Nov 102013
 

Diane-Lefer

I have a weakness for the smart girls of history, and Diane Lefer has invented an amazingly smart, innocent (yet bold) 18th century Italian girl, a mathematics prodigy, hidden away in her father’s home till Balsamo, the spiritualist fraud, comes to rescue her (sort of) and wrest from her the occult numerological secrets of the ancient Jews. Just out with Loose Leaves Publishing, Diane’s new novel The Fiery Alphabet is a road book, a little tour of the esoteric philosophies of the age, and a peek into a young woman’s heart — presented as a faux document discovery the author made in her research (see author interview here). The excerpt presented here plays a bit on the combination of Daniela Messo’s naïveté (she offers herself to Balsamo but doesn’t quite know the “form” of seduction; she mis-identifies Jesus as the old man who pooped on the floor) and her brilliance with tenderness and a gently comic irony.

Diane is a dear, old friend of mine from the days when she taught with me at Vermont College of Fine Arts. She as a multiple recidivist, having contributed over and over — works of beauty, passion and commitment — to the pages of Numéro Cinq; she is one of the old guard.

dg

 

FALcover

 If I had not been raised to be a genius and if Pope Benedict had lived a few more years, my father would not have suffered a stroke on the afternoon of April 14, 1760, my thirteenth birthday. If not for the events of that day, we would not have cut ourselves off from the world, here behind these walls.

If Papa had been in good health four years later, when you first asked to be admitted to our home – a stranger, a Sicilian, without introductions or name – I suspect he would have said no. Instead, he heard your request and looked up for a moment. “Library?” he repeated. “Uh, yes,” and returned to his breakfast, a mush of bread and eggs.

If we had not been trying to save my father’s life and restore his lost youth, we would not have stood before one another naked. Perhaps I should never have reached the point of knowing I would do whatever you might ask.

“Give yourself to me,” you said, and it was as though one of Leibniz’s monads, independent and oblivious to every other monad moving through space – unaware that Pope Benedict and my father, the integral calculus, the deadly man in scarlet cap were all part of the harmony – should suddenly step back and see the entire pattern that brought you to me and made you my destiny. Balsamo.

Give yourself to me, you said. But how is it done? I am willing, don’t you see? I stepped into your arms as easily as I would hand Fiammetta a shawl, and yet I saw you weren’t satisfied. How does one give?

You can give someone a plate of noodles, but then the noodles must be eaten. It is not enough for the gift to offer no resistance – I offer none to you – but it must be offered in a form in which it can be consumed.

The problem: I am not a serving of pasta, nor a pair of lace cuffs that I can give you and even help to fasten at your wrists, an ornament to accompany you in the world.

The solution: I give up my suspicions, I hold you first in my heart and in my mind. I have entertained your friends and I have trusted you with my father’s life. Yet none of this is useful, none of it in the proper form. I have failed you.

This morning, I went to your room.

So much has happened in these short months since you first appeared. I remember you, a slight figure in threadbare clothes, a Southerner, and not quite civilized. Your dark curling beard, your hairy frame made me think of a malnourished satyr. I felt sorry for you then, you were so ugly.

This morning I sat on the edge of your bed. “I love you, Balsamo.”

“Dani,” you said, “you are so innocent.”

“Ignorant.”

“No. Innocent,” you said. “Who are you, Daniela? I want to know you.”

And I started to cry, because you do know me. No one knows me as well as you.

“You keep your secrets, Daniela.”

I have no secrets. I stood before you naked. Not even I have seen myself as you have seen me. I have looked at my arms, my thighs; I studied my breasts as they grew. But I have never seen myself whole. Only these fragments, this part, that. My face in the mirror. Balsamo, no one but you.

No, this is all wrong. I sound like a silly girl and that, above all, is what I am not. Try again.

* * *

God may not watch the world from on high, but I do. A third-story window leads onto the roof and I have scrambled over the tiles to my flat and secret hiding place and I have looked out over Rome. Here, from our house on the hill, while I look down on the church of Santa Francesca and the convent, the bell tower rises in the distance, almost on a level with my eyes. The ruined arch at the near end of the church seems to be getting higher, growing up to poke through the screen of trees. If the arch means something – and Balsamo says it does – I swear I know nothing about it.

Daniela Messo was my mother’s name and what they called me at birth. But I have no mother. I am Minerva, sprung forth with a yell from my father’s skull. He raised me to be a genius, though I have been called other things. Now, at seventeen, I cannot be counted a prodigy anymore, so what am I to be?

I am what I know. So put it all down, Daniela. Then mystery must yield to study, and fears to facts.

“When I think of all I tried to create in this world,” my father once said, “your mind is the one unqualified success.”

That mind has conquered Latin and Greek, chemistry, the integral and differential calculus. I have never before turned it to look at my life.

* * *

My father, Don Michele Messo, is a very good looking man – slender, small and well-defined. His nose comes to a sharp point and his eyebrows form two straight silver lines. His eyes glinted like metal when we bent our heads together over the secrets of algebra and geometric forms, but now those eyes are nearsighted enough to be gentle and dim. My father has always been a non-conformist – perhaps because his only child is a daughter and not a son – yet his bearing is – was – that of, I imagine, a military man. Before his health failed, he had the most wonderful way of standing up from his chair. He never unfolded his body the way some, especially taller, men do. Counting on nothing but the strength of his thighs, he would push himself up, without effort or hurry, his back absolutely straight.

Even before his stroke, I can remember, now that I think back, his memory had become confused. One day, in the spirit of radicalism, he told us – the servants Carlo and Fiammetta, and me – that we were to call him “Michele” from that day forth. We were embarrassed, but he insisted and so we agreed. “Michele,” I said, trying to get his attention. “Michele?” But perhaps he had not heard the word spoken without its preceding respectful Don since he was a boy. At any rate, he had forgotten the sound of it and no longer answered to his name. “Father,” I said at last, and then he looked up and scolded me for my formality.

Papa taught me at home. By the age of seven, I was fluent in Latin and French and could read and translate from Hebrew and Greek. I learned philosophy, and so I could have reminded my father that matter is neither created nor destroyed. He has not made me – at most, he has recombined my elements.

In those early years, I wasn’t kept here at home. I was free, or so I thought. I made my own choices though, now I see, all with the aim of pleasing him. My ignorance of Art is an echo of Papa’s disdain. We agreed that busts of the Emperors glorified tyranny; graven images of saints, gods and angels sprang from disordered minds. In the old days, by which I mean before I was thirteen, my father would call for the carriage and we’d visit his friends – priests, mostly; most every man in Rome is either a beggar or a priest. To dress respectably, even my father often wore a black cassock, and we would go and visit somber homes and palaces, vast, ill-lit and dreary, with bloody crucifixes on every wall, tables covered with bric-à-brac and pretty clocks and stones, and prayer stools arranged so cunningly that a child couldn’t help but trip over them in the dark.

Once, at a time when I could not have been more than two or three, I remember a room where murmurous women petted me and made me stand before the crucifix, looking up at the ragged, punished man upon the Cross. “And you know who He is, don’t you?” they asked, as they kissed me and fussed. I’d had no religious education. The only Cross we had at home hung over our door so that men relieving themselves in the street would show respect and squat a little further down the road.

“She doesn’t know,” the women murmured. “She’s just a baby, a tender babe.”

Even at that age, I was used to being praised for giving answers and didn’t like being treated as a child. “I do know!” I cried. “I do!”, and guessed: “That’s the dirty man who made caca on the floor.”

I can remember quite clearly the women’s shock and my own feelings of shame, but I only know the words themselves because my father loved the story and repeated it many times, but only to the most discreet and trusted friends.

 —Diane Lefer

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Diane Lefer is a playwright, author, and activist whose recent books include a new novel, The Fiery Alphabet, and The Blessing Next to the Wound: A Story of Art, Activism, and Transformation, co-authored with Colombian exile Hector Aristizábal and recommended by Amnesty International as a book to read during Banned Books Week; and the short-story collection, California Transit, awarded the Mary McCarthy Prize. Her NYC-noir, Nobody Wakes Up Pretty, is forthcoming in May from Rainstorm Books and was described by Edgar Award winner Domenic Stansberry as “sifting the ashes of America’s endless class warfare.” Her works for the stage have been produced in LA, NYC, Chicago and points in-between and include Nightwind, also in collaboration with Aristizábal, which has been performed all over the US and the world, including human rights organizations based in Afghanistan and Colombia. Diane has led arts- and games-based writing workshops to boost reading and writing skills and promote social justice in the US and in South America. She is a frequent contributor toCounterPunchLA ProgressiveNew Clear Vision¡Presente!, and Truthout. Diane’s previous contributions to NC include “What it’s like living here [Los Angeles],” “Writing Instruction as a Social Practice: or What I Did (and Learned) in Barrancabermeja,” a short story “The Tangerine Quandary,” a play God’s Flea and an earlier “Letter from Bolivia: Days and Nights in Cochabamba.”

 

Nov 072013
 

Victoria Redel

Just a taste: the opening lines of Victoria Redel’s short story, “On Earth,” from her new collection Make Me Do Things. Of this story, our reviewer,  Richard Farrell writes:

The first sentence of “On Earth” certainly works: “‘What if we were the last ones on Earth?’ her daughter said after Sasha turned off the bedside lamp and put the book back on the shelf.” In this twenty-five page story, Redel teases out themes of family, marriage, evolution, infidelity and obsessions. The daughter, Ella, is a seven-year-old girl preoccupied with dinosaurs. Sasha worries that dinosaurs are a “boy thing.” Then, on the second page, the story swerves, destabilizing expectations and opening up fresh possibilities.

And on the collection as a whole:

It’s impossible to nail down Redel’s style. Each of these eleven stories is uniquely crafted, perhaps because she approaches them with a protean lens, focusing attention down on the particular details of narrative and syntax, so that the result is clarity of intention and meaning. As a writer, she is willing to let her images guide her, willing to follow her sentences and characters into whatever strange and twisted paths they seem destined to trod.

 

“What if we were the last ones on Earth?” her daughter said after Sasha turned off the bedside lamp and put the book back on the shelf.

“That’s not a bedtime question, buckaroo,” Sasha said, leaning to press her lips against her daughter’s cheek. Ella’s cheek in the dark seemed softer than at any other time of day, the skin almondy from bath soap.

“But what about the dinosaurs?” Ella said, holding Sasha’s arm. Dinosaurs were the new craze. Before, it had been fairies. She’d begged Sasha for the yellow wings they’d seen in the store. Then mermaids. Now it was everything Tyrannosaurus Rex. Everything Pterodactyl. Sasha was not prepared for her daughter’s obsession with dinosaurs. Wasn’t that a boy thing? Dump trucks, superheros, dinosaurs—what the morning coffee group called basic male destiny.

What was it with men and their end-of-the-world questions?

This afternoon, the lover had moved Sasha over to the window. “Look out there,” he’d said, positioning her against the sill as he pressed into her. “We’re all that’s left.”

“Ella, dinosaurs were hardly the last ones.” Sasha kept her voice easy and matter-of-fact. “There are new species evolving on Earth all the time.” That sounded right; she was pretty certain that it was right. But if it got down to particulars, Sasha couldn’t whip out the name of a newly discovered Amazonian insect or hybrid amphibian. Always risky to give new information before sleep. A comment like that could keep Ella up asking questions, calling Sasha back and back and back into the room. Best she could do then was angle for a morning research project. Better yet, by morning her daughter would be on to a new obsession.

“But what about the very last dinosaurs? Did the very, very last know they were the last?”

“Roll over, my beauty,” Sasha said.

Ella squiggled onto her stomach and Sasha worked her hand in small circles, the nightgown’s thin cotton bunching and slipping as she moved down the delicate ridge of her daughter’s spine. Sasha closed her eyes and worked to keep her breath and her hand slow, as if leading Ella to sleep by example.

“Did they?” Ella’s voice pushed up. There again, that urgent, worried thread. Not just a fear of extinction, but the sorrow of the final one, the one that endures and knows it is the very end.

Sasha worked two slow breaths, holding back from giving a response.

“I don’t know about the very last,” Sasha said when Ella asked again. “But I promise we’re good here for a while.” . . .

— Victoria Redel

Oct 172013
 

CynthiaSample-spring2013

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

dg

§

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

Take cover immediately.

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

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

Stay away from windows.

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

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

Take cover immediately.

Press * to repeat this message.

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

Press 3 to speak with the Town Tax Collection Department.

Press 4 to be connected to the waste management team.

Press 5 to speak to the Police Department.

Press 6 for directions to the Town Hall.

Press * to repeat this message.

Press * to repeat this message.

Press * to repeat this message.

—Cynthia Sample

——————————

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

Oct 122013
 

Robert Miner in Cyprus

For years, I’ve listened to Robert Miner’s stories of his time in Turkey and Greece, when he was young and carefree, if not downright mischievous. Once as a boy, he set fire to a Turkish village by accident and burned half of it down. Once in Greece during the civil war, a servant took him out at night and he saw a tank drive by festooned with human heads. Bob is an old, old friend — we used to be young writers together, skiing at Gore and Stratton or on the backwoods trails behind Lake Desolation in the winter, going on roads trips in the summer, talking, talking about writing.

This is an excerpt from a novel-in-progress called Night Work, a long ongoing project based very loosely on his own and his parents’ experiences in Turkey where his father was a teacher at Robert College (as was Bob, later in life) and then a diplomat (and probably a spy). Bob’s mother came from a distinguished Anglo-Turkish family threaded with exotic businessmen, beautiful women, elegant learning and dashing adventurers. The stuff of legend.

I give you fair warning. This chapter is not for the faint of heart. It wreaks of a kind of evil that exists in places where cynical wealth enables desires we mostly cannot conceive of except in police reports or United Nations exposés of sex trafficking and tourism. It has its literary roots: Justine frantically searching the child brothels of Alexandria for her lost daughter in Lawrence Durrell’s Alexandria Quartet (remember the walls decorated with tiny anonymous childish palm prints?) or the amazing porn movie scene in Nathanael West’s great Hollywood novel Day of the Locust. Money, decadence, depravity and the mysterious seductiveness of transgression, of going beyond.

dg

At night they look like huge prostrate skeletons, looming for miles at the edge of the old city.  Massive stone block walls fifteen feet thick, forty feet high.  They’ve been there in one form or another since AD 413 when the Byzantine Emperor Theodosius II had them built from the Sea of Marmara to the Golden Horn.  Behind these walls with their ninety-six towers and triumphal gates, their treasure rooms, torture rooms, and dungeons, the city multiplied, secure.

Definitions of security have changed since.  The walls in places have been allowed to sag into ruin by a people more fatalistic, or perhaps merely defeated by manipulations of time that no walls, however formidable, could withstand.  Still, in one section of the walls, the most temporary of peoples has found a permanent existence.  No one knows how long they have lived in the catacombs and cisterns, deep inside the secret passages between huge walls and ancient dungeons, but huddled against the fortifications of the northwest section of the old city live the gypsies of Istanbul.

It was here I found myself staring at the giant slumbering bones of the city walls late one night in May, 1935.  The moon traveled across the battlements under hot, fast-moving clouds.  No other light could be seen, though a city of gypsies murmured in the shadow of the Fifth Military Gate, the section of the walls the ancients called Murus Bacchantes.

This night Prescott was dressed in what he called his nocturnal missions costume — his mackintosh, walking stick, monocle and hiking boots. Weekends lately, he had methodically dressed himself in this manner after classes on Friday, then disappeared for two days on solitary ventures into what he called the geology of place.

Ian  — and Frau Begus in her vigorous teutonic determination — had been leading us along the moat, now a gentle grassy valley parallel to the walls.  We’d passed no one and hadn’t seen a car.  Dogs barked, and I remembered Stefan Genotti’s stories of wild dog packs. We passed a silent group of dark bodies curled together in the ditch by a donkey cart. In my agitated state they looked to me like the victims of some casual wartime atrocity, left to rot.

Ian was looking for something as we walked. He kept stopping and studying the walls. We’d walk a bit, feeling nervous and exposed and horribly out of place, as if the hordes who’d been frustrated by these walls a thousand years before might tonight return to wreak their revenge on us.

Ian found what he’d been looking for. He headed across the moat toward a dark space on the wall that soon showed itself to be an arched entrance to the old city.  Once it would have had metal doors, but the archway was open now, and as a cloud moved across the night sky above us, I could see moonlight slide across a narrow road inside the walls.

“Now it’s essential that we keep quiet till we get to the house,” whispered Ian. “Not everyone here welcomes such intrusions. And besides,” he said, laughing, “who knows that manner of ancient pestilence you might inhale.”

There were seven of us, not all Americans. There was the Armenian wife of an English teacher from the German girls’ school in Pera. She had dark hair that shone almost blue, like a grackle. She talked in explosive whispers with her husband, grabbing at his sleeve, and she glanced everywhere around as if each look were her last. Prescott walked next to Ian, pointing at parts of the wall with his stick. Frau Begus had her arm around a stocky blond British woman — a nurse from the hospital, from what I had gathered when we met at the bus station earlier in the night. The nurse had said very little and seemed unaccountably somber in the midst of all these nervous talkers.

We walked for five minutes through a series of very narrow alleys between the walls and tall rickety looking wooden houses. In places the houses were built into the orifices of the walls and I could see candlelight flickering through arrow slits and murder holes the architects had built into the masonry. There were no streetlights and the alleys were slippery underfoot.

Once, incredibly — almost as if it were out of time — we heard engine noise and saw the beams of a car light as it squirmed down a nearby alley.

Frau Begus was knocking on a bright green door in a kind of wooden wall over the face of a giant doorway in the walls. I looked up and could see windows fitted into similar wooden barricades over other openings in what I now realized was a large octagonal stone tower, perhaps sixty feet high.

“Buyurunuz. Please come in,” a woman’s voice was saying in Turkish. But there was a strange lilt to the language which made it seem peculiarly foreign. Frau Begus and Ian had gone in first, followed by the English teacher whose name seemed to be Bunny and his black-haired wife. She was still vigorously whispering to him. Next went in the British woman whose name I didn’t know. She was tall and bovine but with long blond hair that the lady of the house ran her hands across, saying something admiring.

Prescott went in ahead of me, carefully stepping over the battered stone block that served as a threshold for the door. I could see the gypsy woman clearly. She had mahogany skin and very curly black hair. Her eyelids had been heavily painted hummingbird green and she was wearing lipstick the color of arterial blood. I couldn’t tell if her eyes were really almond shaped or just painted that way, but the effect either way was unnerving.  I wanted just to notice the artifice, but instead I found myself taken in.

She nodded and said something to Prescott. I wondered if they’d met before. Now the woman was smiling at me. It unnerved me again, a smile so genuine, as if I were actually giving her some secret pleasure that very moment.

Inside, the place smelled intoxicating. Onions cooking. Oregano. Fried liver. Hot cheese pastry. Thyme. Sumac. Cinnamon. There were oil lamps on two small wood tables in the corners of a sizable room, whose back walls were the soot-blackened blocks of the fortifications we’d just passed through. The floor was soft underfoot with dark-colored carpets. Lining the walls were huge thick pillows made from camel saddlebags, also of some kind of carpeting.

There were perhaps ten other people seated already, and I selected a pillow in a corner. I was being scrutinized by a thin man whose gold teeth shone like machinery in the lamp light. He was impassive except for his eyes which didn’t seem to blink. Why was he staring at me, I wondered. There were all these other foreigners here.  All these other voyeurs.

I wondered if that was what I was, too, simply a voyeur. Is that why I had come? “These things are never the same,” Ian had kept saying when I asked for details. But now, seated in the back of a dark room in an unnerving place, surrounded by strangers, I realized I could not have imagined how I might feel. Maybe, though, that is what he was saying: you can’t have an experience without having the experience.  You can’t fake it.

Two girls in long flowing red dresses and noisy earrings came in from another room. They carried trays.  One handed us plates from hers, balancing it in one hand and bending effortlessly to set plates on the floor for people who were talking too animatedly to notice her. The second girl carried small glasses of clear liquid.  Each of us got one — along with a piercing open look from her. I wondered if she were memorizing our faces for some reason.  I wondered why I wondered all these things.  Why couldn’t I just enjoy myself as the others seemed to be?

Frau Begus, for example.  I saw her reach for the girl’s hand and pull her closer to whisper something. The girl merely grinned and Frau Begus laughed, smiling almost menacingly at Ian. She had been carrying a small case, about the size of a doctor’s bag.  She was pointing at it, smiling perfect sharp teeth at Ian, who kept making mock gestures of dismissal with his hands. As if the thought were preposterous. The very idea….

Frau Begus got to her feet and her voice took on a sudden soft edge which silenced all talk. “Gentlemen” (it sounded like “Jentelmen”) “and ladies, of course. We must toast Mademoiselle Nina, our hostess tonight.  And a toast to the djinns of the city, the spirits of the underworld.  We are in their world tonight — no?” She studied us, daring someone to disagree. In the muted light her skin glistened metallic like antique copper. “Raki,” she said, pronouncing it so it rhymed with “khaki,” the way the British pronounced it. She was pointing to her glass which she held in her right hand at a slight angle.  “Let us begin,” she said, and downed her drink.

I, too, downed my drink. It felt like some vast vacuum I’d swallowed, absorbing my tongue and throat into it, sucking them dry. My eyes watered, and I tried to wipe them secretly with my sleeve as I held my glass high in the air for the serving girls. They came around again with trays, one for the empties, one with a new full glass for each of us.

Ian stood, brushing back his long hair and looking slightly crazed.  His voice was higher by an octave.

“Welcome to the Inferno, gentle friends. Here we stand outside ourselves. Ex-stasis. We are traveling with no cultural baggage, gypsies tonight of the senses. Deep in this tower there is an inscription from a French ambassador, imprisoned here awaiting torture.  It’s neatly scratched on the wall and says:  ‘Prisoners, who in your misery groan in this sad place, offer your sorrows with a good heart to God and you will find them lightened.'”

Frau Begus reached for Ian’s arm, signaling him to be quiet. “Ah, forgive me,” Ian said. “My companion here is being exigent. Women are always in a hurry. Though I suppose without that, Eve mightn’t have discovered sin for us.”

He said something in Greek — or it sounded like Greek. We drank again. I noticed the man and woman of the house had joined in that one. A new round of drinks, this time accompanied by a tray of meze — appetizers of crisp hot pastry filled with goat cheese and spices. Lamb liver fried in olive oil, served with freshly washed, nude leeks. Another round of raki. This time no watering of the eyes and I wondered if I were drunk. I didn’t feel  drunk. I felt paralyzed, a  pillar of salt.

We were sitting in a semicircle in the front half of the room, facing the dark stone walls; on one side, what was once an ornate marble doorway, framed in geometric slabs; on the other, a rough, dark stone entrance, leading, I assumed, into the tower and its adjoining walls. I had a momentary vision of corridors like a ship, like a submarine, populated by generations of gypsies who never saw the light.

The talk was deafening. I’d been shouted at and had shouted back at the Armenian woman, whose name is Annie. We’d been exchanging exclamations about the fried mussels and the kukaretzia. The gypsy woman appeared with an accordion. The man had some small pottery drums, shaped like hourglasses, with skin stretched across one end. Frau Begus and Ian could be heard expostulating. She was embracing him ostentatiously, as if for someone else’s benefit. Not hers or his, certainly.

“Ah, enfin,” said Annie. “Now just you wait, uh—what was your name?”

“Lewis.  Lewis Dyer.”

“Well, Lewis.  Yes.  Just you wait.”

“So you’ve seen this before?” I asked.

“Not exactly.  But Bunny — my husband — has.  And he’s told me.”

Frau Begus got up and went to the tables to blow out the oil lamps.  The gypsy woman lit one to our side and turned it up, so we were in darkness while the empty part of the room, between the doors, turned yellow.  Specks of mica sparkled in the stone.

I realized that the drums had begun and were only now becoming loud enough to hear. I had felt them before I could hear them, sound waves bouncing off the stone.  The gypsy was seated by the wall to my left and he’d brought a thin long stick with him, decorated with woven ribbons of bright colors.

The drums increased in volume and then the accordion began. One of the serving girls — the taller, older one — returned with a tray of glasses, and we all, I noticed, drank greedily. The anise taste, before somewhat cloying, now seemed merely voluptuous. The music flexed and rippled to the pumping of the drum. Someone was clapping. I found Annie’s hand on my hand, though she was looking the other way.  I wanted to be thrilled, but I was embarrassed instead. I didn’t dare move my hand and I didn’t dare respond.  My hand felt as if it were going to sleep.  Pins and needles.

When the first girl emerged it was almost an anticlimax. She looked so young now, more painted up and with fewer clothes on.  She was wearing thin, almost transparent pants gathered at the ankles.  And a thin blouse gathered at the elbows. I was reminded of Catherine, long-ago, when she’d dress in my mother’s clothes and try to make up her face. The child — and I now saw she was very young, perhaps twelve — had begun to rock her hips and twist her shoulders to the music.  It seemed pathetic, a desperate attempt to force her sex too early out of hiding. Now she turned to face away from us and was rocking her hips more, bending slightly so that her buttocks made firm outlines against the loose pants.

Annie was rocking. The pressure from her hand on mine increased rhythmically. She still hadn’t looked at me and she began to work her fingers down between mine, her palm massaging the top of my hand. Still I didn’t move a muscle. For a while I had managed to forget I even had that hand.

There was a quick, violent silence. The girl stopped suddenly, then turned rather too dramatically towards us, unbuttoning the blouse as she did. The drums began again and the girl opened her eyes wide so that the painted eyelids almost disappeared. The dark black lines made her eyes look trapped, something human where there should have only been the votary, the child whore.  She was pressing her chest forward, pulling the shirt against it and twisting her shoulders at the same time.  I could see small mounds the size perhaps of a cupped hand. A child’s cupped hand. The nipples traced a crease in the material of the blouse. For a moment the audience went quiet and I thought for some reason the girl looked frightened.

The buttons were opened — I noticed how small her hands were — and the girl now turned away from us again opening the blouse and working it off as she rocked her hips. The music became louder, and Annie more insistent. Her fingernails dug between my fingers into my palms. I looked to see if anyone had noticed.  Everyone else seemed rooted on the young girl dancing.

Frau Begus moved closer to the dancer. The English lady was sitting bolt upright, her long yellow hair making her look from the back like Alice in Wonderland on her long neck. She didn’t seem to move at all for the long instant I watched her. I wondered idly, if someone next to her, perhaps, had a hand somewhere even more intrusive than Annie’s on mine.  Or if maybe that woman, too, had been turned into a pillar of salt.

Prescott was back against the wall to my right by himself. He had removed his monocle but otherwise seemed expressionless and really rather relaxed. He might have been at a faculty tea. That same professionally bored but alert look.  I envied him his grasp.

By now the dancing girl had turned again and was holding a hand over each place where her breasts should have been. She was squeezing herself, trying to look aroused. For a moment I was taken — I found myself believing — then the sensation was gone, and I began to wonder what she thought as she looked at me.  She seemed to be looking hard at me. Could she see me in this dark?

“Bravo.” It was Ian’s voice. And it sounded like two words.  “Bra-vo.” I wanted to think it was ironic, and that I was not the only apostate. But Ian was clearly urging her on because he had begun clapping his hands hard, to the music, holding them way in front, towards her. I saw her smile, then slowly slide her hands off her breasts and towards her thighs. Others began to clap. I stared at her breasts, barely a cupped hand’s worth. Tiny whitish nipples. I remembered stories boys told of how dancers and models had to have their nipples stimulated to make them stand out. Who had done that for her back there? The other girl? I wondered if I was losing my grip, thinking such things.

For a while the drums stopped. The man appeared from the kitchen carrying two large hookahs. They had been primed and lit and as they were set down people began to take eager turns at the nozzle.

Now a great shout broke out, much vehement clapping and talk. The music had slowed to a canter and the girl had turned to the wall, rocking her tight little buttocks in a slow perfect circle. She pulled at the top of her pants and slowly worked them down about half way over her buttocks. The accordion music stopped. The drums began, ever so slowly, again.

Just the drums and the sudden quiet of the audience. The girl’s pants were down at her ankles and she was stepping out of them as she clenched the cheeks together.

I don’t think it was either the raki or the hashish — though they are the most conventional explanation — but only parts of the rest of the evening remain clear to me now. I know there was another dancing girl. I remember her mostly because she seemed older and had more to work with. She didn’t remind me of my sister Catherine.  Poor Catherine.

She danced and undressed for a while alongside the first girl. It had been she, I remembered, who smiled when Frau Begus had whispered at her, but it was the younger girl Frau Begus took upstairs with her.

That part I remember clearly. I had been smoking the hookah, sharing it with Annie (who still held my hand impaled, like a hawk with its prey) and concentrating on the apparatus and the fearful lotus sensations I expected.

I heard a rhythmic clapping and looked up to see the accordion  player poised near the younger girl, a long colored switch in her hand. She was flicking it at the girl’s body in time to the drums. And the clapping.  Now the girl arched and twitched as she was stung by the whip. There was something fascinating about this. It reminded my of the cool businesslike violence of certain hockey players I’d known. Nothing personal, you understand. Just doing my job. Had the woman been angry, or even the girl angry, it would have been different. Instead it was just pure disembodied discomfiture, perhaps a kind of art. The tempo of the drums increased, the whip came faster and left angry marks. The girl yelped and tried to continue her dance. Once she opened her eyes wide and stared at me. I’m sure at me this time, and I was stunned again by that look.

Frau Begus was up and shouting to Ian. At first Ian refused whatever it was she was urging, then people around him took up Frau’s chant.  To much hilarity and cheering, Ian found his way to his feet. Frau had her bag in one hand and had taken the younger dancing girl by the forearm, pushing her in front of them as they moved toward the tower door. Several people in the audience were on their feet, clapping and shouting. The three of them disappeared through the door, then I noticed a lull, many of those same people looking strangely somber and tired.

While the other girl danced and flexed herself and the hashish was passed, several more youngsters paraded into the room behind her.  Most of them could have been no more than twelve. Two of the boys were quickly spoken for and left with older men from the audience through the stone gateway to the right, accompanied by the gypsy woman.

Annie had unclenched herself from my hand and was quietly holding both her husband’s hands.  She seemed subdued. Perhaps it was the hashish.

The gypsy woman brought a girl to me at some point, a somber little girl, older perhaps with beautiful arms and huge brown eyes hiding behind a garish painted face. I shook my head, horrified. Or scared. Maybe they are the same thing, I don’t know. The woman was trying to tell me something complicated. I couldn’t understand. I kept shaking my head, the girl looking more and more frightened. She tried caressing my face, this strange, quiet girl. It was like having your child comfort you, only she seemed also so much older than her body. And she seemed infinitely sad. She tried running her little hands down inside my shirt, fumbling for my nipples. I wondered if maybe it was just a ruse to pick my pocket. Other girls were fondling people in the audience, men  and women alike. I imagined little magpie hands running over jewelry and rings and private parts.

Finally the gypsy woman said something to Annie. Annie said something harsh back to her. Then Annie leaned over to me, looking at the girl with new interest. “She wants to sell her to you.”

“Yes. I assumed that. I’m not interested.”

“I don’t think you understand.”

“Oh yes, I do. The youngest member of the oldest profession — correct?”  I felt worldly and ashamed at my callousness at the same time.

“Not correct. You forget perhaps where you are. What you are. The gypsy woman is offering the girl, not just her body.  She wants you to buy the girl, take her away from here.”

The gypsy woman misread the look of astonishment on my face, for she began talking very fast to Annie, and hissing something at the girl, who stared at me, then caught herself and looked down at her feet.

The girl reached to her knees for the end of her shift and a little two quickly pulled it over her head.  She was more voluptuous than the other girls we’d seen, with fuller breasts and pronounced hips. I didn’t look below her waist. The gypsy woman took her by the shoulders and turned her around. Skinny back, very straight, with several distinct rows of small thin scars. She was standing on her toes, I noticed, perhaps trying to make herself more for the money.

“Annie, what’s going on? I’m no white slaver, for Chrissakes. This isn’t ancient Rome  — or Byzantium —“

“Oh yes it is. Nothing changes here. But listen: she tells me this is her daughter. Her own daughter. Liane.  The others — merchandise. But the woman wants you to take the girl away from this.”

“How, for God’s sake. This is insane–“

“Away from what waits for her here.”

Indeed, just before she said that we had all heard two quick stifled screams from the tower. Then a longer drawn out one. Almost in time to the music, almost drowned out by it.

“You want Frau Begus to doctor this one, too?”

This girl had turned around again, at first covering herself with her hands, then, with a start, uncovering herself, dropping her hands to her sides. I stared at her, appalled even to have to imagine such a choice.

I found the gypsy woman looking at me now. I couldn’t read her face, but it had the same expression I’d noticed when she smiled at me at the door. As if I were special to her.  How did she know that?  What did she know that I didn’t know?

“Listen.” It was Annie again, sounding tired. “I got carried away. Forget it. This will happen again and again.  You must do only what you want in this city. The others here, they’re doing what they want. No one wants girls — except, of course, Frau Begus.”

Annie turned away quickly, clutching at her husband who seemed oblivious to the whole exchange. She stole one more long look at the little girl and seemed to shudder. Her husband put his arm around her.

I didn’t notice how much time had passed when a tall gray-haired man returned with one of the girls, then two men with boys. The children stayed at the doorway looking matter of fact. The men took their places in the audience quietly for the most part. Frau Begus and Ian returned more noisily. More clapping and laughter from their friends. The girl was dressed in a shift and her makeup had run about the eyes. She looked curiously innocent. She tried a brave smile as she entered the room, but her eyes filled with tears that sparkled in the light and she turned away.

“Well, what would you have done with her, dear?” I heard Ian say to a man next to him.

Frau Begus was showing something in her case to a nondescript man with spectacles. “The finest ivory,” she was saying, “perhaps a bit much for a young one, eh?  But just right I’m sure for you, if you’d like, my dear?” Her smile seemed genuine, almost solicitous. I wondered if I were mishearing the conversation, inventing it from some unspeakable parts of myself.

We left the house long after midnight. The moon was lower and the walls cast deep shadows over the streets. I was exhausted, barely able to make my legs work right and for a while trailed behind the rest. I tried not to think about the horrors the walls had witnessed, but I kept imagining the anguish, the cleavered limbs and heads falling to the bloody pools at the base of the towers, being washed out to sea.

Pariah dogs slunk across the streets, looking sideways at us. I was reminded of the look the gypsy woman gave me when I left, the look you give someone you think is mean and petty, too righteous to care. I felt sick. The tram station was empty and stayed that way. A taxi passed and we crowded into it. Except, that is, Ian and Frau Begus who elected to stay and try another place.

“It’s almost as if they tempt the fates,” I said to Prescott, “asking to get hurt.”

“For a change, Lewis, you got something right. Not that you would understand, of course. But for them that, too, is a kind of escape from the obligations of what we call civilization.”

—Robert Miner

———————————————-

Robert Miner has published two novels, MOTHERS DAY and EXES , worked at Newsweek, and has written for The New York Times, The Washington Post, Newsday, Esquire, Outside, Adirondack Life, Redbook, Glamour, etc.  MOTHERS DAY was nominated for the National Book Critics Circle Award. The New York times called it “relentlessly savage…picaresquely comic,” the Financial Times of London found it “extremely funny…an extraordinary first novel.”

Oct 122013
 

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

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

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

Think about this as you read the story.

dg

—-

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

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

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

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

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

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

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

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

“Where do you live, Martha?”

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

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

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

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

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

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

“Why only half? Am I half a friend?”

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

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

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

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

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

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

“I just want to watch the professionals.”

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

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

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

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

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

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

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

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

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

“Fuck off. I’m having fun.”

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

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

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

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

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

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

His face finally softened.

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

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

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

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

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

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

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

“You like chihuahuas?” she said.

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

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

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

“Let’s get a pizza!” he shouted.

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

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

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

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

“Who’s Tubby?”

“Huh?”

He turned the clip and showed her.

“Oh, just an old friend.”

“He owed you money?”

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

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

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

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

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

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

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

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

He beat the floor at his side.

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

“No,” he said. “It’s worse.”

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

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

“Can’t or won’t?”

“Ahhhh.”

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

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

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

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

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

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

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

 —Greg Gerke
———————
Greg Gerke’s fiction and non-fiction has appeared or is forthcoming in Tin House, The Kenyon Review OnlineDenver Quarterly, Quarterly West, Mississippi Review, LIT, Film Comment, and others.
Sep 082013
 

Editor’s Note:  Herewith, the opening section of Robert Day’s novel Let Us Imagine Lost Love, which we published in its entirety as a serial novel from September, 2013, to April, 2014. The novel remained online until August, 2014, at which point, as per our original agreement with the author, we deleted all the segments except for the first. We have left this opening segment, just as it was published, for your entertainment and to celebrate the amazing experience we had putting this book together. This was a first for Numéro Cinq, our first full length novel, our first serial novel — exciting times, wonderful experience watching the novel unfold month by month.

Bookbinding header, color-001

In the tradition of Charles Dickens and any number of 19th century novelists who wrote those triple-decker novels first published in serial form in magazines, Numéro Cinq today launches Robert Day’s new novel Let Us Imagine Lost Love, which will appear here in seven monthly parts. This is the long awaited follow-up to Day’s wondrous and acclaimed first novel The Last Cattle Drive; it’s not a sequel, but in Let Us Imagine Lost Love, Day returns to his native Kansas, of which he is a wry, witty and affectionate observer. His narrator is a book designer, who loves the jargon and paraphernalia of his profession, a man without a wife but a string of Wednesday lovers, his “Plaza wives,” he calls them. At his back, as we learn in the opening sequence, is a strong-willed Kansas mother who made him memorize three words a day and wouldn’t think of letting him go east to college (he ends up at Emporia State Teachers College). But this is vintage Robert Day: the humor is dry yet generous, the dialogue is laconic but rich with implication. You shouldn’t miss skinny dipping with Melinda or Tina, the narrator’s college girlfriend who would only begin to take her clothes off over the telephone (those innocent days). And stay tuned for the next installment.

dg

Part One: My Cosmic Smoke Signal

Since You Asked and I Promised: Here’s How It’s Turned Out

These days I design books.  Gutters and “case backs,” “rivers” and “verso,” “quarto,” and “signature” are the nomenclature of my trade.  Or were when I started.  “Format” and “galley proof.” Pocket Pal and Rookledge’s Type Designers are my codices.

I understand I am un-hip in my patois, as if I were to use “Hi-Fi” instead of “stereo”—which I do.   “Mono,” I am told by Lillian, my sister’s late-in-life daughter, is a disease.  It used to be music as well:  the kind that came from the lid of a forty-five record player:  Memories Are Made of ThisScotch and Soda.

At first I worked at Hallmark here in Kansas City.  Now I freelance.   My Plaza apartment is my office. The Country Club Plaza, Kansas City, Missouri.  Mr. and Mrs. Bridge’s domain.  Calvin Trillin slurping a frosty at Winstead’s.  Edward Dahlberg pissing and moaning about the city.

At Hallmark I designed “favorites:” 20 Favorite Poems by Shakespeare. 100 Favorite Love Poems. 50 Favorite Words of Wisdom. 100 Famous Quotations By American Women.   I also designed “paths”:  50 Paths to Wisdom.  25 Paths to Bliss.  No one suggested 50 Ways to Leave Your Lover. Or even one.  

I was not cynical about such work then, nor am I now.   When you grow up with webbed aluminum lawn chairs and a pedestal-mounted blue glass globe in your front yard, an Irish father who talked to himself but not much to anybody else (“I’m talking to a smart man when I’m talking to myself”), and a Polish mother who saved coins in Mogen David wine jars, you gain perspective. If my book buyers want their wisdom flush left in purse-sized octavos, who am I to judge?  We all have our paths.

I design address books.  I do not design novels.  I design recording calendars, sometimes called “agendas.”  I do not design memoirs (fictional or not). I do not design auto repair manuals.  Or medical texts.  I design exhibition catalogues: A Painter’s Room of My Own. Coffee table books: The Stalls of the Seine (into which I cut and pasted some of my own books that were—as far as I know—never there, unless you count them being vicariously there—which I do). More: Joyce’s Paris. Small Hotels of Italy. A Place in the World Called Seville.  And once, a tiny duodecimo for autographs.

I win awards. I am well paid.   I am praised for my “tailored elegance.” For “combining utility with beauty”:  For “fusing” the well-known  (a Degas auto point that looks like Allen Ginsberg as Allen Ginsberg got older) with an obscure Franz  Beckman auto point.

Among my favorite projects have been two “Abecedarians.”  One was about painting: M was for Matisse: with a young woman in an afternoon pose; a second was about writers whose pictures appeared like a water mark behind their letters with their text at the bottom:  C was for Chekhov: “It was said that a new person had appeared on the sea front: a lady with a dog.”

But my favorites are “Blanks”— books with empty pages for memoirs to be written or diaries to be kept.  Or not. I am Mr. Tabula Rasa of Kansas City.  And other cities as well.

Over the years I have spread into various rooms:  computers, scanners, light tables, and a recently purchased color copier configured to print and bind books.  With that addition I am a one-man, limited edition, publishing firm: Blanche de Blank Books, the bit of French added for a bit of cache, if not for Stella Kowalski’s sister.

This week I am finishing a series of “Artist Blanks,” each with a picture or text as the cover:  Van Gogh’s portrait on a sketch book. John Donne (I long to talk to some lover’s ghost who died before the God of love was born) for poets.  Notes from Pachebel’s Canon (it’s in fashion again).  I am trying to decide if Chekhov should be a short story writer or a playwright.

—Did you do this? my sister Elaine  asked when she and her husband Gerhard had me for dinner.

It was a coffee table book that featured paintings of women in New York museums: Madame X from the Metropolitan, a Vermeer from the Frick.  Picasso’s Two Nudes from MOMA.  Others. I had been inspired by an old Playboy photo series: The Women of Rome (they were riding topless on Vespas); The Women of San Francisco (they were hanging out of both their blouses and the cable cars on which they rode).

—Not that you always “fess up,” she said.

—Yes, I said.

—Lovely, she said.  I keep it out.

My sister’s diary, an early Blank of mine (a garden motif with both plants and flowers as a running head and end papers), also in the living room that night was (I took a peek) blank:  Hours without alphabets. Days without words. Impatiens without patience.  It was sitting next to another book I designed on the gardens in Tuscany, but since Elaine did not ask about either of them, I said nothing.

I like what I do.  There is a pleasing philistine sensibility about a well- designed, large-format book that features the flora and fauna from the French impressionist period.  The philistine sensibility is not in the book, but in the plush homes and apartments where Monet’s Water Lilies or Fantin LaTour’s Still Lives languish.  I test my designs against the horizontal of coffee tables, not the vertical of bookshelves.

At first, I would use an alphabet soup of Bs and Es and Ts and Hs on the page to make sure the design was working, even if the book itself might never find work. For recent projects I have been using authors I am reading:  Walker Percy, William Carlos Williams, Anton Chekhov.  Today I used Joyce Cary:  The Horse’s Mouth.  Gully Jimson.

I could scan these texts, but when Chekhov goes up my fingertips to the radial nerve, then through the brachial plexus, he arrives at my temporal lobe with all his faculties in intact.   Give me fifty words and I am the doctor in Ward Six.  A hundred words later I am Doctor Chekhov. Five hundred (plus a pull of vodka), and I am Mother Russia. The transmigration of texts.

Before I send the final designs to the publisher I “delete” and “expunge” Gulley’s London, Percy’s New Orleans, or Chekhov’s Yalta.  I don’t want my editors to know whose verbal masks I wear at work.

Nor do I want the finished book:  my contracts specify that I shall not get complimentary copies, nor credited with the design.   When I see my books I want it to be by chance, as in my sister asking:  Did you do this?  Or the other day in Barnes and Noble on the Plaza where I take coffee and browse:

—Lovely, isn’t it? said the elegant blond check-out woman when I bought a copy of my remaindered The Table of Chez Panisse.   Then, looking at me, she said:

—You’re somebody, aren’t you?

—Yes, I said.  She smiled, took a second look, but could not place me. It might come to her because Picnic is playing at the art theater nearby.

—I thought so, she said.

 Serendipity is my favorite royalty. Even if I don’t make use of fortuitous coincidences.  In this case the actor she has half in mind is fully dead.

—What are you working on now? Elaine asked.

Gerhard was in the kitchen with Rosetta (a cleaning woman we share) fixing martinis out of Sean Connery movies.   I have agreed to come “a few minutes early to talk entre nous.”

About the time the martinis are to be wheeled in, my “date” will arrive—a woman my sister tells me makes her own sweaters.  As the day has been surprisingly cool, she might be wearing one.  The evening is one of Elaine’s attempts to “hook me up” (my niece’s language).   Elaine wants me to  “settle down” with someone “solid,” someone with whom we can all travel.  I don’t travel.

—I’m designing an agenda for the Nelson-Atkins’s spring show. Also a book for a friend.

— It’s only August, she said.

—They need lead time, I said.

My sister studied me for a moment.  She and Gerhard are on the board of the Nelson and she probably knows about the spring show and its featured painter.  She is waiting for me to “fess up.”  I don’t. I had expected she’d ask about the “friend,” but she seems to have been distracted.

—Anything else?

—Freelance proposals, I said.  What would you think of a diary using Tom Lehrer Songs across the top:  “It Just Takes a Smidgen to Poison a Pigeon.”

—Too mean, my sister said. Shame on you.

My sister has a “suppressed” smile; she holds her lips together and that makes the rest of her face—eyes, nose, ears—break into a bemused grin. She might have been smiling under her hairdo.

—How about an agenda of Keane women coupled with Rod McKuen’s poetry? I said.

—Very too mean, she said.

I don’t tell her that for my amusement I’ve designed both:  The Vatican Rag with Paranisi prints; and The Shadow of Your Smile Meets the Windmill of Your Mind, using the big-eyed Keanes. They were practice for this very Blank which, when done, I will send it to Blanche de Blank Books. I knew I was on the right track when a cosmic high-sign smoke signal curled off my Latin language dialog dashes.

—Steve tells me the Keanes are in fashion again, said my sister just as their dog Precious limped into the room, came over to me, barked once and sat down.

—What’s the matter?

—She got a thorn in her paw this afternoon and we were waiting for you to take it out.

—Let me see, I said and made a rollover motion.  It’s not a thorn but a piece of glass.

—Should I haven taken her to the vet?  She’s afraid of the vet, she’s not afraid of you. It’s probably in her genes.   And you know how to…

—Get me some Neosporin, tweezers, and a paper towel.

When Elaine returned, I took out the glass, cleaned the cut, and filled it with Neosporin—all the while Precious was calm, only barking once from her back at the syncopated chime of the doorbell.

—My hero, my brother, Elaine said as 007’s martinis were wheeled in.

The Go-Slow Guide to William Allen White’s Town 

I had not been good enough in high school to go “East” for college.  My father had hoped for a scholarship to Yale or Harvard: an Ivy League education is to a young man from Kansas what a rich marriage is to a young woman.  It went unsaid that the young man in question was thought none-too-bright.

My father’s ambition had been fueled beyond reason because Steve had earned a scholarship to Princeton three years before, and a year later Elaine would win one to Vassar.  As for my mother, she discovered that any college in Kansas had to take you if you had graduated from a state high school.

—I think he should stay in our domain, she’d say, using one of the ubiquitous words she was forever trying to teach us.

—He should go East, my father would say without—I would learn later—any sense of history or irony: “Go East,” you could hear him say summer evenings in our front yard as he drank his beer on one of the two folding aluminum lawn chairs he had arranged on either side of the glass globe.

—I think he should stay in our environs, my mother would say from her kitchen window as she did the dishes.

I was often talked about in the third person

The summer after my high school graduation, I lived at home, not being a bother to my parents—in fact being considerable help when not life guarding at the municipal pool.

When my mother had to stay late at the county office where she was a clerk, I worked through her Chore List: “Start potatoes at 350, scrub them smooth”; “wipe kitchen counter, make it sparkle”; “shake throw rugs, make dust flit”). I didn’t know what I was going to do with my life, but I didn’t fret about it. I didn’t hang around my room looking into a tank of goldfish.

I mowed the lawn, painted the basement walls, cleaned out the attic, hung laundry on the clothesline, and ran errands. I picked Elaine up at the airport when she flew back for a visit. Some days I fixed flats, pumped gas and changed oil at my father’s garage and filling station.  There were evenings when I would help him restore an old Studebaker Champion convertible in which he had courted my mother.

—I bought it back, he would say routinely as we’d come into the shop.

At the swimming pool, I saved a boy out of the deep end bottom but never said anything about it until my father saw it as a news item in the local paper.

—Was that you? he said, reading the paper in his lawn chair.

—What? said my mother through the open window.

I was the kind of kid who did not explain himself.  Apparently I was saving myself.

The evenings I had off from the pool, I ran a movie projector for Al Roster who owned the local theater.

—You see Melinda in the back? he said

—Yes.

—Watch Bones McCall slip his hand into her blouse.

I watched.

—Watch how Melinda takes a breath.

I watched. Melinda tilted her head back and closed her eyes.  Bones stared straight ahead.  The movie was April Love.

Later that summer I got a few dates with Melinda as she didn’t seem to be going steady with Bones.  We’d take in a movie, and afterwards drive to Winstead’s on the Plaza for a hamburger, fries, and a frosty. I had a key to the pool so we’d go for a swim after it had closed.

Melinda wouldn’t skinny dip, but she’d pull down top of her bathing-suit.  I watched the way the underwater lights sparkled and bubbled around her breasts; I watched the way the bubbles cleared, and in so doing revealed her.

—When are we going to meet your girlfriend? my mother asked.

—She’s not my girlfriend.

—What is she? asked my mother.

Instead of an answer, I told her I had been accepted at Emporia State Teacher’s College for the fall semester.

—William Allen White’s town, my father would say by way of explaining my fate to his customers.  “Emporia,” he would say in the evenings polishing the blue globe with a clean red shop rag.  “William Allen White’s town.”

—You’ll need a dictionary, my mother said.  Pick three words a day, even if you think you know them.   But not in alphabetical order. That way you won’t get bored.  Open the dictionary, find a word, learn it, and then write it on a slip of paper.  Like a bookmark. Do you know what domain means? Do you know what plethora means? You need to make up for the words you missed.

She was referring to a grade-school year when I was a sickly child with an acute case of tonsillitis (probably misdiagnosed, now that I know better) that resulted in earaches, high fevers and many days absent from class.

—Words make a life, my mother would say, as much a mantra for herself as “go East” was for my father.  Words make a life, she’d say washing the evening’s dishes while drinking the last of her Mogen David. Do you know what divined means?

One night toward the end of summer, Al Roster came to the pool.  The evening had been chilly and there weren’t many swimmers left. We were about to close.  The manager had gone home. Al was waiting at the turnstile. We walked out and stood by my car—a used Ford that had been a family hand-me-down from my father’s garage.

—I’ll pay you a wage, said Al.  No more hourly.  Full time work.

He wanted to expand.  He was going to buy a theater in Overland Park and, after that, one in Roeland Park.  Someday I could have a “cut of the net.”

—There’s a future for you in movies, Al said.  And plenty of Melindas to watch. What’s an education good for these days?  Nothing but trouble.

He made a pair of binoculars with his fists and peered at the ground. —Plus all the popcorn you can eat.

That fall I drove to William Allen White’s town.

—Your grandmother was a teacher in western Kansas, my father said by way of goodbye.

—Teachers and government workers always have employment, my mother said.  Don’t forget:  three words a day from the dictionary I bought you.  It’s just like mine, so we can keep in conjunction.

Bottle James

When I got Emporia I took a room with Hulga, an Estonian who lived in a house her contractor son had built with the idea she could rent rooms to college students.  There were six of us.  I lived in the refurbished garage with Bottle James, whose car was a floating couch of a blue, four-door Hudson Hornet.  His real name is John Lee James, but he was called “Bottle” by the time I arrived.

—Hulga started it, he said. It’s because I booze.  Want a pull?  Vodka.

—No thanks.

Bottle James built sets for the college theater and he had remodeled the garage with bookcases and desks arranged throughout.  But he didn’t use them.

—No books, he said.

—How so?

—Library.  I have a place in the scene shop where I study.  Most of the time I sleep there.  I live on air.  Air and booze. Want a pull?

—No thanks.

—I’m going to Hollywood, he said. One night I’ll be acting the star role for the set I’m building, and the director will come along with an actress he’s going to ball and hear me.  That’s how I’ll get my break.  Then I’ll ball the actress.  In the meantime, use the place.  I built it as a set for somebody who’s into books and desks and pads on desks—and those calendars you flip over for every fucking day in the week of your life.  That’s not me.  We split the phone bill.  What’s that?

—A record player.  Plays both thirty-threes and forty-fives.  The speaker’s in the lid.

I unfolded it.

—You got forty fives?  Don’t tell me you got Dean Martin?

I didn’t tell him I had Dean Martin.

—That your Hudson in the driveway? I asked.

—Yes.  The last of its kind.  Next year I’m going to take it to Hollywood to scout the place.

I put my mother’s dictionary (Webster’s New World, College Edition) in the middle of the desk by the window.  I put out one of those calendars you flip over for every fucking day in the week of your life. I arranged my textbooks in the shelves.   I became a student with ease: English, psychology, history, general science, I liked it.  Especially History.  And three words a day: enigmatic, penultimate, erudition.

I Have Never Married

From the balcony that runs the length of my Plaza apartment I can see south across Brush Creek to my sister’s house in the neighborhood of Paul Newman and Joanne Woodward—as  well as Ernest Hemingway finishing A Farewell to Arms.  East is the Nelson-Atkins Museum.  West is the Kansas line. I cannot see the ten miles to our old house in Merriam.

To the north is Westport where the Santa Fe Trail started. By leaning over my railing I can see the Westport Inn  (now called Kelly’s Tavern), and next to it Jim Bridger’s “historic” outfitting store.  I am told that in the late nineteen seventies a cattle drive came in from western Kansas and wound up at Kelly’s.  I doubt it. But I like to doubt.

I have never married.  I have had—and am having—a series of Wednesday afternoon affairs.  My Plaza wives.  Nothing solid.  No one with whom to travel. All married.

Not long ago, I bought a second apartment in my building.  Across and down the hall.  It is smaller.  No balcony.   Still, it is pleasant in its way.

I do not rent it, nor do I intend to.  I have made it a showcase (complete with a stylish coffee table and two excellent end tables) for the books I have designed. I also arrange the gifts I get from my Wednesday wives:  French jams and Spanish olives and Belgian chocolate truffles they buy me at the Better Cheddar and bring to our assignations.  Soaps and body lotions from Williams Sonoma.  Bottles of wine if they need aging.  Tins of foie gras.  Silk flowers. Provençal napkins, Sardinian grappa.   What these women give me is their lingua franca for who they are; I know this, they do not.

A Guide to Housing, Circa 1960’s

Emporia was my father’s webbed lawn chair.  There was an honest earnestness to the town, and to the college.  The students were not worldly and not knowing so.  The boys talked about cars and girls; the girls talked about boys and lipstick.  Our education did not lead to an education. That year I found erudite in my mother’s dictionary (page 494) and thought that is not me (nor “not I,” as I would later learn).  Only Bottle James complained of Dean Martin:  The rest of us were happy with Ray Coniff and Johnny Mathis.  We were provincial and didn’t know it.  Nor the word. The Kingston Trio had not yet left the Seine. Joan Baez didn’t yet have a ribbon in her hair.

Tina, Hulga’s daughter, lived in an upstairs room of the main house.  There was a rumor that her father was a Professor Humbolt who had died in bed with Hulga the night of Tina’s conception.  You could see Professor Humbolt’s portrait in the History Department where each year at graduation a prize was awarded in his name.  By the dates on the portrait, Professor Humbolt had been dead long enough to be Tina’s father.  I never asked.

—Forget about balling Tina, said Bottle. Everybody’s tried.  Me included.

—She dating somebody?

—It’s because her father had a heart attack getting laid by Hulga and she’s afraid.

—She’s afraid she’ll die getting balled?

—You got to be afraid of something.

Tina was tall, had brown hair, a thin-lipped smile, and walked with a slight bump and grind.   Her hips seemed to be moving even when she was standing still.

—I’m afraid, Tina said.

—Of what?

—I don’t know.

—I do.

—What?

—You’re afraid of being naked in front of me.

—It’s just not right.

—You’re afraid of being embarrassed of me being naked in front of you.

—What happens if I get a disease?  Or pregnant.

—You’re afraid that you don’t know how to do it.

—Do you?

—I have a plan.

—What?

By Thanksgiving, Tina would unbutton her blouse while we were talking on the phone, me in the garage, she in her bedroom a hundred feet away.

—Will you take it off?

—No.

My record player lid was singing “When I Fall in Love.”

.

—Mother says you have a girlfriend, my sister said when we were back for the summer.  From Emporia.

—Not really.  Sort of.

—Have you…

—We’re working on it.

—I was about to say: “Have you thought about bringing her home?”

—No.

We were sitting on our mother’s chartreuse couch; she was still at the Water Department; our father was at the garage putting chains on tires.  Steve was spending Christmas in Cambridge working at a law firm.   I had picked up Elaine from the airport two days before. My sister seemed different, but I didn’t say so.

When you are a young man trying to get used to your body and what it wants, it is difficult to understand how strangely you behave. Tina taking off her clothes at the end of the phone line would not be all that ”kinky” today (as in the bumper sticker I saw on an art student’s car the other day at the Art Institute:  “It’s Only Kinky The First Time”).  But sitting next to my sister it seemed something I should be ashamed of.  Better to go swimming with Melinda.  And since “kinky” was not in my mother’s dictionary, nor in the lexicon of the sixties, I could not name the nature of my unease.  Nor, given my Wednesday wives, can I now.

—Are you in love? said my sister.

—No.

—I might be, she said.

—Have you…?

—I’m thinking about it, she said.

—Do you know about men? I said.

—I’m learning, she said.  From you.

Before she flew back East, Elaine asked me to drive her to Winstead’s for a Frosty; then into the hills behind the Plaza on the south side where the expensive houses are.  Our parents did not spend their Sundays “Wish Book” driving.  But both Elaine and I had friends whose parents did, and one of Elaine’s high school boyfriends took her for such rides.

—Do you want to live in houses like this? Elaine asked me we curved among the lawn-clipped mansions of Mission Hills, then down toward the Plaza and past the house where one day Precious would need to have a gash cleaned.

—I don’t think about it.

—Really.  Don’t you think about what you’ll be like when you are mother and father’s age?

—I don’t.

—How strange, she said.  Is it because you boys are always thinking about girls?  Not about getting married to them or anything like that.  Not about houses where you’ll raise children.  Just about girls…well, you know what I mean.

I had never heard my sister talk like this.  I wondered if that was what was different about her.  She had turned a corner at Vassar and ahead of her was life: a curved driveway sweeping through a manicured lawn.  And for her, life was the future with the past going out of view in the rear view mirror of my old Ford as we drove toward home.

Then I said something beyond my years; even as I said it I knew I didn’t fully understand its implications.

—You don’t grow up all at once.  It takes a lot of not growing up along the way to get there.   I think the trick is…

Then I remember not knowing what to say next.

—Will you let me meet Tina? My sister asked as we turned back onto Johnson Drive toward Lowell.

—No.

—Then it’s not right, she said.  For her or for you.

 But this was after she had been silent most of the way home, and then said: “Turn here—” just as we reached Lowell, as if somehow I would not have known how to get to our house.

Swimming Pools and the Practice of Medicine

I completed my first year at Emporia and came home for the summer to lifeguard.  Melinda did not.   But there were other girls to take to the movies and then for a late-night swim.  I tell my parents I am studying to be a high school history teacher.

—American history? asked my mother.

—Yes.

—Real American history? asked my father.  With heroes.

—Yes.

—And your words?  Three a day, said my mother.  You don’t want to be a rube.

—I left the dictionary in Emporia, I said.

—We can share, my mother said.

—When will we meet your girlfriend? asked my father.

—I don’t have a girlfriend.

—Who do you talk to on the phone? asked my mother.

—A friend from college whose father was in the History Department.

Our words started with alacrity, propensity, and serendipity.  A big week for the suffix.

Clarence Day and Berkeley: An Introduction to a Memoir

—Your uncle Conroy writes that he has a fellowship if you earned good grades in science, my mother said one day when I came home from the pool for lunch.  It pays wages and you get college credit. My mother said this without much enthusiasm.   She was holding the letter and reading it a second and third time.

Uncle Conroy was my mother’s older brother, a pediatric researcher of international fame. In the cultural gulf between our linoleum-floor life in Merriam, Kansas, and Doctor Conroy Watkins directing a celebrated pediatric research lab in Berkeley, California, there was a pleasing pride—as if in our small house on Lowell we had a first edition signed by Clarence Day.

—Let me see, my father said, who was home for lunch.

—At the University of California at Berkeley, said my mother.

I have an hour before I have to be back at the pool.  After closing I am to take Muff LaRue to the Plaza.   It is our first date.  We will drive back to the pool for a swim.  I am told by Bones she goes all the way.

—That’s what it says, said my father.  A fellowship in Conroy’s research lab that could lead to medical school.  He should get there as soon as possible for training.

—I don’t know that General Science counts, said my mother.

—Two semesters of A’s, my father said.

—He’ll need some lessons in manners if he goes, said my mother. Aunt Lillian will have more than one fork at dinner.  They don’t “just eat” in a society like hers.  They bring food to their mouth and not their mouth to the food.

I seem not to be present, even in the third person.

.

—I am going to be a doctor, I said to Muff LaRue as I unlocked the gates to the pool.

Muff dove in fully clothed and swam to the deep end.  When she got there she pulled herself out and said if I’d turn off the lights she’d skinny dip.  I flipped switches.

—I’ve never dated a doctor, she said.  What kind of doctor?

She walked to the end of the low board.  She took off her shorts and tossed them on the deck.  Then she pulled her t-shirt over her head and threw it in the pool.

—A surgeon.  I am going to Cal-Berkeley to be a surgeon.

I was treading water beneath her.

—I’m going to Sarah Lawrence to study classics.  If you have a rubber I’ll do it with you, she said.  A rubber and an air float.

She was trying to decide, long before Cybill Shepherd, whether to take off her bra next or her panties.  Not that she is shy about it.  Just before she dove in she laughed—a deep, throaty laugh.

.

It took me a few days to quit the pool and pack.  I drove to Emporia to pick up the record player, records, clothes, and my dictionary. I told Hulga I would not be back in the fall. Tina had gone to western Kansas to visit her grandmother.  Later that week, I parked the car at my father’s garage and took the bus to San Francisco.  My uncle met me at the station.

—So you might want to be a doctor? he said.

—I don’t know, I said.

We were driving over the Bay Bridge toward the East Bay.  You have to be a young man from a small Kansas town to understand how astonishing it is to see San Francisco Bay for the first time.  There is nonchalance about its grandeur.

When I said I didn’t know if I wanted to be a doctor to one of the most famous and accomplished physicians in America, a man who had probably made special arrangements to get me a fellowship I did not deserve, it sounds, even at this distance, something Californian-sixties:  Mellow. Really, man.  Yeah. Wow. Far out.  That’s not what I meant. Perhaps I thought—as we crossed the Bay Bridge to the East Bay—that if I couldn’t be a doctor like Uncle Conroy, I didn’t want to be a doctor.  I’d like to think that now.

—I don’t mean. . . I said as we drove up Grove Avenue past the lab where I would be working.

—I understand, he said. Don’t worry about your future.  It is always there.

—Thank you, I said.

—That is the hospital with which the lab is associated, my Uncle said as we passed by. And that’s where you can get a cup of coffee.

On the other side of the street was an all-night diner, its neon sign proclaiming:  MEL’S.

From Grove we drove into the Berkeley Hills behind the Claremont Hotel to my aunt and uncle’s house overlooking the Bay.  It was where I lived until just before the fall semester began when I rented a room on Derby.

 The Thor:  An Owner’s Manual

The other day Elaine and I drove to our home in Merriam.   I don’t have a car, so we used hers.  The house is twenty minutes west across the state line, 505 Lowell.

On previous trips we noticed the place was vacant; drapes pulled, its lawn not mowed.  I am thinking about buying it but I have not told my sister.   It might take me awhile to find the owner.  There was no “For Sale” sign.

505 Lowell is a small ranch affair with a one-car garage.  There is a basement my father refinished so my brother and I could have rooms of our own. They were on either side of the furnace out of which heating ducts ran upstairs.   When my mother wanted to talk to us she would speak into one of the floor registers; the one in the kitchen went to my room; the one in the living room worked for Steve.  When my mother made a mistake it was our joke to say “wrong number” and beat on the heating ducts. My sister lived upstairs and down the hall from our parents.

Steve and I had small windows onto the lawn.  After a few years our father refinished the front part of the basement with brown vinyl paneling, making it into a “rec room.”  There was a ping-pong table, a sofa on which Elaine necked with her boyfriends, and the portable forty-five record player that each of us would claim and that I took to Emporia:  “Summer Place.”  “Misty.”

We sold the house after my mother died; Steve wanted the money; my sister had married and moved to Mission Hills.  I wanted to keep it but didn’t say so.

The glass globe is gone, but the Christmas tree my father planted when Elaine was born is still there—now more than forty feet tall.   The wooden awnings he made to celebrate Steve’s birth are gone and the gravel driveway has been blacktopped, but as far as I know they are the only changes in all these years. Precious’ great grandmother is buried in the backyard.

Like the apartment, I would not rent the house. I’d furnish it with a chartreuse davenport and matching end tables on either side. Webbed aluminum lawn chairs. Early Ozzie and Harriet. The Thor All Purpose Domestic Appliance. We could probably get most of what we need from yard sales. Or E-Bay, if I did the Internet. Elaine has the record player in her attic.

—What happened to his globe? my sister said as we turned down Lowell from Johnson Drive.

—I don’t know, I said.

—And the Thor?

—It went to the garage when he died, I said.  It wasn’t there when mother died.  I expect the new owner had it hauled away.

—I got a tree and Steve got awnings, my sister said.  She leaves it unsaid that I got nothing.

Elaine and I have gone over all this before.  The furniture of memories:  familiar roads, familiar talk. The yard sale of our lives.  The repetition is pleasing:  even the pauses between us have been there before.  I should do a Blank: Silences.  Use stills from Woody Allen’s Interiors. Or Pakula’s Klute.

The Thor was a combination dishwasher, washing machine, vacuum cleaner, and clothes dryer. A round, menacing contraption, it was mounted on four hard rubber wheels that had to be locked before starting it.  The lid looked like a submarine hatch; the body a tank turret.  It took my father and two neighbors to carry it into the kitchen.  It was our mother’s anniversary present.  The following Christmas, he bought her a Western Flyer lawn mower.

Elaine and I have come to the end of Lowell and are making a turn down the hill at 52nd street.  Some trips she asks about the Thor, other trips she talks about the glass globe. Because she has brought up both, I wonder if she senses I am thinking of buying the house.

—Do you remember when the Thor attacked us? my sister asked as we took a right turn up Newton to take a left on Johnson Drive past the corner where my father’s filling station had been, but where is now a visitor’s parking lot for our high school across the street.  She has said this before.

—Yes, I said.

—Where did he get it?

—A friend of his in the military made them after the war, I said.

I have said this before.

We are a blank of silence the fifteen-minute length of Johnson Drive to Fairway Manor.

—I knew about you and Muff LaRue, my sister said as we crossed State Line road, then down Ward Parkway, along Brush Creek and into the Plaza.

Just as my sister and I repeat ourselves, it is also our routine to add something on our drives. Muff LaRue is what she has added.  I am wondering what I should add.  Not about buying the house, I decide.

—I’ll walk from here, I said.

Elaine has stopped at the corner of 48th street and Jefferson near the sitting bronze of Ben Franklin and across from a series of amusing busts atop an apartment building just out of reach of the “building covenant” of the Plaza.  In recent days a local rapper of national fame has been chanting up and down the streets, and my sister and I see him heading our way, his spray-dyed red hair bobbing and jerking.

—Did you know I knew about you and Muff? she said.

—I did, I said.

But I did not.  It is not that I lie to my sister, it is that. . ..well, what is it?   She is literal and I am not.  Some of my life needs to be fiction, and my sister is my best reader. I take that back:  I am my best reader, but I need someone to doubt me.  Present company excluded.

—I don’t believe you, Elaine said.

—Did you know about Melinda? I said.

—I do now, she said.

—Ben Franklin wrote an essay on the virtues of older women, I said as the rapper got closer.

It was what I have decided to add.

—Did he?

—Yes.

—Life comes around, Elaine said as I got out of the car.  Muff LaRue has moved back to the Plaza and wants to meet you.

Design Proposal for Blanche de Blank Books: One of X

1. Title:  My Cosmic Smoke Signal

A.   Quarto:   Neither paginated nor cut.  Acid free paper.

B.  Where a Section ends, there is a line drawing of your paintings (or segments of those paintings) mentioned in the text but scrambled so they are not where they are cited.

C. Typeface for text:  Bookman (old style).  14 point.

D.  Watermark: interlined subliminal text from California when facing text is Kansas, and vice versa.

E.  Typeface for watermark: Book (Antiqua, Italics). 10 point.

F.  Sample Text: “Clouds all streaming away like ghost fish under ice.  Evening sun turning reddish.  Trees along the hard like old copper.  Old willows leaves shaking up and down in the breeze, making shadows on the ones below, reflections on the ones above.  Need a tricky brush to give the effect and what would be the good.  Pissarro’s job, not mine.”  —Gully Jimson

G.  Edition Binding.  Title embossed in gold.

—Robert Day

Bookbinding header, color-001

Robert Day’s most recent book is Where I Am Now, a collection of short fiction published by the University of Missouri-Kansas City BookMark Press. Booklist wrote: “Day’s smart and lovely writing effortlessly animates his characters, hinting at their secrets and coyly dangling a glimpse of rich and story-filled lives in front of his readers.” And Publisher’s Weekly observed: “Day’s prose feels fresh and compelling making for warmly appealing stories.”

The novel banners at top and bottom are by Bruce Hiscock.

Aug 182013
 

Ann Ireland

Part way through the opening chapter of Ann Ireland‘s novel The Instructor, the narrator remarks that her putative lover (and art teacher) is like “a scout for some enemy camp, logging facts for a future ambush.” To me, this is about as exact a description of love as I have ever come across. La-de-dah romantics tend to ignore the fact that two people are distant countries, speaking foreign tongues, and that the progress of love is a sort of invasion that is always followed by hasty translation, colonization attempts, power struggles, and, often, retreat. Alice Munro, who wrote the jacket blurb for the novel, gets the picture. The Instructor, Ireland’s second novel, has just been reprinted by Dundurn Press, and we have the honour of publishing the first chapter here for the occasion. The novel tells the story of how 19-year-old Simone Paris falls for her much older art teacher, Otto Guest, on the first day of classes — and what ensues. Ann Ireland is a sophisticated observer of human affairs (of all sorts), and she is deceptive: she tells a good story, sure enough, but she also eschews relationship stereotypes by drilling into the complex undercurrents and finds uneasy answers.

dg

Chapter One

MY DEAR OTTO:

See my hand shaking like crazy? It’s not because I’m scared, not in the least. Though two hours ago I was so damn nervous and fidgety I scurried to the outhouse every ten minutes, then worried you’d choose that instant to roll up the hill. There I’d be, popping open the door of the little pagoda, while you leaned against the door of your car, grinning.

I jammed crackers in my mouth, thinking I needed the salt.

Why was I in such a state?

After all, you were history.

The phone call had come out of the blue. “Let’s have tea, just the two of us,” you said, your voice so low and intimate I glanced over my shoulder just to make sure you weren’t standing there.

My own voice, when it found itself, was guarded.

“Late afternoon is best. I’ve got meetings.”

That sounded important.

It is important. We’re running through the slate for next year’s program and I’ve been fighting for that New Music trio to be given the residence position.

“Why do you want —” I said, too late, into the dead phone. As was your habit, you’d hung up without warning. I was shaking then too … for this was my chance to show you what I’d become, how I’d devised a life of my own.

To begin with, the vehicle was all wrong. Come on, Otto, a brick-coloured Honda? It had to be a rental.

When you slipped out of the car, legs first like some starlet, I let out a sigh. For it was you, in the flesh and life-size. You strolled up the dirt path jiggedy-jog, legs bent at the knees, hands thrust deep into your pockets, so loose-limbed I swore you were about to keel over. Your face, grinning widely, so sure of its welcome, grew bigger and bigger — and still I didn’t move a muscle. I was nailed to the position I’d decided on since yesterday’s phone call: arms crossed, back sloped against the doorjamb of the cabin, wearing a black tank top that bled into the darkened interior. Like some Walker Evans photo, I decided, most of my hair drawn back with an elastic, the rest sweeping over my face in the lake breeze.

“Very nice, Simone,” you nodded, missing nothing. A cigarette dangled from your lips. I let you come right up until our toes touched.

“Hello, Otto.”

Of course we embraced, though perhaps a little stiffly. My face got buried in the base of your neck and it seemed to me I’d spent a lot of time gazing into the hollow of your throat where the pulse tapped silently. My fingers curled around the cloth of your collar — threadbare, soft denim — and I was whisked without warning to the hill outside San Patricio: hard earth and scrubby cactus, burros grazing. The heat and dryness made our skin crack and fissure, mimicking the landscape. We’d hiked all afternoon toward the peak where the cross stood, passing only gruff men in straw hats tending goats, then, as we neared the top, no one at all. It was your idea that we couldn’t look down till we reached the summit.

“No cheating, Simone.”

You wanted the vista to hit us in one overwhelming stroke — no dribs and drabs, no gradual seeping in. I scrambled up ahead the last few feet and touched the wooden cross, then turned to look. I felt myself teeter toward the land, which rolled out in all directions, a vast tanned skin of parched mountain and plain declining toward the horizon in minute gradations of brown. The town, with its clay roof tiles, sprawled up the walls of the valley. The sounds were more precise in distance, less cluttered by our own noises: dogs yelped and howled in the endless loop of call and response, while ancient buses groaned up the hills. A woman was calling to her children, her voice spinning effortlessly through the miles of open space. For once I forgot you were there until suddenly your arms swooped around my waist and tugged me in: this same shirt, I swear, my eyes batting against this hollow of a throat.

“I would hardly have recognized you.” You reached up and pulled off your cap, regulation New York Yankees model. Your hair, always bushy, had been flattened, and when you ran your hand through it I saw extra streaks of grey.

“Come on, Otto, it hasn’t been that long.”

“Four or five years.”

“Six, actually.”

“Really?” You seem genuinely astonished. “You look fantastic.”

I had to smile.

Of course you’ve got twenty-five years on me — and look it. What’s happened to your eyes that used to be so clear and sharply focused? And I have to say this, Otto, your jawline is starting to ripple toward the neck. You seem thinner, more brittle, though I felt the little pot belly when our bodies pressed together. An unexpected squish.

“I look like hell, I know it.”

“I wasn’t going to say that.”

“But you were thinking it, dear.”

Dear. That rankled.

We continued to stare at each other, you jiggling change, me stock-still. And I thought, nothing’s happening. The butterflies that had been charging through my stomach all morning seemed to have been drugged. Do you understand what I’m saying, Otto? You stood a foot away and I felt a big fat zero.

“Going to let me in?”

“Of course. Sorry.”

You pushed past and I let you poke around the cabin, lifting objects off the mantel: the cracked coil pot, an Indian basket, the black-and-white photo of Father digging the outhouse hole. The woodstove received special attention, and you lifted the burner and peeked inside. I wouldn’t have been surprised if you’d reached in and touched the ashes, but you just looked, as if deciding whether I’d chucked something in there to burn. After, you strolled past the coffee table, picked up the book of feminist film criticism, flipped through, and I got the distinct impression you knew it had been selected for display. My cheeks heated up. Your hand swept over the tops of chairs and bookshelves, leaving streaks of shiny wood. Why did I feel you were a scout for some enemy camp, logging facts for a future ambush? I stiffened; the nervous feeling kicked in again. It was almost a relief; this was how I expected to be with you.

I decided to make tea and handed you the kettle so you could fetch water from the outside pump.

“This place is great!” you enthused on your return. “Your dad made it?”

“With my mother.”

“It’s like …” You tilted your head. “The house where the seven dwarfs lived. A cartoon cabin.” You hunched under the door frame. “Bet your old man is exactly five foot six. Everything’s scaled to that height.”

Right as always.

I found of box of lemon biscuits and tossed them on the table. You began to make short work of them, knocking two at a time into your hand, while crumbs scattered down the front of your shirt.

“Where’s your mother now?” you said, dropping onto a chair.

“She moved into a condo in Etobicoke. Nice view of the lake. She loves it.”

“And your dad?”

“He died three and a half years ago.”

“I’m so sorry.” You winced and briefly shut your eyes. “I didn’t know.”

“Of course not: how could you?” I pulled away from your reaching hand and watched you swing your legs so you could follow my movements around the room. You didn’t speak, and I knew you were hoping I’d say more about him. Your face waited, creased in sympathy. I measured tea into the Brown Betty pot and rinsed out two mugs. I collected the plastic honey jar from the shelf, then poured milk into a tiny pitcher. I would not give you this chance to pry me open. The spoons received a quick wipe on the towel.

You watched each gesture avidly.

“Then will you at least tell me what you’ve been doing with yourself?”

I let out a breath, staring at the back of my own hand as it closed over the teapot handle. You could still do it, make me achingly visible to myself.

“What do you want to know, Otto?”

“Everything. The works — every second since you left me.”

“You think I’ve been writing it all down, waiting for the day you’d turn up again?”

You smiled quickly. “Haven’t you?”

I flushed, because in a way I had. Lived my life and at the same time wondered what you’d make of it, anticipating your comments, your chuckles, and of course, the withering asides that had the effect of turning whatever I was doing — or whoever I was with — into something faintly comical.

“Well?” You leaned forward, following the motion of my fingers as they wrapped around the copper tray. “There must have been plenty of men sniffing around.”

You wanted all the details, fixing me with your eyes until I’d find myself describing the colour of the sheets, the texture of skin and hair. I set down the tea tray, the smell of Earl Grey a consoling presence, and pulled up a chair.

“Anyone serious?” you persisted.

“What’s this all about, Otto?”

“Curiosity.”

“Is that all?”

You hesitated only a second. “Of course.”

I stared into your face looking for signs: irony, amusement … but could read only the wide-eyed innocence you’d chosen for display.

I could tell you about Raymond, the dancer — but stopped just as I saw the edges of your mouth tighten. Already I was turning Raymond into a story, a series of tiny tropes to make you howl with delight and commiseration.

I shook my head, half laughing at my narrow escape, trying to shake that eager stare, at the same time bathing in its intensity.

“No, Otto, it’s my turn.”

“Your turn?”

“That’s right. My turn to ask questions.”

“Ahhh,” you exhaled noisily and pushed your chair away from the table. You lifted your chin toward the window and a glazed look came over your face that I instantly recognized: the Shift. The moment of withdrawal. Suddenly, with the practiced move of an old-time actor, you launched, full-tilt, into a monologue.

Something about light refraction that you’d read in a scientific journal. “Great diagrams, and a nice sequence of time-lapse photos …” Your legs splayed and you crooked an arm over the back of the chair.

The room shrank.

“… This guy’s theory knocks away all our notions of how we see, how our eyes gather and process light.”

I was supposed to lean into every word.

Instead, I gazed at you in amazement; you’d known, hadn’t you, exactly what I’d been about to say? The more you blabbed, underlining every third word with your finger on the tabletop, the sadder I felt.

And I was bored, Otto.

That was a first.

“… So you just change the angle of dispersal.” You hiked a cigarette from the package and positioned it just so on the table. “What appears to be pigment is really nothing more than mirrors!” You giggled with delight.

“Otto —”

“Think what could be done —”

“Ot-to —” singing it now like “Yoo-hoo.” Nervy. You weren’t accustomed to being interrupted in full flight.

Finally you tugged your gaze away from the open window and looked at me.

“I want to know why you’re here.” I was proud of that, the simple declarative statement.

Our stares hooked for an instant, then, incredibly, you drop-ped right back into the soliloquy as if I’d never uttered a word.

“… bombard them with photosensitive materials …”

I saw exactly what was going to happen, how you’d leave with nothing said and that it would drive me crazy and I’d spend the next six months berating myself, reconstructing the scene. So I pushed my chair back and brazenly set my face close to yours.

“Why are you here, Otto? Don’t natter on about goddamn light refraction — mail me the article!”

Your cheek muscles worked up and down. Your stare was flat, as if you were overhearing some foreign language. Then you chuckled, flicked an ash off your cigarette, and said, “You haven’t yet told me what you’ve been up to.”

You weren’t going to be snared by an amateur.

“It’s been six years, Otto.”

“So work backwards.”

Of course. Time is a fluid concept, its direction determined by a tilt of the glass.

“I’m director of the Summer Arts Festival.”

A quick smile. “Good for you.”

“As of two years ago.”

“Still making art?”

“No time.” I made a dismissive gesture but felt the familiar pang.

“Of course not. You have a real job. Someone has to run the country.”

“It’s a big operation,” I heard myself insist. “We cram two months full of chamber music, author readings, dance performances, workshops, and classes. Our budget’s doubled in two years and most of that is local money.” I sounded like the Chamber of Commerce.

You nodded. Smoke drifted from your nostrils and made its languid way toward the ceiling rafters. You were enjoying this. And why not? I was right where I had always been: desperate to please and impress you.

“I’m on a roll,” I declared. “They do everything I want. When Krizanc, chairman of my board, starts to rant about ‘market-driven programming,’ I tell him we have to create our audience. Not let the audience create us. Make them drowsy with something familiar — then kick open the gates. Blow them away!”

Who was this talking?

All these years of careful filtering, reclaiming my voice — and now this: the mimic reborn.

Late-afternoon sun pressed through the window and I leapt to tug the curtain. “It’s all in the presentation. Make them think they’re on the cutting edge right here in Rupert and it becomes a point of pride. They expect art to be tough; they want it to be.”

Your word, as in “tough-minded,” “tough-thinking.”

“Bravo.” You hooked a chair with the toe of your boot. “Sit down, Simone, you’re very flushed.”

I obeyed, hating the way I felt, overheated and sticky, pulse racing.

“My half-dozen years haven’t been nearly so fruitful.”

I forced myself to look straight into your face. “What have you been doing?”

One of your famous pauses.

“I stayed on,” you said at last.

“In San Patricio?”

You nodded.

“What on earth did you do there for six years?” I was shocked; it never occurred to me that you might have stayed on. All this time I’d been walking down Spadina Avenue in downtown Toronto every chance I got, glancing up at your studio window, wondering if you were in there with your ripped-up magazines and glue stick.

“Got drunk most days. Made a truckload of bad drawings. Then one morning I got sick of the sun and the smell of rancid cooking oil and started to drive north.”

“And?”

“That’s it.”

“What about your ex —”

“Wife? Carmen’s out of the picture, except where Kip is concerned.”

Your son. He’d be twenty-one by now. Older than I was when I stepped on the plane to come home. “What’s he up to?” You always loved to talk about your son.

Your fingers wrapped around your teacup, the nails chewed to bits. “I saw him this morning. Not so good, Simone. Not so good.”

I stared.

“They’re adjusting his medication. Makes him screwy, his equilibrium is shot. The kid can hardly walk.”

“Medication? What are you talking about?” My self-consciousness vanished.

“He gets seizures.” Your eyes scanned the room without focusing. “It began five or six years ago. Of course, you’d have no way of knowing.”

“What kind of seizures?”

“He goes months without any problem, then suddenly, keels over wherever he is: the gym, a crowded subway.”

“Jesus, Otto, I had no idea.”

“Of course not.”

“It doesn’t have anything to do with” — I struggled to sound casual — “that time he fell off the boat?”

“What?”

You sound genuinely mystified.

“In San Patricio, on the lake.” I prodded, already wishing I hadn’t brought it up.

You stared at me, fully engaged for a few seconds. “I don’t see how. He wasn’t under more than a minute.”

Right.

“The worst of it isn’t the seizures,” you went on. “Which happen maybe three, four times a year. It’s his attitude that stinks. Yesterday, at the hospital, he made his neck go all floppy, then titters, ‘What a shame your kid’s a crip.’ Crip my ass!”

The table shuddered as you smacked it with your hand. “Ninety-five percent of the time he’s perfectly okay. There’s guys a lot worse off than him — blind! Imagine being blind, or deaf! But you don’t see them hanging out on Queen Street, playing skinhead, cadging cigarettes and spare change. He snorts PAM out of a goddamn baggie …” You took a deep breath and snapped open the top of your shirt. “He’s quit three schools, got caught boosting a pair of Doc Martens from the Eaton Centre …”

Had you driven two hours to spout off against your son, ask my forgiveness for being such a lousy father?

“I’m sorry, Otto.”

“So am I.” Your tone was aggressive, as if you were determined I’d know the worst of it. “I thought if I stayed far away in some hill town everyone would be better off, that I was so fucked up it would overwhelm them. Pure ego.” You laughed. “Which I’ve never been short of.”

I didn’t deny this. “He lives with you, or Carmen?”

“He’s in a halfway house for kids who screw up. They huddle out on the sidewalk most of the day, smoking, or they’re taking courses in something called ‘Life Skills.’” You snorted. “He asked after you, just as I was leaving today.”

“Me?” My mind was racing.

“He wondered if you were ‘still on the scene.’”

“What did you say?”

“That I hadn’t seen you for years. That it wasn’t meant to be.” Your knee pressed against mine. “He’s convinced you saved his life, that time he pitched overboard.”

I reddened. “That’s absurd.”

“Even so, he likes the idea that you pulled him from the brink.”

“But it’s not true!”

“He thinks it is.”

First your knee, now your thigh. Uneasy, I shifted, but didn’t move away.

You reached for the cookie box and shook it. Empty.

This wasn’t the scene I’d be picturing, far from it.

Hell, I was feeling sorry for you. I’d been prepared for anger — even desire, but not this.

“Sometimes I used to feel you two were conspiring against me.” You spoke with studied casualness. “When you came in from riding those underfed nags, Kip was so flushed and healthy-looking — I used to wish I had that power.”

Power? I had to laugh. So you were jealous, Otto. This notion would have pleased me once. Now I just felt drained. The numbness crept back. Here we were again, using Kip as our topic, and I was supposed to pretend I cared. I reached for the tea things and scraped cookie crumbs onto a saucer.

A long time ago I was reaching for you to tear the world open. Now, in your presence, I felt hemmed in, claustrophobic.

“I need to live in Toronto again, to be near Kip.”

“That makes sense.” I didn’t hide a yawn.

“Last Saturday I picked up the newspaper and who did I see but you — with this most professional smile planted on your face. Very impressive, Simone.”

“You saw that?” I couldn’t help feeling pleased. The Globe had done a feature in the Arts section, underlining how the Summer Festival had “revitalized” the area and pinning much of the success of its “fresh, young director.”

“I thought, She looks so damn competent — pretty too.”

I crumpled the cookie box and tossed it toward the trash.

“I’m flat broke, Simone. Benny says the art market’s shriveled, nothing’s moving, nothing he can do for me.”

Benny — your dealer.

“There’s a recession, Otto. Even in San Patricio you must have heard about it.”

“I need a job.”

“Right.” I still didn’t get it.

“So —” You followed me to the sink with your saucer and cup. “You’re running this nice little festival. You could fit me in, as a teacher, artist-in-residence. I’m flexible as an old shoe, and more to the point, I’m desperate.” A smoke ring escaped from your mouth and hung in the air.

“As a teacher,” you continued, “I’m the best there is. You, if anyone, should know that.”

I dumped the leaves into the compost bowl. Now I understood why you’d come.

“We always got along well.”

I stared, mouth open.

You were jiggling a set of keys: Budget Rent A Car. At least I was right about that. “Think about it. Drop me a line, or call, as soon as you get a moment. I’ve got my old studio back.”

* * *

The little Honda bucked down the hill until its muffler scraped highway asphalt.

Then you cranked your window down and shouted into the hot still air: “You must feel very safe here!”

I opened my mouth to protest — “Who the hell wants safety?” — then remembered: they were your exact words, uttered years earlier.

It was a scruffy copy of Lassie Come Home, borrowed from the Rupert Public Library, and as I turned each page my fingers buffed scabs of peanut butter and petrified snot.

I didn’t even notice the sun was falling and I was losing my light. I simply tilted the book a little more every few minutes — until a word stopped my eye mid-sentence.

What was this word?

She.

Lassie, I’d just discovered, was a “she.”

The book dropped between my knees. Lassie, the hero of the tale, was actually a heroine. That was like those other despised words: poetess, actress, cowgirl — images of women in fringed skirts, riding sidesaddle, squealing with terror. How could I identify with the girl version of the real thing? How can fantasy be populated by underachievers?

—Excerpted from The Instructor

Copyright © 2013, Ann Ireland. All rights reserved. www.dundurn.com

———————-
Ann IrelandAnn Ireland is the author of four novels, most recently THE BLUE GUITAR, which has been getting excellent reviews all across Canada. She coordinates the Writing Workshops department at the Chang School of Continuing Education, Ryerson University, in Toronto. She teaches on line writing courses and edits novels for other writers from time to time. She also writes profiles of artists for Canadian Art Magazine and Numéro Cinq Magazine (where she is Contributing Editor). Dundurn Press will be re-publishing Ann’s second novel: THE INSTRUCTOR over the summer of 2013.
Jul 182013
 

Angel Igov via www.programata,bg

Angel Igov’s A Short Tale of Shame, translated from the Bulgarian by Angela Rodel and published by Open Letter Books, is an ambitious, lyrical novel that succeeds in part by transplanting its story to a semi-fictitious version of the Balkan region. Igov experiments with setting and with an explosive style reminiscent of the Beats’ lyricism combined with Virginia Woolf’s free indirect discourse. His pages-long paragraphs build beyond bite-sized slices consumer readers favor—the reward is a sentential tension that delivers scene, exposition, and character thought all in one.

The following excerpt, taken from the end of the first chapter, captures the distinctive nature of both Igov’s setting and style. When asked via e-mail about the novel’s discomfiting mock-Balkan setting, he wrote:

“The main purpose in establishing this mock-Balkan background is precisely political irony, directed both ways: at Balkan nations, for making their history so crucial to their identity, and at the “West”, for being so eager to use ready-made stereotypes of the region. The Balkans in my novel resemble very much the ones we know from stereotypes even though the ethnonyms are different and history has gone some alternative way.

The mock-Balkan layer also has the idea to introduce some estrangement or alienation from the main story, in a somewhat Brechtian sense.

But I certainly didn’t try to establish a whole fictional world with its clearly cut geography and history. So I don’t expect readers anywhere to draw for themselves a clearer picture than the one I had in mind. The game of hints and ironies is purposefully vague, and it’s vague enough for Bulgarian readers too. As long as it holds and you are partially (but beneficially) lost, that’s good for you.”

—Tom Faure

See Tom Faure’s review of the novel here.

large_Short_Tale-front

Actually, it suddenly popped into Krustev’s mind, aren’t these three in college? It’s the middle of May, shouldn’t they be going to lectures right now? He received a full-on lecture in reply. All three of us are taking time off, Maya explained. At the end of sophomore year, lots of people begin doubting whether their major is really for them, they had, too. The three of them had gotten together at the end of last summer and decided that they would give themselves a year to clear things up, then they would decide whether to keep the same majors or to change, interesting, Krustev said, do the three of you always decide what to do as a group? Pretty often, the girl again gave her nervous laugh. It’s been like that since the beginning of high school, always the three of us together. In the beginning everybody thought it was weird, Spartacus cut in, then little by little they got used to it, at the end of the day there are people with much stranger relationships. Krustev couldn’t disagree with that, he himself handled strange relationships well, significantly more successfully than normal ones, take me, for example, Spartacus continued, I’m in law school. Sirma jokes that that’s why I’m such a chatterbox. Right now, I can’t say that I don’t want to study law anymore. It’s just that I need a year off to think things over and figure out whether I really want to go into law or if I’d rather do something else, and now’s the time, because afterwards it will be too late . . . Sirma wanted to know what Krustev’s major had been. Me? He had studied management. Only it was different then, he shrugged, I never really had the college experience, because of music I started my BA a lot later, after the Euphoria guys and I had ditched our instruments and decided to go into business. And I was in a hurry to graduate, even though I’m sure it would’ve been the same, even without a diploma. While they were teaching me how to run a company, I was already running three. He suddenly thought this sounded too arrogant and added that in those years, that happened a lot, it still does now, too, Maya said.

The road rushed on ahead and took the curves fast, narrow, but nice, repaved recently with the Union’s money, traffic was light, few drivers chose to pass through the heart of the Rhodopes on their way to the sea, and Krustev felt a fleeting, hesitant delight in the freedom to drive freely, without getting furious over the trucks and junkers blocking traffic. Below them, to the left, was the river, high since all the snow had already melted, running its course with a cold and no-nonsense determination; beyond it rippled the newly greened hills. They passed through several villages, long and narrow, built along the river, with two-story houses, their black wooden timbers sternly crossed over whitewashed walls. Since few cars passed, people were walking along the highway here and there, sinewy grandfathers and ancient grandmothers, some even leading goats and from the backseat Sirma for no rhyme or reason announced that she had dreamed of being a goat her whole life, but didn’t manage to expand on her argument, seemingly having dozed off again. Krustev put on some music, Maya and Spartacus, perhaps to make him happy, or perhaps completely spontaneously, sang along quietly and swayed in rhythm such that in their interpretation, the careless rock, designed for Saturday night and chicks in leather jackets, sounded and looked like some mystical Indian mantra. Krustev kept silent, he drove slowly through the villages and looked at the people. They spontaneously reminded him of his grandfather, a strange, scowling person, who always looked angry before you started talking to him, then it turned out that he gladly gave himself over to shooting the breeze and telling stories, mostly amusing tales, one, however, the most recent story, was swollen with darkness and violence, and Krustev thought of it from time to time. His grandfather’s village lay on the border of the Ludogorie region, the only Slavic village around, and his house was on the very edge of the village, near the river, a quiet village, pleasant, albeit a lost cause, the communists had forgotten it in their general industrialization, occupied as they were with the more densely Slavic regions, after the fall of communism the state had left the Slavs in peace once and for all, but back then it was the Dacians’ turn, they had moved into erstwhile Thracian towns, and, of course, in the end they fought, the Thracians called it “The Three Months of Unrest,” while everyone else called it the Civil War of ’73. Before the war, everyone from my grandfather’s village figured that the quarrels between the Thracians and the Dacians weren’t their business, they even joked about how the names of the two peoples rhymed, people for whom they felt equally little love lost, the civil war in the Ludogorie, however, made the hostility their business, too. The battles began, the Dacian militias defended their cities street by street and building by building against the army, who rolled in with tanks, but the tanks didn’t do much good in a war in which you couldn’t see your enemy. Everything really had lasted only three months and Krustev, no matter how young he had been then, could confirm that beyond the region and even in the capital, people were hardly aware of the unrest in practice, his father and mother said the same thing, his grandfather’s village, however, was a whole different story. For three days they heard machine gun fire from the direction of the city, all the radios were turned on in hopes of picking up some news, but they only played cheerful Thracian music around the clock. On the third day, the shooting ceased. A rumor spread that the army had taken the city and that the Dacian fighters had scattered, every man trying to save his own skin however he could. The village mayor warned them not to take any Dacians into their homes, should they arrive. Only five years had passed since the Slavic events in Moesia and everyone was afraid of what might happen if Thracian soldiers came to search the village and found hidden enemy fighters. That evening, my grandfather went out to feed his animals and when he opened the door of the barn, he saw two human eyes. It was a young man, no older than twenty, with dirty, matted hair, a gashed forehead and blood stains on his ragged striped shirt, like the shirts the Dacian militias had worn, he hadn’t even managed to take it off. He was severely wounded and feverish, wheezing, rolling his eyes from the cow to the mule and back again, he didn’t say anything. What could Krustev’s grandfather do? All alone in the very last house, just as his village was all alone between the hammer and the anvil of this war, which was not its own. Perhaps the boy would die before the soldiers came, but perhaps not. He left the barn, grabbed his hoe, went back in and brought it down on the boy’s head with all the geezerly strength left in him. He loaded him on the mule somehow or other and threw him into the river. The neighbors kept quiet. The next day a Thracian regiment really did arrive in the village, searched a few houses, sniffed around suspiciously, doled out slaps to a few young men whose looks they didn’t like, and went on their way. The river carried the corpse away and no one in the village mentioned it, his grandfather, however, for some unclear reason was sure that the neighbors had seen everything, he crossed himself surreptitiously, like under communism, and kept repeating, a terrible sin, a terrible sin, a terrible sin, but what else could I do? He lived a long life. He had told Krustev this story the same year that Elena was born and several months before he died. Much time had already passed, he had taken a second wife, a widow from the village, and he had continued living in the last house by the river. Senility was already getting the best of him and Krustev had even wondered whether he hadn’t made the whole story up, because who, really, who could imagine his grandfather killing someone in cold blood with a hoe? Yes, indeed, he had lived in a different time, he had fought in two wars and had won medals for bravery, so that means he surely had killed people, but not with a hoe and not in his very own barn, although do the place and the method really change anything, Krustev grunted and tried to keep his mind on the road.

Sirma announced her latest awakening with a powerful yawn and a quick commentary on her friends’ mantra-like chanting, and for the next half hour they all talked over one another, including Krustev. The asphalt was much better than on the last road. Maya, for her part, had never come this way. They argued for some time about whether she really hadn’t. Krustev asked them whether they hitchhiked often. Not very often, they had done it more in high school. Surely his daughter had tagged along with them as well, but in any case, his observations about the decline of hitchhiking were confirmed. The three of them generally tried to hitch together, sometimes they tried other combinations, but it never went as well. Spartacus had once hitched with three other guys and only a Gypsy horse cart had deigned to drive them between two villages, after which they split up, otherwise it was never going to work. Sirma, for her part, had hitched alone a couple times. Didn’t you ever run into any trouble? No, only once, when a woman had picked her up. Everyone laughed at that, even Krustev. He was feeling better and better, he was tempted to say more normal, but he was no longer sure whether this was normal or whether, on the contrary, the scowling pre-dawn, semi-twilight he had inhabited for such a long time was. There had been flashes during the winter, too, but then Elena had left and he had collapsed again, only he didn’t turn on the television, but read instead, first he read the books he had been given on various occasions in recent years, then the ones Elena had left in her room, after that he went to an online bookstore and ordered a whole series of contemporary titles in translation, they were delivered by van, an astonished young man unloaded two full cardboard boxes in his hallway and left, shaking his head pensively, Krustev read them, some were good, others not so good, but once he had closed the last one—a novel by a Dutch writer about a malicious, blind cellist—he decided that he wouldn’t read anymore and that he had to get out of the house. Maya said that she thought she had forgotten her bathing suit. As if we haven’t seen you without your bathing suit on, Spartacus replied, then realized that they weren’t alone and fell silent, embarrassed. The three of them seemed to spend so much time together that when they found themselves with other people, they quickly forgot about the others’ presence. With the involuntary habit of the male imagination, Krustev envisioned the girl sitting next to him without her bathing suit for an instant and felt uncomfortable about it, as if he had made her an indecent proposal. She was his daughter’s age. Sirma preferred Samothrace to Thasos. Samo-thrace, only Thracians, Krustev joked, without knowing whether they spoke Slavic, but at least Sirma seemed to get it and repeated in delight: Only Thracians, how cool is that! Thasos and Samothrace, the two islands the new state had managed to save when the Macedonian legacy was divvied up. Like many other Slavs, Krustev, with a nostalgia instilled by foreign books, sometimes dreamed of Macedonian times, when the Slavs were merely one of the dozens of people who had inhabited the empire and were in no case so special that they should be subjected to attempts at assimilation, but still, things were clearly changing. Twenty years ago, Thracian kids wouldn’t have taken a ride from a Slav. Twenty years ago, there weren’t many Slavs with their own cars and even fewer of them would have dared to drive straight through the Rhodopes. Had they been to any other Aegean islands? Last year the three of them had made it to Lemnos, while Maya had gone to Santorini with her father. We also want to go to Lesbos, Sirma announced. You two go right on ahead to Lesbos, Spartacus said, that island doesn’t interest me a bit, they all burst out laughing. Krustev was impressed, however. So now that’s possible, he said. We’re all part of the Union and the borders are open. Do you know how hard it was to get a Phrygian visa back in the day? Especially for me, Sirma suddenly blurted out, seeing as how my grandfather is Lydian. But she had never set foot in Lydia. Spartacus and Maya looked extremely surprised, apparently not so much at her parentage, rather at the fact that there was something about her that they didn’t know. The mood crashed for a whole five minutes, at which point Spartacus started talking about Euphoria’s first album again, asking Krustev whether he had it with him in the car and insisting on putting it on. Later, Krustev replied, because in disbelieving gratitude for this kind-hearted twist of fate, he felt himself wanting to sleep, the curves ahead were giving off warm sleep, and when on the outskirts of the next village he saw a shabby roadside dive, he stopped immediately to drink a coffee.

—Angel Igov

 

Jul 132013
 

anna_kim from Austrian Cultural ForumAuthor photo via www.acflondon.org

Anna Kim’s Anatomy of a Night is composed of fragments, few more than a page or two in length. The novel, translated from the German by Bradley Schmidt and just released by the Berlin-based publisher Frisch and Co., tracks the suicides of eleven members of an east-Greenlandic community within a five hour period. Kim is interested in exploring the complex connections between a place and its people. She is interested in sentences that extend and modify lines of thought (check out the sentence that begins the second fragment below – the one that starts: “Ole, who had originally befriended Magnus…” – how it keeps interrupting itself, how it never quite arrives at where it set out for, but ends someplace visceral all the same), while also painting miniature portraits.

Kim’s prose demands rereading. In the excerpt below, which comes about a third of the way through the novel, watch for the way that attributes of the setting, Amarâq, described in the first fragment as a place where “you could believe you are dead and yet still exist . . . perhaps one must say before birth,” manifest themselves in Inger’s love for Mikkel in the third fragment: “a timeless love, without space, an end . . . it would be a beginning and an end at the same time.” Note that both Keyi and Inger are thinking of a sentence, but not the same one. What initially seems arbitrary is anything but, and the more one rereads Anatomy of a Night, the more the fragments – trimmed and wedged and sanded first by the author, then by the translator, and finally in the mind of the reader – fit together.

—Eric Foley

Anatomy of a Night

The nights in Amarâq are an impenetrable black mass, what one imagines nothingness is, an image the eye cannot comprehend. And for a brief moment, you could believe you are dead and yet still exist: finding yourself at the other end of life, at a point that doesn’t yet exist, that is searching for its existence, perhaps one must say before birth, though there can be no talk of a mystic primal state, this darkness is concrete, it’s almost tangible, it’s a thicket. Day and night aren’t the same place, not in Amarâq.

As a child Keyi didn’t count the days, he counted the nights after the hunt, when the stories traveled from mouth to mouth, reappearing in similar form, the same heroes, the same monsters, but the story about the world’s creation impressed him most of all. The empty night was filled all at once when the earth fell from the sky, and with it fell the mountains, hills, valleys, rivers, lakes, and stones, they fell and landed in the darkness. Finally the first humans crept from the middle of the earth, at first they couldn’t speak, only eat and flail around, and they didn’t know how people died because there was no death in those distant nights. When from those few people too many arose, they were forced to choose between night and immortality and day and mortality, as if it was merely visibility which made them mortal. They chose day. The words were pronounced, and the first ones died, but they didn’t know how to die correctly, they stuck their heads out of their stone graves, the stone mounds that had been stacked over them, in an attempt to stand up and leave, and they had to be pushed back into their graves and be banished with words, with magic.

The tamed night, the stars and the moon, came with the day, and Keyi believes he had once heard the souls of the dead flying across the sky and becoming stars, and he was surprised he thought of that sentence, today, in this moment, and even more surprised that he remembered the voice of the person who said it, his grandmother, who spoke these words while pouring milk over cooked whale meat, to drive away the taste of liver; it was a voice he had believed he couldn’t remember—in Amarâq the nights are a reservoir for everything that has been forgotten, buried. The memory becomes invisible at the moment of forgetting, only to fall back to earth like a bolt of lightning, at the other end of life.

Ole, who had originally befriended Magnus because he had a television as large as an altar, and just as ornately decorated—with porcelain figurines (a ballet dancer, a shepherd and his sheep) and plastic roses winding their way around the base—it was more than a device, it was a view out into a world which, as it seemed to Ole, couldn’t exist in this form: wonderful, at the same time infinitely ugly and full—

and he became lost in the television pictures at first, didn’t understand the faces of those strange people as faces, he saw only pieces of faces, often just the mouths, which made familiar tones and transported him back to an earlier time, when he was reproached due to his failure to understand a language which repeatedly commanded him to be less himself—

ultimately he refused to decode these words, he gave up and was satisfied being what he should have been from the beginning: one of those who, like his parents and brothers before him, wouldn’t make it, but for that reason fit into this world, Amarâq, all the more, where being no one at all didn’t make a difference because the infinite nature of Amarâq reduced and negated every difference—

and while his parents buy beer from the welfare they collected at the post office on Fridays between nine and twelve, to maintain their inebriation until Sunday evening, because they know how to drink themselves senseless then roll around on the floor, depending on where you kicked them, Ole tries to ignore the stench of vomit that had become ensconced in the house, in the air and the walls, in his clothing, in his hair, in his skin, a stench he couldn’t wash off, even after scrubbing himself every morning in the shower at school with a piece of soap that Magnus had given him—

he can’t get rid of the puke, it had been etched into his nose along with his father’s kicks, his mother’s punches.

His stomach growls.

Are you hungry?

Ole nods.

Come.

Magnus quietly opens the door, sticks his head through the crack, to see the lay of the land. No one there. Slips into the dark hallway, the steps creak with every movement, and into the kitchen, he rummages through the cupboards, picks out a bag of toast, butter, marmalade, sausage, and orange juice.

Help yourself.

A noise from the shower room startles Inger.

Her first instinct is to hide, duck down; she quickly looks around, to see if she could crawl under the table or slip into a dark corner, but then abandons this plan and listens. She is used to listening; as a hunter’s wife, she learned to listen on a professional level. Niels, who couldn’t differentiate between his obsessions, who pursued hunting as obsessively as he pursued dreaming, loving and hating, black and white, in his world there were no shades of gray; he tracked his quarry for days, studied their habits, their preferences, to anticipate their wishes and find out when they were most vulnerable. He attacked when they were happy because he knew that they, paralyzed by happiness, wouldn’t be able to defend themselves. His strategy paid off; for a long time, he was one of Amarâq’s most successful hunters, despite his scarred eyes, he was esteemed and respected, and it was said that in his dreams he could see where the best hunting grounds were and what he would hunt next—until one day he found himself at the mercy of his prey: a polar bear which had lost its way and come close to town. It quickly recognized its mistake and slipped away, but Niels had seen it, he had been following the animal, day and night, in his dreams; and then days, weeks, months passed, and the desire to capture this creature became his sole purpose, his life dictated by his obsession: this time the hunter was the one captured.

In those lonely days, Inger thought that every hunting relationship is also a love affair, and she turned a blind eye when, after half a year, Niels returned home empty-handed, emaciated, sick, and weak, half of his gear either lost or broken, and when he recuperated, he signed up for welfare, and he never spoke of hunting again. Perhaps his hunting instincts had turned in a different direction—he concentrated on his immediate vicinity, on those who were easier to capture, his child and her mother, and every blow led necessarily to a subsequent blow, because they could still move, weren’t yet bagged—

until an outside competitor interfered, the Danish man named Mikkel Poulsen, who hunted as a hobby, chugging aimlessly around the fjord and shooting indiscriminately into the waves at everything that vaguely resembled a living creature, he taught broken English in school using broken Danish, his tongue had lost its way in this cold desert that calls itself Amarâq. This man snatched Inger, and she grabbed at him, let herself be pulled from a fragile life. And they compared the fragments, placed them next to each other, edge against edge, and discovered some of the parts complimented each other, and they trimmed the pieces that wedged, sanded down the corners, and Inger transformed herself from the wife of a hunter to the wife of a teacher. And because she could answer him in broken Danish and he could answer her in broken Greenlandic, she believed he was what people call the love of their life, a timeless love, without space, an end, because no other love could follow a love like this, it would be unmatchable, it would be a beginning and an end at the same time.

When no further noises come from the shower, Inger decides to check. She carefully opens the door and gropes for the light switch. It’s a small room, covered with tiles, the shower itself is a hose with a hook, and warm water comes out of the faucet, not from the stove, like at her house. Once white, the tiles are now a shade of yellow and some of their corners are broken. The mirror above the sink is smeared with toothpaste and soap. The window above the toilet is cracked open, and a cool breeze streams in. Before she closes it she peers outside, although she knows she won’t see anything, but she believes she hears footsteps in the darkness, steps that move away swiftly, a quick tapping of soles on stony ground, quiet smacking on the damp earth.

She turns around and returns to the laundry room, still an hour and twenty minutes, the yellow numbers glow on the washing machine display. The fact that a person ceases to be arbitrary for someone else, the beginning of this sentence has been floating around her head, and she has been trying to finish it for days, but she hadn’t been able to decide on an ending—when it emerges voluntarily: is almost a miracle.

—Anna Kim translated by Bradley Schmidt

 

Jul 092013
 

Marcom 2

I have secret writers: or writers I want to keep secret. At the same time, want to tell everyone who will listen to go read their work. Micheline Aharonian Marcom is one of those writers. She is not an easy read by any means, even when she writes with short sentences, they are often heartbreaking and frequently morally and socially ambiguous. She is a writer of the heart—a heart in conflict with itself—and A Brief History of Yes (Dalkey Archive Press) is a very sincere novel. Modern cynicism won’t be welcomed. As in her previous novel The Mirror in the Well, I think she is trying to rehabilitate words that have lost their meaning through overuse or cliché.  Words like “love,” “lover,” and “beloved” abound in this novel, and at one point her protagonist poses the question—“What is love?” The modern reader winces at this point of inquiry because to his/her ears it’s hokey and played-out—it’s pop music lyrics appearing in a serious novel. Yet to read Marcom’s book is to ponder the question without prejudice and with seriousness.

Herewith are the opening five chapters of A Brief History of Yes.

Jason DeYoung

brief-history-yes

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1.

So that, yes, here are the two lovers again, and their love affair spans a calendar year—August to August, dry season to dry season—and like the songbird who remains a short while in the hillside grove before he departs for the south—the lovers arrive and pass their season together and then pass on to other lovers and another season in the following summer, or autumn for the hermit thrush who returned to the girl’s hillside grove in October from the North two months after the end of the love affair, made his yearly urgent unstoppable migration, stays his three weeks, and the earth revolving around the sun, and the songbird singing his ingrained blood song and moving toward his final winter destination as the weather permits and decrees.

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2.

He is tall, blond-haired, blue-eyed. She is tall for a Portuguese, and dark-eyed, dark-haired. She is called Maria like so many of the women of her generation for the mother of God, and he bears a deformity across his chest where the bones and cartilage did not form properly across his heart when he was a child—“There was the possibility of a surgery when I was a boy,” he tells Maria after they have removed their clothes for one another for the first time, the naked body, and made love in August and she sees his concave chest area, the hollow, in the summer eve in the window light of his bedroom, “a surgeon offered to break each rib bone in my chest and to place a steel rod through the cartilage below the sternum.” He is a man with a concave chest, he is someone who needs love she thinks when she sees him naked on this first occasion; or: he is someone who has not had it, his heart tight and duly too hemmed in by the chest cartilage which holds closely to the muscle. “My parents did not force me to have the surgery,” and he says that he is grateful to them now, “for there could have been complications,” he tells her while they lie on the wide bed in his city apartment, “the procedure has since been improved upon, and now to correct the deformity the surgeon will place an enormous magnet below the skin and one on the top of it also, here, and thereby make a force to pull the chest bones outward,” he smiles, and Maria smiles also: her brown eyes, his blue, the colors magnetic, the invisible chords which draw this particular woman, a Portuguese, across the ocean from her city on the Tagus to this man in his city by a large salt-water bay in America. I made a journey to your country to find you, she doesn’t tell him. It is also true that she has lived in his country for twenty-five years and there have been many lovers before him and a husband also, and an eight-year-old son from her marriage and I’ll fix your heart, she thinks, a little arrogant in the way that she thinks it, as women sometimes are in their desire to fix and alter and abrogate the male (I’ll wash your feet for you); my own muscle to pull yours hidden outward.

Twelve months later in August, the blue-eyed lover will tell the Portuguese girl that he would like to end their affair, “I love you, Maria, but I am not in-love with you,” he will say to her on the telephone. She cries into the black machine after he says the not-in-love-with-you words. “But last week,” she tells him, “when you said” and. And she will think at that moment on the telephone and their bodies separated by miles, by the bay waters, by the ineffable, not of him but of his ill-formed and moderately collapsed chest bones, the concavity of his body which unprotrudes below the satellites of his sternum, of love and property—and of his conventional and moderate ideas (and hers always immoderate) of love and property, for it is a small fact like a small nuisance (a small corrosive fact) that her blue-eyed lover is a rich man and his monies sit in accounts where the numbers only move skyward, and many things rise up for her lover except for his breast bone and cartilage contused and dimly knitted and hunkered down over muscle, except for love. And like a boy alone on his child’s bed, the boy who hit his head against a wooden headboard in his inability to sleep and find ease each night at bedtime, and so rocked and hit the body against wood for the rhythm it made the sleep it then brought, her lover not-thinks but learnt that succor is found in these lonely collisions. His mother told Maria of it once, “I could hear him alone in his room when he was a boy. He’d hit his head against the black board of his bed and rocked himself thereby to sleep each night.” I couldn’t stop it, I could not help him, his mother did not say to Maria, but the quiet blue-eyed, anxious-failed-look of the mother said it to the Portuguese girl: the too tightly knit mother for whom all things must needed to be proper and in their place and observant of all of the codes of the moral Protestant upper classes and the codes placed thereby above the son (which needs which desires, his terrors) when he was a boy and the mother was filled with all of her strict and proper (not love) ideas of love.

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3.

The lovers take a walk on the beach in the third week of their affair, months before Maria met her lover’s mother, months also before he mentioned to Maria on a walk in a dark wood how he used to put himself to sleep each night by rhythmically rocking and hitting his head against the wall of his headboard when he was a child. The lovers walk together on the long beach, although they do not walk hand in hand, for the blue-eyed lover does not like to hold the hand of his beloved, “It makes me uncomfortable,” he says. The lovers walk and the waves crash against the sand and the sea water is cold and they tell each other the stories that lovers will tell at the beginning of an affair, he of his family on the Eastern Seaboard, of his schooling (although he will not yet confide that he and his family are of the upper class, just as he does not confide for many months: eight: how many women he has fucked and the prostitutes and the casual encounters he makes via the dating services; I distinguish virgin and whore), “My mother was a brat,” he says. And Maria is surprised and taken aback at the casual and critical manner in which her lover speaks of his mother, and to someone whom he has only just met, and they are walking unhand in hand on the beach, her shoulder presses against his at certain intervals.

And Maria tells her lover of her parents and of her childhood in Lisbon, and of the summers they spent at the village house in the Alentejo when she was a young girl, and of how she emigrated to America twenty-five years ago with her mother when she was fifteen years old.

Later at a Japanese restaurant he will say, “I am not like everyone else.” Or Maria says it, “I am unlike the others,” and the two lovers smile at each other: his blue and hers brown smiling look, thinking that we have found each other, that here you are: recognition in a flash of light of dialogue a phrase handed out between two perambulators first on a beach and now sitting in a Japanese restaurant, “Yes,” she says; yes he also; and the yeses make light, make something to yes to, to love alongside of in time.

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4.

In January at her lover’s house, in her lover’s bed, Maria dreamed of the old village house in the Alentejo and of ghosts. A ghost stood in the living room in her dream, as he stood in the old house when she was a girl, and it was a frightening, lurking feeling to see him again, and the winds, the waters of the Atlantic rested tightly upon his brow, and he was a fisherman who died too early and then returned and would not leave the village house and says to Maria that he is lonely, alone, cold, and sad, that can she help him. Then Maria is in the house she lives in now in the dream, by the hillside grove of trees, except that it is a house down the street from her lover’s house and in her lover’s city and she is alone (as she was often alone in the village house in the Alentejo) and there is a different ghost and no, she says, she won’t allow it inside of this clean house. Then she walks into the garden and there is a newly dug grave, whose grave? she wonders, and sees in the dirt hole a decaying corpse but does not cannot recognize the man. And she and her lover did not fight last night, in fact there is love like a river between them now, and moves down stronger, wider than the Tagus and with pleasure—she loves him, he doesn’t leave her now, I love you, he says into the space they make between their chestbones in bed and naked.

Last night they touched their knees one to the other, and she told him a story about the beginning of their love affair and he told her how when he saw her walk into the bar the first time that he saw her (what did you think? she asked), he thought that she was beautiful. Ah, she said, I am happy now. I am happy also, he said. And the two lovers went to sleep side by side and she fell into sleep so deeply and soundly that upon waking she didn’t know where she was, only the remembered houses with ghosts and bright colors, the dead fisherman from the sea in the Alentejo in her dream in the past. Who, she wondered, and what. And does the corpse return, does death.

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5.

He and she stand at a threshold not holding hands; they stand apart, they break apart. He says, “Maria, you are not right for me. We are no match, not a good match” like an unlighted object. Or: “Maria, your English breaks down sometimes and incorrectly turns a phrase or long vowels: why can’t you put it together more correctly.” Or: “Maria, you could laugh more; you could laugh into my ear tonight late and why don’t you laugh more and play with me and are all the Portuguese as you are—sadder?” And, “Maria, I need a happy girl, a girl for whom to be happy and to laugh come easily like a clean and organized house: easy for a woman to make it so,” (and to fix my buttons, resole my shoes, cook the meal, hold the unheld heart, laugh me up into the rising thermals; in this house all of the insides of kitchen cabinet drawers are orderly and clean and happy.)

Maria made a story about the lover and he was blond and blueeyed and he arrived into the village house in the Alentejo in a lonely white clay city at night inside a bar with twin palms painted onto the sign hanging outside of the bar premises, palms for victory and auspicious futures. You were sad; whiteshirted; I saw you could save you, Maria says in the story she made; in my country I saved thousands of men. And today she is poised on the threshold and she is going to pass through into another place without the lover, for the lover has berated her, he has turned from love, he has said to her not this. (What has the girl said; what story wrought from iron from past-tense muscles? What no?)

There are three-legged dogs in the white clay city, they jump up and down onto their lone back appendage. There is a girl, Maria is dark-eyed, dark-haired, some say that she could be beautiful in the night if the lights have not risen over the steep crevices of the lonely mind; inside of the The Twin Palms Bar where the lovers first met in August, she is the most beautiful. In the August of the following year, she is afraid. “Lover,” she turns to look at him, “Lover, do I pass over the threshold without you? Will you, will you not, miss me? (long for me?)” This is the beloved’s poorly phrased question, Maria says: “Lover, the world began with a yes.”

Sometimes I have wondered, she thinks, if in the realm of the lover, the beloved, some things must be felt, some powers wielded with knife, with mace, and it matters not who wields the weapon: just that the invisible energies of the lovers move around the girl, the boy; he berates her; she cries; she walks out of the room from him; he says you are not right for me; she says that he is blind; she then he then he then she. As if the invisible forces must have their due; as if the old gods have not disappeared into ether, although their stories no more read told or understood than the three-legged dogs, the limping and howling taciturn mongrels of the white clay city, they can dance only on the one extant hind leg.

But today, Lover, she says, we have not spoken in more than a century. The winds have passed over and into tree branches outside my window; there is a house on a hill across the saltwater bay in another city, it has windows; doors; a songbird which returned today to the grove of trees adjacent to it. Do you hear it singing? Maria asks her young son in the morning. She has not yelled her lover’s name; her son has not cried this morning to see the maenad, his mother, avenging with her black cape her black nails and ugly old eye-looks. I am old now, Maria thinks, since my lover and I parted ways.

Do I call you? What will I say to you? Return to me, for I am afraid at the loss of your scent, your blue-eyed look when it is filled-to with desire on the occasions that your fear was abated; your feet and the curvature of the nails on your feet, your hands (I could wash your feet). But which sacrifice? Have I not listened? Have I not been myself, and who is she: Maria? The beloved? A woman from Portugal’s capital city. A sexually voracious she-ox? The suffering one. Mother of god. And inside of the maze of my own thoughts and ideas, Maria thinks, did I lose the girl who said I am free I laugh the joy comes on like the next awaited season.

—Micheline Aharonian Marcom

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Jul 082013
 

MAM1

A Brief History of Yes is seemingly a novel about a break-up, but it is also about an inestimable loss of something, something nameless, ancient, beyond or before language. It is a homesick novel. —Jason DeYoung

brief-history-yes

 

A Brief History of Yes
Micheline Aharonian Marcom
Dalkey Archive Press, 2013
119 pages, $14.00

A Brief History of Yes is a weeping novel. Its cohesion is mourning. Ineluctable sorrow manifests in its structure and grammar, in its sounds and imagery.  Its subject is one woman’s obsessive grief and despair after a break-up. But it would be impertinent to think of A Brief History of Yes as a trite break-up novel. In prose, in thought, in raw emotion it defies expectations, seeking in its disregard of traditional novel form to describe in the “language of the heart” the misery of having one’s ideals and ideas of love confronted and dashed by a lover. And Micheline Aharonian Marcom’s abiding interpretation of this language is reaching and relentless and unrestrained.

Micheline Aharonian Marcom is the author of five novels. The first three—Three Apples that Fell from Heaven (2001), The Daydreaming Boy (2004), and Draining the Sea (2008)—take as their subject genocide, and operate loosely as a trilogy. For Marcom the role of the artist is to be “concerned with the things as they are: not as they ought to be,”[1] and in these first three novels she depict characters in all their warmth and coldness, hopefulness and despair. They are intense, deeply felt novels, uninhibited by subject or style. Her new novel, A Brief History of Yes, is the companion novel (and the second in a new trilogy)[2] to The Mirror in the Well. Marcom describes these new novels as “domestic,” and they are ostensibly about love affairs. The Mirror in the Well explores physical love, ecstasy, and (very openly and beautifully) female sexuality. As Marcom told The Rumpus, in The Mirror in the Well “I wanted to write a book, in effect, from the female sex, where the word ‘cunt,’ that fine and strong old Anglo-Saxon word from Old Norse, is, I hope, a little bit rehabilitated as a word…the taboo on its use upended.”

While The Mirror in the Well burns with the rapture of an illicit affair at the edge of love, A Brief History of Yes wallows in the fizzling of a break up at the edge of madness. Its main character, Maria, is a middle-aged woman of mixed heritage—Armenian and Portuguese. She is divorced and has an eight-year old son.  She is difficult to characterize since much of the novel focuses on her inexpressible emotions and internal conflicts (at one moment she summons this disheartening reaction: “I would not like this feeling that I have now, which is a feeling without a name, not a feeling even…”). She is passionate, a woman who “loves love,” and she is flawed—she believes quite wrongly that her lover is some sort of savior.  The lover is an engineer, and we have Maria’s understanding of him to rely upon: “a man who is reasonable above all things (above love).” Between the characters lie a multitude of insurmountable dichotomies and intractable psychological wounds: Maria is from a Roman Catholic family, he: a Protestant; Maria is metaphorically the heart, the lover is the head (in fact, he has a concaved chest as if no heart can lie beneath his ribs); they are both haunted by parental abuses—she by her father’s, he by his mother’s. The polarities continue as she says “yes” to everything, while he says the decisive “no.”

It is a relationship ill-fated from the outset as Maria intuitively knows, yet she continues to believe that they were brought together because she “called” to him, as her grandmother had “called” for her husband, Maria’s grandfather. There is a mysticism that runs through this novel. Ghosts, daemons, and old-world gods inhabit Maria’s mind—holdovers from her heritage, perhaps. But they’re not to be dismissed. They give her depth and soulfulness whereas her lover denies his deeper passions and seeks “only…playful and happy girl[s] to sleep with and to love.”

The interplay of gods and spirits relates to the overall time structures of the novel, too. From the first sentence there is a sense that for the next 119 pages the reader will hear a tale that has been told before, that is perhaps both ancient and modern: “So that, yes, here are the two lovers, again…” (my itals.) Marcom steeps herself in an heirloom narrative—unrequited love—and time is elusive and recursive in A Brief History of Yes. In the timeline of the novel, the earliest chapter is just a few months before the lovers meet, and the latest one is three months after the break-up. With each chapter we shift forward and backward, shuffling vortex-wise around the night of the break-up.

Jean-Paul Sartre writes on Faulkner’s The Sound and the Fury that “the order of the past is the order of the heart,”[3]. While apt words for Faulkner’s novel, they also apply here. From the start we know that the couple has parted. We know that they were together for one year—from August to August, from “dry season to dry season.” But time is something that resides in this novel like a capricious god, giving it a semblance of arc, and Marcom does a superb job of placing the actual break-up scene close to the middle of the book. But in many ways time becomes odd, sometimes superfluous—“There is no today”—and at other moments of dire importance. We are locked in Maria’s festering memory. Some chapters straddle two timelines, some depict scenes that never occurred, and at the crux of the novel there is a breakdown of reality all together—“she pulls her own heart from her chest…” Maria in fact “puts scene together” to see what “unhappiness looks like.” At times we cannot be certain of what we are shown. Maria is smarting from grief, bewildered, and Marcom shows us how “trauma is a repetitive mode of the mind,”[4] giving the reader less of a narrative and more of a stratum of grief. Marcom is writing “into” her character’s emotion. And the suspense of the novel is whether despair will take Maria under or will she be washed ashore—“Madness either destroys you at the abyss, or from there a new form is made; something else is born.”

In counter beat to Marcom’s rendering of this language of the heart, palpitates a plaintive, commiserating music, echoing Maria’s emotions. The song of the hermit thrush reoccurs through out the novel. It is a bird, Harold Bloom writes, that “behave[s] … like a person in mourning, withdrawing from the world when overcome by grief.”[5]  It is a stunning image for Marcom to apply, and creates an enticing allusion with the fourth section of Walt Whitman’s “When Lilacs Last in the Dooryard Bloom’d”:

In the swamp in secluded recesses,
A shy and hidden bird is warbling a song.

Solitary the thrush,
The hermit withdrawn to himself, avoiding the settlements,
Sings by himself a song.

Song of the bleeding throat,
Death’s outlet song of life, (for well dear brother I know,
If thou wast not granted to sing thou would’st surely die.)

Yes, Whitman is grieving Lincoln, but Maria views the break up as a death too: the lovers have “died to one another.” The thrush’s “death carol” (Whitman) is an “ingrained [song], what sounds and song-form were made in his species millennia ago” (Marcom). Grief is old, the thrush’s warble is its serenade:

And the thrush: two ounced the song filling the tiny lungs the hillside grove and hills in the distance his brown small body brown feathers black eyes and pink grabbing feet he hops up and he cannot be seen while he sings, hides as he sings, and seeing him he does not look like a god, Maria thinks: small brown not-beautiful bird but for the melody and in his song all of the world, its beauty, its growth and decay.

Music appears elsewhere in the novel and entwines itself with language. Marcom has called her novel a “literary fado,” comparing the novel to a style of Portuguese music that is mournful, characterized by sentiments of resignation and melancholy. “Song is always a nostalgic form, the past is always its guide—the longing for home,” she writes. By the end of the novel, Maria is a woman in exile—her ex-husband and son celebrate Thanksgiving without her, her lover doesn’t want to see her, she is hundreds of miles away from her mother, even further from her native home of Portugal. Amália Rodrigues’ “Fado Português[6] plays on the radio. It is around this time the word saudade emerges:

In English you don’t have this word, and there’s no accurate translation of it. Is it nostalgia? Or yearning for the absent one? Or the love that remains after the beloved has gone? All of this could be saudade.  Have you not seen your Christ on the cross? And why does the Protestant deny the image where the knowledge can be felt.

I love that, “where the knowledge can be felt.”  It is without words, obscure, similar to the hermit thrush’s song, to Whitman walking with the “knowledge of death,” to the elegiac voice of Amália Rodrigues, to Maria’s internal place where she goes when she is feeling pain, a place without language. In fact, A Brief History of Yes, and most of Micheline Aharonian Marcom’s work, is a challenge to the sufficiency of language.  She strives through neologisms and disarticulated and run-on sentences to press the English language to do more. And despite the third person perspective, A Brief History of Yes is ultimately a private narrative, built out of one individual soul’s language, unhinged from collective rules of punctuation and meaning and time:

It is the early morning of the American holiday of the mythical meeting of the Indians and the English, and Maria is not celebrating today, she doesn’t cook the holiday fare and in any case her son is with his father in another city celebrating, eating, and the old husband fucking his American wife with the horsy face and there is nothing chosen or wrong with a horse’s face, Maria thinks, my face today is lined, aggrieved, unmalleable, and the icon suspended above my bed when I was a girl, the small palm-sized image Mãe hung on the wall above my headboard of the Madonna and Child, one of grandfather’s early icons, of the small unreal-looking Jesus child, the stiff, small-faced, thin-faced mother of Christ inviting, eventually, Maria’s own face today years later when she took the photograph of herself and saw the grief of the lost son, lost lover, husband, and father in it.

A Brief History of Yes is seemingly a novel about a break-up, but it is also about an inestimable loss of something, something nameless, ancient, beyond or before language. It is a homesick novel. As the title suggests, this is a history of a word, of the word, not a love affair or a couple or a life. “Lover, the world began with a yes.” (The echo with the Christian Bible is unmistakable, compounding the sense that Marcom is working with material that is old, elemental to the human condition.) Without yes there is nothing, we are told. It is from the Old English, the “single present subjunctive of beon, to be.”  Without yes there is no life, no richness of feeling, no good, no bad: no heartbreak, but no love.  It is yes that starts the affair, and it is yes that Maria ultimately returns to for self-salvation.

There are few living American writers who write novels as challenging, mesmerizing, and intriguing as Micheline Aharonian Marcom. She proves herself again and again to be a writer with an unremitting gaze, and her work wounds and leaves behind sacred scars as they show us a love for humanity’s spectrum—its gorgeousness and wretchedness. Since she takes on as her subject the ineffable in her characters, her novels are difficult to talk about and convey. Her characters often go to a place—whether internally or externally—that is beyond or without language. And, if they themselves have no language for their feelings, what is our hope in being able to speak about it? We offer our silent commiseration, our imperative as sincere readers. Often I sense there is something in the novels that aches to re-experience the charge and mystery of myth, and as with A Brief History of Yes, her novels read like poetry. Structured, yes, but full of sequences that don’t succumb to the dictates of prose, passages that go on unpunctuated and grow wild on the page. It is a style honest to Marcom’s characters and to her own challenge to push language, a style that brings forth originality and worthy of love.

Jason DeYoung

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Jason DeYoung lives in Atlanta, Georgia.  His fiction has appeared or forthcoming in REAL: Regarding Art and Letters, New Orleans Review, The Los Angeles ReviewNuméro Cinq, and The Best American Mystery Stories 2012

Jason DeYoung

 


Footnotes    (↵ returns to text)

  1. Shushan Avagyan, “Interview with Micheline Aharonian Marcom,” Context, No. 22, Dalkey Archive Press, Date?
  2. “I think of it as a trilogy because I’ve written three ‘domestic dramas,’ different from the historical books which preceded them.” Micheline Aharonian Marcom in interview with Taylor Davis-Van Atta, “A Conversation with Micheline Aharonian Marcom,” Music & Literature, Issue 1, page 144
  3. Jean-Paul Sartre, “On The Sound and the Fury: Temporality in Faulkner,” We Have Only This Life to Live: The Selected Essays of Jean-Paul Sartre 1939 – 1975, New York Review of Books, 2013, page 21
  4. Taylor Davis-Van Atta, quoting Micheline Aharonian Marcom, “Marcom & the Possibilities of Language,” Music & Literature, Issue 1, page 164
  5. Harold Bloom, Walt Whitman, Chelsea House Publishing, 1999, page 92
  6. For those who are interested, this song is based on José Regio’s poem Fado Português.  Even if you cannot read Portuguese (as I cannot) a quick web translation reveals the precision of Marcom’s choice in this song with its reoccurring lines: que, estando triste, cantava, / que, estando triste, cantava.
Jul 052013
 

Laura K. WarrellLaura K.  Warrell

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THE DAY AFTER KOKO’S FIFTEENTH birthday, two bombs went off during the marathon in downtown Boston, eight miles from where Koko lived with her mother.  She was at the mall buying a bottle of perfume called “Reckless” with the fifty-dollar bill her grandmother had slid into a Hello Kitty birthday card when her mother phoned to see if Koko had heard from her father and to tell her to come home. Koko bicycled through the streets, her legs – made clumsy by their pubescent lengthening out – now worked effortlessly, spurred on by fear.  The television was on when she got home, her mother, Pia, chewing at the palm of her fist and watching the footage play on loop.  The crack of the blasts at the finish line made Koko jump, the gush of smoke swelling in the air reminded her of a dream she had had once of ghosts.  The shattered glass and wrecked sidewalks, the scramble of people and rupture of screams already began to haunt her until she grabbed hold and pushed the scene firmly away, like so many other awful things.  Still, the eeriness of it all made her forget for the moment that her father had forgotten her special day.

[SPACE]

Friday morning, four days after the blasts, Koko untangled herself from her bed sheets and went to the living room to watch the news.  A hunt for the suspects – two men, one in a black baseball cap, the other in a white cap – had lasted through the night.  The first suspect, the older man, had died in a shootout with police who were still searching for the second suspect.  School was cancelled and the city was on lockdown.  A manhunt, the news called it.  Koko watched the footage of the two suspects crossing the sidewalk near the marathon finish line, backpacks strapped to their shoulders.  A photo of the younger man flashed onto the screen as Koko nibbled at her thumbnail, suddenly exhilarated, as if she’d woken up on a movie set.  A warm tickle moved through her.

“Have you seen him?”  Koko sent a text message to her best friend Bree.  “The younger one.  He’s beautiful.”

“Just thinking the same thing,” Bree replied.

“No one so beautiful would do this.  He must be innocent.”

“He better hope so.”

Koko’s mother blustered into the room, a gust of breathy sobs and wet tissues tumbling from quaking hands.  Her tatty silk robe flapped behind her as she sipped an orange juice with a splash of vodka Koko could smell.  She hadn’t left the house or changed clothes since the bombings.

“I can’t get hold of your father.”  Her bird-ish trill always sounded sharper, more brittle when she was frightened or needed something, which was often.  “I keep leaving messages.  You try him.”

“He doesn’t answer me either.”

Hovering above the television, her mother pulled the phone from the pocket of her robe and dialed.  “Circus,” she whimpered.  “We need you here.  Goddamn it, look what’s happened.  Those guys are out there somewhere.  What if they come here, what would we do?  Your family needs you.”

Through the screen of her mother’s nightgown, Koko watched the footage of the blast play again on television, the crack of the bomb, the plume of smoke, the bodies rushing.  Her mother tossed the phone onto the sofa, let out a raw cry then slunk back through the hall toward her bedroom.  Koko tried to take the scene in as something real, as an actual event that had occurred a mere bicycle ride away from where she watched on television.  But a bombing couldn’t happen, not in real life.  She couldn’t sense it like her mother seemed to.

Only the face of the younger man seemed fathomable, the smooth, pale skin, the slinky mouth and crumble of beard on his chin, the mess of dark hair, shadowy eyes lit with danger.  Koko imagined he was looking back at her and blushed, hot inside and skin reddening, as if she had a fever, though this was good.  Other boys had made her feel like this – pop singers, movie stars, a boy once or twice at school.  But he was different.  Something inside of her reached out and grabbed this boy.

Impatient, she texted Bree.  “I want to find him.”

“Nuts.”

“I need to meet him.”

“As if.”

“We’re smart, we know people.  Someone we know must know him.”

“True dat.”

“Whoever finds him first wins.”

[SPACE]

The suspects were identified hours later – two brothers, nineteen and twenty-six from a town near Russia.  Soldiers searched door-to-door for the nineteen-year-old in the town where Koko lived while she looked for him online.  There were photos from the boy’s prom and wrestling matches, a picture of his family cat.  She found the high school he went to then sent messages to everyone she knew with connections there.  No one knew anything.  A post on Facebook came up with nothing and a search of the boy’s Twitter feed revealed little more than a fondness for parties, hip hop and weed.  The month before the bombing, he had posted a quote that read, “If you have the knowledge and the inspiration all that’s left is to take action.”  Koko wrote the words in permanent marker on her forearm then quickly covered them with her sleeve just as her mother called from her bedroom.

Koko grumbled and went to her.  Lying in bed with her knees at her chest like a sick child, her mother asked, “Sweetheart, will you bring me an aspirin?”

“They know their names,” Koko called on her way to the bathroom where she grabbed the aspirin bottle and a glass of water.

“Monsters.”

“I think he’s beautiful,” she said when she got back to the bedroom.

Her mother lifted her head from the pillow.  “Who?”

“The younger one.”

“You’re out of your mind.”

“We don’t know if he did anything.  And if he did, I’m sure there was a reason.”

“What possible reason could there be?”

“I don’t know.  Someone must have hurt him.”

Her mother downed the aspirin with a swig of the vodka orange juice then fell back onto the pillow.  “I haven’t slept.  I’m starving.  I haven’t eaten since yesterday.  Where’s your father?  Why isn’t he thinking of us?  I’m so, so hungry.”  She reached out and Koko loosely took her hand.  “We’re so alone, you and me, aren’t we?  I’m sorry, sweet girl, I didn’t want us to be so alone.  This wasn’t how anything was supposed to turn out.”

Koko slid her hand from her mother’s sticky fingers and folded her arms over her chest.  Even sick and drunk she was still so pretty, her mother, delicate, her long blonde hair flowing over the silk pillowcase, gold-colored and shimmering like some holy light.  “Do you want me to make you something to eat?”

Her mother sniffled.

“Tomato soup from the other night?”

“Would you do that for me?  That would be so nice.”

Koko went to the kitchen and took the pot of soup from the fridge as her mother’s phone rang.  Hoping it was her father, she ran to the living room to answer.

“Darling!”  Her grandmother’s voice always reminded Koko of clucking chickens.  “How are you?”

“Okay, I guess.”

“How absolutely terrible.”  Koko could hear her grandmother’s exhale of the expensive cigarettes she smoked that smelled like cinnamon.  “Darling, there are terrible, terrible people in the world but we mustn’t allow them to frighten us.  That’s what they want and we mustn’t give those brutes anything they want.”

“I’m not scared,” she said.  “I know one of them.”

“My God, Koko, call the police.”

“Well, I don’t really know him.  I just feel like I do.  And I don’t think he’s terrible.”

Silence on the other end of the line, an exhalation of smoke.  “Put your mother on.”

Koko brought the phone to her mother then went back to the kitchen.  “I’ve already called and he’s not answering,” she heard her mother say.  “Why do you ask when you know I have no idea where he is, mother, you just want to torture me…he missed Koko’s birthday, you know…no, she’s fine about it, but me, oh, I’m not feeling well about all of this…A woman answered when I called yesterday.  She said, ‘Pia, are you okay?’…She’s not concerned about my well-being, Mother, why do you never take my side?”

Koko slid on her headphones and listened to her favorite song of the week, the Foster the People one about kids shooting kids, the one with the easy beat, the one her dad liked to whistle.  As she stirred a dollop of cream into the tomato soup, she imagined the younger suspect at the front door.  A chill went through her as she thought of him standing there, trembling and afraid.  He would look down at her ready to defend himself then see she wasn’t afraid of him.  He would sense how she could see he was gentle deep down, that she understood him.  She would sneak him into her room and make him something to eat, watch him take a bath, wash his back.  If her mother came in, she would hide him under the bed.  At night, she would crawl under to sleep beside him.

“Did you see the latest photo?”  Bree texted.  “Oh my god, wicked hot.”

Koko turned off the burner and ran back to the living room to the television.  In the photo, the boy wore a black graduation gown with a red carnation in the lapel, handsome with a smirk on his pout of a mouth.  She was slightly sick, slightly thrilled.

“I would so do him,” Bree texted.

“Shut up,” Koko typed.  “I love him.”

“Uh-oh,” Bree wrote back.

 The next image on the screen was a photo of the blast, so Koko changed the channel.  Her mother came down the hallway, went to the front closet and put on a down winter coat.

 “Are you cold?”

“No.”  Her mother lied on the sofa, shoving her bare feet beneath a cushion.  “We should stop watching.”

“Did you hear from dad?”

“Guess.”  She used the remote to turn down the volume on the television and groaned watching the footage of the suspects crossing the sidewalk with their bomb-packed backpacks.

“Mom?”  Koko started nervously.  “Can I tell you something?  It’s kinda private but I want to tell someone.”

“Of course, honey,” her mother said with a yawn.  “You can tell me anything.”

“You won’t be mad?”

“Tell me, sweet girl.”

“Well,” there was a lump in her throat.  “I know I don’t know him but I feel like I miss him.  Is that weird?  I just miss him.”

“Miss who?”

Koko nodded toward the photo on television.

Her mother tsked.  “You don’t know what you’re talking about.”

“Don’t you feel bad for him?  Just a little bit?  I mean, he’s only nineteen.”

“He can go to hell for all I care,” her mother said.  “He’s evil.  You don’t know evil yet, but I can tell you, that’s the face of it.”

Koko’s throat thickened with tears but she swallowed them, covering her wet eyes with her fingers to stop their flow.  She’d learned early on, her mother was the crier in the family.

“Sweet girl,” her mother said.  “Come sit with me.  We can keep each other safe.”

“You don’t know how to protect anyone.”

Tears bloomed in her mother’s eyes.  “Why won’t any of you care for me?  I try so hard.”

“You don’t understand anything.”  Koko was on her feet, yelling instead of crying.  “He doesn’t have a voice.  He needs people behind him.  He needs someone to stand up for him, to believe in him.  To fucking love him.”

“Koko, the language.”

“No one’s got his back.”

“Dear God, I hope they get those boys soon.”  Her mother pinched the bridge of her nose.  “I don’t know how much more of this I can take.”

Koko’s phone buzzed.  She prayed it was her father.  He would understand.  He knew how complex life could be.  But it wasn’t a message from her father.  It was Bree.

“I found him.”

[SPACE]

Bree’s message said Jenny Parker lived near the suspects’ uncle in North Cambridge and the rumor was the boy was hiding there.  Bree sent the address.

“I’m going.”  Koko texted back.  “I want to be with him before they catch him.  Maybe they won’t catch him.”

“They’ll catch him.”

“I want him to be my first.”

“That would be so rad.  You’d be famous.”

“That’s not why I would do it.  You don’t know anything about love.”

“Drama queen.”

“It happened around my birthday, it’s a sign.”  She stared at the photo of the boy in his graduation grown.  “I want to fall asleep in his hair.  I want to hold him, to tell him everything will be okay.”

“Well, it won’t,” Bree texted.  “He’ll be in jail soon.  Or dead.”

Koko switched off her phone.

[SPACE]

She slid into a leather mini skirt and cowboy boots.  Bree called it her Fuck Me Gear, a look she cultivated in contrast to her saintly looking mother, who didn’t seem the kind of woman to be since her father barely came around.  Her mother’s faint, pretty, harmless looks had eluded her anyway.  Koko looked like her father.  Brown, thick-bodied, with messy eyebrows and unkempt black hair she let fall over her eye, looking out as if ready to pounce.  Boys liked her.  She had a quiet, explosive energy they poked at like poachers to a cornered wildcat.  She knew she scared them a little with the purple polish on her fingernails bitten to the quick, the witchy black eyeliner around her brown eyes.  She smoked cigarettes and drank bourbon in corners at parties, wouldn’t let boys kiss her on the mouth but teased them as they watched her walk through the halls at school in her skirts and cowboy boots.

The word ‘freak’ was scrawled on the front of Koko’s T-shirt, a touch she thought the boy would appreciate.  She checked herself in the mirror then went to the kitchen to make him a turkey sandwich, put the sandwich into a paper bag with a serving of tomato soup, a bag of chips and thermos of ice water.  She snuck a bottle of bourbon and a box of chocolates her mother gave her as a birthday gift, and put everything into her Hello Kitty backpack along with a map, a sweater and a box of bandages in case the boy was hurt.  She saw her mother was asleep on the sofa then went to her room to steal a twenty-dollar bill and credit card from her wallet.

Her mother’s phone rang.  Koko stood still in the other room.  If it was her father, she would consider it a sign and stay.  If not, she would go.

“Hello?”  Her mother answered sleepily.  “Yes, Mother, I’ve locked all the windows.”

Koko slipped out the back door.

[SPACE]

Koko pedaled her bicycle through the deserted streets, the brilliance of the spring day hollowed out by the stark absence of life.  Everyone was inside, she could sense the jangling of nerves behind bolted doors and windows.  The silence, punctured every few minutes with the scream of sirens in the distance, rattled her.  She focused on the smooth, peaceful grip of her bicycle tires on the road.

Koko stopped to check her map, sipping the bourbon to keep calm.  The address was in the next town over.  She continued on her bicycle, passing beside a cemetery then through a playground where she was spooked by children’s toys left in mid-play – a pair of badminton rackets, a tricycle, a basketball under a hoop.  Further on, an old woman on a cell phone watched her from the window of an apartment, mouth hanging open.  Koko’s palms were sweating on the handlebars, her pulse ticking in her neck.  But she kept going.

A fleet of police cars rushed toward her on the main road into Watertown, sirens crying. Koko steered her bicycle into an empty lot behind a gas station to wait for them to pass, fearing the boy must have heard the sirens, too.  She imagined him trembling in an alleyway praying to God.  Imagined him in the tool shed of a stranger’s house.  Maybe he was halfway to Canada.  Koko climbed onto her bicycle and raced to the address.

[SPACE]

The house was unremarkable, decayed brick and green awnings, a pale yellow door.  The porch was teeming with potted trees and plants, strands of green leaves and tangled stems crawled over the rails and banisters like the earth had opened up and sprung through the slatted floor.  On the front stoop, a dirty white cat twitched its tail then slinked away.  The windows of the house were dark, except for a light in a tiny window on the attic floor.  The boy must have been hiding there.

In a schoolyard across the street, Koko lay her bicycle in the shadows of a tree.  Her pulse pounded and made her ill as she picked at her lip and drummed up the courage to walk to the door.  She took a generous sip of the bourbon, pulled at the hem of her skirt, wishing she could cover her bare knees, then went up the steps and knocked.  When no one answered, she knocked again then backed up to see if there was movement in the attic window.  The light had been switched off.  She knocked one last time, then pulled a pen from her backpack when no one answered and scribbled onto an envelope she found in the mailbox.

‘I’m here,’ she wrote.  ‘I believe in you.  Flash the light to give me a sign and I’ll come.  Love from Koko.’

She opened the screen door and dropped the note inside then went back to her bicycle to wait.  The house remained still.  Lying in the grass, Koko watched whipped cream colored clouds slowly somersault over the roof of the house and imagined the boy with her.  She thought of him in his graduation gown, thought of him pinning his red carnation to her prom dress in a few years, imagined dancing with her head against his shoulder, his arms strung round her waist.  What was he thinking?  She wondered.  Was he thinking of his mother far away in Russia?  Was he wishing his friends were around him, wishing he was lying peacefully in his own bed?

Koko closed her eyes, giddy and slowed by the bourbon.  She peeked up at the house one last time before drifting, unwillingly, to sleep.

[SPACE]

Hours later, her stomach turned with the taste of bourbon and woke her.  Koko rolled over and threw up in the grass, reached for the thermos in her backpack and drank half of the water.  The sky was starting to find its pre-dusk blue, dreamy and cold above her.  She looked over at the house then down the streets.  Everything everywhere was still silent.  When she switched on her phone, it read half past six and chimed with messages from her mother and a text sent ninety minutes before from Bree.

“Where are you?”  The message asked.

“At the house.”

Several moments later, Bree wrote, “What house?”

“His uncle’s house.”

“Shit, Ko, didn’t you get my text?  News says the kid isn’t anywhere near there.”

“Then where is he?”

“Just go home and be safe.”

Koko tossed the phone back into her backpack, her throat swelling with tears.  She swallowed them with a sip of water then got back onto her bicycle, slowly making her way through the streets farther away from home.  Turning onto a main road, she looked through the windows of a laundromat, a convenience store, an Italian restaurant and pet shop, all of them empty.  Even the gas station at the corner was lifeless.

She saw a flickering light ahead and pedaled toward it.  A tattoo shop with curtains drawn, a neon sign out front sputtering.  A man was sitting in front of a television, she could see him through the glass door.  Koko banged on it and the man jumped before clomping over to answer.

“What are you doing out here?”  He sounded like a parent even with his hulkish body covered in tattoos and his septum pierced like a bull’s.  He pulled her inside, locking the door behind her.

Koko tugged at her earring, glancing past him instead of into his eyes.  “I want a tattoo.”

“You shouldn’t be out here.  Do your folks know where you are?”

“Yeah.”  She caught sight of the television where footage of the bombings played.  “So can I get a tattoo?”

“What the hell kinda tattoo do you want so bad to come out in this?”

Koko lifted her sleeve to show him the quotation.

“How old are you?”

“Eighteen.”

“I’ll ask you again.”

Koko blushed when she saw the boy’s photograph on the screen.  “Fifteen.”

“Well, I can’t give you a tattoo without your parents’ permission.”

“They’re alright with it.  Please,” her voice cracked.  “I need to get it.”

The man followed her stare toward the boy’s photo on the screen, the graduation gown, the carnation.  He looked back at Koko, a vein in his temple throbbing.  “Tell you what, kid.  We don’t need to tell your parents so long as you give me some basic info.  Protects me, see.  Just your name, your mother’s name, a phone number.  That’ll do.  Cool?”

He handed her a slip of paper and she wrote down her mother’s name and number.  “I’m Koko.”

“Lemme go get the equipment ready.”  On his way out of the room, the man took the television remote and flipped to a music station.  “You don’t need to see any of that.”

Koko nestled into the waiting room sofa and flipped through a magazine past photos of an Asian women with tigers and flowers inked down the length of their legs and tattooed college girls in fishnet stockings.

“Just gotta give the equipment a chance to heat up.”  The man said when he came back several minutes later.  With his elbows on his chubby knees, he looked like a bullfrog sitting in the folding chair.  “This channel cool with you?”

She nodded and took the sweater from her backpack, draping it across her knees.  Absently, she watched the music on the screen, struggling again to keep her eyes open.

“How long will it take ‘til you’re ready?”

“Haven’t used the machinery all day,” he replied.  “May be a while.”

The man didn’t say much, only chuckled every so often at text messages on his cell phone and checked a clock that looked like a compass on the wall.  Koko pulled up her sleeve and traced her fingers across the quote, picturing red roses laced through the words.

Thirty minutes later, there was a knock at the door and she turned.  The shape behind the glass seemed to cast a beam of sunshine into the room and Koko saw the towering body.  She saw the mess of dark hair and immense shoulders.  She saw a warrior, a titan, saw him as she always had.  A king.

The tattooed man unlocked the door and her father stepped into the room.

[SPACE]

The ride in the car started in silence, her father’s jaw pulsing as he kept his gaze fixed firmly, angrily to the road.  Koko toyed with the zipper of her sweater, wanting him to speak first.

“Are you mad?”  she asked.

“We’re not supposed to be on the roads,” he answered, his voice measured.  “We’re breaking the law being out here right now.  You know that, don’t you?  You’re lucky you weren’t in Watertown where the feds are looking.”

“What’d Mom tell you?”

“Who knows?  I couldn’t hear anything through the sobbing.  Barely got the address to the tattoo parlor.”

Koko gazed at the houses on the street as they passed, each of them lit with the glare of televisions beaming through windows.  “You forgot my birthday, Circus.”

“Huh?”

“My birthday was Sunday.”

“Is that why you did this?”  He tsked then cursed himself, guilt washing over his face.  “I’m sorry, baby.  I’ll make it up to you.”

“Were you worried about me?”

“Shit, of course.”

“Then why didn’t you call?  Mom tried to reach you.”

He wrapped his knuckles against the steering wheel.  Being around her always seemed to make him nervous, like she had him on a leash he wanted to chew through.  “I got a lot going on, Koko.  I think about you all the time, baby, but there’s, you know, so much going on.”  He glanced over at her.  “You’re shaken up, huh?”

“A little.”

“This kinda thing messes with grownups, too.”  He put a hand on her knee, squeezed.  “I just needed to be some place I could wrap my mind around it, you know.  Feel all right.”

“How come that place isn’t home?”

He took a toothpick from his pocket and started gnawing at it.  Let several moments of silence pass again between them.  “So, what are you, fifteen now?”

“Yeah.”

“How’s it feel?”

“Okay, I guess.”

“Fifteen.”  He let out a low, crackling chuckle.  “I remember fifteen.  Wasn’t one of my best years, but I can tell you, it gets easier.”

Koko looked up at him.

“Don’t get me wrong,” he said, his voice melodious, warm.  “There’s still lots that’s hard, but you just start to realize you’re getting closer to when you’re in control of things, you know, you’re gonna be free one day.”

As they drove in silence a bit further, Koko kept her gaze outside the window, realizing she didn’t recognize the streets.  “Where are we going?”

“I got a friend in Waltham,” he said.  “He’s got a place we can rest ‘til the streets open again.  He’s a good guy, you’ll dig him.  There’s a pool, you can dip your feet.”

“Cool,” Koko mumbled, looking around inside the old Buick.  As always, the car was cluttered with her father’s life – sheet music strewn on the floor, amplifiers and wires crammed into the deck beneath the rear window, suits in a garment bag hanging from a hook, boxes filled with copies of his demo CDs.  Only the trumpet case was set apart from the rest of the clutter.  Koko always loved to watch her father play his trumpet – she liked the sight more than the sound – imagining the horn made from elephant tusk and her father an ancient hero blowing into it to announce the hunt.  The trumpet case, strapped safely behind a seatbelt in the backseat, was like another source of life in the car.  She could sense it.

“Does your mother know you were gonna get a tattoo?”

“Not really.”

He shook his head back and forth, a slight smile on his lips.  “What were you gonna get?”

Koko pulled up her sleeve.

He stopped at a red light and read the quote.  “Where’d you hear that?”

“The second bomber.”  She was blushing again.  “The younger one.  It was on Twitter.”

The smile on her father’s face faded.  He cracked the toothpick in half with his teeth and tossed it into the ashtray.  Koko got a strange pleasure having shocked him.

“I’m in love with him,” she said, pushing harder.

 “The bomber?”

 “The younger one,” Koko said.  “I love him.”

 Her father turned away so that she stared at his face in profile, the crown of tousled black hair, the majestic shoulders and mighty jaw.  He was like a character in a comic book, a warrior draped in animal skins and wielding a sword.  She imagined crawling over the seat into his lap.

 “Well,” her father said quietly.  “I’m sure he’d love you, too.”

Koko turned away to look through the window into the dark houses on the street, settling back into her seat as the tears gently and finally came.

—Laura K. Warrell

.

Laura K. Warrell is a freelance writer living in Boston. She teaches writing at the University of Massachusetts Boston and Northeastern University and is a July, 2013, graduate of the MFA program at Vermont College. She has previously published nonfiction in Numéro Cinq.

Jul 032013
 

Cynthia Sample lives in Texas and reads Lydia Davis and Jorge Luis Borges and, when she comes to write, combines genres and forms in ironic and hilarious juxtaposition. She writes little stories, microstories, that delight the eye and the mind, stories that startle you with their originality and unique angles of attack. In this one she uses the genre of the concordance to tell a  steamy tale of love, lust, adultery and divorce — it will make you smile.

dg

DANCE (danced, dancing)

Ecc      3:4          a time to d and a time to mourn
2Sa      6:14        d before the Lord
Ps        30:11      You turned my waiting into d

LUST (lusted, lusts)

Pr        6:25         Do not l in your heart
1Th     4:5           not in passionate l like the heathen
1PE     4:3           in debauchery, l, drunkenness

LOVE (beloved, loved, lovely, lover, lover’s, lovers, loves, loving, loving-kindness)

Ge       20:13       This is how you can show you l
Ge       22:2         your only son, Isaac, who you l
Jos     22:5          careful to l the Lord your God

ADULTERY (adulterers, adulteress, adulteries)

Lev      20:10      both the a and the adulteress must
Heb     13:14       for God will judge the a
Hos      3:1          she is loved by another and is an a
Jer       3:8          sent her away because of all hr a
Ex        20:14      You shall not commit a
Mt        5:32        The divorced woman commit a
Mk       10:11       marries another woman commits a
Jn         8:4         woman was caught in the act of a

DIVORCE (divorced, divorces)

Dt         22:19      He must not d her as long as he lives
Dt         24:1        and writes her a certificate of d
Mal      2:16        “I hate d,” says the Lord God
Mt        19:3        for a man to d his wife for any reason
1Co      7:27        Are you married? Do not seek a d

LOVE (beloved, loved, lovely, lover, lover’s, lovers, loves, loving, loving-kindness)

Jdg      4:16         You hate me! You don’t really l me

LIE (liar, liars lied, lies, lying)

Lev      19:11       Do not l
Nu        23:19     God is not a man that he should l
1Jn      2:21         because no l comes from the truth
Ac        5:4          You have not l to men but to God

END (ends)

Ps       119:112   to the very e
Ps       1:19          such is the e of all who go
Ps        5:4           but  in the  e she is bitter as gall
Ps        14:13      and joy may e in grief
Ps        16:25      in the e it leads to death
Ps        19:20      and in the e you will be wise

FORGIVE (forgiveness, forgave, forgives, forgiving)

Ge       50:17       I ask you to f your brothers the sins
Ex        10:17      He will not f your rebellion
Isa       15:25      f my sin and come back with me
Col      1:14         in whom we have redemption the f
Eph      4:32       to one another, f each other

SECRET (secrets, secretly)

Dt         29:29     the s things belong
Ps         90:8       our s sins in the light
Pr         21:14     a gift given in s soothes anger
Jer       23:24    Can anyone hide in s places?
Mk       4:11        the s of the kingdom
Php      4:12       I have learned the s

—Cynthia Sample

————————————–

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

Jun 152013
 

Ann Ireland

Iris and Lydia are watching a divinely tasteless tourist wedding on a beach in Mexic0, the ceremony punctuated by the recorded voice of the groom singing “We’ve Only Just Begun.” Ominously, the word “narcotraficantes” floats into the conversation, not given another thought, except that the reader knows, the READER KNOWS! Something will come of this. Iris is 78 and charges through life with a certain comic grandeur, tossing off Spanish phrases. Lydia, her daughter, is cautious, middleclass — her husband has “escaped” her. The air is one of golden sand and indolence. Attentive, amenable Mexican waiters humor the gringos with money; the wedding counterpoints Lydia’s anxious memories of a lost husband; a delightful irony suffuses the entire scene, coupled with threat. And, yes, we’ve only just begun.

This a section plucked from the opening of Contributing Editor Ann Ireland‘s novel-in-progress Where’s Bob. Her fourth novel The Blue Guitar was just published this spring.

dg

—-

‘That’s for us,’ Iris said, pointing to the final item on the activity menu. ‘Archery is excellent for balance and concentration. I always thought I might be good at it. But you must join me, in case I start to tip over.’

Squeals of laughter rose from the swimming pool where a member of the Star Team was conducting an aerobics class, though not very vigorously, judging by the unmanaged hopping up and down as salsa music blared from the speaker.

Lydia, Iris’s middle aged daughter, frowned, and not at the noise. ‘Not such a good idea, Mama, considering your fragile bits.’

‘I have no fragile bits,’ Iris insisted and gave her thigh a hearty slap. ‘You might say that I’m better than ever.’ The left hip had been replaced two years ago, an arduous couple of months, but well worth it. ‘I am perfectly intact in limb and joint, probably tougher than you, given the fact that there’s titanium in there.’ She paused and added in a softer tone: ‘We may as well have it out now on day one of our vacation: You are not to fuss about me.’

‘I don’t fuss,’ Lydia objected. But she sounded cross.

‘Tipping over refers to a slight tendency to vertigo. As your father might have said – ‘Expect the unexpected’ – and should a rescue be required, I’ll let you know, loud and clear.’ Iris smiled at the anticipated drama of such a moment, where her daughter, no spring chicken herself, might race across the beach to catch her teetering mother.

‘Got that?’

‘Do I have a choice?’ Lydia said.

‘You do not.’

 The two women, one tall and majestic (Iris), the other shorter and thin with sparse hair (Lydia) sloughed past the beach volleyball court where girls in bikinis lunged for the ball aided by bare-chested men, not all them young.  Long-limbed, the girls neighed like thoroughbreds, tossing blonde hair over shoulders.  Iris and Lydia treaded in their sandaled feet through the fine-grained sand of the Yucatan coast. To one side, the shore sloped to the turquoise sea which was scattered with bathers, who, for the most part, stood in place and let gentle surf wash over them. To the other side was La Piramide, a five star sprawling resort whose main building was shaped in the form of a Mayan pyramid. Their room was in the Toucan wing where public areas were painted cheerful tropical colors, as opposed to the Colonial wing with its tasteful dark wood and murals of the conquistadores. Everyone wore plastic wristbands indicating where they could dine and drink without having to worry about carrying money – Iris’s idea of heaven. Money, anywhere, in any manifestation, was a pain in the neck.

She stopped beside the end of the meandering swimming pool with its tiered series of waterfalls.

‘Have you ever imagined such a place?’ Iris said, taking in a long breath of sea air, tinged with coconut oil.

‘Not in my wildest dreams,’ Lydia said.

In her tone Iris detected a certain contempt, an easy disregard for the sort of people who demanded artificial waterfalls and non-stop entertainment when they left home, not to mention five restaurants, six bars, two buffets and a snack bar that was open 24/7. The sort of places Lydia and Charlie took the kids, when Lydia and Charlie were still a team, were proudly shabby, tiles missing in the bathroom, a toilet that didn’t quite flush, iffy water flow and air conditioning, a simple hostel in some off the beaten path, perhaps in Cuba. They would bring toothpaste and underwear to the chambermaids, if there were chambermaids, and a parcel of magic markers and exercise books for local school children.

The two women threaded between loungers laden with oiled-up vacationers, their eyes now fixed on the rustic hut where a trio of blenders scoured fruit into luridly colored cocktails.

Discreetly, Lydia tucked an arm under her mother’s elbow as the sand shifted and Iris had begun to sway. She was 78 and had suffered her share of surgeries in recent years.

‘Shoot me if I get like that,’ she spoke into in her daughter’s ear.

She indicated with a nod a hefty woman of advanced years (though not as advanced as Iris) lying on a cot – a woman who had peeled down the top of her bathing suit to reveal the upper portion of two massive freckled breasts. A fanned out copy of a Harry Potter novel rose and fell on her impressive belly.

‘No one has the right to let herself go to that degree,’ Iris continued, sotto voce. ‘It’s a disgrace.’

‘To womankind?’ Lydia supplied.

‘Exactly!’ Iris nodded, pleased that they were in agreement.

Iris held herself well and had retained a defined waistline that she was proud of;  her silver bathing suit featured a braided belt around the midriff and her feet were encased by strappy sandals– a pointed contrast to her daughter’s sensible espadrilles.

‘Ah, there’s my lad,’ Iris declared, arriving at the palapa, slightly breathless from the effort of crossing the beach. ‘Miguel!’ she hailed the young man in a crisp checked shirt who was operating a blender with one hand and pouring beer with the other. She fully expected him to remember her from last night when she and Lydia had arrived, hot, dirty, and fed up from the airline journey and the hour-long bus ride to the resort. Miguel had fortified them with jolts of tequila.

 Today he greeted her with a wide smile, for of course he remembered the gringa who spoke Spanish.

‘Por favor, toss us a couple of margaritas, con limon fresco,’ Iris said.

 The small crowd around the bar parted to make way for Iris, who didn’t seem to notice that she’d slipped to the head of the line: a prerogative of age. Iris looked so delighted that no one wanted to spoil her moment.

Her daughter offered an apologetic smile while Miguel set two foaming margaritas in plastic glasses on the sticky counter.

‘You got pesos for a tip?’ Iris whispered back to her daughter. Like the queen, she rarely carried money.

Lydia dug a coin from her beach bag and flipped it into the jar.

‘Now where shall we position ourselves?’ Iris said, spinning around, holding both drinks.

Lydia pointed to a shady area near the infinity pool. ‘I’ll take the booze over then come back for you.’

Iris frowned, as if she hadn’t heard. Soon she was beetling across the hot sand, making her way to a pair of loungers at the end of a row on the beach.

‘Mum!’ Lydia called sharply. ‘There are towels on them. They are occupied.’

Her mother called over her shoulder. ‘I see no occupants.’

As Iris pressed forward she thought it would have been wise to give the drinks to Lydia. But now she was stuck with them and crossing ridged sand that had been meticulously raked by staff in the morning, cigarette butts and other detritus collected into bags, not to mention the horse manure that cascaded from the rear ends of the sorry beasts that paraded up and down the beach at dusk. Iris set a grin firmly in place: this would not be the time to pitch forward and bust a limb,  sticking Lydia with the task of carting her off to some dubious hospital. She tossed back her blonde-and silver tinted hair, noting that people were watching her progress. Well hell’s bells, she was used to a certain amount of attention, and not just from geezers. She did not cater to the commonly held belief that women of  a certain age couldn’t hope to attract notice. A person creates her own visibility, insists on it.

She stood alone, wavering, barely keeping the margaritas upside. The sun was fierce. She felt her lips under crimson lipstick pucker in the salty air and she squinted, light bouncing off the water.

Lydia scampered to her side, grabbed the drinks, and said in an exasperated tone: ‘I’m doing my best.’

‘You are dear, I can see that.’

‘Just don’t go running off like that.’

Iris took advantage of the moment to gather her equilibrium. Time to slather on lotion, throw back a drink and get on with the business of relaxation.  You could tell where one one hotel property stopped and the next began by the color of the pillows on the loungers. Blue striped (theirs) became salmon pink at Mission de La Rosa.

‘I’m sorry, dear. Hard for me to slow down,’ Iris said, conciliatory. She’d raised such an earnest, well meaning sort of girl.

Lydia lifted her arm like a wing so that her mother could cling to it, and she wasn’t too proud to do so. Glancing down, Iris noted that Lydia had neglected to shave her legs; it was some sort of feminist thing, and Iris almost remarked on it – then decided not to. It was sometimes wise to keep one’s counsel. Lydia had been a sparky child, prone to singing and dancing about the house and  inventing imaginary friends; in other words, promising. I want an interesting child, not an obedient one, Iris used to say while other mothers cast disapproving glances. Perhaps most mothers felt this about their grown up children, a sad realization that they had become ordinary. Iris herself had never felt ordinary and no one had ever mistaken her as such.

They reached the cots, webbed plastic with gaily striped vinyl cushions, and a pair of damp towels – so Lydia was right about that: clear evidence of being claimed. Could be that young couple bobbing in the water close to shore.

‘Need help?’ Lydia said. She’d noted her mother staring, like an engineer, at the low slung pieces of furniture.

Whoever designed these loungers didn’t take into account that a segment of the population needed something to grab onto while dropping themselves to shin level.

Lydia wedged the drinks in the sand, giving each a half-turn so it screwed in, then offered her hand for Iris to clasp.

After a few scary seconds of hovering in no man’s land, followed by an alarming thud and a wheeze of vinyl –Iris was settled. In every way except flexibility the new hip was grand. Beside her, Lydia glided effortlessly onto the other lounger, draping the wet towel over its end. People must not claim turf that they didn’t need; if the world paid attention to this  basic principle they’d all be in less trouble.  Iris shut her eyes against the sun. She could hear the rustling of her daughter as she fetched a crossword puzzle book from her beach bag and set to work. Behind them a Mexican family, mother and father and two small children, chattered in Spanish, something about their aunt who would, or would not, be joining them this weekend. A slap of a card game to one side. A  thrilled shriek as an unexpectedly big wave rolled in.

‘Mum? Your drink. I’ll set it on the table next to you.’

Noises retreated; the body stretched into languor, muscles cramped from air travel released and it was like drowning in new air, giving up, limb by limb. Iris fell asleep for perhaps twenty minutes. When her eyes fluttered open, the Mexican family had disappeared, leaving cameras, books, towels and beach toys behind. Her drink, what was left of it, was baking in the sun, ice cubes long since dissolved. Lydia was sitting cross-legged on her cot, reading intently with a pen in hand, ready to underline pertinent passages.

Iris said in a lazy tone: ‘Are we allowed to mention Charlie?’

‘Of course,’ her daughter replied.

‘Because, no matter how this unfolds, he remains the father of your children.’

Lydia cast those huge brown eyes towards the glistening sea, as if the obvious had been spoken, as indeed it had. Cliches popped out of Iris’s mouth around Lydia. It was because she was trying to act ‘motherly’,  a role she’d never taken to in a natural way. It was Lydia’s father, Richard, Iris’s first husband, who used to point this out, saying  – ‘Not everyone is cut out to be Old Mother Hubbard.’

‘When you share kids, you share for good,’ Iris added.

This unoriginal comment warranted no reply.

Lydia continued to stare out to sea, a widow searching the horizon for her husband’s vessel. Charlie did disappear on water, though hardly in a whaling boat; he heaved off from the dock in his carefully restored Chestnut canoe, storm clouds bundling overhead, while Lydia stood barefoot on shore in her hippie dress, fretting about lifejackets and lightening strikes, worry escalating into pleas, then anger. Iris could imagine this scene all too easily.

Charlie was escaping.

That’s how Iris saw it, because she was a champion escaper  herself – and who could blame the poor man? Lydia made it out to be a spontaneous gesture, but Charles Kingsley had never been a man to act recklessly: his disappearance was most certainly plotted. By profession, he was vice principal at Danforth Technical and Vocational Collegiate in east end Toronto – hardly a pirate. He’d sent his mother in law a crisp email after the fact, a cryptic message that Iris had never shared with her daughter. It read simply: ‘Sorry.’

‘Have you heard from him lately?’ Iris asked.

‘We’re on speaking terms. Things to do with the kids.’

Well, that was something.

Iris would tread carefully. ‘How are Doug and Annie doing?’

‘Very well, thank you.’

‘I suppose they are angry.’

‘Of course they’re angry, Mum. A parent disappears one summer afternoon; it’s pretty traumatic.’

The arrow hit its mark, for Iris had done a similar bunk when her children were young, though you could hardly compare the two episodes: she had never claimed to be stable. She was as restless as a cat and it taught Lydia and her brother to expect the unexpected.

This sky was intensely blue, a color reflected in the sea, and these poor winter eyes creased into slits, to accommodate. Iris had left behind the enveloping fog of the Bay area, Lydia, her modest house in east end Toronto in the depths of winter, Doug not much use in the snow shoveling department or other manly tasks. According to his mother, he spent hours in his room with the door closed, eyes glued to the monitor of his computer. One could venture a guess as to what he was up to. She wondered if Lydia had a clue.

Lydia sipped blithely at her margarita. This was her first; Iris reached for her second: Gracias Miguel. Or was it Pedro?

‘Another couple of suckers enter marital hellfire,’ Lydia said, tucking her feet under her, letting the book slide off her lap. The crossword puzzle magazine had fallen to the sand.

A pair of young men in sharply pressed safari suits were hauling two Roman columns, each easily eight feet tall, off a dolly. With odd ease, for these props were made of styrofoam, they planted the columns upright in the sand. When this task was done, they unrolled a strip of red carpet leading up to a dais then set up rows of folding chairs, clicking them open with one foot. Destination weddings were all the rage.

‘Shall I warn the happy couple what they’re getting into?’ Lydia said.

The caustic tone didn’t suit her.

The sun was beginning to swell directly overhead, casting a shadowless heat over the proceedings. Then the wedding party began to arrive, women in breezy cocktail dresses and high heels picked their way over the stone walkway and onto the carpet, laughing and clinging to the elbows of male escorts who wore neat shorts and tropical shirts. Some of these shirts were monogramed with the name of the resort and sported a graphic of a pyramid.

Iris propped herself up up to see better. Lydia, despite her sneering, couldn’t keep her eyes off the ceremony and she shifted her lounger so that she had an unobstructed view. She wasn’t the only one to do this. All around them, scores of sunbathers tilted their visors for an unfettered gaze.

‘Senora,  you are finished?’ The young waiter hovered, one hand ready to grab the empty plastic cups.

Yes, estoy terminada. Iris used the opportunity to practice her Spanish: What is your name?

Patricio.

And where is your hometown?

‘Patzucaro, Michoacan.’

Unlike waiters at home in the United States, he didn’t feel the need to speed off to the next task.

‘Patzcuaro!’ She’d spent time there, many years ago–  ‘hace mucho anos’, had rented a house with – her memory failed her for a moment – with Jake the sculptor. It had been her second extended trip to this country. Such a beautiful mountain town with views over a reedy lake, though there had been word in recent years of goings-on due to the drug trade.

‘Muy bonito!’  she declared and she and Patricio exchanged nods of agreement. Back home in Berkeley, she always spoke to her Salvadorian cleaning lady in her native tongue.

Patricio’s smooth brow suddenly furrowed and he rattled off a sentence just as the wedding party began to blast that ballad from Titanic.

Iris cupped one hand by her ear, the universal symbol.

There were ‘problemitas’ in Michoacan, Patricio confided as he dropped the empty cups into his trash bag. Bad people. ‘Narcotraficantes.’

Mexico was plagued with violence from the drug cartels; she didn’t live in a cave. She’d read about the beheadings, assassinations, and dismembered bodies dropped into pails of acid. These ghastly events were mostly clotted along the border – but wasn’t the state of Michoacan noted for growing marijuana in the hills? Now there were meth labs. Tourists flocked to this beach in the Yucatan, under the illusion that resorts were immune from trouble – Iris knew better. The country had always been lawless. She and Jake were drinking mezcal in a cantina in Chiapas one evening when a borracho barreled  through the louvered doors and pulled out an antique gun and started firing at the bartender – everyone hit the floor, the terrified gringos included. No one was hurt, and the police eventually came along, piled in the back of a pick up truck, holding rifles and looking excited. The drunk had long since vanished.

Many gringos would have high-tailed back to the States at that point, but Iris’s opinion was –why travel if you want things to be the same as back home?

She fixed her gaze on Patricio, shielding her eyes with one hand. ‘What a difficult time for your country,’ she said.

The lad revived his tourist-friendly smile, even while nodding ‘yes’. Behind that smile, Iris decided, lurked a possible family catastrophe, perhaps a murder or kidnapping, or an uncle lost to meta-amphetamines. One did not know what hid behind the happy expressions that staff were obliged to wear, along with their crisply laundered uniforms. She glanced around at the other tourists – they didn’t have a clue. The knowledge swelled inside her: she had a bond with this country. She’d knocked around its mountains and deserts and beaches for many months, so long ago. She was about to say this to the young waiter, but he was suddenly gone and the little table was bare.

As Celine Dion’s voice crested towards the chorus, the wedding party continued to assemble, observed by the audience of oil-slicked, leathery tourists humped on loungers, dazed by sun and too many pina coladas. The bride and groom hadn’t anticipated onlookers when they’d pored over the brochures back home, photographs showing Romanesque columns and acres of empty sand and the glistening Caribbean sea. Brochures wouldn’t show that fat man with hairy shoulders emerging from the water, snorkel mask in hand, shorts dragging off his rear end, nor would they illustrate the squalling children tossing sand at each other at water’s edge. A  member of staff carrying a clipboard positioned herself to the side of the proceedings and politely fended off the curious in their drooping bathing suits, asking them to please not interfere with the photographers’ sight lines.  These tourists in flip flops seemed to want to stride into the middle of the event, one reality colliding with another. It reminded Iris of those Shakespeare productions back in the 1970’s, where the audience was obliged to take part in the action, shouting encouragement to Hamlet, or handing Lady Macbeth her dagger.

‘Maybe we’ll end up at the margins of their photos,’ Lydia said. As if preparing for this eventuality, she slipped into her crinkly blouse and fluffed up her hair. A photographer was busily snapping pictures as the party made their way to the folding chairs which balanced precariously on carpet laid over sand. A trickle of applause, and at last the bride appeared, click-clacking down the stone pathway, wearing a fairy dress of white chiffon, a camilla in her hair. That must be her father, a surprisingly young looking fellow in tropical shirt and khakis, sporting a formidable handlebar mustache. He was beaming even more than his daughter who was intent on not stumbling.

‘What a remarkable garment,’ Lydia said, referring to the dress. ‘Do you think it’s made of surgical gauze?’

‘Shhh,’ Iris cautioned.

Everyone crooned an appreciative ‘Ahh’ as father and daughter stepped cautiously onto the red carpet. The bride was pale-skinned and dark haired, possibly Irish, and very slender, showing off toned arms, a nervous smile careening off her face. Not wanting to wear sunglasses, she squinted, an expression caught for posterity by the young man who might be her brother, snapping wildly with his point and shoot.

Iris was starting to tear up, as was her more cynical daughter. They didn’t dare exchange glances, in case the floodgates were unleashed. For once, Lydia made no snotty remarks and merely watched as a light breeze coasted across the beach, fluttering the pages of novels and magazines then catching the hem of the bride’s dress in a provocative way. The father, surely no more than forty-five, helped his daughter negotiate the transition from cobblestone to carpet, clutching her elbow firmly. His face gleamed with health and happiness, though he seemed self-conscious: who wouldn’t be with all these strangers watching  –and with his free hand he patted down his lanky hair that didn’t quite manage to cover his bald spot. The younger men all had shaved heads and looked like marines on furlough. The bride’s dark hair didn’t come from her Dad’s side of the family. That would be her mother sitting in the front row, also slender, wearing a pink top and silk trousers, twisting on her seat to watch the pair walk up the makeshift aisle. The bride gave a little squeak of alarm as her heel caught in the threads of carpet but Father expertly kept her aloft. The groom would be that stocky man standing at the front watching his bride’s approach. He wore a tropical shirt decorated with a pattern of shells.  His face was pink, his head shiny. Iris leaned forward to see better:  he was already puffy around the cheeks and neck– a man who liked his liquor. Should the girl be warned?

Iris knew enough about drinkers to last a lifetime.

Someone had turned down the music and now they could hear the relentless salsa beats coming from the activity pool and the Star girl urging all swimmers to clap their hands and ‘Dance! Dance!’  The bride reached the groom and was handed off by her father who  retreated, one suspected with relief, to the empty chair by his wife. This wife didn’t squeeze his hand or pat his knee, and Iris decided that they were estranged, brought together for this event.

‘I know him!’ Lydia whispered loudly. She looked excited and was pointing to a small neat man standing next to the groom. ‘We met in the Internet room. He’s a Unitarian minister who goes up and down the coast marrying people.’

The dark-skinned Mexican in a white shirt with pleats had flipped open a folder and began to read from a set piece as bride and groom held hands and listened. Iris could hear just enough to note that there was no hint of religiosity in the text and no Khalil Gibran drivel.

The breeze ratcheted up a notch and now the bride was having to fight her dress as the photographer snapped away. The minister hesitated while the groom murmured something that made people laugh, then he plucked a ring from his pocket and slipped it onto his bride’s finger. At this photogenic moment, a child carrying an inflatable whale darted behind the couple, forever captured in the event.

Lydia let out a giggle. The alcohol was finally getting to her and that tense face had begun to relax, the hatch of lines smoothing between her eyebrows. In baby pictures, Lydia always looked anxious; she was born with a furrowed brow and the weight of the ages. They used to think it was cute, because, of course, what did a baby know of the trials of the world?

By the end of the week, if Iris had her way, Lydia would lose half a dozen years and they’d be a couple of dizzy females making their way to the bar in the evening. Lydia was apt to give up on future romance; just because Charlie had blown off didn’t mean nobody else would come sniffing around. Where on earth did she ever get such a defeatist attitude? Certainly not from her mother.

The minister had the high sloping forehead of the Mayans, indigenous to these parts. He gazed over the wedding party, eyes indicating a level of boredom, as for a moment, he forgot where he was and who these people were gathered before him.

Cheers erupted from the volleyball court and a ball coasted skyward, narrowly missing the bride’s head. It landed on the makeshift dais, where it stayed, no one nervy enough to fetch it.

 Then, quite unexpectedly, the minister craned his neck and stared straight at Lydia and Iris, and he waved discreetly. Iris felt herself pinken at being singled out, then realized that it was her daughter’s presence that had caught his attention. Let Lydia claim her due. She was still an attractive woman, ‘still’ being one of those qualifying words that signaled anyone pushing fifty who was managing to hold onto her looks.

If Lydia would just relax that perpetual frown that made her look so fierce and hard to get along with. Her posture could use a little work too; an erect spine and tilted chin took years off a woman’s age.

The recorded music switched to jazz piano, one of those innocuous modern pieces, as the bride and groom remained standing in front of the small party, clasping hands. Finished his recitation, the minister dropped back. Everyone seemed to be waiting, then suddenly a booming recorded voice filled the speakers, startling the onlookers: ‘We’ve only Just Begun’ rang out in a pleasant although amateur baritone voice, rough around the edges but in tune.

The bride tipped her head against the groom’s broad shoulder, her eyes glassy.

So the groom was a singer, and this recorded performance was his surprise.

The voice sketched out the song with moderate accuracy, running out of breath here and there, yet this was what made the song so moving.  When a note caught in his throat, Iris felt it catch in her own and she unabashedly let tears run down her cheeks. Lydia rummaged around in her beach bag, pulled out a bunched up tissue and began to blow her nose. Weren’t they a sentimental pair? Lydia caught her eye and began to laugh and soon they were both laughing as they wept.

Iris reached out and touched her daughter’s forearm, and for a moment Lydia was a little girl, wounded from some playground accident, racing home for consolation and finding fresh tears the moment she spotted her mother. Perhaps Iris hadn’t been as patient as she might have been with these episodes: the girl was melodramatic, craving attention long after the crisis was over and the wound bandaged – not an appealing quality in a child.

Iris stroked her daughter’s forearm again and gave it a squeeze, but not without a sensation of being artificial.

Lydia drew her arm away.

All of this happened in a moment and Iris felt disturbed, as if she’d been found wanting. One tried to do right, but mothers were doomed to fail. Surely Lydia knew that by now, having two nearly grown children of her own.

As if recalling this fact, her daughter swung her legs over the side of the lounger.

‘It’s 2 o’clock Toronto time,’ she announced before slipping her feet into her espadrilles and taking off towards the pathway that led to the Internet room. Lydia bustled in there every few hours.

She was going to Skype Annie, who’d enrolled at a second rate University in northern Ontario, majoring in something called Environmental Studies, a profession that didn’t exist when Iris went to school. Annie and her mother communicated every day. Lydia would comment more often than necessary that she and Annie were ‘great good friends’; this always sounded like a judgement, for didn’t she and Iris go for weeks, even months, on end without communicating?

Suddenly alone, Iris set herself as upright as possible on the lounger. The marriage ceremony was winding down, the compact group making its way towards one of the private event rooms.

—Ann Ireland

——————————-

Ann Ireland is the author of four novels, most recently THE BLUE GUITAR, which has been getting excellent reviews all across Canada. She coordinates the Writing Workshops department at the Chang School of Continuing Education, Ryerson University, in Toronto. She teaches on line writing courses and edits novels for other writers from time to time. She also writes profiles of artists for Canadian Art Magazine and Numéro Cinq Magazine (where she is Contributing Editor). Dundurn Press will be re-publishing Ann’s second novel: THE INSTRUCTOR over the summer of 2013.

Jun 112013
 

Gordon Lish photo by Bill HaywardGordon Lish: Photo by bill hayward

Gordon Lish, despite his pesky notoriety vis a vis Raymond Carver, bestrides the American literary scene like a colossus but not, you know, in an obvious way because he stands outside the non-tradition of the marketplace, that other colossus. He is a restlessly prolific author, editor and teacher; his influence seeps into the interstices of the culture. He has established a taste and a method (see Jason Lucarelli’s “The Consecution of Gordon Lish: An Essay on Form and Influence“). His ghostly signature lies on what a lot of readers and writers today think of as good writing. There are websites devoted to listing the writers he has touched. The last American prose writer who had this kind of impact on the minds of the best writers of her era was Gertrude Stein.  Like Stein, Lish is in the ranks of the avant garde, the Modernists. Once he was known as Captain Fiction and edited fiction for Esquire and later books for Knopf. I always found that amazing, a disjunct. Because the first piece of Gordon Lish fiction I read was his 1989 novel Extravaganza, which was unlike any American fiction I had read before (and, I thought, completely NOT mainstream — how could this guy be working for Esquire?). Extravaganza is 200 pages of borscht-belt standup comedy, one Jewish joke after another. There is no story at all, but gradually the language of the jokes becomes infected with references to the Holocaust, the hoary old jokes are disrupted with references to whips and cattle cars. It is a beautiful, scary, maddeningly recursive adventure. The recursiveness, the throw of grammar, lulls the reader, defines expectation. Then Lish defies expectation; violence, depradation, sadism, mayhem explode into the sentences.

So, yes, when I think of Gordon Lish, I think of Gertrude Stein, I think of Flaubert (Extravaganza seems like an heir to Bouvard and Pécuchet). I think of the avant garde. I think of a writer super-conscious of the role of language in the shaping of reality. I think of a writer steeped in Continental philosophy (Deleuze, Kristeva — and I think how extremely small-minded and beside the point are the debates about his role in Raymond Carver’s career). I think of a writer who has an almost mystical appreciation for the relationship of words (type, text) and the white space, the frame. I interviewed Lish once (I have published the sound file on NC: Causing Damage — Captain Fiction Redivivus: DG Interview With Gordon Lish), and we spent some time talking about this, his idea of cutting words to expose the “mystery,” the word “mystery” having, yes, a technical armature, almost tangible for Lish. We are talking here not of a mere writer of stories, but of a man who self-dramatizes as being on the world’s rim, the space between language and not-language. He gets your blood up, does Gordon Lish. His sentences make you itch to write.

All this by way of introducing the following brief, shocking excerpt from Lish’s 1986 novel Peru, just republished by Dalkey Archive Press with an introduction by the author. Peru is a compulsively “spoken,” recursive, stylized monologue that circles around and around the moment in 1940, when, at the age of six, the narrator murdered another six-year-old boy with a toy hoe in a sandbox. I give you here one of the great death/murder scenes, bizarrely dispassionate, full of a kind of schizophrenic detail and a consciousness on the narrator’s part of wanting to tell you the story correctly. So, at the outset, the first detail he tells you about the murder is that he could hear water running for the garden spigot, a detail that seems irrelevant and then compelling. We see the pitted marks the hoe leaves on the victim’s face. We see the victim getting up from his dying and stumbling around, watching his own dying. Everything is strange, focused, and unexpected. Lish escapes the novelese of conventional expectation and launches us into a realm of language and horror.

In addition to the excerpt, I point you here to David Winters’ excellent essay on the novel in 3AM Magazine: “Truth, Force, Composition.” Also, as linked above, Jason Lucarelli’s essay on Lish’s compositional method, called consecution, and my interview with Lish. Finally, the photographer bill hayward, long an associate and friend of Gordon Lish, recently allowed NC to publish a series of Lish portraits: Gordon Lish: Photographs — bill hayward.

dg

Peru

§

I’ll tell you one of the worst things in my life.  This is one of the worst things in my life—a day when the nanny said that I couldn’t come over and play but one when she went ahead and changed her mind later on and said that I could actually do it—and then it started raining just a little bit after she’d said it, like just instants, just instants after she had given me her blessing—and then for the whole rest of the day, all the rest of that day after Andy Lieblich went in and the nanny went in with him, I sat down inside of our garage and kept feeling funny and out of the ordinary, like as if I was in some kind of trouble and that certain things which I did not exactly know about yet were probably dangerously unfinished, lying lopsided somewhere and being dangerous, and it made me feel a terrible wildness, this strange feeling, which I think, to my way of thinking as a child, was the worse one, the feeling before the feeling of wildness, the feeling of incompletion and of chaos, a feeling of things getting started and of never getting them over with, of parts of them being impossible for you to ever get them totally taken care of yourself.

In a halfway sense, I think I can say that the day I killed Steven Adinoff, that is, that that particular day—but only in this halfway sense of things which I have mentioned—was a day like that.  On the other hand, now that I have said that, I think it is only fair for me to say that I have the feeling that I am making too much out of the thing, that I am probably not really remembering anything.

I should be skipping the feelings and be sticking to other things, anyway.  To what I remember because I actually heard it or saw it or so forth and so on—I should be sticking to things like this before things start getting too mixed up.

I heard the water going.

The whole time I was killing him I heard the water getting out of where the colored man had it hooked up to the Lieblich’s spigot—the water he was using for the Buick, the whole time the other thing was happening, the water for the fit between the hose, on the one hand, and the spigot, on the other, was a little bit loose, even though it was the colored man who had it hooked up and who—next to me, next to me—was the world’s most watchful human being in the whole wide world.

Even afterwards, even when I was going home, it was still going then, the tiny hissing was, like a sizzle, like the way a frying pan with some drops of water in it will sizzle, or make a sizzle, or sound like it’s sizzling.

The nanny saw it.  Andy Lieblich saw it.  So did Steven Adinoff himself.  We all saw it.  We all watched.  Steven Adinoff watched just as much as anybody else.

That’s the thing about it—you watch.

That’s the unbelievable thing about it—that you watch it even if it’s you yourself that’s getting killed.

He watched himself get chopped up.

To me it looked like he was interested in just lying there and watching it.  Because isn’t it interesting to watch it even if it’s happening to you?  That you’re the one who’s getting it doesn’t make any difference.  Actually, if my own personal experience can be counted for anything, that part of it—my opinion is that that part of it is the part of it which just makes you al the more interested in it.

But maybe he did not understand what was going on anymore, what connection there was between him getting killed and the hoe anymore, between what was happening to him and what I myself was doing to him with the hoe anymore.  Maybe the thing was that Steven Adinoff was probably thinking of something else.

I don’t know.  Maybe that’s what you do—you think of something else.  Maybe you can’t even help it.  Maybe you can’t even stop yourself from just going ahead and thinking of something which doesn’t have anything to do with the thing that is happening to you, except I myself don’t think that’s it, that that explains it, no.

But I don’t know what does, what would.  I can’t even begin to guess, except for the fact that I think it’s got something to do with a nice feeling, with having a nice dreamy sleepy very special, very sleepy now feeling.

Or else I am overdoing it or am anyway just wrong.  Maybe he just wanted to see how getting killed looked.  Maybe it didn’t matter to him who was getting killed.  Because for a lot of the time he just lay there watching instead of trying to get up and fight back and try to kill me back—and then he finally did, finally did get up—except that by then he was almost dead, except by then I think he was almost dead, even though he wasn’t actually acting dead, even though he just got up and started acting baffled and shocked instead of being sorrowful or mad at me.  But I don’t think it was so much on account of someone having almost killed him as it was on account of his realizing how he’d missed the boat on this thing by getting distracted, by letting himself get distracted, and by not paying enough attention to it, or at least not to the part of it which really counted, until it was just too late and you felt silly for more or less being the center of attention of what’s going on but the last one to be informed as to what it is all about and means.  I mean, I’ll bet it’s like finding out that you are the last one to get in on a secret which turns out to have been much more about you than you ever dreamed it was, ever could have, in your wildest dreams, dreamed of or thought of anything.

To my mind, Steven Adinoff was just woolgathering and then caught himself at it and went ahead and woke himself up and then noticed he was almost dead.

Except that it was just probably only a gesture by then.

There were pieces of his face—there were all of these cuts which were deep in his head.

Not that he couldn’t actually get up when he tried.  He got right back up on his feet again and went and got the rake again and then he walked around for a while, then he walked in and out of the sandbox for a while, stepping up to get in it and then stepping down to get out of it, and meanwhile saying these different things and looking in his pockets almost all of this time, but some of it, some of the time, looking at me again and trying to get me with the rake again before I myself got ready to really buckle down to business again and kill him again and then he fell over again almost as soon as I got busy on him again and really dug in.

Anybody could tell that this time it was for good.  It didn’t matter if you were just a six-year-old boy.

Any six-year-old could have killed Steven Adinoff.

 

Gordon Lish

Jun 082013
 

Greg Hollingshead

Canadian politics has always been ripe for satire, perhaps never more than at this very moment. Two fat men dominate the situation: Senator Mike Duffy nailed for fiddling his expenses (currently under investigation by the Royal Canadian Mounted Police) and Rob Ford, the former mayor of Toronto famous for a video that appears to show him smoking crack cocaine. The Duffy scandal has reached into Prime Minister’s Office; his chief of staff has resigned, and the smoke cloud only grows (a criminal trial is currently on hiatus).

Enter Governor-General’s Award-winning short story writer and novelist Greg Hollingshead with a cunning literary instinct for the jugular. “Ottawa Confidential” is an absolutely hilarious satire on a certain unnamed Prime Minister and Canadian politics in general written from the point of view of the Prime Minister’s “intimate confidant,” his righthand man, a failed novelist (had to be) turned political hack (with a dog named Wags). This story really is brilliant, seething with dry wit. I have a list of quotable lines as long as my arm. “Of course, the Prime Minister was not exactly an old man, or even an adult, but something more along the lines of an enlarged boy.” “The Prime Minister further confided that as a child he had an imaginary friend, but when his parents found out about it they forced him to put it to death.” “Politicians tend to be human to a fault, which is to say they are first and foremost animals, whereas the Prime Minister, with his unreadable demeanour and that funny little smile, if that’s what it was, and his one-brick-at-a-time approach, had the personality of an algorithm…”

My favourite (it’s long but I can’t resist) is when Hollingshead draws an analogy between the rise of the Prime Minister (yes, yes, unnamed) and his party (also unnamed, wink) to the behaviour of slime mold. “Dynamic system theorists tell us we should not be surprised by the behaviour of slime mold, but what are they thinking? In good times, slime mold consists of an aggregation of cells, each going about its individual life. But when the going gets tough, these cells cohere into a slug, which proceeds, trailing slime, to a prominent location. There it grows a stalk with a head, which explodes, releasing spores, after which the mold reverts to a loose collection of cells with no apparent common interest, until the next time. It was the combination of tough times for the FPMC’s [Future Prime Minister of Canada] party and his rapid rise to dominance within it that would turn a desultory collection of politicians into a slime-trailing slug juggernaut with an exploding head.”

dg

.

Where on Earth Did He Come From?

According to his wife, with whom I have conducted a series of interviews in an attempt to arrive at a working sense of what the heck goes through her mind, it happened like this:

She was crossing what remains of the Columbia Icefield, just out of hearing of a small party of other guests from Jasper Park Lodge. Directly in front of her, walking backwards, was her fiancé at the time, Lt. Wayne McLeod, who was looking deep into her eyes as he verbally abused her for what he had detected over lunch back at the Lodge as a liberal view of Afghani cultural practices. Oh that’s very nice, he was saying, so you would willingly sell your firstborn daughter to the highest bidder even before she was born? Why, that’s extremely enlightened of you. I’m sure you’d make an excellent Afghani mother. The only problem, which even a dumb cluck like me might think would have occurred to someone as highly intelligent as yourself, but it just so happens we live in a civilized—

And so on.

The rest of the party had slowed their pace so as not to have to listen to this or to her saying over and over Wayne keep your voice down. It was possible that as a four-year veteran of our peacekeeping mission in Afghanistan, Lt. Wayne McLeod had once been a fine young man and was not to be held responsible for his current behaviour as a dull-normal abuser. Only the woman who loved him could hope to know the real Wayne McLeod, but how much more could she take?

Anyway, as McLeod was walking backwards in front of her, with his face so close to hers that she could smell the garlic on his breath from lunch, he suddenly dropped out of sight. When she saw the hole in the snow crust and screamed, the others came running, led by their guide, who had a rope. The rope was lowered into the hole, and when the tug came, everybody heaved, but imagine their surprise when it wasn’t Wayne McLeod they hauled up but the future Prime Minister of Canada (FPMC).

What an astonishing story! I cried. What happened to Wayne?

At first the FPMC’s wife didn’t answer, and then she shook her head slowly, holding my eyes.

And the FPMC? I cried. What was he doing down there?

Wedged, she said. It was a crevasse. And she explained that the FPMC had been staying at the Rimrock Hotel, near Banff, taking a weekend in the mountains to decide whether or not to go into politics.

A momentous mountain weekend for Canada, I pointed out.

Ignoring this, the FPMC’s wife continued her story. Familiar with the theory that cool air promotes effective decision-making and inspired by a brochure in a rack by the Rimrock check-in desk, the FPMC had gone for a walk on the Columbia Icefield. He started out long enough ahead of the Jasper Park Lodge party that they didn’t see him but not so long that he was wedged down there for more than a few hours. He reported that McLeod had passed him falling. Slighter of build than the FPMC, McLeod had longer to fall before wedging.

If he wedged, the FPMC’s wife added, with a significant look that I could do no more than mentally file before she’d resumed her story. So we stood around, she said, shouting down the hole and listening for an answer from Wayne. Nothing.

He must have been unconscious, I said.

Or playing possum.

Why would he do that?

A survival reflex. He was a mess of them. You should have tried to sleep through the night in the same room.

Hardly a useful survival reflex in this case, I pointed out.

Listen, she said. One went down, the other came up. What more do you want from me?

The one who came up—

I know. I married. Not as soon as I’d have married Wayne, but I’d known Wayne longer. With the FPMC it was a conventional courtship, a traditional wedding. Nothing unusual or untoward about any of it. Boy, was there nothing unusual or untoward.

And the marriage?

She threw back her head and laughed. The marriage? Are you kidding me? Where have you been? That’s when the circus came to town! Are you the only one in the country who doesn’t know this?

SPACE

Slime Mold Homology

Dynamic system theorists tell us we should not be surprised by the behaviour of slime mold, but what are they thinking? In good times, slime mold consists of an aggregation of cells, each going about its individual life. But when the going gets tough, these cells cohere into a slug, which proceeds, trailing slime, to a prominent location. There it grows a stalk with a head, which explodes, releasing spores, after which the mold reverts to a loose collection of cells with no apparent common interest, until the next time.

It was the combination of tough times for the FPMC’s party and his rapid rise to dominance within it that would turn a desultory collection of politicians into a slime-trailing slug juggernaut with an exploding head. And while this transformation required that the range of behaviours of individual politicians be radically reconfigured and restrained, in fact the higher-level behaviours enabled by their universal submission to top-down management so vastly outperformed anything they could have accomplished individually that even the mouth-breathers among them sensed the wisdom of their entrainment. If the FPMC cramped their style, never in the political life of this country has there been a concatenation of styles more in need of cramping. In fact so thoroughly were they cramped, so comprehensively under their leader’s control, that it was evident from early on that were this party ever given a chance to form a government, Watch out, Nellie! 

SPACE

Early Losses

Long before I became the Prime Minister’s trusted confidant, I was living with my dog on a small, remote lake in a rock tract of bush and muskeg equidistant between Sudbury and Timmins. Wags and I were all that remained of a three-couples-plus-chickens-and-pets quasi-commune that had lasted less than a year, owing to the close quarters, the same faces day in and day out, the constant physical work just to keep a fire in the stove and food on the table, and the endless grey winter skies. The only reason Wags and I stayed on was I had a novel to finish.

In those days I was the quintessential political bystander, but at the dump the day after a national election I asked the custodian who had won, and he told me the Opposition, by a landslide.

Really? I said. Wow. That wasn’t in the cards.

No, it wasn’t, he agreed.

That same day, conscious of history in the making and here I was living out in the middle of nowhere but what did the world care about that and why should I? I canoed to the village for a paper and was further surprised to see, on an inside page, a picture of the FPMC sitting in the back seat of a limousine looking ill. The picture reminded me that information from the custodian of the dump, although readily provided, usually had something the matter with it or was dead wrong.

Why do you even talk to him? my then-partner used to ask me. He’s an idiot.

I talk to him because I happen to believe that you can learn from anybody.

Another point on which you and I fundamentally disagree.

One day the dump custodian and I fell into conversation, and he revealed that as a young man he had gone out to Alberta, where he worked for several years as a cowboy. He told me that he loved the life and everything about it: the country, the living rough, the hard work. In fact, he had never been happier. He thought he’d died and gone to heaven.

But you came back, I said.

Why, that’s true, he said, as if he hadn’t quite thought of it that way.

Why? I asked.

He said he didn’t know.

Anyway, you had a good time, I said.

I sure did. The best time of my life. Bar none.

Sounds like the name of a ranch.

What?

Bar None. The name of a ranch.

Is that so, now?

Later the same day that I read about the Opposition’s devastating loss, I was in the liquor store. There I got caught up in a game of peekaboo across the Crown Royal display with a mad-eyed geek, hyper-alert with bush fever. It wasn’t until I noticed that the display was ranged along a mirror that I knew my novel had never been any good and it was time to return to the city and make a lasting contribution to society.

SPACE

His Man Friday

One of the more dubious strategies employed by the human male to justify his routinely sleazy behaviour is the appeal to Darwin. As a young man, I certainly wasn’t proud of the rage I inwardly experienced in the presence of an older man, particularly a kinder, gentler one. It was a blinding compulsion to take the old boy down, and it felt pretty Darwinian to me, but you didn’t catch me going around implying that that made it OK. By the same token, I think it said something about the Prime Minister that in all my years as his confidant these feelings never once surfaced. Even before I knew him, as I rolled and tumbled, inexorably as it seemed at time—though it was sheer luck, I swear—through the hoops and red tape that landed me the position, ultimately, of his intimate confidant, I was conscious of no hostility toward him whatsoever.

Of course, the Prime Minister was not exactly an old man, or even an adult, but something more along the lines of an enlarged boy. Also, he played the game on a whole other level. Politicians tend to be human to a fault, which is to say they are first and foremost animals, whereas the Prime Minister, with his unreadable demeanour and that funny little smile, if that’s what it was, and his one-brick-at-a-time approach, had the personality of an algorithm, a boy’s-own Turing machine, or a Crusoe, on his desert island. Because here’s the thing about Crusoe: he’s king, but of what? There’s a poignancy there. Not a figure you necessarily feel driven to bring down. Besides, I was there when one or two tried, and it was horrible to watch. They didn’t have a clue what they were getting into. Nothing in their political training had prepared them for this. The depth and range, the sheer anticipatory power, of the Crusoe method, was beyond their abilities. They were squawking gulls struck down by a brickbat tossed by a tall stout boy in goatskin, they were dead in the water.

SPACE

Election Day

On the day the FPMC would become the Prime Minister, I was standing by his side at the Plexiglass window of the press box high above the Ottawa Convention Centre, gazing down at a sea of waving placards. Chants and songs with lyrics rejigged to be topical were sweeping through the crowd that waited for him to go down there and restate what they already believed so memorably that they would be able to smell it and taste it and carry it home under their arm like a giant panda or Naugahyde ottoman.

How does it feel, I asked him, to know that every person down there is waiting to hear what you have to tell them?

The FPMC’s reply was enigmatic. I think what he said was it felt like every day from now on would be Pajama Day.

I nodded, thinking confusedly of the festive atmosphere of the classic Broadway musical The Pajama Game, but weeks later he would let fall a detail from his early life that revealed his true meaning here. (See below.)

Meanwhile, as we continued to gaze down at the swaying throng, he murmured, Isn’t that the most beautiful sight you’ve ever seen.

Yes, it is! I cried, but reaching across to seize his right hand in both mine, I found it unavailable, and so I pretended I was gripping a baseball bat to knock one out of the park but on second thought made it a hockey stick, which I used to drive the puck deep into the net.

SPACE

Early Life

Transferring power over an entire country into your own hands is a complex, thankless task, and not surprisingly the Prime Minister found himself with little time or inclination for emotional excavation. But that was not my style, and every once in a while I’d toss him a random question. Don’t try this at home. Sometimes his head was so packed with data that a question out of nowhere caused it to explode, most often, fortunately for me, in a contained way, and he would fade to smiling bemusement and from there sink into a quasi-narcoleptic stupor. But soon enough he’d rouse himself and resume his deliberations. On other occasions he’d return a thoughtful answer, sometimes stunning in its candour, as when he cleared up my earlier confusion concerning his Pajama Day comment by casually mentioning that as a child he attended Grades Two to Five in his pajamas. In response to my surprise, first that he had done this, and second that his parents and the school had allowed it, he assured me there was nothing in the schoolboard dress code to prevent it, as he knew because when he first got the idea he had checked. As for his parents, they considered it a phase he would soon outgrow.

I guess you showed them, I said with a smirk.

Let’s be clear, he said. All I wanted to do was stay in my pajamas.

Would he characterize his parents as liberals?

When her son pees in the teacher’s wastebasket, he inquired by way of an answer, does a liberal mother drive him to the gates of the local penitentiary and tell him that’s where he’ll end up if he fails to mend his course?

Good Lord, I said. That is hardball. How old were you?

Seven.

The Prime Minister further confided that as a child he had an imaginary friend, but when his parents found out about it they forced him to put it to death.

Why, that’s terrible! I cried. What were they—?

Good parents. It was a talking snake. Unlimbed Evil. Any child in his right mind would be grateful to get that thing off his neck. You know how on a plane you’ll sometimes hear Beatles songs in the roar of the engines? As I used my hockey stick to bash in its head, with each blow I heard my father say Good job. I can hear dad now. G’dj’b! G’dj’b! G’dj’b!

The Prime Minister also told me that as a child, on board ship once, he caught a glimpse of himself on the crowded foredeck.

In a mirror—? I said, thinking of my experience in the liquor store.

No, from behind. I recognized the haircut. I tried to push forward through the crowd but was lost to myself.

After a pause, I respectfully asked how being lost to himself had felt.

How do you think it felt? he replied irritably. Frustrating. Annoying. Disappointing. How would it feel to you?

Uncanny?

OK, fine. Uncanny. It felt uncanny. Woo-woo.

The Prime Minister’s favourite story as a child was the one about the master stonemason of Rosslyn Chapel, who set out on a ten-year journey in search of inspiration for the primary pillar, and when he returned with a first-rate idea for how to do it, his apprentice had already carved it exactly that way, so he killed him.

What do you think it is about this story that speaks to you? I asked, with a chill.

Its palpable unlikelihood, the Prime Minister replied. What obviously happened was, when the master stonemason saw the apprentice’s pillar, he knew right away it was far better than anything he himself could do. This was a guy who hadn’t lifted a chisel in ten years. Thinking fast, he told everybody that the pillar was exactly the way he’d have done it. It didn’t matter that people gave each other looks and thought, Yeah right, and pigs fly. The pillar problem was solved. Now there was only the apprentice to be punished, for the insubordination. That’s where the stonemason made his mistake: doing it himself. He’d almost certainly underestimate the amount of bottled-up energy he was carrying around, not just from being pumped to carve a primary pillar after such a prolonged build-up but from finding the job already done better than he could ever do it. I’m sure the unanticipated relief mixed up with the disappointment of a lost opportunity for a career-capping achievement, not to mention understandable intimations of inadequacy, failure, and mortality, made for a perfect cocktail of energy in need of an outlet, and though a perfunctory, face-saving, appearance-sake sort of beating was what was called for, he got a little carried away.

I never thought of the Rosslyn Chapel story that way, I admitted.

It’s the only way that crazy story makes any sense, the Prime Minister said. Unless the apprentice had a weak heart and keeled over dead at the first tap, but fly that one past the Occam’s Razor people and see how long you last.

When I asked the Prime Minister if there was any one thing he’d done as a child that he particularly regretted, his bottom lip wobbled as he confessed that he had once forced three kittens to swim back and forth across the neighbours’ pond, for over an hour. I don’t know what I was thinking, he said. The water was freezing. I still have nightmares.

Were they OK?

They didn’t drown, if that’s what you mean. For those kittens my fun game was a living hell.

Was there a moral in that for you?

A moral? In what? Shivering little kitty bodies?

Do unto others?

I was doing that! I love swimming, it’s the chlorine that gets to me, and this was a freshwater pond, with minnows! When I saw the consequences of my actions, I scooped out a couple for the kitties, but they were shivering too violently to focus.

Here the Prime Minister took his face in his hands and appeared to sob. Smoothly, with the tact he would come to know me for, I changed the subject. Let me ask you something, I said. Is a minnow a developmental stage of any number of kinds of fish or is it a piscine variety in its own right?

The Prime Minister lowered his hands from his face and gave me a look that was arguably grateful and yet, when all was said and done, utterly inscrutable.

Minnows don’t have rights, he said.

SPACE

Recreational Suspension

I’d worked closely with the Prime Minister for some time before I discovered his practice of relaxing, when he could make the time, by hanging in the doorway between his inner and outer office wearing nothing but his black dress socks and women’s underwear. The first time I blundered in on him like this, we both pretended he was “hanging” in the doorway in the usual, metaphorical sense of the term. But the third or fourth time I came upon him like this, despite the fact that I had never seen him hanging from anything except his ankles, I ventured an autoerotic asphyxiation comment.

It’s interesting, I said, that the root of the word embarrassment should be the old Portuguese for noose, baraça. Presumably the flush of embarrassment resembles the look on the face of a man being strangled. It’s always seemed to me that there can be few activities more embarrassing to be discovered engaged in than autoerotically asphyxiating oneself. And yet etymologically the act could be said to presuppose, if not actually render redundant, the embarrassment of being discovered at it.

Instead of considering my point, the Prime Minister brusquely informed me that any flush I saw down there was due to gravity, and I reflected how it’s funny but also a little bit sad when the Great, in their vigilance against being misunderstood, run roughshod over an observation however acute.

The whole idea, he added, is I’m upside-down. To increase blood flow to the brain while I connect with my feminine side.

Women are voters too, I verified.

He seemed to reflect for a moment. But you’ve probably wondered why you’ve never seen me even slightly embarrassed. I mean, considering everything.

I said I had noticed but never wondered. I’d always assumed he had nothing to be embarrassed about.

Oh, get off it. I weaned myself. I consciously set about to ensure that nothing can embarrass me. Too much depends.

You do, I shot back wittily. But his mind was on other things. So how did you do it? I prompted him.

Inoculation. I placed myself in one disgraceful and humiliating situation after another. Gradually I became inured. Literally free of shame.

This inspired me to tell him the story of my first summer in the bush, when I was so badly bug-bitten that I developed encephalitis and nearly died but ever since have been immune to insect bites.

A good analogy, the Prime Minister confirmed.

What kinds of disgraceful and humiliating situations? I asked.

You have been following this? I went into politics.

Sometimes a confidant to Greatness will be afforded a glimpse of the extraordinary dedication required of the one who would be Great. Those of us who have abandoned the quest for Mastery, let alone Greatness, will especially appreciate a reminder of how much harder and longer we would have needed to work, and even then it would have been a crapshoot. In this way we assure ourselves we made the right decision, for the truth is that the reason we are not Great is not because we lack potential for Greatness but because we are not made of stern enough stuff.

On the subject of transvestite autoerotic asphyxiation, I remarked that the notorious pirate Calico Jack had a fondness for wearing women’s underwear. I added that he and his all-female crew were finally captured in 1702, in Negril, I believed it was.

This Calico character was probably a woman, the Prime Minister said.

Gosh, I never thought of that.

Could you give me a hand down here, the Prime Minister said.

SPACE

In the Trenches

Before my relocation from deeper in the bush, like most people I thought of Ottawa as a dull city, a poor man’s Edmonton-in-Ontario sort of place, and yet too much a Shield town to be a feasible home for so many people wearing jackets and ties, or jackets and skirts, or pantsuits with blouses, or even turtlenecks some of them. But the town soon revealed itself as a go-for-broke playground of pomp and high-jinks, of wonder and intrigue.

That said, a little of the politicians went a long way. With the exception of the Prime Minister and a handful of others of assorted political persuasions, the politicians were the weak link. Specious, untrustworthy, expendable. Outsiders clamouring to be insiders. Incontinent talkers, broadcasting seamless flows so inchoate that the seamlessness was the seamlessness of no distinguishable parts. Not listeners. Their strategy was talk so incessant as to prevent a word in, and if one did get in and it wasn’t short and graspable by a non-thinker then it would be as if it hadn’t got in at all, and when you wearied of being talked at by someone incapable of listening and tried to move away, he’d follow you, still talking, until an aide appeared from a doorway to lead him away to his next meeting, and even as he disappeared down the corridor he would still be talking.

Fortunately, with the Prime Minister at the helm, even the members of his own party knew nothing and to that extent were powerless. Their briefing notes, in the form of loose-leaf pamphlets in 28-point font, children’s picture books without pictures, were tossed to them in their offices like bones to animals in their cages. All they knew, and all they needed to know, was the tops of the waves. Meanwhile the Prime Minister worked full-time to ensure a calm sea. This way, if anything happened, they found out about it no sooner than everybody else. This way, they could talk all they wanted and nothing would get out. Their noise was white noise. It provided necessary insulation as the Prime Minister worked away to remake the country in an image of Greatness entirely his own.

When the Prime Minister did meet with members of his caucus, nobody was left with any doubt who was boss, and this was just as well because they were morons. They assumed because the Prime Minister wanted them in shirtsleeves and always placed his hand on their back as they left the meeting that it had been an intense session of camaraderie and hard work. But the Prime Minister was not naturally a toucher, and when I asked about the hand on the back, he explained that he was making sure he could see his entire handprint. The ones who failed to sweat enough were soon out, the ones who regularly went so far as also to wet their pants he promoted, and those who found it necessary to wear brown pants became his closest “advisors.”

The politicians could have been, and often had been, insurance salesmen, mortgage brokers, petty thieves, outpatients. The bureaucrats were a cut above. The real shame of Ottawa was that the Prime Minister was never able to extract unquestioning cooperation from this remarkable pool of ability. Some civil servants were amenable, of course, on principle or because they had none, but not enough of them. Privately the Prime Minister said they were worse than Jews: too intelligent to be counted on, too likely to have a working moral compass. Even amongst those bureaucrats who did their best to be team players, as soon as a Prime Ministerial initiative entered a legal or parliamentary grey area, invariably somebody would suffer a failure of nerve or an attack of conscience, and a plan the Prime Minister had been working on for years would go sideways. Nothing caused the Prime Minister’s head to explode like being foiled by the foolish compunction of some latté-guzzling nonentity. We’d all duck for cover and wait for the relative calm that came with detumescence.

The reality is that when the rubber hits the road, every slime mold cell is either a component of the slug or it’s not. And every cell not a component is a potential enemy. Why didn’t it surrender its autonomy when it had the chance? The Prime Minister’s method for dealing with non-aligned cells was twofold, a double refusal: of money and of information. By cutting off funding to the civil service and keeping it in the dark, he reduced its capacity for creating impediments. How else do you get things done in a place so hide-bound? Fail to cut off renegades at the knees and you had a government at the mercy of precedent and what the Prime Minister during in camera sessions with his “advisors” would put on a droll face and use a God voice to designate as the democratic process. When he was in a good mood he’d sometimes insert this phrase with increasing frequency, until he had us falling about in our seats, weeping with laughter.

On the surface, for the most part, things proceeded smoothly: that calm sea. But every once in a while something would hit home vis-à-vis how things actually were. I remember on one occasion the Office of the Assistant to the Acting Assistant to the Deputy Minister of _________—which consisted, I later learned, of the Assistant himself in a poorly lit, badly ventilated temporary cubicle in a Ministry basement hallway—was given twenty-four hours to produce two substantive reports, which it did, right on time. Not widely available, the two reports were the sort of thing people would prefer to know existed than actually read. But somehow they both landed on my desk, simultaneously, and while I was leafing through them over lunch one day, it came to my attention that they were identical. Word for word. Different titles, same content.

When I called the Office of the Assistant to the Acting Assistant to let them know about this clerical glitch, the Assistant himself answered. When I told him there had been a glitch, he informed me there was no glitch. They were different reports because they had different subjects. Different referent, he said, enunciating clearly, as to a child, different meaning. Anyway, he added, what are the odds anybody’s going to read either one of these works of deathless fucking prose, never mind closely enough and close enough in time to notice any similarities?

I read both just now, at lunch, I said. Well, not read

I was going to say.

Checked through. The two texts are identical.

Yes, but who are you? Who listens to you?

The Prime Minister listens to me.

Give me a break.

On another occasion, when a respected member of the Opposition was making hay out of a claim that the Prime Minister’s party was guilty of some sort of mismanagement of party funds, the national press, at a loss for anything on this Government capable of holding the public’s attention for longer than a day, played up the story. It was clearly a let’s throw this one at the wall and see if it sticks tactic, but an unfortunate succession of leaks, gaffes, revelations, whatever, followed, and soon we were headed straight for a non-confidence vote in the House. (Let me just say here that whoever said a week is a year in politics got it right. How can nothing ever seem to get done and yet everything change in a day? In the morning you wake up a god, that night you pass out dead drunk a Muppet. Or vice versa. By the end of the week you’ve gone from god to Muppet and back again so many times you’re ready to say or do anything for anybody who can guarantee you’ll remain a god. But it doesn’t work that way. Not now. Not tomorrow. Not ever. Not for anybody. This is politics.)

So with a non-confidence vote barreling down the track toward us, I accosted the Prime Minister, practically wringing my hands, crying, What are we going to do?

His reply was worthy of Socrates. Has something somebody once said ever come back to you later, he asked me, and you were struck by its profundity, and then you remembered who said it, and suddenly it didn’t even seem especially true?

Why, yes. That has happened to me.

It’s happened to all of us. It’s why you so often hear the phrase Consider the source. Nobody likes the truth, so we put a human face on it and that way minimize it, making it easy to dismiss. With any luck it’ll be forgotten completely, until the next time it comes out of the mouth of some flawed individual and it becomes necessary to go through the process again.

Discredit the Honourable Member? I asked, shocked at how far we were prepared to go when push came to shove.

A human life is rarely pretty in the details, the Prime Minister affirmed quietly, with a smile, though perhaps only baring his teeth.

They speak like angels, I murmured, but they live like men.

Who said that?

Dr. Johnson.

Did he? Good. We’ll use it.

SPACE

The Stash

Unlike his wife, who told me herself that she would stay in one every single night of the year if she could, the Prime Minister wasn’t fussy one way or another about hotels—with one exception, the Ritz-Carlton in Montreal, but then it had to be Suite 1203. There were better suites than 1203 at the Ritz-Carlton , far better, but the Prime Minister always insisted on having that particular one. In fact, if for some reason Suite 1203 at the Ritz-Carlton proved unavailable, he would sometimes even choose to stay at the Four Seasons.

When this quirk became known beyond the PMO, some of the younger staffers were rumoured to be offering wagers on what exactly it was about 1203. These ranged from a weight-reducing mirror to a hole drilled through to the next room. One day, checking into the Ritz-Carlton to prepare for the Prime Minister’s arrival later that evening, I found the staffers in a giddy state. By informing the front desk that the Prime Minister needed certain files in place before his arrival, they had got hold of the key to 1203. The plan was to search the room for what it was about it that made it the Prime Minister’s suite of choice at the Ritz-Carlton.  When my own preparations were complete, I went along to see what turned up.

Since three of us had stayed or were now staying in rooms identical to 1203, only on different floors, it was easy to discount extraordinary features. The view, of Sherbrooke Street, was unexceptional. Nothing advantageous about the bathroom fixtures, no extra force from the shower head. Standard closet space. After half an hour of fruitless searching, all we could think was that something of sentimental value must have happened to the Prime Minister in 1203: news of the shaming or suicide of an opponent, or perhaps the number itself spoke to him in some Christian or Masonic way. When one of the staffers drew a Robinson screwdriver from his pocket, slipped off his shoes, climbed onto the desk, and set about unscrewing the grate over a ventilation duct, we quietly stood and watched. By that point, none of us had much hope. After lowering the grate to us, the staffer reached into the duct and finding nothing, reached deeper and drew out a pair of beat-up old Size-13, moccasin-style Sperry Top-Siders.

These, after examining closely, he handed down to us. When we too had finished turning these articles over in our hands, we passed them back to him and watched in silence as he replaced them deep inside the duct and rescrewed the grate. And then, like whipped hounds, we got out of there.

Nobody talked much afterward about what we had found. Some of us were pretty badly shaken, though I suspect most were simply disappointed not to have won the bet, or to have come anywhere close. For myself, I was left with the sober reflection that the discovery of a person’s deepest secret can leave you knowing far less about them than you knew before, not because it has opened up a whole new set of questions but because what you have found, this enigmatic object, or objects, that you may even have held in your hands and gazed at in queasy wonder, have tipped you into an aporia of absolute unknowing.

SPACE

Arts and Sciences

Two years into the Prime Minister’s second term, it was my great honour to be invited to attend a teepee handover ceremony on a grassy margin at the Delta Lodge at Kananaskis. Strictly speaking, only the Prime Minister and the Heritage Minister were allowed to join the Blackfoot elders inside the teepee, but the ceremony was held next door to a high-power, two-day conference entitled “Whither the Arts?” hosted by the Heritage Minister himself, and so I passed the time at that. But I found that despite being handpicked and not so much artists as arts administrators and lobbyists, the attendees’ general tone was surly and intemperate, as exemplified by the raucous laughter that erupted when somebody remarked that the h in “Whither” had surely been a misprint. This was beggar-on-horseback stuff. Rarely has this country been under the direct personal control of a Prime Minister so devoted to the arts. What people fail to realize is that Greatness is not just a quality you have, it’s a full-time job. Its unacknowledged cost to the Great One is the foregoing of every last glittering night at the opera and sleepy afternoon curled up with a tome penned by one of our army of international-household-name authors. These extraordinary pastimes, whose galvanizing effects on the Canadian soul have been well documented, are simply not in the cards when your creative energies are dedicated to remaking a country from the ground up.

At any rate, the teepee handover ceremony was held in the late morning of the second day of the conference, a day that began in a literally auspicious way. First, at dawn, a hawk swooped from the sky to carry off a prairie dog from the mouth of its burrow close to the door of the teepee. Not half an hour later, a passing coyote entered the (empty) teepee and sniffed around before continuing on its way. Finally, after the elders and the Heritage Minister had gathered inside and the Prime Minister was about to step in himself, a raven alighted at the tip of one of the teepee support poles. As the ceremony started up inside, with the Heritage Minister thus engaged, the rest of us broke from our conference, which had been taking place in a meeting room a few steps away, and stood around in the sun outside the teepee, cooling our heels.

It was nobody’s fault that we waited out there over three hours, and when the Prime Minister and the Heritage Minister emerged from the tent, their faces painted in celebration of the native titles that they had been awarded along with the teepee (the Prime Minister was The Grey One Who Toils in Secret, while the Heritage Minister was simply [unprintable]), they were visibly elated, but the Prime Minister, with a flight out of Calgary to catch, had to dash, and when the Heritage Minister rejoined our conference and the discussion resumed, you could see the elation draining out of him, and before we knew it he was pacing up and down, berating his aides for interrupting this crucial conference on the arts for a ceremony that had gone on far too long and chastising us for having achieved so little the day before and earlier today and now here we were with hardly any time left at all to continue to drill down on the question of whither the arts. After delivering himself of this senseless tirade, he shouted, And if you don’t think I know this is churlish behaviour on my part, you’re dead wrong, but that’s the kind of person I am, and then he stormed out and we never saw him again. We were forced to pass on our conclusions concerning whither the arts in the form of an email attachment and never did receive from his Office an acknowledgment of our efforts.

Later, when I mentioned this unprofessional outburst to the Prime Minister, he said,

Hal can be a bit of a hothead sometimes.

Hal? I thought his name was Bob.

It might not be Hal, the Prime Minister admitted, but I don’t believe it’s Bob. I think I might have heard him answer to Bill once or twice, but never Bob. Not that I couldn’t get him to answer to Bob, if I felt like it . . . .

The only other noteworthy exchange at the conference had occurred earlier, when the Prime Minister looked in on us. As it happened, the attendees, though all from the arts community and explicitly charged with talking about the arts, had got themselves into a lather about global warming—I know; go figure—and in response to a speech disguised as a question from a young native woman, the Prime Minister replied native-style, with a story from India. In a rice-processing facility, an employee comes running into the boss’s office with a cockroach he’s found in the rice. Here! he cries. Conclusive evidence, sir, that we have roaches! The boss says, Let’s see that. He pops the roach into his mouth, swallows it, and says, That was not a roach, it was a betel leaf!

The sheer, blinding wisdom of this story caused a hush to descend upon the attendees. You could practically see its ramifications causing them to reevaluate everything they had ever assumed about global warming. Finally the young native woman said,

But that’s completely dishonest.

Dishonest? the Prime Minister wondered. Or quick thinking in the name of an overriding economic reality? Who shuts down a rice facility in India because one problem employee starts running around crying Roach? Honest, dishonest, who’s what? Employee? Boss? Who can say? In China or Russia, a troublemaker like that would be jailed, or shot. In the West we do things differently. In Canada, for example, he’d be fired, and if not he should be, and once some of these laws we’ve been working on take effect, also fined, and if possible, deported.

This was something to think about, but before the native woman could continue to dominate the mic, the Prime Minister was obliged to step away to attend the teepee handover ceremony.

SPACE

First Trip Abroad

Though one or two commentators were on it right away, and several took to carping on it weekly, it didn’t seem to matter to the general public that the Prime Minister was in office for some time before he ventured abroad. The reason was simple: he needed control, and because he didn’t know what abroad was like, he couldn’t be sure that he would have it there. I remember as vividly as if it were yesterday the afternoon of the day he was scheduled to take his first trip outside the country—an early evening flight to South America. I had never seen him in such a state. He was like a drunk who does everything with overscrupulous care because he is too drunk to admit to himself how drunk he is.

He packed and unpacked and packed again. He chose and discarded reading material for his carry-on. At the last possible moment he took a bath, of all things. He’d just had his hair cut specially for this trip, but he’d decided it was uneven at the back, and I remember at one point him sitting on a dining room chair in the garden of 24 Sussex and me with a pair of kitchen scissors trimming his hair, while he held up a mirror that kept flashing the sun in my eyes, until I took it out of his hand. Now that I think of it, he was sitting there with his pant cuffs pinned up with safety pins. He’d convinced himself they were too long, but he hadn’t been able to get them the same length, whereas all I could think was who at this late hour we could possibly get to re-hem them. As I snipped, to take his mind off his anxiety and at the same time yank his chain a little, I described the classic Sid Caesar routine in which Sid tries to get his sideburns even and ends up taking his entire hairline back an inch, but the Prime Minister wasn’t listening. Already his thoughts were deep inside the jungle-green and beige-walled labyrinth that is South America.

Probably the reason we humans feel compelled on no evidence whatsoever to distinguish ourselves from the other animals is that 99% of what we do is pure animal routine: rote, unconscious, we’ve done it all so many times before we’re on automatic. Only when we move out into unaccustomed territory do we become what we think of ourselves as being all the time, “human,” because only out there do we become conscious and need to think about everything we do. Only out there is life arbitrary and fearsome, as well it should be. Out there is where the other animals wisely fear to tread, because out there is where the big mistakes are made. This was the place the Prime Minister was in that day, but what I would see in South America was a man who quickly made himself right at home. Once he’d met a few world leaders and witnessed for himself that they were only human, perhaps brighter or more assertive or more charismatic than the rest of us, though not, in the Prime Minister’s view, than himself, and certainly shorter and slighter, most of them anyway, he relaxed, and before long he was stepping on a plane and flying off to South-east Asia as casually as you or I would hop on a bus to Arnprior.

SPACE

Law and Order

The Halloween of my second year in Ottawa, my sister’s boy, who was eight, wanted to go trick-or-treating as a terrorist, and so my sister, who shares the family’s artistic bent even though she lives in Vancouver (joking!), spent the day with him and a friend, making pretend pipe bombs out of toilet paper rolls and sewing camouflage fatigues and headscarves. Once she had the boys kitted out as terrorists, she took a few pictures, which she dropped off at Costco, and on Halloween the boys in their gear were a big hit around the neighbourhood. But two weeks later, in the middle of the night, a SWAT team kicked down my sister’s front door and pulled the family from their beds and went through the house for weapons and ammunition. The last thing the officer in charge of the operation told my sister and brother-in-law as his team was packing up to leave was,

There’s something you people need to understand. This is the world we live in. From now on, what happened here tonight is how it’s going to be.

I thought of my sister and her unnerving experience when I recently found myself standing in the street, trying to snap a picture of the Prime Minister as he rode in a motorcade along Spring Garden Road in Halifax. It was a sunny day, and the people if they weren’t exactly cheering were trying, as people will, to register a glimpse of Greatness. Unfortunately, the group I happened to be standing with found itself on the wrong side of a police cordon. One minute everybody was straining to see, the next we were being unceremoniously pushed backward. When people objected and even tried to resist physically, truncheons started flying, and one must have caught me across the side of the head.

The next thing I knew I was sitting on the curb with the worst headache of my life. I tried to tell the officers who I was and that I needed a doctor because my brain seemed to be filling with blood, but they had people with injuries far worse than mine to deny assistance to. In all we were held for just under ten hours. During that time and for the next three weeks I kept passing in and out of self-awareness. At the end of the day I’d be missing entire blocks of time. But once the swelling went down and the headaches grew less severe and more infrequent, I gratefully put the incident behind me. Now I simply avoid crowds and arrange to be out of town on parade days.

When I told the Prime Minister about my experience, he proposed a thought experiment: A. Assume I’m a terrorist. B. Ask myself: Did this treatment meet with my approval as a law-abiding citizen?

Not really, I said.

You’ve assumed you’re a terrorist, he reminded me.

Assumed, until proven guilty, I countered.

There’s no proven, the Prime Minister said, eerily reifying the sentiment expressed by the SWAT team leader. Not any more. It’s too late for proven.

To explain where I was coming from, I assured him that few people had ever felt more warmly disposed toward the police than I used to. All my life I’d found them almost painfully polite and considerate. To take just one example, when I lived in the bush, two of them crossed the lake to our dock in a motorized canoe. The one in the bow, a beefy fellow, got out and, after ascertaining who I was, snapped to attention, stood at ease, placed his hat on his heart, and said,

I regret to inform you that your grandfather has died.

And had he? the Prime Minister asked.

Yes. What a civilized country this is, where the police provide a service like that for a citizen. I wasn’t even on the grid!

If you’d been on the grid, the Prime Minister observed, they wouldn’t have needed to go out there. You could have saved the taxpayer a hefty chunk o’ change.

Still, I said.

Did you thank them?

Not at first. I laughed nervously, the way one does.

From the grief, the Prime Minister said.

Not really. Bamp was a hundred and two. He was ready to go. I tried to explain this, but it came out as Hey, no worries, the guy was incredibly old. I should have kept that to myself. They must have wondered why they’d gone to the trouble of putting a boat in the water.

Did you get any good pictures? the Prime Minister asked.

What? Of the police on our dock?

No, of the motorcade.

I told him I got one or two, but they were blurry with flying truncheons.

SPACE

Last Days

Talk of slime mold is all well and good, but every slug has its day, prominence is achieved, the stalk grows a head, the head explodes, and sooner or later the time comes for a return to its constituent parts. To put this another way, not even a Great Man can keep a lid screwed tight forever on a cauldron of monkeys. The Prime Minister saw the end coming long before I did. One day he told me a story that let me know without letting me know.

The Prime Minister’s father had supported his little family on the income from  a car-refurbishing business. One summer he came into the possession of a mint-green ’56 Cadillac Eldorado convertible, for next to nothing because someone had died in it. Several days must have passed before the body was discovered, because the car had a smell to it that the seller had been unable to mask. But as a skilled renovator of automobile interiors, the Prime Minister’s father replaced the floor mats and took out the seats and recovered them and essentially recreated the car’s interior. For two summers he drove it with the top down, but when the cold weather returned and the top went up, the smell was still there, and eventually he too had to sell it.

Why am I telling you this? the Prime Minister asked me.

I don’t know, I said.

I’ve been driving that mint green Cadillac Eldorado for seven years, the Prime Minister said. Summer and winter.

Who died? I said.

I don’t know, he said. All I know is it stinks and the stink isn’t going to go away.

That should have been my first clue that the Prime Minister had entered that late stage of an endeavour when, as we prepare psychologically to step away, all the dreadful things that, in our eagerness to be here, doing this, we’ve chosen not to see, rise to the surface and stare us in the face. The thrill has died, the bloom has gone off. Nothing is what it was. Peers and superiors, once gods to be emulated, to rebel against, are now Muppets, not worth the bother.

It’s at a time like this, when youth has fled, a time of disillusion and decline, that fissures form in the structure of reality, and the Lt. Wayne McLeods and their ilk crawl out and walk backwards among us, their faces thrust into ours. One thing that can’t be appreciated enough about the Prime Minister’s immigration policy was its friendliness to multicultural diversity. No one saw more clearly than he did the vote-generating potential of a platform designed to assuage newcomer fears of social instability while silencing any conceivable charge of structural governmental racism. McLeod’s party, with its Great White North bombast, was a knuckle-dragging throwback. If this was exactly what the country didn’t need, it was also the only kind of political challenge that could have at the same time unseated the Prime Minister and made him, and everything he had accomplished, appear to be—depending on your politics—either the step that had taken us closer to the world according to McLeod or the last great flowering of effective one-man government.

A tell-tale characteristic of Greatness is that no one, not even his closest confidant, can hope to possess the scope of mind necessary to grasp the larger picture. But then somebody will always come along with a story that seizes the imagination of the people, who will all of a sudden tire of the ineffable leader who served them with such unswerving devotion, and in their fickle way they will hitch their wagon to a little man who has told them a story they can hold in their minds. It doesn’t even need to be his own story, it can be a story he’s picked up somewhere, that happened to somebody else. All it needs to be is a story that will stick to him through the thick and thin of all the empty promises he will make and the lies he will tell. A master narrative, in other words, and thanks to the tour of duty and the row of medals on the chest and the nasty hectoring speeches and the crazy eyes and the crooked arm, this one stuck.

It was the Prime Minister’s wife, appropriately, who filled me in, some months before McLeod’s people put it out there for public consumption. The story went like this.

McLeod did eventually wedge in the crevasse, upside down, with a wall of clear ice between him and the melting face of the glacier. Requiring an implement to chip his way through, he snapped off his left arm just above the wrist and used the sharp end of the compound fracture to dig himself out. His account of this ordeal always ended with the passionate declaration that human life can offer no greater thrill than the one experienced by a man as he plunges from glacial entrapment into freezing water. McLeod’s promise to the Canadian people was that his election would result in an experience for each of us not unlike plunging into a glacial lake while cradling an arm we’d just used our free hand to break off.

This was heady stuff. It also left the impression that the Prime Minister had somehow kept us encased in ice, even though it was hardly like that at all, as anyone can tell you who ever ran for cover when his head exploded or luxuriated in the halflight of his smile, if that’s what it was. But the Canadian people, knowing even less about the Prime Minister and what he was up to than the politicians did, were hungry for a story, preferably, in this age of darkness and decline, something heroic, or its imitation, as we swim for our lives.

SPACE

Coda

The last time I saw the Prime Minister I was standing in the press box of the Ottawa Convention Centre, gazing down at that vast, lonely space, and there he was in his grey suit, moving heavily up and down the floor with an air hockey stick, and when he reached one end he’d take a hard shot on goal, pick up the rebound, stickhandle his way to the other end, and take another hard shot, and watching him down there I understood that after we hauled him up out of the ice like a Colossus, this was what his life had been, and in a vision I saw that it will be a cold day in Hell before we are again bestridden as the Prime Minister bestrode us in the full majesty of his Greatness.

–Greg Hollingshead

——————————

Greg Hollingshead has published six books of fiction, including The Roaring Girl, The Healer, and Bedlam. He has won the Governor General’s Award and the Rogers Writers’ Trust Fiction Prize and been shortlisted for the Giller Prize. He is Professor Emeritus at the University of Alberta and director of the Writing Studio at the Banff Centre. In 2011-12 he served as Chair of the Writers’ Union of Canada. In 2012 he received the Order of Canada. He now lives in Toronto.

May 102013
 

Stephen Henighan

A little parable about race, narrow opinions, false assumptions and having your head so far up your own ass you can’t see the woods for the trees (to mix my clichés). Stephen Henighan is a world traveler, translator, activist, scholar and fiction writer extraordinaire. I put him in Best Canadian Stories when I used to edit that estimable annual volume. The characters here are mostly low end manual labour doing the traditional low end Canadian job of pulling young trees for replanting. Grading is the act of evaluating, of deciding which trees to keep and which to leave behind. Ah, yes, but in life, with people, we are always deciding which to keep and which to leave behind — it’s an ugly aspect of human society; mostly we congratulate ourselves on not being too obvious (this is called being polite). In his fiction, Stephen Henighan has an awkward (brutally honest) habit of poking holes in that facade of politeness, culture and sophistication.

dg

And me spit out by the city and slung down on my knees in the cold dirt. I thought I’d done everything right: got some education, learned some French – the whole nine yards. But no matter how  tightly you latch  yourself into the city, you can always end up back  in the countryside you came from, pulling trees for quick cash.

They pay us fifteen dollars for a thousand trees. The cedar I’m pulling has roots matted tighter than the threads of my grandma’s old  wool blanket.  You have to rip and tear to  get  each  tree loose. The grading—deciding which trees you keep for your bundle and which ones you toss—is supposed to go quickly since  cedars are nearly impossible to kill. But by the time you’ve yanked the tree clear of its woven carpet of roots and checked for hockey-stick  trunk, half the morning’s gone past. To top it  off,  they did  a shitty job lifting the flats. The old bugger driving  the International 84 Hydro shook each long flap of earth like he was knocking  dust  out of a blanket. The moment you  walk  into  the field, you see the white flashes of split  roots  and  slashed trunks. With that much grade in the furrows, you can forget about making good money.

There’s no escaping grade around here. I don’t know where they find these guys. Local high school drop-outs wearing  baseball caps  that  say I Live for Chev; lads whose only basis for  judging another member of  the community is: “What’s  he  drive?”   And girls,  too. Gert, the roving-eyed young woman next to  me,  complains all day about the boyfriend who jilted her for a loose little  hoo-er  he  met at the village’s new video arcade.  The wedding is next month. Gert plans to get cut,  swing  into the church and puke on the bride’s wedding dress.

Don’t  get me wrong, I’m not making fun of these folks. A  few short years ago I used to hang out with people like this. Then  I moved into Ottawa and got a job and a modern efficiency apartment with garbage disposal and central vac.  The people at the office came from all over the world, and on Fridays we all went out for drinks together after work. When the job  disappeared, so did the apartment. Now I’m country-poor, still the  proud owner of  a Chevrolet, but boxed up in a spare  room over the old fire hall that my uncle got me for free. I work in lowlife jobs. What I can’t get over is how I feel centuries away from my own home town.  From a financial point of view, I’m no better off than anybody else in this field; but an invisible shield separates me from the grade.  I’m not alone in this. There are women here paying the family mortgage, students saving for university. We all show up regularly and earn good money. The others put in a few days’ work, get smashed  on  their  first pay cheques and  never come back.  Every Monday a fresh gang ambles in. The ten or twelve of us who are regulars run a jaundiced eye over them to pick out the one or two who might still be here at the end of the week.

“Too much grade!”  the crew boss yells, closing the fingers of her work gloves around some of the white-slashed shit that  the lads are dumping on the tables.

I  bend forward, pulling like a piston. The odour of soil  and fertilizer blends in my nostrils. You’re never  so  close  to shifts in weather as when you’re hunkered down against the ground. It’s the beginning of April and we’ve worked in snow, in rain, in stinking heat that makes you peel off your shirt. The cold is the worst. It penetrates and paralyzes. Sitting on my knees,  ripping apart  trees at waist height, I spill cold soil down my legs  and shiver  as  it trickles over my workpants. If I don’t  brush  the soil away, my teeth begin to chatter. Some days my toes freeze up in  the  early morning and stay cold and numb inside  my  boots until  I  get home, no matter how hard the  afternoon  sun  beats down.

The  cedar pulls like molasses: the totals the tallyman  reads out  are pathetic. On a good day I can make  over a hundred bucks, but today I’m going to be lucky to hit sixty.  The crew boss, a Forestry woman with ruddy cheeks, tightly  curled  blond hair and a hoarse, cackling voice, tries to calm the punters  by promising that tomorrow we will be pulling white spruce.

“Yeah!”  I  say. But Gert, alongside me, groans. White spruce are tall trees, with short roots that grip the earth like  leeches.  A  guy with big hands can whip them out of  the ground as fast as picking up sticks. But for a woman, unless her hands are unusually large, white spruce hardly pulls any quicker than  cedar.   Red  pine is the woman’s tree.  It’s  prickly and twisted  and shelters close to the earth; the  long roots fall together like horse hair when you clasp ten trees into a  bundle. A  woman with nimble fingers can pull eight thousand red  pine  a day.

“Tomorrow,” the crew boss shouts, “new pullers will be coming out from the city. Looks like we used up all the grade  around here.”

Pullers  from the city! The announcement  combs  through  the crouched hordes like a ripple of unwelcome wind. What will  these new pullers be like?

Next morning we see what they’re like: they’re black.  Or at least two of them are. Husky young guys with an easygoing,  jokey manner.  The burlier, friendlier lad is called Reg; his thinner, quieter friend is Deon. Having been away from the  country for a couple of years, I can’t believe the reaction they get.  In this stretch of eastern Ontario you can drive forty klicks without meeting anybody who isn’t Scots-Irish or French-Canadian or maybe Dutch or German. For the first two hours  the  flats  are silent.  Only  the croak of the tallyman and the honk  of  Canada geese  winging home overhead break the scuffle and grunt  of  men and big-handed women feasting on the fast cash offered by a field of white spruce.

The spruce grows amid knee-high grass that ruffles like  water when the wind kicks up. As the breeze reaches the edge  of  the clearing,  it unveils the light undersides of the leaves in the groves of mature poplar and maple. There are moments when you can feel happy to be working outside. Glancing up, I catch the  glint of  Gert’s dark eyes seeking out mine. I turn away,  exchanging grimaces with Reg. Gert has been sending too many long looks in my direction.  I  try to figure out how, without hurting her, I can make her see the differences between us. I’m not the same guy I used to be.  When I was working in Ottawa I had a girlfriend, a big-city girl who screwed me purple for ten months without ever breathing the word marriage.  Since I came home, the girls seem like grandmas in training, the wedding dress the main thing on their mind. Gert can’t be more than twenty; and even when I was growing up around here, would  I have given a hoot about a girl who hung out in arcades?

Gert, meanwhile, is busy ignoring an admirer of her own.  Kev is a lanky, long-jawed, red-haired lad who talks even more like a farmer than most of the people working here. He’s been smitten by Gert’s pushiness. The more mouthy she gets with him, the more he acts like her slave. He fetches her water bottle, he lobs spare  trees in  her direction; he’s even offered to carry her bundles to  the table. I had Kev pegged  as grade, expecting him to  vanish after a week; but love has transformed him into a hard worker. He arrives at the crack of seven each morning, his watery blue  eyes scanning the furrows for Gert.

We  pick  our way forward in closed  formation,  swabbing  the field clean with hungry hands. The crew boss’s yells clang in our ears; her bright, laundered blue jeans glint in the corner of  my eye.  Gert and I lead the pack of pullers. Kev is closing in  on Gert from the right; Reg and Deon head up the next row.

By mid-afternoon the silence is making me sick.  I figure it’s time to set an example by acting naturally. I go back  to teasing  Gert.  “I  bet you’re getting  thirsty,  Gert,”  I  say. “What’ll you do if you need your water bottle?”

“If I need my water bottle,” she says, with a savage  sidelong glance at Kev, “I’ll get my nigger to bring it to me.”

For  five  seconds not a single tree gets pulled.  Everybody stares at Reg and Deon. Reg and Deon look  at each other. In the distance, I hear Canada geese honking.

“That was a pretty ignorant thing to say, Gert,” I tell her.

“You  go fuck yourself. You just think you’re hot shit ’cause you  lived someplace else.”  She bows her head into the chest  of her jeans jacket, her cheeks shaking.

“Move  it!”   the crew boss shouts.  “Anybody who  doesn’t  pull forty-five hundred today is outa here.”

I veer away from Gert and almost run into Reg. He and Deon are putting a broad patch of white spruce between themselves  and the  rest  of  us. As everybody else sinks into a silence even sicker than it was before, Reg and Deon can’t stop talking. They pull  like fury, exchanging stories in a jargon we can scarcely follow. Within thirty minutes a wheel of clean-picked dark  brown earth  has opened up around them. Trussed bundles lie  heaped  at their heels. They pull barehanded, the only workers in the  field not wearing gloves.

I glance across at Gert. She ignores me. Kev, put off  either by Gert’s rudeness or her tears, has drifted away to the  fringes of the field.

“Whoah!” the crew boss shouts. “You’re gettin’ way too  spread out. You’re missing good trees–  And you two,” she says, turning to  glare  down the laughing West Indians, “do you plan to shut your traps when I’m speaking?”

“No,  we  don’t,  ma’am,” Reg says. “We work  better when we talk.”

“You’re fired, mister,” she says. “It’s your fault this crew’s got screwed up today.” She plants her right hand on her hip  and gestures  with  her left for them to quit the field.  Red  blush-points break out high up on her cheeks.

The two men shrug their shoulders and saunter away towards the poplar grove.

“You’ll  be  paid for the work you’ve done,” she  hurls  after them. “Now the rest of yous get back to work or you’re next.”

Silence  splinters the crew. Nobody talks; nobody works  close to  anybody else. After more than a month of  pulling  trees  six days  a week, my body is aching all over. My joints creak and  my kneecaps click when I walk. My tiredness has outrun my ability to sleep  it off. At the end of the afternoon I stumble away  to  my Chev  without saying goodbye to Gert. Kev has  disappeared.  The sight of Gert kicking across the field, her head lowered and  her work gloves  dangling  from her fingers, tugs at my chest.  But  I recognize  the  tug  as guilt, not love. I turn the  key  in  the ignition.

My Chev rumbles over two kilometres of rutted dirt road winding between the fir plantations. When I turn onto the  highway, Reg  and Deon are standing holding their thumbs  out.  Reckoning that they must have been there for almost three hours,  I pull over onto the shoulder.

“I’m  only going ten minutes up the road,” I say, “but I’d  be happy to give you a lift.”

“Thanks,  but we need a ride into the city.”   Big Reg has slipped a woollen hat onto his head. Behind him, Deon issues  me a shy smile.

“I thought what she did to you was really shitty,” I say.  I take a breath. “Actually, I thought it was racist.”

“Aw,  we  knew we were rubbing that lady the wrong way,”  Reg says.  “If we’d really wanted the job, we would have  acted  more docile.  We just came out here today for fun.”

“Fun?”  I say.  “Don’t you need the work?”

For the first time Reg looks shy.  “We’re grad students in biology in Ottawa. We’ve got internships at a lab but it don’t start until two weeks from now and we were kind of bored.”

“We’d never seen the countryside,” Deon offers. “We always lived in cities.”

“I can’t believe how lazy people are out here,” Reg says. “Don’t they care about making something of themselves?”

The two of them stare down at me with the stare you save for a furrow full of slashed roots. Deon shakes his head.

“No offence to you,” Reg says.

“None  taken,” I reply.  “I know who I am.”   I roll up the window and  shift  my Chev into gear.

 —Stephen Henighan

——————————–

Stephen Henighan was born in Germany and grew up in rural eastern Ontario. He is the author of three novels, three short story collections and half a dozen books of non-fiction. His forthcoming titles include A Green Reef: The Impact of Climate Change (Linda Leith Publishing, 2013), Sandino’s Nation: Ernesto Cardenal and Sergio Ramírez Writing Nicaragua, 1940-2012 (McGill-Queen’s UP, 2014) and the English translation of Ondjaki’s Granma Nineteen and the Soviet’s Secret (Biblioasis, 2014).

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Apr 052013
 

mcclennan-001

Herewith a short fiction, a short modernist fiction, terse words carved out of the white space of the page, a dramatic meditation on fathers, marriage, and history splashed against a screen of absence, a gem of concision which is yet replete with place (that Ontario landscape reeling by) and literary reference. rob mclennan is a Canadian writer, indefatigable blogger and critic; we are both, coincidentally, in the current issue of Fencea serendipitous conjunction. It’s a great pleasure to introduce him to these pages.

dg

§

 

 There is no such thing as fiction.

                        Richard Froude, The Passenger

 

1.

In 1968, my father and mother drive west along Highway 401, towards Upper Canada Village. They have been married less than a year. He wants to show her something.

This happens in real time. They drive.

Both his hands rest on burgundy steering wheel, their cherry-red Ford. For the length of my memory, he owned and drove only Fords: the family car and the truck for the farm, upgrading every half-decade.

The wind through the open driver’s side window. His hair so black it shone metallic blue. It sparkles. A trick of the light.

 

2.

It begins with a silence, seeking its source. With occasional birdsong, the pant of the dog, a tractor rolling along in the distance, the silence holds deep in its core.

We establish the fixed points: his daily routine, the pair of his and her Fords in the yard, the black Labrador mix.

Much of my childhood was punctuated by silence. Inherited.

The silence remains, holding court amid tenor. At first, you might imagine it is waiting for something to be said, or to happen, but it is not.

 

3.

Their stretch of Ontario highway a madness of trees, awaiting development. Pitch-perfect birds and occasional deer. They pass farms and villages two centuries set. They drive west, into history. My father cities 1812 facts from half-remembered textbooks, mumbling dates and locations.

No, not awaiting. What’s the word? Dreading.

They are newlyweds, still. My father rests his left arm across the ledge of rolled-down driver’s side window. Air scrapes the length of his forearm.

My mother breathes deep, enjoys smokeless air.

.

4.

This quiet between two is not absence, but slow comprehension. Each suspects what the other might say.

Years later, my mother would translate him, offering: your father is very angry at you for that thing that you did.

But for now, they are still learning. They react to cues, whether real or imaginary. They can’t yet read each other’s thoughts.

 

5.

We could speak of the father as imagined figure, since he is not yet my father, or anyone’s father, beside she who is not yet anyone’s mother.

We pause, on the obvious: their youth, their half-restrained enthusiasms. One can’t help but compare. Basket of apples and peaches each nestled on the backseat. She has been wanting to replenish their supply of preserves. Applied correctly, wax seals freshness in.

Cellar shelves by the cistern. Fresh cobwebs and field mice.

 

6.

The seven villages along the St. Lawrence Seaway he witnessed, drowned due to the Long Sault hydroelectric project, as he was mid-teen. Villages shifted, erased and rewritten, for the sake of the water. Buildings broken, and sold for parts.

A shed his father built from a former gas station, additions to the farmhouse made from what once a single family home.

The site of the War of 1812 Battle of Crysler’s Farm, half underwater. Inventing a pioneer village as a place-marker, upon the remains. A shoreline redrawn, by the flood.

They brought in buildings from across the area, including half a dozen from a two-mile radius of my father’s homestead. The cheese factory where his great-great uncle once worked, the one-room schoolhouse his own mother and aunt attended.

We shuffle history around.

The house he was born in, a century old by the time he was new.

 

7.

A marriage: two merge, inasmuch as they individually change.

From the state of the farmhouse years later, it was as though she married, and left home with only the clothes on her back. Her wedding dress asleep at the back of a closet. She had little to nothing else pre-dating this, from her homestead to his. What did she bring but herself? What might she have left? What might she have meant to bring, but somehow didn’t?

A house sprinkled with archive: his rusted Meccano set, his preschool plush lamb.

 

8.

In silent 60s-era Super 8, colours are brighter, illuminated. A particular era’s nostalgia in bright hues, glossy light. A quilt, stitching squares of mere minutes. They drive. The highway itself less than two decades old. So close to the lip of St. Lawrence River, a sequence of edited farmland and family estates scalpeled and shaped into two and four lanes.

Their fathers are both still alive. His, living years with cancer treatments, the three hour drive into the city. My father at the wheel, since his mother never learned.

He understands, distance.

He knows what lies across horizons, having been over every one.

 

9.

Her father, chain-smoking. The entire household. It hovers around family portraits, Super 8 by the lake, where they cottaged. My mother, once married, would never light up again. She later frowned upon my own youthful folly. Looked upon with derision.

Her once-mixed thoughts on the move, shifting city to country mouse. Now she marvels at farmland, the open green stretch.

Rewind. Leaving the farm, the truck kicks up dust from the gravel, two miles to blacktop. She twitches from crunch and the dust cloud, anew. Mixed thoughts, but this, she loved from the offset: a jolt to a small, giddy leap as they start up the laneway. A schoolgirl glee and excitement the city could never provide.

 

11.

My father, his hands on the steering wheel. The tan we now know as permanent. Melodic stretch of dirt road and gravel, of sonorous blacktop, that defy description.

From the Robert Creeley poem. Drive, she said.

—rob mclennan

———————–

Born in Ottawa, Canada’s glorious capital city, rob mclennan is the author of more than twenty trade books of poetry, fiction and non-fiction, his most recent titles are the poetry collections Songs for little sleep, (Obvious Epiphanies, 2012), grief notes: (BlazeVOX [books], 2012), A (short) history of l. (BuschekBooks, 2011), Glengarry (Talonbooks, 2011) and kate street (Moira, 2011), and a second novel, missing persons (2009). An editor and publisher, he runs above/ground press, Chaudiere Books (with Jennifer Mulligan), The Garneau Review (ottawater.com/garneaureview), seventeen seconds: a journal of poetry and poetics (ottawater.com/seventeenseconds) and the Ottawa poetry pdf annual ottawater (ottawater.com). He spent the 2007-8 academic year in Edmonton as writer-in-residence at the University of Alberta, and regularly posts reviews, essays, interviews and other notices at robmclennan.blogspot.com. He currently lives in his hometown, Ottawa.

 

 

 

Mar 092013
 

 Paul McQuade

Paul McQuade’s story begins in the epic mode — “It all began with magma. The Earth was young and molten…” — and spins a tale that is legendary and fantastic, pinned against a backdrop of alchemy and Death, a tale that knowingly situates itself somewhere between Genesis and Italo Calvino’s Cosmicomics. He will write sentences like “The mammalian clades survived through some fluke of furred instinct” which mesmerizes with its use of that strange word “clades” and the alliteration. When he writes, McQuade follows the words, tone and sound. Lovely to read.

Paul McQuade is a young Scottish writer living in Japan, a newcomer to Numéro Cinq, a wonderful discovery.

dg

It all began with magma. The Earth was young and molten, flowed bright, flowed regardless of the chaos it caused as it roared and tore, spilling thermal radiation. The atmosphere descended over it dragged down by new and invisible forces.

Moisture gathered in the air as cloudbursts of ink. The hot droplets writhed atomic, were changed into something posited with minerals and iron. They undulated low above the molten world, grew too heavy to support themselves.

Then they fell.

First one lone drop plummeted to the Earth’s red-gold, evaporated before it touched the surface. Death is a cold thing. It lingers. The air, for the first time, grew chill. The rest came tumbling down with a drum roll, turned the earth black with a drawn out snare hiss. By the time the clouds were empty the Earth was a chunk of cool obsidian. Life came, sprang in single cells and simple grasses, in gum-eyed amphibians and air-breathing arthropods, in horned things with lizard skins.

The air cracked as the sky admitted one last drop, ten thousand metres across, carrying with it the silver flare of iridium and all the gravity of an ending.

When the dust settled everything was encased in blue-white. Across the Earth the king-lizards shivered and fell, left only bones. The rest dissolved into particles of oil that gathered beneath the earth’s surface in lakes of black sludge. Of the reptile rulers of the young world only something like liquid remained. Sic semper tyrannis.

*

Walter lives on the eastern side of the lake, Eva lives on the western. Walter lives in the apartment above the fishmonger’s where he works and sleeps on the floor. Around the fishmonger are houses, and around them yet more. All the little houses are gathered on the eastern side of the lake, where at night oil lamps glow clean and bright while the dull orange of the sunset vanishes in the lake’s deep black.

Eva lives in the shadow of the mountain. Around her are fields of barley, pastures for sheep, and land that no one has claimed. Eva lives in a caravan painted apple-red. Her mother’s fingernails are the same colour.  As her mother lays out the arcana in a fan, the red seems liquid. Across from her mother, sitting on a stool upholstered in azure, a woman from the eastern side of the lake winches a handkerchief in her hands, asks, Well?

Your husband, Eva’s mother says, is betraying you. Here she spits for effect. If you want him back, she says, I can help you. The woman passes a handful of silver, which her mother puts in a velvet pouch in place of a vial of off-white liquid.

Eva’s mother can distil almost anything. In the cupboards of the cramped caravan where they sleep on a bed that folds out on wailing springs, there are bottles of Love and Hate, Luck, Protection and Beauty. Her mother does not sell Death, or at least, Eva has never known her to do so. But she has it in a black vial. Just in case.

Eva lives in the shadow of the mountain and the shadow of her mother, whose talents she does not possess. The western shore is where they have stayed longest, perhaps because they are protected from the town by the lake, whose water is as black as Death.

In the afternoons, when the morning rush has subsided, Walter carries leftover fish to sell in the camp on the other side of the lake. He takes a small yellow rowboat. The paint is reflected on the surface of the water, but the water of the lake is so dark that the wan afternoon light vanishes in it. The lake water is exceptionally peaty. The fish they catch in it taste like smoke.

Walter and Eva meet each other in the late afternoon. She is beating carpets in the yard where a couple of pigeons peck at bare earth. She thanks him for the fish and passes him some silver. The coins are hand-hot. They have passed from the hands of the town woman to her mother’s, where in each palm an x is written in lines deep as graves. This marks her mother as gifted. From her mother’s hands the silver passed to Eva’s, whose left palm bears a scar from where she cut it with a paring knife when she was eight. Ten years later the scar is a white hollow.

Walter and Eva meet every day. Eva’s mother says she is sick of fish but is so tired staying up late by candlelight reading cards that she accepts it grudgingly, replaces a damp towel over her eyes. Walter’s triceps become smooth pebbles. He can now cross the lake in under thirty minutes.

The two things Eva’s mother cannot distil are Money and Time.

One night Walter rows the dark water without fish in the boat. On the other side he picks Eva up and takes her halfway across the lake. In the dead centre the moonlight picks up only hints of waves. When Walter was little a man came to town with puppets made of black paper. It occurs to him, in the middle of the lake, with Eva’s flesh giving off the smell of soap and orange blossom, that the world looks very much like those puppets. But he soon forgets.

The buttons of Eva’s blouse come off in his hands like fish scales. Two drop in the water and are never seen again.

*

The mammalian clades survived through some fluke of furred instinct. And when a group of them rose from the earth to meet the sky, spines cracking as they went, they brought with them the Dead. The Dead lived with the new mammals, fluttered in the wind like trails of smoke, and clung to the gooseflesh of their former shapes. Death is a cold thing. The new world suited them quite nicely.

The mammals began to bury their dead. The Dead were overly sentimental and stayed with their bones. Under the new layers of soil, the bodies melted, were absorbed into the earth’s lithosphere. The most abundant mineral in soil is calcium.

The bones of the dead were scattered across varied strata. The Dead had nothing left to hold on to. Lost in the dirt, the Dead wandered feebly, tried to reassemble their skeletons in soil far too warm for them. The Earth’s heart stayed red-hot despite the efforts of glaciers, which far above the Dead, rearranged its face.

The glaciers were just as reckless as the Earth had been in its youth. They travelled pell-mell, across the continents and the islands that sprang from the ocean depths. As they did so, the glaciers diminished, became less and less themselves as they travelled, leaving trails of ice water in their wake like comet tails. The water fell into valleys and deep caverns but mostly into the oceans. As the water table rose, a flood of cold water came up through the earth and reached the Dead. The Dead plunged in. They liked the water. Death is a cold thing.

The groundwater coursed unseen through the continents, who were at that time adolescent and finding new and awkward ways to fit into each other. The Dead split and flowed, following rivulets and outpourings to wetlands, reservoirs, and lakes.

When the glaciers were gone, only a part of them remained. The smallest part. Something like a soul. Clear as ice water, small as a sliver of bone. Only something like liquid remained.

*

Alanys is born in the middle of the lake.

Eva and Walter go back and forth and back and forth on errands neither really has to do but Walter’s parents are dead and Eva’s mother needs to sleep. The fishmonger Walter lives with is too busy keeping his knives clean to notice. Eva’s father lives in another town and doesn’t even know she exists. Back and forth and back and forth. Eva loses buttons. Walter loses socks. Over the side they go.

Then one day, Alanys comes. Eva hadn’t even noticed. Alanys had been an invisible guest, silently drinking nutrients of smoke-fish and distillations of Youth and Beauty through the pink umbilicus that tied her to her mother.

As they row back to the western shore in silent shock, the waves dance eagerly.

*

On the eastern side of the lake they bury the dead. In the caravan camp on the western shore they burn them. The people on the western side do not believe the soul should be tethered. The people on the eastern want to cling on to the bones of love, say this was the shape of it, the thing of it, this is what I had and lost. And the whole time their grief fills them like a cold satisfaction. Death is a cold thing.

In a field of grass on the eastern side, six feet deep, arms and legs and torsos melt into the soil. They are converted and transmuted, take on different chemical properties.

Dying is the essence of pure alchemy.

*

Eva’s mother tries to kill the baby for the first time when it is less than an hour old.

Mama, Eva says as she passes the baby to her mother, I think I’m going to call her Alanys.

Her mother spits and says, Don’t name it. Then she lowers the baby down on to the bed with the wailing springs and places a pillow over it with a talon-grip. Beneath the fabric, the baby tries to cry. The sound comes from far away.

Walter strikes Eva’s mother across the head with his forearm. She falls into the wall of the red caravan, then rights herself and says, It has to die. It has to die.

If a child is born on water it must be drowned.

We will put the body in the lake.

Eva calls her mother a mad witch.

Eva’s mother says, The baby has no roots. The Dead —

Walter wraps his arm around Eva. They walk out the house together, baby Alanys in her mother’s arms.

Eva’s mother spits blood on to the floor. Then she goes and gets a box from a slit in the bed with the wailing springs. She sits and rolls a black vial in her hands and forgets to light candles. The red lacquer on her fingers looks blood-black in the twilight. As she looks out across the lake, she hears the Dead howl and whoop as they dance above the waves.

*

By the time she is four hours old, Alanys has orbited the entirety of her life: from the dead centre of her birth to the apple-red caravan, from the apple-red caravan to the fishmonger, eclipsing briefly the point of her departure from the amnion. The crossing of the lake takes much longer going back. The water sticks to the oars like oil. Around the young father, mother and child, a chill wind rises, causing little Alanys to scream. Eva tries to console the baby while Walter forces the oars to churn the black water.

Eva’s mother is still fondling a bottle of black liquid in the caravan when they step foot on the western shore. Eva holds the baby close to her breast, to keep her safe from the wind as they make their way to the fishmonger. Upon seeing Eva’s hooped earrings and long brown skirt, her dark features and the baby in her arms, the fishmonger shakes his head sadly and says, Boy, you don’t know what you did. And then he chops the head off a fish that tastes like smoke, guts it, fillets it, wraps the white flesh in brown paper and hands it to the couple.

He lets them use a cabin he owns on the north side of the lake, on the foot of the mountain, where he likes to go in summer to get away from the town.

He says, You can stow the baby there and no one will be none the wiser. But you know, boy, you can’t bring that woman into town.

He spits on the floor for emphasis. The saliva curls across burnt orange tiles and mingles with fish blood.

*

When Alanys is eight years old she meets a man with no face. It takes all his strength just to be there, to try to touch her, no matter how many times his hand slips right through her. Alanys thinks he is trying to speak but she cannot explain why she feels this way.

Eva tells her not to be silly. That she sounds like her grandmother.

Who? Alanys asks.

*

Eva’s mother packs up the apple-red caravan, says goodbye to her friends, and sets off to the West. She begins by asking around the town where the oil lamps keep the night at bay, but no one has seen her daughter or the child. She inquires at a fishmonger who never stops cutting the heads off fish the entire time they speak. He has not seen anything. There is something about the man she doesn’t trust, but there is too much fish blood on the floor, and she leaves as fast as she can.

She travels her whole life backwards trying to find a place where Eva might have gone. Every night she lays out cards with shiny red nails and each time they tell her the same thing. The cards speak in rebus and what they show is this: a man hanging by his toes from a tree, a tower, the moon, and a page bearing a silver cup.

Eventually she admits defeat, gives up, stops asking.

She packs up the apple-red caravan and sets off back to where she lost her daughter. She intends to settle by the black lake and mourn. In the pocket of her dress, nestled against the curve of her hipbone, is a vial of liquid black as Death.

*

When Alanys is fourteen she meets a boy by the lake. He has no face but he is nice, gives her a white flower. They walk together, round the lake, where the black water trembles in the wind.

Alanys talks to the boy. He does not talk back, just shifts his head up and down as if listening very hard. When she asks him questions he seems sad. He lowers his faceless head. Alanys puts her hand on his arm.

*

Due to a quirk in mammalian biology, the species did not stop dividing. Like the particles of mineral-laden moisture, like the glacier giants, they began to gather and disperse, gather and disperse, gather and disperse. As if all life is just a process of condensation and evaporation.

*

The Living are soft as beds. Christopher enters the girl. Once inside, he stretches his arms and legs out to fill every corner of her, until he can feel the cold mountain wind on each fingertip, the dull ache of all ten of her numbing toes. He breathes. Christopher has not breathed for a very long time.

It is good to have a body. The flesh of it, the weight, the sheer sense of being. Tiny things innumerable and imperceptible to the Living.

Christopher stands up and walks back to the house. When he goes through the door his new mother holds him tight and says, Baby, you are so cold, sit by the fire.

To the Dead, fire is nothing but blindness. To living flesh it is vital. Christopher puts his new fingers so close to the flames that they blister.

*

The Dead do not have flesh or language. They consider this cruel. The only thing the Dead want is to feel and to speak. Above all they want to speak. To be heard. As something more than chair scrapes, something more than house creaks. Something more than nothing.

*

When Eva’s mother arrives, she finds the camp in which she used to live is gone and something wrong in the air. The x’s in her palms ache.

She finds the house on the north shore of the lake, underneath the shadow of the mountain, and inside she finds her daughter and one of the Dead. She makes amends, cries, and that night sits down to dinner with her daughter and her family. Walter does not say a word. Every time Eva looks at Alanys, her eyes tighten at the corners and then she looks at her mother, almost pleading.

*

The Dead do not fear death. They are trusting. Only flesh withers. Before climbing into bed that night, Christopher drinks the whole vial just like his new grandmother told him to. It tastes like purple flowers.

Eva’s mother takes the body to the water and weights it down with stones.

*

The eyes are closed, as if sleeping the deep sleep of a newborn world. The lashes come undone, one by one, float up and up, twist through the black water. When they are gone the eyelids open but there is nothing inside. The flesh unribbons from the bones, then dissolves into black particles that forget being flesh. The bare bones fall next to two buttons and a sock in the soil.

Only something like liquid remains. Only the smallest part. Clear as ice water. Small as a sliver of bone.

—Paul McQuade

—————

Paul McQuade was born in Glasgow, Scotland, and educated in Tokyo, Japan. He now lives somewhere in between. Working creatively and academically in both Japanese and English, his writing has been featured online and in print, most recently in Metazen, Little Fiction, and Cadaverine.

Feb 152013
 

Edward MaitinoThe author and his wife Michele and daughters Sophia and Isabella in a cafe just off rue de Seine in Paris

Edward Maitino is one of those unsung, mostly unpublished, really interesting writers who should be known more than he is. He was a student in a graduate writing class I led at the University at Albany-SUNY, either in 1999 or 2000, I can’t remember, earnest, dressed for the office, slightly out of place, but also the best pure writer in the class, with a Raymond Carver-ish instinct for capturing the epic solitude of alcoholism. Whenever I get a chance, I publish him. He was in an issue of Hunger Mountain (Fall, 2003, the print edition, not online) for which I co-edited the fiction with Mary Grimm. And now, once again, I have tracked him down and winkled a story out of him. Read it. You’ll see. He has a unique style, deceptively laconic and stoic. But the story has shape and mystery. It starts, jumps forward, then loops back before the beginning and tells you the story of the story. And the two stories, the two armatures, are psychological and structural parallels, the whole thing as intricate as clockwork.

dg

Part One

I met Marty Sutherland in a hospital emergency room on the night my father died. He was brought in on a stretcher under a pile of blankets. It was Christmastime and the place was mobbed. The ambulance driver left him in a hallway across from where I was sitting with my sister.

Marty wasn’t moving. His arms were at his side under the blankets and his eyes were closed. But I could hear him moaning. Someone had taken off his boots and placed them at the foot of the stretcher. Nurses kept bringing over warm blankets to cover him. He must of had ten blankets covering his body.

It was almost like he knew I was staring at him because he opened his eyes and looked right at me. He whispered that he was thirsty and asked for water. I jumped up out of my chair. I was only eleven-years old. I ran down the hallway to get the nurse.

Marty had this crushed look on his face and his eyes were sunken deep in his sockets. I had never seen a man so close to death until a few minutes later when I saw my father. The whole mood that night was grim. The doctors and nurses were trading anxious looks or avoiding looking at anyone at all. At the time I couldn’t understand why. It just made my stomach sick.

Marty was rushed through these huge metal doors. The doors swung open and closed automatically, which made it seem—to an eleven-year old boy—like Marty got swallowed up. Later the same set of doors ate my father.

I saw Marty again about ten years later during another low point in my life. It was my last semester of college and a few weeks after my girlfriend threw me out of the apartment we shared.

I was living in this dreary basement apartment that I was lucky and unlucky enough to find. There was a reason it was available half way through the semester. I was eating a lot of junk food, cutting classes, and watching TV in the dark. I guess the apartment suited my mood.

It was late in the day and I was sitting alone in a diner near my mom’s house when Marty walked in on crutches. He sat in a booth by the window and when his pants hiked up I noticed two prosthetic legs above his socks.

After I finished eating I walked up to Marty’s booth. I’m not sure what I was hoping to accomplish.

I said, “Do you remember me?”

He looked up and shook his head.

“I met you at the hospital the night you were brought into the emergency room.”

“I don’t know anything about that,” he said.

Marty went back to his plate, cutting a piece of grey meat, mixing instant mashed potatoes with canned peas, slurping a cup of coffee.

“I was a kid then, so you’d have to picture me a lot younger. I was sitting across from you in the hallway. You asked me for a glass of water.”

Then I said, “It was December 17th, 1982. I remember the date because it was the night my father died.”

Marty pushed his plate away. He lit a cigarette. I took out a pack of cigarettes from my shirt pocket. Marty handed me matches. He moved the ashtray to the middle of the table. I sat down across from him.

I found out Marty had lived on Florida’s gulf coast for several years before moving back to Schenectady after his mother died. He survived on a monthly disability check and small inheritance. Besides his prosthetic legs, he had a heart murmur and the onset of diabetes.

He didn’t say much about the night we met other than he’d lost his legs from frostbite after leaving a Christmas party drunk and passing out in his car in the bitter cold. He sued the owners of the house who hosted the party and the city where he parked his car, but his lawyer filed the papers too late and the case got dismissed.

“That’s too bad,” I said.

He shrugged his shoulders. “The system’s stacked against a guy like me.”

We paid for our meals separately and walked outside. He showed me how his car was rigged for him to drive using his hands. It had the throttle and the brakes on the steering wheel.

He pulled two cans of beer out of a cooler in the back seat. We drank the beer and smoked cigarettes under the streetlight. It was one of those warm spring nights that you appreciate after a long winter.

Marty said the next time he saw me at the diner he was going to buy me dinner.

“You don’t have to do that,” I said.

“I want to,” he said. “You got me water, right?”

“Well, I told the nurse.”

“It’s the same thing.”

I watched Marty drive his car out of the parking lot, working the controls from the steering wheel. He had this wild-eyed look on his face, as if he was half-expecting the car to lift off the ground and disappear into the night sky.

I went home that night and sat in a chair in front of the TV with the volume turned down. The apartment had this horrible odor I was trying to ignore. I think it was in the carpeting. I was thinking about my father and how much I missed him. I wished he could have seen me grow up and graduate college. I was about to be the first person in my family to get a college degree. I think that would have made him proud.

I remembered how my mother would take us to visit my father’s grave on every holiday, his birthday, and the anniversary of his death. Those first few years were tough for everyone. Then my sister stopped going to the cemetery with us around the time she turned sixteen. On the next occasion—I think it was Memorial Day—my mom and I skipped visiting the grave. We never went together after that or seldom talked about my father. I don’t know why. I suppose grief has its own rhythm.

My mother started dating a salesman she met through her work. I was happy for her. They lived together in the house where I grew up. They were able to deny living together because he still paid rent on his apartment. But he was there almost every night. I told my mother to have her boyfriend give up his place and not worry about what other people think. But she was old-fashioned when it came to couples living together, especially a widow with children.

That summer I ran into Marty at the diner. I’d been over my mom’s dropping off laundry. I was looking for a full-time job and living in the same lousy apartment. My ex-girlfriend had moved back to Long Island and wasn’t too keen about me coming down to visit. I was putting a lot of pressure on her to get back together. I wanted to get married. I think she moved back home to get away from from me.

Then on my way to the diner I remembered Marty and wondered if I would see him. Sure enough Marty was sitting in the same booth, almost like he was waiting for me to walk in. And he bought me dinner, just like he promised. Being out of work, I was happy to oblige. But I didn’t take advantage of him. I ordered the daily special and nothing else, not even a soda.

He began talking about the experience of losing his legs. He said it had been years since he talked to anyone about it. I told him a little about my father’s accident.

Marty said it was stupid and reckless to leave the party as drunk as he was that night. But he often wondered why the owners of the house didn’t try to stop him from driving home. There were people milling around outside who had watched him stumble down the front steps and skin his knee.

Before the accident Marty figured he’d get married and have children. But after all these years he was comfortable being on his own and couldn’t imagine having a wife or the responsibility of raising a family.

“Life suits me just fine,” he said. “I realized long ago this was the way things were supposed to be.”

After we finished eating Marty asked if I wanted to go out for a few beers. I hesitated for a moment, not wanting to encourage him. He was too old a guy to be hanging out with. Then I remembered that I was the one who approached Marty in the first place. I kind of felt sorry for him.

“Okay,” I said.

I put his cooler and crutches in the back seat of my car and drove to a bar that he suggested. We sat in the back room near the pool table and took turns buying drinks.

After a while Marty asked the waitress to clear the empty beer bottles off the table. She wasn’t very friendly toward us. I watched the girl stack the bottles on the tray and put down a clean ashtray.

“No reason we have to look like drunks,” Marty said to her.

The waitress forced a smile.

While we were talking I noticed how Marty would tip his chair back on two legs and stare down at the floor as if his thoughts were somewhere else.

Marty talked about being in the hospital for several weeks, enduring multiple infections and surgeries, losing one leg the night he was brought in and the other leg the next day.

“Nowadays I bet they’d be able to save my legs,” he said.

“Today, sure,” I said.

He seemed to think about this for a moment.

“When I woke up from surgery, the first one, I told the nurse I wanted to see my leg.”

I moved around in my seat.

“I don’t know how to explain it,” he said. “But I felt like it was still mine. Attached or not, it belonged to me.”

“What’d the nurse say?”

“She called in the doctor, who said I was in shock. ‘Wait a while,’ he said, ‘and see how you feel.’ ‘I know how I feel,’ I said. ‘I want to see my leg.’”

Marty took a long drink of beer. I watched him close his eyes and tilt the bottle.

“Did you ever get to see it?” I asked.

“Never did,” he said. “The doctor told me there were health laws that had to be followed. Then the next day they took off my other leg and I thought, what the hell, who cares anymore?”

I looked at him closely. Unlike the first time I saw Marty at the diner, he was clean-shaven and his hair was washed and combed. He had a flat face, queer lips he kept wiping with his sleeve, and a wide nose like you’d see on a black man.

“I don’t think I could look at my leg cut off like that,” I said. “That’s crazy.”

“For months I kept having these awful dreams. I never spoke to anyone about them. They’re the most personal thing in my life. We all have those secrets.”

He shook his head in disbelief.

Then he said, “I was too ashamed to even look my mom in the eyes when she’d visit the hospital.”

We finished our drinks and left the bar. On the way back to the diner I stopped at a market so Marty could buy beer to put in his cooler. I felt uncomfortable—sort of exposed—under the bright lights in the market. The idea of people walking around filling shopping carts with food seemed brilliant. I was like, “Who invented this system of carts and conveyer belts?” That’s when I knew I was drunk.

I stood in the checkout line with a candy bar. Marty walked up struggling to hold onto a carton of beer and a bouquet of plastic flowers. I realized I should have offered to help him shop. He paid for a bag of ice, which we picked up on the way out. I had no idea why he wanted to buy the flowers, but it made me nervous thinking he was planning to give them to me. The woman ahead of us had coupons, which took time for the girl at the register to scan.

When we got back to my car Marty stocked the cooler. He put the beer in first and then emptied the ice on top of it. He opened a can of beer and handed it to me. The flowers were on the floor between his feet.  He was looking straight ahead.

“You ever drive out to where your father had his accident?” Marty said.

“I used to go there when I first got my license. I’d drive by out of curiosity I guess. But I haven’t been there for a long time.”

“You think you could find it?”

“Yeah, I’m sure I could.”

“Let’s go put these flowers down,” he said. “I keep seeing these little shrines popping up along the road where someone’s died in an accident.”

“I’ve seen them too,” I said. “Sometimes there’ll be flowers or a wreathe. A lot of times you’ll just see a cross in the ground.”

We drove for miles on dark country roads. The sky was overcast and I couldn’t see much of anything beyond the shone of the headlights.

We began climbing up a long, slow-rising hill. On the other side of the hill the drop was much steeper. I noticed a sign near the top of the hill. There was a picture of a car dropping over a steep hill. I wondered if my father’s accident had something to do with the sign being put there.

“This is the spot,” I said. “Right here at the bottom of the hill.”

I pulled onto the shoulder of the road and cut the engine. We got out of the car. The road was built up several feet above the fields. There was a wire fence with wood posts at the bottom of the embankment on each side of the road.

I pictured my father speeding over the hill, his eyelids heavy, his jaw slack, a cigarette between his lips. I considered how much time he had to react before losing control of his car, the long-hooded sedan flying off the embankment and slamming into the ground, steam whistling out of the radiator.

I saw my father sitting passively behind the wheel, a gash opened on his forehead.

Marty was leaning against the side of my car without his crutches. Seeing him standing on his own two feet startled me.

I leaned into the driver’s side window and switched on the high-beams, flooding the dark field with light. Hundreds of bugs swarmed into the beams of light.

I grabbed two beers from the cooler. My hand went numb when I reached into the icy water.

Marty said he felt no pain tumbling down the stairs, tearing open his pants, blood trickling down his knee. “I should’ve realized right then and there how drunk I was,” he said. He tried driving home, but only made it as far as the city park. He managed to pull over on the perimeter road before passing out. Temperatures dropped into the single digits. A fresh snow fell that morning, covering his car. When he woke he was still drunk. He heard a snow plow pass by, the heavy metal blade rumbling on the pavement. Marty tried turning over the engine, but the battery was dead. He laid on the horn, but no one came to help. Hours later when the plow came by a second time to salt the road, he heard the pellets pinging against the side of the car.

“I wasn’t cold anymore,” he said. “I could’t feel a thing. When I tried to lift my arm, it felt like someone was holding it down.”

“I gave up,” he said. “I was done caring.”

That night an old man walking his dog through the park heard what he described later as “a human sound,” a whimper perhaps or a soft groan. He brushed the snow off the driver side window of Marty’s car and there in the dark interior he saw a man slumped behind the wheel.

I looked at Marty. His eyes were blinking fast. We stood a few feet apart. He lit a cigarette. When he struck the match, I could see his eyes shining.

I reached into the passenger side window and grabbed the bouquet of flowers. I set down my beer on the pavement and stepped in front of the headlights. I walked sideways down the embankment. I unlaced my boot, took off the shoelace, and tied the flowers to the fence post. I tied them tight so they wouldn’t blow away.

“How’s that look?” I said.

“Real fine,” Marty said.

“Can you see it from the road?”

“You sure can.”

I slipped coming up the bank. I could feel my foot moving around in the untied boot. I turned and looked at the bouquet of flowers. Marty was sitting in the car, leaning back in the seat smoking a cigarette. I got behind the wheel and sat for a moment.

I put the car in gear and drove until I found a spot to turn around. Coming back toward the hill I noticed the can of beer I set down on the shoulder of the road. I considered opening the door and reaching down to pick up the can, but I was finished drinking beer.

I slowed down and looked at the flowers tied to the fence post.

“I’d like to come back and see what it looks like tomorrow,” Marty said.

“Me too,” I said. “Things look different in the daylight.”

Marty seemed satisfied. He didn’t say another word driving back into town. He cleared his throat once. His face was turned toward the window most of the time. I noticed his legs stretched out on the floor. You could tell they weren’t real by the way his ankles were bent.

There was a beer can next to his crotch. When he finished his cigarette he dropped the filter into the can and swished it around. I pulled into the parking lot next to his car. Inside the diner I could see people sitting in booths by the window.

“I’m kind of hungry,” he said. “You hungry?”

“Not really,” I said. “I ate a candy bar.”

Marty wanted to give me his telephone number. I turned on the light inside the car so he could write it down. He folded the piece of paper and handed it to me. I tucked it in my visor. But I knew I wouldn’t be calling Marty or coming back to this diner. I had already decided that. I took the cooler out of the back seat and put it in his car.

“Give me a call tomorrow,” he said.

“Okay,” I said.

Marty was going into the diner for a piece of pie and a cup of coffee. I tooted the horn as he crossed the parking lot. Instead of turning around, he picked up a crutch as if to wave goodbye.

I opened the window and lit a cigarette. The cool air rushing into the car woke me up. Driving back to my apartment I thought about the flowers tied to the fence post. I hoped every so often someone passing by would notice them and say a little prayer.

I realized it wasn’t much, just a handful of plastic flowers tied to a post on a road less travelled than most. But maybe people seeing it would wonder what happened down there. Maybe they’d ask themselves who was lost and who was left behind.

I drove slowly on the highway, making sure to stay between the lines. I kept my eyes on the speedometer. When a car came up behind me and flashed its high beams, I stuck my arm out the window and waved for it to pass.

Part Two

Ed was late picking up his children from school. The plan was to drop them off to their mother and go back to work. As a salesman, Ed was often out on the road making calls, which allowed him to drive his children to school and back. But he always seemed to be late picking them up. He was late so often that when the last bell rang his children reported directly to Mother Superior’s office where they sat by the window facing the street waiting for Ed’s car to turn the corner.

The nuns reminded Ed more than once that it was school policy to have all children out of the building at dismissal. They even went so far as to write him a letter, which was sent home with his son.

Mother Superior, in particular, disliked Ed. He wasn’t the kind of man a nun would admire.

When Ed’s car pulled up to the curb that afternoon, Sister Catherine took the boy and the girl by the hand and walked them out the front door. She stood under the portico staring at Ed through the snow flurries falling on the street.

Ed reached across the seat and opened the passenger side door. The girl, the younger of the two, ran toward the car and climbed in the back seat. Big white snowflakes stuck to her hair. The boy sat in the front seat next to his father.

The boy could see right away that his father had been drinking. His eyes were red and the car smelled of alcohol. The boy’s stomach began to churn, but he made an effort not to show any concern on his face. As they breathed inside the car the windshield began to fog. Ed rubbed the glass with his hand and rolled down the window. The boy looked back at his sister as they drove away. There was a book in the girl’s lap and her head was down. The wind was whipping her hair.

On the highway Ed got behind a slow-moving car. He tried to pass the car twice, but was stopped by oncoming traffic. Agitated, he threw his hands up in the air. He began tailgating the car, leaving about a foot of space between the two bumpers. In response, the car in front of Ed began speeding up and slowing down. Ed could see two young “punks” in the back seat turning their heads and laughing.

At that point something changed in Ed. He straightened up in his seat, gripping the steering wheel. The boy noticed the lazy look on his father’s face had disappeared. The crease running down Ed’s forehead seemed more pronounced.

The car in front of Ed accelerated again. The boy could hear the engine rev as the car moved away from them. But instead of letting the car drive away, Ed pushed down on the gas pedal. He got close behind the car again, but this time at a much faster speed. That’s when the driver put on his brakes. He just tapped them, but it forced Ed to react by stepping on his brakes hard enough for the children to be thrown forward.

Instinctively, Ed reached over and put his hand against his son’s chest. But the boy’s momentum carried him forward and he hit his forehead on the windshield. A bump instantly appeared above his left eye. The girl in the backseat landed on the floor and started to cry.

“You’re okay,” Ed said to the girl.

She nodded, but looked frightened. Ed reached back with one arm and lifted her back into the seat. She pulled the hair away from her face and wiped tears off her cheek. The boy smiled at his sister. He didn’t want her to be afraid.

At the next stoplight Ed shoved the handle on the steering wheel into the park position so hard the boy thought it had broken off. The boy grabbed his father’s arm and begged him not to leave. But Ed turned and got out of the car as if the boy wasn’t there.

Ed walked up to the car and leaned into the driver’s side window. The boy could see his father’s head and shoulders disappear into the car. Ed turned off the engine and took the keys out of the ignition. The boy heard voices inside the car. The voices were muffled, but full of emotion. Ed grabbed the driver by his shirt. The young man sitting in the passenger seat opened the door and sprung to his feet on the pavement. Ed stood up and pointed his finger at the young man across the roof.

The boy watched in disbelief. It was like everything was happening in slow motion. He pushed on the horn, but his father wouldn’t look in his direction. When Ed grabbed the car door handle with both hands, the driver started kicking his feet out the window. Then Ed grabbed the young man’s legs and one of his shoes fell off. He dragged the driver out of the car through the window and the young man fell hard on the pavement. Ed stood with his hands clenched in fists, waiting for him to get on his feet and fight. But the young man was too afraid to get up.

By now the stoplight turned green and traffic was backed up at the intersection. Several people stuck their heads out the window or beeped their car horns. Snow began to fall—big, heavy, wet flakes. As snow covered the windshield it grew dark inside the car. The boy turned on the windshield wipers. When the wipers cleared the snow he saw that his father was gone. He watched the young man’s car pull away. Just then the car door opened. Ed got in breathing heavy. His shoulders and hair were covered with snow.

The boy could see that his father was no longer drunk. Ed lit a cigarette and took a long drag. He put the car in gear and drove off. The girl settled back in her seat, relieved to be going home. The boy stared at his father. He noticed the knuckles on his right hand were scraped and bloody.

No one said a word on the way home. Ed pulled into the driveway and left the motor running. He kept his hands on the steering wheel.

“You two go in the house,” he said. “I’ve got a few more stops to make.”

The girl grabbed her books and ran inside. But the boy, sitting next to his father, didn’t move. The bump on his forehead tingled. He touched it with his finger. He asked his father to come inside the house.

“You’re bleeding,” he said.

Ed looked down at his hand. He took a handkerchief out of his coat pocket and cleaned off the blood.

“It’s nothing,” Ed said. “Now go inside and get your homework done.”

The boy opened the car door and got out. He could see his sister’s footprints in the snow. The tracks led to the garage. Snow was falling steadily. An inch or more already covered the ground. From the breezeway the boy watched his father’s car back out of the driveway. All he could make out were the red brake lights shining in the dark snowfall.

That evening, while his mother cooked dinner, the boy sat at the kitchen table watching television. The console television in the living room had a blown picture tube and while his parents saved to get it repaired, the little black and white television on the countertop was the only one there was to watch. The boy didn’t mind. He liked being in the kitchen with his mother. He liked the smell of the food she cooked and watching her prepare it. The girl was in her bedroom reading a book about horses that she had brought home from school.

Ed’s wife was on the telephone with a neighbor when the operator interrupted the call. They were talking about getting together one night the following week to bake Christmas cookies. Ed’s wife suddenly heard a terrible clicking sound and then a woman’s voice come on the line. The hospital had been trying to call this number regarding an accident her husband had been involved in, the woman said. When the neighbor heard the operator she hung up the receiver without saying goodbye.

“How bad is he hurt?” Ed’s wife asked.

The woman on the telephone said the only information she had was that the accident was serious and that Ed’s wife should come to the hospital immediately.

Ed’s wife hung up the receiver on the wall phone and stared at the boy.

“Get your pants on,” she said.

The boy was wearing pajama bottoms with a pattern of baseball gloves and bats that he had put on after his pants got wet shoveling the driveway. His cheeks were still flush from being outside in the cold. The boy turned off the television and stood by the counter. For a reason he couldn’t understand he felt foolish wearing the pajamas.

“What’s the matter?” The boy asked.

“Just do what I say,” the mother said. “And tell your sister to get ready to leave.”

The boy took his pants off the radiator where he had left them to dry and stepped into the legs. Parts of the pants were warm and other parts were still cold and wet.

Ed’s wife called for a taxi and explained it was an emergency. She took off her apron. She turned off the stove and moved the pots and pans off the burners. She helped the girl on with her boots. She went through this mental list of things she needed to do. The list made her feel more in control of things.

Then she stood at the front window waiting for the taxi, smoking a cigarette with an ashtray in her hand. When the taxi pulled in the driveway, they piled in the back seat and drove to the hospital.

Ed was on a gurney in a small, brightly lit examination room. When the family arrived there was a nurse standing next to Ed reading something off a monitor screen. Ed’s wife sat the children down on plastic chairs in the hallway before stepping through the curtain. The policeman who followed the ambulance carrying Ed to the hospital stood with his elbow resting on the nurses’ station.

When the nurse came out of the room the policeman straightened up. He said he was going to need her to draw blood to measure Ed’s alcohol level. The nurse’s face tightened. She stared at the policeman. When the nurse opened the curtain to wheel a machine in the room, the boy saw his father lying on the gurney. There was a gash across his forehead and blood on the front of his shirt.

Ed suddenly moved to get up. The nurse tried to get him to lie back down, pushing her hands on his chest. She was caught off guard by Ed’s strength and his ability to move around given his injuries. Then again, working in the emergency room for as long as she had, the nurse had seen many strange things possess the injured. She knew how desperate a wounded man could be.

For the first time in his life the boy saw fear in his father’s eyes. It gave him the goosebumps. Ed had fought in the war and told the boy stories. The boy thought his father would live forever.

Ed was larger than life in comparison to the other fathers the boy knew. He had never seen his father miss a day of work or stay home sick in bed. Many a morning Ed would come home from a night of drinking and playing poker to shave and change his clothes before going off to work.

The boy knew that if his father could just get on his feet everything would be okay. The doctor could stitch his cut and they could all go home.

He thought of the food his mother had left on the stove and imagined his family eating dinner. He pictured his father sitting at the table in a clean shirt and a bandage wrapped around his forehead like you see the wounded wear in the movies. His mother was there in this image too, standing over her husband in her apron holding a frying pan and filling his plate.

An orderly rushed into the room to help keep Ed on the gurney. His mother was off to one side. She was saying something to her husband. The boy could recognize but not understand the complex emotions on her face—concern, disappointment, anger.

Then all at once Ed stopped trying to get up. He let out a loud breath the boy could hear from the hallway. The doctor was called in to exam him. When the nurse saw the boy looking in the room, she closed the curtain.

A short time later Ed was wheeled into surgery by the orderly. The boy saw how grey and drawn his father’s face looked as he passed by.

The orderly was bent over the gurney, pushing it down the hallway in long, powerful strides. But what drew the boy’s attention—what he remembered all those years later—were the quick, little steps made by the nurse holding the IV bottle alongside the gurney.

There was something about the commotion in her steps that filled the boy with dread.  He was so terrified he held his breath as the gurney went by. Then the nurse, the orderly and Ed passed through these huge double doors and the hallway was empty again.

 —Edward Maitino

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Edward Maitino’s work has appeared in Hunger Mountain and Event. His short story “Blackbird” won the Eugene Garber Prize for Best Short Fiction at the State University of New York at Albany. He has taught at Hudson Valley Community College.

Feb 142013
 

Diane Schoemperlen

Here’s a writer’s calendar if I ever saw one. Print it up and tack it above your desk. Not just New Year’s Resolutions, but resolutions by the month. For example: APRIL/ Composition — How to do it? Sing softly/ make/ make/ What a pretty face she has/ Do not let the fire go out.  Sound advice. Loopy, intuitive, surprising, charming, image seeded with words and seeded again with more images. Hybrid art, restless art, art of quotation, homage and reference.

These twelve calendar collages are a rare and sumptuous treat, a phantasmagoria, a riot, a witty extravaganza of hyper-creativity from Diane Schoemperlen, Canadian novelist and story writer, winner of the Governor-General’s Award for Fiction, who just can’t seem to sit still and write but is always extending things. What has always distinguished her as a writer is her capacity to create structural metaphors out of apparently incommensurable texts. For example her novel In the Language of Love is based on the Standard Word Association Test. Art for Schoemperlen is putting things together; juxtaposition is all. The protagonist of that book is a collage artist which is where Schoemperlen got her own start making collages, illustrating her books with art. On Numéro Cinq a couple of years ago we published Diane Schoemperlen’s story “I am a Motel” with collages. And what we have here today is a logical extension of one creative vector, collages with the snippets of text embedded, not accompanying the story but being the work itself.

Diane lives in Kingston, Ontario, a town of writers. We have been friends for years, even edited a book together once. It’s lovely to have friends like this.

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This series of twelve collages called “Be It Resolved” grew out of another longer series called “Quick Studies.” In October 2012, my friend Laurie Lewis (author of two memoirs, Little Comrades and Love and All That Jazz, Porcupine’s Quill, 2011 and 2013) asked me if I had any collages to donate to a fundraiser for the Kingston Seniors’ Centre called “6Squared.” It was an art show to which I could donate up to six pieces, each of which had to measure six by six inches exactly. None of my collages were that size so I decided I would make something especially for the show. But it was less than two weeks until the deadline for donations. The creation of my usual collages is a very slow and time-consuming process so I knew I had to come up with something that could be done much more quickly. Casting about for an inspiration, I realized that the pictures on the calendar I keep on my kitchen windowsill were exactly the right size. The calendar is a page-a-day collection of art from The Metropolitan Museum of Art and I had had several versions of it over the years. Of course I had kept them in a box in the basement.

I am most intrigued by the combination of text and image in collage and so I began, first sorting through the calendar pages, choosing the ones that seemed to offer themselves readily to some additions of text bits and other images. I made use of collage material that I had been accumulating over the years but hadn’t found a place for in my other work. I cut the text bits from a number of old textbooks that I’d gathered for larger projects but hadn’t used after all. These old textbooks were spelling and reader primers for young schoolchildren, originally published in the late 19th and early 20th centuries. Because I had a deadline to meet, I intentionally made these collages as quickly as possible, not allowing myself the usual time I would take to ponder the placement of each and every fragment. This turned out to be a wonderful exercise in subverting my own sometimes annoying need for perfection in my usual collage process. Within a week I had six collages to donate to the fundraiser. I called them “Quick Studies.” Each collage became a small mysterious story, a story that seemed to create itself as I pasted the fragments onto famous paintings by Monet, Manet, Rousseau, Rosetti, Renoir, and the rest. I enjoyed making them so much and they were so enthusiastically received that I continued on and the “Quick Studies” series now numbers thirty-three with many more to come. For me, these collages have become the perfect way to flex my creative impulses without pressure or self-criticism. They are liberating and exhilarating, always giving me an infusion of energy and excitement for my larger writing projects.

The “Be It Resolved” series is an extension of the “Quick Studies” series. It began on the afternoon of New Year’s Eve. I am not fond of New Year’s Eve and I do my best to leave it unacknowledged. Nor do I make resolutions. But I suppose I can’t help but think about the upcoming year, as everyone does. Never mind about quitting smoking, losing weight, going to the gym, or trying to be an all-round better person…in 2013 I just want to create more and worry less. I was quite taken with this idea and I posted it to my Facebook page. The positive response was immediate and heartfelt. Most of my FB friends are creative people and, apparently, most of them also worry too much, just like I do. So I made this series of collages to commemorate what had become a collective resolution, one for each month of the year, any year. The collages are intended as a reminder of how important it is to make a place for creativity in the midst of all that other stuff that needs tending to, dealing with, and worrying about. At the request of many people, I have plans to have them professionally printed as a calendar.

—Diane Schoemperlen

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Be It Resolved #1 Diane Schoemperlen

Be It Resolved #2

Be It Resolved #3

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Be It Resolved #4

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Be It Resolved #5

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Be It Resolved #6

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Be It Resolved #7

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Be It Resolved #8

Be It Resolved #9

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Be It Resolved #10

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Be It Resolved #11

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Be It Resolved #12

Author’s Note: The “Create More Worry Less” calendar is now available! Cost is only $20 each + $5 shipping and handling. Please contact me at my Facebook Author Page for ordering information:  https://www.facebook.com/pages/Diane-Schoemperlen-Author/22203973880?ref=hl Or send me an email with “CALENDAR” in the subject line: dianes@kingston.net

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—Diane Schoemperlen
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Born and raised in Thunder Bay, Ontario, Diane Schoemperlen has published several collections of short fiction and three novels, In the Language of Love (1994), Our Lady of the Lost and Found (2001), and At A Loss For Words (2008). Her 1990 collection, The Man of My Dreams, was shortlisted for both the Governor-General’s Award and the Trillium. Her collection, Forms of Devotion: Stories and Pictures won the 1998 Governor-General’s Award for English Fiction. In 2008, she received the Marian Engel Award from the Writers’ Trust of Canada. In 2012, she was Writer-in-Residence at Queen’s University. She has just completed her latest project, By the Book, a collection of stories illustrated with her own collages.

Feb 062013
 

Stig

Herewith an excerpt from Stig Sæterbakken’s Self-Control, translated by Seán Kinsella and published by Dalkey Archive Press. Self-Control’s narrative is that of Andreas Felt tottering on the brink of unsettling his entire life. In this excerpt—the opening chapter of the novel—his first spoken words to his daughter are ironically “You’re all settled in then?” This sentence has a very meta and unnerving quality when thinking about the book as a whole. Also in this passage, you’ll get hear the stammer in Andreas’s voice (which I don’t mention in my review). The use of ellipses is an eccentric technique that runs throughout the novel, adding silence to Andreas’s confession.  These small silences add to the reveal at the end and recalls Jeanette Winterson’s idea: “When we tell a story we exercise control, but in such a way as to leave a gap, an opening. It is a version, but never the final one.”   —Jason DeYoung

1642

 

I hadn’t seen her… talked to her of course, but hadn’t seen her, in… how many years had it been?… even though she was my own flesh and blood… and that’s why it seemed natural to me to explain it this way, because it was as though the opportunity arose so seldom that it have us both… or me at least… a sort of fear of failure with regard to the benefits of our rather hastily arranged meeting.  Even though she wasn’t the daughter who lived farthest away, no, on the contrary our homes were so close to each other that actually it was a wonder that we didn’t bump into each other unexpectedly from time to time.  That this wasn’t the case made it natural to assume that it was because she didn’t want to, and for that reason had taken measures not to… or simply… and perhaps more likely… because it was extremely seldom that I… if at all in the past year… had deviated from my regular daily route through the city.

She had lit a long, thing cigarillo, I got the idea that it was chosen on account of her fingers, which were also very long and thin.  She kept looking out the window all the time, as if there was something exciting going on out there, or she stared down at the table or at the cigarillo when I answered her or asked about something: surveying with great interest, it seemed, the grey glow advancing down along the slim stem.  A bit put-on, this excessive nonchalance.  But what else could I expect?  Every time she opened her mouth I thought I’d hear something terrible, that she’d blame for something, or tell me about something horrible that had happened to her.  But after a while, as the conversation ran its course, still without any particularly unpleasant subjects being brought up, I ascertained to my surprise that it was all progressing in an extremely polite and restrained way: I couldn’t help but imagine how friendly and relaxed our little meeting would appear to an outsider, one of the café’s random patrons.

I took a glance out the window, in the hope of perhaps discovering something of interest that could explain her slight absentmindedness.  But there was nothing to see, not from where I was sitting anyway, nothing other than a fire hydrant that stood on the other side of the street, squeezed against the fence, with a drooping bush as a roof.  It had a sort of dignity, standing there.  A few long blades of grass had struggled up through the asphalt an grown closely around it, and a couple of dandelions had accompanied them, of which there were only a few greenish-brown leaves left, making it look like a headstone.  It was completely calm, cars passed without a sound.  Yes, it all seemed so peaceful that it appeared almost staged.  I started to think about that girl who’d been reported missing earlier in the day, she was sixteen and hadn’t come home from a party the night before.  We’d heard the police appeals on the news during our lunch break but it didn’t seem like anyone else had taken any particular notice of it… perhaps you just hear about that sort of thing too often nowadays?… and this had exasperated me, I realized, even though it was only now, in retrospect, that I noticed what an impression it had made.  It was so tranquil in the park as well, when I strolled through it, a bit before six, and still warm in the sunlight.  The pea shrub bushes crackled like a lively fire in a hearth along the promenade, the empty pods hitting the asphalt with a dry slap.  She’d suggested the place to meet, I had to ask for directions twice.  And when I finally opened the door, a couple of minutes late, and caught sight of her… she had sat down at a round table, in the middle of the café… there was something strange about her, just at first glance, that made me proud, like a confirmation of something, without my being sure of what it was.

Our chairs were plastic, the seat felt cold against my behind when I sat down and I had a hard time ignoring the goose bumps it gave me on my skin down there, it felt like tiny nails being pulled out of my rear.  All at once I became aware that I was frightened of running out of things to say, and I thought I recognised the same fear in her.  Then I thought that I could actually say anything at all, that it still wouldn’t make any difference.  It was as though the lack of contact, on a regular basis, which at some times bothered me and at other times didn’t, relieved us of all responsibility: however you looked at it, we didn’t have the time we’d need to become so acquainted with one another that it would be of any significance, no matter what we said.  At the same time I couldn’t quite get away from feeling a certain sort of secret admiration for her.  Because I did see, to my amazement, that it was a grown-up and extremely sensible woman sitting in front of me, one who wouldn’t allow herself to be knocked off her perch just like that, wonderful to see, yes, quite beautiful actually, it struck me, as I studied her more closely.  I thought I could picture her reprimanding one of her colleagues for substandard work, or rolling her eyes over a particularly stupid remark from Karl-Martin, with whom she had unfortunately and for reasons that were incomprehensible ended up; she who could probably have chosen anyone she wanted…

“You’re all settled in then?” I asked.

“Yeah,” she answered, a little sullenly, as if the question bored her.

“And everything at work is all right?”

“Yeah.”

“And Karl-Martin?”

“Karl-Martin’s work is okay too.  He’s just started in a new job.  The last job he had was just awful, he hated it so much he was on the verge of… well.”

I nodded, even though I didn’t know what she was going to say.

“But he’s happy now,” she said, it seemed like fatigue was on the verge of overwhelming her.

“Do the two of you have any particular plans, or…”

I immediately regretted the unfinished sentence, because I knew she wouldn’t help me in the way I had helped her.  She looked at me.  As I’d thought.  She just waited.

“Or are you both…?”  I felt I’d already entangled myself in something that would be impossible to find my way out of again.

“Y’know?  Thinking, right now, how should I put it…?”

She gave a wry grin.  “About children, you mean?”

I threw my hands up.  “Yes, for example.”

“That can wait,” she said, but it seemed from the way she said it as though this was out of the question.  She began to tell me about Karl-Martin’s job, not her own… described in detail what his new position involved, how much responsibility he’d been given, how much they expected of him, how much freedom he had to plan his workdays.

While I sat there listening to her I noticed something peculiar about her lips, how they stuck to each other at a particular point at the far corner of one side of her mouth when she spoke.  This detail, insignificant as it was, now caught my attention in such a way that I lost sight of everything else.  I couldn’t manage to take my eyes off it.  It bothered me to look at it, all the same I let myself become completely absorbed by it.  There was something about it that didn’t fit… was that why I was so fascinated?… the rest of her, something that didn’t match, no, absolutely not, with what I otherwise took as being her, or rather her outward face.  It was as though that small, and to a certain extent innocent, defect did something to her expression, gave her a certain quality of… well, mercilessness, completely lacking in compassion, as if she was ready to clear every obstacle out of her way by whatever means necessary.  It frightened me when I saw it.  It was like I was sitting face to face with a superior power.  I looked at her, closely examined her whole face, which I had studied with pleasure only a few minutes before… but it seemed as though it had changed, and now I thought it was a wonder that I hadn’t noticed it right away, this cool, calculating, yes, cynical feature of her mouth.  It wasn’t possible not to see it.  And what I had initially considered a disruptive element, a blemish, was now revealed as the very thing that, in reality, have her her own particular appearance.  I stared at her mouth: unmistakably hers.  And eventually… unavoidably perhaps… there was something nasty about it, the slow, sort of lazy motion at the corner of her mouth… it was as though I was hearing the sound of them, her lips, every time they tore free of one another, again and again, for every word she spoke.  And it was only when I realized that she had been sitting staring at me a while without saying anything that I managed to tear my eyes away from that fold of skin… only to discover that I hadn’t the slightest notion of anything appropriate to say…

Once again it was she who saved us from an embarrassing silence.

“How are things with Mom anyway?” she asked, in an offhand kind of way, as if it didn’t matter to her whether she got a proper answer or not.

“Marit,” I said, squeezing my buttocks together, because a brief bout of stomachache had suddenly become a bubble of air that wanted to get out, and it was as if the coldness of the seat was trying to pull it out of me by force.

“Your mother and I, we’re getting a divorce.”

She was startled.  It was as unexpected for her as it was for me.  I had to use all my strength to tame the demon that was wreaking havoc down in my rear end, a loud piercing fart cloud cracked against the seat before I managed to gag it, but she was, fortunately, too beside herself to notice.  Because we both sat there, shocked by what we had heard.  Yes, even she sat there now, with glistening eyes and a flushing flower on each cheek.  But only for a moment, she was quick to regain her composure, find her way back to her pale, feigned attitude of insensitivity.

“I see,” she said.  “I see, so the two of you are getting a divorce.”

A few moments passed, then she added: “That was a surprise.”  She shrugged, in resignation… or indifference perhaps… as if to illustrate how little she cared, and drank what looked like the last dregs from her cup.  I said a silent prayer that she would let the subject lie, which it seemed she wanted to do as well.  She was probably uneasy about showing too much interest in the unexpected news, and at that moment I was indebted to her for exactly that.  because what would I have answered, if she had begun to question me… about the cause of the breakup… about our reasons for wanting to leave each other… about how we planned to organize our new lives… when we had no intention at all of doing any of it?

My spontaneous lie made it difficult for us to continue our conversation, that was plain to see.  So I drank up as well, a cold, pasty sediment that made me shiver, and we took care of what we had met up to take care of in the twinkling of an eye, quickly and efficiently, without saying any more than was necessary to each other, like a customer and an employee; I gave her the money, we exchanged a few words, I waved to the waiter and asked for the bill.  Marit insisted on paying, but I was strongly opposed, there was no sense in it, I thought, if she was going to use the money she had just gotten.

She said good-bye to me as soon as we were outside the café.  I was a little bewildered since the most natural thing would have been for me to accompany her, I could almost have followed her home without going out of my way… on the other hand I was also aware of how easily an awkward atmosphere could develop in the course of an unplanned extension of our time together… possibly it was precisely this that she was considerate enough to want to avoid by our taking leave of each other… or she could have to run an errand downtown for that matter… what did I know?  I wondered if I should ask her to say hello to Karl-Martin, but thought it best not to mention his name any more than was absolutely necessary.  We shook hands.  And suddenly I felt the impulse to hug her, to hold her, just for a moment… be left with a perfumed imprint on my body as a memento… but I refrained, I thought that it would only make the situation more difficult for her.  And for me.  Maybe she would have to twist herself free from the embrace… as from an assault… and then she would have gone home with the feeling that she’d been molested, a feeling which would then be imprinted on her memory of this meeting, overshadowing all its positive aspects, no matter if they were in the majority… which they were… as opposed to now, I thought as I stood there watching her walk away, there where we parted, if not in an especially affectionate way, then at least in a polite and level-headed one, so she could walk home, if not with any great happiness, that’s for sure, then without bearing a grudge, without having experienced her father as a particularly clumsy or unpleasant person.

Her head stuck up out of the coat like a flower from a vase, I saw her neck, white beneath her close-cropped hair, and I thought I could almost picture the way it had been when she was small… there was something about her neck… their necks… that made such an impression on me every time I saw them, although I couldn’t remember the reason.  But there was something nervous about the way she walked, out here… she sort of danced along… which didn’t quite fit with the impression I had gotten from her in there, cool and self-assured, that arrogant attitude she had adopted… which she had probably had from the start, it had just taken a little time before I recognised it… and which my insane fabrication about the divorce had been the only thing that… for a fraction of a second… had managed to puncture.  I tried to remember if I’d had any firm opinion of myself when I was her age.  In any case, I was convinced it was a lot less developed and self-assured than hers.  I had once wished all the best for her, I thought no matter what.  As little pain as possible, and as much joy as possible.  That she would succeed in everything she did, however far her interests might be from the pursuits I myself considered meaningful.  No matter what she chose to invest her time and energy in, that the investment would prove to be worthwhile, that the profit would be plentiful, that her efforts would only make her stronger.  I wanted her to be a fast learner, wanted her to do all right as far as her circles of friends; wanted her to have, preferably, a prominent position; wanted her not to be bothered by anyone, have the wool pulled over her eyes by anyone; not to be exploited by any two-faced creeps, stripped of her independence and self-respect by some twisted psychopath or other.  I wondered if she and Nina still kept in touch, or if the years had come between them, as they can so easily, and so quickly, between siblings… and I remembered that that was what I’d been thinking about beforehand and had wanted to ask her, if it had been a long time since she’d heard anything from Nina, if they ever met up, or rang each other now and again, if she knew where Nina was at the moment, where she lived, who she lived with if she wasn’t living alone… I tried to think, were they more alike than unlike, those two, would a stranger seeing them for the first time notice the similarities or the differences if told that they were sisters.  But it was as though I couldn’t quite manage to picture both of them side by side… it was as though I didn’t have room in my thoughts for the both of them… only Marit, or someone who resembled Marit…

She disappeared behind a growling bus, and I couldn’t help feeling  certain relief at the thought that it would probably be a good while before we would meet again.  I let my eyes wander, slowly.  I tried to remember if there was any particular name for them, the clouds I saw, which looked like they were stuck to the blue of the sky, clouds that would soon diminish and which awoke a strange and highly conflicted feeling in me… It was as though I was close to exploding with joy over something that in reality was dreadfully sad.  I stood looking at the traffic light, just there where Marit had disappeared, a round, red blot, like an overripe apple that would soon fall.  Finally I decided to go… why hand around there, in the middle of a busy sidewalk, with my bag in my hand?… besides, I was freezing… and I turned my head slowly as I walked so as not to let the traffic light out of my sight: I thought that if it changes to green while I can still see it then a disaster is going to take place somewhere in the world tonight, a catastrophe so big that it would be all over the front pages tomorrow morning and that there’d be newsflashes on the television all afternoon… several hundred people dead, an entire area razed to the ground… but nothing happened, it was still red as I crossed the street and went into the parking lot outside the big shopping centre on the other side: its name stood humming in the twilight in a seething shimmer of orange and yellow.  My hands turned yellow, and the people I met looked sinister, as if their faces were about to come loose from their bodies.  Even the parked cars shone in the light of the store’s letters, like animals asleep in a field.

—Stig Sæterbakken

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Jan 032013
 

Farrell

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Herewith a miraculous little story by Richard Farrell, a story I adore because it reaches beyond mere morality to what I think of as the higher calling of the heart. The hero is a deserter from the American Navy who is screwing his best friend’s wife. The friend dies, a dog dies, and yet the tone is sweet and sadly happy, infused with love, friendship and a deliciously amoral joie de vivre. The theme is captured beautifully in this wonderfully paradoxical sentence: “My friendship with Goethe—the evolution of it, the unraveling of betrayal and fear toward some grotesque, twisted loyalty—remains as strange a puzzle as anything I’ve ever encountered. And yet I would do anything for him, even stop fucking his wife, if only he’d ask me to.”

dg

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Goethe paces the cobby Pomeranian back and forth along a cement seawall overlooking the eastern Aegean until, after three or four passes, Charo settles on a perfect spot and squats. How I hate that dog. I am filled with shameful, violent thoughts toward it. My friend snaps the leash and the dog trots back toward us, leaving a steaming turd in the brown grass.

Goethe’s face appears heavy this morning. Our normally garrulous stroll has passed mostly without words. We scramble up mossy stairs from the seawall toward Isiodou Avenue in what’s become an increasingly awkward silence, as two-stroke mopeds crackle around corners like a hive of honeybees. It’s Tuesday, Port Day, and soon the cruise ships will arrive. A legion of sleepy young Greeks are zooming off to man their stalls for the onslaught of tourists.

The avenue snakes through hilly neighborhoods of the old city of Rhodes, then flattens out toward the park. We are headed for the ancient acropolis, which stands waiting in the shrinking shade of a tall cypress. The mopeds drone off into silence as we crest the hill. Endless sky tumbles toward a perfect blue horizon, a blueness broken only by myrtle shrubs and the Doric columns of the acropolis—half-a-dozen soot-stained columns with fluted shafts jutting into the sky like God’s craggy fingers. Goethe unhooks the dog and she darts off, running between ancient stones and red sage.

“They’ve discovered something in my lungs,” Goethe says. I know instantly it’s the worst news. He wouldn’t mention it if it weren’t.

“Jesus,” I say, uncertain about what follows.

“I’m going back to England,” he says. “I need to know you’ll stay and help Mary-Bell with the hotel.”

Mary-Bell is his wife and I’m fucking her.

Goethe knows about our affair. It’s one of his many charms—the fact that he doesn’t let this interfere with our friendship, our morning walks, our love of the ancient Greek island. I’ve been living with them a year, since abandoning my post as a division officer on the U.S.S. Austin P. Hall, leaving behind a locker full of khakis, half-a-suitcase of civilian clothes, two hundred bucks in cash, and a career of monotonous waves, gray hulls and loose discipline. Charmed by Mary-Bell. Charmed by Goethe. Charmed by Greece, by Rhodes, by the luminous sea. I walked away from that life and stayed.

“How long will you be gone?” I ask.

Goethe smiles. “I suspect I won’t be coming back. I suspect my departure from our island will be permanent.”

Goethe doesn’t look like he’s dying. Sixty-three and a few pounds overweight, he has only streaks of gray in his blond hair, and his skin remains taut and unwrinkled. There’s a sallowness about his face, a certain leathery hue. But then again, we all look a little yellow in the bright Greek sunshine. He walks three miles in the morning every day before coffee, and then walks again with the dog and me. He swims for an hour in the afternoon sea and runs around his hotel with the stamina and energy of a man half his age. It seems utterly absurd that he’s sick, beyond plausibility. But he’s not a joking man.

“When will you leave?” I ask.

“The day after tomorrow,” he says.

“I can’t stay here,” I say. I almost say “without you,” but choke this part back. “Maybe it’s time I faced certain things.”

“I don’t think so,” Goethe says. He lays his palm on my shoulder. “Let’s get a drink,” he says. “We need a drink. Sobriety is overrated at times like this.”

“Times like this,” I say. A beer is the last thing I need, but I won’t refuse his request. He whistles and the scruffy mutt trots back to us, its thin lips mocking me with a smile.

My friendship with Goethe—the evolution of it, the unraveling of betrayal and fear toward some grotesque, twisted loyalty—remains as strange a puzzle as anything I’ve ever encountered. And yet I would do anything for him, even stop fucking his wife, if only he’d ask me to.

Across the sea, a thin fog slowly parts, revealing the distant, purple shoulders of Turkish mountains. A massive cruise ship glides in toward Rhodes’ harbor. Two tugs churn out to meet the incoming ship. Wheezing plumes of sulfurous smoke rise from the tugs’ stacks and bend at right angles in the wind, forming parallel, black sevens against the cloudless sky as they mark time toward the luxury liner. I think about my father, the only man I ever loved the way I love Goethe. I’ve betrayed them both in different but profound ways.

We find an open bar and order beers on the patio. Charo snarls at me, then curls up at Goethe’s feet and falls asleep.

A year ago, when my ship arrived in Rhodes for some much needed liberty, Goethe walked in and found me doubled over his wife behind the reception desk of their hotel, her cigarette still burning in an ashtray next to the guest register. As I scrambled toward the exit, Goethe pumped shells into a shotgun chamber. I heard a crack, then a furnace blast of heat scorched my shoulder as buckshot penetrated my flesh. My skull smashed against the sliding half-door and I passed out.

I woke the next day at dinnertime with a throbbing headache and a flaming shoulder blade. Goethe turned away the shore patrol. He told them he had no idea where I’d gone. From my hotel bed, I watched as the Austin P. Hall weighed anchor and steamed out of port. I bid a silent but overdue farewell to my ship and its crew. The frigate cleared the seawall and disappeared. I was both set free and imprisoned.

While I healed, nibbling croissants and sipping ouzo beneath a sun porch, Mary-Bell delivered food and drinks to me on trays covered with pink hibiscus flowers. Twice a day, she changed the dressing on my shoulder. Twice a day, she nursed me back to health. Twice a day, she slid my boxers below my knees and gave me oral sex.

A week after the Austin P. Hall departed Rhodes—rendering me a fugitive, a deserter in a time of war—Goethe offered me a job at their hotel and I accepted. We were sitting on the patio, overlooking the sea. I was out of bed by then, stronger, though not yet healed. The sun baked against my bandaged shoulder.

He said the hotel needed repairs, and he spoke with humor of his ongoing battle against deleterious sea-air, a battle I was familiar with, a battle that every sailor knows must constantly be fought but can never be won. He said he couldn’t pay much but that I’d be a welcome guest.

“More than a guest,” he said.

I started to protest but he raised a hand.

“We will not speak of the unpleasantness between us,” he said. “A man comes to realize certain things about the ones he loves. There is a price to pay, but there is forgiveness on the other side.”

And though my shoulder burned, and the bruise on my skull had leeched from purple to yellow to green, I accepted his offer, the strangest one I’ve ever received. I had no other choice; going home meant facing disgrace, charges, shame, and quite likely prison. Staying meant something unfamiliar, something wild and new: sunshine, hibiscus flowers and the sound of Mary-Bell’s lips on me. I assumed, I believed deeply, that one day Goethe would kill me. But no one chooses the means, manner and moment of their death. So I shook his hand and accepted his offer. The rest, I told myself, was for the gods to sort out.

Back at the hotel, Mary-Bell lounges on a sofa and sips a fizzy orange drink through a straw. A small pink flower floats atop the slushy ice like a pink lily pad. Red hair hangs in long, ropy curls around her thin face. She is thirty-one but looks to be much older. The Mediterranean sun has raised dense freckles on her face and her breasts bulge from her shirt like whales breeching the sea’s surface. She takes in too much sun, drinks too much coffee and rarely has fewer than three drinks a day.

In a different century and climate, she might have been painted by Pissarro.

Pavlo, the hotel’s Croatian waiter, serves Goethe and me cappuccinos in tiny white mugs.

“She agrees with me,” Goethe says. “That it would be best if you stayed.”

Mary-Bell glances up.

“It’s impossible,” I say. “You’ve known since the beginning that I would eventually have to go.”

Mary-Bell sighs in an exasperated way.

“Nonsense,” Goethe says. “You have a home here. Go back and face what? Prison?”

She holds out a cigarette, which Pavlo lights, hovering over her like some colonial man-servant. I wonder, sometimes, if he’s sleeping with her, too. My own betrayals have made me vigilant for hidden signs: the length of their glances, the way Mary-Bell cups Pavlo’s wrist with her fingers as he leans in to light her cigarette. If she can cheat on Goethe with me, then why not cheat on me with Pavlo?

“I don’t understand why you can’t stay here for treatment,” I say. Mary-Bell is casting her fuck-me-now eyes in my general direction. It’s been over a day, a rare drought for us. She drives me wild, beyond the point of reason or logic.

“The Greeks stopped practicing medicine with Asclepius,” Goethe says. “Their doctors aren’t fit for goats. No, I’ll go home for this. Stewart will stay and help out. It is better all around. I won’t be gone long. A month, maybe two.”

His lies surprise me. But then again it’s all a web of thinly veiled deceit here. Everyone knows the truth but refuses to speak it.

He unscrews the top on a jar of nail polish and begins to paint the toes on Mary-Bell’s left foot. The paint color is tourmaline. I know this because the bottle sits on Mary-Bell’s night stand. I can see up her skirt—leopard print panties.

“I’m going with you, my love,” Mary-Bell says. “I’ve thought it over and I’ll not stay here alone. We’ll close the hotel. We are together in this.”

“You won’t be alone,” he says. “You two will stay and run things.” He nods to me and takes his wife’s other foot. “I’ll be back soon. We need the summer season.”

I object again, but Goethe silences me with a wave as if to say the matter is decided. Mary-Bell opens her legs wider, offering me a more expansive view.

In Goethe’s absence, everything will fly apart. I’m certain of this.

“You are a bad man,” Pavlo says as we walk into the kitchen. He wears a short white coat and a thin black tie. Were I to guess, I’d say he’s twenty-four, but he could be much older or younger. It’s impossible to say. “What will you do when Mr. Goethe is gone?”

“You just keep making the drinks,” I say. “Goethe will be back soon enough.”

“I must leave, too,” Pavlo says. “I need to return to my family.”

He’s never mentioned family before, and in two weeks it will be June. The hotel will be filled to capacity. I hope this is only a dramatic ploy, an attempt to grab my attention. Maybe he’s positioning himself for a raise in salary or an extra day off. Mary-Bell will need him here after Goethe leaves. She can’t run the place alone.

“Who will cover your shifts?” I say. “Don’t do this, Pavlo. Not now. Can’t it wait a month?”

He grins and shrugs his shoulders, and I realize again how much Goethe holds us all together.

That afternoon, when Goethe has gone to the market, Mary-Bell and I run off to their bedroom. She slaps my ass hard. She smells of gin and baby powder. I nibble the puckered blue dolphin tattoo on her ankle. The dolphin looks waterlogged, a time-stamped reminder that all of us, no matter how immortal we may feel on this island, are slipping away.

I kiss up her legs, one ear tuned for the sound of Goethe’s Citroen pulling back into the driveway, the other for the pitchy moans which mark her pleasure.

“You’re an ungrateful little shit,” she says. “You would leave me?”

“What choice do I have?” I ask.

“You’re so full of yourself,” she says.

“I’ve already stayed too long,” I say. “I have things to answer for. I have people who need to know that I’m alive.”

“What about me?” she asks. “Am I just a throwaway?”

I don’t answer, but kiss her harder, my tongue sliding up her leg. Her leopard panties are balled up on the floor.

Mary-Bell fucks like she’s on fire. I begin to understand why Goethe can’t die here. She’d mount his corpse. We collapse on top of each other listen for the sound of Goethe coming home. I won’t miss the fear, the sneaking around, the vigilance, but I will miss such burning passion.

Smitten. That was the word Goethe used to describe the moment he first saw Mary-Bell. She danced on the stages of a cruise ship. She glided on the waves for six months before coming to Rhodes. She must have seduced men by the dozen. Then one day she walked into the hotel and Goethe stood her a drink. The next morning, they married in town.

Goethe bought her one drink. That’s all it took. Me he had to shoot.

I rub my hand across her stomach and I swear she purrs, the heat from her body arousing me anew. Mary-Bell tells me often that she has only loved one man, Goethe, but could never be faithful to him. Goethe tells me he has loved many women but has only been faithful to Mary-Bell. I am their confessor, sinning and absolving in equal measure. I betray them both with every breath I take.

Goethe knows our affair didn’t end with the shotgun blast. He knows we fuck all the time, everywhere, every time he isn’t looking. When he goes for a swim, we do it in the bathroom. When he naps in the afternoon, she masturbates me on the couch. At night, when Goethe falls asleep watching the BBC, Mary-Bell and I sneak out to an empty room and do it again. I’ve never been with a more passionate woman, so constantly aroused. At the same time, I’ve never had a more honest trusting friend than Goethe. And he knows.

For reasons I may never understand, none of it matters to him.

I kiss her forehead and slip out of their bedroom. I need to leave this island. I need to go home and face my crimes. I need to hug my father and to apologize. I need to look him in the eye and tell him the truth.

I’m taking a shower when Goethe enters my cramped bathroom carrying a bottle of vodka and two shot glasses. He sits on the toilet as I rinse soap from my eyes and the remnants of his wife from my scrotum.

“Limassol?” he asks. “Let’s hire a guide and go for one last partridge hunt on Cyprus?”

“I can’t stay here,” I say. “You have to know that.”

“A hunting trip will help you decide. Say yes. Don’t deny a dying man’s final wish.”

Goethe and I have hunted partridge many times together on Cyprus, and each time, I expect him to shoot me in the woods. The water runs down my body and into the drain. It’s my body that betrays me, not my heart. I wonder what my father tells his friends. “What’s become of Stewart,” they must ask. “Is he still in the Navy?” “Has he made Commander yet?” His son, a disgrace beyond words, except for the only word that remains: deserter.

“I can’t stay,” I say.  “I won’t.”

“Nonsense,” Goethe says. “Where will you go?”

He passes a glass of vodka to me in the shower.

“The morning ferry to Limassol?” I say, rinsing the last drops of soap and sin from me. I sometimes secretly hope that he will shoot me again. “Grilled squab at sunset?”

“Smashing,” he says. “I was hoping you’d agree.”

My heart belongs to Goethe, my body belongs to his wife, and my shame belongs to my father. I drink the bitter vodka and shut off the water.

“I have something to tell you,” I say. From time to time, I’m overcome by a need to confess. I need to tell him why, why I can’t stay away from his wife, even if he already knows.

He hands me a towel and shakes his head.

“No death-bed confessions, Stewart,” Goethe says. “They’re so contrived.”

I grab the towel and he pours more vodka.

“You lied to her,” I say. “You told her you were coming back.”

Goethe grins. His white teeth glow beneath his tan skin.

“Truth should never hurt,” he says. “Not to the ones you love.”

The next morning, my shotgun packed and hunting clothes on, I come downstairs to a maelstrom. Three thousand euro is missing from the hotel safe and Pavlo, the Croatian waiter, has poured out the alcohol from every bottle into the bar sink. The empty bottles are scattered on the floor and counter like some ancient battlefield. Only half a bottle of limoncello remains, standing alone on the long, tile counter like a glowing, yellow joke. Goethe calmly rights the overturned bottles. The entire room smells of stale booze. Mary-Bell is enraged and stomps around the bar, cursing.

“Take the dog out, will you Stewart?” Goethe says to me over her rants.

When a man has no exits, the only way out is to go deeper in. I tell myself that falling in love with Mary-Bell remains the most viable option. Suicide stands a close second. Neither option is as crazy as they sound. At least with Pavlo gone, I no longer fear that Mary-Bell’s affection may be further divided.

I grab the leash but can’t find Charo. I call the dog’s name all around the hotel, but she’s nowhere. I search, in the gardens, in the hallways and in the alley behind the service entrance for the better part of fifteen minutes before giving up. I don’t need this right now.

I return to the lobby and tell them. Pavlo must have forgotten to latch the gate in the midst of his dramatic departure.

“The dog has slipped out,” I say.

Mary-Bell collapses into a sobbing lump. She moans, over and over, that surely she will die. She begs Goethe to call the police. At last he nods to me and I do it. I phone the station to report the theft, the vandalism and the missing dog.

“Looks like the morning ferry is off,” he says softly. “I never anticipated such a scene.”

“What will we do?” I say. “She won’t make it if that damned dog doesn’t return.”

But Goethe offers no solutions. We head out to search for the dog.

We cover the seawall, scanning the eastern shores. Children play in the sand. Waves crash and roll.

“I’ll miss you,” I say. The words tumble awkwardly from my mouth. I’ve never said such a thing to a man before.

He stares out to sea and places his purple-veined hand on my shoulder. I think of my own father, how confused he must be by what I’ve done. I haven’t spoken to him in fourteen months.

“You can be happy here, Stewart,” Goethe says to me. “It’s a good place to spend your days.”

“I’ve been gone too long,” I say. “I have to go back. Surely you understand that?”

“We’re all running from something,” he says. “We run and run until the race ends. In this case,” he points to his chest, “a tumor in the lungs.”

“My father deserves an explanation.”

“He’ll understand,” Goethe says. “Once I’ve gone, you’ll write to him. Invite him here. For a man to see his son living here, that will be enough.”

“He’ll never understand,” I say. “You don’t know him.”

“He’ll understand, Stewart. I know it seems impossible. But you have no reason to leave here.”

I shake my head. “I have even less reason to stay.”

We look through a dozen or more alleys before I finally spot the dog, curled up next to half-opened bags of garbage. Goethe bends down and lifts Charo off the cobblestones.

“Must have been a car,” he says. “Poor little thing.”

He places the dog onto a clean spot in the alley then disappears around the corner. I stand there, unsure where to look. The view is bad all around: trash, graffiti, dead dog. A few minutes later, he returns, carrying two plastic bags. He carefully slips Charo’s body inside the first, then places the first bag inside the second. There is such tenderness in the way he treats the dead animal. For the first time, I realize how his own mortality must weigh on his mind. I glimpse, in his handling of the dog, some gesture of what he must hope for. The act of dying is grotesque, but the handling of the dead is always an act of mercy.

He turns toward me and smiles.

“We will celebrate tonight,” he says. “We need one last night out before I go.”

“But Mary-Bell,” I say. “She’ll need us now.”

“Tut, tut,” Goethe says. “Our job is to live, not to dwell on death.”

We walk off toward a secluded spot on the cliffs. He places the bag on the ground and slips two large stones inside and ties it off. He points to the bag and then to me.

“Why me?” I say. “I want nothing to do with this subterfuge.”

He puts his hand on his back and makes a cranky face. “Bad back.”

So I lift the dog and the stones and heave it into the sea. It splashes below us and floats a moment on the surface, then sinks out of sight.

“One can only hope for a burial at sea,” he says. “She was a good dog, Stewart. A man should have a good dog.”

We don’t tell Mary-Bell about finding the dog. We let her believe that Charo is still missing, let her hope awhile longer. We let her do whatever she wants, just like always.

“I’m worried about Mary-Bell,” I say that night at a bar. I don’t know how we’ll get back to the hotel. We are already too drunk to walk much less drive.

“You have a lot to learn,” Goethe says. “Mary-Bell is tougher than both of us combined.”

“I think you’re wrong,” I say. “I think she puts on a brave face.”

“It’s been a good life,” he says, picking up his beer. “I have few regrets. It’s the goal, my friend. When you get to the end, one shouldn’t be filled with regrets.”

“I was engaged once,” I say. I’ve never told him this before. “She wanted four kids, a dog, a yard with a pool and a picket fence. A midnight blue Grand Cherokee in the driveway.”

“And you didn’t want those things?” Goethe asks.

“I thought I did,” I say. “Who knows what I really wanted.”

“It gets easier,” he says. “When you’re young, life seems endless, full of choices. Then those choices narrow. Things that matter come into focus. It becomes clearer.”

“Do you love her?” I ask him. “Do you love Mary-Bell?”

“With every breath I take,” he says without irony. “And I love you, too. It will be hard to leave you both.”

“She’ll destroy me,” I say.

Goethe smiles. “There are worse ways to go.”

Goethe slides a greasy sardine into his mouth and orders more beer. Though my head throbs already, I don’t object. When have I ever been able to object to him?

“My father flew Spitfires in the war,” he says. “Battle of Britain. ‘Never was so much owed by so many’ — all that good stuff. He shot down a dozen or so Nazi planes. Heroic chap, in his own way. One day, when I was about fourteen, I asked him if he ever felt bad about it. About killing another human being. The war had been over for years, but I wondered if it ever kept him up at night. I remember it quite vividly. We were in Hyde Park and it was raining. He seemed so old to me that day, though of course, he was much younger then than I am now. He looked at me quite seriously, in a way he never had before. A man to man way. He didn’t answer for a spell. Then he said, very simply, that he’d never thought of it before. Not once. He’d always just accepted it, the war, the killing. There was no guilt in it, no shame, no regret.”

“What are you telling me?” I say.

He shrugs. “It’s just a story about my father,” Goethe says. He hands me another beer which I don’t need. Then he adds, “We can never know people, Stewart. The soul is vast, an unknowable cave that opens unto other caves.”

“This is the wisdom you’re leaving me with?”

“No,” he says, smiling. “This is the wisdom I’ll leave with you. Every man needs three things: money enough not to suffer, someone to come home to at night, and a good dog. With those three things, you can lead a happy life. Don’t be greedy for more. Don’t look back so much. You’re smart, Stewart. You’re young and strong. Run the hotel. It might, in the end, be more than you need.”

“What will you tell Mary-Bell about the dog?” I ask, but he doesn’t answer.

The next morning, a few hours before Goethe is set to fly off the island, I walk alone beneath the ramparts in Rhodes’ old city, where the Knights Hospitaller once defended the island against the Ottomans. Tourists stroll by, gawking as if these ancient walls were built only for their amusement. My head aches from last night’s booze and from all of this history. Rhodes is an ancient place. It’s been settled and conquered so many times. I sometimes wonder if the island has just grown tired. These days, it seems to yield its history and secrets up without a fight.

Back at the hotel, Goethe’s bags by the lobby door, I hear Mary-Bell on the phone. She’s talking to the police in Athens. They have arrested Pavlo trying to rob the cash register at another hotel. Inexplicably, Pavlo offered up Mary-Bell’s name as a reference and they called. Goethe whispers these details to me while Mary-Bell asks the detective if Pavlo knows about the dog. Pavlo must say, no. Nothing about the dog.

“In that case,” she says. “I’ve never heard of the little prick.”

She hangs up the phone and Goethe begins to laugh. Mary-Bell and I are soon laughing with him, all three of us in the kitchen laughing without restraint.

It is then that Goethe tells Mary-Bell that the dog is dead. He also tells her that there is no treatment for his condition. He delivers the bad news quickly, a one-two punch that I expect will knock her out.

But instead of coming apart, Mary-Bell takes the worst news with a stoic pride.

“I’m not dumb,” she says. “But you could’ve told me last night, before you two ran off to get drunk.”

I leave them together in the lobby. I watch Mary-Bell curl up close to her husband on a couch. He puts his arm around her shoulder and kisses her head. Goethe has refused my offer of a ride to the airport. We have already said our goodbyes and he will endure no further scene. I close the door behind me and leave them alone.

*

A cold and damp winter passes slowly until at last the rains let up. A crispness remains in the evenings but the days warm quickly now. I light a fire in the lobby and come back to our small apartment behind the front desk.

Mary-Bell wears a long robe and slippers. Her stomach pushes the robe out ever so roundly. The hotel is almost empty. We are still months away from the start of tourist season.

“Why didn’t he care?” I ask Mary-Bell again, for the thousandth time. “Why did he allow us to carry on as we did? Why didn’t he stop us?”

I ask her these questions over and over, but she never answers them. She holds to her secret knowledge the way she holds our child, as if caring for it is a woman’s work. I keep thinking that one time she’ll relent and tell me. But it’s equally possible that she doesn’t know the answers.

“Paint my toenails, Stewy,” she says, thrusting her foot towards my face. “Too many questions. You always ask too many questions.”

I reach for the jar of nail polish and unscrew the lid.

As I paint, Mary-Bell opens her robe and rubs palm oil over her stretched stomach. Her stomach is my favorite part of her body, that smooth shiny skin just below her navel. It never fails to arouse me, even more so since the child inside her has stretched the skin wider and made the surface smoother. The little boy she carries, my son, is due in a few weeks. She was pregnant then, when Goethe asked me to stay. He knew, but didn’t say anything. He wanted me to decide on my own. Mary-Bell said that he would never have told me about the child if I had chosen to leave.

Out in the hotel gardens blood-red anemone poppies have already bloomed over the spot where we buried a third of Goethe’s ashes. Another third stayed in Essex, buried with his mother and father, and the rest remain in a silver urn on the mantle. Mary-Bell has asked me to take the urn away before the baby comes. She says that it’s bad luck to leave the dead around when a baby arrives.

This morning, I wrote my father a letter and invited him to Rhodes to meet his grandson. I have no idea if he’ll accept my invitation, but I felt a great relief when I dropped that letter in the mail.

I finish painting Mary-Bell’s toes and reach for the other foot. I don’t believe her about Goethe’s remains. We both need Goethe close, and I know that when the time comes, she won’t ask me to move him. It would be impossible to erase his presence from our lives. It surrounds us like the sea air.

The puppy trots in from the other room and curls around its tail. We’ve named the dog Pavlo, at Mary-Bell’s insistence. I can only speculate on what secret pleasure this must give her. The dog yawns widely, wags its tail and looks up at me expectantly. It’s time for the dog’s nightly walk. Mary-Bell closes her eyes and drifts off to sleep as I finish painting her last toes. I rub her feet and I try to imagine what it will feel like to be a father. I try to picture my future son, what he will look like, what his interest and passions will be. I try to imagine what I will teach him about life, about love and desire and loyalty. I wonder what I will tell my son about Goethe and about all the many things that happened on this island before his birth. Is it even possible to explain? I pull a blanket over Mary-Bell’s round belly and turn off the light. The room falls quiet. In the distance, the slightest sound of breaking waves. I grab the leash and the dog jumps up, follows me to the door, wagging its tail with wonder at the many the adventures that wait on the other side.

—Richard Farrell

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Richard Farrell is  the Creative Non-Fiction Editor at upstreet and a Senior Editor at Numéro Cinq (in fact, he is one of the original group who helped found the site). A graduate of the U.S. Naval Academy, he has worked as a high school teacher, a defense contractor, and as a Navy pilot. He is a graduate from the MFA in Writing Program at Vermont College of Fine Arts. He is currently at work on a collection of short stories. His work, including memoir, craft essays, and book reviews, has published at Hunger Mountain and Numéro Cinq. He lives in San Diego.

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Dec 112012
 

“A Cut” is a very short story, allegorical, if you will, mordant and slyly ironic in the modern mode, representing a clash of values, a clash of the new and the old, with the voice of tradition coming in the words of the teacher trying to keep control of his classroom, inhumanely and blindly reciting the former courtesies in the face of contemporary social realities (chaos and violence). “A Cut” is Catalan writer Quim Monzo‘s second appearance in Numéro Cinq (see his earlier story “Gregor” here). The story is excerpted from Monzo’s collection A Thousand Morons, translated by Peter Bush, and just published by Open Letter Books. See NC Senior Editor Richard Farrell’s review of A Thousand Morons here.

dg

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Toni dashes into the classroom with a look of terror in his eyes and a gash in his neck. It is a deep, broad cut, spurting blood that is bright crimson rather than red. One would say, on the evidence of a glance, without a proper investigation, that, now that the flesh has opened up, the gash—that in principle should be no more than a millimeter wide—is two to three centimeters across. We might estimate its length at twenty to twenty-five centimeters, given that it starts under his left ear, goes down his neck, and ends level with his chest, slightly to the right of his sternum.

“They attacked me with a broken bottle.”

Blood is seeping down his neck, staining the white shirt of his uniform. His jacket collar is equally soaked in blood.

“Come on, boy. Is this any way to walk into the classroom, Toni?”

“Sir, Ferran and Roger got hold of a broken bottle next to the vending machine, stuck it into me, and . . .”

“How does one enter the classroom, Toni? Is this how one comes into a class? Does one enter any old way? Does one enter without saying ‘Good morning’? Is this what we have taught you at school?”

“Good morning,” says Toni, putting his right hand over the gash to try to staunch the flow of blood.

“Generally speaking, habits have been degenerating, and you are not to blame, I know. We are also to blame, in institutions that are unable to offer an education that shapes character with a proper sense of discipline and duty. But society is also to blame, and all the many parents who demand that school provides the authority they are incapable of wielding. You, Toni, are but a sample, a grain of sand from the interminable beach of universal disorder. Where is the discipline of yesteryear? Where are the sacrifice and effort? Where are the basics of education and civility we have inculcated into you day after day, from the moment you entered this institution? I know that many other educational institutions practice a much laxer form of education, and that, as it is impossible to totally isolate each individual, and being aware of the tendency of the youth to mingle and fraternize, I know, for all these reasons, that, however much our institution strives to educate you in exemplary fashion, if we are the only ones inculcating any norms, you have too great an opportunity to be polluted by the lax mores of others.”

“Sir, I’m soaked in blood.”

“So I see. And I can also see the dreadful mess you are leaving on the parquet. Not to mention your shirt and your jacket. You know by now that I like your uniforms to always be spotless. But we will leave that for tomorrow. Now go to reception and ask Mr. Manolo for a mop and a bucket of water and try not to splatter blood all down the corridor, as you will have to clean that too.”

—Quim Monzo

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Quim Monzo is an award-winning Barcelona based writer. He has written novels, story collections, essays and journalism. His short story collection, A Thousand Morons, translated from Catalan by Peter Bush, is available from Open Letter. Bush’s sharp and flawless translation brings together 19 stories and shorter fictions from one of Catalonia’s leading writers. Monzo’s short story “Gregor” can be read here at Numéro Cinq.

 

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.

dg

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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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Nov 072012
 

Garry Craig Powell

Garry Craig Powell is a transplanted Englishman who seems to have found his Inner Arkansan. Or he has that Nabokovian gift of mimicry coupled with a fascination for Americana. “The Perfume Trees of Arkansas” is a short story about an Iraq War veteran nicknamed Jesus who drinks too much and doesn’t exactly WANT to die but doesn’t care much either which leads him to a stunning act of self-renunciation that is, well, oddly transformative. “The Perfume Trees of Arkansas” is funny without exactly being hilarious; it’s also immensely sad (with the sadness of all that lost, drug-polluted and under-educated underclass America that is yet human and oddly hopeful) without being depressing. The author lavishes much attention on his milieu — you think he must have grown up there, too.

dg

——–

The night shift is over at Michel’s, and Nordic Jesus sweats in the Chariot of Doom, smoking a joint and wishing he could see real bright colors. Beyond the parking lot, in the lamplight, the brick boutiques, coffee shops and antiques stores of the Heights have the muted hues of a vintage monochrome photograph that has been artily tinted. Nordic Jesus feels that life has become remote, like a movie playing on a cell phone screen. He can see the world but he isn’t in the picture anymore. From the day his HumVee hit an IED on the airport road in Baghdad, it’s as if he never got over the concussion and what happened to Doug and the others. After the explosion his buddies joked that he’d risen from the dead and started calling him Jesus; when the 39th returned to Arkansas the nickname followed him. Nordic Jesus, his friend Elijah dubbed him, when his orange hair and beard began to look like a Viking’s, and the moniker stuck. Owen has even started calling himself Nordic Jesus now, mainly because he finds blasphemy funny—it’s one in the eye for his dad, a Church of Christ preacher—but also because he’s just superstitious enough to hope that some of the magic of the man from Galilee might rub off on him. He wishes he would just wake up; so far it hasn’t been much of a resurrection.

Yalla, he coaxes himself in Arabic, Come on. When he hears the steel door of the kitchen slamming, he turns his head to see Michel locking it, then stumbling across the lot toward him.

Nordic Jesus likes his boss—Michel doesn’t piss him off, anyway, like most people do—and Michel’s accent and manners amuse him. He’s a genuine French chef, short, fat, dark and alcoholic, and plays the part to the hilt.

“Go home, Jesus,” he says, smacking his employee’s car. It’s an ’89 Chevy pickup with hand painted flames on the sides, the legend ‘Chariot of Doom’ in big black gothic letters across the rear window of the cab, and a bumper sticker that reads Jesus is Lord. “You have enough trouble with the police lately, I think,” Michel adds, pinching his assistant’s cheek and slapping it for good measure.

The hash is taking effect. The Heights are turning into a town in the South of France, the streetlights are Van Gogh fireballs, and Michel’s parting words are imbued with significance. “Sois sage, Michel says, before staggering away and flopping into his car. Be good, Nordic Jesus thinks, remembering his high school French. But doesn’t sage mean ‘wise,’ too?

The Chariot of Doom starts with a smoker’s cough. Nordic Jesus finishes the joint and wishes he could die. The dogwood trees and crape myrtles that form a canopy over the parking lot are blooming, and their scent reminds him of women, makes him yearn for one again—it’s been months. It’s strange that his sense of smell has remained acute; maybe that’s why cooking is the one thing he still loves. Through the open window he breathes in the air that steams around him like a fragrant gumbo, and the aromas of the evening’s dishes linger in his nostrils: garlic, onion, sour cream, prawns, orange sauce. The lady who called him out tonight to congratulate him on his roast duck was wearing a sweet, tart perfume, as if it were made with oranges, and Nordic Jesus was so overwhelmed that he almost fell on her neck and kissed her.

He doesn’t exactly want to die, he realizes; he’s simply tired of living.

Every night he has the same sensations, the same thoughts. At work, he is absorbed by what Michel teaches him, but then come the long silent hours in his grandmother’s house. He can’t sleep. He watches the cooking channel, tries out new recipes, plays his guitar, drinks bourbon. Most nights he goes for a run to tire himself out, and finally falls asleep, drunk, around dawn. Other nights, when the river runs like the Congo through the jungle and tropical smells are swirling in a crazy cocktail in his skull, he feels the urge to do something reckless. He drives to Stiff Station, where the crack houses are. Elijah, who was in the National Guard with him and now makes the desserts at Michel’s, has warned him about venturing there alone—Don’t be gone where you got no allies or alibis, white boy—but Nordic Jesus reminds him that he’s been in a war zone; he’s seen children’s bodies charred like barbecued chickens, and brains splashed like vomit on the sidewalk. This is Little Rock, for God’s sake. Besides, he is the Son of Man. No one can harm him.

He’s cruising along Kavanaugh, the radio tuned to a jazz station, Coltrane’s saxophone coiling like a dervish in his brain, when he sees a white woman wearing a batik dress and one sandal, limping and looping past homeless men who wave bottles, inviting or threatening her. She’s carrying her other sandal and a denim purse. She has long legs and bare arms, tattoos and dreadlocks. He slows down. Right here a couple of weeks ago Nordic Jesus was passing three junkies shooting up on the sidewalk, when he saw a black boy, no more than thirteen or fourteen years old. He offered him a ride; the boy gave him the finger. Tired of playing the Good Samaritan and getting no thanks, Nordic Jesus has made up his mind to drive by, when the woman lurches into the street and freezes like a rabbit caught in the headlights. He stamps on the brake.

The Chariot of Doom comes to a slippery, screaming halt. The woman folds herself over the hood and throws up on it.

Nordic Jesus laughs aloud for the first time in months.

“Feeling indisposed, ma’am?” he calls out the open window.

She looks up, startled or scared. “I’m sorry,” she says. “I truly am.” She has both palms flat on the hood, as if she just pushed it down. She’s dropped her purse and sandal. With her head sagging over her sick, and drool dripping down onto her chest—she’s stacked, he can’t help noticing—she looks like some creature from the netherworld. He recognizes her all the same. He saw her on one of his nocturnal runs, yelling at a man on a lawn in Levy.

Nordic Jesus opens his door, drops out of the cab. “Need a hand?”

“Why, sir, you are a gentleman,” she says, in tones as thick and sweet as molasses, as ladylike as Scarlet O’Hara’s. Pity about the dreadlocks, tattoos and puke-spattered tits, he thinks. She pushes against the hood, but her hands are glued to it.

Nordic Jesus grabs a box of tissues—grandma likes to have some handy when he takes her shopping—and after prying the stranger off his car, dabs her face. Her smile is vacant and her features ordinary, but he finds himself liking her. Or maybe he just feels friendly because of the pot he’s smoked, and the Châteauneuf-du-Pape he’s been drinking at his own expense. He hands her the box so she can swab her chest. And then, though he knows it will mean trouble, and he is being far from sage, he hears himself asking if she could use a ride.

“I could.” The woman sways before him like a slow metronome. “But I don’t know if I should.”

“I don’t mean you any harm.”

“I heard that before,” she snaps. “But to tell you the truth, I’ve always liked men with red hair. And I think I seen you before. Where d’you live?”

“Levy. I’m staying with my grandma over on Texas.”

She opens her mouth as if she’s about to yell ‘oh!’ She takes a step forward; he has to catch her. Nordic Jesus hasn’t touched a woman since Whitney dumped him just after he got back—a year and three months ago now—and it feels real good, or would, if the chick didn’t smell like a Friday night frat-house party.

“I know!” she says. “I seen you running past my house on Arizona. You was near naked.”

“I get hot when I’m running.” He’s hot now, sweat streaming down his neck and back, his boxers damp, the insides of his thighs sore. It was a hundred and fifteen in the kitchen tonight, and it’s ninety-eight or nine now, outside.

She pokes his chest. “You didn’t have nothing on but shorts and sneakers. You’re buff, dude.”

“I lift weights.”

She staggers back, out of his arms, and looks him over. “Yep, I can tell.”

At the end of the street a police cruiser is approaching. They eye it apprehensively, and she says she might as well come with him. She stumbles around the front of the truck, swinging the denim purse and sandal he’s picked up for her, and collapses into the seat beside him. “Thanks, sweetie,” she says, sliding down as if she can’t stay upright. She sits with her legs apart like a little girl. She has rings under her eyes and her breasts sag. Still, when her dress rides up, her long white legs make him swallow.

He pulls away, taking the first turn before the cruiser can reach them.

“So what’s your name?” he asks.

“Honeysuckle. My folks were hippies. Came from Pennsylvania in the sixties. Lived in a tepee in the Ozarks till the locals chased them out.”

“I’m Owen, but they call me Nordic Jesus.”

 “I can see that,” she says, cackling. “Well, I guess we both got funny names.”

 A liquor store and a pawnshop slide by—GUNS GUNS GUNS, the neon sign blares—and in the sodium light the city looks like tarnished brass. “Where’m I taking you, Honeysuckle?”

 “I oughta go home or Dwayne will be mad. Fact he already is mad ’cause we had a argument and he’s kind of psycho. He’s an ex-con. He sees me with you, he’ll kill us.”

 “How come you’re on your own, then? What happened to you tonight?”

She explains: They were scoring shit in Stiff Station and Dwayne went off on her on account of he thought she was making eyes at some black dude—Nordic Jesus interrupts to ask if she was, and she giggles and says, maybe—and not long after that she passed out. When she woke up, the sonofabitch was gone.

 They are crossing the Arkansas River, a broad band of mercury in the moonlight. When he was a kid, it made Nordic Jesus think of French trappers in deerskins and Davy Crockett hats; it always gave him a pang. Not any more, though. To their right, the girders of the bridge are a metal net and the Clinton Library looks like a doublewide. He wonders if Little Rock is pretty or ugly. In the rearview mirror it’s mostly glass towers, like any other American city.

“Your boyfriend sounds like an asshole,” Nordic Jesus says.

“He’s an asshole, all right, but I ain’t much, either.”

“You’re OK.”

“You don’t know me, Jesus.”

“Jesus know everybody,” he says, imitating Elijah’s accent, which is Little Rock street with Delta undertones.

She gives him a dopey grin that reminds him of how Whitney used to smile in high school. When he came back from Iraq, she still looked like a cheerleader: long blonde hair, heavy makeup, crop-top, low-slung jeans, high heels. But she seemed sillier than ever: all she talked about was movie stars, American Idol, shoes, her Spyder sports car. She was studying at UCA but he never saw her open a book—not that he cared, but it seemed like she was just going through the motions in everything she did. She wasn’t really alive. He thought she’d changed; she said he was the one who had changed. He was no fun anymore and he never brought her flowers or said he loved her. He just wanted to fuck her, not make love like they used to. What the hell was the difference? he wanted to know. He didn’t feel tender. He’d been a sniper in the Sunni suburb of Sadr City and had killed seven men. That was one video game he couldn’t get out of his mind. Draw a bead, hold your breath, squeeze. Jolt, crack, exhale. The guys never screamed. It was only up close, when you saw their faces, that it got to you. He tried to explain it to Whitney once, while she was watching Oprah, but she thought he was being morbid, told him he could leave if he couldn’t talk about something normal. He did just that, got up and strode out. Hasn’t spoken to her since.

“I don’t know as I want to go home just yet,” Honeysuckle says. “You got anything to drink at your place?”

“Just beer and bourbon.”

“That’ll do.”

“We’ll have to be quiet,” Nordic Jesus says, “or we’ll wake Grandma.”

“I’m sorry I’m not as beautiful as usual tonight,” Honeysuckle says out of the blue.

As far as he can tell, she isn’t making a pass. “You look fine,” he tells her.

In fact she looks pretty fucked up. She makes him nostalgic for the world he’s lost, when Arkansas always seemed to beat Texas at football, The Eagles played constantly on the car radio, America fought for freedom, and God was the nation’s CEO. Honeysuckle gives him a coy look.

“I don’t got no makeup on and I ain’t wearing underwear, either.”

A trickle of sweat runs down his back. Is she a tease? He can’t make her out. Hold tight, he tells himself. Pretend you’re on night patrol. Straightaway he is back in Al Sadr City, padding past white villas, his eyes scanning every wall, steel gate, and roof for gunmen. He switches off his feelings. Someone is pounding his heart with a steak mallet, but he’s not scared. It’s like going out to play football and knowing his dad and Whitney and the coach are all watching: you can’t mess up. If you stay alert, you’re more likely to survive. Yalla, he urges himself again.

He’s surprised to find they’re already in Levy. After the burnt ochre, orange and brown of the desert, Arkansas is a hallucination of heaven. The Chariot of Doom rattles past oaks and maples, azaleas, dogwood and hibiscus, magnolias and mimosas, crape myrtles and bougainvillea, all the perfume trees of Arkansas. White blossom, pink blossom, violet blossom—all dull, drained. With his window down Nordic Jesus can smell the feminine scents, although the odors in the car remind him of keg parties at U of A in Fayetteville, where he had a football scholarship for a year.

He draws up outside a nineteen forties brick dwelling, single story, with a porch supported by white wrought-iron ivy. A maple tree stands in the front yard and bougainvillea blooms on the trellis. He feels zingy, the way he used to when he played in an important game.

Nonetheless, although sex is clearly a possibility, the prospect doesn’t thrill him. “I only have a twin bed,” he says as he unlocks the front door and leads her through the cat-scented darkness of the living room. “I guess you can take it and I’ll sleep on the couch.”

He turns on the light in his bedroom. The floor is a swamp of sour clothes, the mattress a sinking raft, its sheets twisted and tangled like cypress roots. A Hogs pennant and posters of nineties grunge bands hang on the walls.

“We could share the bed,” Honeysuckle says, her expression unchanging, “if you don’t mind.”

“I don’t mind.”

He puts some alternative country on the stereo, so low that he can still hear the crickets and katydids through the open window, and Honeysuckle lifts her dress over her head. He turns off the light and takes a long pull on a bottle of Southern Comfort before stepping out of his clothes. In the radioactive glow of the streetlighting, Honeysuckle looks as if she has jaundice. She sits on the bed and stares at him. Not with desire, as far as her blurred features show, or even curiosity—she’s just staring like a cat. Nordic Jesus takes another swig of whiskey and hands the bottle to her.

“I can’t get to sleep if I don’t drink,” he says, lying beside her on the bed.

She takes a long swallow, sighs and leans back on her elbows. They haven’t touched yet. “That’s something else we got in common,” she says.

“Orange is my favorite color,” Nordic Jesus tells her.

“Oh yeah? That because you got orange hair?”

“Yes! How did you know that?”

“I may be dumb but I ain’t blind,” she says, misunderstanding him. He doesn’t try to set her right. She lifts one foot and places it on his leg. He tells her that when he was a kid he used to wear orange clothes and his dad painted his bedroom orange for him; he loved carrots, Cheetos, egg yolks, orange juice, apricot jam. He’d steal the orange pills from the medicine cabinet and eat them. Nearly killed himself once. Honeysuckle laughs, drinks, laughs again.

“I’m kind of drunk,” Nordic Jesus says, taking a good burning swallow, “but don’t you think that blossom in the yard smells kind of like oranges?”

She turns on her side to face him, then sits up with surprising swiftness and agility. “Didn’t see no orange trees outside.” She smells as though she’s made of Cheddar cheese.

The music drips in his ears for a couple of hours or more, but when she finally leans toward him and sucks at his mouth he tastes citrus and his blood stirs. A soft current pulses through him, electric, crackling and popping, and through his thoughts flit bright birds, blue jays, cardinals, orioles, and although his sensations don’t seem to fit or go together—cheese and slide guitar, whiskey and orange, throbbing and sweat and shock and awe and feathers—it’s like a jambalaya; it makes no sense but somehow it works. Yalla, habibi, the blonde whore told him in that stinky hotel in Dubai, come on, baby, hamdulillah, fantastic. Why did she keep speaking to him in Arabic? She was European, Russian or Romanian or something. Honeysuckle straddles him and goes straight into a frenzy, gyrating so fast and hard that he’s immobilized. He just hopes he can hold out. The bed bangs and creaks and Honeysuckle hollers as if Judgment Day has come.

Nordic Jesus doesn’t hear his grandma’s footsteps in the corridor, or the door opening, but there she is all of a sudden, four foot ten and bent like a bush in a storm. Mad as all get-out, too. “Out of my house, you little hussy!”

Honeysuckle freezes.

“You get off of him right now or I’ll flay you alive!” Grandma says, waving a limp claw at Honeysuckle as if she’s batting flies away.

Honeysuckle turns her head but keeps her seat. “I’m sorry, ma’am.”

“You will be, girl, if you ain’t out of here in ten seconds flat.”

Honeysuckle dismounts, stands, and gapes back at grandma, too dazed to cover her nakedness. She takes her dress and searches for the armholes for about five minutes. Nordic Jesus waits for his grandma to leave—she makes a feeble attempt to slam the door—then he pulls on his checked chef’s pants and greasy T-shirt. Although he didn’t even come, he’s relieved that it’s over.

“Sorry,” he says.

“Don’t matter. Dude, you’re a strong lover,” she says, to his amazement. It was little more than a feat of endurance.

As they step out the front door the fragrance of the trees crashes over him like a wave. “Take a deep breath,” he says. “Smell that blossom.”

“Man, I’m still wasted. I wouldn’t a noticed it if you wouldn’t of said. If you don’t mind,” Honeysuckle goes on, once they’re in the Chariot of Doom and pulling off, “we’ll go by my place and if the truck’s in the drive you better drop me off round the corner.” She sounds as if she’s just coming round after being heavily sedated.

“He got a gun?”

“You kidding? He was inside for armed robbery, only they let him out early on account of he was only sixteen at the time. I never knew a guy didn’t have him a gun, except my dad. But even he got himself one now. Don’t you got one?” Before he can answer that he doesn’t, she gabbles on. “Dwayne ain’t much good with his, though. Other day, during that thunderstorm, there was two copperheads on the porch banging their heads on the glass door, trying to get in. So Dwayne stomps out, drunk as a skunk, and blasts at ’em with his twenty-two. Never did hit the sonsabitches.”

“I hope we don’t run into him, anyway.” Nordic Jesus is out of patience for rednecks—even if he has become one, as his parents seem to think.

Little white frame houses drift through the trees. On a porch, short Latinos pass a bottle. In a driveway, two black dudes in baggy basketball outfits, beer cans in their hands, lounge against an eighties Oldsmobile that looks like it’s been flattened out by a steamroller.

“We’re in luck,” Honeysuckle says, pointing to a surprisingly neat place. “He ain’t home yet.”

Nordic Jesus almost expects to see a Confederate Battle flag, but there isn’t one, or a truck on chocks either. The drive’s empty.

She leans across the bench seat and kisses him. “Well, thank you, Jesus.”

He deadpans the verse: “I am the way, the truth and the life.”

She hoots. “Amen,” she says, and hobbles away, carrying the sandal that had come off. So that’s that. He’s already pulling away when he sees a pickup approaching and Honeysuckle running back toward him. Left her purse on the seat, goddamnit.

He considers driving off; he could always bring it back tomorrow. He hears thrash metal, a rage-filled roaring and guitars that sound like overworked machines. But he brakes and backs up. By the time he’s out of the Chariot of Doom, proffering the purse to Honeysuckle, the white truck has screeched to a halt and out jumps a guy even bigger than he is, with long, thinning hair, and tattoos. He’s wearing a tank-top, camouflage pants, and sneakers. And holding a pistol.

“Who the fuck are you?” Dwayne says, glowering at Nordic Jesus and pointing the gun at him.

“The Son of Man,” Nordic Jesus sniggers, still stoned.

“You laughin’ at me, boy?”

“No sir,” Nordic Jesus answers as if he’s back in Junior High: the more he tries to repress his grin, the more obstinately it asserts itself. He reminds himself that an enormous man—an enormous wronged man—is pointing a gun at his heart. It doesn’t escape Nordic Jesus that he’s been wishing he could die. This is your chance. All you gotta do is wind up boyfriend here a bit more.

“He’s just a friend, Dwayne,” Honeysuckle pleads. “He done give me a ride.”

“I bet he did,” Dwayne replies. “I see you, bitch, whored up like you had a mile of dick run through you.” He turns to Nordic Jesus again. “You screw my woman, asshole?”

Nordic Jesus draws a deep breath, as if he’s sucking on a joint, and his lungs fill with the scent-drenched air: crape myrtles, magnolias, wisterias, hibiscus and honeysuckle vine. For a moment it feels good to be alive. “I sure didn’t,” he says hopefully.

“Was you fixing to?”

“Nope.”

Dwayne frowns. “I bet you’d like to, though, wouldn’t you?”

Nordic Jesus glances at Honeysuckle and grins—his Huck-Finn-Grin, Whitney used to call it. Honeysuckle isn’t in the same class as Whitney, in fact to be honest she looks more like a truck-stop whore than a cheerleader, but she smiles back, kind of embarrassed, and gallantry compels him to say: “I sure would.”

“That right, smartass?” Dwayne cocks the pistol with his thumb; the safety is off. “I might could blow you away.”

I don’t have to lift a finger. “Do it, dude.” Yet even as he speaks it occurs to him how bizarre it is: facing death, all he can think of is perfumes and washed-out colors. Just one more time, he’d like to eat a meal cooked by Michel and see the world in the pure primary colors of the child’s paint-box.

“You don’t think I would, do you?” Dwayne rasps.

“Nope.” And know the love of a good woman. That’s all I’d ask for.

“Oh yeah?” Dwayne holds his pistol arm out straight and shaking, eyes bugging as if he’s seeing the ghost of General Sherman.

“You gutless bastard,” Nordic Jesus hears himself saying. “Why don’t you go ahead and shoot me if you’re going to? You can’t do it, that’s why.”

“I can’t do it?” Dwayne’s voice rises to a squawk. “You think I can’t do it?”

“That’s right. You ain’t got the balls, man.”

“I ain’t got the balls? You saying I ain’t man enough to kill you?”

“You got it.”

Honeysuckle is moaning like a sick dog, but Nordic Jesus is looking right into Dwayne’s eyes. He doesn’t see anything but confusion. The dumb fuck might actually pull the trigger. Dwayne tries to speak but is so worked up he chokes on the words.

“I told you, do it,” Nordic Jesus says. He grabs the barrel and pulls it against his heart. “You can’t miss.”

“Jesus, Jesus,” Honeysuckle groans, and he isn’t sure if she’s invoking him or his heavenly namesake. She makes a sound halfway between a yelp and a squeal.

What the hell, looks like I am going to die after all. He tells himself he doesn’t care, even finds it funny, but his heart is fizzing, blowing fuses, and he can’t kid himself any more. He wants to live.

“You’re nothing but a wife-beater,” he goes on in spite of himself. Dwayne’s eyes are popping and sweat pours down his face. “You ain’t a man,” Nordic Jesus sneers, remembering how his daddy used to look when he whipped his mother.

“Do it!” he roars.

Dwayne’s face twitches like an epileptic’s. This is the last thing I’m ever going to see. Nordic Jesus pictures his mother, her halo of white hair and pursed lips, stout, in a purple skirt-suit, a Church of Christ matron who smells of bleach and banana-bread. He feels the briefest pang of love and remembers what she said last time she saw him, two months ago: You’re bound for hell, Owen boy.

He feels a sharp prod, then nothing.

“Goddamn,” Dwayne says, his gun-arm drooping. “I can’t do it.”

Nordic Jesus’ right fist lashes out of its own accord, cracks against Dwayne’s forehead and sends him sprawling.

“Holy Moses,” Honeysuckle says. “He’s out cold.”

Lights are coming on in the neighborhood and sirens wail in the distance.

“Someone musta called the cops,” Nordic Jesus says. “Let’s get outta here.”

The Chariot of Doom careens around a corner as if they are under mortar fire. “Dude,” Honeysuckle says, “Dwayne coulda killed you back there.”

“Sure, if he’d had the balls.”

“You got balls, though, dontcha? You’re brave, man.”

“Brave? Nah, I just don’t care no more.”  He tells her how he joined the National Guard after he lost his football scholarship, not expecting to find himself in Iraq, and describes some of the things he’s seen: women and children screaming and crying when the soldiers burst into their homes in the middle of the night and threw their men on the floors; his friend Doug with a glass dagger in his eye when the IED went off; the little boy hit in the leg, caught in the crossfire. Coming back from Iraq, he was looking forward to being out of harm’s way again, but it seems you can’t escape violence. The world is going nuts. “Hey, where you want to go?”

She looks at the clock on the dash, tells him she’s on the early shift at Shipley’s Donuts on Cantrell, and asks if he could drive her there.

Light is leaking through the leaves, seeping from the sky, soft blue and grey. The Chariot of Doom smells of beer, bourbon, sweat and marijuana. They drive through Burns Park, a fairytale of firs and blue hills, with luminous white cottages, then pick up the freeway and swish past road works, billboards, bougainvillea, fields. Life’s an Irish stew, Nordic Jesus realizes. You can’t just pick out the bits you like.

“Ever think about getting sober?” Honeysuckle asks him.

“Sure.”

It might be sweet to find a woman, settle down and have kids, but he knows he isn’t strong enough yet. One day he’ll have to stop drinking and doing drugs. One day he will face the bullshit on his own. If only there were dazzling colors, like the plumage of the birds in his mind; if only he could see the way he can smell. He feels more like Lazarus than Jesus: brought back from the dead, but already decaying, only half-alive.

The grey sky glows like a hotplate warming up as they cross the I-430 Bridge over the Arkansas River. Nordic Jesus recalls how he used to spring out of bed on Saturday mornings when he was a kid, eager to discover what the world held in store for him. The water shimmers and flickers and flashes, as if the surface is made up of millions of metal lights. Steel, silver, brass and bronze and copper, gleaming, glimmering, glinting as the sun bobs like an orange buoy on the river to their left.

“You think it’s worth it?” he asks Honeysuckle.

“Getting sober?”

“I mean life,” Nordic Jesus says. “Is it worth living?”

“Hell, I don’t know. You just keep on doing it, I reckon.”

“Yeah, you do.” He looks at her and she looks back at him, her face framed by the window and the river and the sunrise, and although she isn’t exactly pretty when she shows her stained teeth, although he doesn’t love her and will not spend another night with her, although or because he’s weary of nights like these—he has been neither good nor wise, he reflects—and sex with her was far from scintillating and he’s still kind of numb, he feels sorry for her, understands she’s in pain and isn’t a bad person, just weak, like him, and he finds himself smiling, with something akin to tenderness. Honeysuckle’s face is lit by a tangerine sky, the river blazes, and if only for a moment, he can see the colors once more.

Nordic Jesus turns onto Cantrell and drives into the sunrise, hoping he will be able to stay awake.

— Garry Craig Powell

          ——————————————-

Garry Craig Powell‘s novel-in-stories, Stoning the Devil has just been published by Skylight Press. Powell is an Englishman who lived for long periods in Portugal and the United Arab Emirates, and shorter ones in Spain and Poland. He is an Associate Professor in the Department of Writing at the University of Central Arkansas in the USA. For more information, visit his website where you can also find his blog about life in the Persian Gulf.

Oct 132012
 

Caroline Adderson

This is a treat, a gorgeous, frank, lusty, ever so subversively comic (it’s always slightly comic when women take a good look at a man) love story about — no, not that kind of love, but about a woman and her dog. I have known Caroline Adderson since, oh, before 1992 when I included three of her stories in that year’s edition of Coming Attractions (co-edited with Maggie Helwig). I will never forget that experience — I read five lines of a story and KNEW I’d found a writer, not just someone who pushed words around on a page efficiently but someone who ELECTRIFIED the language. And she has never disappointed since. Later I also put her in Best Canadian Stories. So we have an editorial past together, Caroline and I, and a friendship, and that makes it doubly pleasurable to bring her into the Numéro Cinq fold.

The story is gorgeous, yes, I should repeat that. It is stocked with felicities, large and small. One of the loveliest is the way Caroline weaves in a reading and rereading of Chekhov’s classic short story “Lady with a Lapdog” — a tale of a woman, a man and a dog, though as Caroline’s protagonist notices, the dog is not altogether considered as a character and seems to fade out of the story, a shortcoming that is rectified in the present story. (And to nail the point we have, above, a photo of the author and dog.) Caroline further complicates the story by introducing a younger male lover, a former husband and a wonderfully irate new wife (there is an amazing set of scenes around this pair — the author does not make the mistake of hiding the fact that the protagonist and her ex have slept together since the ex married his new wife, the new wife knows, her hatred is dramatic and comic, the scenes are charged with mischief).

And, of course, the dog can read.

dg

.

BACK IN OCTOBER Matt’s girlfriend had been out of town.  Matt, unemployed, had hours (all day in fact) to lie around with Ellen who, living off her savings, was queen of her own life.  Queen Ellen spread out in the loft on the hot twisted sheets, inhaling the tang of their exertions, while Matt scampered naked down the ladder to do her bidding.  He brought her a glass of water, a wad of tissues to wipe the milty puddle off her belly, a cheese plate from the fridge.

She’d sold her house for a grotesque sum and inherited half of what her father had socked away in the life he cut short himself.  Meaning Ellen could quit publicity and rent an old live-work studio in a Kitsilano triplex.  One very large room, kitchen, bath, sleeping loft.  She took up pottery again, put the kiln outside under an overhang.  She took up with a man-boy in his twenties who wore shorts in any weather.

The things Matt said were so funny and sweet. Like the time he fell back on the pillows, his curls fanning out.  “I need to ask you something really personal. I’ve never asked anyone before.  I need the honest truth.  Please.”

“What?” Ellen said.  “What?”

“Is my cock too big?”

Now she was back. The girlfriend.  Matt brought his cell phone up to the loft and left it turned on.  Ellen pretended she didn’t see it tossed onto the clothes he’d so urgently shed.  She pulled the sheet up to cover her body.  Too much information, she thought.

What choice did she have? Ellen was 48.  Too old to be anyone’s girlfriend.

§

Across the street from the studio was a corner store.  This time of year Christmas cacti, poinsettia and little bonsai pines crowded the board and cinderblock shelves out front.  Plants were the main business besides cigarettes and lottery tickets.  Ellen worried it would go under so once a week she scooted across the street to buy something she didn’t need.  Another plant to ignore to death.  A can of corn.  There was little else.  The Frosted Flakes looked archeological.

She ran across in sweats and an old loose t-shirt scabbed with drying flecks of clay.  The dog was shivering in a newspaper-lined box beside the till.  She couldn’t tell its breed.  The black kind with a goatee and plaintive eyes.

“Where did it come from?” she asked.

The owner of the store said, “My brother.  Driving from Chilliwack?  He saw it on the road.  You want it?”

“I just came in for some corn.”  Ellen set the can down, leaving fingerprints in the dust on top.  “Maybe you should take it to the SPCA.”

He waved his arms back and forth like an air-traffic controller directing a 747 with batons.  “Too busy!”

“Oh.  Do you want me to take it for you?”

Ellen tucked the Niblets in the box with the small black dog and carried both across the street.  Halfway, the dog reached up and licked her face.

“None of that now,” she said.

Hardly anyone got Ellen at first, but this dog did.  He beat his feathery tail against the side of the box and smiled.  When she shifted the cardboard carrier onto one hip and opened the door, he leapt right down, dashing circles around the studio, sniffing everything—Ellen’s pottery wheel, her dentist’s chair.  He jumped onto the couch and tossed the cushions aside with his snout.  Then he did what Ellen always did when visiting someone for the first time.  He went over to the shelf and read the spines of all the books.

§

Matt didn’t come that day, or call—well, he never called.  Normally this meant long unfocussed hours tied up in knots of hope, then, when Ellen could no longer deny he was a no-show, her dejected release from these self-wound coils.  How pathetic to be waiting all day for a man as young as her daughters.  Tear-stained, humiliated, she fashioned little monsters out of clay, then flattened them.

Today she put aside these pitiful recreations.  She had to get a dog to the SPCA; to do that she needed a collar and leash.  One thing led to another and, come evening, the dog was still there sniffing Ellen’s books.

She loved it too, that particular, melancholy odour of old paperbacks.  It only followed then that the dog should have a literary name.  (She had to call him something before she turned him in.)  Tintin?  Tintin was the boy, not the dog.  What was the dog’s name?  She googled it.  Snowy.

Snowy would not do.

Lady with a Lapdog was right there on the shelf, perfumed in dust and sadness.  The moment Ellen settled in the dentist chair to reread the story, the dog sprang onto the footrest, gingerly walked the double plank of her outstretched legs, then curled into a polite ball and fell asleep.  A dog in the lap of a lady reading “Lady with a Lapdog.”

In the story the lapdog makes his appearance in the first paragraph, trotting along the Yalta promenade. No name, just a breed. A white Pomeranian.  (This is ironic, for Dmitry Dmitrich Gurov thinks of the women he seduces as of the lower breed.)  How many times had Ellen read this story of a passing affair that swells to a grand passion?  Many, many times, and every time reminded her of her first reading at seventeen or eighteen, when she’d sobbed.  With each subsequent reading, the sob returned, a ghost in her chest lodged too deeply now to release, her own heartaches grown around it, holding it fast.  She’d been living with it ever since. Catharsis interruptus.

Tonight though, something was different.  Something rang false.

A few days after first noticing Anna Sergeyevna, the lady with the lapdog, Gurov seats himself near her and the Pomeranian in an outdoor restaurant.  He wags his finger at the dog and, when it growls, he appeases it with a bone off his plate.  This way he secures Anna Sergeyevna’s acquaintance – through her dog.

After dinner, Anna and Gurov take a long walk, just as Ellen herself had done that afternoon when she returned home with the leash and collar and a hundred and twenty dollars worth of dog food and paraphernalia. What happened with Ellen was that the dog, the black one, the flesh-and-blood, tongue-and-tail one, made straight for the nearest tree and began to circle it, forcing Ellen to leave the sidewalk and slop around on the saturated verge.  It was as though he was searching for something he had lost in the longer grass at the tree’s base, something he was desperate to recover.  Finally, he found it, this precious thing invisible to Ellen, and when he did, he lifted a leg and pissed all over it.  Then he romped ahead to the next tree where, evidently, he had also left something important in the grass.

After ten minutes of this Ellen grew impatient and tried to pull the dog along.  He stiffened his legs, effectively putting on his brakes, and stared at her, ill-done-by.  She had to coax and herd him, then pick him up and carry him.  In other words, the entire walk had been about getting the dog to walk instead of sniff.  More than once she got tangled in the leash, or he did.  Yet when Gurov and Anna Sergenyevna go strolling after dinner, talking the whole time, marveling at the way the light falls on the sea, the dog isn’t even mentioned.  Presumably he was there, or had they left him tied up back at the restaurant?

A week later, Gurov and Anna Sergenyevna retire to her hotel room to consummate their affair.  Again, no reference to the Pomeranian.  Does he object to their lovemaking?  Is he jealous?  Have they shut him in the bathroom?  It doesn’t say.  In fact, the dog is only mentioned once more in the story.  Months after they both leave Yalta, Gurov finds he can’t forget the lady with the lapdog.  He travels to her town, loiters in front of her house until, after a miserable hour, an old woman comes out with the Pomeranian.

Gurov was about to call to the dog, but his heart began to beat violently and in his excitement he could not remember its name. 

Here Ellen lifted the real nameless dog out of her lap so she could return the book to the shelf.   It was the first time the story had failed her.

Her epiphany came an hour later while she was brushing her teeth: the story was in Gurov’s point of view!  It wasn’t Chekhov, but Gurov, who was indifferent to the dog beyond the purpose it could serve him in seducing a young woman.  Whatever Chekhov may have felt about the canine species, Ellen knew this: if the story had been from Anna Sergeyevna’s point of view the dog would certainly have had a name.  And a patronymic. And a diminutive, too.

So she settled on Anton.  The resemblance was obvious by then—the longer black chin hairs, the compassionate tilt of the head.  Couldn’t she just see him in a pince-nez?

§

In the studio window her pots flaunted themselves.  Passersby could drop in and buy one.  That was the idea anyway.

The next day Matt was out front getting rained on when Ellen and Tony returned from their walk.  Her heart stuttered at the sight of his bare knees.  According to the clock with movable hands on the back of her Come In sign, the sign she’d flipped to Will Return when she’d left with Tony, Ellen was late.  This clock had proved useful in their affair, which was being conducted strictly on a drop-in basis; now it had provided Matt with a grievance. She pointed to her goateed excuse, though the goatee was not so obvious with the wet sock hanging down.

Matt asked, “What’s it got in its mouth?”

“A sock.  Isn’t that cute?”

Before the door was fully open, Tony bolted in ahead of Matt, who threw back the dripping hood of his Gore-Tex and sampled Ellen, her mouth and neck.  Only after they separated and shed their rain gear, did he ask whose dog it was.

“Well,” Ellen said, and she told him the whole story of bringing the dog home and the trip to the pet store.  She might have been reading a script.  Did he hear it?  This was how she lived now, hovering above her own life, watching herself so that later, when she recounted her day to Matt, he would be amused.

“You would not believe what they had in that store.  Look.  Party balloon poop bags!  I can coordinate Tony’s poop bag to my outfit.  Or I can say, ‘I’m feeling existential,’ and take a blue one.”

Everything was in the box Tony and the can of corn had come across the street in.    Matt reached for the plastic banana, squeaked it, and Tony snapped to attention.

“That’s a lot of stuff to take to the SPCA, Ellen.”

“And I hate shopping!  I don’t know what came over me!”

“Let’s go up,” he said, starting for the ladder to the loft, pulling on her sleeve.

Ellen sashayed over to the sign and turned the hands of the clock forward another forty minutes, remembering how, not so long ago, their pleasure hadn’t been so stingily meted out, yet still feeling grateful, so very grateful.

§

She walked Tony to the vet, paid for shots and deworming, determined he was flealess.  Wheaten Terrier, the vet thought, with a dash of Labrador.  Maybe even a little Corgi.  He lectured her on neutering.

Ellen said, “The thing is, I’m probably not keeping him.”

She should have been churning out Christmas pots, but couldn’t settle at her wheel.  So restless!  Ever since that debilitating conversation with her daughter Mimi, the one in Toronto, who had casually mentioned her Brazilian wax job.

“Everyone does it, Mom.  No one would ever go around all hairy down there.”

Ellen was stunned.  Another thing to fret about: her wild bush.

She started training Tony out of library books, glad to have found a use for all that corn.  Tony was gaga for Niblets.  Within days she had him sitting and lying down for Niblets, though no inducement would endear him to the leash.  He was a free spirit and, respecting that, Ellen let him sniff along behind her.

On YouTube, she watched Pumpkin the beagle read.  It really seemed that he could.  When shown a picture of a cat and offered a selection of words printed on cards, Pumpkin selected C-A-T 100% of the time.  Some old competitive streak surfaced in Ellen.  She opened another can of Niblets.

Finally, finally, Matt dropped by.  “Sorry,” he said.

“What for?” Ellen chirped.

“I couldn’t get away.”

Ellen pictured the girlfriend, not her ineffable face, but her tidy little Chekhov mound, pristinely waxed.  All her thinking about the Russians had brought her to this unflattering comparison, that, pubically, Ellen was in the Tolstoy camp.

Matt said,  “And I’m going home for the holidays.  Did I mention that?”

One of the dog books explained stances, tail positions, barks.  Ellen had noticed that, though Matt always said “I”, when he really meant “we” he cast his eyes down and to the right.  And if she told him how desperate this news made her, would he ever come back?

“And where is home?” she asked.

“Spruce Grove.  Outside of Edmonton.”

“Ah,” she said, feigning nonchalance. “I’m going away myself.”

He asked where, and she told him Cordova Island.

“Where’s that?”

“I used to lived there a long time ago.  When I was married.  My younger daughter Yolanda lives there now with her partner and their kids.  She dropped out of pre-med to relive my life. The weird thing is, then my ex-husband moved back.”

“Oh,” Matt said.  “Should I be jealous?”

Ellen laughed, but he didn’t. His face folded up in a way she hadn’t seen.  He was always so uncreased, so playful, except when lamenting his penis size.  It frightened her into blurting, “Oh!  We’ve got something to show you!”

“We?”

It seemed he’d forgotten the dog until Ellen said, “Tony?” and the black head popped up among the couch cushions.

Ellen selected three books from the shelf—Lady with a Lapdog, Portrait of a Lady, Anna Karenina—books the average undergrad couldn’t tell apart.  She stood them up on the floor.  Tony waited, shifting from side-to-side, licking his lips, which Ellen knew now was a sign of anxiety.  She showed Matt the index card with its neatly printed question: Which book did Chekhov write?

“Read,” she commanded, holding the card in front of Tony.

He pranced over to Lady with a Lapdog and brought it back to Ellen.  For this, she rewarded him with a palm full of corn.  Then she turned to Matt so he might – she hoped – claim his reward, too.

*

Bus to Horseshoe Bay, ferry to Nanaimo, bus up island to German Creek.  Ellen pulled her suitcase—stop-start, stop-start—stones jamming the wheels, through the gravel parking lot to the government wharf where the ramp was angled at eighty degrees.  And she remembered how, all those years ago, whenever they left Cordova Island or returned, it had seemed so difficult.  Inevitably it would be low tide like this and Ellen would have to negotiate the ramp with all their groceries and bags and Mimi, just a baby.  Ellen had needed a sherpa. And where was Larry?  Why couldn’t he sherp?  She let the suitcase go first, clutching its strap and the railing, inching her way down, thinking of Tony pulling on the leash.  She’d left him with her neighbor, Tilda.

It was the same ferry, a metal tub with a covered freight area, rows of wooden benches inside. Ellen loaded her suitcase on.  Eventually other passengers began arriving with backpacks and Rubbermaid tubs filled with provisions or the Christmas presents they’d come to the mainland to buy, stacked on foldable dollies.  A group of strangers.  It used to be that whenever she took the ferry, she knew everyone and they knew her and half of them had slept with Larry.

Last year Ellen had slept with Larry at the Winter Solstice party at Larry and Amber’s house.  Amber had gone to bed early with cramps.  The island was full of this secretless type of woman, their menstrual cycles public knowledge.  Ellen used to be one herself, though last year she took this information to mean that Amber’s body, if not Amber, accepted that these intermittent reunions between Larry and Ellen were, then, Ellen’s only opportunity for sex.  That was Ellen’s point of view anyway, that she threatened no one.

And this year?  This year Ellen was besotted with Matt, who kept coming around.  Whatever his reason, apart from sex, was his secret.

The ferry backed out of its berth.  A seal watched, head and shoulders out of the water, then ducked.  Gulls screamed in a wheel above the dockside fish store.  Ellen had quite forgotten the Solstice Party until now.  During Ellen and Larry’s marriage, when she’d learned that friends of hers had slept with him, she’d shrieked, “How could you?”  Very easily, it turned out.  As easily as Ellen slept with Matt, rationalizing all the way: Ellen didn’t know the girlfriend.  She was young.  She would pity Ellen if she knew.

But Ellen knew Amber.  She was practically related to her.

Tossed in the bag with the Christmas presents, Lady with a Lapdog.  During the crossing, Ellen took it out, sniffed it, ran her fingers over the dog-Braille inside the front cover.  She’d intended to reread the whole book, but instead found herself back with poor Anna Sergeyevna, stuck in love with Gurov, a man who classifies the women he sleeps with according to three types: Carefree, good-natured women, whom love had made gay and who were grateful to him for the happiness he gave them; those who made love without sincerity, with unnecessary talk, affectedly, hysterically; and two or three very beautiful women whose faces suddenly lit up with a predatory expression, an obstinate desire to take, to snatch from life, more than it could give.

This last type were no longer in their first youth.

And Ellen?  Which type was she?  Grateful and utterly sincere, yes.  But it was true, too, that she was chatty in bed and freely voiced her pleasure.  And that in two years she’d be fifty.

Then she felt it, the sob that could never be released, pressing hard behind her ribs. She put both hands over the place at the same time she glanced out the window, glanced at the precise December moment out on the open ocean with the solstice approaching when the colour of the sky and the colour of the water merged and there was no light anywhere to orient her.  The great gray middle of her life.

The sob absorbed back inside her body.  Next time she looked, it was night.

.

Her son-in-law, Sean, picked her up in the truck.  They drove the main road, companionably, Ellen recovering from the shock of winter darkness.  Off the grid, the island shut down on these long, overcast December evenings.  They passed the Post Office, the Arts Centre, the Free Store, but Ellen couldn’t see them, only the forest in the headlights.  She marveled that Sean knew on which rutted lane to turn.  Then they bounced along, cedar boughs brushing against her window, spookily, like the memories of her former life here clawing to get in.

Eli ran out of the cabin when he heard the truck.  “Nonny!” He was seven with wild clown hair he’d got from his father, who hid his under a toque.  He dragged Ellen inside and when Sean brought in her suitcase and set it down, Eli looked from it to Ellen.

“Did you bring me a present, Nonny?”

Yolanda came over from the stove with baby Fern in a sling on her back, tsking at Eli, her glasses half-fogged from cooking, exhausted and angelic in her half-hearted ponytail.

“Give me that baby right now,” Ellen said in the middle of their hug.

Yolanda loosened the knot on her chest and Ellen waltzed Fern over to the couch lumped with sleeping cats.  “Eli, come here,” she called.  “I have some news. I have a dog staying at my house. His name is Tony. And you will not believe this, but it’s true.  He can read.”

“I thought we were cat people,” Yolanda said, back at the stove.

“Where are our presents?” Eli asked.

“Don’t give in to him.  He has to wait.”

“Why should you?” Ellen whispered. “Bring me that bag next to my suitcase.”

In it was Lepus arcticus.  Arctic Hare.

At dinner, Ellen told them about her neighbour, Tilda, the fabric artist.  “She knits iconic Canadian wildlife.  She spins the yarn herself.”  The white hare perched on the table dangerously close to Eli’s bowl of chili.  “That’s why he’s so soft,” Ellen told him. “He’s got real bunny fur mixed in with the wool.”  She didn’t want to say what the hare and the tiny Townsend’s Vole she’d bought for Fern had cost.  “They’re not really toys.  They’re works of art.”

 Yolanda said, “The Solstice Party’s at Mason and Spirit’s place this year.  And Amber invited us over tomorrow night.  Do you want to go?”

Likely Ellen blushed.  She fanned her face, pretending the chili was too hot.  If she said no to Amber’s invitation they would wonder why.

Sean was trying to get Fern to eat a bean, washing the sauce off in his mouth, spitting out the bean and feeding it to the baby by hand.  At the same time, he glanced at Ellen and smirked.

“What?” Ellen said.

Flapping his hands on either side of his toque, he cawed, “Amber alert!  Amber alert!”

Yolanda slapped him on the shoulder.

“What does he mean?” Ellen asked, but Yolanda wouldn’t say.

Before bed Ellen read to the children, then stumbled in the starless dark to the outhouse and back.  Calling goodnight to Yo and Sean, she retired to the tiny, frigid room, the one too far from the woodstove, less a bedroom than a pantry lined with dried beans and canned preserves.  The cats joined her, bed warmers, slipping out later to kill.

Last year she’d lain in this same rack of a cot listening to the ocean’s restless exhalations, wondering what would happen between her and Larry.  This year, the ocean was still exhaling, but the hands that moved over Ellen were young.

.

“When I say walkies he grabs something that smells like me.  A sock.  Once he headed out with my panties.”

Yolanda asked, “Are you keeping him or not?”

“I didn’t plan on it.  Now I’m in something of a situation.  Because I care about him. I can’t stop thinking about him.  Like now. Talking about the dog counteracts the pointlessness I feel going for a walk without a dog.”

 They were following a rocky trail through the woods down to the beach, Fern in the sling wearing a bright Peruvian cap with ties, twisting her head back to look at Ellen, Eli marching ahead pretending to shoot things while Yolanda intermittently called out, “Cease-fire!”

 “I should give him up.  I’m not getting any work done.  I feel like I’m being dragged around by the hair.”

“Sounds like you’re in love,” Yolanda said.

Ellen halted in the middle of the path with her mouth open, her hand clutching her heart.  Was she in love?  The other hand reached for the support of a tree.  She leaned in, pressing her forehead to the rough bark.

“Mom? What’s wrong?”

Yolanda hurried back and slipped an arm around Ellen. Fern’s small hand patted her head.  It felt like the touch of a crow’s wing, over and over.

“Are you depressed?”

“No.”

“Last night I thought you looked so beautiful when you came into the cabin.  You looked so happy.”

Ellen looked up.  “Did I?”

“Yes.  Sean even said so.  He said you looked hot.”

“I love that man,” Ellen said, wiping her nose on her sleeve.  “I’m—”

No, she was too embarrassed to confess.

“I know,” Yo said.  “It’s the holidays.  They get me down, too.  Maybe we shouldn’t go tonight.”  Her lips brushed Ellen’s cheek.

“Go where?” Ellen asked.

.

Yolanda went ahead with the kids in the truck while Ellen and Sean walked over with flashlights, Ellen hugging the ditch.  Any old draft dodger with one headlight and a medicinal marijuana permit could round the bend, but Sean strode fearlessly up the middle of the road the way he would, on any dry day, streak down it in a death-defying crouch.  He custom-made longboards and sold them on-line, or bartered with them.  Somehow the boards, their Child Tax Benefit payment, and Ellen’s occasional cheques sustained them.

The glowing glass lantern of Larry and Amber’s house appeared through the trees, the opposite of Yolanda and Sean’s cabin.  The opposite, too, of the shack where Larry had once lived with Ellen.  For over twenty years Larry had written for television.  This house, architect-designed, cathedral-ceilinged, powered by the sun, was built on sit-coms.  You walked right into the heart of it where Amber was, at the stove talking to Yolanda, but falling silent when she saw Ellen coming over.  She’d changed her hair, sheared the sides and beaded the long part on top.  “Nice,” Ellen said, smiling and opening her arms.

On Cordova Island the standard greeting was a hug.  You hugged the postmistress when she handed over your mail.  You hugged the man who filled your propane tank.  When Amber turned away, Ellen stood there, bewildered and stung.

She tried again.  “What are you making?”

“Latkes.” Amber transferred one out of the pan onto a paper towel-lined plate.

The first thought that came to Ellen: “I have the best latke recipe. Grind the potatoes in the food processor.  Then they’re fluffy instead of rubbery and don’t look so grey.  Do you have a food processor?”

“No,” Amber said.

“Are we doing Chanukah?”

“No,” Amber said.

“Can I help?” Ellen asked, sincerely.

“No,” again, just as a latke slapped the floor.  When Amber bent to pick it up, her thong showed.

“I see London, I see France,” Ellen said and Amber straightened with a look of such undiluted hatred her monotone trio of “nos” sounded furious in retrospect.

Ellen backed up all the way to where Yolanda had escaped to nurse Fern in the big armchair by the fire.  She sank down on the hearth.  Amber was never really warm with Ellen, understandably.  Her best friend’s mother was also her husband’s ex-wife, but they’d always muddled through.  Now Ellen, who had only expected to feel, along with the usual awkwardness, the guilt anyone would feel returning to the scene of a crime, was confronted with a hostility whose source she quailed to guess at.  Amber was the one who’d invited Ellen.  Yolanda had said so.  Why would Amber do this if she knew what had happened between Ellen and Larry last year?

“Where’s your father?” Ellen asked Yolanda.

“I don’t know.  Sean’s checking on Eli in the bath.”

They came over once a week for this purpose, Ellen remembered, trying not to panic.  Because Sean and Yolanda would take a bath, too, probably together, while Larry hid in his study, like now, leaving Ellen alone and defenseless against Amber.

“Sure you’re okay, Mom?” Yolanda asked, touching Ellen’s knee.

Larry didn’t show himself until dinner.  Unshaven, in slippers and a stretched-out cable-knit sweater, the kind on offer in the Free Store, covered with pills, he finally appeared.  At the sight of Ellen, he drew his head back sharply, which confused her.  Also, she didn’t know if she should hug him with Amber right there carrying the plate of latkes over to the table they were all gathering around and, instead of setting it down, letting it drop the last two inches so it clattered.

Ellen decided to behave normally and hug Larry.  The sweater was pungent with old wood smoke.  Strange how different his once-loved body felt when for all these years it was everyone else’s body that felt strange.  All those lovers who weren’t Larry.

Then her second epiphany happened.  Her second in as many weeks, when most people don’t experience two in an entire lifetime.

She took her place at the table, beaming.

Last year, and the year before, over the last quarter century, in fact, when she knew she would soon see Larry, she would always be in some kind of state.  Excitement sometimes, often rage.  At any rate, some form of passion would carry her away.  But this year?  This year all she felt looking across the table at the delicately made, silvering man who had ruled her heart for decades was a mild irritation that he couldn’t be bothered to put on something presentable.

She raised her wine glass. “Cheers.”

.

“It’s not you,” Yolanda told Ellen after they had got through the incredibly strained meal made bearable to Ellen by her own inane chatter.  No one else would step up to the plate and talk.  Except the children.  Fern had blatted her few words, then guffawed as though she’d cracked a joke.

Ellen, with much nervous lip-licking, had explained how to teach a dog to read. “Take soap.  Rub it on the card with the correct word.  Rub the corresponding picture or object.  Leave the other pictures unsoaped. What the dog is actually doing is reading the smell. That’s what smelling is for them.”

Eli asked what grade Tony was in.

(Lying with Matt, listening to Tony singing at the bottom of the ladder, she had used Lady with a Lapdog to teasingly fan his face.  “Aren’t you curious how I taught him?”

“I know how you did it,” Matt had said.  “That’s the book with teeth marks all over it.”)

Amber wouldn’t make eye contact, even when Ellen complimented her on the latkes, which were in fact rubbery and grey.  Neither would Amber look at Larry.  Instead, she shot secretive glances at Yolanda as though the two of them were teenagers.

Yolanda and Ellen volunteered to do the dishes.  In the kitchen, the window ledge above the sink was crowded with driftwood and shells and coloured bits of beach glass.  Also two rubber duckies, one with a bowtie, the other in a flowered bonnet.  Ellen wondered about the pretty detritus, the shells and glass, things you’d pick up on a beach holiday to take home as mementos.  What possessed Amber—it had to be her—to gather and display things so commonplace to island life?  Ellen pictured her moping down at the beach, noticing a shell, and stooping.  And in her mind’s eye, Ellen saw the thong again, the world’s most uncomfortable undergarment, and was glad, very glad, no longer to be young.

“Dad told Amber—” Yolanda whispered and the plate Ellen was washing very nearly slipped out of her hand, “—that he didn’t find her very interesting.”

Ellen exhaled, relieved.  “Why is she so mad at me then?”

Yolanda said, “It’s not you.  She’s mad at Dad. See how the boy is facing straight ahead?” She pointed to the duckies.  “That means Dad wants to make up.  But the girl has her back to him.  So Amber is still pissed off.”

“Are you serious?” Ellen asked.

Yolanda picked a dripping plate out of the rack and, covering her face with it, giggled.

When the dishes were done, Yolanda went out to the greenhouse with Amber, ostensibly so Amber could smoke.  Sean was in the bath with Fern.  This left Ellen and Larry effectively alone, except for Eli, who was walking on Larry’s back.

“Why do you like to get stepped on?” Eli asked.

“It’s what I’m used to,” Larry said.

Ellen snorted.  Soon Eli lost interest and scampered off to look for his arctic hare, leaving Larry face down on the rug.

“Those are great kids,” Ellen said.  “It’s nice you see so much of them.”

“I’m wanted for my indoor plumbing.”

 “More wine?”  She went to the kitchen for it, found Eli crouching behind the island counter with the hare that had cost her $350, its face stained with chili now.  He’d discovered chopsticks in a drawer and was carefully inserting them between the stitches into the animal’s body.

She returned with a glass for Larry, too.  By then he’d resurrected himself and was stoking the fire, stabbing the burning logs with the fresh one. “Did you lose weight?” he asked.

“No,” Ellen lied.

Larry closed the fireplace doors. “You seem happier.”

“You don’t.  And your sweater is ugly.”

She felt sorry for him, the way after seven or eight readings she began to feel sorry for Gurov, shackled by bitterness.  Every new affair inevitably grew complicated and problematic; love always became an unbearable situation.  When Yolanda moved here to be with Sean after Eli was born, Larry visited them.  His visits to his own children had been infrequent, but now that he was a grandfather, he came.  At some point he decided to move back, possibly when he met Amber.  Ellen had never asked, but now she did.

There turned out to be a story.  The way Larry offered it up made Ellen think he had been waiting a long time for someone sympathetic to lend an ear, and that no one had until now.  Until Ellen.  It concerned a play Larry had gone to see in L.A. five years before.

“A play everyone was raving about.  By a young playwright.”

“A woman.”

Larry nodded. “It was pretty good.  I liked it.  The playwright was there so afterward I went over and introduced myself.  She didn’t know who I was.”

Ellen sensed what was coming.  She disguised her cringe with another sip of wine.

“I told her about Talking Stick and the awards it won and my TV projects.”

Talking Stick was a great play,” Ellen said.  “Your best.”

“I only wrote two plays,” Larry said.

“That was my favourite.”

He looked at her.  Larry had a look like a taser.  It disabled you with feelings of stupidity and self-doubt, but Ellen had been looked at by Larry so many times over the years she was as desensitized as a lab rat.  “And?”

“That’s it,” Larry said.  “I told her who I was.  She didn’t have a clue.  She’d never heard of A Principled Man.  It ran two seasons.  I was head writer.  Curve Ball?

“That was the baseball show?” Ellen asked.

Curve Ball drew a blank, too.”  He scratched his stubble then admitted that he had asked the young playwright to go for a drink sometime, not necessarily that night. “‘To talk about your play.’ I said I had a few suggestions.  Well.  She took gross offense.  It was unbelievable how she over-reacted.  Like I’d just said her play was shit, when I’d said the opposite.”

“Unbelievable,” Ellen said, thinking of Tony in full snorkel mode at the base of a tree.  Now that she’d read all those dog books, she knew what he was so desperately seeking there.  Some other dog’s three-week-old piss to dilute with his own.

Amber appeared out of nowhere then with Yolanda behind her.  “I’m going to bed,” she announced.

 “See you,” Ellen sang.  “Thanks for dinner.”

 Larry looked at Amber and, on her, it had its intended effect.  She swung around and stomped off like a little girl, her beads clacking.

Yolanda said,  “I’m just taking a quick bath, Mom.  Do you want to walk now with Sean and Fern or come later with me and Eli in the truck?”

“We’re talking,” Larry told her.

“Well, don’t talk too much,” she said to Ellen.

“Gotcha,” Ellen said, sitting up straighter.

“The last time I wrote something decent was when we lived here,” Larry said, as though these discomfiting walk-throughs hadn’t happened. “That’s your answer.  That’s why I came.”

“So how’s the play?” Ellen asked.

“There’s no play,” Larry said, and he turned and opened the doors of the fireplace and slammed another wood chunk in.

“Did you tell Amber about last year?”

Larry said nothing.

“Larry?  You shouldn’t have.  She’ll tell Yolanda if she hasn’t already.  And now she hates me.  Is that why she invited me?  To show me that she hates me?”

“It’s a test,” Larry said.

Ellen threw up her hands.  “It was nothing.”

“Was it?”

The way Larry looked at her then was entirely unfamiliar.  There was a softening in his eyes.  She saw his pain, too.  His back, and now his play.  Larry had always had a tortured process.

“My therapist?” Larry said.  “The one in L.A.?  He used to say, ‘Larry, you are addicted to Act One.’”

“What does that mean?”

“I like beginnings.  When I lived with you?  Here?  That was the only time I ever finished a play.”

Ellen stared at him.  The sweater made him seem shrunken.  Both hands pressed the small of his back. Also, now that his legs were stretched out in front of him, she saw two different colour socks, black and brown.

Larry stood.  Last year she’d followed him to his office, to his battered leather couch calicoed with the stains of his former conquests.  But not then, not during any of the other times through the years that they had coupled up for old time’s sake, or relief, had he ever indicated that she might be his muse.  Now he limped out, leaving Ellen by the fire in the lonely cathedral of the room wondering where everyone had got to and how they’d ended up this way, so miserable.

Well, the children were all right, and Sean, too.  Yolanda was just tired.

“Nonny!” Eli called.

Ellen went to him, still behind the island.  He held up the hare impaled with chopsticks; it resembled a voodoo doll.  Laughing, Ellen lifted him and set him on the counter next to the sink.

“Look at these two,” she said, showing him the duckies on the windowsill.  She made the girl ducky fight the boy ducky and Eli laughed.  It was laughable.  Pathetic.

Then she turned the girl ducky so it faced the boy ducky, so it seemed to be nuzzling the boy ducky’s neck.

.

Something happened just as they were leaving that changed the entire holiday for Ellen.  Larry, when summoned by his daughter, shambled out to be hugged by her, then Ellen.  Having helped the squirming Eli into his coat, Ellen pulled her gloves from her pocket.  And something fluttered to the floor, something orange that Larry bent, wincing, to pick up. To her amazement, and Yolanda’s apparently, he straightened with a smile, his first that evening and, for all Ellen knew, that year.

A poop bag.

“I know what’s different about you, Ellen,” he said.  “You got a dog.”

Did it count?  Could this be a third epiphany?

She loved that dog!  She would forget Matt.  Forget Larry.  What did they, or any man, ever do for her?  She was always giving, giving herself away.  No more, she decided.  No more.  She would get Tony neutered and live with him instead.   Long slow walks in the morning, reading together every night.  In between, a little bit of squeaky banana and some fetch.  The second half of her life unspooled before her like a newsreel, its blazing headline: Contentment! Contentment!

After that Ellen just had to speak to Tony.  She called Tilda from the truck.

Tilda said, “Yesterday there was so much corn in his poo.  Today he’s better.”

“Have you been practicing with the Henry James?”

 “Um,” Tilda said.

“Where is he?”

“Right here.  He’s sleeping.”

“Put him on.  Tony?  Hi, Tony!  Whatcha doing?  Do you miss me, Tony?  I sure miss you. What’s he doing, Tilda?  Does he know it’s me?”

“He’s wagging all over the place.”

So who was Ellen’s grand passion?  She wondered this after she hung up, in the truck bouncing back to Yolanda and Sean’s.  Of course it was Larry.  It had always been Larry, her Gurov.  (But this was only her point of view.  Larry, of course, would have a different opinion.  He always did.)

Then this past October she found herself standing in line behind a man whose shirt tag was poking out the back of his collar.  She tucked it in.  He turned and said, “Your hands are cold.”

Your hands are cold.  Your hands are cold.  Let me.  Warm them.  Let’s go up.

She hadn’t told Larry, though she’d planned to.  She’d planned to say, “See?  I, too, can snatch this from life.”

Then, what with the Winter Solstice party and Christmas and visiting old friends who still lived on Cordova Island, Ellen did forget Matt.  She barely thought of him after that night at Larry’s.  Things were getting complicated between them anyway, especially now.  Now that she had Tony.

.

When she got home to Vancouver, he was waiting for her.  Tilda opened the door and he leapt against her legs and dervished all around her.  The whole dog wagged.  He wagged for Ellen.

She threw her bags inside and out they went.  Tony sniffed and peed, sniffed and peed.  Reaching the end of the block she turned; he was far behind.  But all she had to do was call his name and he ran right to her, tongue out.

A child’s pink purse lay in the gutter in front of the corner store across the street.  Ellen wiped it on the grass and showed it to Tony, who took the handle in his mouth.

In the next block, an elderly woman came along.  “What in the world is he carrying?”

“We’re just coming back from Saks,” Ellen said.  “Gucci’s on sale.”

“Well, he is cute.”

“Smart too.  This dog can read.”

The woman’s face crinkled all over when she smiled in a way Ellen found very beautiful.

Back home, the mail was in a drift behind the door.  She unpacked her suitcase first—she had bones for Tony—then checked the beeping phone.

“Ellen? Are you back?  It’s Matt.  I’ve been calling and calling.  I really have to see you.  I have to.”

She pressed the phone against her ribs, pressed it hard, but it wasn’t any use.  It had been building all this time.  And out it came.  Out and out and out.

Tony laid back his ears and cocked his head to one side, but both of them knew because both of them had read the story.  The end was still a long, long way away and the most complicated and difficult part was only just beginning.

—Caroline Adderson

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Caroline Adderson is the author of three novels (A History of Forgetting, Sitting Practice, The Sky Is Falling), two collections of short stories (Bad Imaginings, Pleased To Meet You) as well as books for young readers. Her work has received numerous prize nominations including the International IMPAC Dublin Literary Award, two Commonwealth Writers’ Prizes, the Scotiabank Giller Prize longlist, the Governor General’s Literary Award and the Rogers’ Trust Fiction Prize.  Winner of two Ethel Wilson Fiction Prizes and three CBC Literary Awards, Caroline was also the recipient of the 2006 Marian Engel Award for mid-career achievement.  She lives in Vancouver.

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Sep 242012
 

Herewith an excerpt from Mark Frutkin’s strange and wonderful new novel, A Message for the Emperor just published by Véhicule Press. Mixing the past and the present, Frutkin tells the story of Li Wen, a landscape painter of the Song Dynasty (960-1279 AD), who is on a journey to deliver a message to the Chinese Emperor in the far-off capital city of Linan. His teacher has instructed him to paint four landscapes, one for each season, during the year it will take him to travel across China to the Emperor’s Court where he is to present the paintings to the Emperor as a long-life gift. Part historical drama, part fable, part picaresque, part cultural criticism, A Message for the Emperor follows Li Wen on a series of (artful) adventures (including burial in an ancient tomb).

Frutkin grew up in Cleveland before moving to Canada during the Vietnam War, settling there (he lives in Ottawa) and making his way as a writer. He is one of a brave band of American/Canadians of that era, many of whom had a profound influence on the development of a nascent Canadian literary brand in the 60s and 70s. For a lively recollection of his early years in the Great White North, read his 2008 memoir Erratic North, A Vietnam Draft Resister’s Life in the Canadian Bush (Dundurn).

His previous novel, Fabrizio’s Return (Knopf, 2006), won the Trillium and Sunburst Awards and was a finalist for the Commonwealth Writers’ Prize (Canada/Caribbean region). His most recent publication (September 2011) is a travel memoir, Walking Backwards: Grand Tours, Minor Visitations, Miraculous Journeys and a Few Good Meals. His 1988 novel, Atmospheres Apollinaire, was a finalist for the Governor General’s Award (fiction). Altogether he has published twelve books of fiction, poetry and non-fiction.

dg

 


 ————

The curator of Chinese art swings open the door of his office at the museum, notes with surprise that the new paintings have arrived, places his take-out coffee on a corner of his desk and pries off the lid. He stares at the coffee a moment – brown as the sound of a cello – refusing to look up, in an attempt to delay gratification at the arrival of the long-awaited paintings.

He notices a message, unsigned, waits on his desk. Picking it up, he reads: No room in storage for these at the moment. I installed them here for the time being, figured you wanted them close by.

Finally, lifting his gaze, he considers the paintings – four Chinese landscapes – that hang down like banners from the ceiling. Spring, on the far left, ripples from an unseen air current.

Four Seasons in China by the Song Dynasty artist Li Wen comes with an intriguing provenance that caught the curator’s attention when he first heard the story. The paintings were recorded in the Imperial Catalogue of 1275, a thick volume which held a complete inventory of the Chinese Emperor’s artistic holdings. A later catalogue from the Ming Dynasty failed to include them. Somehow the paintings were lost, likely due to the chaos that followed the arrival of the Mongol armies in the south of China during the late thirteenth century. And lost they had remained until rediscovered the previous year rolled up inside a bamboo tube in the basement of a Chinese antique dealer’s in old Chinatown. Surprisingly well-preserved, each painting is exactly twenty-two inches in width by forty-eight in length.

The curator opens the top drawer of his desk and removes a rectangular magnifying glass, its handle cross-hatched with notches. He paces back and forth, considering the paintings, the magnifying glass in his right hand. He longs to examine them in detail, to explore their worlds, to wander freely through those landscapes. Pulling his chair close, he settles before the painting of spring and begins. By mid-morning, the curator’s arm has grown tired of holding the magnifying glass. He decides to switch to a more powerful lens. For close-up work he sometimes uses goggles with eye-socket loupes, a type favoured by jewellers. These he can wear mounted on his head, leaving his hands free. He finds the loupes provide an astonishing clarity.

Returning to the painting of spring, the curator delves back into the mountains, deep into their crags, crevices and ravines. Easing his way through shaded forests and gorges, he climbs twisting paths. He enters and begins crossing the broad valley laid out before him, divided into rice paddies. Through the long afternoon he wanders. By early evening, he is alone in the museum, lost in the never-ending forests of China.

Removing the goggles for a moment, he twists his head around – trying to loosen his neck muscles. Replacing the headset, he leans forward in his chair, focusing now on the landscape of autumn.

At the foot of a mountain, next to a multi-fingered lake, stands an open-sided pavilion surrounded by cassia trees. He can smell their faint evergreen-cinnamon scent. Inside the pavilion he sees a man—he’s bald so he must be a monk—sitting and talking to someone unseen. On a low lacquered table before the monk rests a cup of tea. With exquisite precision and subtlety, the artist has depicted the twisting thread of steam from the cup of tea as it drifts up into the mountains and forms a trail beneath the mist-shrouded trees, a thin grey line winding through patches of mountain spruce, larch, pine and oak.

He notices a figure walking along this trail with what appears to be an oversized load upon his back. At first the curator guesses the image is a woodsman bearing a heap of firewood but when he increases the power on the magnifying loupes, he realizes it isn’t firewood at all but a bulky, laden pack. Something straight and narrow with a furred end sticks up from its side.

The curator leans back in his chair. A brush, he whispers aloud, it’s a brush.

 

***

Li Wen hiked along the trail, the loaded pack weighing heavier and heavier as he climbed through the autumn mountains. Already half the leaves on the maples and oaks had fallen, and the pines and spruce grew darker with each passing day, with each night of lavish frost. As he tramped the path, Wen felt as if something was watching him from behind. Turning, he glanced back the way he had come. The previous day a hunter had told him that tigers were known to haunt these mountains. His heart thumping in his ears, he noticed back along the trail a patch of mottled bamboo shivering in a breeze. But he saw no sign of an animal. Breathing deeply and sighing, he trudged on.

Again he paused, gazed back into the forest, into the tops of the towering pines, and the river of blue silk sky high above. Suddenly everything felt upside down, as if the slit above was a rough stream rushing through a heavily wooded gorge. White mist drifted from the pines. With the vision of the mist came the memory of his master in the pavilion at the monastery. Everything that Li Wen knew about calligraphy and painting he had learned from his master, Fu Wei.

Wen’s last meeting with his master had taken place three days earlier. It had begun like a hundred other previous sessions. That afternoon, however, Master Wei’s cup of tea seemed to be emitting an unusual amount of steam. Wen considered that the steam from his own cup appeared rather meagre by comparison.

Wen had initiated the conversation: “One day I feel I am the greatest painter of the South and the next I believe I have never executed a single true stroke. I fear I must leave this place. It seems as if I have been doing the same painting over and over for the past two years.”

Master Wei nodded.

Fu Wei was a man of average height and stocky build, but he seemed larger than life, solid and immovable, with a core of iron. And yet, at times it struck Wen that Master Wei was hardly there at all, as if he could pass his hand right through him.

Fu Wei’s style name was One Tooth. How does one gain a sobriquet like One Tooth? Wen wondered, not for the first time. Especially as he seems to have most of his teeth but, in fact, has only one eye.

Li Wen continued his complaint. “I must leave. I am learning nothing here. I am the worst of students.”

Master Wei took a sip of tea, nodded again, said nothing.

“Perhaps because I am the worst of students, I am giving you a reputation as the worst of teachers.”

Fu Wei spoke: “I don’t require a student to make me a teacher.”

Wen persisted: “But what am I doing here?”

Wei countered with a question, as he often did. “What do you think?”

Their interviews were always like this, the push and pull, the struggle to arrive somewhere. But where?

Wen answered: “I don’t know. I just feel that I must leave. I believe I can learn nothing more here.”

Master Wei nodded, remained silent.

“I have drunk a thousand cups of tea in this room and today I feel as if I have learned nothing.”

This time, One Tooth did not nod, but sipped from his cup, his single eye piercing as he looked at his student. Finishing his tea, he turned his cup upside down on the low table. “You are correct. Our work together is done.”

—Mark Frutkin

————————————–

Ottawa author Mark Frutkin’s novel, Fabrizio’s Return (Knopf, 2006), won the Trillium and Sunburst Awards and was a finalist for the Commonwealth Writers’ Prize (Canada/Caribbean region). His 1988 novel, Atmospheres Apollinaire, was a finalist for the Governor General’s Award (fiction). His most recent publication is a collection of short essays, Colourless Green Ideas Sleep Furiously (Quattro, 2012).  Altogether he has published twelve books of fiction, poetry and non-fiction. He blogs at www.markfrutkin.blogspot.com.

 

Sep 032012
 

With a Heighton story, only the essential is conjured. There’s an efficiency in his writing, along with a sign posted at the door: No shaggy dogs allowed. But to call a writer efficient these days might imply some mechanical coldness—the latest anointed hipster, brimming with pocketfuls of detached irony and urbane wit. Heighton’s efficiency, however, is anything but sparing. His prose is lush, melodic and carefully cadenced. —Richard Farrell

The Dead Are More Visible (Stories)
By Steven Heighton
Alfred A. Knopf, Canada
ISBN 978-0-307-39741-6

“The virtue of good prose,” writes Steven Heighton in Workbook: memos & dispatches on writing, his meditative collection of aphorisms and memos on art and writing published in 2011, “lies mainly in this dishabituation: it triggers conceptual stammers in the mind, momentarily rerouting hard-set neural circuits, even laying the ground for new ones.” These conceptual stammers, echoes of what the Russian Formalist critic Viktor Shklovsky called defamiliarizaton, lie at the center of Heighton’s latest collection of stories, The Dead Are More Visible.

From wrathful lesbians to lonely widows, from aging track stars to angsty teen-agers, Heighton pulls off a literary hat trick: he tells spellbinding stories in aching, melodic voices that demand to be read again and again. A female boxer falls in love with her sparring partner; a heroic fireman rushes back into a burning building to rescue a bag of snakes; a recovering drug addict wanders the Sonoran Desert pursued by a mythical, oxycontin peddling hallucination; these are just some of the stammering citizens of Heighton’s fictional universe.

Heighton is a prolific novelist, essayist and poet. With a dozen books already published, it should come as no surprise that his short stories resist easy labels. In his fiction, Heighton interrogates the liminal borderlands of prose and poetry, walking the fine line between lyrical richness and good old-fashioned yarns. Yet never do the intricate textures of his language get in the way of clear-minded, narrative straight-forwardness, a linearity born not of simplistic formulas but out of a long and careful examination of form and structure.

The Dead Are More Visible contains sad stories with happy endings, simple stories with complex themes, and ineffable mysteries of being told from the perspective and language of common folk.

One of the more heartbreaking stories in this collection is “Heart & Arrow,” a twenty-four page, third person story that hinges on the fallibility of memory. On the occasion of his sister’s fortieth birthday party, Merrick thinks back to when he was ten and he would drink alone in his parents’ long-neglected basement bar. He remembers the loneliness of that bar with its “kidney-shaped counter of faux marble with a brown buttoned vinyl fronting, set at the head of a low, half-finished rec room.” His parents drink upstairs and his sister, Laurel, is almost always out with her friends. Desperately isolated, Merrick tries to act grown up by mimicking them. He wants to recreate an imaginary social life with booze and stale mixers. Instead, he creates his own personal hell.

And now he reminds her of that ironic reversal, to encourage her, he thinks, to cheer her up. Or is it to punish her instead? And what is it that’s pushing him to guide her back down that long-demolished stairway into their childhood rec room, the basement bar where he first tried to drown his childhood self and play the hardened, hard-drinking grown-up, while she already seemed set to inherit the only earth that mattered then: a feral frontier of contraband mickeys and smokes, death’s head roach clips, classes skipped with a shrug, creatively varied expletives, first lays in junior high. Stoners, they were called, nobody sure if that honorific referred to the state they were always said to be in or to the flooded limestone quarry where they hung out and smoked up and chugged beer and threw themselves naked off the cliffs.

Condensed into a series of tangible objects imperfectly recalled, this paragraph works like a narrative map. Every image counts. The rec room and dope, the cliffs and quarry, the drinking, sex, and partying—none of these are throwaways. Neither is the reliability of memory itself. Like Chekhov’s gun, each image carries weight. All repeat again and again throughout the pages that follow, forming rich and complex visual and acoustic layers which grow and harmonize as the story progresses. Heighton is thrumming along, patterning images and splintering them off only to bring them back. And the reader is lost in a wonderful miasma of sight and sound, fully captivated and awake.

With a Heighton story, only the essential is conjured. There’s an efficiency in his writing, along with a sign posted at the door: No shaggy dogs allowed. But to call a writer efficient these days might imply some mechanical coldness—the latest anointed hipster, brimming with pocketfuls of detached irony and urbane wit. Heighton’s efficiency, however, is anything but sparing. His prose is lush, melodic and carefully cadenced. Note the alliteration in the above passage, the internal rhymes and the precise pacing of Merrick’s memory of his sister’s social life: “a feral frontier of contraband mickeys and smokes, death’s head roach clips, classes skipped with a shrug, creatively varied expletives, first lays in junior high.” Yet the musical quality of the words balances with abundant, honest and empathetic characters. The stories in The Dead Are More Visible operate with the efficiency of nature, like the recycling of energy and matter in ecosystems, a churning, vital antidote to the sleek, mechanistic packaging of our entertainment culture.

She came from a side of town where most women thickened dramatically in their thirties and before long outweighed their men. The men thinned to sinew, their faces got a wrinkled, redly scoured look as if the skin had been worked with sandpaper, their eyes grew raw and haunted. Ellen had been spared the puffy moon face of her older sisters, only to see her features grow meaty and masculine while her body consolidated, almost doubling itself, like a hard-working farm wife of another era.

In “The Dead Are More Visible,” the lonely Ellen works the night shift, flooding a local park in order to form an ice skating rink. Nearby, a deranged man stares at a twenty-five foot obelisk and channels the dead—once buried there but moved to make way for the park. One night, a menacing group of three men approach. “They had the Grim Reaper look—slumpy, faceless, in layers of dark, baggy hooded sweatshirts.” The men begin to harass, first the deranged man, then Ellen. One of them, Shane, is strikingly handsome, something that Ellen notices in spite of the danger. He casts insults and threats, but she stands her ground. They want to rob her, possibly rape her, and she knows it, but she continues to provoke them. When Shane lunges at her with ice picks, Ellen defends herself with the only weapon available, the hose head in her hand, “a half foot of steel tapered to a flanged hole an inch and a half in diameter.” Ellen impales Shane with the hose head, and rips out his eye. The rest of the story becomes a farcical search for the de-socketed eyeball on the ice rink.

But what happens after such a violent set up is quite remarkable, and I’ll not spoil the ending, except to say that a simple compassion returns to offset the gore. Along the way, Heighton reveals the hardscrabble reality of life in a modern big city, invites the reader to experience a lonely woman’s heroic stance, and, just for good measure, he treats us to the strange, quasi-mystical figure of the deranged man and the obelisk.

It is this deranged man, a seemingly irrelevant character (he has no agency, really, on the page) who serves as the story’s deeper consciousness. “The dead are more visible than we are,” the deranged man tells Ellen, referring not just to the literal dead—the displaced graves once buried below the park—but also to our own existences run down by mortality, progress and the inevitable sweep of time. His voice provides the story its chilling resonance. The reader perceives that this story is about more than just violence and a lonely woman flooding an ice rink. In Workbook, Heighton describes this layering effect as vertical resonance.

Vertical resonance means a downward echoing, the potential for soundings into a textual subconscious, the swimmer’s thrilling sense, when crossing a mountain lake, of unmeasured depths in the dark below the thermocline.

Like the swimmer crossing the lake, we feel only the forward narrative movement, the stroke-and-kick, what-happens-next stimulus of plot. But what differentiates literature from schlock is precisely this deeper, textual subconsciousness. We read along and enjoy the surface story, but something else is happening. The reader slowly becomes aware of a chilling depth, an awareness of the gap between the habituated, day-to-day routines and the deeper, more meaningful qualities of life. The well written story bewitches us this way, deriving power from its ability to wake us up, to shake us out of an automated existence. Or, as Shklovsky once wrote, it makes the stones feel stony again. When it works, and it works quite often within Heighton’s stories, we submit to what John Gardner described as the vivid continuous dream, that phantasmagorical wonder that is reading a well made book. Plot becomes story. Metaphor becomes meaning. We become, in Heighton’s own words, more intensely alive.

Perhaps Heighton’s greatest gift as a writer is a relentless commitment to variety. His readers need never fear boredom. In the collection’s eleven stories, Heighton employs first, second and third person points of view. He has female and male narrators, old and young, innocent and experienced. From sprawling, almost-novella length tales to compact, twelve page stories, Heighton shifts often. Don’t look for thematic unity here. Don’t look for simple structures or stereotypes. Instead, expect to be pulled and pushed in ways that will baffle and befuddle but never fail to satisfy.

The last story in the book, “Swallow,” swells to almost 50 pages, yet it reads—thanks to tight pacing and careful construction—like a story half that length. A Greek-Canadian woman, Roddy, breaks up with her boyfriend, loses her waitressing job and refuses to move home again. To earn money, she signs up for a weeklong human drug trial. The drug she will be taking is an unnamed sedative.

The clinic is a hangar-like structure, cinderblocks and green corrugated siding, on the edge of an industrial park in the wind-scavenged steppes of outer Scarborough. At the park’s entrance the bus drops you along with two women in matching peach parkas over grey sweats. A sunny sub-arctic afternoon. No sidewalks. Snowless lawns hard as Astroturf. Up the middle of the road the matched pals tow dark, wheeled suitcases as big as wolfhounds. You have only a daypack, yet they edge ahead, their trainers flashing, heads down, shoulders high and tight—the slapstick, puffin shuffle of Canadians in winter. You don’t mind the wind’s bee-sting assault on your skin. You haven’t felt so awake in weeks. Neither do you mind the industrial park, finding something here that mirrors your inert inner world, so that for now—for a change—you don’t feel out of place.

Suburban Ontario transforms into a kind of wasteland, yet somehow stays homey too. The puffin shuffle, peach parkas, the wheeled suitcases like wolfhounds, these details accrete. What should be cold and arresting becomes an object of curiosity. The reader, while filled with trepidation, is also called forward.

Bleak and dismal, with drug trials and female subjects locked inside a forbidding building, it’s reasonable to expect Solzhenitsyn, or at least some sort of Orwellian dystopia. But in “Swallow” the mood remains more tantalizing than terrifying. Through a series of drug-induced scenes, we grow closer to Roddy. (The use of a second person narrator is rarely done this well.) We come to feel a community forming between the other women and the providers in this strange place. A sort of humanity arises despite the setting and the fact that these women are being poked and prodded and filled with poisons.

Once again, the conceptual stammers begin to fire. Heighton plays against the expected. Rather than sedating, the experimental sedatives become portals into Roddy’s world. The grim setting and the unusual concept create opportunities for a rich, meaningful experience. It is, in many ways, a sort of cockeyed celebration, a party of misfits who seem somehow enlarged by their very entanglement. This is not what the reader might expect.

But then each of the eleven stories in this collection surprises and delights. Heighton blends structural complexities with a linguistic opulence into a dazzling array of styles. The Dead Are More Visible is a master performance of art and storytelling from a significant writer who has honed his skills to a sharp edge. “[A] yen for transcendence,” Heighton advises himself in Workbook, calling upon the younger writer he once was (and, perhaps, by extension, other writers and readers) “to surmount one’s inborn pettiness and laziness, to be worthy of life’s wonder and better able to frame it in the right words, rightly arranged.” Thankfully, he follows his own advice. The dead are indeed more visible here. The right words are rightly arranged. With neural circuits rewired, habitual concepts stammered, deep lakes crossed and soundings taken, the reader surmounts pettiness and gazes anew at life’s wonder.

—Richard Farrell

——————————————————————

Richard Farrell is  the Creative Non-Fiction Editor at upstreet and a Senior Editor at Numéro Cinq (in fact, he is one of the original group who helped found the site). A graduate of the U.S. Naval Academy, he has worked as a high school teacher, a defense contractor, and as a Navy pilot. He is a graduate from the MFA in Writing Program at Vermont College of Fine Arts. He is currently at work on a collection of short stories. His work, including fiction, memoir, craft essays, and book reviews, has been published at Hunger Mountain, Numéro Cinq, and A Year in Ink anthology. His essay “Accidental Pugilism” (which first appeared on Numéro Cinq in a slightly different form) was nominated for a Pushcart Prize.  He lives in San Diego with his wife and children.

Aug 302012
 

Herewith a gorgeous, poignant story about love, loss and translation, about the strange world in which we find ourselves today, a world of exiles, guest workers, refugees, immigrants, and fractured cultures — we all leave home, it seems, but what of identity and love? Christy Ann Conlin is an old friend, dating from when I first read her wonderful first novel, Heave, when I sat on the Governor-General’s Award jury in 2002. I hadn’t met Christy Ann yet, but I was friends with her writing. Later, I put one of her stories in Best Canadian Stories when I edited that estimable annual anthology. Her fiction has lilt, it has swing, and it has heart. Nothing else like it.

dg

 —–

Wiedervereinigung, the German teacher said. Viola knew the Chinese student named Henry would translate just as he had since starting the class two weeks ago, always trying to help, but she already knew the word. It was impossible to be in Germany and not know. The teacher, a plump middle-aged woman, told them the fourth anniversary was approaching and she went around the circle and made them repeat, stretching their lips, raising their eyebrows, as though they were warming up for an opera.

Wie-der-ver-ei-ni-gung.

 “This means reunification,” Henry said looking at Viola from across the table. In perfect English. With an accent just like hers. His eyes found hers and she blushed. His smile soft and careful.

“I know what it means,” she replied in halting German, her eyes closing.  The Berlin Wall had come down four years ago.

Die Berliner Mauer, Viola said slowly. Apparently Henry interpreted this as confusion. “The wall,” he said in his remarkable English, as though he’d grown up down the road from her. “The Berlin Wall.” He stretched his arms out, as though showing her how big it was in case she thought it was a fence for goats like the one on the small salt water farm on Campobello Island, near her parent’s house, the farm where Nolen now was, without her, of course. The teacher clucked and reminded them to speak German. Henry smiled at Viola again as Fiona from Australia giggled as though they were still teenagers.

It was a small class in a small language school in the centre of Frankfurt, Im Zentrum, as the Germans said. Viola had been in the German class for three months. She took the train in every weekday from the small town she lived in with Ralf who she’d met on a trip she’d taken to Vietnam after finishing her history degree. When she spoke German at home Ralf would stroke her hair and say: “You are like a kitchen appliance, macerating every syllable. It’s very cute, Schatzie. You sound like a Turk.”

The director had brought in the new Chinese students that Monday morning. The director was an old German hippie, always winking and telling Viola to eat muesli. During introductions Fiona said Henry had smiled instantly when Viola said she was twenty-three and from Campobello Island.  Viola hadn’t noticed–she often shut her eyes when she spoke German, and thought of home. Henry was from Beijing. He had been in Frankfurt for one month. He was thirty-one years old.

Every Monday they began with a new expression or word they had learned on the weekend. This class, Viola offered Heimweh. Fiona had told her on coffee break that Henry had nodded when she said she missed Canada.

“Homesick,” he said, nodding as though he could see the sea urchins and shells she saw behind her eyelids. Viola squinted thinking his name couldn’t actually be Henry. It wasn’t Chinese.  He told her later it was a name he had taken for Westerners.  His real name was Sun He Peng.

On coffee break Henry was talking with the other two Chinese men as she walked by.  Henry smiled and looked down at his feet and then back at her. He was tall. He’d laughed later when she said she thought Chinese men were all short. He told her he used to think Caucasians wore sunglasses so their eyes wouldn’t change colour in the sun. “I didn’t know the colour of your eyes at first,” he said. “Your eyes were always closed when you were speaking. They are green like the ocean.”

Henry had worked at the Canadian Embassy in Beijing. He’d worked at the Chinese Embassy in Ottawa for one year, part of his training. He’d perfected his English there.

“A translator?” Viola asked.

He smiled back. “A diplomat. At first I thought you didn’t understand the language. You are just shy. Forgive me.”

Viola laughed and closed her eyes and her cheeks were suddenly hot.

§

After class Fiona had proclaimed them a mini UN.  Fiona was an accountant from Sydney and she was living here with her fiancé, Helmut, a banker she’d met at a conference. He had a telescope. They were going to Australia soon to get married.

There was a young couple from Turkey, Gastarbeiter, guest workers doing industrial work there weren’t enough Germans for. They never stayed after class. Sixteen-year old Farzad from Tehran who mourned the fall of the Shah and with his large aqua eyes followed the every move of Kwan-Sun, seventeen and from Korea, a nanny for a wealthy German family. Padma was from Bombay, her husband an English investment banker. It was the second time they’d been married to each other and she anticipated another divorce and possibly a third marriage. They were made for each other, she said, but only incrementally. Padma laughed what Fiona called a deep curried laugh. It was Padma who said the Chinese were refugees. “The riots, you know, the massacre,” she whispered.

And there was Lucien from Burkina Faso, married to a German historian. He and his wife Helga spoke French together, he had told the class. They’d married in Ouagadougou, and now she had a position at the university in Frankfurt. Helga’s last name was von Feldenburg. In the olden days von was a sign of nobility, Lucien stated.

Yes, their teacher had nodded, but German nobility ended with the abolition of the monarchy in 1919.

Ja ja,” Lucien had said, leaning back in his chair, his eyes sparkling and his skin like espresso against the creamy white wall. “But abolition does not mean the old ideas disappear. Ce n’est jamais si facile que ça, mes amis.” He looked at the teacher and then at Viola and winked.  “Ja,” she said, eyes closing and in her mind sitting with Noel on the back porch of his family farm house that had come down five generations to him. They ate chèvre with sun dried tomatoes on homemade brown bread. Don’t go to Saigon, Nolen said, looking out over the beach, crying so quietly. Stay here and marry me. We’ll run your parents’ inn and my family farm, do the summer market for the tourists, go sailing on Saturday afternoons.

§

Henry would always come to the park after class with the others who would scatter to benches in the late October sun. He sat by the fountain with Viola. She told him she was living with Ralf, that they’d met in Saigon where she’d gone after graduating from university with what Ralf called a useless degree. She’d left Campobello because it as an island, there was nothing there.  But her voice had caught then and Henry had nodded his beautiful head, knowing there were some things there. Ralf was a software engineer. He’d been married once before and had a daughter the same age as Viola. She lived in New York and would call sometimes, usually hanging up if Viola answered.  I don’t recognize you, the daughter said once. You are just one more. Don’t think you are the only one even now. Ralf would say his daughter was jealous. She was insecure. She refused to grow up. Ralf was doing research on using the internet for telephone calls. It was the way of the future, he said. He travelled frequently so Viola was studying German, something to keep her busy. She had no work papers, no official status.

Henry smiled.  “I have a great affinity for Canadians. They’ve been very kind to me.”

Viola told him the Canadian Embassy in Saigon had closed up shop in the night and fled just before Saigon fell to the North Vietnamese in 1975. The Vietnamese who’d worked for the Canadians found an abandoned building in the morning.  “That wasn’t very kind,” she said, looking at the sky.

Henry nodded and sipped his coffee. “Viola, no one puts their best foot forward when the army is advancing. Things did not go as Ho Chi Minh planned. He was hopeful after the Battle of Dien Bien Phu in the first Indochina War. But the negotiations at the Geneva Conference in 1954 were not what Ho wanted. Zhou Enlai was the Chinese diplomat involved in these negotiations, assisting the Viet Minh. Zhou Enlai was brilliant. ”

Viola nodded.  “Is he why you became a diplomat?”

Henry laughed and his coffee spilled on the ground.  “Oh, Viola, I was selected and told I would be a diplomat, and like Zhou Enlai, my job would be to think of my people. You know, over a million Chinese died in the Korean Conflict.”

“I can’t imagine so many people,” Viola said, watching the coffee trickle through the dirt.

He closed his eyes. “Zhou’s main concern was keeping the Americans away. A permanent partition of the Vietnamese Peninsula suited China.” Henry paused and then, opened his eyes and looked at the pigeons. “The freedom of my people suited me.”

Viola slapped the coffee puddle with the toe of her shoe and Henry looked at her. “We have a saying: The general sees with only one eye, the diplomat with both. War may be the domain of soldiers but resolutions are always the purview of diplomats.” Henry smiled. “Uncle Ho discovered that even hope must be negotiated.  But Vietnam was his home and he would not abandon it after he had returned after so many years in exile.”

Viola slapped the trickle of coffee again.  “There is an American photojournalist buried on Campobello Island.  He died on a helicopter that was shot down near Danang. He was twenty-nine. He had a baby boy who never knew him and puts flowers on his grave every Sunday afternoon even when it’s snowing.  He’ll never know his dad but he tries.  He’ll never leave that land.” She squeezed her eyes so she wouldn’t cry.

Henry took her hand.  “In China we prayed to our ancestors. The old ways are slow to pass. My father was sad when I went to Beijing. He said to complete the circle of life one must bury one’s father.  I laughed at him, Viola, but I laughed less as I grew older. It is our history with the people we love that binds us together. Being close to the graves of the dead has life in it even if you cannot see this.” He took out a tissue and dabbed her eyes and cheeks, and kept holding her hand.

She moved closer to him and he put his arm around her. “Nolen puts silk flowers there in the winter, not real ones because they’d freeze.”  She could feel his body shaking as he laughed, and then she laughed too and felt a lightness then, as she had the first time Nolen had given her daisies when they were fifteen.

After lunch they would walk to the subway, the U-Bahn. It was always Fiona, Viola and Farzad who would walk together but these days Farzad and Kwan-Sun had been walking away in the other direction holding hands.  Henry began to wait and walk with Fiona and Viola. He and Fiona would board the train on the left and Viola would take the one on the right to the Hauptbahnhoff , the main train station, taking the S-Bahn, a commuter train to Darmstadt, back to the empty apartment to wait for Ralf. On Fridays, some of the students would lunch at a cheap Yugoslavian restaurant near the school and Henry started to come along with them.

Ralf would be home on the weekends and they’d eat and then ride his motorcycle through the countryside. He knew she was homesick and hoped it would cure her. He would take her to ancient castles in the hills and as they’d climb the turrets he’d tousle her hair and tell her she was beautiful.

Ralf never approved of her housekeeping.  He’d unpack his suitcase and then vacuum. It wasn’t a criticism; it was how he relaxed. You had to stay on top of the dust, he’d comment.  And then he’d tie her to the bed and take a feather duster to her, from her toes, up her legs, over her breasts, her face, feathers soft on her eyelashes. And he’d be packing again on a Sunday evening, gone, before she awoke alone.

§

The day she went back to Henry’s apartment they’d been swarmed by an army of pigeons in the park.  The pigeons of Frankfurt were nasty creatures and knew no discretion. They didn’t wait quietly for crumbs but hopped and leapt about in a frenzy, even the maimed birds, creatures with one eye, one leg, bald birds.

She wondered about how they got their injuries but Henry had laughed.  “What is significant is that they survive them.”  He joked they were ancestors of war birds–while the bombed-flattened zentrum of Frankfurt might be nothing more than a replica, the pigeons carried the DNA of the survivors. They would survive an apocalypse now. There were pigeons in China, he told her. But having pets was now considered bourgeois. “They are not in the parks like this,” he said.

Henry always wanted more stories of Campobello Island, and she told him it was near Maine, near Passamaquoddy Bay—it was easier to talk about the geography. Her hands fluttered in front of her face, in front of her breasts, up over her head, as she drew him a map in the air. She told him of Nolen and the goats, and the summer market where they worked together, how Nolen had wanted to marry her.  “He thinks if his father had been a farmer and not a combat photographer, he wouldn’t have died, if he had done what his parents wanted. I went away to university but I came home every holiday, every summer. The autumn after I graduated I went to Saigon. I went because I saw his father’s photos. They spoke to me. Nolen said I’d never come back. And I didn’t. The island felt as though it was growing smaller everyday.” Viola asked Henry why he was in Frankfurt. He was so easy to talk to and yet shared so little. He’d been at Tiananmen Square, he told her in a matter-of-fact voice, as he watched the pigeons. He’d been in prison and then under house arrest. The Canadians had negotiated on his behalf, for his safety. His voice became very soft and she had to bend her head close to hear. His father had died during that time.

Could he ever go back, Viola asked, holding her hands up.  His eyes followed her fingers as though they were wings in the sky and he reached for them, clasping her cold hands in his as he told her, no, he did not foresee that. And he put his hands on his lap, still holding hers.  I can see nothing yet in the tea leaves, he’d smiled at her. He wanted to know again about Campobello and she told him of the beaches, Theodore Roosevelt’s summer place that was now part of a park. Viola’s family home was now an inn. Her father was ill, Alzheimer’s.  He would have to be institutionalized. It was easier to be away, she said.  Henry had nodded.  It is nice you have a choice, Viola.  She’d closed her eyes then but there was no judgment in his voice and he had held her hand tighter.

The refugee camp was not what she’d seen in the news, tents and jeeps and aid workers dolling out bowls of rice. Henry laughed.  Housing was perhaps a better word than camp, saying her island view of the world was charming. She’d smiled. They had not discussed that she would come with him. It was a Friday but Ralf was away until Saturday evening. After lunch, they walked to the subway. Fiona got off at her stop, winking at Viola as the doors closed.  And they’d carried on until his stop. The door opened and he’d held out his hand.

It was a tall generic building. Henry and the two other Chinese classmates shared the small, tidy apartment.  Two bedrooms with one of them sleeping in the living room. The roommates had not been in class, away for the weekend, Henry said. Viola did not ask where.

Henry led her by the hand to a little bedroom with a mattress on the floor and a tiny table beside the bed, on it a photo of a smiling young Chinese woman holding a baby, and beside it, a black and white picture of a young boy and his father and mother, standing by a cow. Henry turned to Viola and took her face between his hands and kissed her, sucking her breath inside of him, her fingers all over his flesh, mapping her way to him. They made love on the thin mattress, his long hard body pressed down and in on hers, spreading over her as the shadow from a tree would.  Henry was silent and when she cried out he covered her lips with his mouth.

He had asked her, after, as they lay there drinking tea, if she would stay and marry Ralf. Or if she would go home to her young man with the flowers. Frankfurt was not a city for her, he said. There were no beaches. “As the Germans say, Zu Hause ist es am Besten,” he said with a smile. The late afternoon sun tunneled in through the small window.  No place like home, he said.

Henry told Viola they’d said his wife and daughter would be safe but only on the condition that he go into exile without them. It was the Canadian Embassy who’d arranged things with Germany. Henry hoped he could one day go to Canada. They were working on that but it would be years, and his life would be only in exile now, he knew this. There would be no visits to his father’s grave.

Henry brought her some noodles for supper and in the early morning he brought her persimmons and tea. Grey sky filled the window and she imagined she was on the shores of Campobello, the traffic outside the surf on the sandy beach. She held up her hand and spread her fingers out. “Did you know the starfish is a symbol for safe travel,” she said.  She thought of Nolen and his goats, and his armful of wildflowers for his father on Sundays in July, her father now drooling in a chair.

“Viola,” Henry whispered, taking her hand in his, “Home is something we must sometimes negotiate.  But it is always worth the negotiations, no matter how hard. You must not send yourself into exile when you can return and make your way.  We Chinese have a saying: Your heart will lead you to a path and if you do not follow it, you will, as the years pass, find that you are still at its beginning.” It was then he glanced at the photo on the small table.  He shut his eyes and was quiet for a moment before he took Viola’s hand, kissing the palm, his lips soft and warm on her cold pale skin.

— Christy Ann Conlin

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Christy Ann Conlin is the author of the novels Heave and Dead Time. She is finishing her next novel, Listening for the Island. She hosts the CBC radio program, Fear Itself, a show that explores the whys, wherefores and what-have-yous of fear www.cbc.ca/fearitself/ You can learn more about the quiet country life of Christy Ann at christyannconlin.com.