May 132014
 

Photo on 2014-01-28 at 09.48

This is Donald Breckenridge’s brutal, sad memoir of his father dying. Stark and beautiful and full of our common humanity; pity, love, kindness, stubbornness, squalor and valor. The language is matter of fact, the only apparent artfulness is in the unconventional punctuation and, sometimes, the way the dialogue breaks up the sentences. There are two narratives: one works back and forth over the story of a life, two lives, father and son, and the father’s declining days; the other, more mysterious, follows Breckenridge to a diner, the subway, the train station. We get detailed accounts of conversations with the diner owner. We oscillate between donuts and staph infections, but by the genius of construction and understatement, horror and hopelessness accumulate. The word “love” isn’t thrown around, but the son patiently bandaging dabbing medication on those awful sores tells you more than words. You are fascinated, cannot turn away.

This is from a memoir/novel in progress, a new book (please read the NC interview with Breckenridge and two earlier pieces of fiction we’ve published here — links at the bottom of the piece), equal parts fiction and autobiography. This is the first autobiographical section.

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I asked the waitress for a chocolate donut and told her that I didn’t need a bag. She handed me the donut with a serrated sheet of wax paper folded over it, “That will be ninety cents,” and two napkins. I removed a dollar from my wallet and gave it to her. She rang up my purchase then handed me a dime. When I thanked her she told me to have a nice day. I pocketed the dime, pushed open the door and ate the donut while walking to the corner. I wiped my mouth with the napkins then dropped them and the wax paper into a trashcan before descending the stairs at the subway station entrance.

I was washing the dishes when the phone rang. “Can you get that?” A cigarette was burning between his fingers, “It’s not for me,” another one smoldered in the ashtray. Poker chips, two soft packs of Marlboro 100’s, wallet, magnifying glass, notepad, checkbook, beige coffee mug filled with ballpoint pens, and a worn deck of cards were crowding his end of the table. Three chairs, “Of course it’s for you,” with the brown vinyl cushions torn open, “it’s your birthday,” that leaked powdery chunks of yellow foam all over the floor. “So?” December sunlight filled the broad row of casement windows in the living room, “Why would they be calling here,” facing the tall trees, “if it wasn’t for you?” Brown paper grocery bags, empty cigarette cartons, five or six months worth of the Washington Post, beige plastic shopping bags overflowing with the blue plastic bags the Post was delivered in, glossy color circulars for Christmas, Thanksgiving, Halloween, Labor Day, Back to School, July 4th were piled on the floor. He tried sounding resolute, “You get it.” Pizza boxes stacked atop the microwave. My hands were submerged in warm water, “I’m busy.” Blackened chunks of rotten countertop surrounding the sink held puddles of suds. My sister hired a maid service to come and clean his townhouse twice a month but they quit a few years ago. My father got up, “It’s a robot,” and made his way into the kitchen. I turned to him while saying, “You can’t know that until you pick it up.” He was wearing flip flops and tube socks, jeans that were baggy at the knees and stained with urine from the crotch to the waist, an oversized grey cable-knit wool sweater pocked with cigarette burns, long wispy grey beard, an eye patch coated with dried mucus, and a Band-Aid that covered most of the large open sore near his right temple. “Someone is trying to sell me something.” I saw him, “You shouldn’t be getting those calls anymore,” once and sometimes twice a month during the last few years of his life. He cleared his throat, “They still call.” I washed the dishes and did his laundry, bought groceries, vacuumed the carpet, and occasionally cleaned the bathroom. “A hundred dollars says it’s not a robot.” Coffee grounds, dropped food, ashes, spilled milk, strands of pasta glued to the splintered linoleum floor. He had a distinctive smokers croak, “You’re sure about that,” that I still hear while recalling this conversation. I would open the window above the kitchen sink to get some air and frequently lingered there—especially in winter. “Absolutely.” The window overlooked a well-tended lawn, clusters of bushes and trees, a park bench at the foot of a towering Sweet Gum tree, and rows of two-story red brick townhouses constructed during the Second World War. A high-rise dominated the skyline and the faint drone of traffic from 395 always accompanied the view. Despite his grumbling, “We’ll see about that,” there was no mistaking the anticipation in his voice. He picked up the phone and said hello. I turned off the faucet then dried my hands with a paper towel. He told the caller that he had, muttered thanks and hung up. Tomato sauce was smeared on my elbow. “And?” He walked through the kitchen, “The phone company was asking about the yellow pages,” returned to his chair. “What?” He picked up the cards, “They wanted to know if I got the new one,” and began to shuffle them. I stood in the doorway and said, “Those assholes.” He turned to me with a deflated smile, “You owe me a hundred dollars.” I balled up the paper towel and tossed it in the trash. The garbage disposal was still working. Filmy water vibrated in the sink before being sucked down the drain.

I encountered the owner of the diner and an elderly waitress standing behind the counter. They were discussing the best place to display the sign for a new online delivery service. The owner greeted me like a long lost friend while handing me the sign, “You can order what you want on there.” I recognized the logo, “I’ve seen this advertised on the subway,” placed it on the counter and asked the waitress for a coconut donut then added that I didn’t need a bag. The owner proclaimed, “You can now order that on your computer through the internet.” I was taken by his enthusiasm, “That’s really great,” although I’ve never purchased anything, “I hope you get more customers that way,” except the donuts, “Your donuts are really great,” the food has never looked appetizing, “the best in the neighborhood.” Bleached color enlargements lining the walls above the counter are backlit by dim fluorescents and feature dozens of greasy dishes undoubtedly made with the cheapest ingredients available. The waitress handed me the donut with a serrated sheet of wax paper folded over it, “That will be ninety cents,” and two napkins. I removed the dollar from my wallet and handed it over while wondering if a purchase this small would make the minimum for free delivery. If I asked the owner that, even if he knew I was joking, it would only prolong our conversation. He proclaimed, “This will change the way my customers order food.” The waitress rang up my purchase then handed me a dime. When I thanked her she told me to have a nice day. I pocketed the dime then congratulated the owner while pushing the door open.

I removed the metrocard from my wallet and swiped it at the turnstile. A woman picked up her baby in the stroller and hoisted it over a turnstile. Another woman was pushing an old man in a wheelchair. They were headed toward the stairs leading to the Manhattan bound trains. A rowdy group of high school kids were on the platform yelling at each other and clearly enjoying the aggravation they were causing around them. All of the seats on the bench were taken—the West Indian homecare attendant eating a bag of BBQ potato chips, two old Asian women talking quietly, a teenage boy dressed in black with techno leaking out of his earbuds and two teenage girls in Catholic school uniforms engrossed in their cell phones.

In 1968 (the same year I was born and adopted) the doctors removed a small growth from the tear duct of my father’s left eye. Further tests revealed a massive brain tumor behind his nose. After being told of his condition, he overheard a group of doctors in the next room discussing his x-rays, and one doctor expressed surprise he was still alive, all of them doubted he would live more than a few years. He was 31. My father underwent a number of invasive brain surgeries over the next decade to remove those tumors. My brother and sister were born in ’76 and ’77; having two biological children with my mother while fighting for his life gave him the strength needed to defeat cancer. In the early 80’s he took part in an experimental neutron procedure to rid his brain of the tumors. The operations of the previous decade had taken an awful toll on him and the doctors were out of options on how to approach his cancer. At the time only three patients were willing to undergo this experimental procedure, of those three, he was the only one who survived.

When the donut was gone I wiped off the corners of my mouth with the napkins then dropped them and the wax paper into a trashcan before descending the stairs at the subway station. I removed the metrocard from my wallet and swiped it at the turnstile. The train arrived and the doors opened. It had been a long day and I was (finally) on my way home. I took a seat. I was going uptown to my job on 207th street. I was going to the Port Authority to catch a bus. I was on my way to JFK. Our flight to Athens was in three hours. I had to catch a train at Penn Station. The Chinatown bus left for DC every other hour. I was meeting my publisher for drinks at Grand Central. My corduroy jacket was too thin and I left my scarf at the office. They couldn’t start the reading without me. The subway ride to the bus that went to Laguardia would take an hour. I had to meet with the bank manager before 5 o’clock. The library book was overdue. I promised to mail all of these documents yesterday. I needed to take a piss so hopefully the train wouldn’t be delayed. I was late for my next appointment across-town and hadn’t called ahead. I should have brought a book. It was a warm spring evening growing dark and I wouldn’t get to Alexandria until early in the morning.

I would dab at the sores on his forehead with a paper towel that was soaked in rubbing alcohol before covering them with an over the counter ointment for Staph infections. “That hurts.” After searching the Internet I’d concluded that it was a Staph infection. The puss-filled lesions were black around the edges and gradually tearing through his broad forehead already scarred by repeated brain surgeries. “Does it burn?” The most familiar looking images of Staph infections that I found were from photographs of corpses. The sweet smell of rotting skin is stronger than cigarette smoke.  He looked up at me with obvious discomfort, “It tingles.” In the summer of ’04, a horn-like bump appeared on his forehead, instead of consulting a doctor and getting it removed, he simply cut it off with a pair of scissors.

Seated across from me were two teenage boys in blue tracksuits and running shoes, an Orthodox Jew with poor eyesight reading the Talmud, an old woman staring vacantly at the subway floor.

Cigarette smoke effectively mutes your sense of smell and it’s only hours after leaving a smoke filled environment that it returns. My sense of smell would come back on the bus, usually a few miles before we pulled into the Baltimore Travel Plaza, and although I knew what to expect, the stench of nicotine on my hair and clothes always embarrassed me.

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When you sleep time no longer exists. Sleep is the best relief for pain. Death is better but you cannot will yourself to death. The sores gradually burrowing into his forehead began as an ugly thumb-size wound that appeared above his right temple in the late spring of ’08. He refused to see a doctor, and the infection gradually spread from there. My father passed two kidney stones in the summer of ’08, alone and lying on a couch in his sweltering living room, with a broken air conditioner, no fan, and the windows closed. When I saw him that August, I begged him to go to the hospital, pleaded with him, cursed him, and ultimately failed to convince him to get any medical attention. A few years earlier my siblings and I attempted an intervention—to get him to give up his car, sell the townhouse and move into an assisted care facility—we only succeeded in hurting his feelings. “I think that means that it’s working.” He was tired of living and wanted to die but dying is hard work. “How would you know?” Understanding why someone you love wants to die isn’t the same thing as accepting that decision. “I don’t.” Standing by as my father continuously refused medical care while living in absolute squalor was one of the hardest things I have ever experienced. “Why don’t you go and see a doctor?” If you can go through your life without entering into this kind of agony, you may be short on experience, but you are very fortunate. “I’ve had enough doctors.” We were nearing the end of our very long thread. “Then tingles means it’s working.” I stood above him and applied band-aids to what became the lethal skull infection that killed him ten months later. I was completely helpless and tremendously grateful for all of the time we had together. My father lived far beyond everyone’s expectations. I was so afraid that he would die at any time, and my only regret, now that he is gone, was not lingering after saying goodbye. I never rushed out the front door but leaving him in that filthy townhouse after we embraced always made me feel unkind.

He would go weeks without answering the phone. I would call the fire department and ask them to check up on him and tell them to tell him to call me. I got so fed up with being unable to reach him, after the third or fourth time of having the fire department check in on him, that I took a Chinatown bus down to DC and woke him up long after midnight. The ringer was off because answering the constant barrage of telemarketing calls was a pain in the ass and he simply forgot to turn it back on. Getting those calls to stop was as simple as putting him on a do not call list. Surviving could have been as simple as making an appointment and taking a cab ride to a doctor’s office. His insurance offered fairly good coverage but getting him to care about his health was impossible. “Ok, doctor.” He was still smoking three or four packs of cigarettes a day depending on how many hours he slept. He would only leave the house to go to the supermarket. “It’s almost finished.” The ancient looking man with grey hair and a scraggly beard, eye patch, glasses with heavy black frames, brown windbreaker, white dress shirt, worn at the knees blue jeans, canvas sneakers dyed beige from nicotine slowly pushing a shopping cart through the Giant on South Glebe Road once a week. That was my father. Maybe you saw him there? He always paid with a check. His diet consisted of waffles drowned in syrup, black coffee, tall glasses of milk, candy bars, ice cream, occasionally canned vegetables, bananas, sometimes pasta, mashed potatoes, and grilled meat that would frequently begin to rot in the fridge before he got around to cooking it—unless one of his children found the souring Styrofoam packages first and threw them away.

The West Indian nanny feeding grapes to an unhappy child strapped in a stroller, the young Mexican mother with her two daughters wearing identical pink dresses and haircuts although one was a few years older and taller than the other, the West Africans standing around the metal pole having an animated conversation in French, a scowling Haitian teenager texting someone, the Dominican boy playing with a Spiderman action figure, an attractive brunette reading a paperback and showing plenty of thigh, two young black boys jumping on their seats antagonizing their distracted and clearly exhausted mother, an old drunk with his eyes closed and head resting on the window, the Chinese man slowly walked by playing something that sounded vaguely like Mozart on a bamboo flute and there was a lull in the noise as everyone took in his waltz-like refrain.

The neutron procedure worked and my father beat cancer although he lost an eye and his ability to smell. His marriage ended soon after, my mother had stood by him through some of the most difficult years of his life, but now found him changed physically and mentally to the point where she could no longer live with him. They split-up in ’83 and he moved from Virginia Beach to Alexandria for work. I joined him in his townhouse two years later, attended high school and lingered under his roof for another year before moving to New York City. My father never remarried, never dated, after being downsized in the early ’90s he never held another job, and rarely left his townhouse.

I grabbed a few pairs of socks and some underwear. Monday was our laundry day so my options were limited. A few clean T-shirts, a dress shirt, a pair of jeans, toothbrush, and the phone charger went into the backpack. A paperback copy of Théophile Gautier’s My Phantoms got tossed into the backpack—although I doubted I’d be able to read on the train.

Born and raised on a dairy farm in Oneida County, New York, my father was the third of six children. Photos from his teens reveal a very handsome and ambitious young man. He was the high school senior class president and the only one in his family to finish college. He earned a masters degree in mechanical engineering from the US Naval Postgraduate School in Monterey, California. He commanded a Swift Boat in Danang, Vietnam in ’69 -’70 and saw combat although he never talked about it. He was the cool sailor in dress whites and the decorated officer with a storied and distinguished career. He was a plainspoken dairy farmer. He possessed an intrinsic sense of decency and extraordinary tenacity in the face of impossible odds. He was an epic procrastinator. He had a terrific sense of humor. He never locked the front door to his townhouse. He was incredibly stubborn–pigheaded to the point of being a public menace. It was only after plowing into a DC Metrobus and totaling his car while driving legally blind on an expired license that he started taking a cab to the supermarket. My father wasn’t vain, and although he rarely acknowledged it, the drastic alterations to his physical appearance were extremely difficult for him to accept. Every look in the mirror—regardless of how diminished his sight or filthy the reflection—was a reminder of what cancer had taken from him.

I tried calling after purchasing the ticket—thinking he would be able to get off the couch, walk across the living room and answer the phone. Or maybe the phone was on the coffee table and he would be able to reach it. I wanted to tell him that I was on my way. I would be there as soon as possible.  It rang and rang as I crossed Penn Station then the line went dead. I tried again and finally gave up after a recording informed me that the person I was calling was unavailable, that I should try calling later. The TGIF was nearly empty. I ordered and downed a shot of Jameson but didn’t have time for another because the train to Washington was boarding.

Wake up around 8, have coffee and waffles, read the funnies, do the crossword, play a few games of Solitaire, Sudoku, then nap until lunch, nap after lunch, watch television, more Solitaire or left hand vs. right hand Scrabble, have dinner, watch the local and national news, Wheel of Fortune, Jeopardy, sports or sitcoms then fall asleep on the couch around 10—nearly everyday for two decades. I walked to the supermarket while he napped and picked up a steak, some potatoes, and a container of mixed greens. I brought down a strawberry cheesecake from Juniors and a bottle of red wine. We always drank good wine together. If I’d known this was going to be his last birthday I would’ve bought more wine. Why hadn’t I forced him to go to the hospital? I could have just picked him up, tossed him into the back of an ambulance—strapped him onto the gurney and away we go. I could have prolonged his life. Everyone who loved my father tried to convince him to take better care of himself and now he is gone. A few bites of steak and half a helping of mashed potatoes, he barely touched his salad after drowning it in Ranch dressing and only drank half a glass of wine—it was a Saint-Chinian—but managed to eat a sizeable wedge of strawberry cheesecake and washed that down with a tall glass of milk. I finished off the wine and smoked his cigarettes with the filters torn off while we sat at the table talking and playing poker. My brother called while we were watching How I Met Your Mother to wish him happy birthday. He was 72.

Four months later he took a cab to the supermarket and fainted in an aisle. He told me later that he was simply tired and needed to lie down. The manager called an ambulance. He spent three days in the hospital before he was released, took a cab home, made it up the stairs and collapsed on the floor. He lay on the carpet for two or maybe three days before a neighbor called to tell me that the newspapers were piling up on the porch, that he wasn’t answering the door, or the phone. Should she call an ambulance? Would it be okay to check on him? I told her to go in and that I would stay on the line. Instead she promised to call me back when she knew what was happening. I spoke to him after she got him onto the couch and he assured me that there was nothing to worry about, that I shouldn’t come down, everything was going to be okay.

I was lulled to sleep after Newark and woke up just as the train pulled into Baltimore. I could have been the only person in the car. The weirdly glowing vegetation that clung to the rocky embankments surrounding the empty platform and my reflection in the window gradually superimposed over a warehouse. We crawled by deserted loading docks, a staggered sequence of orange lights as the train curved through a tunnel, slipping by blocks of desolate row houses, theatrically lit graffiti adorning brick walls, running along a tall chain link fence topped with razor wire, a billboard glaring defiantly into the darkness, carried above empty intersections, through swaths of dark green, long white lights and patches of trees, flashes of suburban lawns, parking lots, illuminated vegetation glistening beneath streetlights, prefabricated condos, darkened strip malls just off the highway now adjacent to the tracks, red taillights vanishing into headlights casting onto rain-slicked roads, gas stations like small islands awash in cold fluorescents, empty intersections, darkened houses, churches, restaurants and racing over a large body of water while watching for a sign that never arrived.

When hailing a cab outside of Union Station I learned that drivers pick up two or three passengers going in approximately the same direction before leaving the station. Since the Metro closes at midnight and there is a shortage of cabs I shared the ride with a chubby Delta Airlines pilot who had been stranded at BWI due to a thunderstorm and a sleep deprived Army officer just back from Afghanistan. The officer, seated on my left, remained silent throughout the ride to Crystal City. The pilot was seated beside the driver and never stopped talking about how he had been inconvenienced by the weather. His car was in the long-term parking lot furthest away from the arrivals building at Reagan National. He drunkenly apologized for parking so far out of the way, had he known that the storm was going to cause his flight to be diverted, had he known that he was going to take the train down from BWI in the middle of the night, had he known that he would have to take this ridiculous cab ride, had he known all of that he would have parked much closer to the airport. He wouldn’t shut the fuck up and when we finally reached his car he couldn’t get out of the cab fast enough. I was relishing the thought of kicking his ass until I realized that would have only prolonged this unbelievable delay. I asked the driver stop at the 7/11 closest to my father’s place so I could get cash out of the ATM to pay for the ride. It was two-thirty in the morning when I finally pushed open the door and climbed the stairs. My father was lying on his back between the couch and the coffee table. He had fallen while attempting to answer the phone. He was soaked in piss and shit. I picked him up and got him onto the couch, assuring him that I was there, and that everything was going to be okay. Would he like a glass of water? Yes. A cigarette? No. Would he like to take a shower and change his clothes? No.

 —Donald Breckenridge

Donald Breckenridge is the Fiction Editor of The Brooklyn Rail, co-editor of InTranslation, Editor of The Brooklyn Rail Fiction Anthology (2006) and The Brooklyn Rail Fiction Anthology 2 (2013), and the managing editor of Red Dust Books. In addition, he is the author of more than a dozen plays, the novella Rockaway Wherein, and the novels 6/2/95You Are Here, and This Young Girl Passing. He recently completed his fourth novel, And Then, and he is currently working on a new book and a one-act play.

 

Nov 302012
 

Brooklyn Rail Fiction Editor Donald Breckenridge

 

This is very cool, very strange. Also very exciting. It’s the opening of Donald Breckenridge’s new novel (so new it is yet to be named), an opening that amounts to a prose translation of Jean Rouch‘s short film Gare du Nord. The film splits into two parts. The first part is a young married couple quarreling over the dissolution of their relationship; they are tired of each other, disappointed in their mistakes, tired of their lives. In the second half of the film, the wife meets a handsome brooding fellow who offers transcendence, offers her the chance to run away into a life of adventure. But she’s too, what?, bourgeois, timid, polite to take him up. His response is to climb the bars of a railway bridge and jump to his death. Thus, in an even shorter form, I have replicated Breckenridge’s summary.

But what is going on? A novel disguised as a summary of a film? A quotation, as it were? A meta-commentary, or a work of art based on a work of art or in dialogue with a work of art? And the story itself is iconic, presenting the enormous ennui of modern life in the pressure cooker of a young marriage. But then the young man in the suit offers liberation. Is he a con, is he the devil, is he an angel? And the girl can’t contemplate running away from the life that is grinding her down. She hurries back into the trap. She doesn’t trust freedom — well who would trust a man you had just met, who talks crazily about adventure, who looks too good in that suit? What is she going to do now? I give you here also the movie. And it’s in French without subtitles. The message loop Breckenridge creates is convoluted and mysterious and yet firmly within a novel-writing tradition starting with Cervantes who, after all, wrote a great novel about a man trying to imitate another book.

First, for your delectation, we have the film, in two parts, and then the novel.

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The film begins with a panoramic shot of the skyline above the 10th Arrondissement in Paris and is accompanied by the drone of jackhammers. The camera pans the horizontal jib of a large red crane suspended above a construction site then lingers on a young woman watering the flower box on a narrow windowsill overlooking the site. The interior scene opens with the young woman, attractive with shoulder length dark hair and wearing a yellow bathrobe, having breakfast with her husband who is dressed in orange pajamas. The husband is heavyset with tousled hair. He has the gruff demeanor of someone who did not get enough sleep.

Breakfast consists of soft-boiled eggs, a baguette with butter and two bowls of black coffee. Their conversation is warm while recounting a weekend outing with friends, although he yawns through some of his lines, then grows contentious as they discuss the grind of the workweek. She wants to know why he thinks her desire to travel is so ridiculous. He says that it isn’t ridiculous. She wants to know why he thinks her fantasies about escaping their everyday existence are so unrealistic. He assures her that there is nothing ridiculous or unrealistic about wanting to travel then adds that millions of young married couples around the world have found themselves working for meager salaries at entry-level positions in large corporations while living in small apartments. She reproaches him for what she perceives to be his condescending attitude then insists that they are trapped in a tiny, claustrophobic apartment in a dull part of the city, which is clearly ruining her life and destroying whatever chances she has of ever being happy. He is visibly annoyed by her proclamations. Their morning routine is poisoned by a festering resentment as the alternating volley of diminished expectations begins in earnest. They move through the apartment exchanging insults. The casual resignation the actors employ while delivering their lines conveys the impression that the melodramatics on display are as much a part of the couple’s daily routine as brushing their hair and teeth every morning before leaving for work. While shaving, the husband inquires, over the muffled drone of jackhammers from the nearby construction site, as to why he is entirely to blame for their current financial predicament. She sarcastically compares the crane looming outside their bedroom window to the Eiffel Tower. While stepping into a knee length skirt, the wife declares, that this passionless marriage is the ultimate source of her unhappiness. Didn’t she known exactly what she was getting into before they married? What an ungrateful oaf she has had the misfortune of marrying—lazy, unlucky, a real slob. He claims that if he had known she was this shrill and superficial he would have never married her. She says that this stifling middle class existence, having to live in this tiny apartment and her horrible position in an airless office are to blame for making her shrill and miserable. He says that she has never been interested in resolving their conflicts, and yes, her unrealistic expectations feed a boundless narcissism, this constant fighting is nothing more than a selfish and destructive form of entertainment. The future looks grim, and she is now running late for a job that she despises. While buttoning up her blouse she tells him that they are finished. And how, the husband demands, is he to blame for that. She slaps him, after making the bed, and then walks out. The husband follows her out the front door and down the hall where he is willing to give up a little ground—you’ve blown this out of proportion but maybe we have taken things too far. She refuses to reconcile and leaves him standing before the cage-like lift, repeatedly calling after her, as she descends through the building. The splice leading into the second part of Jean Rouch’s short film, Gare du Nord, is hidden in darkness. She passes quickly through the lobby and into a Parisian spring morning circa ’64. The 16-millimeter camera follows over her left shoulder as the morning sun highlights the dark green velvet ribbon in her auburn hair. The sound of her heels moving rapidly along the pavement accompanied by that of passing traffic. While crossing the street she is nearly hit by a car. A tall man in a black suit appears and apologizes for almost running her down. She is going to be very late for work. Can he give her a lift? She politely refuses. The man abandons his sports car in the intersection and follows her up the street. He is a handsome, Belmondo-type, with the somber demeanor of an undertaker or a down on his luck aristocrat. Although she says she has no time to talk, she engages him in an earnest conversation while walking up the street. The man says modern society has driven him to despair and claims to be seriously contemplating suicide. His confession doesn’t shock her. He presents her with a highly implausible invitation—run away with me and we will live an extraordinary life of adventure, a life of unlimited love and endless freedom. He insists that they will never worry about money or be dragged down by the banalities of everyday existence. She is bemused by his offer and inquires as to how such a life with him would be possible. He quietly assures her that his family possesses vast wealth—serenely adding that having a lot of money is meaningless when you don’t have someone to share your life with. Fleeting temptation crosses her expression before she politely refuses. When she claims that they don’t even know each other it’s implied that anyone this impulsive is clearly unstable, and yet she confesses her desire to travel, then relates her fantasy of just getting on a plane one day to start over again somewhere else as another person. They are walking along an overpass. There is the sound of a commuter train rushing below. The man tries to convince her to run away with him. She graciously refuses. And now he is seriously threatening to kill himself at the count of ten if she doesn’t accompany him. She apologizes for saying no, and begs him to stop, because what he wants from her is simply impossible. They continue walking as he calmly counts up to nine. At ten he climbs the railing of the overpass. She pleads with him to stop as he jumps to his death. The long distance shot of the screaming woman pulls back to reveal a motionless body lying face-up on the tracks. A loud train-whistle echoes her screams as the film ends.

— Donald Breckenridge

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Donald Breckenridge is the Fiction Editor of The Brooklyn Rail, Editor of The Brooklyn Rail Fiction Anthology and co-editor of the Intranslation web site. In addition, he is the author of more than a dozen plays as well as the novella Rockaway Wherein, and the novels 6/2/95, You Are Here and This Young Girl Passing. He is working on his fourth novel and editing a second Brooklyn Rail Fiction Anthology.

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Oct 192011
 

Donald Breckenridge has a story to tell you: He’s a failed-actor-turned-fiction-writer, playwright, literary activist/editor, and wine-seller who’s carving out a life for himself in New York City. Though I’ve never met Donald Breckenridge in the flesh, he’s the guy I’d like to meet for a beer. After reading his brand new novel, This Young Girl Passing (imminent from Autonomedia—see the Publishers Weekly review here; read an excerpt on NC here), it was clear to me that Breckenridge has a self-consciously intentional approach to crafting fiction, and this interview/conversation reiterates the thoughtfulness behind his work. If you haven’t met Donald Breckenridge already, it’s my pleasure to introduce you to him and his work in some small way.

Donald Breckenridge is the author of more than a dozen plays as well as the novella Rockaway Wherein (Red dust, 1998) and the novels 6/2/95 and You Are Here (Starcherone Books, 2009). In addition, he is the fiction editor of The Brooklyn Rail, co-editor of the InTranslation website and editor of the The Brooklyn Rail Fiction Anthology (Hanging Loose Press, 2006). He is working on his fourth novel.

Here is what NC Editor Douglas Glover wrote about This Young Girl Passing:

This Young Girl Passing is a deceptively short, dense, ferociously poignant novel of sexual betrayal and despair set in impoverished upstate New York, a Raymond Carver-ish milieu of never-weres and left-behinds. Breckenridge is a pointillist, constructing scene after scene with precise details of dialogue and gesture, each tiny in itself but accumulating astonishing power and bleak complexity. The novel’s triumph though is in its architecture, its skillfully fractured chronology and the deft back and forth between the two main plot lines, two desperate, sad affairs twenty years apart and the hollow echoes in the blast zone of life around them.

—Mary Stein

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Our Endless Past: An Interview with Donald Breckenridge

By Mary Stein

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MCS: Why don’t we start off with a little personal backstory: from thought to fruition, could you describe the gestation period of writing This Young Girl Passing? How did it compare with some of your other works?

DB: I discovered the article that this book is based on in March of ’00. It was a Saturday and I was waiting on the downtown platform at the 77st 6 train station. It was early afternoon and I was going home from my part-time wine shop job in Yorkville. I didn’t have a novel with me and there was a day-old copy of the Times on the bench. I was skimming through the NY section and I was taken immediately. The actual article is only four brief paragraphs but I knew right away that I wanted to write about it.

At the time I was writing my first novel, 6/2/95, which was a year away from being finished, so I cut out the article and put it in a drawer. I thought at the time I would turn it into a play but that didn’t happen for a host of reasons. After finishing, 6/2/95, I took a few months, March of ’01 till July of ’01, approximately, to work myself into an place that I thought would be a good beginning. I really wanted to write a book about child abuse that wasn’t autobiographical, so that’s where I began with Sarah, from her reaction to a shitty home life which is my how and why she became involved with Bill. I have never been even remotely interested in telling the real story of the actual participants in the article, that is absolutely none of my business, the truth really only belongs to the people involved. The article in the Times was simply a sketch and I let my imagination roll out from that point of departure. I began writing the first chapter that August, while my now wife, Johannah Rodgers, and I were staying in Door County, Wisconsin. We were there for 7 weeks and I’d wake up early every morning and work on this conversation that Sarah was having with Robert in the woods and in his father’s car.

All of my books begin in dialog, with a simple conversation between two people, and once that is recorded all the other information, vital or otherwise, is piled on top of that dialog. The novels all begin with dialog and all of them incorporate found news items. The gestation here was very deliberate, in that I wasn’t telling a story that was autobiographical, so I was separating myself from the story while at the same time grounding what was to become Sarah in this wounded and romantic landscape.

MCS: It doesn’t surprise me that you considered making the story into a play. In the novel, dialogue and physical descriptions (which read like stage directions at times) are braided together to create the sentence-level foundation of the novel’s structure. How do you feel your background as a playwright influenced this novel’s form? 

DB: I’m a failed actor, I came to NYC in ’89 to study acting and was thrown out of school after the first semester, however I did meet quite a few truly talented actors in school and a year or so later I founded a theater company with a handful of them, The Open Window Theater, and at first we worked out of a storefront Co-op art gallery, Brand Name Damages, in South Williamsburg where I wrote and mounted my first plays, later we moved to a converted paint factory beneath the Williamsburg Bridge where we continued putting on plays, hosting readings and bands, there was a gallery upstairs as well where local artists would show—Williamsburg was a very different place then. After doing that for a few years I left the company and slowly, really glacially, I began attempting to write fiction, because it became prohibitively expensive for me to mount my plays and I had lost my cast. My earliest attempts were published as the novella, Rockaway Wherein (Red Dust 98) but to answer your question, I’ve always tried to capture the immediacy of watching a performance on the page. That immediacy where the reader is in the moment with the present, as if the reader was watching the characters performing on stage. For an actor all his lines in a script contain cues—when A is to stand up while speaking and how A is to then cross the room with a sullen expression while proclaiming his love for B who is sitting in a chair by the window overlooking the crowded street and is secretly waiting for her lover to emerge from the subway entrance at the end of the block—the actors playing A and B need to internalize all of their objectives and to thoroughly understand what their character’s psychological motives are beneath the lines, what the real motivations are, what moves them across the room and has them proclaiming and or hiding their love. This is of course a very simple example of what Method Acting is, and by making the psychological motives visible in the dialog, and by laying out the surroundings in the dialog as well—which is obviously equally important—I think I’ve brought a heightened present, or at least more urgency, to the page..

MCS: You accomplish a lot with such economical prose. The point of view is prismatic in the sense that the reader is made to understand the motivations and desires of multiple characters—oftentimes simultaneously. It seems that most writers find it challenging enough to convey the motivations of even just one character without compromising the complexity of another. How did you manage this?  

DB: I try to be thorough and I’ve learned to be very careful, and although it has taken a long time, I’ve finally learned how to write slowly and for myself. That was my take-away from This Young Girl Passing; you have absolutely no reason to rush writing, ideally the work will last much longer than the time it took to create, so why rush? The hordes aren’t clamoring at my door. This book took forever and way too many drafts before it became an actual book, and although at times the wait and the rejections were incredibly frustrating—in the end I’m really grateful for the struggle, as clichéd as that sounds. I spend a long time on a single page, they often take weeks to write, and then I’ll go back a few dozen times and spend twice as much time as I really should compressing text and then reintroducing the lines. Also, I tend to get bored with all the tedium that is involved with writing everyday so I’ll introduce new narrative threads within the existing lines, this resuscitates the everyday exploration of what writing a novel should be and enables me to create that prismatic point of view that you mentioned. I’ll then build out of the gaps once I remove the obvious lines and attempt to formulate a stronger foundation for the characters in the scene once the redundant has been purged and purged again.

MCS: Your approach to time and historical context is met with a similar sense of refinement and narrative necessity. One of the defining characteristics of This Young Girl Passing is its back-and-forth movement between a post-Vietnam 1970’s and the late 90‘s (and your earlier novel, You Are Here, also moves through time within the 9/11 era). Yet it manages to avoid the entrapments of sensationalism that threaten to derail narrative. How did you inhabit both these eras in This Young Girl Passing?

DB: When writing out the dialog for chapters I always reach a point when I need to consult the newspaper and check the weather; so I get the light right, so the moon is full or gone on the right night, to make sure it actually snowed enough to be a nuisance, and knowing what the weather was like also helps me dress the characters. I’ll go to the library and check the weather for the day before the chapter, the day of the chapter and the day after, just to be sure. At times the headlines from those dates leak in as well and that helps inform the characters dialog—sometimes it’s necessary but I’m really careful with how I use it—and it also provides the reader with a skeletal time line. However, the people I write about aren’t on the cusp of breaking news, ever, with the exception of Stefanie in You Are Here, who is last seen entering the WTC on the morning of 9/11, my characters are all very marginal and quite content to be so, they might talk about current events but only in passing—like Bill and Sarah in the hotel room talking about Hale Bopp and Heaven’s Gate—headlines are always on the peripheral.

I’m very much into the music and culture of the 70’s, so for me, who was a teenager in the 80’s that decade represents an almost mythical time in America, and my father served in Vietnam so that war was and still is a very real part of my personal history.

MCS: I spied on your Goodreads account, and when it comes to reading, you certainly don’t mire yourself in one literary tradition. You’re the fiction editor of Brooklyn Rail and the co-editor of its InTranslation publication which gives exposure to English translations of new international voices that might otherwise go unrecognized. How does your involvement with Brooklyn Rail impact your writing? 

DB: I’ve always been a ferocious reader since I was very young, and one of the happiest times in my life was when I read a novel a day for a 9-month period of deliberate and blissful unemployment during my mid-twenties. That was just before I began my attempts at fiction. What I’ve found with writing novels is that I cannot read them as avidly as I once did. What the Rail has allowed me to do is to ingest lots of current writing and to support it in a very public way. The work I do on behalf of the Rail and InTranslation doesn’t pay but I see it as a form of literary activism, which is a very nice way to go about doing something that you love.  My work as an editor takes considerable time away from my own writing, obviously, which is at times problematic because I need to work harder at making money in order to survive in NYC, which also takes time away from my own writing, but my work as an editor has given me a greater perspective as to where my writing may or may not fit in this current publishing climate and it has enabled me work with some truly dynamic authors and publishers whom I might never have been in contact with if I’d simply stayed at my desk and toiled away in solitude.

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Where Donald Breckenridge toils away in solitude

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MCS: How do you manage to survive as a writer and literary activist in NYC? What does a “typical day” look like for you (if there is such a thing)? 

DB: No, no such thing as a typical day. If I can get 5 hours in a day on the novel, I know I’ll be able to face the rest of the day, and that no matter what happens it will be a good day. And if I can stay at home and write all day then it has been a fantastic day. I’ll wake up at 5 or 6 and write till 11 or noon and then get started on money work—I sell wine for a small yet prestigious wine importer. The reading and editing I do for the Rail and InTranslation takes place in the late afternoon and into the evening.

MCS: Going back to your voracious reading habits—which writer(s) do you feel have most impacted your craft and/or your approach to writing? Who are you reading now? 

DB: The two most important authors would be the French novelists Claude Simon and Emmanuel Bove. Simon for the multiple layers and textures he brings to the page that make reading his novels (Histoire, The Flanders Road, Conducting Bodies) a nearly visceral, always urgent and wonderfully lucid experience. And Bove (My Friends, A Winter’s Journal, A Man Who Knows) for his precision, emotional honesty and pristine imagery. Also the Japanese novelists Kawabata and Soseki. And the German author, Arno Schmidt who is a tremendous writer, everyone on the planet should read Schmidt! Dalkey Archive just released a really handsome four volume set of collected works that John E Woods has translated over the years, and if you are unfamiliar with Schmidt’s work, Nobodaddy’s Children, which collects three of his early novels is an ideal place to start. And also the Brooklyn-born, Gilbert Sorrentino who is by far my favorite American author. I recently read and really enjoyed Chris Turner’s translation of Pascal Quignard’s The Roving Shadows that is a truly outstanding book and out from Seagull this month. I am currently reading Hans Fallada’s Wolf Among Wolves that Melville House published last year, also, Ahmet Hamid Tanpinar’s A Mind at Peace, one of the most elegant books that I’ve read in years, Archipelago published that a few years ago and I’m eyeing Ursula Meany Scott’s translation of Wert and the Life Without End by Claude Ollier which was just published by Dalkey Archive.

MCS: Earlier you mentioned thwarting the tedium of writing everyday by introducing narrative threads. Friday, December 19, 1997, is a distinct passage because of its absence of dialogue. Each sentence swivels back and forth between POV to capture the (almost) simultaneous but separate experiences of Mary and Bill. Yet, the reader is rooted in the text largely due to the very idea of “pristine imagery” you just mentioned, and the movement between scenes sustains the momentum of dialogue. While crafting This Young Girl Passing, did you consciously engage with an aesthetic that would interrupt the everyday tedium of writing?

DB: The line by line shifts in that chapter, as it finally exists are so different from a few drafts ago. Initially they had been alternating 4 to 6 sentence long scene blocks containing dramatic dialog that I stripped down in a few drafts. It was this half-formed, cathartic nonsense that I somehow felt obligated to write into the book—it was really terrible, like I was trying to wreck the novel. It works for me now because I dumped all of the false notes, everything shrill and moralistic, and all of that sentimental shit. Creating collages out of my imagery (I hesitate to call it pristine, although I try—perhaps too hard at times) on the page keeps the momentum going and at times it can suspend or stall a reader’s sense of disbelief. I wrote this book to music from the era, watched most of the films advertised in the newspapers from the days the chapters were taken while writing those chapters, studied the history of the era, so not really, other than editing the fiction in the Rail on a monthly basis, putting together the fiction anthology that Hanging Loose published in ’06  and curating a monthly reading series at the Central Branch of the Brooklyn Public Library from ’02-’08, my head was always in this book. That is until I couldn’t find a home for it, almost lost my mind, and then wrote You Are Here . This Young Girl Passing didn’t have a publisher until July of 2007, I was shopping around You Are Here, having just finished that. Both books got picked up that summer, which was a huge relief, because I was really dreading having two unpublished novels.

MCS: People who saw me reading your book in public asked me about its title, and I would respond with an imprudent amount of speculative gibberish. I swore that I would never ask this question for an interview, but I’m compelled to ask for this novel in particular—how did you settle on the title This Young Girl Passing? Would you be willing to share any working titles you rejected? 

DB: The title is from the epigraph which is taken from Eugene Ionesco’s Present Past Past Present. Eugene Ionesco is one of my favorite authors. Each one of my novels and the novella, Rockaway Wherein, contains an epigraph from that book. What I tried to say with This Young Girl Passing, ultimately, is that the past we’ve accumulated, and cultivated is the same past we will into our present. We are predetermined to live in a present where the past resonates around us endlessly, and I learned that from reading Eugene Ionesco. The working title for the novel and the title that I shopped around for a few years when this book was a disaster was Arabesques for Sauquoit as I thought that spoke to the way it was written and the location, Sauquoit, where the novel takes place.

MCS: What’s next? 

DB: I’m currently working on my fourth novel. I started it in the winter of ’09 and I have about a 100 manuscript pages that might be ok. It’s been slow as You Are Here came out while I was writing it and that was very distracting. My father got really sick in the spring of ’10 and then he died that September which was really brutal as we were very close. Incidentally, he is buried near the farm where he was raised which is in the same county where This Young Girl Passing takes place. Getting this book ready for publication was also incredibly distracting, in a good way, and that kept me away from the new novel, but now, finally, I can begin again in earnest!

— by Mary Stein and Donald Breckenridge

Oct 242010
 

 

Here is the reading space, the Issue Project Room, in a renovated can factory. Rather dramatic, vaguely religious ambiance with speakers hanging from the ceiling looking like incense pots. That’s Donald Breckenridge on the left. Some fascinating readings, especially Susan Bernofsky’s Robert Walser translations (here are samples published in The Brooklyn Rail) and Alyson Waters’ Emmanuel Bove translation (another sample published in the Rail). Also terrific works by Dawn Raffel and Johannah Rodgers and John Reed among others. DG read the opening paragraphs of a story called “Savage Love.”

NC contributing editor John Proctor was there with Sarah Twombly and John’s friend Meagan Brothers who wrote YA novel Debbie Harry Sings in French. We all went out to a sushi place on 5th Avenue for a drink after. It was a very NC sort of evening.

Before the reading, DG ate sumptuously at a great Mexican restaurant called Los Pollitos. See photo below.

 

Apr 162010
 

breckenridge-cropped

It’s a huge pleasure to introduce Donald Breckenridge to these pages. He’s an old friend and supporter, the fiction editor at The Brooklyn Rail, editor of The Brooklyn Rail Fiction Anthology and co-editor of the Intranslation web site. He’s written a dozen plays as well as the novella Rockaway Wherein and two novels, 6/2/95 and YOU ARE HERE.

The following is an excerpt from his forthcoming novel This Young Girl Passing (Autonomedia, 2011). A while ago I read the ms. and wrote the following: This Young Girl Passing is a deceptively short, dense, ferociously poignant novel of sexual betrayal and despair set in impoverished upstate New York, a Raymond Carver-ish milieu of never-weres and left-behinds. Breckenridge is a pointillist, constructing scene after scene with precise details of dialogue and gesture, each tiny in itself but accumulating astonishing power and bleak complexity. The novel’s triumph though is in its architecture, its skillfully fractured chronology and the deft back and forth between the two main plot lines, two desperate, sad affairs twenty years apart and the hollow echoes in the blast zone of life around them.

dg

 


Monday April 19, 1976

Bill had kept Sarah after the bell to find out why she was failing his class.  She dutifully asked him to recommend a senior who would be willing to tutor her. He wrote a name and number down on a scrap of orange paper then offered her a ride home.

“And the photographs,” Sarah glanced at Bill, “you should see them,” as they continued along the narrow path, “the models are wearing casts and some of them even have black eyes,” they walked by a cluster of bluebells as she concluded, “it’s like pornography only worse.” A chipmunk scurried across a large rock then disappeared into a pile of leaves. “Women being beaten by groups of men in suits… How could anyone find that beautiful?” Bill stepped over a tree trunk that had fallen over the trail, “I know I don’t,” turned to her and held out his right hand. The cloudless sky was teeming with dozens of songbirds in flight. She placed her left hand in his, “it’s like the feminist movement never happened,” and stepped over the trunk. The plaster cast on Sarah’s right arm extended from her elbow to her wrist. He stepped on a brittle weed and a cluster of brown thistles clung to the cuff of his pant leg. Her best friend Laura had covered the cast in tiny red hearts and flowers with fingernail polish. When a blossoming willow caught Bill’s eye he stopped walking, “I think they’ve run out of supposedly wholesome ways,” and pointed it out to her, “to sell expensive clothes to wealthy women.” The willow’s flowering limbs swayed as the breeze cast off a shower of yellow petals. “What does that say about the way society treats women?” A multitude of bees, undeterred by the breeze, pollinated the tree. Bill realized that he was still holding her hand, “but the models are just well paid mannequins.” She frowned, “What does that mean?” “It isn’t that complicated Sarah,” beads of sweat appeared on his forehead, “the people behind the camera simply script fantasy roles for women and those roles have little or nothing to do with reality.” The air around them was enriched by the scent of the blooming tree. “Well,” she looked at him closely, “don’t you think it says a lot about the kind of people who buy them?” and noticed the faint outline of her reflection in his brown eyes. “I suppose,” he nodded, “but aren’t most of those designers gay?” A robin in a nearby tree began to sing. They saw each other in class, their last class of the day, five-days a week, and yet she never looked the same. He was almost twice her age, “I mean, that really doesn’t have anything to do with it, but it does seem strange that you would get so worked up about advertisements in fashion magazines.” She smiled tentatively at her reflection while asking, “How is it not complicated?” Bill had been married for three years, “things like that are very temporal,” and he was as bored by his wife’s passionless lovemaking as he was repulsed by the middle-class existence that pacified her. He was as embarrassed by his wife’s ideals, “next year they’ll find something else,” as he was resigned to them. “Like what?” “Who knows,” Bill shrugged, “maybe next year they’ll use vivisection to peddle their dresses.” Sarah let go of his hand, “that’s very funny,” and began walking away. He watched her hips sway beneath her blue jeans, “Can I ask you something?” She turned around, “you just did.” He stepped toward her, “Why does that bother you so much?” She lowered her eyes, “I really thought you were different,” and scratched at the rash above her cast, “So, why make jokes about something you obviously don’t understand?” Her fingernails left faint whitish trails around the rash. “I was being ironic, Sarah.” A bee hovered above a cluster of dandelions just inches away from the tips of her sandals. “You’re being an asshole.”

She had told him in the car that the cast would be removed next Monday and that she was very self-conscious about the way it smelled. When asked if her parents were concerned about her grades she looked out the open window of his Impala and laughed. When asked why that was funny she spoke enthusiastically about Truffaut’s 400 Blows that he had shown the class a month ago—then made it clear to him that the only place she didn’t want to go was home.

“What is it that I don’t understand Sarah?” She placed her hands on her hips, “What is it that you wanted to show me, mister Richardson?” He took two steps forward, “I thought that maybe we could talk and that you could tell me-” “Tell you what,” she held her ground, “that I’m going to love playing in your magic tree-fort?” “You can start by telling me why you’re failing my class.” She shrugged before looking intently above his head. He softened his tone, “there’s a beautiful lake a short walk from here,” then motioned toward the tail, “are you coming or not?” She nodded sullenly and they continued along the trail. “I don’t care if you call me an asshole, we can always disagree, but please don’t ever call me mister.” “Why not?” “Because it makes me feel like an old man.” “What about mister Asshole,” she laughed, “Can I call you that?” “That really doesn’t work either,” furrowing his brow, “I’d really like for you to think of me as a friend… okay?” She took his hand and asked, “How old are you?” “I’ll be thirty-one this August.” “Oh, that’s right, you’re a Leo… you are the most willful.” “Not that nonsense again.” “It’s not nonsense Bill, you can tell a lot about a person from the sign they are born under.” “For instance?”  “The Zodiac is how we, as mortal beings, have passed from the spirit world into the material one.” Holding Sarah’s warm hand while being lectured about the Zodiac made Bill feel like he was sixteen again. “The world is divided into two opposing parts, involution and evolution.  The first six signs of the Zodiac represent involution and-” “What are the first six signs?” He asked. “Aries, Taurus, Gemini, Cancer, and then you the Leo,” squeezing his hand for emphasis, “the willful lion and then Virgo, the soulful giver.” “And when were you born?” With a smile, “my birthday is in February, under the sign of Aquarius.” “Isn’t that a water sign?” “Right, it’s the eleventh sign in the Zodiac and it’s a water sign, on the side of evolution. Aquarius symbolizes the disintegration of existing forms. It’s a symbol of liberation.” Bill’s foot got caught on a root and he almost tripped. “Be careful there…” he nodded sheepishly as she continued, “the Egyptians identified Aquarius with their god Hapi who personified the Nile and when it flooded it was a tremendous source of both agricultural and spiritual importance.” He was tempted to suggest that if she spent half-as much time studying French as she did astrology then she wouldn’t be failing his class. They passed a rusting black and white sign nailed to a tree warning trespassers that they would be prosecuted. “So,” Sarah concluded, “we are from opposite sides of the Zodiac and I think that is a very good thing.” The trail opened onto a small clearing. “And you consider yourself a liberated person?” They startled a pair of Mourning Doves foraging in the tall grass and their wings made an airy whistling sound as they flew away. “I do,” with a solemn nod, “to the extent that a woman can be in a society dominated by men.” He turned to her, “And how much of that has to do with the sign you are born under?” She said, “everything,” with conviction. “Come on Sarah, don’t you think your environment has more to do with shaping the person you are and the one you’ll turn out to be?” “No I don’t,” she stopped walking, “I think it’s the other way around,” then let go of his hand. “It’s all up to your astrological sign?” “You know,” noting his smirk, “arrogance is another one of the Leo’s traits.” He placed his hands on his waist, “it seems to me that you’ve got it all backwards.” “How so?” A crow cawed as it flew above the meadow. He looked away from her before asking, “How did you break your arm?” “I fell off my bike,” she bit her lower lip, “I told you that.” He frowned, “yes, you did.” She looked down at the clump of green grass between them, “So how far away is this world famous lake of yours?” He nodded in the direction they’d been walking, “it’s just beyond this meadow.” She tried to sound apathetic, “Are we going there or not?” He cleared his throat before stating, “the most important virtue in any relationship is honesty.” She stepped toward him, “you are nothing like any of my other teachers.” “I think most of your teachers are in school because of the paycheck they get every other Friday.” She nodded, “it is so easy to talk to you.” “If they had to sell shoes instead of teaching to pay the bills it wouldn’t faze them one bit.” Her curly blonde locks, “everyone in class thinks you’re really cool,” were rearranged by the breeze. He glanced at her chest, “it is very important to me that we are always honest with each other.” Her dark brown nipples were erect and visible through the light cotton blouse. “Sure Bill.” He scratched the top of his head, “I’m really glad you feel that way Sarah,” and looked down at her sandals, “let’s not keep any secrets from each other.” Her toes were perfectly symmetrical and the nails were dark red. “Sure Bill, I think that honesty-” “I think you already know that I really care about you,” he looked into her eyes, “and I always want you to tell me the truth.” Her smile, “sure,” revealed the narrow gap between her two front teeth. “Don’t you have a boyfriend?” “No, I did,” shaking her head, “but he broke up with me right before Christmas.” “Did he hurt you?”  The trees cast shadows around the edge of the meadow. “Not really, he was a real jerk though… I still don’t know why I went out with him.” “No,” Bill shook his head, “I meant physically,” while looking at her intently, “Did he break your arm?” “No way,” her eyes widened, “I don’t like guys like that… jocks or violent ones.” A jet silently streaked across the blue sky leaving a thin vapor trail behind. “What kind of guys do you like?”  She began to blush, “older ones I guess, most of the guys my age are so immature… they behave like little kids.” “What about married men?” She laughed out loud. “Why is that so funny?” The last thing she wanted to do was offend him, “it’s not,” but he had such a constipated expression on his face, “you make it sound so serious,” she took hold of his left hand and examined the gold band, “Aren’t you married?” he nodded before she quickly added, “I’ve even met your wife.” Bill slowly pulled his hand away, “When?” “She’s almost as tall as me and she has long brown hair and,” Sarah winked, “and her name is Mary.” “How do you know her name?” She felt like a lawyer on television presenting a surprise witness to a stunned jury, “Mary chaperoned a dance in my sophomore year,” with a giggle, “your not very happily married to Mary though.” “Sarah,” he began to blush, “I asked you a question and I’d like for you to answer it.” She held up her left hand, “okay,” and whispered an oath, “I’ve never dated a married man,” before placing her left hand on his shoulder and kissing him on the mouth, “but in twenty years you’ll still be fourteen years older than me.”
/

Friday March 28, 1997

Sarah contemplated his tranquil expression before saying, “I always thought that you had,” in a soft voice. Bill pulled the damp condom off his flaccid erection, “that isn’t true.” The pounding in his chest had begun to subside. Sarah possessed a glowing intensity that radiated between them, “a lot of girls in school,” her cheeks were a rosy pink, “said they slept with you,” and her eyes were wide open. Sperm collected in the tip of the condom he held between the thumb and forefinger of his right hand. She pressed her thighs together and sighed. He weighed the fluid with an absentminded pride, “that certainly doesn’t mean that I did.” A television could be heard through the wall behind the bed. She reached behind her back with both hands and undid the tangled clasp of her bra. He leaned over and placed the condom in the ashtray. She pulled the black bra away from her breasts and cast it onto the edge of the bed. To the right of the ashtray there was a beige touch-tone phone. “How could you believe something like that was true?” To the right of the phone a red and white brochure instructed the occupants on how to exit the building in the event of a fire. A metal lamp with a beige lampshade was mounted to the wall above the nightstand, a sixty-watt bulb illuminated a portion of the room. She waited for him to adjust the thin foam pillow beneath his head before claiming, “because you never took me seriously.” Long brown watermarks ran across the ceiling above the bed. He closed his eyes, “that isn’t true,” clasped his hands and rested them on his stomach.

Bill had saved a batch of color photographs of Sarah from the spring of ’76 and would remove them from the cardboard box marked poetry that was buried in the bottom of the closet in his study at least twice every five years. Mary would be spending the weekend at her sister’s in Bridgeport and he would be home alone and very drunk. Bill and Sarah had driven up to Sylvian Beach on a sunny weekday during the Easter break of her junior year. The image of Sarah standing on the beach with her jeans rolled up to her knees as small waves broke before her pale ankles. The image of Sarah feeding a seagull (with outstretched wings) French-fries while sitting at a dark red picnic bench. The portrait of her looking directly into the 50-millimeter lens—her blue eyes almost mirrored the cloudless sky. Sarah sitting on the back of a green bench overlooking Oneida Lake. Sarah holding a melting chocolate ice cream cone with a sardonic grin. Bill would spend hours pouring over the images until he was seeing double.

The springs in the mattress creaked, “like you were just testing the bath water with the tip of your foot,” as she placed her right arm on his chest. He opened his eyes, “What does that mean?” The television on the dresser reflected their faint silhouettes on its darkened screen. She noticed the crows-feet, “That you were just interested in having sex with me,” etched around the corners of his eyes, “and that you just saw me as some dumb, needy girl-” “How can you-” He tried to interject.  “-Who really couldn’t give you anything else.” “-You were sixteen years old,” Bill shook his head while adding, “and I couldn’t believe how lucky I was to have found someone who was as… as passionately interested in me as you were then,” then lowered his voice, “it was like a dream come true,” as the realization that it had taken two decades to tell her that descended upon him. “You never made me feel like you were committed to our relationship.” “I certainly tried,” he nodded with conviction, “the sex was very important, the sex was incredible, as it should be in every relationship, although it never is… but we shared a lot of the same interests as well.” Her eyes narrowed, “you never made me feel appreciated.” That she would berate him about the way their relationship ended didn’t come as a surprise, “I think that had a lot more to do with your upbringing and besides-” “I always felt like you were taking me for granted,” she pursed her lips, “like that letter you gave me.” “Twenty years ago,” he shrugged his shoulders, “you can’t change the past so why live in it?” Wasn’t renewing their relationship a way of reliving the past? Televised laughter could be heard through the wall as she thought about his question. How could she have harbored his betrayal for twenty years?

Sarah took her arm off his chest and sat up, “you know that I kept it.” Bill looked puzzled, “Kept what?” “That letter you gave me on the last day of school,” Sarah rested her shoulders against the headboard. “Oh that,” he contemplated their reflection in the television screen. “Oh that,” she placed the tip of her index finger on her chin, “I should have brought it tonight,” while watching his expression turn sullen, “Do you remember that day?” He nodded, “I don’t remember what I wrote in it though.” “You don’t?” “No of course not… Jesus Christ… not word for word.” She saw herself sprinting through the teacher’s parking lot, “I guess you’ve done it before,” and reached his car just as he was turning the key in the ignition. She was about to ask him what was wrong, “it was in the parking lot,” as he rolled down the window, “on the last day of school,” and shoved the envelope into her hands. He noticed the burgundy lipstick, “yes,” smudged around the corners of her mouth, “I do remember that.” “I’ll have to show it to you sometime… maybe that will freshen your memory.” Bill recalled how idiotic it felt waking up with a hangover on the daybed in his study to discover those photographs scattered across his desk. “What good would that do,” he shrugged, “I’m sure that you can find a lot of faults with anyone in retrospect.” “And I would get so angry with myself for wanting that life with you,” she brushed his right hand off of her thigh, “you had convinced me that you didn’t love her and I gave myself to you… unconditionally… and then you-” “I think you were being delusional,” Bill unclenched his fists, “I was never going to leave Mary,” before changing the subject, “What happened with your parents?” Sarah swallowed hard, “my mother is in a nursing home and I haven’t spoken to my father in thirteen years.” A door down the hall slammed. “Really?” She leveled her eyes at him, “if anyone hurt Kate the way he hurt me I would kill them.” “And no jury would ever convict you,” He cleared his throat before adding, “what if you got pregnant.” “I wanted that life with you so badly,” she hadn’t taken her eyes off his chest, “and I…” “What then Sarah,” he pressed his hands on hers, “what sort of life would we be living now?” “And I…” she blinked twice while looking intently at his face, “and I’ve never loved anyone the way I loved you. Not even my husband,” she squeezed his hands, “even when things were really good between us. I’ve compared every man I’ve been involved with to you and none of them have even come close.” He leaned forward, “I’m right here,” and kissed her on the forehead. “I had an affair,” she turned her head away, “with my boss.” “The dentist?” She nodded, “at one point he wanted to leave his wife and kids for me and I told him I would quit and end our relationship if he even suggested it again.” “How long did this go on for?” “The other night I realized that I was never really able to love any of them… it was more like a role that I was playing,” she cleared her throat, “after we ran into each other last month I ended it with him.” Bill managed to mask his skepticism, “just like that,” but how many hours had she spent with her boss in a room like this, “you didn’t know,” he swallowed dryly, “you didn’t know that we would be intimate again?” “That didn’t matter,” she leaned forward, “knowing that you still cared about me was enough,” and kissed him on the mouth. Bill thought of taking her picture as she stood on the shore of Sylvain Beach. Sarah had removed her sneakers and socks, rolled up her jeans and stepped into the dark gray water. “It’s sooo fucking cold!” He was standing five yards away when he framed her in the viewfinder and focused. She looked down at the miniature waves breaking around her ankles just before he took the picture.

“Why were you playing a role?” Bill asked. Sarah’s shoulders were covered with gooseflesh, “I guess in some stupid way I felt that if I couldn’t be fulfilled by one person than two might make me feel,” she stopped herself from saying happy, “the thing is I could never convince myself that it was true.” He shifted on the bed, “That what was true?” She frowned, “that I was unhappy,” shrugging her shoulders, “or that I was just really lonely,” then looked closely at his face, “or maybe I had finally convinced myself that things would never change and that I would never have another chance with you.” Bill examined their entwined fingers, “When did you start sleeping with your boss?” comparing their mismatched wedding bands. “In December.” “That wasn’t very long ago,” he sighed, “you made it sound like-” “December of ’94,” she bit her lower lip, “it was three years ago… right after I started taking Prozac.” “And you’re still working there?” When she smiled and said, “I just got a raise,” he noticed how white her teeth were. He took his hands away and stood up. “Where are you going?” He slowly crossed the room, “to the bathroom.”

Dearest Sarah, She saw him in the teacher’s parking lot and ran over to his car. We have had the very real pleasure of each other’s company for more than a year now, but this relationship cannot continue any longer. She got there just as he was turning the key in the ignition and breathlessly asked, “What’s the matter with you?” I know this will not be easy for you to understand and it wasn’t easy for me to reach this decision but I need you to be strong for me and for yourself. He rolled down the window and gave her the letter. I have carefully thought through the plans we have made and the dreams we share for our life together and I honestly feel that I will be nothing more than a blight on your future. When she asked what was wrong he replied, “I think it’s time to move on.” The love and passion we have shared has been a real blessing and you have helped me rediscover a part of my youth that I thought I had lost forever. “What,” she pressed her hands on the car door, “what are you talking about?” I am ashamed to admit that I could never be willing or able to leave my wife for you. He revved the engine while asking, “How is this being discreet?” And instead of living a lie that would have only created greater unhappiness for us in the future I think it’s best that we come to our senses now and honor the secret love and friendship that we have shared. The car pulled away as she stood there. I will never forget you and I will always be devoted to the memory of our time together.

With much love and gratitude,

Bill

She was smoking when he returned. “Does it bother you that I’m on anti-depressants?” He stood at the end of the bed, “Isn’t everyone in America on Prozac?” She exhaled, “I’m being serious,” while scrutinizing his torso. “Well,” shifting his feet, “is it helping?” She said, “sometimes,” before placing the cigarette between her lips. “Then it doesn’t bother me,” the mattress sagged beneath him, “I didn’t know that you smoked,” as he sat next to her. “Maybe a pack every other week,” she noticed a tiny bit of flesh-colored wax on his earlobe, “why were you looking at me like,” picked it off with her index fingernail and flicked it onto the floor, “like you were afraid of me.” Bill shrugged, “Did you hear about that cult in California?” Their clothes had slipped off the back of the wooden chair and formed a pile on the gray carpet. “Heavens Gate?” The smoke from her cigarette swirled above the lampshade.  He nodded, “it was all over the news again tonight.” She cleared her throat, “they thought the comet was coming to take their souls away,” and placed the cigarette between her lips. “And maybe it did,” he turned to her, “you know it’s flying above our heads right now.” She exhaled slowly, “Hale-Bop,” and the smoke was pushed beneath the lampshade, “that is just so sad,” where it lingered in the yellow light, “they claimed their bodies were only temporary vehicles holding in their souls and when Kate and I saw that clip on the news she said that all of those bodies, that the way they were dressed in those uniforms, made them look like envelopes.” “I really loved you Sarah.” Her eyes were downcast, “Then why did you end it?” Shaking his head, “I wasn’t.” She reached over and crushed the cigarette in the ashtray, “you used me.” “That was twenty years ago.” She crossed her arms beneath her breasts, “Can’t you just apologize for hurting me?” “Why have you victimized yourself over this?” Clenching her jaw, “I want to know why you took me for granted.” He let out a long sigh, “The risks were just impossible.” She placed her hands on her knees, “Just tell me why you gave up on us.” He frowned, “Answer my question.” “It’s not like I could have gotten pregnant anyway,” she looked at him uneasily, “I was on the pill, remember that, that was your idea.” He nodded, “Weren’t you on the pill in college?” The off-handed way she said, “I really wanted to have your baby,” stunned him.  Bill shook his head in disbelief, “I wouldn’t have given you that choice.” “You’re an idiot,” she looked away and whispered, “I wanted to spend my life with you.” “That’s not what I thought was best for you,” he examined the tufts of hair below his knuckles, “that was a mistake on my part, a selfish and –” “Is this a mistake?” He didn’t hesitate, “No, no it isn’t.” She stretched her long legs out on the bedspread, “I’m going to see you again?” He nodded before asking, “If we had married then do you think we would still be happy?” “Why,” she placed her hands on his shoulders, “wouldn’t we be happy now?” and kissed him on the cheek. He cleared his throat before saying, “that’s an interesting question.”

—Donald Breckenridge

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