see the latest photo?”  Bree texted.  “Oh my god, wicked hot.”

Koko turned off the burner and ran back to the living room to the television.  In the photo, the boy wore a black graduation gown with a red carnation in the lapel, handsome with a smirk on his pout of a mouth.  She was slightly sick, slightly thrilled.

“I would so do him,” Bree texted.

“Shut up,” Koko typed.  “I love him.”

“Uh-oh,” Bree wrote back.

 The next image on the screen was a photo of the blast, so Koko changed the channel.  Her mother came down the hallway, went to the front closet and put on a down winter coat.

 “Are you cold?”

“No.”  Her mother lied on the sofa, shoving her bare feet beneath a cushion.  “We should stop watching.”

“Did you hear from dad?”

“Guess.”  She used the remote to turn down the volume on the television and groaned watching the footage of the suspects crossing the sidewalk with their bomb-packed backpacks.

“Mom?”  Koko started nervously.  “Can I tell you something?  It’s kinda private but I want to tell someone.”

“Of course, honey,” her mother said with a yawn.  “You can tell me anything.”

“You won’t be mad?”

“Tell me, sweet girl.”

“Well,” there was a lump in her throat.  “I know I don’t know him but I feel like I miss him.  Is that weird?  I just miss him.”

“Miss who?”

Koko nodded toward the photo on television.

Her mother tsked.  “You don’t know what you’re talking about.”

“Don’t you feel bad for him?  Just a little bit?  I mean, he’s only nineteen.”

“He can go to hell for all I care,” her mother said.  “He’s evil.  You don’t know evil yet, but I can tell you, that’s the face of it.”

Koko’s throat thickened with tears but she swallowed them, covering her wet eyes with her fingers to stop their flow.  She’d learned early on, her mother was the crier in the family.

“Sweet girl,” her mother said.  “Come sit with me.  We can keep each other safe.”

“You don’t know how to protect anyone.”

Tears bloomed in her mother’s eyes.  “Why won’t any of you care for me?  I try so hard.”

“You don’t understand anything.”  Koko was on her feet, yelling instead of crying.  “He doesn’t have a voice.  He needs people behind him.  He needs someone to stand up for him, to believe in him.  To fucking love him.”

“Koko, the language.”

“No one’s got his back.”

“Dear God, I hope they get those boys soon.”  Her mother pinched the bridge of her nose.  “I don’t know how much more of this I can take.”

Koko’s phone buzzed.  She prayed it was her father.  He would understand.  He knew how complex life could be.  But it wasn’t a message from her father.  It was Bree.

“I found him.”

[SPACE]

Bree’s message said Jenny Parker lived near the suspects’ uncle in North Cambridge and the rumor was the boy was hiding there.  Bree sent the address.

“I’m going.”  Koko texted back.  “I want to be with him before they catch him.  Maybe they won’t catch him.”

“They’ll catch him.”

“I want him to be my first.”

“That would be so rad.  You’d be famous.”

“That’s not why I would do it.  You don’t know anything about love.”

“Drama queen.”

“It happened around my birthday, it’s a sign.”  She stared at the photo of the boy in his graduation grown.  “I want to fall asleep in his hair.  I want to hold him, to tell him everything will be okay.”

“Well, it won’t,” Bree texted.  “He’ll be in jail soon.  Or dead.”

Koko switched off her phone.

[SPACE]

She slid into a leather mini skirt and cowboy boots.  Bree called it her Fuck Me Gear, a look she cultivated in contrast to her saintly looking mother, who didn’t seem the kind of woman to be since her father barely came around.  Her mother’s faint, pretty, harmless looks had eluded her anyway.  Koko looked like her father.  Brown, thick-bodied, with messy eyebrows and unkempt black hair she let fall over her eye, looking out as if ready to pounce.  Boys liked her.  She had a quiet, explosive energy they poked at like poachers to a cornered wildcat.  She knew she scared them a little with the purple polish on her fingernails bitten to the quick, the witchy black eyeliner around her brown eyes.  She smoked cigarettes and drank bourbon in corners at parties, wouldn’t let boys kiss her on the mouth but teased them as they watched her walk through the halls at school in her skirts and cowboy boots.

The word ‘freak’ was scrawled on the front of Koko’s T-shirt, a touch she thought the boy would appreciate.  She checked herself in the mirror then went to the kitchen to make him a turkey sandwich, put the sandwich into a paper bag with a serving of tomato soup, a bag of chips and thermos of ice water.  She snuck a bottle of bourbon and a box of chocolates her mother gave her as a birthday gift, and put everything into her Hello Kitty backpack along with a map, a sweater and a box of bandages in case the boy was hurt.  She saw her mother was asleep on the sofa then went to her room to steal a twenty-dollar bill and credit card from her wallet.

Her mother’s phone rang.  Koko stood still in the other room.  If it was her father, she would consider it a sign and stay.  If not, she would go.

“Hello?”  Her mother answered sleepily.  “Yes, Mother, I’ve locked all the windows.”

Koko slipped out the back door.

[SPACE]

Koko pedaled her bicycle through the deserted streets, the brilliance of the spring day hollowed out by the stark absence of life.  Everyone was inside, she could sense the jangling of nerves behind bolted doors and windows.  The silence, punctured every few minutes with the scream of sirens in the distance, rattled her.  She focused on the smooth, peaceful grip of her bicycle tires on the road.

Koko stopped to check her map, sipping the bourbon to keep calm.  The address was in the next town over.  She continued on her bicycle, passing beside a cemetery then through a playground where she was spooked by children’s toys left in mid-play – a pair of badminton rackets, a tricycle, a basketball under a hoop.  Further on, an old woman on a cell phone watched her from the window of an apartment, mouth hanging open.  Koko’s palms were sweating on the handlebars, her pulse ticking in her neck.  But she kept going.

A fleet of police cars rushed toward her on the main road into Watertown, sirens crying. Koko steered her bicycle into an empty lot behind a gas station to wait for them to pass, fearing the boy must have heard the sirens, too.  She imagined him trembling in an alleyway praying to God.  Imagined him in the tool shed of a stranger’s house.  Maybe he was halfway to Canada.  Koko climbed onto her bicycle and raced to the address.

[SPACE]

The house was unremarkable, decayed brick and green awnings, a pale yellow door.  The porch was teeming with potted trees and plants, strands of green leaves and tangled stems crawled over the rails and banisters like the earth had opened up and sprung through the slatted floor.  On the front stoop, a dirty white cat twitched its tail then slinked away.  The windows of the house were dark, except for a light in a tiny window on the attic floor.  The boy must have been hiding there.

In a schoolyard across the street, Koko lay her bicycle in the shadows of a tree.  Her pulse pounded and made her ill as she picked at her lip and drummed up the courage to walk to the door.  She took a generous sip of the bourbon, pulled at the hem of her skirt, wishing she could cover her bare knees, then went up the steps and knocked.  When no one answered, she knocked again then backed up to see if there was movement in the attic window.  The light had been switched off.  She knocked one last time, then pulled a pen from her backpack when no one answered and scribbled onto an envelope she found in the mailbox.

‘I’m here,’ she wrote.  ‘I believe in you.  Flash the light to give me a sign and I’ll come.  Love from Koko.’

She opened the screen door and dropped the note inside then went back to her bicycle to wait.  The house remained still.  Lying in the grass, Koko watched whipped cream colored clouds slowly somersault over the roof of the house and imagined the boy with her.  She thought of him in his graduation gown, thought of him pinning his red carnation to her prom dress in a few years, imagined dancing with her head against his shoulder, his arms strung round her waist.  What was he thinking?  She wondered.  Was he thinking of his mother far away in Russia?  Was he wishing his friends were around him, wishing he was lying peacefully in his own bed?

Koko closed her eyes, giddy and slowed by the bourbon.  She peeked up at the house one last time before drifting, unwillingly, to sleep.

[SPACE]

Hours later, her stomach turned with the taste of bourbon and woke her.  Koko rolled over and threw up in the grass, reached for the thermos in her backpack and drank half of the water.  The sky was starting to find its pre-dusk blue, dreamy and cold above her.  She looked over at the house then down the streets.  Everything everywhere was still silent.  When she switched on her phone, it read half past six and chimed with messages from her mother and a text sent ninety minutes before from Bree.

“Where are you?”  The message asked.

“At the house.”

Several moments later, Bree wrote, “What house?”

“His uncle’s house.”

“Shit, Ko, didn’t you get my text?  News says the kid isn’t anywhere near there.”

“Then where is he?”

“Just go home and be safe.”

Koko tossed the phone back into her backpack, her throat swelling with tears.  She swallowed them with a sip of water then got back onto her bicycle, slowly making her way through the streets farther away from home.  Turning onto a main road, she looked through the windows of a laundromat, a convenience store, an Italian restaurant and pet shop, all of them empty.  Even the gas station at the corner was lifeless.

She saw a flickering light ahead and pedaled toward it.  A tattoo shop with curtains drawn, a neon sign out front sputtering.  A man was sitting in front of a television, she could see him through the glass door.  Koko banged on it and the man jumped before clomping over to answer.

“What are you doing out here?”  He sounded like a parent even with his hulkish body covered in tattoos and his septum pierced like a bull’s.  He pulled her inside, locking the door behind her.

Koko tugged at her earring, glancing past him instead of into his eyes.  “I want a tattoo.”

“You shouldn’t be out here.  Do your folks know where you are?”

“Yeah.”  She caught sight of the television where footage of the bombings played.  “So can I get a tattoo?”

“What the hell kinda tattoo do you want so bad to come out in this?”

Koko lifted her sleeve to show him the quotation.

“How old are you?”

“Eighteen.”

“I’ll ask you again.”

Koko blushed when she saw the boy’s photograph on the screen.  “Fifteen.”

“Well, I can’t give you a tattoo without your parents’ permission.”

“They’re alright with it.  Please,” her voice cracked.  “I need to get it.”

The man followed her stare toward the boy’s photo on the screen, the graduation gown, the carnation.  He looked back at Koko, a vein in his temple throbbing.  “Tell you what, kid.  We don’t need to tell your parents so long as you give me some basic info.  Protects me, see.  Just your name, your mother’s name, a phone number.  That’ll do.  Cool?”

He handed her a slip of paper and she wrote down her mother’s name and number.  “I’m Koko.”

“Lemme go get the equipment ready.”  On his way out of the room, the man took the television remote and flipped to a music station.  “You don’t need to see any of that.”

Koko nestled into the waiting room sofa and flipped through a magazine past photos of an Asian women with tigers and flowers inked down the length of their legs and tattooed college girls in fishnet stockings.

“Just gotta give the equipment a chance to heat up.”  The man said when he came back several minutes later.  With his elbows on his chubby knees, he looked like a bullfrog sitting in the folding chair.  “This channel cool with you?”

She nodded and took the sweater from her backpack, draping it across her knees.  Absently, she watched the music on the screen, struggling again to keep her eyes open.

“How long will it take ‘til you’re ready?”

“Haven’t used the machinery all day,” he replied.  “May be a while.”

The man didn’t say much, only chuckled every so often at text messages on his cell phone and checked a clock that looked like a compass on the wall.  Koko pulled up her sleeve and traced her fingers across the quote, picturing red roses laced through the words.

Thirty minutes later, there was a knock at the door and she turned.  The shape behind the glass seemed to cast a beam of sunshine into the room and Koko saw the towering body.  She saw the mess of dark hair and immense shoulders.  She saw a warrior, a titan, saw him as she always had.  A king.

The tattooed man unlocked the door and her father stepped into the room.

[SPACE]

The ride in the car started in silence, her father’s jaw pulsing as he kept his gaze fixed firmly, angrily to the road.  Koko toyed with the zipper of her sweater, wanting him to speak first.

“Are you mad?”  she asked.

“We’re not supposed to be on the roads,” he answered, his voice measured.  “We’re breaking the law being out here right now.  You know that, don’t you?  You’re lucky you weren’t in Watertown where the feds are looking.”

“What’d Mom tell you?”

“Who knows?  I couldn’t hear anything through the sobbing.  Barely got the address to the tattoo parlor.”

Koko gazed at the houses on the street as they passed, each of them lit with the glare of televisions beaming through windows.  “You forgot my birthday, Circus.”

“Huh?”

“My birthday was Sunday.”

“Is that why you did this?”  He tsked then cursed himself, guilt washing over his face.  “I’m sorry, baby.  I’ll make it up to you.”

“Were you worried about me?”

“Shit, of course.”

“Then why didn’t you call?  Mom tried to reach you.”

He wrapped his knuckles against the steering wheel.  Being around her always seemed to make him nervous, like she had him on a leash he wanted to chew through.  “I got a lot going on, Koko.  I think about you all the time, baby, but there’s, you know, so much going on.”  He glanced over at her.  “You’re shaken up, huh?”

“A little.”

“This kinda thing messes with grownups, too.”  He put a hand on her knee, squeezed.  “I just needed to be some place I could wrap my mind around it, you know.  Feel all right.”

“How come that place isn’t home?”

He took a toothpick from his pocket and started gnawing at it.  Let several moments of silence pass again between them.  “So, what are you, fifteen now?”

“Yeah.”

“How’s it feel?”

“Okay, I guess.”

“Fifteen.”  He let out a low, crackling chuckle.  “I remember fifteen.  Wasn’t one of my best years, but I can tell you, it gets easier.”

Koko looked up at him.

“Don’t get me wrong,” he said, his voice melodious, warm.  “There’s still lots that’s hard, but you just start to realize you’re getting closer to when you’re in control of things, you know, you’re gonna be free one day.”

As they drove in silence a bit further, Koko kept her gaze outside the window, realizing she didn’t recognize the streets.  “Where are we going?”

“I got a friend in Waltham,” he said.  “He’s got a place we can rest ‘til the streets open again.  He’s a good guy, you’ll dig him.  There’s a pool, you can dip your feet.”

“Cool,” Koko mumbled, looking around inside the old Buick.  As always, the car was cluttered with her father’s life – sheet music strewn on the floor, amplifiers and wires crammed into the deck beneath the rear window, suits in a garment bag hanging from a hook, boxes filled with copies of his demo CDs.  Only the trumpet case was set apart from the rest of the clutter.  Koko always loved to watch her father play his trumpet – she liked the sight more than the sound – imagining the horn made from elephant tusk and her father an ancient hero blowing into it to announce the hunt.  The trumpet case, strapped safely behind a seatbelt in the backseat, was like another source of life in the car.  She could sense it.

“Does your mother know you were gonna get a tattoo?”

“Not really.”

He shook his head back and forth, a slight smile on his lips.  “What were you gonna get?”

Koko pulled up her sleeve.

He stopped at a red light and read the quote.  “Where’d you hear that?”

“The second bomber.”  She was blushing again.  “The younger one.  It was on Twitter.”

The smile on her father’s face faded.  He cracked the toothpick in half with his teeth and tossed it into the ashtray.  Koko got a strange pleasure having shocked him.

“I’m in love with him,” she said, pushing harder.

 “The bomber?”

 “The younger one,” Koko said.  “I love him.”

 Her father turned away so that she stared at his face in profile, the crown of tousled black hair, the majestic shoulders and mighty jaw.  He was like a character in a comic book, a warrior draped in animal skins and wielding a sword.  She imagined crawling over the seat into his lap.

 “Well,” her father said quietly.  “I’m sure he’d love you, too.”

Koko turned away to look through the window into the dark houses on the street, settling back into her seat as the tears gently and finally came.

—Laura K. Warrell

.

Laura K. Warrell is a freelance writer living in Boston. She teaches writing at the University of Massachusetts Boston and Northeastern University and is a July, 2013, graduate of the MFA program at Vermont College. She has previously published nonfiction in Numéro Cinq.

Jul 032013
 

Cynthia Sample lives in Texas and reads Lydia Davis and Jorge Luis Borges and, when she comes to write, combines genres and forms in ironic and hilarious juxtaposition. She writes little stories, microstories, that delight the eye and the mind, stories that startle you with their originality and unique angles of attack. In this one she uses the genre of the concordance to tell a  steamy tale of love, lust, adultery and divorce — it will make you smile.

dg

DANCE (danced, dancing)

Ecc      3:4          a time to d and a time to mourn
2Sa      6:14        d before the Lord
Ps        30:11      You turned my waiting into d

LUST (lusted, lusts)

Pr        6:25         Do not l in your heart
1Th     4:5           not in passionate l like the heathen
1PE     4:3           in debauchery, l, drunkenness

LOVE (beloved, loved, lovely, lover, lover’s, lovers, loves, loving, loving-kindness)

Ge       20:13       This is how you can show you l
Ge       22:2         your only son, Isaac, who you l
Jos     22:5          careful to l the Lord your God

ADULTERY (adulterers, adulteress, adulteries)

Lev      20:10      both the a and the adulteress must
Heb     13:14       for God will judge the a
Hos      3:1          she is loved by another and is an a
Jer       3:8          sent her away because of all hr a
Ex        20:14      You shall not commit a
Mt        5:32        The divorced woman commit a
Mk       10:11       marries another woman commits a
Jn         8:4         woman was caught in the act of a

DIVORCE (divorced, divorces)

Dt         22:19      He must not d her as long as he lives
Dt         24:1        and writes her a certificate of d
Mal      2:16        “I hate d,” says the Lord God
Mt        19:3        for a man to d his wife for any reason
1Co      7:27        Are you married? Do not seek a d

LOVE (beloved, loved, lovely, lover, lover’s, lovers, loves, loving, loving-kindness)

Jdg      4:16         You hate me! You don’t really l me

LIE (liar, liars lied, lies, lying)

Lev      19:11       Do not l
Nu        23:19     God is not a man that he should l
1Jn      2:21         because no l comes from the truth
Ac        5:4          You have not l to men but to God

END (ends)

Ps       119:112   to the very e
Ps       1:19          such is the e of all who go
Ps        5:4           but  in the  e she is bitter as gall
Ps        14:13      and joy may e in grief
Ps        16:25      in the e it leads to death
Ps        19:20      and in the e you will be wise

FORGIVE (forgiveness, forgave, forgives, forgiving)

Ge       50:17       I ask you to f your brothers the sins
Ex        10:17      He will not f your rebellion
Isa       15:25      f my sin and come back with me
Col      1:14         in whom we have redemption the f
Eph      4:32       to one another, f each other

SECRET (secrets, secretly)

Dt         29:29     the s things belong
Ps         90:8       our s sins in the light
Pr         21:14     a gift given in s soothes anger
Jer       23:24    Can anyone hide in s places?
Mk       4:11        the s of the kingdom
Php      4:12       I have learned the s

—Cynthia Sample

————————————–

Cynthia Sample received a MFA in Fiction from Vermont College of Fine Arts in 2005.  Her stories have appeared in Between the Lines, the Wichita Falls Literary & Arts Journal and Love After 70.  She has work forthcoming in The Summerset Literary Review and Sleet. In 2007, she was one of four Emerging Writers to present her work at the WordSpace Literary Festival in Dallas, Texas, where she is a lifelong resident.

Jun 102013
 

 

books2

Steven Schwartz writes to his obsessions.  Currently, he’s obsessed by success, failure, and redemption, fixations which contextualize the main conflicts of his short stories and novels.  In the title story of his first collection, To Leningrad in Winter, Schwartz tells the story of manwho attempts to distance himself from his Jewish heritage even when faced with acts of anti-Semitism that compel him to join a cause.  Lives of the Fathers, his second collection, follows relationships between family members as they attempt to grow up and distance themselves from their parentage.  Schwartz’s title story of this collection is told from the perspective of a son who simply wants to help his father move after his mother’s death.  But when his father ropes him into helping him pursue Victoria, his father’s ailing, long-lost love, the narrator realizes he may be unable to avoid repeating his father’s mistakes.  Schwartz’s first novel Therapy is told from the perspectives of three interconnected characters, each working through family dilemmas, personal trauma, and therapy to find meaning and love in their lives.  In his second novel, A Good Doctor’s Son, Schwartz tells the story of a teenager who grows up in a racially intolerant small town in Pennsylvania.  After accidentally killing the child of a black family while drag racing, the main character refocuses his life by attempting to deal with the moral repercussions of his actions.  Schwartz’s most recent collection, Little Raw Souls, features stories of characters faced with difficult situations that force them to question their complacency with their lives, such as a man who can’t seem to let go of the adolescent crush he’d had when his transgender cousin was a girl; a rancher easily fooled by a couple vagrants who camp on his property; a woman at an airport who contemplates spending the night with a stranger rather than telling her husband her wallet was stolen.

Following the release of Little Raw Souls and his recent reading at an independent bookstore in Denver, CO, I spoke with Schwartz on how he maintains flexibility in his writer’s voice, pursues his obsessions, and wrestles his material into character-driven narratives.

—Jacqueline Kharouf

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CraftBookJacqueline Kharouf: You wrote a very interesting essay about voice called “Finding a Voice in America,” which was published in the AWP Chronicle (Oct.-Nov. 1991) and later published in the craft anthology Bringing the Devil to His Knees.  In the essay, you briefly discuss the discovery (or acceptance) of your “material” and that once you finally stopped avoiding it, you came into your voice: “[…] the writer’s voice emerges at the place where her unique experience meets the larger culture.”  I think of the writer’s voice as an ever-evolving aspect of being a writer (or that as we have new experiences, we meet that “larger culture” in ever-different and unexpected ways) and I wonder how you’ve noted (or embraced) that evolution in your own career.

Steven Schwartz: I think it’s important to say that writers, especially younger writers, although this can happen at any stage, spend a lot of time running away from their material.  And why do they do this?  Well, for any number of reasons.  They’re afraid of being boring, that is, what happened to them couldn’t possibly be of any interest to anyone else simply because it did happen to them.  They’re worried about dredging up material that might hurt those close to them—even when it’s disguised as fiction or only inspired by real events.  But you can’t run away from your material because you don’t choose it, it chooses you.  Even writers who claim not to be autobiographical at all—as if this is something to be ashamed about, suggesting they have no imagination—you’re still unconsciously going to run into your own obsessions if you write long enough.

Schwartz

For me, I had this idea that plot alone would make me an interesting writer, until I came to understand that I was only using plot to avoid revealing anything about myself that might stray into dangerous emotional territory and risk being sentimental.  But it quickly became obvious—and I remember the story in particular, “Monkey Business” in my first collection To Leningrad in Winter—that when I finally wrote about the pain of a lover having an affair, (and allowed the real life event to take imaginative flight) and saw the impact it had on readers, I understood voice came out of the depths of character.

That intersection you mention about voice emerging at the place where your unique experience meets the larger culture is always variable.  Which is another way to say that your voice does change over time depending on everything from your new experiences to what you’re reading to what you choose to write about.  The idea of “finding your voice”—that chestnut of writerly advice—makes you think once you have it, that’s it.  Good.  I’ve got mine, hope you get yours.  But actually you have to lose your voice periodically to keep it alive.  Otherwise it becomes stale because you’re clinging to what worked before.

One caveat here: I remember speaking with the writer Charles D’Ambrosio after he gave a reading of his wonderful story “Screenwriter” and asking him about its genesis.  He told me something very interesting.  He said, in fact, the story was all voice at one point, and he had to proceed in the opposite direction, find what undergirded the voice, a structure for that voice that had some sort of narrative arc.  So you have to be aware that your work can actually depend too much on voice and neglect all the other fundamentals of craft.

JK: One of the most intriguing and moving components of your prose is your dialogue, which is always a showcase of the differences that put your characters at odds with each other and an opportunity for those differences—and degrees of separation—to reveal what the characters most want.  I wonder if you could discuss how you work on dialogue and if you could explain a bit of your process for fusing motivation with desire in terms of the particular context you want to create for the story.  Do you begin a story with a particular context already in mind?  Or does the character (and his/her particular situation/conflict) shape the story context?

SS: As a child I was always listening, always the witness to a lot of other more flamboyant family members. I think many writers, who tend to be watchers or witnesses in their families, silently take on the voices around them for lack of having any voice themselves. They become mimics.  They study their subjects.  They teach themselves to imitate others in order to get attention.  But with the polyglot of voices you’ve collected, you begin to populate an inner world, and you do that by a sort of talking to yourself.  You then come to appreciate how sound can be associated with image and before long you’re creating stories that are more interesting than what’s going on around you.  Soon you discover that lived life isn’t enough for you, that it needs to be heightened, in particular by language.  That’s how you learn to speak.

Dialogue as everyone knows can’t just be about delivering information.  It has to be about creating character.  So while other people may be listening for information, all that watching and listening that you’ve done has primed you to hear resonance.  You hear all the shadings of meaning, the tones and intentionality, the emotional landscape behind the words.  Without realizing it, in the silence of your listening, you’ve been teaching yourself about subtext.

Schwartz

When I’m working on a story, I usually have some idea of when a scene has to occur and how vital it is to bring in the actual voices of the characters.  In one of the more dialogue-heavy stories in Little Raw Souls, “Stranger,” I needed to allow these two strangers who meet in an airport and contemplate having an affair to speak for themselves, as if only direct testimony from them could explain their actions.  So you might say that dialogue comes into play when it’s most urgent for characters to speak and no other words than theirs will do.  Dialogue has to feel special in a story.  What I mean by that is that when you come across it, you have to be a little thrilled to hear directly from a character, and if you’re not, then it’s either bad dialogue or it’s being overused.  Dialogue has to have force behind it—a pressure to speak.

JK: I really enjoyed your reading and I especially admired how you handled the variety of questions that you received from the audience.  The first question, in particular, was pretty interesting because someone asked about the risky subject matter of the story you read (the story includes a transgender character).  The audience member didn’t say whether he liked the story or not, but if you had hesitations about sharing it.  Do you think—in this current state of the culture, which tends toward shock value and grabbing the consumer’s attention with as little effort from the consumer as possible—an author should worry about what readers will think of their work?

SS: Well, the short answer is no, of course not.  But let’s be honest.  What writer doesn’t—especially in this age of populace commentary—peek at those sometimes nasty comments on Amazon or Goodreads.  In the past, writers were more insulated from that opining.  You published a book.  Someone maybe sent a letter to you.  Or to your publisher.  But it was all relatively private.  Not anymore.  And those comments stay.

All that said, it still shouldn’t matter one bit.  If you want to take risks as a writer, and you’d better, if they’re honest risks, then you have to find a way to block those outside voices that are more prevalent today than ever before and would like to tell you everything from how you should write (or not) to tips about your personal hygiene.

JK: What are your obsessions that you write towards in your work?  Do you actively cultivate these obsessions in other aspects of your life (aside from writing) or, in writing about your obsessions, do you work through those obsessions as a way of learning and letting them go?

SS: You have to make friends with your obsessions.  But the catch is you don’t know your obsessions until you write enough to discover them.  What you think you’re obsessed with may in fact not turn out to be the matter at all.  I know for a fact that I’m obsessed with success, failure, and redemption, but how those forces will play out I never know, and in fact, don’t want to know.

You can’t rid yourself of your obsessions but you don’t have to assume you’ll always be trapped into writing about them either.  If you say, I’m not going to repeat myself in this book by writing about X or Y, you’ll undoubtedly do just that.  On the other hand, if you don’t fear that you’ll repeat your obsessions, you’ll find that they evolve into fascinating elaborations on a theme.  Thomas Wolf couldn’t seem to stop writing about going home, Fitzgerald about wealth, Flannery O’Connor about mother figures, Dostoyevsky about suffering, judgment, goodness, violence and a whole bunch of other obsessions bursting at the seams of his books.  In short, you have to embrace your obsessions with a faith that they’re both inexhaustible and capable of transmutation.

Schwartz

JK:I’m curious about the hierarchy of characters in your first novel, Therapy.  Each character has such depth and dimension that, as I was reading, I often thought that they could each carry on in their own separate narratives.  The novel’s close third-person point of view mostly centers on Cap, but also dips into the perspectives of Wallis (Cap’s wife), Julian (one of Cap’s therapy clients), Celia (Julian’s classmate), and Anna (Julian’s reclusive mother).  I wonder if you could talk about what you hoped these other points of view would reveal about the story.  I think there’s a certain danger in having too many points of view—a need to collect more information than the reader needs to feel invested in the story—and a risk in creating red-herrings (events or people who turn up, seem important, and then don’t necessarily influence lasting change on the main characters or their situations).  However, each of your characters, with their various issues and desires, propel the plot forward and you return to and revisit other characters (and simultaneously drop others) in a kind of juggling act that raises the stakes of the story the longer you keep this number of characters in play.  Ultimately, the novel (and the point of view) culminates at the point in which Cap recognizes what I think is at the heart of all desires: “It was what he’d always wanted to know too.  The riddle of The Thing: Am I loved?” (331).

SS:  Among the different points of view in Therapy, I have, Julian, a young man in college who is epileptic, Cap, a psychologist, and Wallis, Cap’s wife.  At one time I was trying to write three individual books about each of these characters, toiling away over a period of a decade.  Then I realized they could all be united in one story by the device of therapy and benefit from working off of each other.

It’s always interesting trying to decide exactly who will be a primary character and who a secondary one.  I just wrote a paper for a panel about this topic for the AWP conference, and one of the conclusions I came to is that secondary characters have to be distinct in their own right.  They can resemble types but at the same time they have to freshen that type.  Secondary doesn’t mean second rate.  But they are basically there to illuminate the struggles of the major characters, as Celia does for Julian when she meets and falls in love with him.  So secondary characters can often fulfill their role, contradict it, or exceed it, and you have to be alert to the possibility of discovering your secondary characters are outgrowing their intended potential.

Schwartz

This is far often more true for a novel than a short story, a short story being an exclusive operation that weeds out material and a novel being an enterprise that wants to suck in everything around it including the idle conversation you just had with your neighbor about cantaloupe at the market (“I know I can work that in!”).  So one of the characters in Therapy, Maureen, with her highly charged sexual behavior, started out more as a minor character but blossomed into a major one as she got more involved with Julian and I had to understand her motivation.  And once you start mucking around with a character’s actions, and those actions are perhaps damaging to others as in the case of Maureen, you almost have an obligation to investigate the complexity of why a character behaves as she does, and that in itself indicates you’re on to creating a primary character. You have to explore motivation in a way that even if an act appears random the possibilities of what caused that act are myriad and compelling, otherwise you’re light on character.  In Melville’s “Bartleby the Scrivener,” Bartleby literally winds up doing nothing, fading away as a human being, but it’s the why of his nothingness that makes this story a fascinating study of motivation with its possible social, economic, psychological, spiritual, philosophical explanations for behavior that can’t be reduced to one cause.

And this is where point of view often comes in, regardless of whether we’re talking about a primary or secondary character.  I knew for most of the principal characters I could go into their heads, but with Maureen, I had to stay out of it, despite her being a major character.  I simply could not do justice to—and in fact would be subtracting from—the nature of her behavior if I tried to explain her from the inside out.  It was an intuitive decision to stay out of her head, as many decisions about point of view are, knowing that she would have more raw power as a character seen from the outside than from the inside.  My friend, Robert Boswell, talks about the half-known world of characters, that “you can measure how successfully you’ve revealed a character by the extent to which his acts, words, history, and thoughts fail to explain him,” and I think that’s true of all characters: you don’t want to over-solve.  If you do, their mystery disappears.  You have to take the measure of how fully you’re going to expose each character, or to use your phrase, complete or make incomplete their lives.

To be clear, this has nothing to do with not developing a character to the fullest—all characters need to have their trajectories followed through on—but with psychological constructs of a character, if you still believe in that sort of thing as a writer of mostly realistic stories, as I am.  And since I’ve brought up the subject of realism versus other modes, I should say that I think it’s often an artificial or perhaps useless distinction.  A Jonathan Franzen versus an Aimee Bender.  Borges versus Roth (who’s taken a few fantasy turns in his fiction himself).  In Therapy, I have an absolutely bizarre sequence of events that takes place in the basement of a psychiatrist’s office.  People always ask me about that scene, and I really can’t give any more justification for it other than it fits and that’s where the story took me.  Likewise in Little Raw Souls, in “Absolute Zero,” there’s no explaining the Seer.  But nothing could persuade me to take these moments out just to make the stories “consistent.”  Insisting on categorization can only inhibit the work and the possibility of a truly original moment happening.  I published an essay in The Writer’s Chronicle called “In Defense of Contrivance,” and one of my arguments I make is that it’s not what happens but what happens afterward that makes an event believable or not.  Create the right context and follow up and there are no limits on how a so-called magical moment might pop up and become integral and credible to an otherwise erstwhile realistic work.

Schwartz

JK: In your new story collection Little Raw Souls, you create situations for your characters and then introduce conflict that threatens to disrupt or end these situations.  For example, in “Bless Everybody,” the narrator Charlie is retired, divorced, and living off the land he’d always wanted to own, but then two hippies arrive and want to stay for a time.  In “Absolute Zero,” Connor’s dying mother won’t sign the papers allowing him to enlist for the Marines, but then he spends time with a classmate who is also dying.  In “Seeing Miles,” David reconnects with his second cousin who—over the years—has changed her gender.  Did you begin your stories with these situations in mind first?  Or did you think of the conflict first before crafting a situation that contextualizes the resolution of that conflict?

SS: I really don’t think one knows the conflict in advance of writing stories.  In “Bless Everybody,” Charlie has a run in with some young hippies who take a liking to his land but turn out to be different people than they appear at first.  That story came out of an experience of a couple who did call us out of the blue and ask to stay on some land we owned.  They turned out to be deceitful and though it’s not necessary to go into exactly how, I can say, what intrigued me about the situation for years before I could write about it was how easily I was hoodwinked.  In other words, I couldn’t get over my own susceptibility.  In writing the story I had to find a way to investigate that initial miscalculation of mine, given I consider myself a good reader of people, which broadened into a conflict about a man confronting the idea of what it means to be a good person and whether he’s failed at that over the years or been too rigid in his pursuit of that goal.

So the original conflict that might initially intrigue me and be based on my own experience has to evolve into something more universal in the course of writing a story, otherwise it just stays limited—a situation, not a story.  Likewise for “Seeing Miles.” I was always fascinated by how I had my first crush on my lovely cousin at thirteen, who turned out in her thirties to have a sex change, and what that meant about me.  The real conflict, however, involved wrestling with a story about the nature of desire.  Did I at any point sit there and say to myself, I’m writing a story about the nature of desire?  Absolutely not.  I probably would have hit myself over the head with hammer first and said get back to work, Steven!  Wake up and write a story, not an idea.

—Steven Schwartz & Jacqueline Kharouf

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Steven Schwartz grew up outside Chester, Pennsylvania, and has lived in Colorado for the past twenty-eight years.  He is the author of two story collections, To Leningrad in Winter (University of Missouri) and Lives of the Fathers (University of Illinois), and two novels, Therapy (Houghton Mifflin Harcourt) and A Good Doctor’s Son (William Morrow).  His fiction has received the Nelson Algren Award, the Sherwood Anderson Prize, the Cohen Award, the Colorado Book Award for the Novel, two O. Henry Prize Story Awards, and fellowships from the National Endowment for the Arts, MacDowell, and Bread Loaf.  His essays have appeared in The Massachusetts Review, North American Review, Crazyhorse, Image, and have been awarded the Cleanth Brooks Prize in Nonfiction from The Southern Review.  He teaches in the low-residency MFA Program at Warren Wilson College and the MFA program at Colorado State University, where he also serves as fiction editor for the Colorado Review.  Married to the writer Emily Hammond, they have two grown children.  His new collection of stories, Little Raw Souls, was published by Autumn House Press in January 2013.

 Jacqueline KharoufJacqueline Kharouf is a graduate of the MFA in Writing program at the Vermont College of Fine Arts.  A native of Rapid City, SD, Jacqueline currently lives in Denver.  Her work has appeared in Numéro CinqOtis Nebula and H.O.W. Journal, where she won third place in a fiction contest judged by Mary Gaitskill.  She had work forthcoming in NANO Fiction. Jacqueline blogs at: jacquelinekharouf.wordpress.com and tweets  @writejacqueline.

May 102013
 

Stephen Henighan

A little parable about race, narrow opinions, false assumptions and having your head so far up your own ass you can’t see the woods for the trees (to mix my clichés). Stephen Henighan is a world traveler, translator, activist, scholar and fiction writer extraordinaire. I put him in Best Canadian Stories when I used to edit that estimable annual volume. The characters here are mostly low end manual labour doing the traditional low end Canadian job of pulling young trees for replanting. Grading is the act of evaluating, of deciding which trees to keep and which to leave behind. Ah, yes, but in life, with people, we are always deciding which to keep and which to leave behind — it’s an ugly aspect of human society; mostly we congratulate ourselves on not being too obvious (this is called being polite). In his fiction, Stephen Henighan has an awkward (brutally honest) habit of poking holes in that facade of politeness, culture and sophistication.

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And me spit out by the city and slung down on my knees in the cold dirt. I thought I’d done everything right: got some education, learned some French – the whole nine yards. But no matter how  tightly you latch  yourself into the city, you can always end up back  in the countryside you came from, pulling trees for quick cash.

They pay us fifteen dollars for a thousand trees. The cedar I’m pulling has roots matted tighter than the threads of my grandma’s old  wool blanket.  You have to rip and tear to  get  each  tree loose. The grading—deciding which trees you keep for your bundle and which ones you toss—is supposed to go quickly since  cedars are nearly impossible to kill. But by the time you’ve yanked the tree clear of its woven carpet of roots and checked for hockey-stick  trunk, half the morning’s gone past. To top it  off,  they did  a shitty job lifting the flats. The old bugger driving  the International 84 Hydro shook each long flap of earth like he was knocking  dust  out of a blanket. The moment you  walk  into  the field, you see the white flashes of split  roots  and  slashed trunks. With that much grade in the furrows, you can forget about making good money.

There’s no escaping grade around here. I don’t know where they find these guys. Local high school drop-outs wearing  baseball caps  that  say I Live for Chev; lads whose only basis for  judging another member of  the community is: “What’s  he  drive?”   And girls,  too. Gert, the roving-eyed young woman next to  me,  complains all day about the boyfriend who jilted her for a loose little  hoo-er  he  met at the village’s new video arcade.  The wedding is next month. Gert plans to get cut,  swing  into the church and puke on the bride’s wedding dress.

Don’t  get me wrong, I’m not making fun of these folks. A  few short years ago I used to hang out with people like this. Then  I moved into Ottawa and got a job and a modern efficiency apartment with garbage disposal and central vac.  The people at the office came from all over the world, and on Fridays we all went out for drinks together after work. When the job  disappeared, so did the apartment. Now I’m country-poor, still the  proud owner of  a Chevrolet, but boxed up in a spare  room over the old fire hall that my uncle got me for free. I work in lowlife jobs. What I can’t get over is how I feel centuries away from my own home town.  From a financial point of view, I’m no better off than anybody else in this field; but an invisible shield separates me from the grade.  I’m not alone in this. There are women here paying the family mortgage, students saving for university. We all show up regularly and earn good money. The others put in a few days’ work, get smashed  on  their  first pay cheques and  never come back.  Every Monday a fresh gang ambles in. The ten or twelve of us who are regulars run a jaundiced eye over them to pick out the one or two who might still be here at the end of the week.

“Too much grade!”  the crew boss yells, closing the fingers of her work gloves around some of the white-slashed shit that  the lads are dumping on the tables.

I  bend forward, pulling like a piston. The odour of soil  and fertilizer blends in my nostrils. You’re never  so  close  to shifts in weather as when you’re hunkered down against the ground. It’s the beginning of April and we’ve worked in snow, in rain, in stinking heat that makes you peel off your shirt. The cold is the worst. It penetrates and paralyzes. Sitting on my knees,  ripping apart  trees at waist height, I spill cold soil down my legs  and shiver  as  it trickles over my workpants. If I don’t  brush  the soil away, my teeth begin to chatter. Some days my toes freeze up in  the  early morning and stay cold and numb inside  my  boots until  I  get home, no matter how hard the  afternoon  sun  beats down.

The  cedar pulls like molasses: the totals the tallyman  reads out  are pathetic. On a good day I can make  over a hundred bucks, but today I’m going to be lucky to hit sixty.  The crew boss, a Forestry woman with ruddy cheeks, tightly  curled  blond hair and a hoarse, cackling voice, tries to calm the punters  by promising that tomorrow we will be pulling white spruce.

“Yeah!”  I  say. But Gert, alongside me, groans. White spruce are tall trees, with short roots that grip the earth like  leeches.  A  guy with big hands can whip them out of  the ground as fast as picking up sticks. But for a woman, unless her hands are unusually large, white spruce hardly pulls any quicker than  cedar.   Red  pine is the woman’s tree.  It’s  prickly and twisted  and shelters close to the earth; the  long roots fall together like horse hair when you clasp ten trees into a  bundle. A  woman with nimble fingers can pull eight thousand red  pine  a day.

“Tomorrow,” the crew boss shouts, “new pullers will be coming out from the city. Looks like we used up all the grade  around here.”

Pullers  from the city! The announcement  combs  through  the crouched hordes like a ripple of unwelcome wind. What will  these new pullers be like?

Next morning we see what they’re like: they’re black.  Or at least two of them are. Husky young guys with an easygoing,  jokey manner.  The burlier, friendlier lad is called Reg; his thinner, quieter friend is Deon. Having been away from the  country for a couple of years, I can’t believe the reaction they get.  In this stretch of eastern Ontario you can drive forty klicks without meeting anybody who isn’t Scots-Irish or French-Canadian or maybe Dutch or German. For the first two hours  the  flats  are silent.  Only  the croak of the tallyman and the honk  of  Canada geese  winging home overhead break the scuffle and grunt  of  men and big-handed women feasting on the fast cash offered by a field of white spruce.

The spruce grows amid knee-high grass that ruffles like  water when the wind kicks up. As the breeze reaches the edge  of  the clearing,  it unveils the light undersides of the leaves in the groves of mature poplar and maple. There are moments when you can feel happy to be working outside. Glancing up, I catch the  glint of  Gert’s dark eyes seeking out mine. I turn away,  exchanging grimaces with Reg. Gert has been sending too many long looks in my direction.  I  try to figure out how, without hurting her, I can make her see the differences between us. I’m not the same guy I used to be.  When I was working in Ottawa I had a girlfriend, a big-city girl who screwed me purple for ten months without ever breathing the word marriage.  Since I came home, the girls seem like grandmas in training, the wedding dress the main thing on their mind. Gert can’t be more than twenty; and even when I was growing up around here, would  I have given a hoot about a girl who hung out in arcades?

Gert, meanwhile, is busy ignoring an admirer of her own.  Kev is a lanky, long-jawed, red-haired lad who talks even more like a farmer than most of the people working here. He’s been smitten by Gert’s pushiness. The more mouthy she gets with him, the more he acts like her slave. He fetches her water bottle, he lobs spare  trees in  her direction; he’s even offered to carry her bundles to  the table. I had Kev pegged  as grade, expecting him to  vanish after a week; but love has transformed him into a hard worker. He arrives at the crack of seven each morning, his watery blue  eyes scanning the furrows for Gert.

We  pick  our way forward in closed  formation,  swabbing  the field clean with hungry hands. The crew boss’s yells clang in our ears; her bright, laundered blue jeans glint in the corner of  my eye.  Gert and I lead the pack of pullers. Kev is closing in  on Gert from the right; Reg and Deon head up the next row.

By mid-afternoon the silence is making me sick.  I figure it’s time to set an example by acting naturally. I go back  to teasing  Gert.  “I  bet you’re getting  thirsty,  Gert,”  I  say. “What’ll you do if you need your water bottle?”

“If I need my water bottle,” she says, with a savage  sidelong glance at Kev, “I’ll get my nigger to bring it to me.”

For  five  seconds not a single tree gets pulled.  Everybody stares at Reg and Deon. Reg and Deon look  at each other. In the distance, I hear Canada geese honking.

“That was a pretty ignorant thing to say, Gert,” I tell her.

“You  go fuck yourself. You just think you’re hot shit ’cause you  lived someplace else.”  She bows her head into the chest  of her jeans jacket, her cheeks shaking.

“Move  it!”   the crew boss shouts.  “Anybody who  doesn’t  pull forty-five hundred today is outa here.”

I veer away from Gert and almost run into Reg. He and Deon are putting a broad patch of white spruce between themselves  and the  rest  of  us. As everybody else sinks into a silence even sicker than it was before, Reg and Deon can’t stop talking. They pull  like fury, exchanging stories in a jargon we can scarcely follow. Within thirty minutes a wheel of clean-picked dark  brown earth  has opened up around them. Trussed bundles lie  heaped  at their heels. They pull barehanded, the only workers in the  field not wearing gloves.

I glance across at Gert. She ignores me. Kev, put off  either by Gert’s rudeness or her tears, has drifted away to the  fringes of the field.

“Whoah!” the crew boss shouts. “You’re gettin’ way too  spread out. You’re missing good trees–  And you two,” she says, turning to  glare  down the laughing West Indians, “do you plan to shut your traps when I’m speaking?”

“No,  we  don’t,  ma’am,” Reg says. “We work  better when we talk.”

“You’re fired, mister,” she says. “It’s your fault this crew’s got screwed up today.” She plants her right hand on her hip  and gestures  with  her left for them to quit the field.  Red  blush-points break out high up on her cheeks.

The two men shrug their shoulders and saunter away towards the poplar grove.

“You’ll  be  paid for the work you’ve done,” she  hurls  after them. “Now the rest of yous get back to work or you’re next.”

Silence  splinters the crew. Nobody talks; nobody works  close to  anybody else. After more than a month of  pulling  trees  six days  a week, my body is aching all over. My joints creak and  my kneecaps click when I walk. My tiredness has outrun my ability to sleep  it off. At the end of the afternoon I stumble away  to  my Chev  without saying goodbye to Gert. Kev has  disappeared.  The sight of Gert kicking across the field, her head lowered and  her work gloves  dangling  from her fingers, tugs at my chest.  But  I recognize  the  tug  as guilt, not love. I turn the  key  in  the ignition.

My Chev rumbles over two kilometres of rutted dirt road winding between the fir plantations. When I turn onto the  highway, Reg  and Deon are standing holding their thumbs  out.  Reckoning that they must have been there for almost three hours,  I pull over onto the shoulder.

“I’m  only going ten minutes up the road,” I say, “but I’d  be happy to give you a lift.”

“Thanks,  but we need a ride into the city.”   Big Reg has slipped a woollen hat onto his head. Behind him, Deon issues  me a shy smile.

“I thought what she did to you was really shitty,” I say.  I take a breath. “Actually, I thought it was racist.”

“Aw,  we  knew we were rubbing that lady the wrong way,”  Reg says.  “If we’d really wanted the job, we would have  acted  more docile.  We just came out here today for fun.”

“Fun?”  I say.  “Don’t you need the work?”

For the first time Reg looks shy.  “We’re grad students in biology in Ottawa. We’ve got internships at a lab but it don’t start until two weeks from now and we were kind of bored.”

“We’d never seen the countryside,” Deon offers. “We always lived in cities.”

“I can’t believe how lazy people are out here,” Reg says. “Don’t they care about making something of themselves?”

The two of them stare down at me with the stare you save for a furrow full of slashed roots. Deon shakes his head.

“No offence to you,” Reg says.

“None  taken,” I reply.  “I know who I am.”   I roll up the window and  shift  my Chev into gear.

 —Stephen Henighan

——————————–

Stephen Henighan was born in Germany and grew up in rural eastern Ontario. He is the author of three novels, three short story collections and half a dozen books of non-fiction. His forthcoming titles include A Green Reef: The Impact of Climate Change (Linda Leith Publishing, 2013), Sandino’s Nation: Ernesto Cardenal and Sergio Ramírez Writing Nicaragua, 1940-2012 (McGill-Queen’s UP, 2014) and the English translation of Ondjaki’s Granma Nineteen and the Soviet’s Secret (Biblioasis, 2014).

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May 022013
 

fruelundin top

Herewith is a story by Simon Fruelund translated by K. E. Semmel.

K. E. Semmel is an old friend and former colleague from my days at The Writer’s Center in Bethesda, Maryland. He is not only a dedicated and talented fiction writer in his own right, but a hard working and skilled translator as well, having translated and published four books of Scandinavian fiction in the last five years, including two books by Simon Fruelund, Karin Fossum’s The Caller, and Jussi Adler Olsen’s The Absent One. (He’s wrapping up a fifth book this summer.) K. E. Semmel also serves as the Development and Communications Manager at Collegiate Directions, Inc., a non-profit dedicated to helping low-income children attend four-year college. I have spent many Sunday afternoons with him and his family, watching our sons play, drinking Belgian ales, talking books, and trying to love baseball as much as he does, so it is with pleasure that I bring to Numéro Cinq one of his translations.

Simon Fruelund is the author five books of which two are available in English: his novel Civil Twilight (published by Spout Hill Press) and a soon-to-be released collection of short fiction titled Milk and Other Stories (Santa Fe Writer’s Project). Alan Cheuse, book critic for National Public Radio, recently wrote about Fruelund’s work:  “[he] is a master of the short form, importing some designs from our own Raymond Carver, applying them to the interstices of the European everyday, and making them his own.”

“Albatross” is typical of Simon Fruelund’s style. A sparse, subdued story about two brothers, one of whom sets fire to his father’s rye field. With unassuming details and carefully fine-tuned images, “Albatross” is the type of story that sneaks up on you, and I found myself thinking for days after first reading it about the boy/arsonist perched atop the silo watching the adults scramble to put out his fire and harvest their grain. As K. E. Semmel has written: in Fruelund’s work “truths and experiences are intimated” in “quiet, inconspicuous way[s].” “Albatross” will appear in Milk and Other Stories.

—Jason DeYoung

Milk

My brother sat on the couch reading a magazine. I aimed at him with my lighter pistol and pulled the trigger. The flame rose straight up, almost five inches high, but he didn’t react.

—Catch!

I tossed the lighter at him over the coffee table. He dropped the magazine and threw himself toward the lighter in order to save the couch and curtains and wall-to-wall carpet. He couldn’t find it and started pulling the pillows down on the floor.

—Jeppe, you dick. Where’d it go? You’ll burn the house down.

The lighter lay on the floor right at his feet. I stood and walked over. The flame had gone out as soon as I’d let go.

—Here, I said and handed it to him.

—You’re an idiot, he said, refusing the lighter.

I stuffed the lighter in my pocket and left the room. I put on my boots and jacket and walked through the empty stalls and out the other side. We’d not been outdoors for two days. The afternoon sky was clear and blue, and I tromped toward our neighbor’s place. Svend the Hen was scorching his field; he’d lit rows of straw on the opposite side, and the fire now ran in parallel tracks over the crest of a hill. He was busy plowing a security barrier so the fire wouldn’t leap over onto our field, which hadn’t been harvested yet. He brought the tractor to a halt and opened the cab door.

—Get in.

I grabbed the handrail inside the door and hoisted myself up.  Svend the Hen had his shotgun across his thigh, the barrel snapped open and draped over his leg. I sat on the wheel guard, and the tractor started with a jerk. Svend the Hen’s short silver hair poked out of the corner of a green cap. He didn’t say anything. He plowed another row along the barrier to our field.

—So, he said.

I could see how the effort of talking stretched his cheeks, how his lips twitched in the attempt, and how he sat chewing on what he would say. As if he had to put his tongue and lips in order first. As we reached the end of the row, he turned the tractor and began a third row.

—So…They’re on vacation or what?

—Yeah, I said.

—What about the other hen?

—He’s at home.

—Well, well, then.

He always called us hens—maybe because he didn’t have any kids of his own. Some said he fucked his cows, but I had never believed it.

—Well then, he said again after a minute.

He smiled for an instant. Not because he liked to, but more because he couldn’t help himself, I think. Or maybe because he was proud that he’d managed to get his tongue in the right position in his mouth, moved his lips and all that. His teeth didn’t look too good, and you couldn’t mistake the smell. Maybe everything’s going rotten in there, I thought. He turned the tractor up near the shrubbery and drove with the plow raised in the direction of the fire. He took two bullets from a box on the front window and stuck them in the shotgun, still with one hand on the steering wheel. As we reached the first burning column, he turned the tractor so we were driving along the front. He opened the door and asked me to steer. The air was heavy with black dust, and it was hot as hell. We’d almost reached the end of the field before anything happened. He aimed and fired in almost the same instant. I barely registered what had happened.

—God damn, he mumbled.

I saw a hare leaping away.

—God damn, I said.

At that moment I saw another hare. Svend the Hen fired and this time he got it. The hare rolled a somersault, then lay completely still. He stopped the tractor and opened the door on my side, and with a nod of the head let me know what he wanted me to do. I hopped down and ran over to pick up the hare. I grabbed its legs and swung it around high over my head. The flames came closer; it was a wall of heat moving in my direction. I ran back to the tractor and tossed the hare to him.

—Get in, he said.

I shook my head.

—I gotta go, I said.

He closed the door, touched his fingers to his cap, and a moment later he was off in a cloud of black smoke.

I looked around for a place where I could get through the fire. I found an opening then made a running start and leaped through. When I came out on the other side, my face felt stiff and my hair smelled charred.

The ground was black and scorched.

At the end of the field, I found a smoldering chunk of a tree. It was a branch from an oak that stood near the border of our land. I picked up the cold end and went toward our side. Near the track separating the two fields, I stopped and looked around. The rye should’ve been harvested a long time ago; in many places the stalks lay horizontal to the ground. Ours was the only field, as far as I could see, that didn’t have stubble, or wasn’t already plowed up. I stood there a moment considering the pros and cons. They can kiss my ass, I thought. Then I threw the branch as far as I could into the field.

I hiked across Svend the Hen’s field. I headed down through the bog, followed the railroad tracks a short distance, and then walked through a small stand of spruce.

I’d reached the main road when I heard the first fire truck. It drove toward me at high speed, and a moment later the second one followed. I could see the firemen putting on their gear. I tramped along the road meeting one car after another—curiosity-seekers following the fire trucks, I think.  I also saw someone on a bicycle. I could hear the sirens approaching from every direction.

Along the way I passed a large white farm, and I saw a man and a woman hastily getting their children inside a car. After a few hundred feet, I passed a Dutch barn stuffed with hay, and half a mile later came to a wide field of barley that hadn’t been harvested.

Before long, I could see the first houses in what passed for the area’s biggest town. Towering up over all the houses was a grain silo. And I could see the brownstone school building with its white windows.

Just as I got to town, the local cop drove toward me in his blue Volvo. I waved at him and he waved back, and then he was already long past me.

I crossed the road, and soon stood in front of a broad chain-link gate. Three trucks were parked in the lot, but there was nobody around. I clambered over the gate and walked toward the silo. Small piles of grain lay here and there, and the smell was sweet and good. I put my hand on the outer wall; it felt warm. I went around the silo and found a door behind the building. With a hard jerk, I got the door open and went inside. I stood in a pretty narrow shaft; on the wall were a number of shiny steel stairs, and far above, I noticed a small circle of blue light, which I guessed was the sky.

I started crawling. It was really hot inside the shaft, and when I reached the halfway point, I had to stop and take my jacket off. I tied it around my waist, but that only made crawling more difficult, so I let it fall. I continued up; the higher I got, the warmer it was.

When I finally crawled onto the roof, I was soaked through with sweat. I pulled my shirt over my head and looked toward the south.  I could see a huge black cloud of smoke; under it, an orange glow. I couldn’t see the flames. In the foreground, I could see a combine that’d now begun to harvest the field I’d just passed.

I looked at the parking lot below; the three trucks were slightly staggered and resembled toys on display. The houses in the town were unusually close, but they still seemed small. Patio furniture filled the square yards, but there were no people. Furthest away was the train station, and I could see the red train waiting for the regional train.

I turned toward the north and saw a blue glare, which I knew was the sea. Then I turned toward the south and looked at the red glow.

Soon after, I sat down. I flicked my lighter and watched the flame. I fell into a trance and sat that way for a long time. At some point I realized I was freezing. I stood and put on my shirt, but it was cold and damp. I stared toward the south: As far as I could see the flames were burning out.

I moved to the hatch and started crawling back down.

I headed back the same way I’d come. Outside the town limits, I passed the cop. I waved, and he waved back politely. I passed the barley field and greeted the farmhand, who leaned up against the grain wagon smoking. I passed the Dutch barn where two boys shot at a target with a bow. There were lights in the stalls at the big farm, and I could hear the sound of a transistor radio through the open door.

I followed the main road and walked through the little stand of spruce, followed the railroad tracks, and walked through the bog.

It had grown dark by the time I finally made it home. At a distance I could see the light in the living room. I shuffled forward through a thick layer of gray ash. The fire had burned up most of the field; it hadn’t been brought under control until about 150 feet from the house.

When I walked inside, my brother sat on the couch watching television. He looked up.

—Where have you been? he said. There was a fire in the fields.

—I know that, I said.

I looked at the screen. I could see a big white bird lying on a nest: an albatross.

—There were a lot of people here. The cop was here, too. He was over talking to Svend the Hen. He seemed to think it was his fault.

I walked into the kitchen and poured a bowl of cornflakes. When I got back, my brother had changed the channel to some kind of quiz show; from a few notes you were supposed to guess the name of a song or a piece of music. I sat down in the seat opposite him.

They played a few bars of a song.

—“Strangers in the Night”! my brother called out.

We waited for the answer.

—You see, he said.

I pulled the lighter from my pocket, and this time I didn’t flick it—I just tossed it over to him.

—Catch! I said.

He flicked it and saw that the flame was only an inch high. He looked at me and then set it down on the coffee table.

—They say he fucks his cows.

—Yeah, I said and watched the screen.

They played a few bars of a new tune.

—Can’t we watch the show with the albatrosses? I said.

—Okay.

For a long time, without saying a word, we watched the program about the enormous birds. The narrator said they could fly up to a 600 miles a day. They sailed on the wind almost without moving their wings. We saw how they dived after fish, and we saw an albatross egg that was the size of a honey melon.

At some point, my brother turned his head and looked at me. I didn’t look at him, but I could feel his gaze; he watched me for a pretty long time. Then he turned his attention back to the screen.

—Promise you’ll never do that again, he said under his breath.

—Simon Fruelund

————

 

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Simon Fruelund is the author of five books, among them Milk and Other Stories, Civil Twilight, and Panamericana. His work has been translated into Italian, Swedish, and English, and his short stories have appeared in a number of magazines across the U.S, including World Literature Today, Redivider, and Absinthe. For nine years Fruelund worked as an editor at Denmark’s largest publishing house, Gyldendal, but is now writing full time.

 

Kylebearded

K.E. Semmel is a writer and translator whose work has appeared in Ontario Review, The Washington Post, Aufgabe, The Brooklyn Review, The Bitter Oleander, Redivider, Hayden’s Ferry Review, World Literature Today, and elsewhere. His translations include Karin Fossum’s The Caller and Jussi Adler Olsen’s The Absent One. He has received multiple translation grants from the Danish Arts Council to support his translation of Simon Fruelund’s fiction.

Also available Civil Twilight

civil twilight

 

 

Apr 052013
 

mcclennan-001

Herewith a short fiction, a short modernist fiction, terse words carved out of the white space of the page, a dramatic meditation on fathers, marriage, and history splashed against a screen of absence, a gem of concision which is yet replete with place (that Ontario landscape reeling by) and literary reference. rob mclennan is a Canadian writer, indefatigable blogger and critic; we are both, coincidentally, in the current issue of Fencea serendipitous conjunction. It’s a great pleasure to introduce him to these pages.

dg

§

 

 There is no such thing as fiction.

                        Richard Froude, The Passenger

 

1.

In 1968, my father and mother drive west along Highway 401, towards Upper Canada Village. They have been married less than a year. He wants to show her something.

This happens in real time. They drive.

Both his hands rest on burgundy steering wheel, their cherry-red Ford. For the length of my memory, he owned and drove only Fords: the family car and the truck for the farm, upgrading every half-decade.

The wind through the open driver’s side window. His hair so black it shone metallic blue. It sparkles. A trick of the light.

 

2.

It begins with a silence, seeking its source. With occasional birdsong, the pant of the dog, a tractor rolling along in the distance, the silence holds deep in its core.

We establish the fixed points: his daily routine, the pair of his and her Fords in the yard, the black Labrador mix.

Much of my childhood was punctuated by silence. Inherited.

The silence remains, holding court amid tenor. At first, you might imagine it is waiting for something to be said, or to happen, but it is not.

 

3.

Their stretch of Ontario highway a madness of trees, awaiting development. Pitch-perfect birds and occasional deer. They pass farms and villages two centuries set. They drive west, into history. My father cities 1812 facts from half-remembered textbooks, mumbling dates and locations.

No, not awaiting. What’s the word? Dreading.

They are newlyweds, still. My father rests his left arm across the ledge of rolled-down driver’s side window. Air scrapes the length of his forearm.

My mother breathes deep, enjoys smokeless air.

.

4.

This quiet between two is not absence, but slow comprehension. Each suspects what the other might say.

Years later, my mother would translate him, offering: your father is very angry at you for that thing that you did.

But for now, they are still learning. They react to cues, whether real or imaginary. They can’t yet read each other’s thoughts.

 

5.

We could speak of the father as imagined figure, since he is not yet my father, or anyone’s father, beside she who is not yet anyone’s mother.

We pause, on the obvious: their youth, their half-restrained enthusiasms. One can’t help but compare. Basket of apples and peaches each nestled on the backseat. She has been wanting to replenish their supply of preserves. Applied correctly, wax seals freshness in.

Cellar shelves by the cistern. Fresh cobwebs and field mice.

 

6.

The seven villages along the St. Lawrence Seaway he witnessed, drowned due to the Long Sault hydroelectric project, as he was mid-teen. Villages shifted, erased and rewritten, for the sake of the water. Buildings broken, and sold for parts.

A shed his father built from a former gas station, additions to the farmhouse made from what once a single family home.

The site of the War of 1812 Battle of Crysler’s Farm, half underwater. Inventing a pioneer village as a place-marker, upon the remains. A shoreline redrawn, by the flood.

They brought in buildings from across the area, including half a dozen from a two-mile radius of my father’s homestead. The cheese factory where his great-great uncle once worked, the one-room schoolhouse his own mother and aunt attended.

We shuffle history around.

The house he was born in, a century old by the time he was new.

 

7.

A marriage: two merge, inasmuch as they individually change.

From the state of the farmhouse years later, it was as though she married, and left home with only the clothes on her back. Her wedding dress asleep at the back of a closet. She had little to nothing else pre-dating this, from her homestead to his. What did she bring but herself? What might she have left? What might she have meant to bring, but somehow didn’t?

A house sprinkled with archive: his rusted Meccano set, his preschool plush lamb.

 

8.

In silent 60s-era Super 8, colours are brighter, illuminated. A particular era’s nostalgia in bright hues, glossy light. A quilt, stitching squares of mere minutes. They drive. The highway itself less than two decades old. So close to the lip of St. Lawrence River, a sequence of edited farmland and family estates scalpeled and shaped into two and four lanes.

Their fathers are both still alive. His, living years with cancer treatments, the three hour drive into the city. My father at the wheel, since his mother never learned.

He understands, distance.

He knows what lies across horizons, having been over every one.

 

9.

Her father, chain-smoking. The entire household. It hovers around family portraits, Super 8 by the lake, where they cottaged. My mother, once married, would never light up again. She later frowned upon my own youthful folly. Looked upon with derision.

Her once-mixed thoughts on the move, shifting city to country mouse. Now she marvels at farmland, the open green stretch.

Rewind. Leaving the farm, the truck kicks up dust from the gravel, two miles to blacktop. She twitches from crunch and the dust cloud, anew. Mixed thoughts, but this, she loved from the offset: a jolt to a small, giddy leap as they start up the laneway. A schoolgirl glee and excitement the city could never provide.

 

11.

My father, his hands on the steering wheel. The tan we now know as permanent. Melodic stretch of dirt road and gravel, of sonorous blacktop, that defy description.

From the Robert Creeley poem. Drive, she said.

—rob mclennan

———————–

Born in Ottawa, Canada’s glorious capital city, rob mclennan is the author of more than twenty trade books of poetry, fiction and non-fiction, his most recent titles are the poetry collections Songs for little sleep, (Obvious Epiphanies, 2012), grief notes: (BlazeVOX [books], 2012), A (short) history of l. (BuschekBooks, 2011), Glengarry (Talonbooks, 2011) and kate street (Moira, 2011), and a second novel, missing persons (2009). An editor and publisher, he runs above/ground press, Chaudiere Books (with Jennifer Mulligan), The Garneau Review (ottawater.com/garneaureview), seventeen seconds: a journal of poetry and poetics (ottawater.com/seventeenseconds) and the Ottawa poetry pdf annual ottawater (ottawater.com). He spent the 2007-8 academic year in Edmonton as writer-in-residence at the University of Alberta, and regularly posts reviews, essays, interviews and other notices at robmclennan.blogspot.com. He currently lives in his hometown, Ottawa.

 

 

 

Mar 152013
 

Russell Smith photo by jowita bydlowskaAuthor photo by Jowita Bydlowska

Here is a brief jeu d’esprit from the Toronto writer and fashionista Russell Smith whom I met at the now legendary Wild Writers We Have Known conference put on by The New Quarterly in Stratford, Ontario, in September, 2000. I remember it as a gilded occasion: Mark Anthony Jarman was there, as well as Steven Heighton, Elise Levine, Caroline Adderson, Mike Barnes, Leon Rooke and Diane Schoemperlen, all of whom have appeared in Numéro Cinq. John Haney took photographs.[1] And Russell Smith is wild: Among his several works of fiction is the pornographic novel Diana, A Diary in the Second Person which was first published under the pseudonym Diane Savage by Gutter Press and subsequently reprinted by Biblioasis under the author’s own name. He’s also written a book on men’s fashion, Men’s Style: The Thinking Man’s Guide to Dress (2005).

“The Ossington Bus” is an all too brief introduction to Russell Smith’s precise, elegant prose style. Please do stop over the sentences and appraise their condensed, fluid motions. E.g. “We have looked at our watches, looked at our watches and prayed, wept and prayed and looked at our watches.” The story itself is a small gem of an ever so slightly parodic magic realism planted in Toronto’s Little Portugal wherein the oft missing Toronto Transit Commission’s Ossington Avenue bus takes on legendary qualities. I also thought of E. M. Forster and his story “The Celestial Omnibus” when I first read this — Forster’s nostalgia for the magical, especially in his stories, is often overlooked. Russell Smith is careful and charming: his irony never becomes arch and the language, alternating between irony and belief, builds a momentum that magically gives that bus wings at the story’s close.

dg

Why do we wait for the Ossington bus? It never comes. We jam our hands in our pockets, turn up our collars, lean out over the tracks of slush and peer down the hill, and all the way down to the mental hospital is nothing but a wide expanse of empty street. We think that we will see a bus lumbering around the corner from Queen. The wind whips along Dundas and the cars stop and start, grunting. Brass music from the fish shop, twisted by wind.

Inside the cafe on the corner, men sit on metal chairs with their ski-jackets on, drinking beer and looking at the soccer game hanging overhead, the only square of brightness in this window. We imagine that they look out at us stamping our feet and stepping into the traffic to gaze down the empty hill, and they say to one another, “I remember the last time the Ossington bus was seen. My father, just after he arrived from the Azores in 1974, saw it twice. At least he claims he did. It used to come more often then. There was an old man on Shaw, Armando Gomez’s father, who says he saw it three times, as a child, but no-one believes him.”

“I saw it myself,” says an old-timer with a fedora from 1955, a hat he has worn like a sign of conscience every day of his life, a sign of resistance. He is sitting alone. No-one has noticed him. But now everyone turns to look at him. Some of the younger men, at the bar, roll their eyes at each other. He speaks very slowly, in the quiet. He says, “Nineteen eighty-five. I saw it with my own eyes. Clear as day. It came chugging up Ossington, stopped at Dundas. Then it went through the lights. And it stopped at that stop, right outside. People got on. And it took them away.”

There is a silence as the eyes inside the cafe turn to the grimy window, to our dark coats outside, waiting.

.

We know they are watching us. We look up at the icy sky and close our eyes and try not to think about the time, passing. We have looked at our watches, looked at our watches and prayed, wept and prayed and looked at our watches. We will try not to look at our watches, try not to think about the day elapsing, the day darkening, the businesses closing their doors, the subway we must reach thickening with its red-eyed masses, the women meeting for drinks and coffees in the restaurants below, passing us by while we wait here and watch the old people waddling in and out of the CIBC, walking with canes and walkers. The subway is a mere five stops up, and yet we are as far from it as orbiting moons.

What do we hope for? We know that if the bus comes we will board it and it will smell of heated wet coats, of bags of fried food and the spittle of children, the seats will be stained, runnels of mud will streak the rubber mats, the windows will be sticky. There will be no place to sit. The bus will lurch and sway and rattle, throwing us against the coughing bulk of parkas, slipping on scraps of news. We will be with the lost and hopeless, the lowest. The bus will stop every hundred yards to groan and shift again; it will take too long to get anywhere, it will waste our time.

And yet it will at least take us away from here, lift us up with a hydraulic hiss, higher than the level of the street, flying away. It will advance us to the next place, a completely different place, the next thing we will engage with. It will move us up and on.

We do not know if it will come or not. We wait, flexing up on our toes sometimes to arch our view down the hill, closing our eyes occasionally at the orange sunset over the community centre. Feeling the temperature drop, we wrap our arms, trying to be calm, listening, waiting for its thumping approach, a sound like the beating of wings.

—Russell Smith

———————–

Russell Smith was born in Johannesburg, South Africa, and grew up in Halifax, Canada. He writes weekly on the arts in the Globe and Mail. His most recent novel, Girl Crazy (HarperCollins Canada), is set in Toronto, where he lives.

 

Footnotes    (↵ returns to text)

  1. The proceedings — fiction, criticism, photographs and panel transcripts — were published in The New Quarterly, Volume XXI, Numbers 2 & 3. On page 350 there is a great John Haney photo of Russell Smith and dg.
Mar 092013
 

 Paul McQuade

Paul McQuade’s story begins in the epic mode — “It all began with magma. The Earth was young and molten…” — and spins a tale that is legendary and fantastic, pinned against a backdrop of alchemy and Death, a tale that knowingly situates itself somewhere between Genesis and Italo Calvino’s Cosmicomics. He will write sentences like “The mammalian clades survived through some fluke of furred instinct” which mesmerizes with its use of that strange word “clades” and the alliteration. When he writes, McQuade follows the words, tone and sound. Lovely to read.

Paul McQuade is a young Scottish writer living in Japan, a newcomer to Numéro Cinq, a wonderful discovery.

dg

It all began with magma. The Earth was young and molten, flowed bright, flowed regardless of the chaos it caused as it roared and tore, spilling thermal radiation. The atmosphere descended over it dragged down by new and invisible forces.

Moisture gathered in the air as cloudbursts of ink. The hot droplets writhed atomic, were changed into something posited with minerals and iron. They undulated low above the molten world, grew too heavy to support themselves.

Then they fell.

First one lone drop plummeted to the Earth’s red-gold, evaporated before it touched the surface. Death is a cold thing. It lingers. The air, for the first time, grew chill. The rest came tumbling down with a drum roll, turned the earth black with a drawn out snare hiss. By the time the clouds were empty the Earth was a chunk of cool obsidian. Life came, sprang in single cells and simple grasses, in gum-eyed amphibians and air-breathing arthropods, in horned things with lizard skins.

The air cracked as the sky admitted one last drop, ten thousand metres across, carrying with it the silver flare of iridium and all the gravity of an ending.

When the dust settled everything was encased in blue-white. Across the Earth the king-lizards shivered and fell, left only bones. The rest dissolved into particles of oil that gathered beneath the earth’s surface in lakes of black sludge. Of the reptile rulers of the young world only something like liquid remained. Sic semper tyrannis.

*

Walter lives on the eastern side of the lake, Eva lives on the western. Walter lives in the apartment above the fishmonger’s where he works and sleeps on the floor. Around the fishmonger are houses, and around them yet more. All the little houses are gathered on the eastern side of the lake, where at night oil lamps glow clean and bright while the dull orange of the sunset vanishes in the lake’s deep black.

Eva lives in the shadow of the mountain. Around her are fields of barley, pastures for sheep, and land that no one has claimed. Eva lives in a caravan painted apple-red. Her mother’s fingernails are the same colour.  As her mother lays out the arcana in a fan, the red seems liquid. Across from her mother, sitting on a stool upholstered in azure, a woman from the eastern side of the lake winches a handkerchief in her hands, asks, Well?

Your husband, Eva’s mother says, is betraying you. Here she spits for effect. If you want him back, she says, I can help you. The woman passes a handful of silver, which her mother puts in a velvet pouch in place of a vial of off-white liquid.

Eva’s mother can distil almost anything. In the cupboards of the cramped caravan where they sleep on a bed that folds out on wailing springs, there are bottles of Love and Hate, Luck, Protection and Beauty. Her mother does not sell Death, or at least, Eva has never known her to do so. But she has it in a black vial. Just in case.

Eva lives in the shadow of the mountain and the shadow of her mother, whose talents she does not possess. The western shore is where they have stayed longest, perhaps because they are protected from the town by the lake, whose water is as black as Death.

In the afternoons, when the morning rush has subsided, Walter carries leftover fish to sell in the camp on the other side of the lake. He takes a small yellow rowboat. The paint is reflected on the surface of the water, but the water of the lake is so dark that the wan afternoon light vanishes in it. The lake water is exceptionally peaty. The fish they catch in it taste like smoke.

Walter and Eva meet each other in the late afternoon. She is beating carpets in the yard where a couple of pigeons peck at bare earth. She thanks him for the fish and passes him some silver. The coins are hand-hot. They have passed from the hands of the town woman to her mother’s, where in each palm an x is written in lines deep as graves. This marks her mother as gifted. From her mother’s hands the silver passed to Eva’s, whose left palm bears a scar from where she cut it with a paring knife when she was eight. Ten years later the scar is a white hollow.

Walter and Eva meet every day. Eva’s mother says she is sick of fish but is so tired staying up late by candlelight reading cards that she accepts it grudgingly, replaces a damp towel over her eyes. Walter’s triceps become smooth pebbles. He can now cross the lake in under thirty minutes.

The two things Eva’s mother cannot distil are Money and Time.

One night Walter rows the dark water without fish in the boat. On the other side he picks Eva up and takes her halfway across the lake. In the dead centre the moonlight picks up only hints of waves. When Walter was little a man came to town with puppets made of black paper. It occurs to him, in the middle of the lake, with Eva’s flesh giving off the smell of soap and orange blossom, that the world looks very much like those puppets. But he soon forgets.

The buttons of Eva’s blouse come off in his hands like fish scales. Two drop in the water and are never seen again.

*

The mammalian clades survived through some fluke of furred instinct. And when a group of them rose from the earth to meet the sky, spines cracking as they went, they brought with them the Dead. The Dead lived with the new mammals, fluttered in the wind like trails of smoke, and clung to the gooseflesh of their former shapes. Death is a cold thing. The new world suited them quite nicely.

The mammals began to bury their dead. The Dead were overly sentimental and stayed with their bones. Under the new layers of soil, the bodies melted, were absorbed into the earth’s lithosphere. The most abundant mineral in soil is calcium.

The bones of the dead were scattered across varied strata. The Dead had nothing left to hold on to. Lost in the dirt, the Dead wandered feebly, tried to reassemble their skeletons in soil far too warm for them. The Earth’s heart stayed red-hot despite the efforts of glaciers, which far above the Dead, rearranged its face.

The glaciers were just as reckless as the Earth had been in its youth. They travelled pell-mell, across the continents and the islands that sprang from the ocean depths. As they did so, the glaciers diminished, became less and less themselves as they travelled, leaving trails of ice water in their wake like comet tails. The water fell into valleys and deep caverns but mostly into the oceans. As the water table rose, a flood of cold water came up through the earth and reached the Dead. The Dead plunged in. They liked the water. Death is a cold thing.

The groundwater coursed unseen through the continents, who were at that time adolescent and finding new and awkward ways to fit into each other. The Dead split and flowed, following rivulets and outpourings to wetlands, reservoirs, and lakes.

When the glaciers were gone, only a part of them remained. The smallest part. Something like a soul. Clear as ice water, small as a sliver of bone. Only something like liquid remained.

*

Alanys is born in the middle of the lake.

Eva and Walter go back and forth and back and forth on errands neither really has to do but Walter’s parents are dead and Eva’s mother needs to sleep. The fishmonger Walter lives with is too busy keeping his knives clean to notice. Eva’s father lives in another town and doesn’t even know she exists. Back and forth and back and forth. Eva loses buttons. Walter loses socks. Over the side they go.

Then one day, Alanys comes. Eva hadn’t even noticed. Alanys had been an invisible guest, silently drinking nutrients of smoke-fish and distillations of Youth and Beauty through the pink umbilicus that tied her to her mother.

As they row back to the western shore in silent shock, the waves dance eagerly.

*

On the eastern side of the lake they bury the dead. In the caravan camp on the western shore they burn them. The people on the western side do not believe the soul should be tethered. The people on the eastern want to cling on to the bones of love, say this was the shape of it, the thing of it, this is what I had and lost. And the whole time their grief fills them like a cold satisfaction. Death is a cold thing.

In a field of grass on the eastern side, six feet deep, arms and legs and torsos melt into the soil. They are converted and transmuted, take on different chemical properties.

Dying is the essence of pure alchemy.

*

Eva’s mother tries to kill the baby for the first time when it is less than an hour old.

Mama, Eva says as she passes the baby to her mother, I think I’m going to call her Alanys.

Her mother spits and says, Don’t name it. Then she lowers the baby down on to the bed with the wailing springs and places a pillow over it with a talon-grip. Beneath the fabric, the baby tries to cry. The sound comes from far away.

Walter strikes Eva’s mother across the head with his forearm. She falls into the wall of the red caravan, then rights herself and says, It has to die. It has to die.

If a child is born on water it must be drowned.

We will put the body in the lake.

Eva calls her mother a mad witch.

Eva’s mother says, The baby has no roots. The Dead —

Walter wraps his arm around Eva. They walk out the house together, baby Alanys in her mother’s arms.

Eva’s mother spits blood on to the floor. Then she goes and gets a box from a slit in the bed with the wailing springs. She sits and rolls a black vial in her hands and forgets to light candles. The red lacquer on her fingers looks blood-black in the twilight. As she looks out across the lake, she hears the Dead howl and whoop as they dance above the waves.

*

By the time she is four hours old, Alanys has orbited the entirety of her life: from the dead centre of her birth to the apple-red caravan, from the apple-red caravan to the fishmonger, eclipsing briefly the point of her departure from the amnion. The crossing of the lake takes much longer going back. The water sticks to the oars like oil. Around the young father, mother and child, a chill wind rises, causing little Alanys to scream. Eva tries to console the baby while Walter forces the oars to churn the black water.

Eva’s mother is still fondling a bottle of black liquid in the caravan when they step foot on the western shore. Eva holds the baby close to her breast, to keep her safe from the wind as they make their way to the fishmonger. Upon seeing Eva’s hooped earrings and long brown skirt, her dark features and the baby in her arms, the fishmonger shakes his head sadly and says, Boy, you don’t know what you did. And then he chops the head off a fish that tastes like smoke, guts it, fillets it, wraps the white flesh in brown paper and hands it to the couple.

He lets them use a cabin he owns on the north side of the lake, on the foot of the mountain, where he likes to go in summer to get away from the town.

He says, You can stow the baby there and no one will be none the wiser. But you know, boy, you can’t bring that woman into town.

He spits on the floor for emphasis. The saliva curls across burnt orange tiles and mingles with fish blood.

*

When Alanys is eight years old she meets a man with no face. It takes all his strength just to be there, to try to touch her, no matter how many times his hand slips right through her. Alanys thinks he is trying to speak but she cannot explain why she feels this way.

Eva tells her not to be silly. That she sounds like her grandmother.

Who? Alanys asks.

*

Eva’s mother packs up the apple-red caravan, says goodbye to her friends, and sets off to the West. She begins by asking around the town where the oil lamps keep the night at bay, but no one has seen her daughter or the child. She inquires at a fishmonger who never stops cutting the heads off fish the entire time they speak. He has not seen anything. There is something about the man she doesn’t trust, but there is too much fish blood on the floor, and she leaves as fast as she can.

She travels her whole life backwards trying to find a place where Eva might have gone. Every night she lays out cards with shiny red nails and each time they tell her the same thing. The cards speak in rebus and what they show is this: a man hanging by his toes from a tree, a tower, the moon, and a page bearing a silver cup.

Eventually she admits defeat, gives up, stops asking.

She packs up the apple-red caravan and sets off back to where she lost her daughter. She intends to settle by the black lake and mourn. In the pocket of her dress, nestled against the curve of her hipbone, is a vial of liquid black as Death.

*

When Alanys is fourteen she meets a boy by the lake. He has no face but he is nice, gives her a white flower. They walk together, round the lake, where the black water trembles in the wind.

Alanys talks to the boy. He does not talk back, just shifts his head up and down as if listening very hard. When she asks him questions he seems sad. He lowers his faceless head. Alanys puts her hand on his arm.

*

Due to a quirk in mammalian biology, the species did not stop dividing. Like the particles of mineral-laden moisture, like the glacier giants, they began to gather and disperse, gather and disperse, gather and disperse. As if all life is just a process of condensation and evaporation.

*

The Living are soft as beds. Christopher enters the girl. Once inside, he stretches his arms and legs out to fill every corner of her, until he can feel the cold mountain wind on each fingertip, the dull ache of all ten of her numbing toes. He breathes. Christopher has not breathed for a very long time.

It is good to have a body. The flesh of it, the weight, the sheer sense of being. Tiny things innumerable and imperceptible to the Living.

Christopher stands up and walks back to the house. When he goes through the door his new mother holds him tight and says, Baby, you are so cold, sit by the fire.

To the Dead, fire is nothing but blindness. To living flesh it is vital. Christopher puts his new fingers so close to the flames that they blister.

*

The Dead do not have flesh or language. They consider this cruel. The only thing the Dead want is to feel and to speak. Above all they want to speak. To be heard. As something more than chair scrapes, something more than house creaks. Something more than nothing.

*

When Eva’s mother arrives, she finds the camp in which she used to live is gone and something wrong in the air. The x’s in her palms ache.

She finds the house on the north shore of the lake, underneath the shadow of the mountain, and inside she finds her daughter and one of the Dead. She makes amends, cries, and that night sits down to dinner with her daughter and her family. Walter does not say a word. Every time Eva looks at Alanys, her eyes tighten at the corners and then she looks at her mother, almost pleading.

*

The Dead do not fear death. They are trusting. Only flesh withers. Before climbing into bed that night, Christopher drinks the whole vial just like his new grandmother told him to. It tastes like purple flowers.

Eva’s mother takes the body to the water and weights it down with stones.

*

The eyes are closed, as if sleeping the deep sleep of a newborn world. The lashes come undone, one by one, float up and up, twist through the black water. When they are gone the eyelids open but there is nothing inside. The flesh unribbons from the bones, then dissolves into black particles that forget being flesh. The bare bones fall next to two buttons and a sock in the soil.

Only something like liquid remains. Only the smallest part. Clear as ice water. Small as a sliver of bone.

—Paul McQuade

—————

Paul McQuade was born in Glasgow, Scotland, and educated in Tokyo, Japan. He now lives somewhere in between. Working creatively and academically in both Japanese and English, his writing has been featured online and in print, most recently in Metazen, Little Fiction, and Cadaverine.