Jan 032016
 

Afric high res bio pic

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A River of Familiars

I have a cat that sharpens her scent on men.
……………I netted her from the river, called her mother.

Perhaps there’s a cat-flap in the sky,
……………because sometimes my mother’s a golden owl.

I have a memory cat that in a past life
……………knew the taste of golden whiskey.

My cat has a curiosity about the whiskey-crazy
……………wish for public nudity.

I have a crazy city cat with a lightning dart
……………across her lazy eye.

And my lightning cat has an earring, just the one,
……………mother-of-pearl. Call it intuition.

And seven secret positions, the last
……………a chanting lotus. I have a cat that doesn’t exist.

I have a penchant for jumping trains, inhaling
……………with each knock. I have a sister cat who inhales too.

I have a lover who becomes a lion under the glassy moon.
……………And the cat exhales her wail, like an accordion.

One cat is a grand, glass-lidded, gleaming ivory,
……………the light, not yet put out.

First-born, I am, of a cat who cycles lightly
……………inside his mansion full of stories, war and music.

My cat and I wear twenty masks when singing
……………out in rain, take it, like a wafer, on the tongue.

I have a cat that purrs in white and black
……………or foggy smoke rings, belly up.

As a foggy curtain rises, a missing cat
……………runs rings around the time inside a clock.

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Confluence

His manner is reserved,
a little secretive.
He scours the room, which also pines
for colour; moves
to the window’s blazing snap of light.

Her age depends on the light,
especially the collarbone’s
slight hollow at the V,
a wishbone, which gives luck
only when broken.

He is both still and moving,
like a tree in the trembling
haul of spring,
building up its nests
and growing puddles.

She spends the water
with spread fingers.
He is afraid of loss –
it’s easier to have nothing.
No way in for the water; no way out.

It’s herself she’s in danger from,
seizing a handful of electric wire,
as though clutching-
for-dear-life
a hank of drowning hair.

He paints what’s left behind.
A thought-ghost grieves,
disturbed by mutation;
like seeing the bones of tiny,
once-swimming fish.

She notes there’s no
fountain swishing,
only light.
Weightlessness
encloses her.

They share a reading
of each other’s bodies
among the hung-up coats,
mud-sucked boots;
the track.

They look up to find
the sky wiped free
of the drench;
his voice shifting
to a minor key.

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Contact

God and the Devil are one – Karen Blixen

I

Chopper’s genuflection;
a whoomph disturbs the air.

Clansmen and women offer fruit;
a whoomph disturbs

a calabash, spills water;
a whoomph: white walls, a flare.

II

A mob; Kalashnikovs and rocks.
He cowers in a corner.

Hands seize
on splintered glass.

A looming face, teeth yellow-
stained from chewing khat

spring-loaded spittle
screaming hate.

III

The sea receives more bodies,
lays them on a beach.

Crossings lead
to razor wire, new fences.

IV

Boycotts and defences dance
like pirouettes, a paintbrush.

V

At an army base: ‘I believe
he had no faith.’

The chaplain’s agitated. ‘But
we’ve got to say a prayer

before we zip the bag.
It’s always been the way.’

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Blink

They stream invisibly,
like phantom-birds past
a tarred window,

all the houses.
The first African one,
a hammerkop, all messy crest;

another, a paradise fly-catcher;
a third, a heron.
Sometimes they brushed

the edge of wild bush,
or a silvery river,
warming their tails

in the sun, till the vanishing.
One for each year
of a migratory childhood.

Long corridors, tall steps,
cold rooms, glass roofs.
Across a hemisphere,

some stood on lawns,
bright as sugar.
We dressed them up,

like mannequins, knowing
them to be temporary playthings
before another re-crossing.

Tucked at the end of a long cul-de-sac,
one comes close
to what you’d call home:

close enough to look into the glossy
pellet of a sun-struck eye,
see the malachite-amber blur.

But it slips through my fingers,
and once again I am left with another
feather-gold flickering.

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Portrait of the Other

Like art (an addiction,
not a cure), you’re

the moonlit flit from
silk to gold, to wings

to glass; light as cats,
and sniper-accurate;

a heliotropic paradox
facing five horizons.

You’re a pack of jokers,
deuces, three-eyed queens;

the immensity of an
ocean or inferno;

you’re a shadow-grue,
sunlight and lawn,

and all the time
in the world.

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—Afric McGlinchey

 

Afric McGlinchey was born in Ireland. She grew up in Southern Africa, moving frequently between countries, and received degrees from Rhodes University and the University of Cape Town, where she was tutored by the Nobel prize-winner, JM Coetzee. She has also lived in London, Paris, Dublin and Spain. She returned to Ireland in 1999 and currently lives in West Cork. Her début poetry collection, The Lucky Star of Hidden Things, was published in 2012 by Salmon Poetry. The poems featured above are from her second collection, Ghost of the Fisher Cat, which is forthcoming in February 2016 (Salmon Poetry).

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Jan 022016
 

thompsonguitar

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DEAR DOCTOR SHABAZZ,

I feel our initial session today went off the rails, and I feel you began to doubt much of what I said. I could see it in your eyes, the way they wouldn’t meet mine, the way they would shift to the art deco calendar, to your laptop screen, or your cuticles. The way you interrupted my theory of souls and the way you crinkled your brow whenever I mentioned the jungles of Paraguay. It was subtle, that crinkling, along with the quick little blinks, but it didn’t slip past me. Is it right that the patient should observe the doctor more closely than the doctor observes the patient? Is this how it goes with all your patients? I am seeing you for a reason and that reason has nothing to do with finding a dupe to believe me. What happened to me can be found in the newspapers of the day and is catalogued online at several respectable websites, including www.airdisasters.com. I have been interviewed by People Magazine (September 1996) and my story, or at least my flight, was recreated in the Real History Channel’s “Fatal Flight” series, Episode 3, Season 2, “Silence over South America.”

I, Kaye Alan Warwick, am a survivor. But I do not need to be told I am a survivor. I do not need to be told I have survivor’s guilt. I realize you haven’t said this to me, but I know you will, once you stop pretending to pay attention. I am worthy of every ounce of intelligence and training you may have. You have been highly recommended, Doctor Shabazz, and though I may have sworn off therapy years ago, because so many failed me, I do feel the need for help. I do feel my very life is at stake. That is why I am writing this letter, that we may start again with a better understanding that one, I am not a liar, and that two, I am unwell.

Please do your research.

I know the figure I cut, because everywhere I go, it’s the same figure: a short, balding man with mournful eyes, a man who looks frail, who looks shifty, who tries to look more manly by cultivating a goatee and wearing clothing a size too large. It’s been pointed out, thank you. It’s not important. But I assure you I am anything but frail, for my body is little more than sinew and scar tissue. No one falls softly when dropped out of the sky at 300 mph in a tin can sheared open by enormous trees. But I see your brow wrinkling now, don’t I. Look it up: TAB Flight 14, Sao Paulo to Asuncion, a McDonnell Douglas DC 10, 192 souls aboard including five crew.

Two survivors.

At first there were three.

And if I do have survivor’s guilt, that’s where it lies, Doctor Shabazz. Yes there were 189 others who didn’t make it, who were, as I saw first hand, though the photos were never released, torn to shreds – dismembered, beheaded, rendered unrecognizable as human, strewn about like doll parts. Blood pooled in the oddest places. But I didn’t know them, I could not have told you the stewardess’s names ten minutes after the flight landed, had it landed, nor could I have told you the pilot’s name, or the man behind me who kept insisting he was allowed to smoke a cigar, that it wasn’t a cigarette. I won’t light it, he pleaded, just let me suck it. Or the drunk young woman to my left who kept nervously twining her greasy hair around her fingers, who kept asking the same question over and over, É o avião quebrado? They never answered her, for obviously it was, obviously it was very broken. Completely broken. They haunt me, but I did not know them. For all I know every person I saw at the drugstore yesterday is dead today, perhaps the ceiling collapsed the moment I stepped out. It’s not that crazy. I feel nothing.

But Tarala, the little Indian girl.

I realize this is where I lost my train of thought today, where I began to ramble. I can go months without any trouble, live my life normally, slip past all the key triggers as if that part my past has been excised, surgically removed and incinerated to a few carbon specks lifting over the sleeping city. I’d have thrown myself in front of a train years ago had I not learned to deal with this. My first doctor promised easy miracles, said a few waves of his magic finger in front of my eyes and my brain would sparkle like new. When I think of him I even hear a tinkling magic-wand sound, like in “I Dream of Genie.” What a snake-oil salesman! Yet I believe in the science of psychotherapy, and the efficacy of pharmacology, Doctor, because I have worked miracles on myself.

The human brain is capable of so much. The human brain is as complex as the Universe, because it is the Universe. Everything we perceive is an impression, a rubbing of a neural pencil over reality’s bumps. And that reality – we only know it from the bumps! And yet I find myself in an MRI, a machine which reads my body, a machine made by Mind. We have fumbled in the dark and we have made this. Magnetic Resonance Imaging. What does that mean? I was lying there, Doctor Shabazz, worried about fuselage shrapnel being ripped from my flesh, and I thought Metal Ripping Instrument, and then I thought don’t think that, it’s Mind Reading Interrogator, and then I thought I am in a battle with my brain, my brain is an invader, all brains are invader alien species how come no one has written about this, I have to get out and write about this, this is why Man is Man and no longer ape. Eureka!

Do you know what they found, my dear Doctor? Lodged in my brain? Plastic. A fragment of a white plastic fork, prongs tickling my frontal lobe. Plastic, an artificial polymer that’s anything but plastic, unlike our brains. And no, Doctor, I don’t think our brains are invader aliens. It was a metaphor. I am not a nutcase. Please. For a moment imagine the force it takes to lodge a picnic fork into one’s brain. I survived that. Did the fork fly into me, or did I fly into the fork? I remember nothing, I felt nothing. I smelled jet fuel and acrid smoke that made me think of cheap carpeting. I lay on my back feeling no pain (oh but that would come). I heard nothing (a lie, I heard birds, birds, a riot of birds). And for a while… I saw nothing.

But then, yes, I heard Tarala call for her mother. Am’ma, Am’ma. I opened my eyes, wiped away the drying blood. But I am getting ahead of myself. I asked, when they removed the fork, Will my concentration return, it’s not what it used to be. You may notice several improvements, Mr. Warwick, but more importantly you are out of danger. Christ on crack. Isn’t that absurd? Isn’t that the most absurd thing you’ve heard? No, of course it isn’t, not in your line of work. Which is of course why you won’t believe me, a thick wall of lies and false history and evasion standing between you and every ass sitting across you. We need to break through this wall, Doctor, we need to remove the mad wigs of insanity.

I should not have thrown my coffee at you. That was a poor start and I apologize. My wife – yes, I was married – she tended to do that, not throw coffee at me but nibble on her cuticles when I was talking to her, and it’s a petty thing, I know, I know, so petty to hold such rancour after two dozen years, but I loved her dearly and yet she drove me mad, as you’ve seen. I’ve never flung coffee at anyone before. This is what’s happening to me.

But, yes, you’re more interested in what has happened to me.

I’m afraid I left my notes in your office.

My handwriting, I know, says far too much about me, which is why am I typing this despite the difficulty my fingers have with movement since the aircrash. I saw it once, you know, my handwriting, saw it in Issue 1, Volume 59 of The Journal of Clinical Psychiatry, 1998. As if I don’t read. My doctor, without permission, displaying my scribbles and saying the only other cases of such “characterless” handwriting are seen in post-comatose and/or near-vegetative victims of severe brain trauma who, when having moments of lucidity, awake and scribble like Patient X. But scribble is the wrong word, because my slant lacks impression, lacks spontaneity, lacks the character that distinguishes all handwriting, that makes it a forensic science. I could have murdered him, Doctor! My arm doesn’t work right, that’s all!

I don’t believe you have been in an aircraft in your life. Describe it to me.

I described it, every detail, and still he said, Too much detail. You are inventing. I think it is a fiction.

Characterless.

Do you remember the actor who played me in “Fatal Flight: Silence over South America”? Brian Scott Skiver. Now there was someone characterless. As if I look like that, or looked like that, that mating experiment between a pig and a billiard ball, nose like wall-socket, chin so recessed it belongs on some pre-Jurassic protomouse. A whiskered twitcher clutching his briefcase and slobbering on the lovely exotic next to him as the plane, so tragically, crashes in a horrific melange of stock footage and early CGI. All the world saw that, that mockery of me. I called them repeatedly the next day but got nothing but laughter. I talked to a lawyer and he said sure, sure, we can go far with this, and then I got a bill for two grand for just yakking to the prick.

It wasn’t like that. I wasn’t like that.

I’m sorry, Doctor. I will try to keep this short. I must work in the morning, open the library, turn on the lights, wonder what homeless man is sleeping between the stacks this time, water the half-dead plants, close my office door and sit in my chair and weep. This is a train wreck, this recounting of an aircrash. Had things not gone off the rails today I would have told you more about Babs, the woman who married me, about the letter I found, sent while I was missing in the jungle, sent to a friend who later let a room to me, a letter saying, “You know it’s awful to say this but part of me feels relieved because I’ve gotten off easy” and saying she’d planned to leave for months. It felt like she was the one who brought the plane down, like it fell out of the sky because she didn’t love me.

Well, an hour has passed since I wrote that. I thought I would sleep, continue in the morning, but with coffee as my companion I’ll forgo sleep and bring this to a conclusion. So here are the facts:

I have emotional and physical scars.

I have survived what I should not have survived.

I feel tremendous guilt.

I feel that guilt is a lie.

I harbour resentment toward anyone who is happy, who has not had their life repeatedly crushed underfoot.

I have an unshakable belief in my theory of souls (no, this is not some new age ramble-damble about angels and crystal unicorns but the conclusion of a well-read, highly-educated man who has seen the world’s skull peeled back and its inner workings revealed in all their glittering pink detail).

My life is unravelling due to all of the above.

Do you know when I saw the actor, Brian Scott Skiver, again? For a while I would look him up, seek his name in films, sitcoms, movies-of-the-weak, something to feed my loathing, hoping he’d be the extra beaten in an alley or a homeless man eaten by small dogs. This “actor” did not deserve to work but if he did find work I wanted it to be demeaning. Yes, yes, I know, you say, He is not responsible for role he played, he is simply an actor. But, my dear Doctor, an actor chooses how to play a role. An actor would ask, What is the real Warwick like? He would look at a photo of me, strike a pose, tuck in his chin. He would babble, shout into a mirror, practice on his couch and imagine the peeling floral wallpaper a portal to ascending jungle. How did Warwick snivel? Surely he sniveled. How tightly would he hold his briefcase (no matter that I did not have one, and was, in fact, holding a seat cushion in front of my upper torso, something that very well may have saved me)? Oh surely he held it tightly, like this, no tuck in that chin, push out that gut and fear, more fear in the eyes. Wide, wider.

How does this man live with himself? His profile on the Internet Movie Database says he has a wife and three grown children and lives in California where he grows grapes and bottles his own award-winning Merlot. Skiver? From what he makes acting in hair loss commercials? For rubbing that too-round head of his and smiling into the camera? Yes, that was when I saw him next, taking advantage of that shameful excuse for a coif. And then when he couldn’t pull that off any longer (three years of NuGrow propaganda) he flashes his little prick in our faces, rolling over in bed and smiling while his MILF of the Month whispers in his ear. Erectile dysfunction no more, senility before penility with a blue pill or two.

Doctor Shabazz, this is madness.

Your life will go down in flames and when you pull yourself from the ashes a great black boot will stomp you back into the soil.

I need to sleep, but I need to finish this.

I noticed, in your office today, yesterday, that print of a gaudy phoenix rising over the desert. Evocative, certainly, and yes, I get it: we all can be saved, we all can be renewed. I doubt every patient gets it so quickly. I noticed it, yes, how could it be missed being directly behind your head like that and large enough that, if the angle is right (do you practice this?), it appears you have multicoloured wings. Bravo, Doctor. Bravissimo. This shows confidence in your abilities, a smugness, even, which I’ve noticed is a common thread stitching doctors together, especially those who deal with matters of the head. And I noticed the name of the artist, and at first, seeing Shabazz, I thought it was, grotesquely, your own work (for artists who hang their work in their homes are truly the worst kind of narcissist), but then I saw the hyphenated Shabazz-Buford and put it together with the wedding photo on your desk and observed that your daughter inherited your stupendous brow but, fortuitously, not your botch of a face, meaning your mottled complexion and deepening jowl. She is not untalented, but her signature has far too much flourish for someone of such small ambition. I doubt you’ve noticed this, Doctor, as love does blind us.

I mistakenly, or not, first typed ‘bind us,’ which must be my subconscious commanding me back to the matter at hand, for is there a bond greater than mother and daughter? Don’t shrug, this isn’t a subject for debate. You may feel close to your daughter but you will never discus the feminine minutia the way a mother and daughter will, you have never bonded over menstrual periods and eye shadow. I never wanted children, which did not make Babs happy, so we tried but it turned out I’m all but infertile having both a low sperm count and low motility. Or is that mobility? I’ll have to look it up. It’s 4 a.m. and my coffee is cold.

But daughters, yes (and there is no discussion of sons here, since there is only blinding urge to overthrow kings), and mothers and daughters, and Rahata and Tarala sitting behind me, little Tarala, like me at the window, and the noise she made when the lights went out, when the DC 10 went silent, when all we heard on the half empty jet was wind and shudder. The noise she made was a query fraught with fear and I imagine she gripped her mother’s arm, her mother who was knitting, who stopped knitting and sighed when the lights, momentarily, flickered back on and the engines made a sound, a complaint, but nothing more and it was dark again. Throughout the rest of the flight, and I use that word loosely, for it was a fall or a gliding descent if you’re being generous, we were waiting for it, knew it was coming, it had to come: the pilots wouldn’t do nothing, they would start engines, so much depended on it. Yes, yes, it’s coming, the restart, we all nodded while not looking at each other, while staring at the front of our seats. It has to happen, there is no other option.

I found I was holding my breath, Doctor.

And I laughed.

I’ve thought at length about why I laughed and indeed, you’ll point out, it was a nervous reaction. But only in part, for how many other nervous reactions could there have been? Panic. Weeping. Hysteria. Hyperventilation. Sweating. Shaking. Small urination. So why would I laugh, and specifically laugh because I’d been holding my breath? I think it was the sound of the wind and I wanted nothing to do with it. Suspending my breathing was suspending time. But maybe it was just lack of oxygen.

We were in a sweet spot, Doctor, or a strong spot, being above the wing. A lucky spot, too, because none of the other wing riders survived. Do you think they suffered, felt much pain? This was asked by the families of the dead (I do not say victims, as victim presumes malevolent intent, an aggressor, and the only aggressor here was the universal one: gravity). I heard a man say no, they felt nothing, the body is destroyed quicker than the brain can register. So there was no pain? No. But much dread, forty minutes of dread.

So many birds, Doctor.

Had they seen it through the clouds? A god, a juggernaut. Spitting out fire and bodies.

(It has just occurred to me that I forgot to mention Skiver played me as entirely bald even though, and the newscasts of the day will prove it, I had a fine mane of hair during the time of the crash and only began losing my hair in the next year. And it is also quite obvious that Skiver, though bald with merit, was wearing a latex bald cap so not only did he look hideous – admittedly hard for him not to (how is he married, Doctor? Do you understand the minds of women? Does anyone?) – he also looked ridiculous. Ratings information state that only 155,000 households watched that episode, but can you imagine how long it would take to sit and watch it 155,000 times? And how many of those 155,000 told five friends, who told five more, who all said, no doubt, All those beautiful people and guess who was the one to live? There is no justice, Doctor.)

Yes, I am parenthetical. I read a book once (I’ve read many) and the author began a parenthesis and never closed it. It drove me mad.

I feel since the aircrash my life has been one long, unclosed parenthesis.

I stared at the page for minutes after writing that, my mind adrift on a sea of sadness, a sea cluttered with the flotsam of my past.

What haunts me about Tarala, what wakes me more often than my shattered memory of the descent into the trees, the screams, the shearing metal and roar of flames, what haunts me is the brochure she had, a cheap, touristy brochure, some kind of South American – Chilean? – Disneyland. I’ve never been able to find it, this land of dreams, and Rahata and I had no common language, for she speaks only Punjabi or Sanskrit, I don’t precisely remember. And I didn’t dare pull the pamphlet away from the child, who held it tightly, who asked a question of her mother, who reassured her, Yes, yes, I imagine her saying, Yes, yes my child, tomorrow we will be in DisneyChile. All this while the life was not-so-slowly draining from her. Draining may sound cliche, or overly clinical, but that’s how it was: her movements slowing, her energy fading, her voice quieting, her colour paling. There is destroyed aircraft all around you, there are limbs in the trees and surely only the fires and the smoke and the stink of fuel are keeping the jaguars from leaping in, and the goal is still the dreamland, the playpen, as if this were a kind of fantasy quest. Nothing will stop us; we will reach the promised land. This poor child, dying from massive internal injuries, who I had pulled from under a clamour of fuselage and meal cart face down but strapped tightly in her seat calling for her mother and it was not the maudlin sadness of it, Doctor, but the acceptance, that allowance in her little half-beating heart that life was like this, that this was fine, a problem but life is like this. Her mother was holding her, trying to keep her attention but feeling terrible every time she had to wake her daughter. I gathered water, supplies, anything I could find – a first aid kit, towels, clothing – becoming increasingly aware of my own injuries as the adrenaline wore off. Some ribs were broken and my right shoulder was out of joint and my right hand swelling like a melon. I could hear a clicking sound in my neck when I walked and in my sinuses and my mouth was the constant smell and taste of blood.

I don’t know where Rahata came from. I’d searched the wreckage. I’d taken the girl in her seat some distance from the wreckage, into shade, left certain I’d find water bottles strewn about (they however are not designed to survive such impact – the lids pop off!) and when I returned her mother was there, had taken Tarala from her seat and…

And I wonder at times what is my memory and what is the episode of “Fatal Flight.” I watched it repeatedly, making notes and citing inaccuracies along with observations, missed opportunities and outright poor writing. My report to the Real History Channel was 412 pages long, double-spaced, six months’ work, a reworked script footnoted and cross-referenced and presented in spiral-bound format in a box of 12 copies. I suggested they reshoot the episode or burn the first attempt.

Nothing.

Perhaps we can have a beer one day, Doctor Shabazz, and you can share your observations on the psychology of those in the film industry.

So I may add to my role. Yes, I think I do add to my role. I don’t intend to do this but every time I’ve relived or retold the story (which is reliving it) it deepens a groove in my memory. I recognize this. My intention certainly was to help, not to lie there in shock, which I may have done and for longer than is commendable, but I do know from the infection I had in my foot that I wandered, tried to gather, was up to my knees in mud, in swamp. There were snakes. Rahata, remarkably, was uninjured save for a tennis-ball-size welt on her head and a gash on her left shin. She would not leave her daughter. Three days and she never left her daughter’s side.

Who died, of course, during the first night in the jungle.

That’s something “Fatal Flight” did get right.

I did not, however, find a blanket and then wrap her in it, holding her alongside Rahata, huddled through the darkness. Maybe that was Skiver’s touch. The night was warm enough, but the flies were gargantuan and ravenous and I knew Tarala had passed not by her lack of breathing, which was hard to hear above the rising trill of an amphibian chorus and impossible to see in a blackness illuminated only by the light of the southern stars, but by her lack of swatting, scratching. Earlier I had searched for a blanket but had become disoriented, light-headed, had started weeping and had sat in the jungle at the point where the DC 10 first sheared the trees. I remember tracing my steps back as evening descended and how the disaster was revealed limb by limb. Some were still strapped in their seats. Some had burned beyond anything recognizably human. I heard a crashing of leaves and a thump and a little later another, like heavy apples falling, but this was far from Eden. Or maybe not, seeing that the first didn’t end so well either.

So, do you still think this is a fiction, Doctor?

I must make another coffee.

Please disregard my question; of course it was not you who claimed my life to be a fiction, but one Doctor Shearer, who has since left the city. Such an odd man, forever a bachelor, beak-like nose and liver-spotted pate and stooped like a wilted lily. Photos and paintings of classical musicians on his walls. For once I’d like to enter a doctor’s office and find race car posters or those of topless, tanned bikini models. No, Shearer thought I was a joke, a final patient sent by the gods of humour before his retirement after 240 years of service to furthering the decrepitude of the stately infrastructure. Oh, and my next doctor, Doctor Crawford-Nuerys of the Fake Accent School of Shrinkology (please, call me Julia, never call me Doctor, we are friends here, shall we chat a bit?), well she had a wall of horses, fields, and inspirational quotes like Life is not living if living is not your life. And I knew this even when I was a schoolboy, Shabazz, I knew these halfwit classmates would be our politicians, teachers, lawyers and yes (do you hear the disgust in my voice?), doctors.

And yet, here I am. Or there I was, again, in an office. This time in a tower, another great touch. Look how far I can see, helpless patient. Regard my omnipotence. These windows are like windows upon the soul. Let me peer into yours.

Do you even believe in souls, Doctor?

I didn’t until I lost mine, until it abandonned me just as the pilots knew all was lost (for pilots never survive). Seconds before we hit ground zero it was like a zipper tearing though the aisle, and souls were released, torn (that’s the only word I know for this) from their doomed hosts, fleeing the apocalypse. I saw it, Doctor; I felt it. We all did. Light, pure light like a flash, not a flame. And a sound, a horrible sound. And this only happens when survival is no longer possible, and it only happens when survival is no longer desired. And when it goes wrong it only happens to me, it seems.

A mass migration, Doctor, hurling for the skies.

I am supposed to be dead, and all because of a whim, because I’d wanted to travel the world from A to Z. Every year a new city and, in my 40th year, it would all begin at Asuncion, Paraguay. In the end it had more appeal that Athens, if less history, and was cheaper than Aukland, if less English. And I’ve always had thing for South America, the other America, the continent that dangles a tail in the Antarctic. Lush, mountainous, ripe. Babs did not want to travel with me, said her burgeoning business (a ladies’ shoe store) could not function without her for three weeks. It made sense at the time and the following year we would travel together to Belgrade or Bismark (depending on finances). In truth, we did little with our money, and if you save just a few dollars a day by the end of the year you have a substantial travel fund. Add in advance planning, seat sales, and anyone can do this. Babs, admittedly, had a fear of flying, just as she had a fear of tall buildings, but had we travelled together one of us, depending on who chose what seat, would likely be dead. I can’t be sure how I survived but I believe the cushion held in front of my torso helped. I honestly don’t remember much.

The screaming (though yes what I know hear is the screaming from that damn episode).

The DC 10 pitching sharply to the right after my wing caught trees (a point they missed).

Light, so much light.

I suspect our wing spun round and much of the energy was dissipated laterally, that my seat broke free, struck the spongy ground, tumbled, released me.

And then I was on my back, Doctor. Just like Skiver back from commercial my eyes opened, blinked. My vision was blurry but there was sun, trees, smoke. My right arm was twisted behind me as if had been arrested and I had no shoes and only one sock dangling at the end of my toes. My first thought was, Who has assaulted me? I have not wronged anyone. Is the assault over? Perhaps I should lie still but there came a change in the wind and smoke began to billow over me. What a horrid thing, that odour of flesh and fuel, an unholy barbeque. I began to choke. I thought my limp right arm was dead, detached, but it was merely asleep and soon a terrible prickliness rushed through it. I sat and I saw before me the rip in the forest canopy, the towering trees shredded and the white and black of the scattered aircraft, sections of seats, windows, wing, engine. And then clothing moving in the wind, and then hair, and then did I laugh? Or did I cry? Something came from deep within me and I won’t try to name it.

You know, I thought Babs would overcome her fears just to see the cathedrals of Paraguay.

I needed to call her, had to let her know I was alright but that she should tell TAB they lost a plane and also, yes, tell the hotel to not give up my room, and yes I would need some shoes and where was my wallet, my credit cards, my passport.

Three days, Doctor, before they found us.

In the movie version we huddle all night, it fades to black, then comes footage of search and rescue helicopters scouring the land, grimy locals hacking their way through forest, swamp lizards and jungle cats, snippets of the TAB press conference and mourning, wailing relatives at the airport in Asuncion (which I pointed out to the producers was the exact same footage they used in season 4, episode 10 and season 5, episode 5 – surely these professional wailers were well compensated for their superb acting!). Oh, if only we had huddled on cue, listened to messages from our sponsors for five minutes and then woke to rescue!

The sun has risen. I am eating a bran muffin.

Odd what the lack of sleep does to the brain. I’ve always likened it to a blow the head, one blow for each sleepless night. No wonder you die after a week or two.

What else do you need to know, Doctor? What page of my trauma will you dog-ear for return reading, what lines will you highlight in neon yellow? If I knew, I could continue to heal myself, but I’ve reached an impasse. It’s all a lie now, all a story retold, replayed, rerunned, reheated. It’s stale. It has no heartbeat. I spent the second day off on my own just to be far from Rahata’s horrible state – she was, as they say, inconsolable. Not that I tried to console her (unlike Skiver, but who would watch such a sorry excuse for an actor were he not at the very least doing noble things?). Without language what could I say? Pat her head and smile? I found a few packaged meals near where I found her daughter and brought them to her and then I left, wandered a few hundred feet where I found a suitcase which I sat upon for hours, removed the clothing to cover myself from the flies, to cover my mouth from the growing stench. Where was rescue? Where were the vultures?

I thought often of Babs, fell asleep with a vision of her in my arms (she had come through the jungle in khaki shorts and one of those safari hats and she had water and a backpack full of grapes) and woke to screaming, Rahata screaming, but eventually her screaming stopped, night fell, and I slept on the suitcase, though I did not sleep well.

I was ashamed of this, Doctor Shabazz, and avoided telling anyone. Shearer tried to convince me I was a hero, a warrior, while Crawford-Neurys stressed the currency of my experience, a rare coin that only I could spend in the jukebox of my existence. I am paraphrasing. But who is ever trained for this? I was in shock, I was injured, I was insulted. The are plenty of people deserving punishment in the world but they are not women and children off to DisneyChile and librarians travelling by alphabet. That aircraft was an abomination! That DC 10 was little more than a cheap sheet-metal tube with engines hammered on and a few pulleys at the front. It was ancient, and as “Fatal Flight” pointed out, had crash landed not once, but twice before! Each time landing-gear failure leading to a rough “miracle” landing, no one killed, pilot saviours, all that. But each time shoddily repaired cracks in the fuselage, cracks that were ever-so-slowly expanding and when noticed by alcoholic mechanics riveted back together with non-FDA-approved materials, maintenance recommendations not followed (this truly is the only part of “Fatal Flight” worth watching, as the investigation was top-notch, for here they had to rely on facts and not an actor’s needling), flight after flight and pressurization after pressurization and it can’t take it anymore, the rivets snap just as the meal cart is snaking its way down the aisle, the pretty flight attendant offering a mystery last supper, the strip of metal peels back and flies into the left engine, which shatters inside and throws shrapnel that cuts the fuel line but hey, all they need to do is shut the flow to the left engine, there are two other engines everybody.

This is so safe.

I read once, Doctor, about a very experienced skydiver out with friends, camera attached to his helmet. He’s going to film their group jump so they leap then he leaps and at what point does he realize he has no parachute? Immediately? When he goes to pull the cord? And how does that feel?

That moment when you realize you’ve made a truly fatal mistake.

The pilots do not stop the fuel flow to the dead engine with the leaky lines. They descend, wanting enough wind to restart it, but the increased airflow causes the tear in the fuselage to grow, which causes increased turbulence, so they climb again, think they’ve slipped the bad air yet the turbulence is still there.

They climb higher.

Air traffic control says no other reports of turbulence in the area, climb to 33,000 feet.

Puzzled, they turn off the autopilot.

The meal cart comes rattling closer to me. Am I worried? It’s bumpy, the lights have flickered, but the flight attendant is all smiles.

Skiver rifles through his briefcase, finds an exciting pie chart, sits back and reads. Fake Rahata and Fake Tarala are playing a card game. Other passengers adjust their seats, bring down their meal trays. The pilots puzzle over the aircraft’s strange handling, the dead left engine, and then, What the hell? Low fuel warning? It’s electronics again, ignore it, bad sensor. They talk about the new Airbus, they say they’ll miss the DC 10 and they chuckle (all said in bad Spanish accents, of course). They request an even higher altitude and the request is granted, 35,000 feet, and right when the co-pilot says, Hey, didn’t we shut down fuel to, the engine on the right wing flames out and, seconds later, the tail engine.

Inside, everything goes dark and there’s only wind.

We were flying ahead of the terminator, with dawn at our tail.

We’ll crash as dawn sweeps over us.

Did Babs jolt out of her sleep? Little did I know she did not, was entwined with Kerwin, a long-haired pot-smoking classical guitar playing neighbour who never mowed his lawn and had once borrowed and not returned our garden hose (and when I confronted him he took advantage of that convenient lapse of memory his kind have – Was it green, or black? Orange? You had an orange garden hose? No, definitely not, I’d remember that).

She denied it, of course, He’s too scrawny, she laughed, I could never, and you know how I hate big boney feet. But my bed-ridden month led to discoveries: three guitar picks between the headboard and the bed and a faint but unmistakable smell, one that could only be patchouli.

Am I boring you, Doctor? Have you chewed your cuticles to a pulp? Surely you’re wondering by now just what my problem is, my “illness,” or at the very least I hope you’re wondering this. If you’re worth your degrees you will have been pounding these pages with your fists, shouting, Tell me, tell me you bastard. I believe you now so tell me. You should have an insatiable need to know, an unquenchable thirst for the source, the wellspring of all my trouble.

I took a nap. Now, I mean, on the couch, and woke to the sun creeping though the blinds. You told me your secretary would call me first thing today to schedule a new appointment but it is Saturday and you are not open. I don’t think you lied to me. No doubt you are much in demand and feel harried. I saw this on your face yesterday.

I dreamed, just now, that I was homeless, wandering naked but for a few shreds of clothing which were made from scraps of litter – old receipts, grocery lists, plastic bags – and I needed one item, one unnameable item to complete my attire.

A fitting dream, don’t you think?

When I woke on the third day I was covered in brightly coloured slugs. I’d intended to sleep on the suitcase but I woke on moist earth. I was in pain, stunning pain, and I was hungry, thirsty. I staggered through the gap in the jungle, now familiar with the location of bodies and their former parts (which I avoided), and eventually came to Rahata, who was lying next to Tarala, stroking her hair, talking the her, singing to her. She had covered most of the little girl’s body with a purple TAB blanket. She did not acknowledge my approach so I kept walking, walking past her and into the thicker jungle, in a kind of daze, yes, but thinking I would climb a tree for the view (impossible with a dislocated shoulder), find fruit, find water, find something. I was wearing a college basketball player’s tracksuit, much too large, the cuffs and sleeves rolled up but comfortable enough. On my feet I had a pair of ladies’ running shoes, which were once white and pink. I still have them all these years later. A memento mori. After some time (I have no idea how long, but let’s say an hour) I came to more wreckage, a wingtip, a hard-shell suitcase (still shut), cutlery glinting in the moss. I pushed through the tangled roots and treelimbs and could hear water flowing. Not a torrent, just a trickle. The flies had found me and were feasting on my ankles, my hands, and as I got closer to the water the vegetation also thickened. I hacked away with a butter knife but made little progress. My hands were bleeding. My head ached. I became so dizzy I could not stand and then, kneeling over the green, became violently ill.

I would have died there, in a huge red tracksuit and a woman’s jogging shoes, sockless and covered in pretty slugs (which, as you would not know from “Fatal Flight”, were in fact leeches – sixteen of the suckers on my back alone). I would have died there bloodless, nameless, ludicrous but of course that’s when the helicopter finally caught a glimpse of disaster, a silver sparkle through the green and then that arrow-shaped tear in the earth, the mystery of lost TAB Flight 14 finally solved, Rahata and Tarala and I airlifted to Asuncion, and yes lying side by side in the chopper, IVs attached, my pale hand and her swarthy hand seeking each other across the distance, the faraway look in Skiver’s wet eye (but no leeches in his hair), and cut to the newscasts.

Two survivors pulled from the wreckage and so much of the world holds its breath: Is it my loved one? Surely it’s my loved one. Surely. Who the hell is that? Was Babs even happy? She said she was, and she wrote as much to her friend – “It’s not like I wanted him dead!” – but we all know it’s easier to plan a funeral than a divorce. As you suggested, before I threw my coffee, which seemed as much spasm as intention (and it was cold so stop crying), perhaps we should spend time on this, if only to satisfy your curiousity, to “peel away the layers” as you said, to see what’ s underneath.

Well, that’s the problem, Doctor Shabazz, and a waste of time.

Do you know how embarrassing it is to be told you’ve had a plastic fork in your brain for years? A bullet, a shard of pottery, an arrowhead, fine, but my fork became famous. Do you know that Wikipedia mentions my fork? To whit: “Warwick resurfaced in the news in 2003 when doctors revealed his erratic behaviour and suicide attempts were likely caused by a fragment of a plastic dinner fork which had lodged in his frontal lobe and remained undetected. The utensil, which had a TAB logo on it, was later featured in an issue of the web series Phreaky Physics, where it was shown the fork could only have entered the brain through the eye socket. Warwick’s doctors, however, stated there was no scarring in the ocular region and that Warwick’s concussion, occurred during the near-fatal jettison from the aircraft, may have forced open a small fracture in the skull through which an object such as the fork may have entered.”

Maybe, Shabazz, there’s nothing left to find in my head. It’s been probed, sanitized, imaged a thousand different ways. Yes, the ‘erratic behaviour’ halted and my dubious suicide attempts, my stepping out in front of vehicles (which was caused by vision impairment, a large blank spot in my vision which my fork-riddled brain could not perceive), came to an end. Yes, I began to work in the library sciences again. Yes, I was even engaged to a Ukrainian woman (the other disaster in my life). But what hasn’t been dealt with, and what I need help with happened during the three days Rahata and I lay in bed in Asuncion. They kept us under burly guard in the same hospital room, Rahata grief-stricken and still in shock, me broken here and there and both of us riddled with tropical parasites. For the first two days neither of us talked, not to the media, not to each other. We slept. We crashed again and again into the forest canopy.

But on the third day she turned over.

See, she moaned, Shabazz, moaned. She turned over in her bed and moaned and looked at me, right at me, right through me. Her eyes scanned the wall, the floor, the monitors. Her eyes looked everywhere but at me. Out of fear that she wouldn’t respond, I didn’t dare speak to her. Out of fear that she wouldn’t follow my movement, I didn’t move. I then I realized she had never acknowledged my presence at the crash site, and she didn’t drink the water I’d brought, or the food I’d found (likely a smart choice) and wait a minute, I asked myself, did I really grab the child from the wreckage? Did I really bring her the blankets? I’d spoken to her and she’d never responded, but that was just a language thing, right? And I thought well, she must be blind, and deaf, and I lay there relieved yes, she was mute because of her injuries, which worked as an explanation until she spoke to the doctors when they came with a translator later in the day. So I did it, after they left, said, I’m so sorry about your daughter, said it slowly and clearly but she only moaned, stared at the ceiling.

I must be dead, I thought.

Well, it seems absurd now, that I should be so haunted by a drug-induced hour of existential panic, but for a moment I did think it, that I was dead, that perhaps I had died in the crash, or in the jungle with my butter knife, or in the hospital at the moment she turned and moaned, and maybe that was my moaning and not her moaning and that stays with you, there’s eternity in such thoughts and even when a little round nurse rushed in to check my accelerating heartbeat, I thought no I am dying now, now, now, and I thought I had moved on, thought I had moved on quite well, Doctor, but it’s returned again.

And that’s the problem.

I would be happy to be an actor, to step outside myself and play a role. The role could be me, Kaye Allan Warwick, nondescript human, man of books and outsize clothing, permeable to picnic forks, but man married to Babs, the adorable five foot tall Elizabeth who hid behind her auburn bangs at the perfume counter, man without shrapnel, without trauma.

Man who did not have his traitor soul flee into the night and never return.

Man who does not, in any given moment, find himself in a blacked-out DC 10 rushing through the pre-morning sky, listening to nothing but wind and prayers while watching the stars over the silent wing blink out into daylight.

Man who does not relive the moment of his intended death nightly.

Noon is near, Doctor. I’ve had too much coffee but perhaps I’ll sleep a bit. I trust you’ve read this thoroughly and not skimmed. I trust you’ve done your research. All the facts are there and once you accept them progress can be made.

—Lee D. Thompson

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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.

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Jan 012016
 

Leonard Gardner (left) at City Lights Books. Photo Courtesy PFLA Newswire. (2)Leonard Gardner, photo courtesy PFLA Newswire.

“Ernie pushed his hands into the heavy gloves held braced for him by the wrists. He stepped into a leather foulproof cup. A headguard was jerked over his brows. Padded and trussed, his face smeared with Vaseline, a rubber mouthpiece between his teeth, he stood waiting while two squat men punched and grappled in the ring. Then he was following his opponent’s dark legs up the steps. For two rounds he punched, bounded and was hit in return, the headguard dropping over his eyes and the cup sagging between his legs . . .”

From FAT CITY by Leonard Gardner

Fat_City_2048x2048

Fat City
Leonard Gardner
NYRB
200 pages ($14.95)
ISBN 978-1-590178928

 

It was mid-September, the end of a long heat wave. That kind of heat, this time of year, came from the interior: a gathering mass over the Central Valley pushing west, stifling the ocean breeze, so even San Francisco sweltered. This had changed in the last few hours. The wind shifted. It was cooler. Even so, you could still smell the heat in the Chinatown alleys, and it was still warm inside the buildings, particularly in the reading room upstairs at City Lights Bookstore. A crowd gathered in the small room. They filled the seats. They leaned against the walls, against the railing at the back, against each other. Those who could not fit into the room sat on the landing, on the wooden staircase that led back down to the first floor.

I was one of these latter. I had arrived late and sat on the bottom step.

Leonard Gardner, the author of Fat City, would be in conversation that evening with Eddie Muller, a novelist and film historian. Fat City, originally published in 1969, had just been re-released by NYRB Classics: a publisher who has made a habit lately of reviving American classics in a distinctly desolate vein, including Nightmare Alley (1946), the geek show novel by William Lindsay Gresham, and Don Carpenter’s hard-edged Hard Rain Falling (1966).

Fat City is a boxing novel. That’s the usual tag, but as Denis Johnson writes in the introduction to the latest edition, the two main characters exist, “far outside the boxing myth . . . deep in the sorrow and beauty of human life.”

The story takes place in Stockton, California, in the late ‘50’s, out in the flatlands of the Central Valley, at the east end of the great delta: a town of modest, low slung, wood frame buildings, sloughs and fields, a working class place with a stunted skyline, a warehouse district edged by canneries and old hotels.

I should pause here.

I am not an objective witness or reliable reporter. I don’t pretend to be that. I am not objective about anything, let alone the way I feel about particular writers or the books they have written.

I have known Leonard for some time. By fate, or coincidence—however you want to frame the way events unfold—he lives around the corner from me, in a small wood frame house built shortly after the war: a modest, bungalow of the sort that used to be ubiquitous all over the state. There are yellowing Venetian blinds across the front picture window, a desk on other side of those blinds, a room filled with shadows, a couch, a rattan chair, shelves lined with books.

The fact that Leonard lives in the same neighborhood, though, had little to with why I came that night to City Lights.

It was on account of the book. Because it had moved me in a certain way, long before I’d known Leonard. And still does.

Author Domenic Stansberry (left) with Peter Maravelis of City Lights Bookstore. Photo by Mark Coggins. (2)Author Domenic Stansberry (L) with Peter Maravelis of City Lights Bookstore. Photo Courtesy PFLA Newswire.

The world Gardner writes about in the novel—Stockton in the late ‘50’s, the world of gyms and trainers frequented by young men nursing deeper aspirations—this was not part of the world where I grew up, in the suburbs of San Jose.   It still existed in San Francisco back then: a much different city than it is a now, a port town whose heyday as a venue for legendary ringside battles and fat purses had not quite passed. There was also a kind of minor league of smalltime boxing venues that ran up and down the West Coast and east to Salt Lake. Boxers often traveled to them alone, unable to afford a trainer in their corner. The payoff was small.

But I didn’t know about any of that growing up.

I first read Fat City some 30 odd years ago when living in New Orleans, homesick for California. I had been attracted by the noirish cover on the Vintage Paperback, and also by Joan Didion’s endorsement. She described the novel as “a metaphor for the joyless in heart.” It was the kind endorsement that appealed to me. Though Gardner’s subject matter is much different than Didion’s, they cover similar physical and emotional terrain in their renderings of California. If there is a nostalgia there, it is a dark nostalgia: a yearning for the forlorn, for the desolate and forgotten. I liked the book because it evoked the landscape in ways that rival Steinbeck, but felt hard-nosed, more real, less sentimental. It reminded me too of California writers like Chandler and MacDonald—and just a bit of Hollywood cast-offs like John Fante—who knew something of life in the shadows of paradise. At the same time, there was something deeply tender and familiar in the yearnings of the characters.

I read the book in New Orleans, reread it, then reread it again a few years later when my wife and I moved to Spokane, Washington, a town with its own hard light, a Greyhound Bus Depot, a boarded up Carnegie library, endless freight trains passing over the trestles.

Maybe the town has changed since, but the desolation for me was its saving grace.

My wife, Gillian Conoley, had a teaching job. She made most of the money. I was stringing for UPI, meantime working on my second novel. The more I worked on it, though, the more I looked out the window at those endlessly passing freights—the more I realized the book was not only a tangled mess, but a hopeless imitation of Fat City.

I put it in the drawer.

Gillian is a writer, too, a poet. She had a good job. Her career was going well. We had friends, no real reason to leave. Ultimately though the pull south to California, to whatever remained of home, or my idea of it, was just too strong.

A couple of years later in San Francisco—maybe this was 1990, or ’91, I don’t know—I learned Gardner would be at a retrospective at the Castro Theater: a screening focused on well-regarded movies that had been box office flops. Among these were John Huston’s Fat City, the 1972 film based on Gardner’s novel. It is one of Huston’s best films, up there with Asphalt Jungle and The Dead, remarkably faithful to the book, as Huston films often were. Gardner wrote the screenplay.

cover

I brought my copy of the Vintage paperback version of the novel for Gardner to sign: the same dog-eared copy I’d carried around since New Orleans. Also—though it felt foolish—I gave him a copy of my own first novel, published a few years before. Gillian brought a copy of her first book of poems, Some Gangster Pain.

He looked pleased, bemused, but also a little puzzled, as if waiting for the other shoe to drop.   We gushed, lingered, then turned to leave.

“So, you don’t want anything?”

“No.”

This wasn’t exactly true. I suddenly felt very silly.

“What could I want?”

“I don’t know,” he said. “It’s just sometimes, people want something. ”

He put his hand on my shoulder.

The truth, I did want something. I just didn’t know quite what it was, maybe. Or how to say it. Or maybe I knew but also knew it wasn’t something he could really give me.

I wanted to write a book as good as Fat City.

Leonard Gardner is often referred to as a writer’s writer.  Meaning, I suppose, that his work is more popular and influential with writers than with the general public. Whether this is true, I don’t know. The book has been reprinted several times in English and translated into numerous foreign languages. Not all of these readers could be writers, I don’t think, though it’s true at times the world seems full of them.  Too full. It is also true that many writers—of very different sorts—have admired Fat City, sung its praises, grown and suffered under its influence. Didion once wrote it was the kind of novel every writer wished to have written. Crime novelist Ross MacDonald said it was one of the best novels he had ever read, putting it in the category with Melville and Twain. More recently Denis Johnson talked about the indelible mark the book had made on him, so much so he sometimes felt every word he himself had written was in the shadow of Fat City.

The book starts out like this:

He lived in the Hotel Coma—named perhaps for some founder of the town, some California explorer or pioneer, or for some long-deceased Italian immigrant who founded only the hotel itself. Whoever it commemorated, the hotel was a poor monument, and Billy Tully had no intention of staying on. His clean laundry he continued to put back in his suitcase on the dresser, ready to be hurried away to better lodgings.   He had lived in five hotels in the year and a half since his wife had left him . . . His room was high and narrow. Smudges from oily heads darkened the wallpaper between the metal rods of his bed. His shade was tattered, his light bulb dim, and his neighbors all seemed to have lung trouble.

Tully works as a fry cook and drinks up his wages. He is a former boxer, 29 years old, haunted by the memory of his ex-wife. In the throes of that hopeless desire, hungover, he heads to the local YMCA, overcome by the notion he left his career too soon. Here he spars briefly with Ernie Munger, a gangly, young man ten years his junior.

From this point, as Denis Johnson says, “the stories of Ernie Munger, a young fighter with frail but nevertheless burning hopes, and Billy Tully, an older pug with bad luck in and out of the ring, parallel one another throughout the book. Though the two men hardly meet, the book blends the perspective on them until they seem to chart a single life of missteps and baffled love.”

That evening at City Lights, I edged past the others on the stairs and found myself a place to lean inside the famous room up there on the second floor, above what had once been Cavalli’s Books: where Mussolini’s voice had blared during weekly broadcasts from an outdoor loudspeaker back in the ‘30’s. And where Ferlinghetti later started the now infamous City Lights Books, a publishing house on a different side of the political spectrum, which found itself at the center of the censorship trials in the late ‘50’s.

Leonard Gardner (right), in Conversation with Eddie Muller at City Lights Books, September, 2015. Photo Courtesy PFLA Newswire. (2)Leonard Gardner (right), in Conversation with Eddie Muller at City Lights Books, September, 2015. Photo Courtesy PFLA Newswire.

Eddie Muller, who has his own ties with Leonard, took the role of interviewer that night.  Eddie had sought Leonard out at one time, too, with his own first novel. More than that, Eddie’s father and namesake had once been the boxing columnist for the San Francisco Chronicle.

Leonard had read those columns and followed the careers of the boxers there.

Of course there is very little boxing in the city anymore, or need for a boxing column. And the Chronicle too is a shadow of itself.

The conversation that evening was book-ended by two short readings. Eddie began the evening by reading from the opening of Fat City. And Leonard closed the event out an hour or so later, reading a scene where Tully attempts his comeback against Arcadio Lucero, an aging Mexican boxer.

It is a moving scene in the novel, but also in the film, where Huston shows Lucero stepping from the bus, with the demeanor of an aging, wincing matador, pissing blood in the urinal before the fight.

In between these two short readings, Muller asked the kinds of questions people ask at these things: about how the book came into being. Though I have known Leonard for some time, I had never heard him talk much about his own process.

I knew he had gone to San Francisco State and studied in the Creative Writing Program sometime in the early ‘60’s. I knew he had attended that school about the same time as a number of other writers, including Don Carpenter, author of Hard Rain Falling, and Gina Berriault: a dark-haired woman from Long Beach, daughter of Russian-Jewish immigrants, who later won the National Book Award for her selected stories, Women in their Beds. Gina and Leonard lived together much of the time and were close companions until her death in 1999. I knew that while working on Fat City Leonard had worked for a while parking cars in a downtown garage along with another young writer and SFSU student, crime novelist Joe Gores. I also knew, later in his career, he had worked for several years with the TV producer David Milch as a writer for NYPD, and did his work for that show on a battered old Smith Corona long after everyone else in the trade had switched to computer.

Other facts:

Gardner, 82, grew up in Stockton California. He worked the boxing circuit when he was young, about the same age as his protagonists. I have seen the faded news clipping of him as a young man posing with a Stockton boxing club. It hangs in a small frame on the wall of his living room. He was rangy then and still is now. His face bears the marks of those early years: a nose that looks to have been broken more than once, flattened and pushed to the side—a boxer’s nose.   Leonard is relatively soft-spoken, not all the time, but most. He seems to listen when you speak, with eyes that fall to the floor and then back to yours, alternately shy and penetrating. He does not fill the air with words, but speaks slowly, in a voice and rhythm that to my ears bears the inflection of an older California, children of depression era migrants, Okies and farmers and ranch hands and laborers that had come out here from the middle of the country. His father used to take him along on walks through downtown Stockton, into the bars there. While his father drank and talked with the men in those bars, Leonard studied the taxidermy on the walls. This was what Leonard told me once when we were sitting in the Elks Club in San Francisco, looking at the stuffed head of a giant elk. There was a boxing gym, too, on those streets where he grew up, more bars, service stations, men disembarking from buses after long days in the field, anxious for a drink. The air stank of the delta, long days of endless heat.

The Hazleton Public Library had not yet been demolished, with its 25,000 titles. So there was plenty of reading material. Meanwhile Owl Drugs—like drug stores everywhere at that time—stocked pulp paperbacks in ways that did little to separate the sacred from the profane; literary and genre writers mingled together on the shelves behind covers that didn’t necessarily have much to do with the content. Erskine Caldwell alongside Mickey Spillane alongside Stegner and Steinbeck and Faulkner and Zane Grey, and Flannery O’Connor, all in revolving racks positioned somewhere between the candy bars and the foot powder.

When Muller asked Gardner if there were any books from that time hat might have influenced him, he mentioned B. Tavern, author of The Treasure of Sierra Madre:

“Tavern wasn’t a very good writer, pretty terrible in a lot of ways, but I read all his books. I read a lot of boxing novels, too, at some point, but most of those were melodramas, and they weren’t very real. So when I realized I could be a writer, and maybe had some talent . . . I didn’t want to write a book like that . . . I wanted to write a book that captured some of the darker side of things . . . And had the feeling of something real . . . Some writers work in conventions, certain things have to happen, in particular places, but I wasn’t interested in that. You only get so many chances with your material. So I thought just because I had Billy Tully in the first chapter, it didn’t mean I had to stay with him.   If I wanted to write about another character for a while, to visit the onion fields, or something, why couldn’t I do that?”

Though Fat City focuses primarily on Munger and Tully, it does move into the consciousness of other characters, sometimes for entire scenes, other times only in passing. The shifts do not seem to grow out of schematic but out of circumstances, out of evolving narrative. True, the events, the scenes, almost always center around Tully and Munger, even when they themselves are off-stage, or involved in activities far from the ring (as they are most of the time).  Though there are impressionistic moments, and a degree of interiority, of reflection, the book is on the clock when it comes to the narrative momentum; suspense rooted not so much in action, though that is part of it, but in the fates of the characters, even when they are just hanging around, lost in reminiscence. There is a reason for this.   The underlying conventions of the boxing story form the skeleton of the action: the process of training, the distractions of romance and love and alcohol, the build-up to the important match. Though these conventions are familiar, they don’t feel familiar in Fat City. Or rather they have the feeling of the familiar, the pleasure of that, while at the same time undermining it. Partly that’s because this is boxing in the regional circuit, far from the big time and the hype, where the gains are transitory, where the trainer can’t afford to travel with you to the big bout, where stepping into the ring is as much about emotional sustenance as it is survival.

Fat City is extremely evocative it its details. Eddie Muller—who grew up around the ring, in the shadow of his own father’s daily boxing column—asked Leonard how much research he had done while putting together the book.

As it turns out, of course, the book didn’t come together all at once. There was an earlier version called The Gym. “The boxing part, I knew pretty well,” Leonard said. “I was into the scene, so you know I followed that.” There were other things, though, about which he had less familiarity, including the nature of the itinerant farm work Billy Tully undertakes to pay for his lodgings.

“I was living in San Francisco while I was working on the book,” said Gardner. “There used to be a place where the bus came to pick up men, in the early morning. Down there by the old hotels.   They came while it was still dark. To pick up the men from the hotels, itinerant workers, and drive them out to the fields. So I went out there and stood in the line. I didn’t do this for a regular living, I’m not saying that. But I went out there on the bus, and worked different jobs. I didn’t live the life of a farm worker, I’m not saying that. I just felt if you are going to write about something, you maybe should know a little bit about it.”

The bus rattled past the dark houses, gas stations, neon lit motels, and the high vague smokestack of the American Can Company, past the drive-in movie, its great screen white and iridescent in the approaching dawn, across an unseen creek beneath ponderous oaks, past the cars and trailers and pickup-truck caravans of the gypsy camp at its bank and out between the wide fields . . . As the blazing curve of the sun appeared, lighting the faces of the men jolting in the bus—Negro paired with Negro, white with white, Mexican with Mexican and Filipino beside Filipino—Billy Tully took the last sweet slug of Thunderbird and his bottle in its slim bag rolled banging under the seat.

—From Fat City

The novel is full of this almost documentary realism, evoking the work in the fields: the task of thinning tomato plants; long hours with a short handled hoe; the bagging of walnuts beaten from the tree. Also the grey streets of Stockton, the gas stations, the mud hens by the river, the Lido Gym, the wrapping and taping of a young fighter’s hands before he steps in the ring, the lovemaking between this same young fighter and his girlfriend in the back seat of a car in the pouring rain, a rain so fierce and hard that the car gets stuck in the mud.

Fat City is a novel in the naturalist tradition, in the older sense of that term: realism in which the fate of an individual is cast as a struggle in the wake of social and natural forces. The prose is finely tuned, realistic, in a transparent style that focuses not so much on itself but on the object and actions rendered. There is a lyric quality, but it seems to emerge from what is observed, not from the hand of the writer.  Yet it isn’t the detail alone that gives the reader attachment to the characters.

There’s that baffled love.

I am not sure really I know how to explain this.

But it permeates the novel. It’s there in Tully’s affair with Oma, another man’s woman, a hopeless lush whose sharp insults Tully longs to escape but whom he regards with a drunken tenderness that reduces him to tears. It’s there in the scene where Tully’s trainer, Ruben Luna, makes love to his own aging wife, while thinking of a waitress in gabardine slacks. And also in the hopeless desire that gives way to sudden resentment, a feeling of being trapped forever, when Ernie Munger finally loses his virginity in the backseat of that car, impregnating a young woman, his future wife, whom he seduces by confessing a love he’s not sure he really feels.

That baffled love permeates the Huston film as well. Eddie and Leonard talked about that film, starring Stacey Keach and a very young Jeff Bridges: how the director cast old timers from the boxing world in San Francisco into supporting roles; how the actress who played the drunken Oma bore an eerie real-life resemblance to the character herself; how John Huston was an aficionado of the old circuit, of the lost world of gyms and back-road boxing venues.

They talked, too, about a review of the novel when it first appeared, a favorable review that had nonetheless irked Leonard, by referring to the characters as “beautiful losers:”

“Yeah, that rankled me at the time. It pissed my off. Because I wasn’t writing about beauty. That wasn’t the thing. Also, the characters weren’t losers. Not in my view anyway. They had something they wanted. They pursued it. They fought for it. And they succeeded. They weren’t losers. So that characterization kind of bothered me. But maybe the guy was just trying, in his inarticulate way, to say something about the book. About what he saw there.”

I thought back to my own lack of words that evening I had sought out Leonard in the Castro. I hadn’t expected that I would see him again, but then a few weeks later, we ran into him at the poet George Evan’s place out in the Sunset District, that foggy remote part of the city once covered in sand dunes. Non-fiction writer Bill Barich was there, author of Laughing in the Hills, and so was Gina Berriault, in all her beauty and elegance. Steve Vendor, too, if I remember, a private detective, and also Clancy Carlile, Leonard’s best friend, a Cherokee novelist and screenwriter who later worked with Clint Eastwood. Over the next several years, we formed a circle of sorts—though none of us would have referred to it that way, in that kind of parlance.   There was nothing formal, just a loose knit group of writers with something resembling a shared sensibility. Who had at times the need to see other people.   To sit in the back room at the felt table in Tosca in North Beach.   To stand around Bill Barich’s house in San Anselmo. To drink until closing on a hot night with all the doors and casement windows wide open while outside litter and trash and discarded wrappers and old newspaper swirled in the Mission Street dust. The circle did not last forever of course. Names changed, faces. People divorced, died, moved away.

Gina BerriaultGina Berriault

Then somewhat by coincidence—maybe it was a dozen years ago, not long after Gina’s death—Leonard moved around the corner. He had no idea we lived the next street over. It was several months before I went up and knocked on his door.

Sometimes I run him into at Colonial Liquors. Or see him walking down by the lagoon near the old police station. Sometimes at a party. Once he and I and the poet Alissa Valles and Gillian went to the race track over in Golden Gate Fields and lost some money. Sometimes, when he is out of town, my daughter feeds Pi the cat, and I check the mail. At such times I will linger for a while on the couch, maybe, reading randomly from the books on his shelves, or maybe just lie there watching the motes in the slanted light that falls through the blinds.

When the event was over, I lingered at City Lights. I took pictures with my cell. I talked to Eddie Muller. To Peter Maravelis, the event manager at City Lights. To book artist Steve Vincent. To Alissa Valles, the poet and translator who these days lives with Leonard, and to her friend the Russian-American writer Anastasia Edel. We planned to meet afterwards at a bar across the street, soon as Leonard was done with the signing. Meanwhile a long line snaked away from Leonard at the signing table, all the way down to the bottom of the stair. It became clear he would be here awhile. I grew impatient and went outside to catch some air, to smoke a cigarette.After the reading at Specs Bar, Columbus Avenue. Anastasia Edel, Alissa Valles, Leonard Gardner, Eddie Muller. Photo Courtesy PFLA Newswire.After the reading at Specs Bar, Columbus Avenue. Anastasia Edel, Alissa Valles, Leonard Gardner, Eddie Muller. Photo Courtesy PFLA Newswire.

I knew this part of town pretty well, North Beach, the old Italian neighborhood, with Chinatown around the corner, and the ghosts of the old Beat writers in the black and white photos on the walls inside City Lights. Of course the city has changed—everybody knows that, the wild influx of money, of technology—but just standing there it still looked pretty much the same. There was an SRO around the corner, a flophouse, absurdly priced no doubt, but a flophouse nonetheless. A man stood in the doorway coughing. A young man and woman across the street embraced sloppily, then pulled away from each other, arguing, before tumbling toward the Barbary Coast, the line of strip joints that runs down Broadway. A cluster of tourists negotiated the crosswalk.  Then for a moment the street was all but empty. Or that was how it seemed. There was no breeze, and I felt the heat, still lingering, the smell of the Central Valley in the air, of the hinterlands, of human sweat and longing and desolation that neither money nor fog nor the future could dispel. I heard voices behind me, coming down the stair.  I put out my cigarette and walked across the street to the bar, to wait. To drink too much. To drive across the Golden Gate to the other side.

— Domenic Stansberry

First print rights to this article provided to Numéro Cinq from the PFLA Newswire, a project of the Pacific Film and Literary Association, a 501(3c) non-profit.

 

Domenic Stansberry is an award-winning novelist known for his dark, innovative crime novels. His North Beach Mystery Series has won praise in The New York Times and other publications for its rich portrayal of the ethnic and political subcultures of San Francisco. An earlier novel, The Confession, received an Edgar Allan Poe Award for its controversial portrait of a Marin county psychologist accused of murdering his mistress. He is the author of nine novels and a collection of stories. He has a new book coming out in 2016, THE WHITE DEVIL, with Molotov Editions.

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