All Articles by MH Editors

Photography

In our second annual photography section, we’re pleased to include the work of seven student photographers.

 

Farm Hand

Start slow because it’s hard to wake before the dawn,

but even in the dark someone depends on you.

First, take the dog for a walk across the lawn;

stride along the fence line and enjoy your view.

 

Stop before you meet the yellow jacket nest

sleeping in the ground, hidden by the way.

Turn around and you will see the sun crest,

and the beams of light dissected by bales of hay.

 

Now, cut up a long carrot or a shiny apple.

Grab your muck boots, coat, and flashlight,

bring them with you to the fence where Sparkle

has been waiting for you to come into sight.

 

By the time the horse starts to walk away,

Nicole will see you; you will hear her baaing.

Five pairs of wide set eyes with pupils sideways

as if drawn by a messy paintbrush, all watching.

 

Check the minerals and inspect the electric net,

give them some corn and grain, maybe some hay.

Nicole, Blossom, Sandy, Butterfly, Crumpet

All watch you closely, the keeper of the bale.

 

Now, you can go back inside and put your boots up.

Make a cup of tea with milk; you are learning.

Sip it slowly out of your favorite cup.

From the dog, the horse, and the sheep:

“Good morning!”

51 North

Because I can’t differentiate between Sedona and Camp Verde

our destination is never clear, we’re only closer

by the three-minute-fast car clock. If you smell a skunk or hit

 

a deer, you’re getting there. Javelina could be anywhere.

Because I cannot understand traffic, I feel the world

crushing us in a vise, half-Camry, half Ford pickup

 

with a sapphic bumper sticker, bald driver taking a hit

out of his cigarette before releasing it into the street. Because Verde

Valley is the next exit, maybe we can get food. Because closer

 

means I get to pee, maybe soon enough, I pick up

my leg and put it over the other. My dad listens to Brave New World

the audiobook, says we’re almost there. We could be anywhere

 

like yesterday, my kindergarten substitute teaching us colors: verde

green as saguaro, go, rojo means your parents hit

the brakes. Stop. Litter collects itself in amarillo lines, the world

 

drifts by at night so you don’t see. Objects in mirror are closer

so watch out, Huxley says, this dystopia could be anywhere.

We’re here. End recording. Next time, this is where we’ll pick up.

In a Sentimental Mood

I.

What else can be done
than listen

to bloated nature? Its fluid consistency:
some sort of masculine fleece
or livid crocus, blending in with the blips
in the night. The crickets still chirp;
they’ve been up all night
again, the bastards, roaming the homelit streets
and short-cut lawns.
Somenight,

their cries might stop: A final,
feverish, rubbing together of jagged legs.
The close wonderer
will notice the lamentable ululation
in the loam, in the air.

II.

There is a miraculous fading and folding
in the dark as it shifts

into morning. This
is it. The first bird will chirp any minute.

The music has lifted
from the player’s nail and knuckle, sounds tender
and freshly orange,
like a nectarine.

The early worm has wriggled
into the fruit, and
I have bit.

Carnation, Lily, Lily, Rose

A family of glassblowers, a river road

unturned to loam. Sing the molt

to second skin, layer, the wings

found on our lawn like petals before fruit.

In spring, in bloom, in lantern

given by a child, in light

flimsy as wax paper, come violent

as storms in youth, come melancholia yellow

lilies thrown at your feet by a lover,

the father, the rose, come starless dusk

draped in orange shutters, carnations

in parade, come inside, mother

says, show me what you’ve made.

An Egg (1910)

Rose is Regina when she is born in

Budapest and before one war and another

                 she is two or three years old

                 she looks out the second-floor window

her wealthy downstairs neighbor’s breakfast 
 
alfresco the wealthy girl                  her opulent soft-

boiled egg

                   spills      its solid gold yolk     it’s sunlight

                   the porcelain cup puts it back together                 raises it to its spot in the 

sky Regina is so small

she is hungry and she is jealous

Rags (c.1925)

The stubborn fabric is seizing around the needle

its obstinate refusal sends laughter through Rose

                  the school didn’t want a Jew anymore but the Torah unravels itself for her

                  the ark opens in a flash of light               her father holds the magnifying glass

                  here Esther defeats Haman here Miriam her watchful eye

Rose won’t sit around

with permission she starts a business

takes the reins               the seamstress                 whips of wool

              her custom dresses rival France’s                everyone knows 

              her she is in the fabric now

Pretending (c.1940)

The little that Joseph recounts of Czechoslovakia

includes the black magic of his blond hair

blue eyes as admission to a Nazi Party meeting

                       their agenda


                                                      he imagines any exemption

                                                      we have so much respect here we 
                     are safe here silently Jews

Emrick and Walter will be fake Lutherans

                                 go to fake Lutheran school

                                 learn fake Lutheranship

maybe Jesus’ hand will wipe our faces Aryan

That Dance Move’s Gone Forever

Is what you told me with 
my ear in your teeth, you had 
stopped spinning but Prince didn’t get the memo 

and he continued even as we stood
clinging; I tried then to remember 
how you spun, how your forearm felt, 
the weight of your foot on mine—it’s all 
going away too fast. 
Which fingers stayed touching as you twirled? 
How many rotations about the candle-sun? 
The angle of our orbit? 

As if sensing questions your eyes catch mine; 
I am swept away in undertow memory. 

We’re swaying so awkwardly on 
the gym floor in middle school; waltzing 
in the tent during a rainstorm with 
the lantern on the ground painting 
you yellow from the ankles on up; 
slow dancing and making out in the 
St. Vincent de Paul among all the old TVs
soundlessly projecting Superman cartoons 
and an unnamed John Wayne flick 
in glorious grainy technicolor behind our backs; rocking the car of the Ferris wheel, 
the carnie giving us a dirty look 

and that mood ring you won me 
never leaving 
its soft pink as we rock. 

Prince fades to Cat Stevens. 
You pull back and spin me and kiss me and boogie on, 
finally speaking: 
No stopping now; we’ll both be pumpkins by morning.

Taste and See

Whenever she eats a naan bread, she is inside the out
of herself. She chews—and

chews—and lives alone
and beneath,
as an essence under your eyes.
No, your nostrils.

No.
Your mouth.

So which of you would believe her
if she told you each day she throws
those limbs of hers into a blender,
power on, puree? And he sometimes comes with?
Here is the pile of knots.
Untangle yourself before the late
knocks.

These walls are so very thin
so make sure you stuff
yourself more. Wait up,
you left your morning feet behind,
there on the bedside floor.

What’s on,
today?

Her: a cartoonish, Frooty Pebbles cereal,
a surreal whirl. An incomplete protein, but bliss when she should.

Current Staff

Editor in Chief, Samantha Frank

Samantha Frank, a senior from Massachusetts, Texas, and Illinois, is majoring in English in the creative writing track and minoring in studio art and gender studies. Her current scholarship and creative practice have led her to explore nonsexual intimacy and relationships in her writing and art. Her multi-media exhibition, Attachments, curated by Otis Heimer, appeared in the James K. Schmidt Gallery at Principia College in February of 2019. She recently presented a poster on the effects of ‘compulsory sexuality’ and ‘amatonormativity’ on the asexual community at the 82nd annual Midwest Sociological Society conference in Chicago. She previously served as Mistake House Magazine’s Fiction Editor. Though she never had imaginary friends growing up, she has always lived closely with whatever characters she’s writing about, often rewriting scenes in her head while traveling or waiting.

 

Managing Editor, Jade Sperr

Jade Sperr is a senior majoring in the English in the creative writing track at Principia College. She hails from Huntsville, Alabama, where she transferred from the University of Alabama-Huntsville to Principia in 2018. Adopted from China into a European and Native American household and living in a place considered atypical of The South, she is interested in exploring otherness, and liminal spaces. Her fiction writing takes inspiration from mythology and folk lore. She enjoys examining outliers and the constructed morality of heroes and villains. In her time off she collaborates with others to explore fantastical worlds and improvised situations. 

 

Online Editor, Della Christy

Della Christy is a sophomore English major in the creative writing track. She speaks with the sweet, slow drawl of the South United States. With William Faulkner and Eudora Welty as inspirational Mississippi writers for her growing up, she enjoys the small joke through her creative writing practice that “Southerners not only can read, they can also write.” In her short fiction, she likes exploring the intimate, vulnerable parts of humans’ inner selves that find conflict with their external environments. With the inner self as her writing voice, she hopes to continue her study of writing and storytelling’s ability to open and connect human hearts to one another.

 

Soap Bubble Set Editor, Grant Lee

Grant Lee is a poet from Eastern Tennessee, where he spent most of his childhood in a valley near Appalachia. In high school he attended boarding school in St. Louis, MO, and from there moved on to Principia College in Southern Illinois to study poetry. Grant was given the opportunity to study art and writing abroad in Prague, Czech Republic in the Fall of 2016, which sparked his deep love for the visual arts and inspired him to work towards becoming a “writer of conscience.” In the Summer of 2018 Grant worked as an intern at The Wordsworth Trust in Grasmere, UK, giving guided tours of William Wordsworth’s home, undertaking research on one of the paintings in the museum’s collection, and—of course—writing poetry. Grant is currently interested in exploring the importance of identity in his poetry and identity’s relation to the boundless cosmos.

 

Fiction Editor, Sean Hannan

Sean Hannan is from St. Louis, Missouri and is currently a junior majoring in English in the creative writing track. Over the past year, he has grown increasingly interested in obsessive characters through his practice in writing short fiction and screenwriting, as well as the operation of time in writing. He plays third base on the Principia Panthers baseball team. In June and July of 2018, he studies archeology in Malta on a Principia Abroad. He spends most of his spare time watching films or producing his own short films.

 

Poetry Editor, Slater Smith

Slater Smith is a sophomore majoring in English in the creative writing track and minoring in mass communications. This fall, he will be traveling to Prague, Czech Republic, to study Czech literature, studio art, and creative writing. He has written for Principia’s on campus newspaper, The Pilot, and also wrote for his high school newspaper in Carlsbad, California. He has been writing creatively since the age of 12, but he has been focused on writing poetry since he started college at Principia in 2017. Slater’s poetry explores space, time and religion, and their influence on humanity. When he is not writing, Slater enjoys staying active by playing pick-up basketball or lifting weights.

 

MH Editor, Brendan O’Hagan

Brendan O’Hagan is a junior at Principia College. He is currently studying English in the creative writing track and plans to graduate in spring 2020. He has written and performed for the college’s Studio 207 theater group and has appeared in several one-acts on campus. Over the summer between his freshman and sophomore years he studied abroad in Ireland where he did extensive devised theater work. 

 

MH Editor, James Fisher

James (Jamie) Fisher is from Chicago, Illinois. A junior majoring in Business with an interest in arts management and a minor in education, Jamie is looking to pool his many interests into one place: helping to educate, entertain, and give back to the world around him. He is currently fascinated with the power of color in his poetry and visual art. After a concussion, Jamie found a mostly dormant synesthesia come to life, weaving its way into numerous parts of his experiences, including his writing. He is inspired by the music to which he listens and the people with whom he is closest. Writing has always been an escape for Jamie, and he is grateful to have been a new staff member this year, allowing him to, as he says, “…give back to the writing that has continually given to me.”

 

Faculty Advisor, Dinah Jung Ryan

Photos and digital editing done by JC Vogt, a Principia College Art major

Ode to Odes to Love

Ode to Love                           Ode to Fucking Up                       Ode to the Sound
of Music            of chandeliers crashing like cars                 of the midnight bell

Ode to the breakups                and the hang-ups                and the not-enough
soap                  Ode to the Hit and Miss    Graze and Shave        Ode to Swinging

Ode to the Sound of Hey Batter Batter              Ode to the Sound of Fucking Up
to the Sound of Fucking in cars                  Ode to the Chassis and Suspension

Ode to Not Fucking             Ode to Jack & Jill            and Mickey & Minnie
who never reproduced             Ode to these fucking chandeliers         which may

one day crush me slowly           Ode to the Parties I Seemed to Miss         to the cars
loitering outside my house           beating the road into confession             asking me

When do you wanna go?        When do you wanna leave?       Ode to Closed Doors
Locked Doors                Broken Doors                    Ode to the steps up to the fucking

Mickey Mouse clubhouse            to the party I’m sure I was not invited to          but also
the one I’m going to anyway            Ode to the Bell of the Midnight Train      Ode to

the Platform Doors        Ode to Barely Getting On          Ode to the          Miss and Hit and
hey batter batter I’m struck again                 Ode to Leftover Soap                   spilling

into tea               Ode to the Doors Left Ajar                  into the deepest chamber
Ode to Love as Mantelpiece                             that we polish from time to time

 

She is Void

Noetic in essence,
exhaustingly dependent;
a dissociative abyss,
navigated solely by sentiment.

You will tell her to seek treatment.
She will tell you she is,
and she has,
and she always will.

There is no ignorance in what is chronic.
There is only the bleak realization
of the discursive dialectics of the horrid mind.

The Proposal

The sun isn’t hiding in Bedford Stuyvesant, Brooklyn. Half-dressed kids dance in front of the fire hydrant, soothing sweaty skin in the cool water blasting from its pumper nozzle. Zola, Kilimanjaro’s godsister, sits outside in their godmother’s fenced garden, plucking feathers from a limp chicken. Nandi stands in the shadow of the doorway catching a breeze before heading back to the kitchen sink. A lot of food still needs to be cooked, there’s plenty of clean up to do, and altar preparations to make for the drumming tomorrow. It’s Friday and no one is idle. The home bustles with preliminary ceremonies and cleaning. The sewing machine hums in the background as Iya Yafe, the seamstress puts the finishing touches on the initiate’s extravagant gown. Priests, laden with brilliant glass beads, move hurriedly from room to room as Nandi compiles a list of everything that needs to be done. Iya Ife, the head priestess of the house stitches the last few, miniscule glass beads onto the initiate’s crown. She pretends not to be exhausted in her presence, but Nandi knows that her Iya Ife desires rest.

Kilimanjaro walks out of the Orisha room and over to Nandi, who has returned to washing several large steel pots. He sets down the bucket he’s carrying and playfully grabs her around the waist, her back melting into his broad chest. Just a touch from him gives her tingly feelings all over. The white V-neck showing off his rich chocolate masculinity excites her, though she tries to play it cool.

Intoxicated by the scent of patchouli mixed with her perspiration, Kilimanjaro imagines Nandi’s caramel legs peeking out from under the bubble bath he will run for her later. After which, they’ll dine on coconut crusted salmon on a bed of rainbow chard at The Butta’ Cup Lounge, listening to locals strum inspiration on their cellos. Chill, Kil, stay present, he tells himself.

“Can we talk?” he asks her.

Instead of answering, she dries her hands on the towel slung over her shoulder, then grabs a biscuit from the oven, taking a large bite.

“Want some?” she asks him.

He shakes his head.

She pockets the rest of the warm bread in her yellow gingham apron.

“Come with me,” he says, leading her into the den. It is the only quiet place in the busy home. A magnificent silhouette of a peacock hangs low against the brick wall. Flower petals cover the floor. In the corner, a worn, brown leather couch beckons them to rest their tired legs. Nandi props her feet up on Kilimanjaro’s lap, wiggling newly-painted golden toenails.

“Okay. What’s up?” she asks, brushing crumbs from the corner of her mouth.

“Relax honey, everything is cool. Oshun spoke in my reading. She said to—” he hesitated, “‘stop playin’ and be clear about what you want, to avoid misunderstandings. Do you love me, Nandi?”

“Of course, I love you,” she says, puzzled.

“Do you want to have my babies?”

“What? Stop playin’.”

“I wouldn’t play around about that. Seriously, do you want to have a family with me?”

“I wasn’t expecting that question.” Her mind spins.  Her heart thumps so loudly she wonders if he can hear it.

“Well?” he persists.

“Truth is I been wanting to make a baby with you for a minute now.”

“Then will you be my wife, too?”

“Is that why you were trippin’ in the elevator yesterday? You want to make sure everybody knows I am your Queen!”

Nandi sinks back into the couch, the ground floor of the Brooklyn brownstone fades from view. She forgets for a moment about the wood floor strewn with flower petals, Zola plucking chicken feathers, the dumbwaiter stacked with dishes, and the chicken carcasses patiently awaiting her oil massage and seasoning. Suddenly, she finds herself at the edge of a stream surrounded by women dressed in white, with corals, shells, and glittery glass beads. They dance around her. One of the women carries a large basket. She walks up to Nandi, singing in a language that pulls at the strings of Nandi’s distant memories. Nandi knows the words but cannot speak them. The woman, now in front of her, is the most radiant woman Nandi has ever seen. Her skin is like tan honey, her shoulders broad but not intimidating, her hips, voluptuous, and her thick earth-brown hair pinned up in two curly puffs, fighting their containment. At the end of her song, she hands the basket full of the unknown to Nandi and walks back to the circle. The women in white jump into the stream and disappear. Nandi removes the muslin fabric covering the basket and reveals a pile of gold coins, shells, and yellow fabric. She wonders what it all means—where the singing woman came from, where she is and how she got here.

Kilimanjaro realizes that although Nandi lies next to him, she’s not there. “Nandi! Nandi!” Kilimanjaro calls. He shakes her gently, continuing to call her name.

Nandi hears her name, the voice faint, but repeating. A voice she knows well. She opens her eyes to find Kilimanjaro wrapping his vanilla-musky arms around her shoulders.

“You okay?” he asks.

“Yeah. I just felt tired all of a sudden. I was dreaming,” she said, her eyes fixed on him. She had so much she wanted to say in response to his shocking round of questions, but the words felt stuck.

Kilimanjaro ran his hands through the thick curls sitting atop her head and he tried to read her.

“I am not perfect Nandi. I don’t have to tell you that. I’m a man working through what I have to. I’m a man that wants to be with you always. I don’t want to say goodbye to you and watch you walk away to your apartment. I want us to be together. I want a family. I want to see you every morning, kiss your head, and smell the lavender on your neck. I want to wipe away your tears and kiss your smile. I want to grab hold of the tomorrow I have already seen in my visions. I watch you, how you move in the world, how you move with me, how you won’t let me get away with even a hint of jealousy. I love that you are fierce and can take a joke. I need you.”

Nandi still in a bit of a daze from her trance, pulls him to her.  Gently she kisses his thick lips and whispers softly, “Yes, Kilimanjaro…yes!  I want to make a life with you … and a couple of babies, she says, feeling the rhythm of his heart beat in harmony with her own.

Sylva Fischerová

MISTAKE HOUSE: Although home, like our art forms, can be something we care for deeply and invest in, it can also be a location for pain and conflict, as you have witnessed and as you have examined in your poetry. In a 2010 interview with Czech Radio, you revealed you weren’t attempting to escape the questions, secrets, and problems that arise from living in past pains. How do past pains affect your writing, an incarnation of home? What are some of the questions or secrets you are currently writing about?  

SYLVA FISCHEROVÁI am not that sure that writing can be designated as a true incarnation of homebut both of them, home as well as writing, are extremely strange institutions; and when I say “writing,” I mean not only the process of writing but all the stuff that belongs to itlike answering questions in an interview like this. “That strange institution that we call literature”such was the title of an interview with the French philosopher Jacques Derrida, and it expresses something I share deeply. So many things are involved in it! But to answer your question in a more concrete way: Some friends of mine say that writing is for me a kind of art therapy. This statement sounds a little bit exaggerated, but I do confess that I was able to stand (and in a way understand) the fate of my sister, who suffered from some kind of mental disorder (there was no official diagnosis), as well as her death by writing a collection of poems entitled “Sister (of) Soul” (or just “Sister Soul”: there is a double sense in the Czech original). But when writing a book like this, when thinking all the time about the fragility of human soul and of its connection with bodyand about what these strange terms mean at all, what your fate does mean – you find yourself steeped in general questions about life death & destiny, a place where personal and impersonal meet in a surprising way.   

MH: The Mistake House, our magazine’s namesake, is a petite building that architect Bernard Maybeck constructed in order to sample various architectural techniques and materials he would use in later constructions throughout the Principia campus. How have your views on the concept of ‘home’ shifted as you’ve witness major shifts in the Czech Republic, your home? How does your work incorporate the uncertainty of change into your work?  

SF: Let me begin with an example: My father was born at the end of the 19th century in Prague, i.e. in the then Austro-Hungarian Monarchy. He then became a citizen of following states: first, Czechoslovakia (1918-1939); then the so-called “Second Republic,” which was a part of the German Reich; this period of WWII he spent in exile in the Netherlands, to where he left to save his life; then he became a citizen of Czechoslovakia again in the very short period between 1945 and 1948; the country was later named the “Czechoslovak Socialist Republic” a few years after the communist coup d’état in 1948. After 1968, the Republic was “federalized” and, after the Velvet Revolution in 1993, it split into two separate countries, the Czech Republic and the Slovak Republic. So, where is any certainty at all? History is always present: it’s here like the bread you eat or like the air you breathe. 

MH: A classical scholar and professor of Ancient Greek Literature and Philosophy, much of your study is rooted in the past. In your interview with Czech radio, you said that 20th century history influences your poetry because of Central Europe’s close connection to its past. You have also said that language is a “living entity” that has “some kind of transcendence.” How does your poetry synthesize and relate different time periods of your personal life and professional study? 

SF: I would like to link it up to the preceding question: Last November I became the first City Poet of Praguea great honor for me, especially due to the fact that even though I was born in Prague, I spent my childhood and youth in the small Moravian town Olomouc and only came to Prague to study the Charles University when I was 19. When considering this offer, I realized that I had written really a lot of poems about Praguesince that first year I came to this city. So, it was a two-month-long process, putting together a book of my Prague poems, whose title is Church for Smokers, and during this time I finally decided to accept the offer and do my best while being City Poet of Prague. To make my point: The book is divided into two parts, the first having been written for the most part during the communist régime, the second after the Velvet Revolution. And still it is “one” Praguebut as if there were two Pragues, each of them different. I must say that I was surprised by the shape of this bookI would not have expected such a “city dichotomy.”  

Let me add a few words to the imagination of language as a “living entity”: I think that all of us are experiencing it all the time, either when hearing new words or when sometimes even creating new wordsor when tasting old, almost forgotten words, etc. Language is in movementand we are too. In my Prague poems book I even rewrote a couple of poems: my view on things has changed in the meantime. 

MH: It was 1990 when you were interviewed by Jim Grove at Palacký University, during which you referenced the film Last Year at Marienbad, mentioning the profound impact it had on you, demonstrating the way in which we are all, in a sense, moving from nothing to nothing. Later, at the Prague Writer’s Festival in 2011, you voiced your dislike for the term “development,” because it “subsumes that which follows is better than that which went before.” So, if we’re in this constant state of moving from nothing to nothing, then what is the point of writing poetry? Is it simply to make our “nothing” more interesting or enjoyable? Do you see a path for transforming our “nothing” into something?  

SF: You are right; I really dislike the term “development,” or more precisely, “progress” for the reasons quoted above. The notion is rooted in a specific tradition of thought; we can associate it with Giambattista Vico and later especially with G. W. F. Hegel and Karl Marx: it presupposes a previous condition of humble nature from which we (i.e. humankind) are movingall the timetoward improvements of all kinds, or simply put: toward a better future. A utopian project is connected to this, but utopia is touching something rooted deeper in human destinyin the conditio humana as such. In short, I prefer to use terms like “change” or “transformation” or even “metamorphosis” etc. which are devoid of the evaluative dimension present in “progress” & comp. However, now I would not insist on this very evocative atmosphere of Last Year at Marienbad; generally, I would say that we are moving from something to something (how obvious! – sorry!), each something being differentbut “nothing” is still present, you can feel it, you can smell its presence. Without this presence, something would have become a real nothing: we are facing here the puzzle of pure ontology and of our lives anchored between nothing and nothing. Apologies for my obviousness. 

MH: Much of your poetry is imbued with religious imagery, and you have called yourself a Christian, yet you have said that you do not consider yourself a religious poet. What aspects of your childhood or other life experiences have influenced the religious themes in your poetry?  

SF: Speaking about Christian or religious poets isin many aspectsa matter of cultural tradition. Consider T. S. Eliot: he is the author of Ash Wednesday or Four Quartets, but is he a Christian poet? Would anyone label him this way? I don’t think so. In the Czech Republic it is accustomed to speak about Czech catholic literature which isat least in my eyesa result of the process of fabricating a phenomenon like this (although there are, of course, many reasons for separating a body of literature like this). But is there any catholic literature in, for example, Ireland? And what does it mean to be a Christian or catholic author? I simply don’t like labels like these. 

As for my personal experience, I grew up in a family of protestant background; however, my mother told me that she stopped going to church in 1942this must have been after the assassination of Heydrich and all the massacres that ensued. So, my way to God was an individual onewith some eminent points and crossroads. It is deeply personal, which means I can write about it in poems but avoid talking about it publicly.   

MH: In considering individuality and development of voice, one must first consider context and growing up, yet children are often simplified despite their receptivity and emotional complexity. However, messages about what it means to be human, to be an individual in society, and to have relationships with others, often appear in children’s literature. When you are writing your books for children, especially works of fairytale, how do you consider the lessons you are telling? 

SF: So far I have written two books for children: the first one for my daughter, the second for my son. The latter was a book of fairytales, which were partially based on some more traditional stories and patterns, partially fabricated by me. Generally speaking, when writing for children, you need humor; second, you need fantasy. Third, it is important to avoid schematic “educativeness”this is boring for everyone, for adults as well as for children. So, I think that a book for children must be humorous, witty and funny and contain lots of imagination and fantasy because children are creatures endowed with these qualities at the highest level. The message has to be contained in the story itself; otherwise it won’t work.     

MH: At Mistake House, we are interested in inventive processes and active play. Jir̂i, the protagonist of your 2016 novel, Bizom, or Service and Mission, says we all play games, but some of us are unaware of it. Considering the experimental nature of the novel and its focus on the relationship between the individual and society, we imagine you are quite aware of this play. What games do you play? How do you intentionally incorporate experimental processes into your writing?   

SF: Playing and plays represent an essential feature of human existence: Johan Huizinga, in his book Homo Ludens, wrote at great lengths about itand quotes from his book are also part of my novel, as are Ludwig Wittgensteins thoughts. Both authors were a big inspiration to me, but of course they are not responsible for any of the games my main character Jiří plays almost all the time, almost on every page of the book. When I was writing the book, I played the same games he did: the Service and Mission game (which is quite a complicated one) as well as a simple conversational game with an obvious “How are you? questionwhich in the end is not as simple as one might suppose, etc. The point is that, naturally, there is no gap between “mere” play and/or games and real life.       

MH: Briefly you discussed the importance of both the conscious and the unconscious in the writing of a poem as part of an interview with 3: AM Magazine, stating that you “sincerely dislike” poetry which “insists only on the conscious.” You’ve also made it evident that you prefer concrete images and ideas to what one might consider conventionally poetic imagery or ideas. Often our unconscious experiences or realizations are not very concrete at all. How do you consider the unconscious in your writing processes? Further, how do you convert unconscious ideas into concrete images?  

SF: Honestly, if I knew, it wouldn’t be unconsious, right? But it is possible to say at least a few words, I guess. There is one general rule or general principle: A poem must be surprising; there must be something that really surprises the reader. That is the reason why conventionally poetic imagery is simply démodé: its boring stuff like all clichés and dead metaphors. Another danger is represented by poems written à la thèse (these being not surprising at all, and so you can almost foretell what the ending is going to be like). Concretely speaking, each poem is different: sometimes you need to convert into concrete images and concrete words some cloud of an image; sometimes there is at first a thought coming to you, or some special and unique atmosphere – it depends, and there is no general recipe for how to do it. Butwhat is really helpful and what you in the Mistake House Magazine will like hearingare mistakes. The misreading of words or even of whole sentencies can bring something unexpected and new.   

MH: Your most recent book published in English, and your only book published in the USA, is Stomach of the Soul (Calypso Editions 2014). Clearly, the title is in dialogue with Vladimir Nabokov’s statement that “Literature, real literature, must not be gulped down like some potion which may be good for the heart or good for the brain — the brain, that stomach of the soul. Literature must be taken and broken to bits, pulled apart, squashed — then its lovely reek will be smelt in the hollow of the palm, it will be munched and rolled upon the tongue with relish; then, and only then, its rare flavor will be appreciated at its true worth and the broken and crushed parts will again come together in your mind and disclose the beauty of a unity to which you have contributed something of your own blood.”  

Will you talk about the ways in which your poetry operates in dialogue with other texts—and how Stomach of the Soul dialogues with the work of the Russian-American novelist? Does this intertextual dialogue occur within the subject matter of your poetry, your experience, or within your process for writing—or all three?  

SF: Thank you for the question! Honestly, I wasn’t aware of this Nabokovs quote, and even though I admire him as an author (and love his strategy of rewriting older pieces!), I disagree with the metaphor of “the brain as stomach of the soul.” My inspiration was different: it resulted from my misreading of St. Augustine. In his Confessions, there is an extremely interesting passage devoted to memory where we read that memory is not a kind of mental capacity but: memoria quasi venter est animiwhich translates to memory is something like the belly of the spirit.” But my own memory had played a trick on me, changing belly of the spirit to stomach of the soul. Only recently, when being in Milano, St. Augustines city, his Confessions with me, I realized that I had made a mistakebut the poem had already been written, even given the title to the whole book. Again, making mistakes shows itself to be a very prolific method of creative work! 

MH: You translated Stomach of the Soul yourself, in collaboration with Stuart Friebert and A. J. Hauner. Will you talk about the poetics of collaboration and the poetics of translation—especially as these two acts came together in the process of producing Stomach of the Soul for English-speaking readers? 

SF: Our first book of translation with Stuart Friebert was Swing in the Middle of ChaosStomach of the Soul being our second one. Stuart is a poet, the founder of the creative writing program at Oberlin College, Ohio, and a translator as well: he translates from German, so he knows what to do. Unfortunately, he doesnt speak Czech, so I was really reluctant when he proposed the idea of co-translating my poetry into English. But he was rightit worked, and I learned a lot from him during the process of translation. First: giving a title to every poem. Second: being even more critical than beforeI rewrote a couple of poems on the basis of Stuarts criticism.  

Andas a bonusI managed to finish a poemin English!which previously lacked precisely a climax. Its title is Death, and it at first ended like this

     Death – death! Stifle death,
     eat her like intestines,
     stomp on her, 
     break her, burn her! 
     And then let her be, stand her 
     in the corner. 
     Whats the grass torn out 
     by the mad Hölderlin?  

 

Which is not a good endingsomethings still missing hereand then the lines came, all of a sudden, while I was translating the poem into English: 

     What’s the thing
     that comes in through windows 
     and doors
     and grows more and more? 

 

As for Andrew J. Hauner, he is Czech-American, which means that his help has been invaluable especially in translating special idioms or metaphors. Without him, I wouldnt dare translate some of the poems contained in the Stomach of the Soul collection.      

MH: You described two “schools of thought about the character of our age and the ability of art to prosper or not.” One school claims that there are certain gifted individuals with inherent artistic abilities, and the other believes that one’s artistic success depends on the kinds of conditions provided by her/his society. Growing up in Czechoslovakia certainly provided you with some difficult obstacles to overcome in achieving artistic success. At Mistake House, we believe that it is hard work and the perseverance through the difficulties of that work which leads one to succeed in their creative work. We understand how difficult it is to persevere, and that most creatives abandon their work, eventually prioritizing societal and/or social obligations in front of their work, ultimately accepting that they are not one of the “gifted.” Can you recall a moment or an instance when you truly believed yourself to be a poet? What doubts, whether in the past or present, have you had in terms of your ability to write successful poetry? How did you overcome those doubts, and have you found that you have been able to use your doubts to your advantage? If so, then how? 

SF: I have been writing poetry ever since my childhood, so there was no sudden moment that could be considered “the birth of a poet.” I simply write poetry all the time; butnaturally 

there were times when I didn’t write as much. I can recall the moment whenall of a suddenI realized that I hadn’t written a poem for almost half a year; it happened after I returned to teaching at university after my second maternity leave (if we like to call it this way), and I was totally exhausted by all of my duties. I remember quite clearly saying to myself at that moment: Well, okay, if it doesn’t come to me again, it’s a sign that Im supposed to do something elsetheres so much to doperhaps the One Above has some other plans for me. Thats, I think, the principle: No violence, no forcing itneither in writing nor in eroticis. It simply doesn’t work – it has to come. As the Czech philosopher and pedagogue Jan Amos Comenius put it: Omnia sponte fluant, absit violentia rebus. 

As for the kinds of conditions provided by society, some time ago I read an article dealing with the Shakespearean age. The author insists that if society tries to endorse and subsidize the arts, great personae can easily develop their abilitiesand voilà, we have an age of miraculous artists, philosophers, etc. When conditions like these do not exist, we are presented with only a handful of isolated individuals. Perhaps the author is rightit might be the casebut anyway, we are not in the position of such subsidizing patrons, which means “help yourself” is the best precept to follow.  

MH: Do you ever play hooky? If you do, what is your favorite thing to do when you take off suddenly, as in a dérive?  

SF: Playing hooky is a good strategy for surviving official events of any kind! Unfortunately, I cannot play hooky in my role as a teacher…But doing things differently, disappearing, all of a sudden going to a spot other than expected, finding yourself in a place you’ve never been to before has the charm of adventure. So, good!  

Other Side of the Mountain

That which is sublime is not humanity, but nature. Nature does not boast of its superiority, nor does it seek revenge on humankind. One day when I was walking through a forest, I came to a brink of a door opening to “the cosmos” and I realized that I saw the “sublime unity” from that door. This state of unity was the combination of everything that constitutes the world from the centrosphere, and this state was not shaped in today’s date. I had to go back, to find the way to the places where the roots coming from my soles, and to rediscover them.  

 

 We had a house at the east of the mountain, we chased one another’s shadow at the light’s orbit. I was to one who got up and got burned, motherless, breastless, I had grown up with the bitter milk of goats. I wandered among frozen hollows for nine days when I realized that the old lady with a straight face wasn’t the bearer of the womb that carried me. I stuck my knees in the soil, across the prairies with reeds and fluctuating long bushes that resembled hair combed in the wind. I kept walking and walking and reached the ice with my fingers. They found me at the last cave I came to following the way of pine cones. I spit on the woman’s face who screamed because I froze and said things that hurt her. The big man with brown glasses warmed me up in his coat and took me back to the house. He reminded me how we seasoned the soup together. Under the patchwork blanket transformed into a tent, I asked him many times to go back home, to the other side of the mountain, the house with my mother, with bread, where I could reach anytime and find a breast to suck. He gave me the bread the old lady made every time, and I hit his hand. 

His papers lay everywhere in the house. The idea was to shed the light straight onto writings. His glasses on his head, a pen in his mouth, from chair to sofa, from sofa to step, he kept changing his spot. I would read the books that I liked over and over again, sometimes murmuring, sometimes out loud, to get his attention, searching for a window to open his eyes. When my head dropped by the end of the day, the old lady would come and light the stove.  

The fire is in the mole next to my nose, that’s where the first spark jumps to wood. I cowereach time before this mesmerizing scene, close my eyes and focus on the animals’ noises coming from the back yard. In a moment she will lean over the fire, boil a soup in the pot, saltless. If she’s in a good mood she will put beans in it, I will smell like onions to the roots of my hair. Seared, pink. Then she will approach the eyes buried in writings, wherever they are, and rub his shoulders, accept the coin she’ll be given and leave from our seagreen door, quietly. I will dip my fingers in the bowl and sprinkle salt on papers. He will look behind the old lady with his bloodshot eyes, and smile. 

I create my friends, distille them from his silence. I go out and sit on the ground with the need to talk to someone about his papers full of odd letters, without indentations. I knead my friends with my bare hands. They are dark black and crippled looking. Their arms are shorter than their hands, their heads way too big for their torsos. Some have huge bellies, I wonder what they have eaten. A couple of them have giant ears that keeepcoming when I pull them. I tell them about the writings that I can’t read, as I lie near their porous bodies and listen to the noise the snow makes while melting.  

The cold brings along a strong urge to sleep. When I wake up, they are corpses, split into cracks of sacrifice. For a while I try to whisper some sort of agility, spirit, or life into them, but then I decide to aligned them all under the fence and organize a mass funeral with the hopelessness I find in dismembered body parts. Then I throw them all to the railroad that passes beyond the fence, and curse that they left me.  

For days I talk about them under the blanket’s colors, until waters come down my cheeks. They neither talked nor played games, gave me secrets nor peculiar information about where the road to the other side of the mountain began or how much time it took to run to rails from the fence, or where those trains went. He comes and uncovers me only after my nose and my mouth form a unity on their own, and as if he finds me at different locations every night he will say: “So you’re here again?” My head on his arm, I wait to be carried to my bed. 

An outrageous sleep, no interruptions, far from the sea, shoreless. My head hurts, I want to call him out as my throat is ripped apart by claws, to let at least some letters go off their nails. I know that my arms are lying dead still, while I had thought they were waving throughout the darkness. To get rid of the stinky breath of the wicked who licked my eyelids to make me open them, I call his name: “Sleep! Sleep, come! Take me now and don’t leave, cover all my sides.” He won’t come. Everyone I threw over the fence now sit on me and hold my limbs. I promise dozens of times that I will not knead them, let them dry and throw them away. When my tangled tongue can finally reach and touch my teeth, the sorrow of not being able to call him out until comes crashing at me and I lie on my face. Touching the sheets, my flesh will shiver, and I call his name as it was given to me: “Dad.” 

He reads more than he talks. I am angry at him for itforquieting me down, discouraging me from telling and making me stick with the old lady. I hate that he walks around in the house with his cheeks blushed from the barely warm oven, his sweaty forehead and his shirt clinging to his back, that he spends hours without eating, or even wanting any apples or dates, that he daydreams on his own, without once calling out my name, without a tale. So much so that I study a meticulous plan of how I will push him on the oven, and hurt him, yet I couldn’t knock him over. He doesn’t even know that I wantto burn him into ashes, he goes on moving his lips as he rearranges his papers according to their page numbers.  

In the evening, I decide. I am going to properly ask to the old lady when she comes. She does come, and sneak near her as she bakes bread for the soup. “Ulaina,” I said. “Am I invisible?” 

First from her eyes, then from between of her breasts, two straight teardrops come down, and she huggs me. Through the window, she points to the mountain crests where the night has already falleb, and said “Look, go ask ‘em, ask ‘em the same question. Let’s see if they can see you.” 

wake up before my dad’s hands touch the boiling teapot. I munch three sugar cubes and run to the garden. Trembling, I approach the goat whose milk I grew up on. It gets along quite well with my palm. I caress its tiny tongue. Then I go near the horse in the distance, where the smoke coming out of the trains also went. It doesn’t look down on my height. I don’t evenwhich wouldn’t reach its shoulders even, and it levels its head with mine. I hear my name in its whisper. Successively, to rabbit’s hole, chicken’s farm, and under the rooster’s wing I go. I find in each a heat similar to that coming out of our oven. I see it beyond the fence, I want to jump over our wooden curtain and go near it, too. It flies away as I lift a leg, splinters in my thighs. 

begin to tell Ulaina everything that happens to me in a day. I look forward for her arrival, and after a rehearsal of what I am going to say, I watch the embers and wait for her footsteps. The moment she comes grabb her skirts before she can turn to the oven and tell her about what I did in the garden all day long. She listens with patience and makes noises of surprise with her mouth that lacks some teeth. I get carried away, mix dream with reality and make those in the garden talk. I transfer everything they said to her, word to word. Ulaina keeps glancing to my father at intervals, and taps my back, stays quiet. These are moments when I dive straight into the horizon, when the words of the language we speak coincides. The beginning of the days when Ulaina decided to leave me a piece from the teeth, bones or hairs from her headdress. 

One evening, before she leaves see my dad’s head finally rising up from his papers. His eyes are locked with Ulaina’s and his lips press on each other. One of her hands on his shoulder, Ulaina tells something to my dad. I can’t see her face. But I see his curly hair tremble anxiously, from the hole of the rainbow-colored blanket. 

I hear Ulaina say: 

“This much is not okay.” Her voice trails off. “She’s older now, and she understands all of it. Talk to her, tell her a bit. Or she will wander off to strays’ side.” 

 

know the horse. Its croup tall. It runs me over. I hear its hoof right on my sacrum. It was beautiful and surprised. It found my movements shocking. Scared too, big breaths huffing out its nostrils. If we wanted, we could. Leave, I mean, leave here, this land. Run, straight on a line. I, balbal, rock, quiet, and lostits feet crushing my cracks, on my widths and heights where I was incarcerated as I tried to grow up, pain from all and none of the angles, both of its feet. Terror, the human-likeness of the menace. It runs me over. 

know the goat. Fuzzy hair. Warm. I feel its front feet on the back of my neck. Stinky, scared. Baaing into my mouth and my throat cracking through its axis. It was in a hurry, various characteristics dwelled in its beard. We wore its hair, and it resents what has been done to its children. And the complaints:it stinksstinky this is, and hard, too, you can’t chew thisIt’s offended and thinksif I see one of you, even though I like one among you, I will run you down. I, beyond writings quiet, but while all these tales and stories growing inside me, I feel my pointy collar bone crack. My shell is robust. My shell is crooked.  

fall while I was trying to find my balance with my one foot on the horse, the other on the goat, and the animals shy away, stepping on me. Meanwhile, once again his unpronounced name behind my tongue, I see my mother deep into the darkness, my limbs kicking the air.  

Since I fell, the oven has never been turned off. I lie there stiff, among the flames and my dreams, murmuring the names I gave to the horse and the goat. Faces enter my visionlooking from above, a doctor from the village, with a healer Ulaina brought. My whole head motionless, I want to reach and touch her cheeks. Caress, kiss her. To cry and not shut up, dive to her breasts salivating, sucking her instead of my mother. My arms don’t move, nor my eyebrows. I keep growing up with the crunch of creased papers. 

 

I’m neatly placed on fine-cut wood, no nails. Clean pieces of cloth keep my flesh together. I can’t turn my head to my side and look at my miserable horse and goat. I can’t wipe the tears coming down from its big eyes, or shove the rabbits. I can’t scare them, laugh at them. I only hear the train’s whistle. The crackling in the oven. I find a way to move from one sound to another. I transfer my mind to the steam and travel along the rails 

 

It is about five or six months since my fall. My dad has finished the work he’s been working on for years. He is reading it, with his deep voice, in a language I would understand. He teaches me the papers, the letters and sounds on them and hopesfor the best. I learned about “You,” and “U,s” become the words of the tablet erected after Tonyukuk’s funeral. Choose any tale, my dear heart. Childish narrations full of praise are long gone, mighty doors have invited me in. Had I known that I could be a part of his story, which fed on his discoveries and deductions, without moving at all, I would have climbed sooner on to the tops of the high horse and the wooly goat. At the same time. And fallen.  

At that very moment he becomes my father for real. I am hit by his scent that fills my nose from his sweaty shirt. I like it when he sits on the tip of my bed, right in the light triangle created by the dying fire , crosses his legs and puts his palm under his chin. I watch him seasoning the soup without me, as he talksabout Tengri, Hammurabi, Kadesh, Sumerians. I want to get up and hug him as I taste and try to swallow the undissolved lumps in the soup, which stay scorching hot despite all his blowing on the spoon. I ache, a splinter buried in deep. 

Now I am making humans out of what he tells me, with my fingertips in my mind. I have one who is splendid, a sacred one, holy, more merciful, more real than my mud people, who were always wet. They wouldn’t dry out even if I threw them away, each with a soul, if not a breathing body, and wings. I put in every one of them the bird that I couldn’t catch. A step of Zeus, for instance, or Hera’s eyes, without lingering much on Artemis’s arched back or the honeydripping thighs of Aphrodite, to Hermes, to the Sirens, sphinxes, and Ares. I am holding the arrow from Achilles’s heel and I can now see my dad as Herodotus come to life in a body with veins. We crash on the names we can’t repeat, like crushing fresh snow slaloming as our chests were opened for the Titans, we swirl and fall into the floral shores like Aegeus from the summit of Olympus. Our mountain is in Ida, far from us. It faces west, and it is green. Only the top of it is snow covered and there we are in seclusion with the god of gods. 

In the night when I can lift my whole arm without moving a single finger, I try until my sweatfilled to my eye craters and hang my legs off the bed. I hide the fact that I can move, don’t say a word to anyone. Not even to Ulaina. She keeps sprinkling bone dust on my head and legs. She washs my skeleton in need of bison’s marrow and deer’s horns with unseasoned soups. 

Before morning, after midnight. In that moment when I am overjoyed with moving my flesh and become one with wood, the size of my lifted limbs surprising me. I watch my elongated parts with admiration, although they are a bit flabby from the lack of motion. I ask Ulaina what happened to me. She said: “The last part that detached from your mother is now bigger. Because you are reborn.” 

After a long nap, I wriggle in the shirt made of aba. I stretch my leg over Agamemnon’s hand and he puts it on the ground. I wrapp the other around Apollo’s arms, the floor cold under my soles. They lift me up, Zeus exhales through my backbone and I stand with the support of Medusa’s hair. There are cinders in the oven and the soup is cold. I hope to find my dad with his papers gathered on his lap, sitting on the doorstep as he did years ago. He isn’t there. I look everywhere, under the couches, behind the shelves. I carry myself to the window. Same shadows in the garden, but older. The horse’s back bent downwards and the goat’s hair turned gray. The rabbit, sluggish, the rooster, senile. The chicken already cut and eaten. My dad’s shadow isn’t among them. Slowly, I take slithering steps back to my bed and wear the colorful blanket like a cape. I am more apprehensive than the rulers of these lands. I take a piece of wood from the cold fire. I smash it around. Then I hold onto it, put my entire weight on it. Quietly I ask it if the dead tree could carry my little age. Proud, I lean on it, it isn’t offended. It carries me. 

We go out, cold burning my lungs. Oh, I thinkthis side of the mountain. I remember a sentence from before my mother passed me over to my dad: Don’t go to the other side of the mountain. No intonation, no sound of it in my baby ears, a mere sentence. Now I am driving the body that I lifted up with the strength that I found in the things I listened tolike that time I did when I was five years of age in the world, in search of the last one of the nine caves. As I leave through the door, celebration of my height that can finally reach the fence’s lock. The train passes at my right.  

don’t say the names I gave to those in the train when I was little. I save those repeating, offensive words to myself. I go out and don’t sinkwrapp my blanket around my chest and tuck it in. I wait for a light or a sound to direct my way. It is dark. The more I thinkt about the possibility of my dad leaving me, the more force my legs find. I take bigger steps with the desire to find and cling to him. Of a sudden my head bumps the first tree of the beech forest. I stumble, and fall. I got up. I shake off the snow off. When I see a silhouette moving in the trees, I run after it before giving a single thought, branches scratching my face. 

don’t know the forest. I was never allowed to go. Why all the trees? What derivefrom the seed? Various, combined. Some separate, far away, some stuck with a branch like me, asking for power to fix their back. I shut down my sight and focus on what I know, open my ears to any sound. Don’t be scared of the dark, he said, it’s a hole to nice genies, as he closed the book. Don’t be scared of the leaves, they covered you first, whispered blood to your veins, you dripped from their water, became whole, both your mom and I are sexed, we reproduced thanks to them. We made you, as a result of friction, we took you out of her with laughter, happiness, madness. You took me, you took her, both of us, and you took a sip from her breast, then we died at the same time and were buried, then we lived and sought after the one that needed to carry on. Don’t abstain from the soil, cover your feet with it and move on. It will be whispered into your mind, let yourself go but don’t wander off from here, from the east of the mountain, from our house, because I although I turned down my voice to raise you here, I left my city behind and followed tombstones to read the story, I resolved the mystery of the dead language; forgive me. For I have not called your name and put salt and oregano to your soup, I was stuck in my brain, focused on achievement and I left my little girl alone in mud, for I have failed to know what motherlessness was. My daughter without a pair of breasts, or milk, and her barn-smelling hair.  

I arrive at a plateau where treetops crossed to form a ceiling-like braid. The forest is quite enough to hear snails running away from my feet. No wind, no hiss. Nothing from my dreams, either. But I know something passed my face. Something washing away my eyebrows, eyelashes. My nose, the same smell of him with his shirt stuck to his back. I sense the glowing essence gliding down his armpits. I turn around, my eyes my ears my tongue closed. I don’t put my hands forward, trees could try to stop me as much as they wanted.He is of more value than my face, I didn’t know my face. After tiny puppet steps, my nose touches his hair. Mad curly, even madder than the forest around us. He is angry and seems stuck where he stands. He can reach and grab me even. I only know the smell of his upper body, his hair made me confused. An essence bursting out of hair, tail, until he crashed me down. 

If only I opened my eyes, it would be my dad, I knew. With his shadow on the paper, almost lying on the couch. 

I stop the tremble of my eyelashes, open them wide and see him clearly. He is holding a bunch of papers, his eyes have lost their whites, dark, the color of the void, shiny. His hairless chest that I had never seen naked before is literally glowing in the moonbeam, penetrating even through thick layer of trees. I see the lines of his body, arcing belly as clear as the milk I drank growing up. If he didn’t have enhaloing groups of hair going up from his crotch, if my dad weren’t standing on his four feet under his two arms, I would say that I was in my dreams again, playing with my handmade babies. I ache under the weight of the unique hooves crushing my back to the ground. I rub my eyes, it isn’t a dream. He had told me before, the form he took, but he didn’t give much detail about how he was sucked into it. He is standing in front of me with his four feet and two arms, and I, behind a dry tree trunk, am trying to understand. 

He hears and looks towards me, his feet clacking, no shoes on. 

“You thought me.” I say. “I know what you’re called.” 

He laughs and when he does,  the trees laugh, too. The darkness laughs. He drops the papers on my head, says they aren’t necessary anymore. He tells me why he left me in my bed and came here since we had moved to the east side of the mountain, and that he had listened to the gods from the forest that hid them. Not just Zeus, but how he chattered with Kul Tigin, went to the lake nearby and wrote the inscriptions together, how he didn’t have his own god, and really saw a siren. That he saw the water called sea beyond the lands he traveled daily, on foot but as fast as the wind. That he was afraid of my face touching his, and me turning into a fish and swimming away. That he saw a rose on its branch in layered gardens of the sky, and that he couldn’t take it from the snake, bring it to me. He told me how he raped Hera, how Eve was his fifth generation descendant, I saw it, me, I saw Cain. How the rose stayed in him for all time and how he stuck it to his forehead. Past and present, from his companionship with Pan to how he lay on my mother in this very forest and killed her with his limb he put inside her. All. 

“Then she gave me you. Spare her from two legs, go, wish it from anyone, she said. I ran the world with you wrapped around my hip. My arrow did the talking when it was necessary. My moon always returned to me. I made you two armed and two legged, but I couldn’t take your nodulation into account. 

 

Centaur. My dad. The one who showed me how to let myself into the soil, to turn into nail and hoof where the trees intertwined, calmly. He showed me how to bore a bison out of a tree, a deer from a bison, and get along with them all. The one who patched my tongue with every language he knew from that of Zeus to Tengri, and kicked me far, far away when he was just about to wrap his tail around my head. 

 

We had a house in the east of the mountain, where we didn’t check clocks but chased one another’s shadow. I was the one who stood up and got burnt, the one without a mother, deprived of her breasts; my flesh was widened with the sharp milk of goats and my height touched the last layer of the sky that it could touch. My dad, without a woman, alone by the Orkhon River, looking to find hope in Selenege, his house at the other side of the mountain, a house without my mom in it. He was strong, but old. In a village outside Karakorum, he had spent everything that the monthly bourse could buy to make me a garden. It was his strongest desire to render his life, which he devoted to legends, gods and magical lands immortal with a great work, and dedicate it to me. That was the sole reason why he did not not speak a word to me until I turned thirteen and nearly broke all of my bones. Forgetting even to eat, my mud-centric diet. If it weren’t for Ulaina, then perhaps we wouldn’t have known anyone but ourselves, drunk the water of an adjacent village. She was the salt in the soup, the one who made us remember how it tasted. I have believed to this day that it was her spells that put me up on my feet after that baleful accident. She kept reminding me of the last day when I saw my father, but although I didn’t tell her; I remembered so much more. 

Before tucking me in and leaving that night, my dad had said to me: Bear. The only way to exit me, is for you to give birth to those who thrust upon you, hit you on the neck and take your foot, pour dust on your bones, call your name from afar, write your age on stone. That’s how you will be freed. It wouldn’t make any difference if I had said I didn’t want to be freed. My lips, my hands were standing still. He looked as if he were itching, he snuck his head under his right armpit and bit his shirt. You’ll hear so many more things, and people. Read my papers, follow my path, I won’t last.I got carried away by another voice, my feet got cold and the river is frozen and I’m walking on it. I trust Ulaina with your flesh, and I have your bones, I’m at your heels, my heart beats in your tendon, it will, and all is for you to think of me when you stumble. You were born at the otherside of the mountain, your mother is taiga, don’t ask for more, she took you out and got in you.” 

I couldn’t get used to people. I was dark, I could only rest in Ulaina’s tent, which I reached after long walks, after long flights. I had a lot going on. I was the fortress of a core team travelling worldwide for the research of the university. I was stuck in Istanbul, and Copenhagen for a long time. I observed long-term excavations in Peru and Chile. While I got lost in thousands of papers I thought about my father, he was like me I said to myself, That’s how he buried his head in letters he spent nights to figure out. While I left fancy hotel rooms with my faceprint on pillows, I ignored the indented swelling behind it. 

I couldn’t express myself in my language. I turned to the past, a familiar alphabet, as if the geography were the harbinger of a news already infused to my blood. I was asked to solve the inscriptions that were written near me during my childhood. I accepted without reading the terms. I signed up for walks after car rides to our destination, passing wild meadows deep in taigas, the two years that we would spend in a tent that took us. I returned to the lands where I grew up, fifty years later, to track down my father’s work.  

I walked to read what was read already, to discover once more what remained after the horse, and the goat. I brought my cleft spine and crooked groins with me. My broken collarbone tilting to my pelvis, my breast hanging almost over my knees, I walked. The door of the tent when I arrived to was painted with alizarin crimson. The years of the past scratched my wounds, it couldn’t be possible. I opened the wail. 

Ulaina was cooking the lumpy flour for her soup. 

sought her eyes and said: “I read it all. But I failed to bear as it should have been done, what came out was twisted, broken, I bent over and strangled it.” 

Sylva Fischerová

 FAMILY HISTORIES ARE FULL OF HOLES  

Father is on the Gestapo list, they’re going to look for him in Řečkovice, Viola will be plagued with dreams about this for years to come. He leaves the country then and ends up in Holland, first with Bolenka, the wife of a sea captain, later with a rich widow, who was cheery, lively and complicatedas I will be told years later over coffee at her girlfriend’s. From occupied Holland he wants to flee to England, but they caught all of them trying to escape, he was the only one who was saved: Professor Fischer hid in a box. Ik had geluk, I was lucky, we read beneath the newspaper photo. From the widow he returns to Řečkovice only in August 1945, what did he do for those four months?  
—Family histories are full of holes 
like Swiss cheese, they never 
tell us everything, 
we’ll never tell them everything, 
to tell everything is forbidden, 
there must remain space 
for rats 
in Swiss cheese 
so that there is a place to air out 
the air of history 
the air of things 
delicate vapours, given out by looks 
and gestures. 

(Translated by Matthew Sweney) 

 RODINNÉ HISTORIE JSOU PLNÉ DĚR 

Otec je na seznamu gestapa, které ho chodí do Řečkovic hledat, Viole se o tom ještě celé roky bude zdát. Uprchne tedy ze země a skončí v Holandsku, nejdřív u Bolenky, ženy námořního kapitána, potom u bohaté vdovy, která byla veselá, živá a komplikovaná—tak mi to o ní řekne po letech nad kávou její přítelkyně. Z okupovaného Holandska chce prchnout do Anglie, ale všechny při pokusu o útěk zatknou, on jediný se zachrání: Profesor Fischer se ukryl v bedně. Ik had geluk, měl jsem štěstí, čteme pod novinovou fotkou. Od vdovy se vrací do Řečkovic až v srpnu 
1945, 
co dělal celé ty čtyři měsíce?—Rodinné historie jsou plné děr
jako ementál, nikdy 
nám neřeknou všecko, 
nikdy jim neřekneme všecko, 
říct všecko je zapovězeno, 
musí zbýt prostor  
pro krysy 
v ementálu, 
aby měl kudy vanout 
vzduch dějin 
vzduch věcí 
jemné výpary, které vydávají pohledy 
i gesta.

 

 

THE BATTLE OF THE FLOWER 

I gave you a flower and began to pull out 
its petals 
from the gales of groundwater 
from the marsh slim 
to the light,           and the flower screamed, 

blossoms leaves stems roots 
were cracking and growing 
and no one could see who’d won 
that battle of the flower,        and the flower screamed 

when I wanted to drink, 
in the morning it stood ahead of me 
by the window 
devoured the light 
                              and in the sudden darkness under its leaves 
                              I saw 
                              hordes of little pale creatures 
                              eyeless, bloodless 
                              feeding on silence and blackness 
                              the servants who were dying 
                              of their gifts. 

(Translated by Stuart Friebert and the author)   
BITVA KVĚTINY 

Darovala jsem květinu a začala vytahovat 
její okvětní plátky 
z vichřic podzemní vody 
z bahenního slizu 
na světlo,         a květina křičela, 

květy listy stonky kořeny 
rozpukávaly a rostly 
a nebylo vidět kdo vyhrál 
tu bitvu květiny,        a květina křičela 

když jsem se chtěla napít, 
ráno si stoupla přede mě k oknu 
a sežrala světlo 
                                   a v té náhlé tmě pod jejími listy 
                                   jsem uviděla 
                                   houfy malých bledých tvorů 
                                   bez očí a krve 
                                   jak se živí mlčením a černotou 
                                   ty sluhy lásky kteří umírali 
                                   na své dary.  

 

 

It’s YOU and US and THEM 

            who built the jails. 
            Bloody ketchup and silence blossomed. 
            Although they reaped a lie,   
            they had sowed belief, 
            these lovers of Mary the Liberty, Magdalene the Equality. 
            Then, only loving Magdalene, who led them 
            to a fenced plot of land 

in Siberia, where Osip Mandelshtam used to ask Nadezhda 
Mandelstam, while in exile: 
„ What makes you think you have to be happy? “ 
and she didnt know what to say— 
An exile:  
the liberty of a circle 
the freedom of an ant—  

During mass, the priest says: 
An evil which keeps us from loving one another and being happy. 

“ What makes you think you have to be happy? “ 
Osip asked Nadezhda, 
history flowing by, bones & brains & 
consciousness getting chopped up, 
we, 
in a society of prefab anything/everything 
dont dry the ad for rain, 
looking for broth, but instead— 
find froth: 
liver kidneys heart, 
soul and spirit get hit hit hit 
—the liberty of a circle 
the freedom of an ant,  
and God gets hit hit—  

To devote ourselves to something so fully  
we dont have room for more! 

(Translated by Joshua Mensch and the author) 

TO Z MY A Z VY A Z ONI 
                        se stavěly kriminály.
                        Kvetl krvavý kečup a mlčení.
                        A oni sklízeli lež, ačkoli
                        vyseli přesvědčení,
                        milovníci Máří Svobody, Magdalény Rovnosti.
                        Pak už jen Magdalény, která je vedla
                        na oplocený pozemek, 

kde Osip Mandelštam se ptával Naděždy  
Mandelštamové, ve vyhnanství na Sibiři:
„Proč si myslíš, že musíš být šťastná?“  
a ona mu neuměla dát odpověď
—vyhnanství,
svoboda kola
svoboda mravence—

A při mši kněz říká: 
Zlo, které nám brání milovat druhé a být šťastný. 

„Proč si myslíš, že musíš být šťastná?“ ptával se Osip Naděždy  
a kolem tekly dějiny, lámaly se  
kosti, mozky, svědomí, 
my 
v společnosti prefabrikátů 
nesušíme reklamu na déšť, hledáme  
vývar, ale zase  
odvar:  
játra ledviny srdce, 
duše a duch a buch buch buch 
svoboda kola 
svoboda mravence a 
bůh, buch buch—   

Oddat se něčemu tak silně, že víc 
už nemůžeme být!    



SMÍCHOV RAIL STATION/A BLUE SMARTIE 
                                                                                In a dream sounded an order: 
                                                                                Make your life such  
                                                                                that it is good to eat.
                                                                                                         Viola F.  

 

 
Oasis Pub where Magor 
would booze; 
on platform three, a hotdog 
—the bun is better, 
bigger and poppy—seed, 
everyone heading for the stand  
will get one, 
the famous Smíchov  
hotdog and lemonade  
for 23 crowns; 
a sign with departure times 
sways in the wind, 
down on the grey concrete 
a blue Smartie. 
Storage for station observations 
perception 
sensation 
head—eye 
eye—head: 
you can’t compound 
a sentence.  
It all turns round 
—like on a pivot— 
on the illusion of departure. 
And there they go 
their first morning swig, 
that woman in the red sweater 
with only one tooth 
out in front of the station, 
that guy in the buffet 
in the ragged duffle 
LIQUORS 
ALCOHOLS 
shelves full of  
booze 
in California in Texas in New York 
they’ll never be able to drink it all 
you’ll never be able to drink it all 
it’s a current 
it all merges 
into a colorful river 
a swill 
      a plonk 
             of world alcohol 
which will drown 
the blue Smartie 
on platform three. 
Pull yourself together, Smartie 
act smart 
make your life such 
that it is good to eat.

(Translated by A. J. Hauner and the author)   


SMÍCHOVSKÉ NÁDRAŽÍ/JEDNA MODRÁ LENTILKA 

                                                                                  Ve snu zněl příkaz:  
                                                                                  Zpracuj svůj život, 
                                                                                  aby byl k jídlu.         
                                                                                                            Viola F.     

Pivnice Oáza, kde chlastával 
                                          Magor 
párek v rohlíku na třetím 
perónu 
– rohlík je lepší, 
větší a makový, dá si ho 
každý, kdo přijde k okýnku, 
vyhlášený  
smíchovský  
párek v rohlíku a malinovka  
za 23 káblí; 
cedule s odjezdem  
se kýve ve větru, 
na šedým betonu 
jedna modrá lentilka. 
Sklad nádražních pozorování 
vněm 
hlavaoko  
okohlava 
nesložíš větu. 
(Celé se to točí 
jak na pantu 
na iluzi odjezdu.) 
A už jedou 
svůj první ranní doušek: 
ta žena před nádražím 
v červeným svetru 
a s jedním zubem 
ten chlapík u bufetu 
v odraným vaťáku 
LIQUORS 
ALCOHOLS 
regály plné 
chlastu 
v Kalifornii v Texasu v New Yorku 
nikdy to nemůžou vypít 
nikdy to nemůžeš vypít 
teče to proudem 
slívá se to do jedné 
barevné řeky 
břečky  
              patoku 
                            světového alkoholu 
která zalije 
modrou lentilku 
na třetím perónu. 
Vzpamatuj se, lentilko 
pluck up your courage 
zpracuj svůj život 
aby byl k jídlu.    

  

Sound Proof

I shed my clothes and the pain of the week. Forty-eight hours. Forty-eight hours ago we were on the couch in your living room. You comforted me as I cried myself to sleep, nightmares of my childhood on repeat. Forty-one hours ago you and Georgie pranced around the kitchen while I cooked us breakfast. You loved my omelets. Thirty-nine hours ago we sat in silence on the bus ride to school. I watched you eagerly stare out the window as we drove down the Champs Elysées. Thirty hours ago we sat at a table, surrounded by friends, tucked away in a corner of the garden at Ralph’s. The turkey burger was your favorite. Twenty-five hours ago our group, some buzzed and some high, stumbled down a crowded street into Chez Georges, our favorite night club. Twenty-two hours ago, you let us know you were going to the bathroom and went down the line sloppily kissing our cheeks. I didn’t know then that it was the last time we’d speak.

 

When I was 14, my sister Julie and I moved to Paris with our mom. We lived in a quaint apartment off the 17th arrondissement. It was a quiet street during the week and bustling with little kids playing du foot on the weekends. I had forgotten what it was like to play outside and not have to worry about safety. It was odd. White roses and fuchsia lilies lined the window boxes of every apartment. The bright colors of the flora were a stark contrast to the white and gray exterior of the tightly packed buildings. Older ladies gossiped from their balconies, intermittently taking long drags from cigarettes. Every morning, the smell of fresh bread wafted into my bedroom window, the scent seeking me out from the bakery across the way. We tried to go back to Lebanon one summer, but on the drive home from the airport our car had been shot at. Dani, our driver, got hit and died later that night. We were on a plane to Charles du Gaulle the next day.

I didn’t meet you until my second year of school in Paris. I remember you had just moved from Nice and I saw you alone, wandering the hallways, clearly lost.

“Hi!” I walked up and greeted you. “Do you need help finding where you’re going?”

You looked at me helplessly, gesturing with your hands to your ears and then shaking your head.

Oh. I signed to you.

Your face lit up.

We smiled.

I felt like the piece of me I didn’t even know was missing was restored. It was 1980.

What’s your name?

Jerome.

Pierre.

How do you know sign language?

 

We fled Beirut during the earlier years of the civil war. Papa chose to stay while Julie, Maman, and I moved to Paris. I still remember the day when it was decided we would leave.

It was a week night and I was in my bedroom. Accustomed to the shouting and sporadic gun fire in the streets I could sleep through anything. It was the silence that woke me.

For the first time in months all I could hear was my breathing. In, out. In, out. It was unsettling and I curled into myself. That’s when the mortar fire started.

There was a hissing sound, like an overheated teapot. My bedroom wall exploded. My cheeks burned. I was thrown from my bed. Debris lodged itself into the wall, ceiling, and flew through the doorway. My MVP soccer trophy and my Bible went up in flames. I dragged myself behind my tattered mattress. My skin felt on fire. My ears were ringing. Blood dripped from my forehead, blurring my vision.

I awoke in the hospital in Hadath, 48 hours later, to my father standing over me, monitoring my vitals. The bright lights forced me to squint. My head was pounding, my body stiff. His face warmed when he saw I was awake. Squeezing my hand, he launched into one of his rants, something he usually would do every time I wanted to go out with friends; about the dangers of the city, how it was unsafe, about the patients, bloody and mangled, that he had seen that day, not about the fact that he didn’t want me out where he couldn’t control my every move. At least I think he said those things. His mouth was moving but I couldn’t hear him. I couldn’t hear anything.

 

We went to your apartment for the first time, a few weeks after meeting. You hadn’t told me you lived in the 4th district. When we got to your building, a doorman was out front. We had left almost everything behind in the trip to Paris and I couldn’t help but feel out of place, underdressed and unprepared. Our reflections were visible in the freshly polished white marble steps leading up to your apartment. You pushed the door open to reveal high ceilings and a stately entry hall. I remember you dragged me away before I could look around.  A baby grand caught my eye as we scurried past the parlor, towards your bedroom.

Collapsing onto your bed, you let out a sigh.

Jerome, what’s up? I signed. No reply. You closed your eyes and rolled over onto your stomach. The bed creaked when I sat on it, unnatural amongst our silence. We stayed like that for a long time.

Your finger poking into my side got my attention again.

Pierre, I hate it here. Paris is great, but in Nice at least all of my friends could sign. They understood what I was dealing with, we went through it together. Here, I’m alone.

I get that, Jerome, I really do. I pretended not to see you roll your eyes. Even after regaining my hearing no one understands why the wrong sound or smallest touch can make me jump. The things I saw in Lebanon are burned into the underside of my eyelids when I close my eyes. I almost died. I watched a man I grew up with bleed out in front of me, and another man shot at his daughter’s baptism.

 

The war had started quietly, with infighting at the borders and secret midnight raids. Papa spent his days in the hospital and nights in Parliament. Maman stopped letting us go out alone in the evening. I didn’t understand what was happening until we went to a baptism. It was Sunday, April 13th, 1975. I was 10 years old. In the middle of the service I remember a man approaching Papa, their conversation kept at a whisper, before they scurried out of the ceremony. I didn’t think anything of it, that was the nature of being a politician. Afterwards, as we congregated on the steps, shots were fired. Maman quickly herded Julie and I back into the church, but not before I saw Joseph, the father of the baptized child, have his throat torn open by bullets. Blood spattered onto the priest beside him. The baby cried and Joseph’s wife screamed. It was the first time I’d seen someone shot.

 

I may be able to hear but I remember what it was like not to. I am alone in my pain. But we can be alone, together. You threw your arms around me. I flinched, then relaxed into your touch.

 

We didn’t share any classes, since you were in a special program, but we ate lunch together. None of our friends could communicate with you. You didn’t strike me as someone who would have spoken much, regardless. At first, we only ever saw you at school. Your life outside those walls was a mystery, the lack of social interaction isolating. I knew that feeling well.

 

We had to move to a friend’s house after everything got destroyed. After the explosion, I wouldn’t go outside. If no one saw me, if I didn’t face the world in my current state, then it wasn’t reality. I couldn’t stomach a meal. I would sit at the dinner table and stare blankly at the kibbe and hummus laid out before me. It all tasted like cardboard. Every night I would lay down and stare at the ceiling. Sleep never came. The sheets were too soft, my new room illuminated too much by the street lights, anything and everything reinforcing the silence.

The first month without hearing, Julie and I spent most of our days with a tutor who taught us sign language. It seemed futile. We had to learn how to sign Lebanese, Arabic, and traditional French. Every mistake felt like a slap in the face. I felt useless. I couldn’t hear. I was still in a wheel chair. Everyone else’s life kept going.

I hated my tutor. Hilda, an awful name. Dark curls perched atop her head, and she had a large mole to the right of her nose, like a third eye that stared at me. She wanted me to work for 4 hours, nonstop! Julie and I would sneak fake bugs into her meals, her wide eyes and silent screams left us giggling. I didn’t want to like her. I didn’t get the point and I didn’t understand sign language.

Then one day, Julie came home and signed to me, asking if I wanted a snack. And I understood her. Without realizing the gravity of the situation, I signed back, toast with foie gras. The moment hung in the air before she started jumping up and down, the smile on my face automatic. Tutoring sessions became easier. We started using it as a way to say everything we couldn’t in front of Papa and Maman; how we snuck sweets at night and the wine Julie had absconded with. Then one night at dinner, Maman looked Julie directly in the eyes and signed Did you like the Chardonnay? We both went white. I should have never left my study books out.

Hilda stopped coming. I didn’t need her anymore. Nor my wheelchair. I grew accustomed to the silence, a reprieve from the gun fire and shouting. At times, I did wish for the burns that scaled up my legs and fractured rib cage to slow their healing because as I got better, the closer I knew we were to being sent off to Paris. It was too dangerous for our family to stay any longer.

 

I taught our friends the basics of sign language and it got us through the first semester. In the three weeks we had off for Christmas, while you went back to Nice to visit family, Julie and I set up a schedule with them. When I couldn’t hear, everyone around me worked to make sure I didn’t feel alone. I wanted that for you. We’d meet up every morning and between mouthfuls of breakfast crepes, the guys would learn the basics. Getting them to learn how to sign wasn’t all that difficult, it became muscle memory after the first week. Rather, they struggled with understanding what I or Julie was signing to them. Turning their understanding into a competition motivated everyone. Georgie would stay late every night pouring over my old books with Julie. It was obvious he was doing it to spend more time with Julie, but soon he understood and could sign better than the rest of the guys. Three weeks was not long enough to master it, but by the end of vacation, the boys could have conversations on their own.

When lunch rolled around on our first day back, I had gnawed at my finger nails down to the stubs. A bunch of our friends were already sitting when you and I approached them. The table fell silent. After a beat, several guys engaged you and I in conversation. Henrie eagerly turned to you, his eyes ablaze. Jerome, how are you? How was your holiday?

Georgie tugged on my sleeve. I bet Jerome starts crying. I smiled. He winked at Julie from across the table.

I remember how stunned you were. And when you started to cry, your tears triggered mine and I found the two of us swathed in an embrace.

 

Three weeks after we moved to Paris, the ringing started. I thought I was imagining it. I tried to ignore it. Sitting at dinner in the apartment with Julie, I noticed her teary eyes.

It was the first time I saw someone cry since I stopped hearing. I couldn’t speak words of comfort, so I just held her. Julie’s shaking body in my arms, put my nerve endings on edge. Everything was heightened. As her crying grew more intense so did the ringing. It was a nuisance at first but then it became painful and I couldn’t hold her anymore. I dropped to the cold kitchen tiles in fetal position, and just like that Julie was no longer a broken girl. She was my fiercely loyal older sister. Her hand traced patterns on my back to bring me back down into the present moment.

The ringing was unbearable. Julie cradled me. I prayed for it to stop. As it got louder, it sounded like there was interference. Whispers, breathing, I couldn’t make it out. The ringing dissipated, and in its absence I could hear Julie’s breathing. It was the loudest thing I’d heard in my life. This couldn’t be real. I rolled over to look at her. She breathed, in and out, the motions perfectly in time with the sounds that expanded and filled the room. This couldn’t be real. I spoke. “I think I can hear.” It came out a whisper, a drawl from being silent for so long, but the words rang true.

Julie began to cry again. We held each other. Our sobs echoed throughout the room. I felt our beating hearts. I could hear them.

 

You, Julie, and I navigated the crowded street. People waited, packed together like sardines, to get into the Rolling Stones concert at the Hippodrome. We didn’t have the money for that.  We didn’t need it. Earlier that day, I had stolen a length of rope off a work bench at the edge of a construction site, and the three of us scoped out the lines of trees near the stadium. In a dimly lit alley across from the concert we found our friends waiting.

Yellah, guys. We’re going to be late,” Henrie coughed out between pulls from a bottle of vodka.

Seeing the liquor, you pulled a baggie full of small candy hearts from your pocket, offering it up without a word. I made eye contact with Julie across from me and saw the familiar the twinkle of rebellion in her eye.

 

It was 1970 and The Wild Child had just been released. In a rare family outing, Maman and Papa took Julie and I to see it. We left the theatre quoting our favorite lines and acting out scenes. In an unfortunate turn of events, we had spaghetti for dinner that night. Julie and I clawed at each other, words tumbling out of our mouths faster than could be processed on the car ride home. The confined space was not helping anyone. When we pulled into our driveway, before Dani even tapped the brakes, we bolted out from the back, running into the house. The dining room table was immaculate. Porcelain plates evenly spaced, wine glasses filled with some type of red wine, all of it gross to me, and a piping hot serving bowl of pasta set in the middle. The steam was so thick you could see it, feel it.

I followed Julie’s lead. We jumped atop the table and started stomping around, wine spilling everywhere. Releasing raw, barbaric screams, we launched spaghetti into the air with our bare hands. Julie looked at me, mischief twinkling in her eyes.

When people ask how I got the scar, I tell them it was a skiing accident. What really happened, I can’t know for certain. I hadn’t noticed the fork in her left hand, clenched behind her back, knuckles white. Both of us were living out our Wild Child fantasy, a luxury we were not afforded, always being shown off at political dinners and charity galas, the perfect child props. We were bound to burst.

Spaghetti strewn everywhere, my coiffed hair was a mess. As we danced across the table, reveling in the last few seconds before our parents walked through the door, Julie turned to me and shrieked, “THERE CAN ONLY BE ONE WILD CHILD.” Next thing I knew I was on the ground and she was next to me, tracing circles on my back, keeping me calm.

 

One by one we each placed a heart on our tongue and let it dissolve. Then we made our way to the trees.

We ran down a series of cobbled side streets until the back of the stadium seating loomed before us, casting a shadow across a patch of trees to the left of the Hippodrome. There was never any security. I dragged you along with me, towards a towering oak with sturdy branches, thick in circumference. You gave me a boost up, and I shimmied my way to the first branch before climbing higher and higher and higher. The hands of 40,000 people were swaying in the air, giving the illusion of rolling waves. The stage was illuminated. Pulling out the rope, I tied a bowline knot around the trunk and let it down. After several minutes of shaking, grunts, and heavy breathing, you climbed up next to me. Hair all messy, you faced forward and saw the direct view of the stage. Your eyes lit up.

We could clearly see Mick Jagger and the rest of the Stones prance onto the stage, the crowd erupting into screams. The vibrations from the bass carried all the way out and I could feel it in my bones. The reverb travelled down my body, song after song, as I signed the words to you. You bobbed your head along to the beat taking up residence in your body. Our smiles wide, eyes glassy. I was seeing stars and never realized Mick Jagger had a twin, until he appeared on stage that night. Henrie fell asleep muttering nonsense in the tree next to us. Jagger closed out the show with “Lady Jane” and I screamed along in my best broken English. You hugged the tree trunk like a koala. Georgie fell from his branch and remained in the dewy grass, cackling to himself, Julie beside him, their hands intertwined. My voice was hoarse, we were all fucked, and had just witnessed greatness. We were dilated pupils full of music. I could still taste the heart on my tongue.

 

You invited us over to your apartment the night before Georgie’s birthday. A pre-celebration before the weekend, since Julie couldn’t join us the following evening. Studying for the Bac was consuming her life.

Drinks and food littered the island in your kitchen, tea on the stove. Julie led us in an offkey rendition of Happy Birthday. You were right beside me, beaming, as we all sang and signed in unison.

The kettle went off and everything around me slowed. I was transported to my old bedroom, body felt like it was on fire. You turned to me, fear in your eyes, when my glass crashed at your feet. I couldn’t breathe. The world was silent. I was alone.

 

Twenty hours ago you dropped acid. The guy with you said you thought you could fly. Eighteen hours ago I found myself in a hospital waiting room. Henrie said that no news was good news. Fourteen hours ago a somber team of surgeons emerged from the OR. “We stopped the bleeding, but Jerome is in a coma. He suffered a traumatic fall. We can’t be sure if he will wake up.” Thirteen hours ago my tears pooled at the edge of your bed as I held your hand. You couldn’t hold mine back. Five hours ago you left us. Two hours ago I stood outside the hospital taking a drag from my last cigarette. “Go home, Pierre,” someone said. The hand they rested on my shoulder felt alien. Ten minutes ago I walked through the door of my apartment. My sister and mother were both asleep.

Anya

Sasha sat and watched the leaves fall from the trees in Central Park. It made him feel young again. Of course, he was not young. He was very old. Layers of tan skin cascaded upon one another to create his face. His bright blue eyes, now his only staple, shone through the layers. Women used to fall for those eyes. Women still did if you asked Maggie, who lived next door to him in their small apartment complex. Sasha lived alone now. His wife had been dead for four years. He’d said goodbye to her in a room that overlooked Central Park. That was part of the reason he liked the Park so much. If he concentrated enough he could feel her in the wind. 

David watched Sasha sitting on the park bench across the way. David himself sat on the edge of a fountain, a homemade sandwich in one hand and a Guinness in the other. He was a large balding man, fifty percent muscle and fifty percent beer belly. He had tattoos that snaked their way around each of his arms, and another two on his neck. He also had a token lumberjack beard and a hardness to his face that cracked like an egg when someone made a joke. David recognized Sasha from the many nights he spent in his pub, causing a ruckus. Once Sasha passed the two-beer mark, he became a story-teller of epic proportions. He would reenact scenes from the fable he was telling, standing on a table and brandishing his umbrella.  

He always had an audience, David thought as he took a swig from his drink. 

The pub had an ongoing wager of whether or not Sasha’s stories were true. They kept the tally marks on a black board that used to be for Trivia Night. So far, they’d covered both sides and David was thinking about ordering a new one. If they believed all of Sasha’s stories, he became a debonair adventurer who had braved the rain of bullets in both Germany and the Middle East, working for no one other than himself, to right the wrongs in the world. That was the difficult bit. According to Sasha, because he was wanted in so many countries for acquiring secret information, he was forced into hiding in the US. 

“Well why are you telling all of us about it now?” one of his audience members once lamented. 

“Bah,” Sasha said dismissively, his Russian accent revealing itself, as it always did when he was drunk. “Most of my enemies are long dead now, and even if they did come for me, I’ve still got more than enough skill to beat those bastards.” 

There was still a surprising balance among the guesses of whether the stories were true or false. David should probably be giving Sasha part of the profits that he brought in from all the people who came in either to see Sasha or to talk about him. Sometimes David wondered what it would be like to run a regular pub, where people talked about football or politics. It seemed all his customers had become Sasha conspiracy theorists. 

David noticed he’d run out of sandwich and crumpled the saran wrap and tossed it in one of the green trash cans. He looked at Sasha one last time. The old man hadn’t movedIt looked to David like he was waiting for something. Whether it was death or another beer, David had no idea. He shoved his hands into his pockets and walked back towards the pub. 

 

Sasha pushed open the door to David’s pub. The bell clinked, signaling his arrival. It was nearly empty. A trio of young men sat at one end of the bar and a couple sat at the other. Sasha pulled his hat off and hung it on the coat rack. He walked to the center of the bar where David was polishing mugs. 

“What can I get’cha?” asked David, glancing up from his work. Sasha chuckled. 

добротаyou know what I want. I’m here just about every night of the week, he said. David smiled slightly as he pulled out a Guinness and popped the top off with one hand. 

“There it is,” said Sasha with satisfaction. He took a long gulp. David put the mug away and leaned forward. Sasha wiped his mouth with the edge of his sleeve and waggled his large grey eyebrows. 

нямGood stuff,” he said, and David laughed. 

“People have been wondering what story we get to hear tonight.” David pulled back to grab another mug, having gotten straight to the point. 

“Have they now?” asked Sasha. “You tell a story once and all of a sudden people want to use you as weekly entertainment. We might as well start advertising!” He put his hands up as if imagining the poster. “The Great Russian Spy Sasha! Every night at David’s! Of course, I wouldn’t do it for free. I’d need some payment,” he said, rubbing two of his fingers together. 

“Alright, alright,” said David, “Your drinks are on the house tonight.” Sasha grunted and nodded in acknowledgement. 

The usual night crowd began to filter in as people got off work. David surveyed the crowd in his pub between orders. Seeing the different people was one of his favorite parts of the job. You had bookworms with surprisingly high alcohol tolerances, college kids with surprisingly low ones, business men and women stopping by after work, one or two hippies, and a couple pairs of parents who made David’s their weekly nights out. Most of them were here for Sasha. At first, David was a little disgruntled that people came here for Sasha, instead of his quality microbrews or fish and chips, but David’s and Sasha had become a package deal. You couldn’t have one without the other. 

As the night continued, the pub was filled with the happy sounds of chatter and clinking mugs. A couple in their early 30s moved from admiring the tally board to approaching Sasha. 

“Hello, my name is Dillon, and this is my wife, Emilia,” the man said a little tentatively, extending a hand. Sasha gave him a once over before shaking his hand and then Emilia’s. 

“May we sit?” she asked, and Sasha grunted with a nod. 

“I suppose we were really wanting to ask you about your stories,” said Emilia.  

My stories? Aish,” said Sasha, “Now why would you be  interested in those? What about your story? Tell me that one first.” 

The couple glanced at one another, “Well,” Emilia started, “I met Dillon when he came wandering into my dad’s bookshop. What year was it? Sophomore?”  

“Junior,” Dillon corrected. 

“Anyways, he looked lost. Said someone recommended him to come in here for his textbooks that semester. He was getting his degree in Business and I’d just finished my Masters in English that summer, so I wasn’t sure if I could help, but two hours later we were sitting on the hardwood floor thumbing through classics.” She shrugged as if to say, ‘and then it was happily ever after.’ “Now then. What about one of your stories? I notice you wear a wedding ring? There’s got to be quite a story behind that,” she smiled in expectation. 

“No, not really. Anya picked it up from St. Petersburg.” Emilia’s smile fell. Sasha took a long swig from his third bottle of beer. 

“I will tell you one story, though,” he said swallowing and smacking his lips. “It all started in the Himalayas. Anya and I were hunting a band of sex traffickers for months. It was just beginning to get cold . The winds were strong, and it felt like daggers were cutting into your ears.” He dashed to the coat rack and pulled a scarf from it, wrapping it around his head and face. 

“We got inside info that they were going to meet with a buyer in a tavern in Darjeeling. It was dark when we arrived in town. Back then, the streetlights were still lit with real candles. There were pockets of light every 3 feet. We had to be careful not to be seen. There were guards and thieves around every corner,” he said, placing his back against the wall of the bar and looking around for threats. 

“It took a long time, going from shadow to shadow, but eventually we got to the tavern. It wasn’t much different from this one. Smoke hung in the air. Someone plucked a sitar in the back. The men were boisterous as always, playing cards and drinking. The leader caught my eye. His name was Vihaan. God, he was a piece of work. Made my stomach turn just looking at him. He had a scar over one eye. Iwas from his father, or so the rumor went. I’d seen him do too many horrible things. I longed to put a matching one on that other eye. I wanted to jump across the tavern and put a bullet through his chest, but Anya held me back. She always knew when I was about to do something rash. I know if she hadn’t been there I would have killed that man and then his men would have killed all the young girls we were trying to protect. My angel, Anya,” he reminisced for a moment before yanking out a chair and taking a seat. 

“We sat and waited. No one took much notice of us. People came through all the time. It was early morning by the time Vihaan and the buyer shook hands and left. Anya and I swiftly followed. They walked toward the edge of town. I could see Vihaan’s men holding torches. The girls were shackled together and shivering. We got as close as we could without alerting them,” he said acting out such. 

“Vihaan un-shackled four girls and tied them together with rope. The buyer was waiting. I looked at Anya. She had fire in her eyes, glowing like a cat’s in the night. I knew that look. She pulled out her gun and I did the same. She zigzagged away from me to flank the bastards. Before they even registered what happened, two of them were dead. The girls screamed as their captors fell to the ground in pools of blood. The buyer grabbed them while Vihaan pulled out a sword. I’d always been a fan of hand to hand combat, so I pulled out my own,” Sasha said, grabbing his umbrella. 

Anya went for the buyer, wrestling with him for the girls. I fought Vihaan with every ounce of my strength. The clashing swords sent sparks into the night. He leered at me while he fought. ‘You’re from the tavern’, he growled. I didn’t respond, too focused on our battle. I jabbed at him, he dodged and parried. This town was mountainous, so we were climbing over boulders, trying not to be sliced open in the cold air. With the luck of Heaven, I pushed Vihaan down and disarmed him. That was when I felt the pain,” he said, staggering back into a table and knocking it over. 

“I put my hand to my chest and saw blood. It was pouring out of me. The bullet had gone straight through,” he said, unbuttoning his shirt to reveal a dark brown scar. “I only had time to turn around to see my killer, who held a smoking gun, before I passed out,” Sasha fell to the floor and closed his eyes. Everyone looked at one another, startled. 

“Then,” Sasha’s eyes popped open, “the next thing I knew I’m in a tent in the middle of a mountain pasture. Anya had beaten those the rest of them all by herself and the only injury she gained was a slice on the cheek. I demanded to know what happened, but like the Russian woman she is, she demanded that I relax. I asked what happened to the girls. She said they were in the next tent over. She had telegrammed one of her trusted contacts to come retrieve them and take them safely home. I was bedridden for three weeks. It’s a good thing Anya trained under a doctor for so many years. I always told her, she was my angel. I would have died that night without her.” 

Sasha climbed back onto his stool. He pulled his fourth beer towards him and drained it. His eyes glistened a little. 

David looked in dismay at what Sasha had created in almost ten minutes. The center of his pub was a mess, with chairs and tables overturned. Sasha still wore the stranger’s scarf around his head, and people were starting to applaud. David needed a drink. 

Sasha moved from his 4th drink to his 5thand once the couple realized they would get no more out of Sasha, they left. Slowly, as night lagged into morning, everyone was gone except for Sasha. David would’ve pulled his drinks back, but Sasha spent the rest of his time caressing the last few drops of his 5th, whil staring into space. He finished washing the last glass and went to try and jog Sasha out of his stupor. 

“Sasha,” he tried. He came around the corner and gave the old man a gentle shake. 

“Sasha,” he tried again. The old bugger was asleep. David sighed and shook him a little harder. 

“Sasha!” David said louder. Sasha moaned a little. 

я проснулсяI’m awake,” he said, in a heavy Russian accent. 

“I’m taking you home,” said David. He turned the lights off and pulled one of Sasha’s arms over his shoulders. Sasha put his weight on David and they wobbled out of the pub. As David locked the door, he realized he didn’t know where Sasha lived. He thought about what he normally did with drunks, dropped them off at the nearest police station. But he couldn’t do that to Sasha. It wasn’t like he was dangerous. He could sleep on the couch. David walked the three blocks to his apartment, Sasha leaning on one side. He opened the door, feeling great relief to be home, and gently placed Sasha on the couch. Sasha stirred a little as David threw a blanket over him. 

“Goodnight my darling Anya,” said Sasha.  

Later that night, David lay in bed, wide awake. He kept mulling over Sasha’s story. It’s possible that Sasha worked in the Himalayas, but did he really fight off an entire gang all on his own? Tonight, with the scar, it made David wonder. That wasn’t natural for Sasha, but granted, this was the first story where he’d really talked about Anya. He’d mentioned her name before, but never a story that included her 

The more he thought about it, the more he realized how little he knew about Sasha. For a man that came into his pub every night of the week, they never talked about what was happening now. It was always some story in a far off place, from years ago. It was quite possible David was the closest “friend” Sasha had, and he never asked about his current life. Just as his eyelids were beginning to shut, David made the decision that it didn’t matter if Sasha’s stories were one hundred percent true, he gave people entertainment and happiness and that was the important bit, wasn’t it?

Sylva Fischerová

Sylva Fischerová is a Prague-based Czech poet. Born in Czechoslovakia in 1963 during the Communist regime, Fischerová spent her childhood in the Moravian town of Olomouc. As a writer and scholar, she possesses a valuable ethical lens. She lived through historical periods in which literature (including the work of her father, philosopher Josef Ludvík Fischer) was censored by authoritarian regimes. She is the author of ten volumes of poetry in Czech. Her most recent book published in English in the United States is Stomach of the Soul (Calypso Press 2014). In November 2018, she was named the first City Poet of Prague, and her book of Prague poems whose title is Church for Smokers is to be published this year. Fischerová is notable scholar and author whose works—in addition to poetry—include numerous essays, works of scholarly prose, and children’s literature. Fischerová’s prose book Europe Is Like a Thonet Chair, America Is a Right Angle was nominated for the prestigious Magnesia Litera Award and appeared in German translation. A professor in the Department of Greek and Latin Studies at Charles University, Faculty of Arts, she specializes in Greek literature, philosophy, and religion.

A link to Fischerová’s web site at the Prague Literary Agency can be found here: http://www.praglit.de/portfolio/sylva-fischerova/.

Photo from the author’s archives.

Mueller’s Bowling Alley

When I was in the fourth grade, Matt Fischer got stabbed outside Mueller’s Bowling Alley. He didn’t die or anything, but it was the talk of the town for months after it happened. That’s how small towns are. If you live in a big city, you’re used to people getting stabbed all the time, but because exciting things rarely happen in towns with populations under two thousand people, a seventeen-year-old kid getting knifed by a confused drunk guy, it becomes the talk of the town.

After that, my brother and I weren’t allowed to go to the bowling alley without our parents anymore. This was annoying because both my parents worked all the time and there weren’t many other air-conditioned places for kids to go during the summer. So, one July day, when I was ten years old, and my brother Darren was eleven, we ended up going to play in Peterson’s creek.

We were both lying on our stomachs on the plush, blue carpet of our family’s living room, sweltering with only the ceiling fan providing minimal relief. My long hair was tied up in a pony-tail on top of my head to keep it off my neck. I was envious of the way boys were allowed to shave their heads in the summer while I was forced to tote around my mop of hair, even when it was over ninety degrees outside. I wasn’t sure who created that rule, but I wasn’t fond of them.

“Have you ever caught a fish with your bare hands?” I asked Darren.

“What kind of fish?” he asked, not taking his eyes off the PBS program playing on our television set.

“What does that matter?”

“Some fish are easier to catch than others. I could probably catch a trout, no problem, but a jellyfish would be trickier.”

“I’m not asking if you could catch a fish with your bare hands, I’m asking if you have,” I said, rolling my eyes. It was times like this that I cursed my parents for stranding me here, away from all my friends, with only my brother for company. It was if they wanted us to kill each other so that they’d only have one left over to deal with.

“Not just yet,” he said, shrugging his shoulders.

“Do you want to?” I asked standing up, tugging on my denim shorts as I did. They were still the same ones from last summer, and they’d gotten too tight for my liking, but my mom thought we could still get another year out of them.

“Right now?” Darren asked, rolling onto his back.

“You got something better to do?”

“Where are we gonna catch this fish?” he said, looking doubtful.

“I know a place,” I said, turning and marching out the back door without waiting for him. I knew he’d follow. He was as starved for entertainment as I was.

Sure enough, a few moments later I heard the screen door slam and the sound of his feet pounding along the brown grass of our lawn. “This better not be some wild goose chase of yours where you lead me around all day, and we never end up getting to what you set us out to do.”

“I never do that,” I said, flipping my ponytail with my hand so it hit him in the face. I heard him grumble something behind me, but I chose to ignore it.

We walked for about ten minutes with me leading the way and Darren a few paces behind me before he started complaining. “You’re not going to make us walk all the way to Peoria for this stupid fish, are you?”

I huffed at him and didn’t respond. He’d always been a complainer. Mom said that it came from his general nervous disposition. Our Grandma Jeannie was the same way. Gave herself an ulcer from all the worrying she did. Before she died last summer, she hadn’t left her house in two years. I couldn’t imagine staying cooped up inside for that long. Dad said that the outside had become too scary for her to handle. I asked my Dad if it was the spiders and such that were keeping her inside—because truth be told, they gave me the creeps too—but he just laughed kind of sad-like and told me I’d understand when I was older.

“Oh no. Absolutely not,” Darren said from behind me. We’d reached the chain-link fence that blocked off the perimeter of the Peterson’s property.

“C’mon, don’t be such a wuss,” I said as I lowered myself flat on the ground and rolled underneath the gap in the fence. I stood up, tugged on my shorts, and brushed the dirt from my front.

“What about their Rottweilers?” Darren asked, looking off into the distance behind me.

“If they come after us, which I doubt they will because they’re both about a hundred in dog years, we’ll climb one of those trees to get away from them,” I said, gesturing to the plethora of perfect climbing trees surrounding us. Darren gave me a doubtful look, but he followed my lead and did an ungraceful shimmy underneath the fence.

“Thank you for joining me today, Darren,” I said, putting my hand on his shoulder. “Today is the day you become a man.”

“I thought I’d become a man at my bar mitzvah,” he said, taking my hand in his and throwing it off his shoulder.

“That’s what mom and dad want you to think, but that’s not true. You can only truly become a man when you catch your first fish.”

“Does that mean if you catch a fish today that you become a man, too?”

“I’m not sure, exactly. I guess we’ll see,” I said, turning and skipping off in the direction of the creek.

Darren jogged behind me.

The creek was in the northwest corner of the Peterson’s property so we only had to walk a few minutes before we reached it. Central Illinois was not known to be a place with many lakes, and the Peterson’s creek was one of the only places for miles to cool off from the heat. The Petersons attempted to keep out trespassers by putting up a fence and adopting twin Rottweilers, Zeus and Poseidon. This did cut down the problem considerably, but everyone knew how to get past the fence and the dogs.

I never could understand what the Peterson’s problem was with sharing their creek anyway. It wasn’t like they’d dug it themselves. They just so happened to buy this chunk of land that just so happened to have some water on it. And they didn’t even have any kids who could get any use out of it. They let it sit on their property untouched. It was selfish, and I felt absolutely no guilt in trespassing on their land that day and attempting to steal some fish out of their creek with my bare hands.

“There she is,” I said as we approached the creek, looking down over it from the top of the hill that stood next to it.

“Stop talking like you’re a pirate,” Darren said, walking down the hill ahead of me. I didn’t appreciate not being in the lead, so I ran full-force down the hill, wind-milling my arms and shoving him out of the way as I barreled all the way down, stopping just short of falling face-first into the somewhat murky water.

“And you wonder why the kids at school call you weird,” Darren teased, out of breath from running down the hill.

“Daddy says it’s because they’re jealous of my individuality,” I said, sticking out my tongue.

“My friends say it’s because you’re a few spoons short of a dining set,” he said under his breath.

I felt a sting in my throat and behind my eyes. “I’m going in,” I said, and started splashing my way into the water.

“Diana, you don’t know what’s in there!” Darren shouted.

“It’s a creek, not the Pacific Ocean,” I shouted back.

I continued splashing my way farther in. I realized that I was probably scaring any nearby fish away, but I didn’t really care about catching fish anymore. I wanted to get away from Darren, and what he said, and from myself.

“Diana, stop!” Darren shouted again. I heard him enter the water behind me. I knew he thought it was infested with diseases.

“It’s fine. I’m fine!” I shouted back, but I took one more step and suddenly couldn’t reach the bottom anymore. Submerged, I let out a scream and my lungs filled with water. I struggled to get my head above water, but I’d never learned to swim. Our town didn’t have a pool, and mom and dad didn’t have time to drive me twenty minutes away to take lessons. I thrashed around in water, but felt myself being pulled farther down. My head was feeling fuzzy and my lungs hurt so badly that I didn’t think I could stand another second when I felt a pair of arms wrap around my middle and drag me above into the sunlight.

“You stupid idiot,” Darren sputtered when we got to the shoreline.

Amid coughing up water, I asked, “When the hell did you learn to swim?” I didn’t think lungs would ever empty of the water.

“Eddie’s older brother taught me last year when I went camping with his family,” he said, lying on his back next to me in the grass.

“Tell Eddie’s brother that I owe him my life,” I said, lying face-down, still spitting up sludgy water.

“You owe me your life, you little shit,” Darren said, whacking me on the back; which actually helped to get out the last of the water.

“It looks like I was right,” I said, rolling over onto my back and looking up at the cloudless, blue sky.

“About what?”

“Today was the day that you became a man,” I said, grabbing his hand in mine. “Mazel tov.”

“I should have let you drown,” he said, but he didn’t let go of my hand. In my memory, he held it tighter, but I’m not sure if that’s true or not.

I think about that day a lot. It was my first real brush with death. I would like to say that it made me more careful with my own life, but I continued to be as reckless. Darren continued to be as careful as ever.

In the car crash when he was nineteen, he hadn’t done anything wrong. A drunk driver swerved into his lane and the police officer on the scene said there was nothing Darren could have done.

That was the moment when I realized why Grandma Jeannie was so afraid to leave her house. No matter how hard you tried to be careful and be a good person, terrible things could still happen. You can’t control what other people do.  You could spend your whole life doing everything right, and it could all end in a split second in the parking lot of a bowling alley, or in a neighbor’s creek, or on a highway in the middle of the night. I saw that I wasn’t smarter than Darren—and everyone else, for that matter—like I’d always thought. But rather, I was the idiot who was naïve enough to believe that world owed me something like safety.

 

 

From the Editor’s Desk

Stephen Vitiello: World Trade Center Recordings, 1999 Photo credit: Johnna MacArthur
Welcome to Mistake House!

Like its architectural namesake, the magazine brings together an assemblage of interesting components and offers their conjunction as a microcosm of hard work and play. The voices highlighted by the stories and poems in Issue 5 appear like individual rooms under a shared roof of human mess.

In her introduction to The Best American Short Stories 2018, Roxanne Gay refers to reading as a necessary grace, a reprieve not to avoid reality but to strengthen the ability to cope amid personal and political upheaval. At all times and in every context, the human voices around us, in all their intersectionality, are relevant and powerful, providing visibility for and necessary insight into the realities of now. The empathetic stories and poems of Issue 5 push creative boundaries and are sensitive to individual perspectives and to current world issues today; and, we are excited to share them with you.

In tandem with our student writers, Issue 5 features Soap Bubble Set creative professionals, Richmond, Virginia-based American sound artist Stephen Vitiello and Prague-based Czech writer Sylva Fischerová.

Interested in what is and what is not heard, Vitiello produces art from the vibrations and the tones of the mundane—the beauty, intrigue, and thoughtfulness in what humans perhaps don’t (or can’t) notice. His work reminds viewers/listeners/readers that it is always the perfect time to step back and consider who and what is not being heard.

Recently elected as the first City Poet of Prague, Fischerová writes poems that delve into the chaos of human systems and histories, poetry based in linguistic, literary, and historical scholarship. She enjoys poetry that surprises, that is informed by the unconscious. She reminds readers of the seriousness of play for our creative practice, something Mistake House Magazine holds in high regard since such inventive exploration of form and concept leads to vulnerability, as well as to insight.

Anna Daccache’s story, “Sound Proof,” narrated by a character who has lost their hearing, and Nazli Karabiyikoglu's mythic "Other Side of the Mountain" are both rich in imagery and characterization, showing human receptivity to care and illustrating the cost of negligence.

Jose Louis Lucero’s story, “Ten Things that May or May Not Have Happened,” simultaneously frames its content in ambivalence and utilizes footnotes of confessional honesty. Distanced slightly from their contexts, these footnotes encourage a metaphoric “double-take” of the anecdotes presented. Similarly, Lindsey Thäden’s triptych, “I Refuse to Sonnet, but Love,” Eric Fram’s trio of poems, “Egg,” “Rags,” and “Pretending,” and Valen Lim’s “Ode to Odes to Love" all reveal the sophisticated results of active play, most especially as that play results in empathy, ethical responsiveness, and focused attention.

Speaking of play as a serious practice, you may have noticed our new look! Our redesign is by Corey Fedde, Tamara Long, and Kyle Meserve. Corey and Tamara both served on the editorial staff for Mistake House Magazine’s inaugural issue in 2015 and helped to shaped the vision we strive to continue and expand. We’re grateful to these three dedicated Principia alumnae for the continuing support for Mistake House Magazine, and we hope that our readers will enjoy the redesign as much as we do.

Happy reading!

Samantha Frank, Editor in Chief

Stephen Vitiello

Sound artist and electronic musician Stephen Vitiello creates both an aural and a visual experience for viewers/listenters. Vitiello creates sound with analog and digital electronics, traditional and homemade instruments, and incorporates a variety of sounds from field recordings from urban and rural environments. As an installation artist and composer—as well as a prolific collaborator—his works include such multifaceted forms as gallery exhibitions, sound tracks, art installations, performance, and video art. Born in 1964 in New York City, he has participated in numerous group and solo exhibitions and performed his music live both internationally and domestically.

His most recent public events include: the group exhibition By Any Means: Contemporary Drawings from the Morgan at the The Morgan Library and Museum, NYC (on view through May 12, 2019); a recently released LP with Taylor Deupree, Fridman Variations on the 12k label; a collaborative exhibition with Kasey Fowler-Finn, PhD at Sediment Arts in Richmond, Virginia, Singing amongst the weeds; and a group exhibition at the Museum of Contemporary Art in Lyon, France, Sounding New, which includes “seventeen artists who have experimented and produced new forms of art by decompartmentalizing its disciplines: music, visual and digital arts, theatre, dance and poetry, breaking away from the artistic and cultural conventions of their time” (through July 7, 2019).

Vitiello’s solo exhibitions since the turn of the 21st century have taken place in world-renowned venues include, among others: All Those Vanished Engines, MASS MoCA, North Adams, MA (2011-(ongoing); A Bell For Every Minute, The High Line, NYC (2010-2011); More Songs About Buildings and Bells, Museum 52, New York (2011); and Stephen Vitiello, The Project, New York (2006). Among the group exhibitions in which he has been included are Soundings: A Contemporary Score, Museum of Modern Art, NY (2013); Sound Objects: Leah Beeferman and Stephen Vitiello, Fridman Gallery, New York (2014); September 11, PS 1/MoMA, LIC, NY (2011-2012); The 15th Biennale of Sydney, Australia (2006); Yanomami: Spirit of the Forest at the Cartier Foundation, Paris; and, the 2002 Biennial Exhibition, Whitney Museum of American Art, New York (2002).

Among his other accolades, Vitiello has received major awards from Creative Capital (2006) and a Guggenheim Fellowship (2011-12). Vitiello is currently a professor of Kinetic Imaging at Virginia Commonwealth University, and he lives and works in Richmond, Virginia.

Stephen Vitiello’s web site, including his full bio can be found here: http://www.stephenvitiello.com/.

Photo by Matt Flowers

 

Stephen Vitiello

MISTAKE HOUSE: Many people remain oblivious to the seemingly insignificant vibrations around them, yet you’ve developed a creative practice from these daily sounds. When did you first realize that the act of intentionally perceiving and interacting with vibrations was conducive to the act of creating?  

STEPHEN VITIELLO: I wish I could point to some childhood memory and there probably is one buried, but I will say that the time when my interests became far more focused was during the 6-month residency I had in the World Trade Center in 1999. I had always loved music and starting in 1989 I had been investigating different ways to make sound and to create collage-based pieces, soundscapes, soundtracks…but then in 1999, I had a studio on the 91st floor of the World Trade Center (through the WorldViews program administered by Lower Manhattan Cultural Council) and found that the windows didn’t open and the only way to hear the sounds from outside was to put contact microphones on the window. I had been asking a friend who is an audio engineer about how to get sound in and he told me to press my ear to the window. He said, if you can hear anything, you’ll be able to pick that up and more with a contact microphone. Putting my ear to the window then became a physical act and also a way that I felt the sound in my ear but also through my body. The contact mic became a device to pick up sound through surface vibration and to share it with others. I’ve said this in previous interviews but it felt like putting a stethoscope to a body and suddenly hearing a heartbeat and blood flow. 

MH: Home, one of the spaces most familiar to us, is filled with sounds. How do you think about home as an auditory space, a space which informs our growing up and our adult lives? Does your work try to interrogate or expand your sense of home?  

SV: So much of my work happens elsewhere. I don’t have a proper studio, so a lot of my work probably has underlying themes of being away and exploring…which is a kind of freedom but also going to spaces that are not mine, not real in some ways. When I do work at home, I sit at a desk 5 feet away from my wife and daughter and try to cram bursts of ideas and work into brief moments. I’ll be on headphones and trying to get something done and it could be that that sense of speed and urgency fuels creativity. Back to the idea of home, the only other thing that occurs to me is that I’m drawn to intimate spaces for listening in the exhibitions I create…and creating sounds that pull you in and hope you’ll get wrapped up in the details. As I say that (write that) it does make me think of the intimacy of living in a small space with the people I’m closest to and perhaps trying to capture something of it. I’m not sure. Feels like a rambling answer.  

MH: You noticed a certain listener at your public art installation in London, which featured recordings of the motion of bird wings, who returned repeatedly because it reminded him of his childhood in Brazil. How do you think experience with sound during childhood influences one’s perceptions as an adult—not only one’s adult awareness of sound but of awareness, in general?  

SV: have to believe that growing up in New York influenced the way that I hearthe intensity of traffic, the drones of subways and machines, the hum of people in crowded resonant spaces. Also, growing up in a creaky house that always felt a bit haunted must play a role. It wasn’t until I went on recording trips away from New York that I started to understand other ways of listening and maybe understand how conditioned I was to a kind of listening. I remember going to Death Valley with Brazilian video artist Eder Santos in the early 90s and trying to record but it was just so quiet. There were ridiculously beautiful moments too like watching the full moon rise over sand dunes and feeling small and hushed. And then going to the Amazon in early 2003 to record in a Yanomami village and the surrounding forest and realizing how loud and dense the forest was. I kept thinking I was hearing machines but the sounds would turn out to be insects or howler monkeys. We didn’t hear planes and certainly no traffic.  

MH: Peters MountainSpring 2018 features the buzzing silence of a mountainous, expansive forest. The video includes aerial shots of Peters Mountain and an unscripted conversation between two sisters reminiscing about their father and the mountain, as the landscape is a part of their cultural heritage. Clearly, specific animate and inanimate sounds arise within the ecology of place, but Peters MountainSpring 2018 suggests that human discourse is also mediated by place. What has this project (and possibly other projects) revealed about the relation of conversation to location? That is, do you find that the sounds of a given location affect the content and direction of the dialogue? 

SV: The Peters Mountain video you mention is part of an ongoing project investigating a rare wind phenomenon that is heard on and around Peters Mountain, bordering Virginia and West Virginia. I was interested in hearing the wind that I’d read about in scarce bits of literature. There was a meteorologist, William J. Humphreys who wrote about the winds in the early 20th century. Then, I found one book on Appalachian culture and landscape with one paragraph in which a woman named Amy is interviewed and she talks about the sound of Peters Mountain and how she’s worried that the threat of a pipeline and other industry will alter the landscape and take away that sound. My friend Matt Flowers (who shot the drone footage) was helping me find a place to record. He booked a cabin at the base of Peters Mountain. When we got there, the owner turned out to be the very same Amy who had been in that book! Amy and her sister Cookie were a bit wary at first of our true interests and intentions. Once they came to believe that we really were there to listen to the mountain, they opened up to us and offered stories and road trips and other kinds of support. The project is now about the sound of the mountain but it’s also about the people who live with it and how they’ve listened to it and been affected by the sound and come to identify home as not just the area on and around the mountain but also the sound that is unique to their landscape. 

MH: In the clip, one of the sisters speaks over the other. Will you talk about the competition between sounds that coexist in the same space? Are certain sounds subordinate? Dominant? How do you choose how to give voice to certain sounds? It seems to us that this is one way in which your work approaches music: a necessary embrace of harmonics, rhythm, song structures, the weaving of different lines of sound. How do you approach these sonic relations, as you find, receive, and respond to them? 

SV: In terms of the two speaking over each other, I had microphones set up in the cabin when they came over to talk to us. Very luckily, I was rolling before they walked in the door. So much of the best material happened before we asked them to be interviewed. That’s their way, to talk over each other and tell the same stories differently at the same time. In a different situation, that might be a problem for a recordingwhere you want each separately and to have ultimate control. In that situation, I loved their back and forth verbal sparring, and also the comfort (intimacy) of how they interact. I’d say I look for layering in field recordings toonot just a recording of one thing but the way it interacts with another soundand then, in the electronic music and other compositions I make. I love interweaving melodies, whether it’s in Bach’s Two-Part Inventions, or Tom Verlaine and Richard Lloyd playing guitars in the band, Television.  With the layers, ideally, each leaves space for the other and each compliments the other without muddying anything up. 

MH: Your time as a media archivist has contributed to the extensive documentation of the sounds you collect for your sound installations. These sound files carry with them markers specific to the time and place in which they were recorded. Much like people, these files are representatives of where they came from. In an interview with Katie Geha for Glasstire, you said that “the sounds that [you] made came out of a response to the space,” and you added, “sometimes the actual sounds are not that different, but how time and space are treated is different.” How has your perception of sound variance within the diverse contexts in which you’ve worked impacted your method of determining which sounds are distinct enough to define a place? Are some sounds more idiosyncratic and some more generic than others? Or, is every sound a representative of its distinct context? 

SV: It’s hard to answer that as I try to start every project with a fresh set of expectations. Once something affects me in the space or in thinking about what I want to bring into the space, a kind of unwritten set of rules are written. So, something that is striking in one place and pushes a creative concept or approach may not be as important or interesting to me in another context. 

MH: You recall a nun ringing The Bell of Hope outside of St. John’s Chapel, mentioning that the greatest gift she gave you was time. For a listener to become fully enveloped in a work, they must be patient. At Mistake House, we believe in the importance of enjoying process as it unfolds. How much time do you allow yourself to listen to your environment, or to the things you decide to record, before capturing them? Is it enough time? What is the value in the act of merely listening? Are there distinct roles for “merely listening,” for active listening, and for responding to sound? If so, how do such distinct actions translate into creative process? 

SV: This is probably different every time but I can say that often if I arrive somewhere, it’ll take me a day before I start recording, or before I capture anything of use. This is all specific to field recording but for example, arriving at Peters Mountain the first time, we were in a cabin at the base of the mountain. I needed time to relax and to start to hear where the wind might be coming through the trees or the grass or vibrating wires. The impulse is there to start “work” immediately, which is to say recording but I’d rather get a sense of the landscape (soundscape) and how it changes through the day and night so that I’m focused and ready when I do start recording. Generally, I’ll leave the recorder going for an hour or more at a time, hoping to capture something and hoping that it doesn’t overlap with planes or trains or distant barking dogs. Your question about the value of “merely listening” is so much bigger and opens so many avenues. For those who are able to hear, listening is a great gift. It’s a way to connect what is around us, to sometimes hear something beautiful…it can also be a way to survive. Every time I see someone riding their bicycle or driving with earbuds in I wonder how much their sense of traffic, people and other obstacles are being tuned out. 

MH: Listening is a necessary skill for awareness and the creative practice, as you noted in a 2008 Art Education interview, “the more you listen, the more you are aware of your surroundings and the more aware you are of the power you have to interact with your surroundings.” How might your sound installations, which require active listening, empower your listeners to respond effectively to their surroundings, especially in moments of conflict?  

SV: I hope that my installationsand the work of so many of my peers and those who came before us in this fielddo encourage a wider awareness and appreciation for focused listening. Just by asking someone to pay more attention can increase their ability to start hearing with heightened awareness and hopefully with pleasure. I’ve had the feedback a number of times that someone left a sound installation and was suddenly listening to the rhythms of traffic or really paying attention to the bells on their street or bird calls with greater focus. I don’t generally make pieces where I hope that the visitor will have any one experience or any one idea come through. Hopefully art can open individual creative channels for the listener/viewer that are unique to that individual. (Hearing their own ears rather than just hearing what I want them to hear or see or feel). 

MH: In addition to the act of listening leading to awareness, you’ve written that listening can be a completely private experience, describing “a sound moving through space…that you notice when everyone else seems focused elsewhere, unaware of that quiet buzzing presence and its fascinating, even musical, quality.” Those intimate experiences are isolated, shared only between the sound and the listener. If listening can be a personal, isolated experience, yet it can also be an experience that awakens us to our surroundings, then do you see listening as an inward or an outward exploration of the self—or both?  

SV: I’d say it is both and different in any given encounter. At the moment, I’m thinking of it as inward but then without being fully thought through, that idea of outward exploration makes me think of Alvin Lucier putting echolocation devices in the hands of performers so that they can explore their surroundings through the way sounds reflect back them.  

MH: Do you see listening as a necessary task or as something playful and entertaining?  Is one approach more important than the other—or does each approach have a unique necessity?  

SV: For me, and I imagine many others it is both necessary but also playful and entertaining. Sometimes when I feel I’ve been thinking too technically, trying to record something “perfectly” with the right microphone at the right resolution, I start to critique my own methods and realize that I’m not allowing myself to be as playful or creative as I ought to be. Going back to that moment of pressing my face to the window of the WTC studio and trying to hear in a somewhat unconventional way opened up endless pathways that standing in the middle of the room with a $4000 Ambisonic microphone wouldn’t have done (that would have just given me an immersive recording of HVAC units of no particular quality). 

MH: The soundtrack you created for the 2018 documentary The Washing Society operates as something of an alternate soundscape to each of the scenes it complements. Does your process in scoring a film involve the same discovery that your work as a sound-artist entails? What’s the difference between tailoring your music to visuals and exploring sound or sound-installations as an art form?   

SV: I’ve done a lot of soundtracks for experimental film, video and contemporary dance. In some ways, speaking to a filmmaker, thinking about what they are doing has connections to a site visit to a space where I’m making an installationin that I’m given a context to listen, and find a creative response that finds its place. On the other hand, if it is a soundtrack, I am also beholden to the filmmaker’s ideas and the fact that their imagery, maybe characters, perhaps text are likely to be dominant and my sound has to be a secondary element. With the installations, I am taking creative ownership over concept and treatment. The majority of my installations aim to have sound read as the dominant element.  

MH: Roland Barthes’ essay, “Death of the Author,” is concerned with text as a multi-dimensional space in which meaning is created at a point of origin and at a point of reception (the “scriptor” reading the work as it is written and the “reader” writing the work as it is read). Similarly, you reveal in your Ted Talk, “Listen Well” that others’ impressions of your work, and their experience, is more important and more rewarding to you than your own initial perception of the work. Rather than viewing yourself as the single authority, you perhaps recognize the art as distinct from yourself and recognize that each person’s experience with the art is also distinct.  Will you talk about this flow of meaning in your work, from various points of origin to various points of reception and back again? 

SV: A lot of what you’re talking about, regarding the importance of the listener and their role in each piece is something that I’ve just come to understand and appreciate project by project. When I’m working towards an exhibition, I’m focused on trying to make it as effective as possible. Part of that consideration is the space for the listener, a kind of comfortable space, a thought to how loud the piece should be, where are the sounds coming from, how are they existing in time and in space. There’s also the goal of bringing people in and hopefully people who are familiar with sound art but also those who are not. The feedback that has come from certain projects has been a gift and often an unexpected giftthe person who noticed a reference to synaesthesia in the title of a piece and wants to offer feedback on their own sense of sound and color, or the child who hears the voices of creatures in what I never thought of as creature voices… 

MH: What challenges come up in your creative practice? How do you preserve a deep engagement and satisfaction in your own professional practice, despite aspects of repetition or other challenges that may come along with it?  

SV: There’s a million challenges at every turn. Where possible, I embrace the problems. If a space has poor acoustics, I try to make use of what is unusual or maybe interesting. Some problems that come to mind though are that people often producing and installing a sound installation will be cheaper than other art forms, which it really isn’t. I’ve consistently been offered spaces that a museum or gallery thinks they can’t offer a painter or sculptor but that someone working with sound would take (staircases, elevators, hallways, bathrooms). Art spaces are not meant for sound and do consistently have problems with acoustics and sound bleed. Most contemporary art curators are not schooled in presenting sound works or the history of artists working with sound and then the ones who do are coming from video most likely which has some connections but not fully. The art world still has trouble collecting sound works. The reproducible nature and the ephemerality of the technologies cause problems. I’ve had a handful of pieces put into lasting museum collections, but it still feels like an artform at the bottom of the food chain. Earlier in my career, I did have some pieces that were successful that both opened doors and created another sort of limitations. Fear of High Places…for example ended up giving a number of places that idea to invite me to do similar but site-specific pieces with suspended speakers and very low frequency sounds. The good thing is I could make pieces in New York, Rome, Paris and Sydney, Australia. The bad thing was when I started to feel like it was work for hire…and me just carrying out what others wanted me to do rather than coming from my own impulses and instincts. At first you get to do that a lot and then suddenly there’s also a response from a curator or critic or friend too of, when are you going to move on from all those hanging speaker pieces? 

MH: Do you ever play hooky (we hope you do)? If you do, what is your favorite thing to do when you take off suddenly, as in a dérive?  

SV: I truthfully very rarely have time to play hooky. The closest I can think of is going to the movies and seeing the dumbest, mind numbing action film. Or, a few steps up, reading a well-written, environmentally rich mystery novel, seeing and hearing the landscapes that James Lee Burke or John Connelly or Tana French describe and leave me enough room to imagine what’s there. 

Stephen Vitiello

As an artist whose primary focus is listening, field recording has been a central part of my own practice since the late 1990s. As a sound artist, I am interested in what is and what is not heard. This can include making sounds audible that we would never hear without specialized technologies. These are sounds that vibrate at frequencies below or above the threshold of human hearing.  

 In 1999, I had a six-month artists’ residency in the World Trade Center (WTC) as part of the World Views program organized by the Lower Manhattan Cultural Council in New York City. I recorded sounds through the vibration of the sealed windows from my 91st floor studio. Initially, the idea was to integrate those recordings into musical compositionssuch as a dance work I was commissioned to scorein collaboration with the great cellist, Frances-Marie Uitti for a performance featuring Mikhail Baryshnikov that premiered at the Brooklyn Academy of Music. Ultimately, the sounds of the WTC building (and the world beyond) as filtered by the glass and steel construction interested me most. At the beginning of the residency, I would have called myself a composer of electronic music. By the end, I thought of myself as a sound artist with a primary interest in site-specific investigations.  

 After participating in an exhibition at the Cartier Foundation in Paris, curated by Paul Virilio, the director of the Cartier Foundation invited me to produce a new work for an exhibition related to the Yanomami Indians in Brazil. I was flown to a small remote village in the Amazon and given time and resources to record in order to produce a work for another exhibition at the Cartier Foundation. 

 With the WTC and the Amazon recordings, I experimented with small, sometimes home-built technologies in order to capture larger environments. The recordings were used in primarily sonic installations. Both projects turned out to be far more significant than I could have realized at the time. The WTC project opened doors for me in the art world including future residencies, exhibitions and gallery representation. After the buildings were destroyed, there was a heightened interest in these recordings. They were featured in the 2002 Whitney BiennialThey were written about in books by the critic Arthur Danto, philosopher Paul Virilio, and writer/composer David Toop (as well as others) and featured in the Peabody Award winning documentary, The Sonic Memorial. The Yanomami recordings were featured in exhibitions at the Cartier Foundation and elsewhere. They became an important source of research material for Dr. Bruce Albert, a noted anthropologist who has worked with the Yanomami since the 1970s.  

 Dr. Albert’s recent essay “The Polyglot Forest,” published in Le Grand Orchestre des AnimauxThe Great Animal Orchestra (Thames and Hudson, 2017), cites my encounters and recordings several times, as my questions about sound and listening opened a new area of research not previously known or documented. A Yanomami shaman spoke to me about what he called “heã,” which details prophetic significance assigned to certain sounds. For example, a woodpecker in the late afternoon will tell him that a woman in the village will become pregnant with her second child. He spoke of many examples in which the sounds of the forest are telling him what will happen. These two projects, the WTC Recordings, and the Yanomami Recordings, established ways of working that guide me to this day and inform my teaching. There are elements of what I do that are musical, but the interests are grounded in art more than purely in music.  

 Throughout my career, collaboration has been a critical part of how (and even why) I make the work that I do. I have had the opportunity to collaborate with incredible musicians, artists, poets, choreographers, novelists and, most recently, scientists. I have collaborated with number and caliber of extraordinary artists and musicians including Tony Oursler, Pauline Oliveros, Julie Mehretu, Scanner, Steve Roden, Taylor Deupree and Ryuichi Sakamoto as well as poets, writers and scientists including Claudia Rankine, Paul Park and Kasey Fowler-Finn PhD. These projects create dialogues across disciplines. They offer me opportunities to learn and to find new audiences beyond my field (sound art). In the past two years, I have begun working with a scientist, Dr. Kasey Fowler-Finn from St. Louis University. I initially invited Dr. Fowler-Finn to work with me on an installation presented at Virginia Tech’s Institute for Creativity, Arts and Technology (iCAT). We produced many hours of recordings at Mountain Lake Biological Station (MLBS) in Pembroke, VA. I then created a spatial composition, based on many of the sounds that we captured. In a public lecture, Dr. Butch Brodie (the director of the MLBS residency) said that our project proved to him that not only could artists benefit from working with scientists but that scientists could also benefit from working with artists. Dr. Fowler-Finn subsequently asked me to work with her on a National Science Foundation (NSF) funded project.  

 Collaboration can be defined in many ways. In each of these projects, I have had extensive creative freedom. Sometimes I am more in service to a collaborator; sometimes they are more in service to me. In the case of working with the world-class painter, Julie Mehretu, when she asked me to work with her on a piece for the 2006 Sydney Biennial, I asked her what she wanted me to do for her. She made it clear that we were working as equals and each of us should and would have a voice in what we made as a wholewhich turned out to be a large environmental installation featuring a 6-channel sound piece, a wall drawing, and a sound sculpture. 

 Currently, I am working on a number of projects. I’m finishing a permanent sound work for Seattle’s new waterfront development. The piece for Seattle is a kinetic sculpture played by the rise and fall of the sea. I’ve also been investigating a rare wind phenomenon in the region around Peters Mountainbordering Virginia and West Virginia. I’ve met people there who have grown up with the sound of the wind and are sharing oral histories, as well as holding onto one of my field recording setups so that they can record the winds for me when I’m not there. I continue to work with Kasey Fowler-Finn and find that we hear new sounds every time we are out in the fieldsounds that I never imagined existed in nature and are no doubt speaking a language that I’m just trying to catch up to understand.  

Rudy Shepherd

Rudy Shepherd is a New York City-based artist who was represented by Mixed Greens Gallery for fourteen years until their closure in 2016. In addition to an upcoming solo exhibition at Goodyear Gallery (Dickinson College, Carlisle, PA), his work has been included in numerous solo and group exhibitions at Mixed Greens Gallery, Smack Mellon (Brooklyn, NY), 1708 Gallery (Richmond, VA), Start Gallery (Wake Forest University, Winston-Salem, NC), Regina Gouger Miller Gallery (Carnegie-Mellon University, Pittsburgh, PA), The Aldrich Contemporary Art Museum (Ridgefield, CT), The Film-Makers Cooperative (New York, NY), Museum of the City of New York (New York, NY), Studio Museum in Harlem (New York, NY), P.S. 1 Contemporary Art Center (Long Island, NY), Contemporary Craft (Pittsburgh, PA), Dowd Gallery, (SUNY Cortland, NY), Luhring Augustine Gallery (New York, NY), and many others. His performances have occurred at visual arts festivals and events throughout New York City and the Mid-Atlantic. Shepherd has been an Artist-in-Residence at P.S. 1’s National/International Studio Program, Artist-in-Residence Visual + Harlem at the Jacob Lawrence Institute for the Visual Arts (New York, NY), and received an Emerging Artist Fellowship from the Socrates Sculpture Park (Long Island City, NY), Artist-in-Residence at Location One (New York, NY) and most recently at the Process Space Artist-in-Residence Program, Governors Island, Lower Manhattan Cultural Council (New York, NY). His work has been written about in The New York Times, Hyperallergic, Art Papers Magazine, ARTnews, The Boston Globe, The New Yorker Magazine, The Wall Street Journal, and the Pittsburgh Post-Gazette, among others. Currently he is Associate Professor of Art at Penn State University’s School of Visual Arts. Shepherd is a vegan, ultramarathoner who has competed in several 50- and 100-mile races. In July 2018, he will run the Vermont 100 for the third time. Read more about him at http://rudyshepherd.com/

Remember that one?

Do you remember

That school shooting

In that specific state

Where that deranged killer

Massacred those innocent victims?

 

It was the one when

He just unloaded

Countless magazines

From his AR-15

Indiscriminately.

 

It was the one that

Nobody saw coming.

 

It was the one that

There was no way to stop.

 

Do you remember that one?

After the Party

When you’re around,

I call my ghosts by their first names

because you don’t believe in them and I’m determined to prove

we can exist together.

 

Sometimes you ask me to read

out loud to you and I imagine myself

opening my mouth

and a thousand voices spill into cupped hands.

I imagine myself

speaking another language

while you nod along and draw circles in the sheets.

 

When we go out, I want to ask all the people at the bar

if they want to meet them, but you

squeeze my hand and tell me I look good,

but uncomfortable

so here’s another drink,

let’s sit down, relax.

Look at the lights.

Look at how they shine through their skin.

This is what

translucency must be like.

 

Yesterday, you watched me undress and said

ghosts don’t have bodies

so I must be real.

I offer you my breath,

but you can’t swallow it.

My Heart is a Gun

My heart is a gun.
I have a permit, but it makes you nervous
when you see my gun in public.
You’re certain there’s a bullet with
your name on it,
but the bullet’s for me.
Any minute now your name will be
in my brain forever.

Can a bomb come from the heart?
Is my heart a bomb?
Are you going to label me
a terrorist for feeling something?
My heart doesn’t pump blood.
It pumps lead. It does not beat.
It explodes and leaves behind
heart-shaped shrapnel.

You say to take it easy
and you don’t want any trouble.
You ask me to get rid of the thing
before someone gets hurt
I’ve tried that.
I hid it in a hole
in my mattress.

I locked it away in a lock box.
I put a flower in its barrel
every day.
I’ve spent nights emptying
the magazine into the air.
It’s too damn late.

MAGNOLIAS

Mid-spring, we’d step into our magnolias,

branches like a many-armed justice, dark

columned trunks brandishing the drilled-

in patterns of woodpeckers. They held us

as we stretched our wildly bruised legs,

leaned exhaustion against their beams,

sorting the mysteries of our boyhoods,

the mingled lies of parents and priests.

 

Our wrestled explorations with the body

were enough of a savage life, yet it must

have been our play that urged sweetness

through the knotty limbs in host-colored

flowers, the saved lightening of our long,

stunning summers, near-cloying blooms

older than bees, each a bright fruit skin

browned overnight by the moon’s agile

 

eye. These sad summers, magnolias no

longer witness the red seeds of secrets,

Kids have places to be that are not trees.

I look into their emptiness. Their fallen

leaf tiles of baked terra cotta scream out

when stepped on, such noise, giving me

away to neighbors who return hellos as

I walk by with Earl, children piling up

 

along our lives.

Around the World

Ruminations on Picasso’s Guernica

How quick the damned

of Guernica

try to flee the asymmetry

of casualty

and the fire’s opened mouth

masticating at their jagged flesh,

how congruent the geometry

of one hundred thousand pounds of explosive ordinance

tessellating into them

like bread,

leavened with yeast and soured with corruption,

being thrown into a crowd

eighty years away:

arms outstretched, salivary glands

churning, waiting for what must enter the mouth—

how quick the mashed bread

snakes through an esophagus

into a deflated gut,

as fast as photons

travel from the floodlight

to the banner of the Ayatollah.

A Short Movie

I’m brushing my hair and my friends have guns
in their mouths. They’re making knots
of barrels, sucking
bullets – they’re flirting with me,
all of them.          They wink, use tongues
to pull triggers.

The dead friends stand and new friends drop
out of dead friends’ mouths.
The new ones talk:

Happy to see you,
Happyto       seeyou              happy.

I am brushing my hair. There is no
blood. Nothing to clean or look
away from. The new friends have
guns. Have big mouths.

They point guns to the ground
and shoot. There is dust and we are
happy. Covered in it.

An Old Jew Hearing Der Ring After Many Years of Silence 

Woden, mad berserk and hopeless drunk,

Whose revenging dreams stalked that soma—

That mead of poetry, that dark and esoteric truth—

Gave a superstitious eye to prefigure even the ravens.

There’s blood in mead. Only sight can trade for sight.

 

Like the wax which screams at the weight of a needle,

Transcribing truth upon the air only

At a small cost.

 

A truth so painful it pilots my brain back

To the red roofs and the blue ink

Transcribed on bodies

Screaming at the weight of a needle

Like a great human record.

 

So when, with my one good eye,

I see the young blackshirts parading through the night,

Black on black, the ravens and I

See too the ghost of Wagner.

A Natural History of the Mind

I create islands in my mind

spontaneously

according to random whims.

 

I conjure biomes and terrains,

raw landscapes

of saw tooth mountains cross-cut

with indiscriminate rivers

ejecting boulders and dragonfish

over basalt cliffs to a primordial ocean

by the second,

 

lands where strife unfolds

in its unremarkable forms

of predation on winter-stricken highlands

and hunger

on drought-dead plains

 

swept with dust,

low and abiding,

unfurling headlong

before the rain.

 

Also

I imagine lava rock teardrops

tossed across the sea like

accidents,

where a goatherd tends a flock

on club moss

among tortoise shells and pine cones

 

as salt dissolves

cairn stones, atom by atom,

cobbled haphazardly

atop a battered headland

beside a sun-bleached femur

 

above the gorge where, once,

eyes opened one dawn to dust

and light

shot through with the swell and crash

of time’s shore.

Stems

the unfortunate – sadmen – my gas station earrings – you didn’t see the future in hints –

 

the world exploded at the kitchen sink – left daffodil stems – colliding into – stacked

 

disappointments – collections of memories per person – tabs on where we’d end – liked

 

gas station earrings – the world – ran home – curled in new disappointment – cut sadmen

 

– you didn’t pay attention

Shut Up or Sing

I abhor the noncommittal
crooners of the world,

housing hummingbirds
behind dentin bars

and vibrant lips where
their languid tongues lie

heavy-laden with forgotten
lyrics and flat notes.

Shut up or sing.

Expand your diaphragm
and lyrical vocabulary

and release the deadened
songbird locked within your

ribcage. Exchange your
borrowed breath with the

wind, fly your passerine kite
and bawl your warbled squall.

Ancestors

Somewhere past the planted pines
and under the veil
of quilted sheets.
There lies a riverbed.

I am buried there.

Along with my pots and pans
and scattered bits of bead.
With the roly-polies
and arrowheads.

Deeper than the limestone caves
and round like the wind.
Don’t tell me
we are not
our memories.
We are nothing but
and soon will but a memory be.

Like a longleaf pine
after a fire
I will nurse my roots
and wait,
before shooting up
from the red georgia clay

-georgia-

Being a word for a name
of a woman who knows nothing of this place.

Born from the ashes.
The soil has kept me clean.
For when I rise
to take back
what you took from me

Acadia, Nocturnal

The fog is shrouding tamarack

and a flawless black sky

as frogs trill from turbid pond water,

but she doesn’t know.

 

She emerges from our room only to eat

and ask whether Andromeda chose to show

over Cadillac Mountain

or if Venus sailed down the Penobscot

out into the Atlantic. I avert my eyes

from her withered outline and pretend

I can’t hear her.

 

Mornings, I wake to shade

cast broadside by conifers that gather twilight

in the long afternoons

as she sleeps, hours before the sun has gone,

while I go walking on Morgan Bay Road.

Yet dusk always comes.

 

So I lower my gaze,

linger under lampposts in denial

of the million suns

spinning out like streams of spores

exhaled

from toadstools on the forest bottom,

then return to her labored wheezing.

 

I’m told we have the darkest skies

this side of the continent

and that one can see galaxies

twenty million light years far.

 

But now the fog is shrouding my eyes

as a breeze slips from the bay,

and she is sleeping

soundlessly

in a halo of silver locks.

A frog splashes into water.

The Particulars of Theredness 

Outside I watch a waitress through the diner of windows

she’s in yellow in the middle of the night

 

Debacled in sameness,                                  placed                   particulars

Serve platters of tuna on rye

 

indifferent

 

glasses of water

 

Do you want lemon, she asks twice,

Do you want the wedge to compliment

 

your water

 

I wonder, it’s truly 

 

difficult, she resists her life story

 

Interior designed out of which decade?

 

No one orders lemon meringue  

 

She wipes her hair wipes her hands on her apron

 

Practices a particular 

 

Expression, she evolves from 

 

towns ensprinkled encased by windows,

 

the regulars & specials      

 

(insofar) walks (insofar)         talks the waitress         refills coffee

stops by the fridge for milk maybe sour 

[Un]Defined, [Un]Labeled

Red nails, plush lips, long skirt wrapping wide hips,
42D, 5-foot inch 3. Unquestioned, your man is me.

 

With him, a man, as our lips softly meet.
With her, a woman, as our hips touch and our tongues greet.

 

I wish for your firm lips and warm body,
but your bed is left undesirable where your sex has laid.

 

I watched as my gender set itself adrift,
I blessed its journey, for the courage to be lost to the world.

Animalistic

People look most peaceful

when they eat, shit, fuck, kill

the need to answer their alarm

clocks in the morning, flay

themselves of their suits—

the artificial hides of the bull

market—on the coat racks of meat lockers

to linger in their earth-given nudity,

and still, people look most peaceful

when they drink, piss, bleed, chew

on the food for thought that is not

offered by the pecking order, unwind

the cerebral tourniquet to let this

thought bleed freely from the mind,

and yes, people look most peaceful

when they sleep, breathe, feel, live

in the primal bliss of achieving

chimera, right before the realization

that their feet still walk this Earth.

Grandma Allen

Her arms were supple and reminded me of

the soft bread dough I pinched as it swelled

 

in her kitchen. She pressed butter-covered

marshmallows and rice into teddy bear molds I can

 

still taste, and nothing now compares. Colorful jars

adorned her kitchen countertop, bottled pears

 

of pink, of green, of blue. She claimed color

made them taste better, but I still despised the grit.

 

Her trinkets enchanted me. She told me

they forgot to give her ragdolls faces. Her

 

television glowed from down the hall, as the pretty lady

dropped blood on the snow and named her

 

baby Snow White. She let me open a special suitcase

to dress antique Barbie, until I left her out once

 

and she was gone.

Unknown

*Series of haiku
A tribute to the soldier buried at Camp Floyd Cemetery, Fairfield, Ut

vertical white stone
a shield deeply indented
curving words imply

loneliness glimmers
forgot in winter’s frost, cold
like steel, alone, lost

light cracks across grass,
day breaks like brittle bones, heat
burns in mourning sun

warmth caresses rock
moisture thaws in welling beads,
tears spill, overflow

dew drops dangle, drip
glide, arching slowly then slip
caught, embraced by U—

You were all you could have been.

(Ass)=U+Me

there’s a

guy that sits

at the intersection

 

of MacArthur

and Fairmont

in a black leather

 

jacket and

black leather

hat, never smiles

 

until one day

I’m holding

a Fleetwood Mac

 

record in

my hands

and he stands up

 

off his

crate and yells

“Fleetwood Mac is the shit!”

 

so am I,

because

the shame

 

of not wanting

to give it to him

keeps me

 

from being

able to

understand

 

the man

wasn’t

asking.

INTENT

I.

what does this mean:
that this destruction will be radical?

what does it mean,
when the idea of a gesture,
like a single hair fallen from the head,
becomes the field of a problem?

this impression of being seen:
the center of the spider work of facts.

II.

but the fact is:

your breasts are visible.
i imagine them as a feeling
in every mode of being,
buried somewhere,
hurried and rapid.

III.

inspiration does not exist.

Daybreak After Nightfall

When noble dawn arrives

After a lecher of a night—

A night that feels

Like the millionth coat of paint

On a wall that never existed—

It seems the weight of one more day

(For what is a day but a shade,

A kind of color that bleeds into the last and the next)

Might, in metastasis,

Topple the facade,

Peel the veneer

Which hides nothing.

 

It is then the Indian summer blooms out of blue,

Imitating another sunrise:

The red runs down a face,

Followed by the orange and the yellow,

And all at once

Every color in one white.

 

And in this sunrise

Tomorrow never comes.

 

There is only the razor of now,

Right now.

What are Chickens For?

I’d like to have a chicken as a therapist, but only if the chicken has a PhD. But

only if the chicken is funny and fond of dental floss. (Maintaining oral hygiene is a hobby of

mine.) I want to know who chickens dream about. I want to know how it feels to floss a beak,

how it feels to point my face at something, lunge, and open. I imagine opening with my nose to

be the most empowering, something feminist theorists write about. I’d hold doors with my nose

for hours—of course eggs can rot inside of a chicken, provided the chicken is dead. Living

chickens boil eggs with their own feathered insulation—I’d hold the door for you with my nose.

You’d talk to me about being capable enough to open a door for yourself, thank you, and I’d

apologize to you (nose pressed to door), looking all ashamed, but still proud and sniffing

Rajiv Mohabir

These days poems come to me through image first. I notice small things: on the road a flattened bird flaps its wings as a car drives by, on the lake two herons trumpet and tangle their necks, a dog coughs up worms. For me this has been the hardest part, I mean the hardest part, of the creative process: listening to the world around you. It takes time to notice the small moments as automatons trying to survive another day—the coffee’s bitterness, the sting of the showerhead’s cold pins before steam and hot water warm the pipes, the cool mint or licorice on a tongue white from sleep. I begin each day with a breathing exercise to bring myself into my body. I used to be a better meditator, but from years of vipassana mindfulness meditation I feel for my breath entering my body, center myself, and then get up.

If I should notice something common that strikes me as either striking or beautiful (whatever that means) I make a note of it in my journal or even my phone depending on where I am, trying to remember to breathe into my deepest part. Too often I suck in my gut, breathe into my chest instead of deep into my belly. Belly-breathing reminds me that I am allowed to take up the space that I do. In doing so I am able to notice more of what’s around me. A kind of connection between breath and image, quite unlike Olson’s treatise on breath*.

Often, I will do some deeper looking into the process or the animal that I’ve noticed. I look for interesting facts on habitat, range, or textured words and phrases that I would never use or think of using. Say I’m writing about humpback whale song, I would look into research databases to see what acousticians and marine mammal biologists have written about them, if there are any structures that I find interesting or compelling. Or if I am writing about some form of history that I’ve been inspired by I would look deeper into it until I can see the ocean floor, a place I can stand. From there I weave a net out of kelp and limu to catch my wild mind, a poem out of subconscious connections.

I tell my students that the “poem” happens during revision—I do not think this is completely accurate, but frequently the poem reveals itself to me through a series of cuts and additions. The process of revision is akin to magic in that it requires a surrender to the subconscious mind. I encourage everyone to approach writing poems as you would perform a magic spell or prayer. Set your intention and lay bare your deepest darkest thoughts and intuitions, choosing metaphor and image to imbue your poems with vitality. Connect with your words. Do not be afraid—you do not have to show anyone your word experiments unless you want to. Be messy. Be a mess. Wield your editing skills as an athame or garden hoe. Your poem is a world in which you, dear poet, have total control.

Or maybe approach writing poems like you would singing a folksong. Make sure that you are singing it at the right time and that the words you’re singing fit the tune. Do you sing a spring song in winter; a birth song at a death ceremony? Do you sing with your whole self? Does your form hold the history for the content? Should you write in tercets to foster a sense of loneliness, three being a lonely number—or is three the number of completion in your thinking? Or do you break your song in couplets that seem to connect emotionally? Remember there is a raga for every time of the day—and if you transgress these timings then do so intentionally. Create a space for yourself. Be your own bird. Do not feel pressure to sing the same pitch, tone, or style as everyone else.

 

* See Projective Verse by Charles Olson (Donald Allen and Benjamin Friedlander, ed.), 2009.

SIX METAPHORS FOR SUICIDAL IDEATION

1:
The flowers rot on the windowsill.

I never expected to be the person who needed

 

reassurance that they are loved, but it terrifies me

to think about waking up

 

without the stench of decaying

roses. I am too afraid to ask for new ones.

 

2:
I want to believe that there is a place

robots go to pray; they are the only ones with proof

that there is a maker.

 

3:
Last week, I discovered that I am allergic

to kiwi and my antidepressants

are likely to have a fatal interaction

with over-the-counter allergy medications.

 

4:
On good days, I do not pray

because I have nothing to say to God.

 

On bad days, I build a shrine

in the corner of my bedroom

and pray there is no afterlife,

because that just sounds exhausting.

 

5:
I bake little cakes from a box mix and the smell

of chocolate mingles with the fetid roses.

I stick my head all the way into the oven

to make sure they are cooked through.

 

6:
A friend comes to see how I am doing.

I offer her cake, say, “I’m still alive.” I wait

for her to take a bite. She tells me,

“These taste heavenly.”

The Perfect Goodnight

The noise never changes.

Not quite the stroke of midnight,

Not quite the hour of day;

 

It’s traffic, restless motion.

There’s time for that.

There’s time for money

And time for duty,

A time for obligations

And a time for necessity.

 

But, right now?

 

Now is the time to sit and listen,

To wait for the rain to start falling,

Instead of scrambling inside

When the sun’s out,

Instead of hoping for morning

When there’s a perfectly good night.

They Held God’s Funeral

</em>

<!DOCTYPE Hymn>

<Hymnal>

<head>

<title>They held God’s funeral</title>

on the Saturday after

He died.

</head>

<body> They had long since known

He was terminal.

<h1>His first Son asked him if He was afraid to return

to the place from whence He came. God said no. God said: </h1>

<blockquote>I knew it was over when they shot silicon into their brains,  when they discovered that binary necessitates the existence of more than one (1)  Answer. They began making up their own Answers, began filling  their hearts with code, began filling their fingers with alphanumeric clicks, began

upload/input/return.

Except they never return.

Not anymore. Now it’s called something else—something wire-shiny, something  blazing with the bitten Apple—of course it is. They had one bite and they think  they know everything. They don’t

return.

Not anymore. I don’t expect them to return.

The mark of a good parent is having children who can do without Him:

Children who press On.

Press forwards. Press

Enter.

Enter.

Enter.

</blockquote>

</body>

</hymn>

</amen>

Rajiv Mohabir

Forced Conversion

 

beti linepath school jaye, kheti kaun kari

beta christianwa bhaye, pani kaun charai

 

Not by the sword’s nose, but with books and cash,

to make an army in the colony with one aim,

 

the English decreed: “Those wanting to letter their tongues

must fetter their hearts by drinking blood and eating

 

human skin.” Barefoot and brown, Pap and his brothers

were compelled to respell their names in baptisms.

 

Scarring mouths in the sharp shapes of Rome in London:

machetes to hack om bhur bhuva swah, they proudly drone,

 

forgetting their home: amo – amas – amat –

to wander lonely as a cloud That floats on high—

 

Needles to numb the tongue, a mask to conceal

the smashed gods of stone, the coolie in the coolie. 

 

        If my daughter goes to Linepath school who will harvest my fields?

If my son becomes a Christian who will offer me water when I’m gone?

 

 

 

 

Chutney Mashup 

 

aaj sawaliya ham na jaibe bhitar

balma, ulat pavan chal gaya, chadar bechao

 

You tie your veil to meet me in the courtyard,

though it doesn’t have a neem tree. You wrap your limbs

 

tightly about mine as jamun fruits betray

their pedicels and stain the concrete with their wine.

 

The shehenai weeps for us only; inside

my strength has ebbed. Spread a sheet on the earth, balma,

 

that when weary we may lie on silk in peace.

Despite your wise restraint your morals will scatter

 

in a fire dance—what god can save us?

I will never escape the body’s betrayal.

 

The neighbor women jeer at the stains on your veil,

your inviting fabric I pleat between my thighs.

 

                                    Today, love, I will not go outside.

Love, against the backwards wind, spread a sheet.

 

 

 

 

OK, Cupid

 

he ram, he issa, kama dev ke ka jaduwa ba

ke computer ke onlainiya jaye tohar saiya se milba

 

Too much whiskey, I go to meet the man whose

thumbnail I’ve clicked and clicked. But I make it late

 

to the date. On the train I feel the pretty

Queens-queers eyeing me, blood about to boil

 

over buttoned jeans and then in my pharynx.

I down brown men who bic their pubes, who whirl like

 

ribbons on sticks. Souse-stumbling I stare back at

Trini dreads who grab their dicks—

 

track them behind subway maps on the platform.

Flip a gold coin and see. Heads to meet alone. Tails,

 

Little India. Some top in temple and church.

My predate gives it hard and I take it like a man.

 

               O Ram, O Jesus, What is the magic of Kama Deva

that online, on the computer, you will meet your beloved?

groundless

when nightfall sheathes your eyes

and surrenders

sight to sound,

can you hear the red-breasted songstress

housed within

your bosom,

drumming against your cage,

beating against

your chest?

can you feel the vibrato

of her muffled

freedom-song,

seething the rivers rushing beneath your flesh,

pulsing earworms

through your skull?

 

lifetimes ago, when ions were yesterdays,

and our only ancestress

was air,

freedom was an unsung praise

and unsung praises

were all that was.

then wind gave birth to breath

and birdsong gave

rise to birds

and praises ruled the skies

til praises ruled

no more,

til praises ruled no more.

Razors and Canals

1

 

Dawn percolates into storm.

 

The concrete fishing pier

a straight-razor

edge up,

 

ready to shave time

or cut me in two.

 

I pass homeless people

quieter than the fish

for whom Mexicans and Asians

put out lines I pass

 

in hope

 

to snag my aloneness in the roiling jade—

your voice’s anxious breakers,

eyes this sea—

before I detour off the main drag

 

seeing you’re not here.

 

 

2

 

Footfalls

whispers the mornings 

air sleeps on wooden bridges.

 

Side canals glint—black mirrors.

A tread where tree and paper

overstretch plank and nail.

 

Nothing hammered stays home.

 

Above snowy egrets

doubts hide on a ponte reticolo,

brush my tongue

yet subside,

swim into fog and quietness—

 

somewhere I belong.

A GOOD WALK

onedaynine

 

The earthen pier curls comma-like from the land.

Better yet, it’s an apostrophe marking possession,

converting the loch into a word absorbed in water.

At its barbed end, a girl takes up handfuls of rock,

the substance of its body, and chucks them with

machine-like precision, a whirling varmint raising

holy hell. I feel for rocks—the way she feels for

rocks, spinning in the wind like a roadside prop,

a steady arc and a steady splash, the fish thinking

the rain changed to brimstone. The pier doomed,

the loch’s possession lost, she begins to relocate

Scotland. One spirited girl throws a pier across

a loch, and before her parents realize it, her wild-

ness becomes a moving mountain taking back all

its possessions, until there’s no place she can’t go.

Cat Hour

from East/east/west

Hot pavement witness: the gypsy-cursing

funeral-converted Cadillac, hatchback

wide open outside city hall, a haunting

 

moan through the century

like the train over Monroe.

The sun, day peaked,

 

as everyone opens doors,

leaving their office on a single track

there and back, for lunch, for post,

 

for bank –

or us, out in Browne’s green span,

houses neat-ish, a few ruffled

 

window shades, our grocery sacks,

our coffee glaze, our dog walks,

our cut-grass sidewalk haze. Now,

 

the season is ill with rain,

leaves, and nasty basement fevers.

Snow on Mount Spokane slips

 

through cloud’s mantilla embrace,

like fingers through the fade of

a Rosauers bag on the 66.

 

A cat with a bell murmurs, I am 

without your hell.

I have no location in mind,

 

a studio, a supermarket,

a porch scorched to flaking.

I feel safe to think of you now.

 

So, I scramble home from the linoleum lines,

the uncomfortable stacks of tomatoes –

stutter past, again, the hollow tree

 

where I saw her speak. That same queen

ambles out onto my backyard.

She scratches her nape on the steps,

 

her clowder watching in the shrubs. She doesn’t ask

to come closer, she doesn’t ask anything at all.

The People’s Temple

My best friend Christine has read three
books on Marxist theory, and owns more
books on religion than my father, a priest.

Jim Jones was also an avid reader of Marx,
though he created his own religion,
something Christine is far too lazy to do.

Her dog Ruby got out on the same day
Anton Yelchin died of blunt trauma after his
Jeep rolled back and pinned him against a
security fence.

We spent half an hour chasing her before
trapping Ruby within someone else’s
security fence. I walked back and got the
leash, something Christine was far too lazy
to do.

Our senior year of high school, one of the art
teachers was jailed after having sex with an
underage student in his classroom.
This was the same year Christine started
hormones because Obamacare made
them free.

After Trump was elected, Christine wished
we had elected Ruby instead, like Emperor
Caligula, who put his horse on Senate.

My other best friend, Ashley, had been
fucking her teacher too. Mr. Walker offered
extra credit for keeping my mouth shut, I
told him I didn’t want any of his Kool-Aid.

When I was little, my dad was a truck
driver, and he covered my eyes
when the transvestite, prostituting himself in
front of the CB radio shop, was beaten.

I worry about Christine every day. She lives
in Chicago in a violent neighborhood.

I dread the day I will have to run after her, to
find her trapped inside a security fence,
panting and baying, with death on the news

Rajiv Mohabir

Mistake House: Much of your writing is imbued with images of migration—images of displacement and replacement, origin and refuge. What is home to you?

 

Rajiv Mohabir: I think home is a series of dislocations—I’ve learned that to claim a physical place in the United States or the Western Hemisphere as home is to participate in a series of racialized exchanges and settler colonial violences. Home is where Jordan, my partner, is. Home is samosas in Jackson Heights. Home is eating at ‘Ai Love Kalo with Anjoli Roy. Home is drinking coffee while Skyping with Corinne Hyde. Home, of course, is my mother’s roti and chiding that I should be more responsible. I’ve just bought a home now and am thinking about the Mvskoke people who lived here before the United States stole their lands. I am thinking of the Black folks who were forced to work for white people here. My home is in witness.

 

MH: Your poetry is an extension of what you have called your “syncretic history”—the work coalesces around your diverse history as the child of Indo-Caribbean immigrants, as a gay man, and as a person who has wrestled with depression. Although you have spoken frequently about the way your poetry syncretizes struggle, will you speak here again about the things that led you to poetry and the way poetry functions, as the poet Gregory Orr put it, “as a means of survival”?

 

RM: Poetry was/is my survival. It allowed a space for me to dream up magic and escape. Not until I started to meaningfully revise my work did I make that connection—that I was able to revise my condition and change the parameters for my visions of line and sound. I am reminded of Audre Lorde’s “A Litany for Survivors” and will speak despite my fear of speaking and will live despite the threats posed to bodies that look and queer as mine do.

 

MH: You’ve spoken about childhood trips to Toronto to visit your Aji—your grandmother—who was “an outsider herself because she refused to assimilate into Canadian society” (González 2016). In another interview you say, “I think about how she lived at the nexus of worlds: the India of her parents and grandparents, the Guyana of her children, the England and Canada of her exile. She was able to speak in all of these spaces with varying capability—or rather, some people could hear her and some people couldn’t” (Legaspi 2017). The notion of immigrant assimilation into the dominant culture is a relevant global issue today and one that pervades much of your work. How does your family’s personal history as “outsiders” as well as your blending of Bhojpuri, Sanskrit, Arabic, and English (creole)–languages of your familial past and present—allow you to respond to subjective and political notions of “assimilating” in your work?

 

RM: I think this is a question about legibility in the US mainstream. I come from a history that people are astonished by, in that they never thought before of the Indian Labor Diaspora or that when I say I’m Caribbean or South American people do not believe me. These kinds of identities are all fictions or shortcuts, honestly.

I think of the damaging effects of strategic essentialism—how claiming space in some identity category can provide a moment for coalition while playing into American patterns of racialization and flattening out immigrant experience—and I do and don’t do this. On the surface I am Asian American and Caribbean and South Asian—but I’m from a kind of double diaspora, from illiterate farmers and a mother with a PhD from the University of Florida. I don’t assimilate into any one category, and I don’t know many who do, actually.

I think of assimilation though as something entirely different, where the power dynamic is not in the hands of organizing People of Color, and see the hegemonic violences that stifle. No, I don’t ever want my poems to wear their shoes in the house. My poems keep a lota in the bathroom. My poems don’t mind their houses smelling like curry. My poems eat daal and rice with their hands. My poems wine to Soca Reggae.

 

MH: You’ve said that writing is about making connections between yourself, American culture, India, and the Caribbean; however, these connections in your work are not about “preservation” but “cultural creation in the United States with an Indo-Guyanese accent” (Bahuguna 2017). What is the difference between preserving and creating—through writing and storytelling—culture in a land away from home or places of ancestral cultures? What are some formal and conceptual approaches that allow you to create rather than preserve culture?

 

RM: The difference for me is one that is inherently racialized—or that has historically been racialized to pit groups against one another. Some preservationists in my home community of Indo-Caribbean folks like to look at our culture (food, clothing, music, religions, and racial categories) as “untouched” and pristine. The truth is we are Creolized in time and space, a chutney or achaar of people. The concept of Coolitude, I think, reflects this. I like the queer potential of its velocity for allowing nuance and continual redefinition.

V.S. Naipaul famously said in The Middle Passage (1962), “History is built around achievement and creation; and nothing was created in the West Indies.” I take offense to this kind of anti-black love for the colonial lords. As a result, I believe that my own creative skill has root in my Caribbean history. Fuck the Naipaulian noise.

People say vacuous things like “writing can’t be taught” but I balk at this. My ancestors were non-literate and here I teach creative writing in an American university.

Since I’m in love with the music of my home space, I’ve invented the chutney poem—rather semi-invented the chutney form. It’s based on the song “Kaise Bani” by Sundar Popo and has the following constraints: The mukra or chorus must be in Guyanese Hindi, and can be up to fourteen lines, seven couplets, that include Guyanese Creole and American English. The first line of each verse must be 11-12 syllables and the second line of each verse must be 12-13 syllables, following the convention of the song. Rhyme must be assonance or slant.

Each part responds to my history: the fourteen lines to rhyme with a sonnet, for England and America forcing their strictures on our bodies, the Guyanese Hindi (a koined language—syncretic mix of North Indian languages) language on the doorstep of erasure, the Creole of invention and survival despite hegemonic power of English, and English for my own education. Rhyme can’t be direct, I’m diasporic after all.

 

MH: This is by implication a poetry-as-activism question. How might your concept of poetry as “cultural creation” be pertinent and potentially helpful for other people and other poets in a time in the United States of nationalism, xenophobia, increasing hate crimes, and confrontational political discourse—among other things? Maybe this is a question for you as a professor: how might a white kid from the suburbs who is concerned about social justice participate honestly in a poetry of cultural creation?

 

RM: I think that poetry allows a space for dreaming. In order to make a more just and fair world we must first envision this. We call things into incarnation by thinking and writing them down. Another key part of this is honesty—which is a bad word for writers. Be honest in your intentions. Write the poem that will help people in your own community to change—white kids from suburbia have a culture too. You can do work to change things, things like cultivating empathy in your own work, letting People of Color and marginalized groups write about their own lives, and acknowledging systems of power and disenfranchisement.

 

MH: You have described your process of writing The Taxidermist’s Cut and The Cowherd’s Son as “first [wading] through the mire of self-loathing to transform my vulnerability into a protective exoskeleton” (Bigos 2018). And you have said that The Taxidermist’s Cut was your “journey out of [your] body’s prisons” (González 2016). Your diction and imagery are of transformation: shaping and reshaping of skin; puncturing and stitching animal hides; the body and the poem as empty, longing vessels; becoming animal. Underlying these images is a sort of psychic violence; biologically, organic transformation from one thing to another requires a complete reconstruction of the body and being. What is the relation between these psychically and physically violent tropes and the capacity to transcend vulnerability? Why is the body a prison?

 

RM: For The Taxidermist’s Cut I see the literal wearing of the coyote skin in the title poem as a way of blending in/hiding in plain sight. We constantly read one another, placing everyone into a category based on our own, vastly different ways of thinking. For me, violence is being forced into one category: a psychic trauma with physical manifestations. And the speakers in The Taxidermist’s Cut is so entrenched in the systems of violence around them that they enact it of their own accord. The poems seek to recover the animacy of beings (both the speaker and other animals) and to queer their perspectives whereas taxidermy is bending the body of a being into the taxidermist’s reading of that body—fixing its pose in time, subtracting any sovereignty of the creatures fixed in motion. In this way sovereignty is personal albeit vulnerable to the desires of those who would manipulate another’s body.

 

MH: In your essay, “Ally is a Verb: A Whale’s Song,” you ask, “Will I ever be whole—be able to speak to my ancestors in a voice they can recognize?” You employ a wide range of given forms—the ghazal and the zuihitsu, for example—and the way you manipulate and collage them is part of your syncretic practice. What are your favorite forms? What is your favorite part of “play” with form within your creative process?

 

RM: My favorite forms are those you mentioned! They both allow for an Asian American poetry that moves me: either the rambling of the zuihitsu or the music of the ghazal. I also love my “chutney” poem form! I am working on a new collection of poems that collects these chutney forms into one volume. It’s called Cutlish.

I loved the play of inventing form, the way it frees my mind, that I also invented another form called the whalesong poem. I base the strictures on the patterns of humpback whale song as documented by Roger and Katy Payne and mine the repeats and rhymes they find for formal constraints.

I like this kind of play because it allows me to be reckless with language leading to a freer mind.

 

MH: In an interview with Kundiman, you mention that you originally came to poetry to understand “the distance between page and sound” (Santoro 2017). Is this investigation of distance between page and sound a type of metaphor for your investigation of the time and space between people and cultures in your poems? That is, what are the many incarnations of “sound” that you try to reconcile to the page?

 

RM: That’s interesting. I’ve not thought about it like that. I think of it like coming from an oral tradition and finding my way to writing—its abstract quality and lack of literal voice. This comes from my life as a translator, of trying to take folksongs and make poems out of them. A most unnatural act. I try to bring as much music as I can. I think of my poems as an extension of my tradition that’s now being written. How can I bring the dholak and harmonium to my raga?

 

MH: You’ve talked about memory as “messy” and transcending actual, lived experience to include memories from beyond our own phenomenological experience (Bigos 2018). In this interview, you shared that your Aji had a memory of her and her mother being chased by a tiger in the Amazon, then concluded, “There are no tigers in the Amazon but there were people who had the cultural memories deep in their imaginations of the Indian tiger that eats people.” The memory was imprinted on her psyche though she had not actually experienced it in her lifetime. From your use of South Asian and Caribbean references to your use of Hindi and Bhojpuri languages, you draw from your culture and history extensively in your poetry. As you work creatively, do you think of cultural, collective memory as an external entity or an internal and subconscious well? Or, if both, how and why is each useful for the poet?

 

RM: I think these things are deeply subconscious even if collective memory may seem to be external to the poet. Also, I believe everyone draws heavily from their own history and mythology. Most folks are just so close to the dominant culture that they can’t see it. I think of my grandmother’s tiger story as one that showed me how she lived: her metaphors were based in the mythology available to her through her parents’ stories and religious myths. For me I think it’s the same in that I think of this story quite frequently. It’s useful to me because with every generation comes a new translation, a new transposition to fit a new context. For the same reason people still read Emily Dickinson and Walt Whitman.

 

MH: As you identify the “politics of literary space” and your inclusion of non-English languages within your texts, a multilingual approach seems to precede, follow, and sometimes arrive in tandem with your subject matter (Bigos 2018). Will you talk about one of your poems in which this multifaceted linguistic play happens—unpack its underlying processes for us?

 

RM: When I start with the chutney poem. Consider my poem “Forced Conversion.” I start with a Guyanese Bhojpuri/Hindi chorus that came to me as I was walking to teach in Ozone Park, Queens at John Adam High School. As I walked down Liberty Avenue under the A train I considered the reasons why my great grandfather was against my grandmother getting a colonial education. In order for anyone to go to school, I was told by my father, people had to convert and take Christian names; people had to learn a new poetics. The chorus or first couplet had to have some English words that have been absorbed into the language in it. This poem responds to those strictures and to language attrition and the self hatred that comes from my father’s generation for all things Hindu. This is my kind of speaking against that and reclaiming what was lost, posing a decolonial question as I look at the past.

 

MH: How do you think writers can work to change the literary landscape to be more inclusive of multiple languages in the same way that scientific language is accepted (despite its inaccessibility, at times)? Does this work belongs to both writers and visual artists? To dancers? Musicians?

 

RM: There are so many poets already doing this like Barbara Jane Reyes, Craig Santos Perez, Tarfia Faizullah, Shivanee Ramlochan, Layli Long Soldier, Joan Naviyuk Kane, and Sherwin Bitsui to name a few. The success of these poets shows me that people are starting to open up to the idea that the United States is multicultural and multilingual. I think when people say multilingual work is inaccessible, or that the inclusion of languages other than English is too difficult or keeps people out of their work, those same people need to think about the gatekeeping that the white, English-speaking institution has played in keeping People of Color out, literally unable to access knowledge—that is unless someone like Ezra Pound or T.S. Eliot appropriate it first and make it trendy.

The more people to do this work, the better. Every form of art, I believe, benefits from considering People of Color forms.

 

MH: You talk about your work as a translator with unmistakable reverence, referring to yourself as “a caretaker” of the work at hand. Generalizing or misrepresenting texts through translation can have “real life implications of cultural erasure” (Congeries, Connotation Press). Considering how language shapes communal and individual identity, how do you translate a text in a way that transcends cultural boundaries without flattening the original text’s vibrancy and content?

 

RM: This is the question that I’ve been considering now as my translations of Lalbihari Sharma’s I Even Regret Night: Holi Songs of Demerara is in the production stage over at Kaya Press. As a caretaker part of me is elated that since it will be a bilingual text that I am allowed to poetize the music in a way that shows my artistic decisions.

There will always be a flattening that happens when moving from a periphery’s language to the core’s language, a violence perpetrated against the original text. But there are also ways for a new kind of vibrancy to be added.

Not many people in my community speak this language anymore, except a few who learned from grandparents. Even my learning is incomplete. I think that as long as this text remains in the thoughts of the people as some place, some text that is ancestral, is a home, then even the clumsiest of work is important.

This text has never sung in the United States before.

What a thrill to one day have someone else come to this text and retranslate it, repoetize it in their own idiom!

 

MH: You emphasize using writing to heal and decolonize. Your work often addresses white supremacy, insisting that “The ʻI’ is important because it proves that [you] personally exist, [and you] resist erasure by white hands that pen white narratives” (Ally is a Verb: a Whale’s Song). Will you expand on the obligations for a writer of conscience? How does your desire to address alienation and inequity inform your creative process? And how do you feel your creative process helps you work through these intersectional oppressions?

 

RM: My need to address inequity in my creative process is about voice—for much of my life I was taught to be quiet, to not have opinions that would be injurious to the white folks around me. As immigrants, my parents were very good at surviving from working undocumented as janitors to naturalizing and moving to Chuluota, Florida (then a hotbed of racism and homophobia). I come from an intersection of forced migration, immigrant status, queerness, and others. I wouldn’t know how to separate these things to write only from one so I think my process is one of starting in my center and speaking.

Since I’ve started speaking, I’ve tried to heal my throat, atrophied from disuse. My obligation is to myself, my family, my community. If I don’t speak for myself then others will continue to appropriate my voice for their own needs. Writing has been my primary mode of intervention.

I gave a reading of my poem “Why Whales Are Back In New York City,” in which I have a line about witnessing the news story where black and brown folks topple a confederate statue in Durham, North Carolina. I read with a poet who told a room of black and brown students to not write about the news, to rather write about things more “universal” and “enduring.” I don’t have the privilege of not noticing the oppressions around me, of growing up rich and ignoring the news. I can’t imagine why anyone would say to black and brown children to write about things that white folks care about other than to be so fully entrenched in racist ideologies, in a white supremacist state that they cannot see how they participate.

 

MH: The concept of internalized oppression arises in your poem, “K*phr*,” which originates from institutionalized oppression. You write, “you are an immigrant / to the United States, means / you hate immigrants / you dream you have more in common / with the whites.”  In her 1980 essay “Age, Race, Class, and Sex,” Audre Lorde says the “true focus of revolutionary change is never merely the oppressive situations that we seek to escape, but that piece of the oppressor which is planted deep within each of us” (Sister Outsider 123). How does your use of perspective and voice in your poems allow you to release and free this internalized oppression?

 

RM: Yes! I love the Audre Lorde quote! It’s true—that’s how oppression and colonization work. We become oppressors and colonizers if we don’t acknowledge our own racisms and bigotries. I’ve been thinking a lot about the anti-black sentiments in my community and how damaging it has been to us in that we have been duped by the British for generations. The British fostered an animosity between black and brown folks in Guyana in order to keep us apart, to prevent us from usurping power. The poet Martin Carver has been a source of inspiration for me now, as I think about how we bring anti-blackness with us into the United States. I find it unacceptable and want people to contend with this as well. I speak from the inside to challenge this.

 

MH: In this issue of Mistake House there is a supplement exploring findings from a recent project on the Principia College campus titled, “Moral Discourse in a Post-Truth World.” You’ve noted in the past that myth and metaphor enable “radical possibility” for the poet aiming to connect to his/her/xyr past as well as to connect rather than divide people into different categories (Bahuguna 2017). Can you speak to the role of myth and metaphor in storytelling and its relationship to the notion of truth? How do you engage with truth—and the suggestion of “post-truth”—as a poet in a world distracted by “fake news” and political, social, and moral relativism?

 

RM: Myth and storytelling exist in a world of metaphor that show us how to be in the worlds we live in. Sometimes they need challenging especially when it comes to any stricture or teaching that makes us believe that one person is lesser than another. I think that’s why cultural creatives are born—to rewrite the Ramayana that’s anti-caste, anti-misogynist, and anti-nationalist. As soon as the story recommends the oppression of people for the desires of a “god” or people, then it needs to be questioned and revised. This is the hardline.

As for the news and the narrativizing that occurs, what a shameful time for the United States right now to be in a situation that we cannot trust news, or even the democratic process. Did the electoral college actually elect tr*mp without any kind of Russian influence? To me the answer is clear and treasonous.

 

MH: You have extensive scholarly training, including deep work in critical theory (queer theory, postcolonial theory, etc.) and your poetry is allusive, multidirectional, complex. As a poet, scholar, and teacher, will you talk with us about the relationship between necessary difficulty and accessibility? You’ve said , “I do not think that by making my work more palatable for American audiences by erasing all South Asian and Caribbean references, or somehow defining them in the poem, will make my poem better” (Bigos 2018). By demanding your readers to do research beyond the page and thereby engage more deeply with your work, do you find that you are engaging in a dialogue with readers? What must readers bring to the table when they read your poetry? Why?

 

RM: I love to hide easter eggs in my poems for people who may or may not know the obscure references that I make. In my next collection of poems Cutlish I have a section at the back that I call “The Poet’s Archive” in order to give people more space into the world of tensions that I have learned words for in academia. It’s something new that I’m trying as I obsess about what an archive looks like for myself, family, and communities.

I demand that my readers do a lot of research, it’s true, because I have had to. I have had to be completely illegible and learn to navigate a vast ocean to find any place to put a foot. I’ve had to relearn Hindi, Bhojpuri, and Guyanese Bhojpuri/Hindi for myself. I’ve had to comb the literature on Indian indenture and find in it its queernesses.

I think that in order for readers to get deep into my poem, besides the music of the line and language play, they should have some understanding that diasporas are all around. I imagine that immigrant experiences will resonate from immigrant community to immigrant community as we all have our own particularities and queernesses. Hopefully after reading my work the reader comes away with a better understanding of my own queerness and particularity.

 

MH: Will you talk about your Coolitude Project? In an interview with Joseph Legaspi, you discuss an approach to colonial subjects in your work with reference to layering words throughout your poems—words like “coolie” which have complex histories (Source 2017). You explain that the word “coolie” was “given to South Asians from 1838–1917 by the British who indentured my ancestors to work the colonies as sugarcane cutters after slavery was abolished.” You note it holds “a kind of identity that was forged through indenture, or the kinship ties that emerged from the boat that transported people of different ethnicities, languages, religions, and castes.” You also note that it has been “reclaimed” by IndoCaribbean writers like Rajkumari Singh (“I Am a Coolie”). You are one of these writers, too. What other words, if any, have you reclaimed and/or reshaped by re-contextualizing the narrative in which they are used?

 

RM: This Coolitude project seeks to blend two discourses: creative writing and cultural/postcolonial studies in hopes that it will foster a new kind of thinking in creative writing programs. The British took people from 1817-1920 as indentured laborers all over the world: to Mautitius, Reunion, South Africa, the Caribbean, South America, and Fiji after the official abolishment of the African slave trade. They needed cheap labor and since Britain owned India, they thought they also owned its people. In the series that I write for Jacket2 (https://jacket2.org/commentary/rajiv-mohabir) I look at the cultural productions of people from these areas of the world, in a forgotten diaspora. I have included book reviews, interviews, essays, and writing prompts with Coolitude artists in mind. I wanted it to have archival breadth. The project is a strange beast that straddles a couple of worlds. As I said, I’m currently obsessed with creating an archive to excavate and here is my way of making a platform for people in my diasporic situation.

So much of the scholarship from my diasporic situation erases queerness. Gaitura Bahadur in Coolie Woman: The Odyssey of Indenture finally makes mention of queers in relationships and the punishments meted out by the British.

I reclaim the word Coolie and also gandu and Antiman (a slur for queer men) in my writing. I write from the Coolie Antiman diaspora into a gandu-ship where siblings are queer as fuck and fuck as queers.

 

MH: What projects are you working on now and how are your current projects evoking new transformations for you and in your work?

 

RM: I am currently working on several projects: Cutlish, which I mentioned, translations of I Even Regret Night: Holi Songs of Demerara (forthcoming 2018 from Kaya Press) (http://kaya.com/books/even-regret-night-holi-songs-demerara/) and also a memoir called ANTIMAN. This memoir focuses on the years of 2004-2009 when I lived in suburban Central Florida, studied in Varanasi, India, and moved to New York City. Themes that appear in this manuscript include queer love, “coming out,” self-harm, language and cultural loss and rediscovery, and music and folk story as a guide to humanity.

 

MH: Do you ever play hooky (we hope you do)? And, if you do, what is your favorite thing to do when you take off suddenly, as in a dérive?

 

RM: YES! I play hooky a lot. If it’s not binging on Netflix or rewatching “Buffy the Vampire Slayer” for the zillionth time, it’s most likely trying to coax Enkidu, my cat, to walk on a leash. I have not had much success, she just likes to lay there with her harness on.

I also love cooking, the longer the process the better. Today I’m making kichari and chicken samosas for my first meal with my own mango pickle!

I like to make short films as well, weird and so incredibly low quality, especially when I’m in a new space or am exploring a new environment! I won’t share any of these but I’m sure a YouTube search will reveal some of my best creations.

I used to answer this question with going to the beach— Come summer this will be how I will answer this question again, now that I live someplace with a cold winter and spring.

Unstructured Observations, Introspection, Exposing Actors

Acclaimed assholes always act after aggressing

Bouncing breasted, bubble butted, B-movie beauties. Beyond

Cat-calls, ‘cause crude call-outs can’t cause crooked consent.

Despite defiling demure dames, downfall’s disdain doesn’t deter derelict dicks’

Exonerated edicts. Everywhere, everyone, especially entertainers encroach every

Female, flashing fame for a fast fuck for four failed films.

Going, going, gone, great going, good god!

He’s hit her harder! How horrible, however

It’s interesting if inked idiots ignored impact infractions, it

Justifies jackshit jury, jackshit jailtime, jackshit justice? Jesus

Knows klansmen killed kids, keeping

Little litany literally letting low-lives

Make malice. Messiah: minimal moderation, mostly muted. Myself:

Non-confrontational. Neglecting national noise. Never

Offering outspoken oral opposition of obvious offenders. Opposite of

Partially passable poetry. Pathetically piecing piercing problems

Queueing querulously, quasi-moralities, questioning

Recycled reasons responsible. Rarely risqué roasts, reviling recently relevant

Spacey’s, Székely’s. Semi-serious sentiments seeking support. Seldom surprise seeing said

speaker 

Turn tail, talking theatrics, ‘til the times turn to term.

Useless usher under umbra’s

Veil. Valuing validation. Vastly vapid, visiting

Wealthy wastelands wherever, words waning. Woefully weak whispers when witnessing

Xenophobes x-ray xeric

Youths. Yesterday’s yuppies yell “yuge.”

Zealot zeitgeist. Zero zipping. Zombie zoo.

The Sounds of Ash

The wind carries

whispers, words unsaid,

and now I know

it rasps from

my father’s voice. We let him go

from a monolith, on the slope of a

 

world, with

a city like a bonfire—an ember nucleus

nestled in twigs and logs and leaves—

below.

 

The sound dins

from the grains of

desert salt, the crumbles

of beach sand, the cigarette ash

of blaze-charred refuse—

 

and anything else

that glides

 

adrift.

 

 

All the time spent with smoke in our mouths,

knowing singe would bring him back, transform his matter—he, emerging

from the landfill heaps,

muddling himself

home, muscle-spasmed, stretching

out, folding forward—ringing the doorbell

with his chin, falling back into

our arms.

 

The wind carries secrets.

My father died a poor catholic

that hid his faith from

an atheist son like

a mutation.

 

Now I’ve captured him in a vial that hangs

around my neck, sealed off

from air, silencing his cries—as a god

could do, as a father’s hand

does to the back of

the neck of a stifled

tantrum.

Matron Misery

Motherliness masked Mama’s mentally manipulative manner

                         My                mother              misunderstood              me

Many moments Mama muttered

   “Mama makes men”

Ma’dear misled Mama

Mama misbelieved misogynistic, macho-masculine mannerisms measured manhood

           Misguidedly Mama married moronic Mr. Moore

Motor-mouth Ma’dear’s micro-managing made Mama moody

Mama’s melodramatic moods made me mad

Ma’dear’s mothering made Mama miserable

Mama’s misery matched mine

Mama missed Mr. Moore many months

Mama & Mr. Moore’s marriage made Mama meet much misfortune & mishap

Many mourned Mama

One Ramadan

8 hours later:
On the day of the nightclub shooting
I held myself, alone, in a house of six.

15 hours later:
When the lowered sun dimly lit the Masjid’s asphalt,
my lips were sealed, lest my grief be revealed.

5 days later:
Every week he slammed terrorists on his mimbar, but
today, not a whisper for his homeland, for Orlando.

In the same moment,
The mimbar blued, his voice blurred
as silence held.

Rajiv Mohabir

Rajiv Mohabir is the author of The Cowherd’s Son (Tupelo Press 2017, winner of the 2015 Kundiman Prize) and The Taxidermist’s Cut (Four Way Books 2016, winner of the Four Way Books Intro to Poetry Prize, Finalist for the Lambda Literary Award for Gay Poetry in 2017). In 2015 he was a winner of the AWP Intro Journals Award. His poems appear or are forthcoming in POETRY, New England Review, Kenyon Review, and Quarterly West. He received his MFA in Poetry and Translation from at Queens College, CUNY and his PhD in English from the University of Hawai`i. Currently he is an Assistant Professor of poetry at Auburn University. Read more about him at www.rajivmohabir.com

Deciduous Dreaming

A stack of turtles sleep atop my dresser

Resting somewhere between peace and panic

Across a page split down the middle

 

A creek caresses the cricks of their shells

From higher than my vision believed

Trickling washed words and shallow lines

 

And steadily eroding the space between

A fall of words ricocheted and clawed past the turtles

As to strike my ears if I approached

 

The layers impatient inside the dresser

Don’t let them get too wet or wordy

Worn words are the hardest to forget

 

And the coyote never forgets which words pierce

So easily past these paltry layers

But getting dressed is the first step in becoming normal

 

Again, the coyote comes for the turtles

Crying in the daylight as I lay awake

She must hunger too, I suppose

 

And what can I do but let her eat

For the bridge between our eyes

Wrings lightning down my brainstem

 

Those putrid fangs piercing the layers, the shells

The calcified cracks bleeding dreams

From the wayside and I am still

 

Watching my breath turn to lead

What can I do but count the casualties

And stack the survivors so

 

That creek runs across the center

Atop the dresser again

Where the turtles sleep

BENEFICIAL NEMATODES FOR TILLED SOIL AND GARDENING

You should not have opened this box.

Now you will never be rid of me.

 

I am waiting underneath your fingernails

to infest your ants, your grubs, your skin.

 

I, assassin,

wound-maker without knife,

 

without teeth, slippery

body corpse-silent, I,

 

unremarkable ambush

predator, am part of a family business.

 

We will eat those termites for you. Your aphids

will watch their children burst open,

 

our muscles writhing

and pushing out from inside but be warned:

 

when I am done here, my cousins are coming for you.

Heartworm, hookworm.

 

Pinworms and whipworms too, if you’re into

that kind of thing. We hope you are.

 

We hope your blood vessels

are just a little kinky,

 

that you like it

when we get under your skin.

Marriage

You used to be a whale and then you ate a whale
and now you’re a cannibal.

I used to be an avid pogo-stick-er
and dream that my bones were liquid
cheese, a real nice fondue.

I’m always breaking into the maintenance closet
thinking it’s a stairwell. I’m always making eye contact
with the mop and the mop raises her eyebrows
because she thinks I’m a fucking lunatic. I am not

crossing my heart.
I am not sticking a needle anywhere,
thank you. I want to stick

all of the spring salad from New Jersey
into my tote bag. I want to have an elaborate ceremony for this
like a wedding but more meaningful. I want a marble pedestal.

I want to hold my tote bag’s hand even though my father doesn’t
know I’m a lesbian. I need the pope to be there to officiate
because my tote bag is Catholic and she’d love that shit.

I need Pope Francis to ask,

Do you want to stuff your tote bag full of spring salad?

In New Jersey in front of my family, I need to cut off the pope.

Do you want to stu—

I do. Goddammit, I do

Current Staff

Editor-in-Chief, Sky O’Brien

Sky O’Brien is from Botswana, Africa, but has spent most of his life in Perth, Western Australia. After studying at the University of Western Australia, he transferred to Principia College where he is majoring in English in the creative writing track. A believer in the power of words, creative learning, and imagination in shaping a socially just world, Sky has engaged with different writing practices over the years. As a writer and then assignment editor for Principia’s newspaper, The Pilot, Sky has attempted to bring socially conscious and international perspectives to the campus. In the fall of 2016, he studied art and writing abroad in Prague, Czech Republic, and engaged with writers like Václav Havel and Karel Čapek and their pursuit of truth, justice, and authenticity. In his creative writing capstone, Sky is looking at the concept of the house/home and its contribution to social, political, economic, and environmental contexts in capitalist societies. He loves reading the short stories of Raymond Carver, Grace Paley, and John Cheever.

 

Managing Editor, Sami Corbitt

Samantha (Sami) Corbitt is from St. Louis, Missouri. A junior majoring in English in the creative writing track and minoring in both Dance and Religion, she loves to explore the connection between words and movement. She is currently fascinated with the concept of communication and disconnection between thought and action. She has crafted two dance pieces focused on the internal struggles of self in connection to communication within domestic relationships. In the summer of 2017, she had the opportunity to study literature and translation abroad in the beautiful countries of Slovenia and Croatia. She engaged with authors such as Andrej Blatnik and Ivan Sršen, and translators such as Ifigenija Simonović. The study of translation on this abroad only deepened her curiosity about communication and how we each interpret our surroundings differently. She can often be found lying on the floor of her room, listening to music, and plotting new ways to communicate her thoughts to the world through movement.

 

Soap Bubble Set Editor, Elizabeth Hagenlocher

Elizabeth Hagenlocher is a senior and an English major in the creative writing track at Principia College. Although uprooted on many occasions, Elizabeth is currently a resident of Illinois. During her time at school she has presented her writing at two NULC conferences, and she has spent a semester in Prague, Czech Republic studying creative writing and studio art. Although she started her college career focused on fiction writing, Prague opened her eyes to the possibilities of poetry. Lately, Elizabeth has been working with the notions of time, existence, and femininity. When not writing, Elizabeth enjoys exploring the possibilities of sculpture, reading Lydia Davis, and writing down what strangers talk about.

 

Fiction Editor, Samantha Frank

Samantha Frank, a junior from Massachusetts, Texas, and Illinois, is deeply interested in how the creative process highlights and articulates the human experience, especially marginalized voices. She is majoring in English and minoring in studio art and in gender studies. In the fall of 2016 she traveled to Prague, Czech Republic with a Principia Abroad program and became interested in surrealism and creating to unlock repressed feeling and memory. She has experience editing, ghost writing, and has been working on her first novel for over five years. Though she never had imaginary friends growing up, she has always lived closely with whatever characters she’s writing about, often rewriting scenes in her head while traveling or waiting.

 

Poetry Editor, Nolan Saylor


Nolan Saylor is from Northern Virginia. He is an English major with a concentration in Literary Studies. This is his second year on the Mistake House staff. He enjoys contemplating how to be normal in society today and what the goal of life truly is. His personal reading includes series such as The Dresden Files and The Kate Daniels Series. His poems lean towards little ditties with a happy rhythm, though content may vary. After trying to be social and thus getting a concussion he has decided to avoid sports until he has finished his planned capstone on William Blake.

 

Faculty Advisor, Dinah Ryan

 

Conversation Overheard at the Upscale Market

–I just don’t agree with the whole premise really.

–Premise, Sue?

–That a product, any product, no matter how rare,

unique or expensive, no matter how lovingly-made

by local organic elves paid a living wage

in handmade gold pieces bearing the inscription

In, umm (stalling) In Good Goods We Trust!

–I get your drift, Sue. Back to the premise part.

–I don’t think that any product will make me a better person

or reveal me to be one of rarified, superior taste,

or make me a better member of the in-crowd!

–Can I help you, Madame?

–You were first, Sue.

–I’d like two of the Scottish lobsters, two pounds

of the Nova Scotia Swordfish, and do you still

have any of the Alaskan red king crab?

–Nice seeing you, Sue, coming to hot yoga tonight?

Bedtime

Not just a regular routine

but saying goodbye

over and over and over.

You enter the dark room

to go on vacation—

sometimes it is days

until morning.

We lie with eyes closed,

Au Revoir, and we’re

running and running and running,

miles at a time. Running

impossibly

away from life,

only to return again

when we

open our

eyes.

 

 

WITH FLYING COLORS, WITH BEAT OF DRUM

in the mirror slighted, in its glistening
little cracks, dare not tempt God’s providence
by fire (as here in a photograph, as not funded meanings,
as a veil just half withdrawn), dare not forge globe of burning
sky distinctly out of literal (mounting not toward
morning sky) turning inside, dare not
in the here to dwell, unbent, unsinewed,
dreading the indirections, provoking no echoes

the barren heath, the bleak moor
(in pertinent gratification), in this rage for order,
this rattle of a globe to play withal, all this, all this by
razor’s edge (this minute of error) plaguing my tongue in the need to speak,
softly threading inward as hope is, as nothing but the wind can become,
renunciation of the simple gestures (all these various materials)
in the departing light, uprooting like a film negative

even the laws are vain,
made even more melancholy (without
kindling touch as that pure flame, as that great influence),
elemental strife subsisting,
groaning (clasping, twining) so clear
and longer yet

there can be no question, no nothing at all in
that remainder of reality (sorrow, shadow, nameless synthesis)
i grieve for that sudden petrification of fires (grateful coolness),
the taste of blood monotonous, deadening, fruitlessly striven,
kindling at their luster if i burn

but look to God, this saving grace of irony, this chapel of ease,
as a pensive sigh, as anything can be done, these forms pass little
by little into reality, a light without dimension, turning fearfully
like a bad dream (vain and hollow),
this menacing, this overwhelming heaviness of words decay,
there’s no further need to speak

The Flood of ’94

The fire ants were the first to know.
Grain by grain
they stacked their hills
five feet high.
Deep reds and brown
towering over my head.
But no one seemed to notice them.
We packed our belongings,
and moved them to high ground,
of our few leftover things,
only an old dusty sofa
turned on its side remained.
We hated that trailer,
and the cinder blocks
it rested upon.
Dust to dust drywall
And textured linoleum floor.
Nicotine stains on pinecone wallpaper,
and we were glad to let it go.
Bittersweet effigy,
because we knew we shouldn’t let it show.
The flood waters being something new,
and none of us had ever seen
anything new.
A last meal was served
on the living room floor.
Unwrapped from cellophane
packages and cut
from cans of tin.
A ray of sun from the open door
leaked in
as Dad poured the juice
left over from the salted meat
onto the carpet,
to seal our fate.
To invite the rushing waters
to come and
wash away this place.
I stood on the bridge
and watched the waters rise.
Looking down at a vortex
I feared that it was strong enough
to pull me in.
I knew she was strong enough
to take down the bridge
and wash it all away,
yet I stood still.

But the flood never came.
And when we moved everything
back into that trailer
the stain from that can of salted meat
remained.
A mark in the doorway
of a time
when something almost changed.

Eustace

1. Eustace at Lunchtime

 

According to Eustace’s lunchtime

reading material, heroin is becoming quite

popular, even though it often makes a person

utterly uninterested in things that aren’t heroin

and commonly leads to poverty and/or death

for the person using heroin. The decision

is made to never try heroin no matter what

and Eustace takes a mental note to monitor

his masturbation patterns in the future. “Why

does no one ever paint things

on the inside of coffins?” Is another good question

no one ever asks. Eustace remembers how so-and-so’s father

requested burial with an oak leaf crunched in his left palm

and a bottle of bourbon in his back pocket. Ideally,

Eustace would not think quite so much

about death at one time, since he hates

the ironic possibility of dying

with death on his mind and since certain superstitions

say death will likelier come to someone in the act

of thinking about dying. To be safe,

Eustace thinks very hard about the history

of odd meters in jazz music, then of telephone booths.

“One mustn’t let the mind lean

too much in one direction. Occasionally one must

think of telephones” he tells himself, as if

someone might write this down. Then,

he peels the blue sticker

off his orange peel and walks inside, not liking

to eat oranges outside, in case bees should sniff him out.

 

2. Dinner with Candles

 

Eustace usually eats his dinner

on a plate and sometimes by candlelight.

He knows that candles are important components also

for various religious ceremonies, and notices offhandedly that no one

ever lights candles for breakfast.

 

God ignores our lacy-lidded morning prayers, he concludes.

There’s a reason, after all, that Jesus

delayed his own dissection til dinnertime. When one asks

questions of a dark closet, one speaks loudly, and so on.

 

It means something else –

 

after having walked among trees and fluorescent light bulbs, after having kept one’s eyes open for so long, after having been emptied of so much, after having been scraped clean like a bucket of ice cream, after having done or not done all the things one has wanted for so long to do –

 

it means something else entirely

to pull a chair up to a table, to sit in it, to give the body

what it asks for. Without looking down, Eustace half-expects

 

to find his own heart on his plate – charred and sprinkled

with parsley flakes. Today he chooses not to be

oblivious to the oblivion he rolls around in.

 

Whoever convinced the Church

 

to serve Communion in the mornings

severely misled millions of hungry hopers.

 

Some of the Old Believers cut holes in the walls

where Jesus’s portrait used to hang. At night

they would worship the darkness’s misspoken black,

and come morning they were grateful for the world.

 

3. Eustace Puts Himself to Bed

 

The world is like a million gloved fingers

poking at a person. No one ever asked

Eustace if he wanted a life:

a name, a driveway, a plastic bag

full of plastic bags under the kitchen sink. Somehow

Eustace spent large parts of today trying

to guess, without looking, what color shirt he had on.

 

Before bed Eustace empties his pockets onto a circular table.

Before bed Eustace removes bits of food that stuck to his teeth.

Before bed Eustace puts his fingers together and prays for

sleep to come like the elementary school janitor no one ever sees

 

4. A Moment of Understanding

 

quiet like quiet quiet like

the tree outside was holding

onto its breath holding onto its leaves like

it was a mother goose asleep

with babies in its wings

the heater quiet and waiting

for a better time to turn on all the

cars on all the streets waiting

on the other side of corners

real disturbing the universe kind of stuff

and all throughout the whole ordeal this heart

clanging in a chest

like a wood spoon on a skillet foolish

and unnecessary like lighting smoke signals

in church like making an announcement

at your own funereal

all the same pretty easy it was then

with the quiet outside and

the bell clappers inside pretty easy

it was then to say Eustace was

alive was living which at the time

seemed close to a revolutionary act

right in the middle of all that nothing

and his heart jumping like a dog on a leash

looking for the squirrel

Totino’s Triple Stuffed Pepperoni Pizza Rolls

i am evicted

from bed again

last night i dreamt

of something meaningful

probably

maybe it was

the unspoken truths of being

that lurk in the shadows

of our words

or the silence

that dwells in the pauses

of our voices our

vices

why do we lie

in bed trying to find reason

behind stacked turtles in barren pastures

at what phony validation

do we find ourselves

grasping

for instant

gratification

or instant

dinners

in the freezer

i can pee while it cooks

wipe the seat because

i missed

when these pants werent so tight

because fitting in is something

i would still like

if the lights werent so bright

and the microwave werent so loud

but who am i to complain

it was the first one to speak to me today

its four o clock

pizza rolls with ketchup

is where i am right now

where will i be later

and how will i get there

i think

the middle is still frozen

From the Editor’s Desk

Induction Ceremony of the Black Rock Negative Energy Absorber, Jackie Robinson Park, Harlem, NY, 2016
Photo credit: Scott Rudd

“Home is where we return to,” says Czech writer Václav Cílek, “and we leave it only so that we may return.” Cílek is talking about the natural landscape of our home, the earth, the “flux in which our spiritual and natural sides mingle,” but his words transcend context. If you are returning to Mistake House Magazine, welcome home. If this is your first time here, welcome–we hope you’ll return, too.

Mistake House is an annual online literary magazine dedicated to publishing the diverse voices and eclectic literary styles of students in the United States and around the world. In the time that has passed since we published Issue 3, the historic opioid epidemic in the United States has worsened; heroin and fentanyl overdoses now account for tens of thousands of deaths per year. In Issue 4, check out Kate Lasell’s “Overburden” for an engaging and inventive look at a protagonist’s relationship with opioids and God. In “Eustace,” Wesley Sexton approaches the subject–and the often “absurd” qualities of life and death–in a similarly inventive way.

In Michelle Olmsted’s “Speak Fire,” you’ll hear from a protagonist grappling with displacement, cultural insensitivity, and sexual abuse, three very relevant issues in today’s world. For sensitive meditations on the complex nature of human relationships, spend some time with Jeffrey Boldt’s “The 2013 Holiday Letter,” DāShaun Washington’s formally creative “Matron Misery,” and Kristen Darby’s “The People’s Temple.” See Bryan Nguyen’s “Totino’s Triple Stuffed Pepperoni Pizza Rolls” and Josh Anthony’s “Cat Hour” for imaginative responses to consumer culture and anxiety.

We are honored to feature poet Rajiv Mohabir and artist Rudy Shepherd in this year’s Soap Bubble Set, our professional section named after a series of assemblages by the well-known modernist sculptor and filmmaker Joseph Cornell. Together, Mohabir and Shepherd bring diverse backgrounds to complex issues in contemporary culture including immigration, displacement, the rights and experience of the LGBTQIA+ community, racism, and the portrayal and perception of good and evil in mainstream media. The ideas in their interviews, their thoughts about creative process, and their original work will enlighten and inspire the creative reader and writer.

Once again, welcome home.

Sky O’Brien, Editor-in-Chief

 

 

A Petition

The next word I lightly scribbled on my bit of scratch paper was “Rose.”

Needing yet another reprieve from the clipboard on my lap, I looked up to see pairs of newlyweds peppering the gaudy office furniture. They must have either been too practical or too in love to plan their moments far in advance. I snapped back to the other words that I’d hidden behind haphazard pen lines, so that the letters were sufficiently unrecognizable, and briefly considered adding “Rose” to that growing list. A rush of nostalgia made me pause, the tip of my pen a millimeter above the paper.

Though I’d not thought about it in years, I was suddenly standing beside a hand painted sign that read “April’s Rose Garden,” with “Rose” set at a diagonal, linking “April’s” and “Garden.” During the first of two summers I’d spent in that drab suburb just outside of Dallas, I’d often make the short walk to the garden with a neighborhood boy who dutifully kept me company during those long afternoons in the blistering Texas heat.

Ignoring the thorns, this boy picked a stray rose that wouldn’t be missed and handed it to me, asking if I was a boy or a girl.

Apparently, I was getting the beautifully wilted rose regardless, so I chose not to answer.

In the years that followed, the delineations would become much more defined, much more restricting, but those long summer days afforded me the opportunity to revel in the ambiguity, like any child ought to be able to do,  without thinking about it too much.

“Rose” was safe.

The next word that jumped clumsily from the pen to the page was “Mary.”

There were a few important Mary’s for my brain to sort through, and I had no reason to try to stop that process. Eventually, it placed me back in a library where as a slightly older child I’d sought refuge from the increasingly biting Delaware air. There, my body was slowly but dutifully acclimating itself from the Texas swelter of the summers prior, and that was where my brain settled on a towering, slender figure who wore suits better than anyone I’d seen before or since. That figure first caught my eye while the accompanying voice bellowed out a spooky October story in the library for a set of frightened and intrigued kindergarteners. I fancied myself a year and some months too old to join them on the carpet to stare up at the person whose name tag read “Mary.”

Looking in my direction with crystal blue eyes, Mary flashed a quick smile, full of impossibly white teeth. That library had become my haven for the impending winter, and I noticed something peculiar in the way the other librarians spoke about their younger colleague. If I’d had the reference then, I’d have expected them to break into “How Do You Solve a Problem Like Maria?” Nothing, I would realize, could stop Mary from walking chin up, chest out, or from exchanging mischievous smiles with every kid who frequented the library, or from shining brightly in her seemingly endless wardrobe of perfectly pressed suits.

Then, I strode with reaffirmed confidence back to the present moment, where I remembered I didn’t have any more obligation to the second name my mother had given me than to the first, which I’d happily shed all those years before.

I wouldn’t waste the generous gift of a blank form.  As I scrawled “Rosemary,” I bit my bottom lip and smiled down at the page. It happened to be the herb I’d used to season a stew the night before, which provided a bit of refuge from the Pacific Northwest drizzle outside my little house made of stone. A lot of the past, my new name would be, with a dash of the present and a bit of levity. “Rosemary” fit perfectly in the box labeled “Middle Name” on the petition for that document I was getting even though I’d stopped questioning myself long before. These bits of paper were to serve as proof, to those who’d need it, that I am who I say I am. That I always have been, and I always will be.

Overburden

Hello? Hello? I — Hey? Hello? Lord? — I gotta question for you.

Sorry, I, uh — Hi. Hey there. I feel like you might be confused right about now. Are you confused, man? You’re probably confused to find me here, strung out good on a spoil pile south of the Mason Dixon. I know I was up in Mass last time I checked in. Now, I bet you’re curious how an old hustling homebody like me made it all the way down to Florida. Are you scrambling now, Lord, to rewind the tapes? Were you not exactly focusing on me and now you’re all mixed up? I understand. My life hasn’t exactly been the kind of serial you’d wanna follow.

Well, I’m coming to you now, Lord, hat in hand. I don’t actually got a hat anymore but I’m here with an imaginary hat in my hand. My Sox hat. From 6th grade. Remember that one? Probably not. I don’t expect you to keep tabs on all seven and a half billion of us. Remember  that time I kept Tweetie alive in my cell for a few months? I feel like you might’ve tuned in for that. Do you remember her? Her ma made a nest up on the flagpole and she fell out into the yard? I shredded up my bed sheets and made her a new nest. I know birds come dime a dozen for you, but my thought at the time was if I could keep her alive til she could feed herself and fly off, I would’ve made my positive contribution.

Well, the bird died. Just an FYI. You know, in case you were invested but had too much on your plate to keep up. I read a line from your holy book and flushed her down.

It’s a birdless moon out here tonight though, man. I mean, jeez, it looks like something strip searched the world and never returned its valuables. I bet you don’t have spoil piles in heaven. Overburden. That’s what those women kept calling it. Spoil piles. Overburden. Just fancy terms that mean earth that got dug up. Now as you can see I am lying on the overburden. Probably if you did a quick aerial scan you’d think, that is one dead fucking man lying on some dead rocks. Overburden on overburden. Don’t be fooled though, Lord. My lips aren’t moving, but I’m batting a thousand in here. We all got a direct line to you in our heads, I think. Never really understood how that works but I’m hoping the signal is good cause I got a question for you. Can’t exactly remember it at the moment but I know it’s in here somewhere.

I’m a little nervous, honestly, after all those things I called you. Your honorary titles: Cosmic Dildo etc. etc. The Big Friendly Git. Sorry about that. Ha Ha. From now on you are Lord and Lord only. Although, I’ve said it before and I’ll say it again if I don’t hear back from you, I’m gonna have trouble buying in. But that’s not a threat, Lord. I promise. I’ll take whatever’s on offer. Don’t need no five paragraph handjob. Definitely no stone tablets. Just an answer. A name. Or a sign. Have a raven drop a detox pamphlet on my head. You know. Something obvious.

Hah. Jeez, asking you to give me an answer when I can’t even pony up the question. Don’t worry, Lord, I know I sound mixed up, but I’m solid. I’m still breathing. I ain’t gonna die.

Here’s something though, Lord. Until I came here to this strange place, I thought I wanted to — die I mean. Even when I’d been living good for a while, living clean. Even then. The thing was, living clean, I felt even smaller than I did when I was using. Had a gig breaking down boxes at Home Depot and a bed in the Kilby Street shelter. You weren’t watching then, I bet. Life was boxes, boxes, cigarettes, then Law and Order reruns on YouTube on my phone at night. I wasn’t paying out at the shelter so I was giving ma money to make rent cause her COPD made it hard for her to do most things. That and her being 80 years old and all.

I know everybody’s got their axe to grind with you, but you fucked me on that good streak, Lord. You should watch the tapes, if you’re archiving that shit. Just so you know what it’s like be so small and fail so bad. Just rewind to when Shawna ODed at the shelter. Red-haired Shawna, who was always packing heat. I had some Narcan and I tried to squirt it up her nose like it shows in the pictures on the box but the government don’t train the shelter staff with it and the attendant stopped me. Thought I was trying to give her more drugs. I watched her gurgling, waiting for the ambulance. When they finally got there she was this light blue color that would’ve been pretty, like she was a pretty alien girl dropped down from Pluto, except she was dead.

Fine, Lord I won’t kid you I’d been using too. I was gonna shoot the same shit as Shawna but I saw her freeze up. Then that big guy on staff pinned me down, though I wrestled to get her that Narcan. He was looking at me all gentle while she was gasping just a foot away.

I slept sick in all sorts of ways that night, Lord. Didn’t fall asleep until dawn and then slept through my shift at the Depot. They said the box breaker downers are a crucial part of the operation and they can’t have this kind of lapse in efficiency etc. etc. My manager said they always give folks like me a chance and then we always make it hard for them to extend a helping hand in the future. Still, I was okay. Shook up from Shawna and all but I’ve seen worse.

Do you know though, Lord, what happened to ma when I stopped paying rent?

Watch the tapes, man. Dust them off and watch them.

Are you watching now? Are you worried, Lord? Don’t worry. I just shot a little bit. Just to tide me over while I think on this question I got for you, just to make this sick go away. It’s nice and warm out here, actually, and the clay is soft from when it rained earlier. No feather bed, but it’s fine. Every time I think of ma though, Lord, the pain in here is so great it feels like there’s some part of me that’s singing, trying to get rid of this extra I can’t hold.

You ever run so hard, man, your shoes wear out and then your skin tears up and then you’re hobble-running on two boney stumps? After everything with ma, I ran that hard. Tore up Worcester. Went to the reservoir where all the doctors leave their unlocked cars and go to jog. I jacked one. Took it for a joyride with Big Jimmy, that little guy I met all those years back at the school for defective boys. We bought dope from his ex, and she told us the stuff they’re selling out in Springfield’s so thick with Fentanyl, it’s killing everybody who so much as looks at it. There’s other ways it could be, man. Jimmy said when we heard that. But we both knew that wasn’t true. A minute later, we were gunning west down the highway and I thought, this is the only way I can stand it, charging the edge like some spooked buffalo. Jimmy and I, a two man herd. Didn’t want to talk to you then, Lord. Just kept thinking, who made the exit sign so goddamn bright.

At some point Jimmy reminded me of when my pops came to visit at the school and he tripped down the stairs when he was leaving. That was the hardest I ever laughed. When Jimmy reminded me of it, I laughed so hard again, I was unsure if I was laughing or crying and it felt so good. I kept my eyes closed a second longer than was right, feeling how it was to laugh again and have my ribs hurt in a sweet way. Then we were soaring, Lord, and then we were still.

The impact was bad. Like my whole body was an abscess, lanced with one punched slice.

When I opened my eyes, I was upside down, caught in the seat belt, and Jimmy was gone. When he flew through the front window, he’d left a glass-jagged mouth, broke-tooth, like the one on that Richards Street whore who could never put on lipstick right. You don’t know her, I bet. Red all over her gums and the few teeth she’s got left. Looking at Jimmy’s hole, I knew I was never gonna use again.

Ha ha. Never again. Do you know what’s here in this overburden, Lord? Those women showed me. Teeth. Shark’s teeth. Meg-a-lo-dons. The women said they’d only been finding shards today. Frags, they called them. They were digging them out of the clay with a screwdriver when I walked out of the woods. Can you tell there’s teeth in here, Lord? Where you are this all must look like grey pimples. I learned from the women, though, rock’s not just rock. It’s bone. And teeth. Old bits and bobs of things sunk down and pressed together and then come back up.

After the women left, I must’ve found a good one. I got it here, got my thumb on it. Three inches, smoothed out at the tip like sea glass. Not like anything that used to tear up whales. I want to bring it to someone, maybe to them, and not ‘cause I want to give it up. I just want to look at it with another person. Even though we’d still be dingleberries on some titan’s ass, we’d be big, remembering back farther than our lives, to when all this was ocean.

Don’t worry, man, I know I’m getting sentimental, but don’t worry. Look, I can’t open my eyes but I can roll them up and down behind my lids. Copacetic, Lord. Everything is A-OK.

My heart’s still beating. Just gonna shoot a little more of this, now, if I can. Mmm.

Lord, just for your records. I did check on Jimmy after the crash. He’d joined you. Then I walked on to Springfield, took a bird bath in Dunkin’s, and got on the next bus south.

On the way down, I shot the shit for a long time with the bus driver, Al. Gifted him my phone. Just ‘cause he seemed like a nice guy. And ‘cause I kept thinking ma might call, though I knew she wouldn’t. Al’d done time too. Took him 20 years to get his license back. He was in some special program where they return it in exchange for you telling kids how messed up it was inside. Al, I said finally, my ticket only covers to Georgia but I need to get farther.

Al said I could ride as long as I wanted. I went to the back then and cozied up. Oh yeah, Lord, and I bought some of what I thought was that good dope in Springfield. I was shooting it all the way down, trying to bite it in the bathroom. Whatever I got wasn’t laced though. Good but not lethal. By the time we were in south Georgia, I was strung out in the backseat with no dope left. When I started sweating, I knew I had a day or so before I shat my insides out.

Soon after the sick came on, man, we entered this town. My eyes were all crusted but when I cracked them open, I was good surprised. I don’t mean to be cheeky, but I thought wow, a place that’s shittier than my own mind. If my muscles hadn’t felt so achy and my nose been trying to turn my face into a slip n’ slide, I would’ve felt like a brand new baby angel compared to this place. I knew there had to be dope around. When I got off, Al even said, here?

Here. I told him for sure.

I walked around for awhile then, feeling right at home. Fiend on every street corner, attracting flies, mumbling about this apocalypse and that devil. Courthouse like the Taj. You get it. Maybe you get it. At the same time, Lord, I felt like I was as far from home as I could be. I felt stretched out, thin and low, having come down from wanting death so bad and starting now to get that sick in me instead. Those shivers. Hot and wet and dry and cold all at once. But I was so tired, man, so not wanting anything, not even dope, that I had a strange feeling I could face any ill was coming on, even if I never got high again. I was a bird wing, Lord, hollow, no muscle or heart or any other of this meat I was sure you’d stuck on me.

I glided through town like this, feeling I was maybe still approaching the edge, just much slower than before. At peace in a way but not at home. No Dunkin’s iced coffee in sight, no Maytime snow melts. Everything around just dusty and hot, like you took a straw, Lord, and sucked out all the moisture from on high. And I was thirsty to match it. Thirsty and drifting and feeling like I was in a dream, or a funhouse, none of the signs making any sense in this town. Like they hadn’t been updated in some time. Like you hadn’t been checking in. Catch a Mighty Swamp Bass! One read, like it and I weren’t in the closest thing to the Gobi this side of the pond. Jenkins’ Swamp Tours, another said, and beneath it was a busted porch with a man on it.

Keep moving asshole. The man said. And I felt seen for who I really was, Lord. I tipped my imaginary hat to him. He spat at my feet and I did what he said. Kept on moving.

Took me a few minutes after that to find my kind of bum, shaded beneath the belly of a giant gator statue in the town center. The gator’s mouth was roaring but some of his scales and a few of his teeth were gone, like he was one of us. Meth mouth, I said, pointing up at the holes. The man laughed. His junk was hanging out the fly of his shorts and he had a Pluto-sized abscess on his leg. Point me to the well, I said. He shook his head. No clean water around. Unless you get a bottle from the Mart. All’s junk. He said. Take it up with Potash.

I told him I didn’t mean that kind of water. I wanted to ask, was this hell that I’d stumbled upon, but then I felt sun on the back of my neck, and warm spreading down my spine. I looked up at the gator, not like any creature you’d find at home, and I felt strange and respectful, Lord. Strangely respectful, and five years old again in the one-room on Kilby. Ma kneeling by the mantle with the cross on it and the crèche I always messed with, swapping out the baby Jesus for the plastic toucan from the Froot Loops. Me on the mattress, sometimes bored, pulling the bible over and licking it to see how books tasted. But most of the time looking at ma, her lips making prayer shapes. This gator seemed like something ma prayed to without knowing, like something the aliens left, man, way long ago with the pyramids. It seemed as distant as Jesus’ words, the ones that never sounded like what people spat from their mouths just outside our window. Felt out of my league looking at it, Lord, like when I would pretend to be asleep but still hear ma praying for you to have pity on me, like we were leaning over the edge of a dirty brick ship and she was holding me out towards a lifeboat with just one spot left in it.

The bum was speaking to me though, and I had to listen. I was still so thirsty. There’re other ways it could be. He said. Excuse me? I said. He repeated himself. There’s the way by the bees, he said again. I won’t lie, Lord, I was swaying while he spoke. So sick and thirsty. He pointed down a street paved with asphalt, heat making the buildings along it jiggle. See the bees, that’s the path to take, he said. Through the woods. Just a mile or so. You’ll see the spoil piles.

Lord, ‘scuse my priorities, but listening to this man speak nonsense, I thought, at least the dope around here is good. Maybe this time it will really kill me.

Sir, I said then, trying to pierce through his dope haze, I am looking to buy some smack.

I know. He laughed. But it’s fit to rain. They’ll be at the spoil pile. Trust me, he said. Wet clay’s good for digging. I looked up and saw the sky then, stretching out like grey wool.

After he spoke, I did what he said, because my skin was also starting to jiggle from the heat and the sick. I walked slow down the street in the shade of the buildings, rounding the corner to see an old tin sign with a cartoon bee on it, smiling and pointing its yellow finger. Darling’s Tupelo Honey it said, the bee pointing towards a line of trees with a path cut through. Someone had spray-painted a giant cock over the face of the bee.

I entered the woods then, where there was no shade, and all of the trees were stumps, not clean cut like they’d been logged but piddling off into rotting fingers. I’ve always felt like a corpse, Lord, but walking through there, I was the only living thing left. I fixed my eyes on the path, from which the earth ran out in cracks across dried marsh and grass, all stuck to itself like hair, yanked and ground down and then plastered where it settled. Soon I thought I’d end up in the white space I go to when I nod off, where my body walks but the ground’s invisible, and all around me’s nothing for miles, and I got to look down at my own hands to remember mattering.

I didn’t though. I hit the spoil piles instead. Should’ve been music, Lord, an organ, but all was quiet, dull, heat-shining mountains of rock stretching out as far as I could see.

I died in the car with Jimmy, I thought then. And they can’t even give me a ride to hell. Made me buy my own goddamn bus ticket. Everything’s got a cost; same’s below as on earth.

I walked right on through those piles, though, Lord. No three-headed dogs. No signs or fences either. Like someone took a shit in public and left it up for grabs, all generous. Had to step around these pools of liquid that must’ve sat awhile. Thick, all of them, and colored like paint.

What a shitty, shitty shithole piece of shit, I thought. And I squeezed my ribs beneath my shirt and tried not to cry. You got it baby, I heard that whore from Kilby Street say in my head. Her mouth sounding full and jangly like her teeth were falling out as she spoke and mixing in with her tongue and messing up her words. You got it. You’re alright.

I saw two women then, with backpacks and black boots, one of them with a gun on her hip and fire-red hair, the other lean and old, kneeling down, scraping at the earth with a screwdriver. I stopped walking, not wanting to scare them. Man by the gator sent me, I called out, and we assessed each other across the pebbles and clay and bone.

Finally one of the women nodded at the other and they made their way over. The one that was packing kept her hand on her hip. Nadia, she said. She had a clear bag full of teeth in her hand. Couldn’t take my eyes off it, Lord. Like she was some mad dentist relieving sores from the earth. Jay, wheezed the other. Then: you looking to score?

I told them yes, but I got no money. Been running all the way from Worcester, I said.

You’re sick, said Jay, in a kindly way. Seen me shiver in the heat, I guess.

We sat down then without a word and they helped me tie a tourniquet around my arm. I asked them about the teeth, just to fill the silence. Trying to remember the last time I let someone touch the inside of my arm, at my veins, around the raw and the festering.

This all used to be under water, one of them said. I couldn’t tell who was rifling through my pockets. I’d nodded so deep, catching only a few sentences here and there. Megs went for the lungs and the hearts, one said. Or the flippers — immobilized you before they took you out.

Leave some for me, I heard myself saying. Don’t leave. Leave just a bit for me. I got nothing but I’ll pay you back somehow. Then I felt one of them press a cooker and a bag into one of my hands, and reach in my pocket. He’s really ain’t got nothing in here, except —  she said, pausing, her nails in my pocket, stretching out like an open jaw with fangs and then closing, leaving.

Goodbye sweet, Nadia said. Bye baby, said Jay. Give yourself a break. And then their faces were gone from the sky and I was staring at hot blue and below it, grey peaks.

In my other hand was a tooth. Until now, I thought I found it on my own, Lord. I was sure it was me picking through the spoils today. That I’d come across it. That it was a message, thrust up through time. I thought ma would like it for her mantle, to put next to the bird in the cradle.

But I haven’t moved since they left. Lord? I’ve been here the whole time. Trying to remember my question. I think I remember it. I do, I remember it now.

Is my Bible still in my pocket? I thought of all people, you could see it. I can’t feel it, but

— No wait, that wasn’t it.

What a strange world we live in, Lord. I remember now.

Won’t you help me? Where on earth did I get this tooth?

Habitual Motion

A woman stands in
a bright yellow kitchen.

She is present in the life
that he built with her
though he is no longer alive,
there in their little house.

She puts on a kettle and warms
the coffee cake made for two
yet she sits down as a party of
one.

Outside the kitchen window,
the warming chill of autumn’s end
begins to give way to the
blankness of freezing winds.

An Evergreen stands
in the dying forest.

The scratched-out bark
forever holds the place
that spells out his name
placed next to hers.

That tree, once a summer’s green,
is now turned to a grey that,
like a vibrant fall leaf,
will never return to its verdancy.

Sea Music

The sea speaks its own language:
one of woosh, swish against the rocks
one of boom against the balustrades,
and the soft fffrmpt of foam on the beach;
luminous echoes following every wave;
its voice is muffled by grains of sand
as under grey skies it whispers in green,
and in the nights sings a low chorus
as three gulls perform a slow ballet,
white wings outstretched across the
black water like three crosses over
a dark plain

New World

First comes the weight,

then the ringing,

then the scatterplot of electric light

strung out along the riverbank through the window.

Your hand stays immobile on the bed

because, who knows? It could have been

some bandage pressed tight against the skull

by a mindful nurse doing her job, as in

stanch post-surgical bleeding

with a secure compress for twenty-four hours

until patient is upright and fully conscious.

Not quite ready to give up

on magical thinking, that’s what you thought,

(or made yourself think)

because, you know, “Stay positive.”

 

But, because you’re human

and it can’t forever stay four AM in the ICU

on the morning after, you raise your hand

to discover

that any distinction between weight and ringing

is irrelevant, since

tinnitus is the brain’s response

to loss of auditory stimulation

resulting from the trauma of schwannoma resection,

and

“We’re hopeful, but nothing’s positive.”

(You never pondered before

how the rubbing of palm against ear

is supposed to be audible).

 

For a moment, the summer disaster flick

is your sole wish, since it would only be fitting

for a tidal wave to come surging up from the Atlantic,

smashing your body

into oblivion. But it’s morning,

and the scatterplot is fading as the city reassembles

out of the grey while a barge drifts downriver to the harbor.

So you settle beneath the weighted, ringing silence

and wait for an orderly to bring breakfast.

Because, really, what other choice do you have?

Hounds of War

(the child soldier speaks)

 

What will you say that will sever the head from the neck,

held in arms, peering into a future foretold,

that if I run to the warlord—that I will—I must bleed

and tear my skin to stand between the gun and Dad,

explain to him the sight of blood redder than the fleeing comrades

we flogged to death the night they begged for freedom

to spring from jungles and run over our camp

 

voices whispering

 

Just hit me on the head, I promise to lie still.

 

Clubs crushing skulls, machetes tearing tendons from bone

to kill our desire to heal before it was over.

 

We drunk from vessels from our mums and seethed

at why they could not even gather with us on marble to drink the wine

and discuss where power will start.

With smiles and light from cameras flashing,

raising ghosts in the nights, we ambushed ceasefires

the day they drugged us into nightmares with hallucinations of

sweeping perimeters.

 

I want to quiver, beat the night we ran into kids and their mothers

lined up against walls, hands tied at elbows. We listened to whines

as we carved bullet holes to complement the cracks,

their faces kissing the wall, right at the feet of divine statues,

mumbling silent prayer trapped in the web of shaitans

while the world switches channels,

invents hashtags without shedding blood of their young ones

for a cause. Time would blow away in desert storms

 

without oil and uranium you are but an ant

 

that if he dares gaze into my mug, he must tremble

at the sight of fear he scared away when I was twelve

when they dispatched my little sister

and made me hold the barrel against friends

I had barely known except in fights under the big tree

 

when they affrighted us with freedom.

That if we ran we would fall into trenches and drown in rivers

for the enemy to finish us off with hounds licking our wounds,

so not even our blood would spill over to the new world

when the war was finally over.

The 2013 Holiday Letter

“Joni, there’s no easy way to tell you this, but I’ve got an accepted offer on the Blue Lake cottage.” I’d been dreading telling my daughter, but when the time came I blurted it out. I could tell from her face that it was painful news. “I’m very sorry.”

“No, that’s great, dad. Did you get a decent price?” asked Joni, who was always so mature and un-selfish, like her mother.

“Considering the Great Recession and all, I guess so. Didn’t totally lose all of our equity.” Just most of it, I knew, and that included almost all of my late wife Angie’s retirement savings. She’d insisted that we cash it out to give the girls the summer lake house she’d had growing up. I continued, “Lucky thing to sell at all—it’s an English professor and her husband—she’s very interested in the poet Nadine Schmeckpeper, and wants to have a place on her lake.”

“That’s amazing luck! When’s the closing?”

“March 15th. Before then, I’m hoping we can all go cross country skiing up there. Maybe when Emma gets back from Mexico.”

“Sure, I’d love that.”

We both knew it was a pretty scrawny bone I was throwing her.

“I’m sorry we have to sell it. The house was meant to be for you and Emma.”

For all of her worries about money, Angie hadn’t been well insured. She’d switched from being a state worker with a pension to an independent consultant and we’d cashed out her retirement stake to buy the lake house ten years ago. It had seemed like a viable plan at the time, but instead of appreciating, the lake property had sunk like a stone in 2008 after skipping around a bit the first few years.

And, Wisconsin Gov. Scott Walker had put a serious dent in my own earning power as a Madison teacher. It was the same story everywhere — even middle class professionals were now vulnerable to regular annual reductions in earning power. America seemed to be slowly rotting from the greed and indifference of its wealthy masters — a place of crumbling sewers and declining prospects for the less privileged students I’d spent my teaching career trying to lift up.

The radio station was even playing Blue Christmas, by Elvis Presley.

“Very appropriate for the Christmas of 2013!” Joni noted.

“I’ll say!” I replied trying to sound cheerful and carefree, but I felt especially blue, like such a failure as a father, having to sell the family lake house that had meant so much to Angie and our girls. Trying to change the subject, I dramatically picked up that day’s mail. “I’m not sure what offends me more, the braggy Christmas letters or the shtick-laden ones that try too hard to be funny — especially if they refer to their own past Christmas letters using the same shtick. I guess that’s worse — though I suppose the braggy ones are morally more offensive.”

“Why do either of them offend you?” Joni asked, suddenly serious. “What do they offend?”

“Um, well —” I was straining to come up with something, but I knew perfectly well that I was just being a crab and venting all of my various frustrations. “Maybe my idea of good taste?”

“Well I get that — Tom’s annual funny letter is pretty dreadful, and it’s always pretty much the same joke —”

“That’s the shtick part.”

“He’s definitely used that one joke before.” A couple of years ago, Joni had taken my side in the great Christmas letter debate, but that was then.

“You mean — where you think he’s bragging about his salary, but it’s really the number of miles on his car?”

Joni nodded dubiously. She didn’t want to join my Christmas cynics club.

“It was kind of funny the first time,” I said, trying to offer a truce.

Joni was having none of it. “But it’s not even close to offensive though,” she said. “People are just doing their best to be cheerful and to tell others about their lives. Maybe you’re just a Scrooge.”

“Of course, I’m a Scrooge! But only as it relates to Christmas or Holiday Letters. I just find it a little unsettling that Sandra secretly wants to be Erma Bombeck, or that Badger Bob needs to tell me about little Barry’s success in AP Chemistry.”

“Sandra’s letter wasn’t that bad — why are you such a snot at Christmas? And who the hell is Erma Bombeck?”

“I’m so glad you’ve never heard of her! May her cornball shtick rest in peace,” I replied snottily. “But Sandra did her proud with that ‘would the hair on his chest stop growing if her husband asked for directions?’ She may have even stolen that from dear old Erma.”

“You never bragged about my 5 in AP chemistry?” Joni teased. “What kind of a father are you?”  Truce accepted, at last.

“A snotty, Scrooge-like one. Are you sure you won’t go to the office party with me?”

“No, dad. I can’t be your date just because mom’s not around.”

“I know. I know. I’m just dreading it.”

When Joni went upstairs into her room, I re-read a couple of the Christmas and holiday letters. Sandra’s annual offering was a mostly fond recounting of some great retro Battles of the Sexes, which featured the cluelessness of her husband Jake. Had he really bought her a jigsaw for Christmas last year, or was that hyperbole? Did he really drive for hours in circles rather than admit he was lost — was that even possible any more in the era of Google Maps? And, if so, why did Sandra stay with him, year after year? If not, what truth was she trying to convey through her tired jokes and exaggerated rhetoric? That she was lonely living with her conventional husband and three equally clueless sons? Or did it only strike me as such a waste of precious time — a silly rhetorical battle amid serious struggle — because I was so down myself?

On the way to Principal Beth Peterman’s house, I realized that this was the second staff holiday party that I was attending alone — and with the express intention of putting in a polite appearance and heading home. Last year, Angie had been ill, sick to her stomach at the last minute. After helping her back into bed and lying with her quietly for a half hour or so, she’d prevailed upon me to deliver the dessert that she’d spent the afternoon preparing.

Her struggle with cancer had lasted six years, and she’d fought like a warrior until one day, with all hope of keeping it at bay lost, she said, “I can’t do this anymore, Graham.” Her voice had been hoarse from coughing and throwing up. “It’s not a battle I can win.”

She was gone by the end of March.

Beth’s longtime partner, Sally, greeted me with a warm hug and took the tray of slightly misshapen cookies Joni and I had teamed up on. “Angie’s recipe, but not her execution, I’m afraid.”

“They’re lovely, Graham!” said Beth, darting to the door to admit another guest.

The first conversational group to ensnare me included the guy we all called Badger Bob, more than a little sarcastically. His Christmas letter had not only bragged of his son’s mastery of chemistry — the poor kid was named after University of Wisconsin athletic director Barry Alvarez — but also featured his detailed comments about next year’s football recruiting class.

The mostly male group around Bob was fiercely debating whether or not this year’s Rose Bowl was worth attending. Bob took the affirmative. One of the younger science teachers, Nate Vinson, vigorously took the negative. I looked for a graceful way to exit. As an undergraduate in 1979, I’d come upon a drunken group of pre-game tailgaters stumbling around outside Union South at ten o’clock on a beautiful fall morning.  The sight and sounds of those loud fifty-something men in their prissy red sweaters had imprinted an image in my brain of what I emphatically did not want to be when I grew up. It still held.

I silently slid on to the next group, which included Susan, the locally famous “foodie blogger.” Unsurprisingly, the subject here was food. Her holiday update — cross-posted on her blog and Twitter via link — had disclosed that she was hosting a Prix Fixe Ten Course New Year’s Eve dinner. The group around her discussed the many benefits of local and organic foods, and the usual opinions were expressed.

It wasn’t that I disagreed with any of it, but the conversation just seemed a little tired.
I’d lived in countries where most foods were local and organic; it seemed like a matter of commonsense rather than personal identity. I’d given up reading my old friend’s blog when she’s described her much-photographed and gnarled garden carrots as luminous. Curmudgeon that I was becoming, I believed that food provided sustenance not light.

In my best Anthony Bourdain voice, I noted that a couple of her hors’ d’oeuvres were ‘amazingly flavorful!’ “Kudos!” I added quickly before moving on.

I spotted another solitary straggler: a fifty-something female newcomer about my own age. I approached her, and we introduced ourselves. Her name was Marina. She was a Women’s Studies professor in Milwaukee, and she was there on a date with my most sexist colleague, Doug Flaherty. For the past five years, I’d tried to steer clear of him after testifying against him in a sexual harassment case.

“Wait, you teach Women’s Studies, and you’re here with Doug?” The irony was too rich after that second glass of wine.

“Yes, and that obviously surprises and amuses you.” She looked both tough and vulnerable.

“Sorry, no — nothing surprises me anymore. How were the roads from Milwaukee?”

“Nice try. Is it because he has a rather crude sense of humor? Feminists aren’t all prudes, you know.”

“Of course not, and thank evolution for that, from my perspective as a male of the species.” Did I have any obligation to tell her that two harassment cases had been filed against Doug? That he would indiscriminately talk about his sexual conquests in the break room? “It’s awkward. I see him every day.”

“There is more then?” She looked directly in my eyes, pleading. Hers were cocoa-brown and a little sad. “Please —”

“Look, my personal opinion is that the guy’s a pig. He’s had two sexual harassment cases filed against him since I’ve known him, and the second one settled in the middle five figures. But I guess people can change.”

Her proud sharp face cringed at this news, at her misjudgment. “Thank you, you’re a pal. Here he comes by the way.”

“Ah, so you two have met,” the usually glib Doug looked and sounded a little unsettled. “Happy holidays, Graham — I’m sure it’s not an easy time for you. Graham lost his wife this past spring.”

Talk about trying to change the subject! I nodded indifferently. “Thanks, same to you.”

“Doug, will you be a dear and get me another glass of that Malbec?”

As soon as he’d left, Marina leaned over and said, “If you want to talk more, meet me at the piano bar at the Edgewater Hotel at 11:30 tonight. And thanks again.”

I went to refresh my own wine glass, and then drifted into another conversational group — this one discussing a popular, but apparently badly-written, sexually explicit novel about S & M. I smiled and nodded at the naughty bits, but mostly thought about whether or not I was going to go to the Edgewater later that night.

I liked talking to Marina, but Angie and I’d had our wedding reception in that hotel 25 years ago, so it seemed inappropriate. Still, there I was, at 11:15 sharp — driving downtown to the venerable, and recently controversial, old hotel on Lake Mendota. I wasn’t ready for a new romance, but something inside me was quickening nonetheless.

I was so tired of the same old conversations and my bitter or ironic reactions to them; I was sick of grief and financial worries and feeling like the whole burden of keeping a family together was upon me. Parking my car in the underground garage and making my way to the elevator to the lobby, I realized how ready I was for something new — whatever it was.

In the bar, by herself, waiting for me, was Marina in all of her sophisticated fifty-something newness. Her features had a sharpness to them that gave her countenance an almost aggressive look, but her smile in greeting me changed it into the face of a milder, different person.

“You made it!” she exclaimed.

“You seem surprised.”

“Yes, but pleasantly so. I didn’t get a chance to tell you this before, but I’ve lost a spouse, too.” She wasn’t aggressive; she was sad.

“I’m sorry.” How quick I was to judge!

“So, I knew it could go either way.”

“I debated a little, but I was determined to come. I liked talking to you. When did you lose your partner?”

“Six years ago, right around this time of the year. That’s why I appreciate some company, apparently even that of scoundrels. Tom had a heart attack and died instantly.”

“That’s horrible. Six years is about how long Angie’s illness lasted.” I took her hand from across the little table, and we just looked at each other, acknowledging the distance between what we could say and what we felt. “At least I had time to see it coming. I saw some sadness in your brown eyes, and that’s why I told you about Flaherty.”

“Was Doug really that bad? I even searched circuit court records, and supposedly the Internet Dating site we met on did, too.”

“Trust me. You can do better. How did it go, ditching Doug?”

“I’m not sure, but he went home, at least for now.”

“I’m glad he did, and I appreciate the company, too.”

“I’d already seen some of that side that you described. But I didn’t think it was anything worse than the usual male crudeness.”

I told her about the two cases. About how the victim of the second case was a first-year teacher only a couple of years older than my daughter. She’d come to me to show me some of the sexually suggestive emails he’d been sending her. Her fingers were bleeding. She’d been chewing her nails from worry. She’d asked me to ask him to stop, which I did, but he persisted for another six months until she went to the superintendent’s office. I spoke to the investigator on her behalf. After that, I hadn’t really spoken to Doug until tonight.

“Sounds like a first-class pig alright.” Marina thanked me again and we moved on to other topics. “How old are your kids?”

“Emma is 19 and doing a year abroad in Mexico and Joni is 22 and just graduated from the University of Minnesota. Do you have children?”

“No, but not for want of trying. When I was forty — thirteen years ago, since we’re being so honest —”

“We’re contemporaries, I’m 55.”

“Thought we might be. When I was 40, I had two miscarriages. We’d just decided to adopt right before Tom’s heart attack, but I didn’t have it in me after he was gone.” Her eyes had gotten moist. “How’re your girls doing?”

“The holidays are hard.” I didn’t like seeing her so sad. It made me think of my girls.

“Still are for me, which is why I was at your boring office party tonight.” We both chuckled.

“I feel all of this pressure with the girls to make everything like it used to be, but of course, it’s not.”

She took my hand. “I hear you. But you know — don’t take this the wrong way —”

“Go ahead, please.”

“Another way to think about it is that you’re lucky to have each other to share that grief.”

“Thank you, that is a new take on it.”

She told me about her job and her students at UW-Milwaukee, and I told her about my East High school students, many of who wound up at UWM. We both liked our students but sometimes felt exhausted by our jobs and having the same colleagues to interact with over many years. She introduced me to the phrase late-career boredom.

I told her about the conversational groups at the office party and my feeling that popular culture seemed to offer so little when one was feeling down or disconnected. “In this case, sports, food, or badly-written, kinky sex.”

Marina had a nice laugh.

“Speaking of the latter, I’m sure you know that I’m not going to invite you up to my room, but I would like your phone number and e-mail address.”

“I’m sure you know that I wouldn’t have gone up anyway, but talking on the phone or by e-mail would be nice.”

“And maybe breakfast tomorrow?”

“That might work, and now I have your phone number.”

“Use it any time. In the meantime,” she said brightly, “I’ll buy you one more glass of wine.” With any tension about where the evening was headed, resolved, Marina and I started to have fun. “It’s not like all of these perfect couples are all so freaking happy anyway,” Marina said.

We started observing the other couples around the bar interact — there were lots of 30, 40 and 50-something couples there — some of them so grim. No eye contact, no conversation, and seemingly no reactions to any sporadic efforts to engage.

“You wonder how some of them make it through an evening, much less their whole lives!” I noted how happy Marina looked making this observation.

Near the big window looking out over the lake, there was a woman who was kind of smiling and nodding at us. I think she knew we were talking about everybody. Poor thing, her husband must have been returning from a Thorazine injection, or maybe electro-shock therapy. He looked dour and forbidding.

“Look at them,” I said nodding toward the couple. “It seems sad, or maybe opposites really do attract.”

“The lively people and especially the lively couples really stand out,” Marina said, holding up her wine glass for me to clink.

“To lively people who don’t totally regret life!”

When I got home that night, Joni was already asleep. I went on the computer, planning to send Marina an e-mail telling her how much I’d enjoyed meeting her. Before I did, I noticed a recent file marked Holiday Letter, and I clicked it open.

It wasn’t one of Angie’s old holiday letters, as I’d expected. It was from this year and had been written by Joni. It had every aspect of the letters that I’d so blithely criticized when I’d told her about selling the Blue Lake house, and it was dated a week before that conversation. There were several heartfelt references to her mom’s past letters, and a couple of self-consciously awkward attempts at humor in just the first few paragraphs.

But it was the bragging part that really made me feel terrible. She noted that Holiday or Christmas letters have become one of the few socially acceptable spaces available for displaying pride about one’s family members, and said she thought it was a custom worth preserving.

Joni praised first her sister, Emma: “…presently in Oaxaca, Mexico doing an undergraduate research paper on President Benito Juarez. She was very close to her mom, and she took her death very hard. But, like her mother before her, she ‘has a lot of dog in her’ and is going forward with her life — as mom would want her to.”

And then me and the three of us: “My father has been very brave and exceedingly kind to both of us. He’d hoped to retire but that hope was dashed, too, when mom died. But he still has his sense of humor, and still loves his East High students. If the subject should ever come up, remind him that it’s not his sole responsibility to keep our family together. Our family survives and will no doubt enjoy happier times in the future, but this year we will mostly miss our mom.”

After absorbing the recognition that I’d been an ass that afternoon, and marveling at my daughter’s delicacy, tact and decency (all so much like her mother!), I felt some surge of hope — a balm in my lonely Gilead. Our family survives, and it was Joni, not gloomy Graham, who was sustaining it!

Full of energy, I went online. I was thrilled to see that I already had two e-mails from Marina. The first noted that Doug had shown up, pounding on her door and demanding to know why she’d ditched him. He’d finally left when she threatened to call the police. I responded briefly to the first one, telling her to be careful with Flaherty, who’d also stalked the first woman he’d hassled.

Her second email told me what a great guy I was, but I begged to disagree. I told her briefly about Joni’s letter and what an ass I’d been about holiday letters, and that I didn’t mean to knock either organic food, nor my friend Susan the foodie blogger — who’d brought the girls and me delicious meals after Angie had passed.

Finally, I said that while I hoped that we could become friends, I couldn’t make it for breakfast the next morning because I wanted to take Joni out instead. Maybe she’d even want to go out to that little diner we both loved on the way up to Blue Lake. I told her that like light, sustenance, too, had its place.

Speak Fire

I ran to the other side of the world to get away from myself. It’s not that I really thought I could escape myself through travel; it’s that I needed a transformation and there was no way I could have one in the confines of my town or my high school. I’d spent my whole life, my 17 years, trying to fit in and disappear in the crowd. I’d been so successful that even the people standing next to me didn’t see me. I became beige paint. If you asked twenty different people to describe me, they’d all probably say the same thing, or a variation of the same idea: nothing special.

I chose Australia because of its sleek brochure in the student exchange program packet. I imagined myself, new and improved, walking through manicured city parks, going to special events at the famous Sydney Opera House, and learning to surf at nearby beaches. Yes, sign me up for all of that.

The exchange program chose a host family for me in Townsville, Queensland. It’s a small city way up north, near the Great Barrier Reef. So not the Sydney adventure I’d fantasized about, but still, a fresh start.

I imagined the new me in a new school. The teacher would announce, ‘Class, let’s all welcome Sarah. She’s an exchange student from America, and she’ll be spending her senior year with us.’ Everyone would want to hear all about life in America and me. I could make up anything.

 

*       *      *

 

It’s my first night in my host family’s home. We’re all sitting around their dining room table for my welcome dinner. My host father, Bill, grilled up chicken, peppers, and onions. I notice the family eats differently than I do. They hold their forks in their left hands and their knives in their right hands. And they keep the fork and knife in the same hands the whole time—cut, bite, chew, cut, bite, chew. I’m used to cutting a few pieces of meat, putting down the knife, switching the fork into my right hand, and then taking a bite. Their way is much more efficient and elegant. I vow to learn to eat this way too.

My host mother, Linda, is sitting across from me. She says, “Matt wants to study in America.”

I turn toward Matt. He is 16 years old and plays rugby at an all-boys private school. He is handsome with a crooked smile. I’ll be going to a public school, but I hope he’ll introduce me to his friends and invite me out to parties.

He smiles and takes a bite of food with his left hand, fork prongs down. I expect him to say something, but he doesn’t.

“That’s great,” I say, filling the space.

“That’s why we’re doing this,” Linda says, “so we can learn about the program, and, you know, see how it goes with you before we decide—”

I stop chewing and look at her, not sure I heard her right. Linda breaks her train of thought at the sight of my wide eyes. Her pointed nose, thin lips, and pronounced wrinkles had startled me when I first met her at the airport. She is a tiny woman, all angles and lines, and aged beyond her years. There seem to be no soft edges to her.

They ask about my family, and I tell them about my mom and dad, and their jobs. I tell them that I’m an only child. “So I’m excited about having a host brother and sister,” I say.

“Jen’ll drive you crazy,” Matt says.

We laugh along with him, even Jen. She’s 12 years old and awkward. From the family’s photograph that arrived with my information packet, I hadn’t been able to tell whether Jen was a boy or a girl. She wore her hair short and had on a baggy t-shirt and jeans, the same clothes she wears tonight. I was grateful she had an obvious female name, and not Taylor or Casey or something like that, because even in person, it’s hard to tell.

“Oh, I brought you gifts,” I say. “I’ll get them after dinner.”

Jen looks up from her plate. She smiles in my direction. “Awesome. I’ve never gotten anything from America before.”

After Jen, Matt, and I clear the plates, I go into my bedroom to get the gifts. I wish I had wrapped them. A journal for Jen, a candle for Linda, a beach towel for Matt, and a belt for Bill. I regret getting Bill that belt. It’s a ridiculous gift. They’re all ridiculous, really. They don’t have anything to do with America, or my home state of Connecticut. They’re all probably made in China anyway.

Jen is excited about her journal, promising to write in it every night. Linda lights the candle right away and sets it on the kitchen counter. She smiles a genuine smile, and I relax for the first time since my arrival. Matt and Bill are probably confused by their gifts, but they thank me graciously. Bill says he needed a new belt.

 

We are all on our best behavior for the first couple of weeks. I had learned the rules of “how to be a good exchange student” from the program’s packet: never eat the last of something in the fridge, offer to pay your own bus fare and restaurant meal and movie ticket, keep your room clean, help with the dishes, don’t invite friends over without permission, don’t say anything about your host family that you wouldn’t say in front of them.

I follow these rules to the letter. Well, at first.

“I feel like I took in three university students,” says Linda one afternoon as she looks at the store receipt. Brown paper bags sit on the kitchen counter. “Where is all the food going?”

I pause at the pantry door with a bag of bread and a jar of peanut butter in my hands. Have I been eating too much? My after-school snacks had become more like meals, or like a series of trips to the buffet line. I tell myself that biking to and from school in the tropical temperatures requires more fuel, but really, I am eating out of boredom, and to suppress the creep of homesickness.

Before I got here, I hadn’t thought about the details, the day-to-day. I didn’t have time to think; I just had to get away.

Lunchtime at school is lonely. I sit at a long table of strangers. I fill the hours after school with homework and TV, but the empty weekends are the worst. I sleep in as much as I can to shorten the days. I’ve met a few girls at school, but we’re merely acquaintances. I wonder what they do on the weekends.

An unexpected saving grace is my school’s uniform. In my blue polo shirt and pleated skirt, I blend in with my new classmates from the neck down. It gives me a sense of connection, a shallow replacement for anything real. Suddenly, in a strange country, without my family or friends, I grasp for the familiar. Homogeny is my safe space.

I look at myself under the harsh fluorescent lights in the school bathroom. My brown hair is still limp. My nose is still on the large side. The pimples on my chin are still red. This is the face I bring with me no matter how far I go.

School. Home. Homework. Bed. “Just get through,” is my new motto.

My host brother, Matt, is hardly ever home. Rugby practice keeps him after school every day, with games on weekends. I can’t find my way into his plans. Jen is the only one eager to spend time with me. She wants us to be like real sisters, or best friends, but she acts like a child, even younger than her 12 years. Frankly, she is just plain weird. Even her family thinks so. Her words and her actions are completely unpredictable, and I am always a little on guard around her.

Jen, stop being so silly. These words can be heard coming from any member of the family at least once a day. It is their go-to, catch-all phrase to stop her from continuing whatever odd thing she is saying or doing.

“Dad, what were you and mom fighting about in your room last night?”

“Jen, stop being so silly.”

“Did you know Matt and his girlfriend had sex at her house, while her parents were home?”

“Jen, stop being so silly.”

I don’t say anything. I smile empathetically at Linda, letting her know that I’m on her side. She winks at me. It feels like a thank-you.

 

After school, I don’t notice that Jen has come into the living room until she turns on the TV. I glance up from the computer for a second, just to point out that she is disturbing me. She flips through the stations and stops at Home and Away. I turn my attention to the show. Eventually, I move over to the corduroy couch where she sits, and I tuck my feet under me.

Jen is unusually quiet. She doesn’t explain the show’s earlier storylines or tell me about characters that are no longer on the show. She lets me be. I relax into my cushion.

And then she says something. I don’t hear her at first. “Hmm?” I glance over at her. She is looking at her hands, pressing her right thumb into the palm of her left hand. Her expression is serious.

“What’s that, Jen? I didn’t hear you.”

“My uncle,” Jen says. Then she hesitates.

“Hmmm mmm.” My eyes and interest return to the TV.

“I need to tell you something.”

I turn to her. “Okay.”

“I need to tell you — ­­my uncle—”

“Okay. Yeah?”

“It’s just that — um.”

“Go ‘head, Jen.”

“He’s hurt me.”

I look at her, at her face, her eyes, her mouth, examining her.

She holds steady, letting her words fill the humid living room.

“What do you mean?” I ask.

“He — he touched me.”

I don’t ask for details, but she says it happened more than once. She says he is her mother’s brother, and that he lives in another city, a plane ride away.

“Does your mother know?”

“She doesn’t believe me.”

“Oh.” Do I believe you?

“I need you to help me.”

Shit.

“Jen, I don’t —”

“Will you just help me talk to my mom?”

I look away, to the characters on the screen, to the tile floor. “I don’t know that I’d be any help.” I want to leave the living room, the house, the exchange program. I stutter and stumble my way through a list of people more qualified to help her than I am. I make it out of the room, leaving Jen slumped on the couch, without committing to anything. I want to tell her that in a few years she’ll be able to run away.

That night I find her at the kitchen table, ripping out pages of the journal I’d given her.

Bill sees her, too. “Jen, stop being so silly.”

Jen stops what she’s doing, and without a word, she takes one of the ripped pages, walks over to the other side of the room, and drops it in the trash can. She does this over and over until she throws away every single page.

Everyone tries to ignore her. Linda loudly dices some carrots. Matt puts his headphones on and returns to his homework. And Bill leaves the room all together.

I go to the computer in the living room to work on my college application essays. My essays sit, unfinished, on a disc labeled “Mr. Harrison.” I haven’t worked on them in months, since I stopped working on them with Mr. Harrison. He was one of the young teachers at my high school in Connecticut, and all the girls fell over themselves to get Mr. Harrison to notice them. But I was the one he’d noticed. Well, at first, he mostly noticed my writing. For a persuasive essay assignment, I wrote a mock presidential inaugural address. Mr. Harrison asked me to read it in front of the class, to deliver the speech as if I were the newly elected president. I was embarrassed at first, but when Mr. Harrison started talking about why my speech “worked” I sat up in my seat and absorbed his words. I could have sworn he winked at me when he said, “Sarah, maybe you’ve found your calling.”

After class, he held me back and sat down in the empty seat next to me. It was the end of the school day, and I didn’t need to rush off anywhere. I wouldn’t have anyway. He asked about colleges I wanted to apply to and what I wanted to study. He even offered to read my admissions essays, when I was ready. His elbow scraped up against my forearm and an electric charge ran up my arm and down to my stomach.

A few weeks later, I went to his classroom before school started. I gripped the printout in my hand and prayed my sweaty palms weren’t leaving marks. I tried not to imagine running my fingers through his soft, brown, curly hair. I tried not to imagine running my hands down the front of his crisp, blue, cotton shirt; down his slim, fit khakis. I tried not to.

He stood at the front of the room, writing something on the board. He saw me walk in and gave me a big smile.

I somehow managed to speak. “I know it’s kind of early, but I started working on my personal essay.”

“Oh, that’s great.”

“I was wondering if you’d maybe take a look.”

“Of course.”

I thanked him and left the room too quickly.

A couple of days later, he gave the essay back to me. “I made some notes,” he said. “We can go over them if you want. Maybe after school?”

And that’s how it started. We met every couple of weeks after school to work on my admissions essays. I even added another school to my list to keep our meetings purposeful and necessary. I also used the essay prompts to reveal the best parts of myself. See, I’m kind. See, I’m generous. See, I have ambition. See me.

 

*       *      *

 

Since our talk on the couch, Jen has stopped speaking to me. I don’t know how to explain my own silence, so I pretend I don’t notice hers. Then, one afternoon, I find a note in my bedroom. It says, “Please.”

That night, at dinner, I work up the courage to say something. Bill is working late. Matt is at rugby practice. It’s just Linda, Jen, and I sitting around the kitchen table. We’re getting to our last bites. The sun has set. The pendant light hangs over our heads.

I need to get it out before we clear the plates. I turn to Linda and start talking before I know how I’m going to say it. “Jen told me something the other day,” I say.   Linda wipes her mouth with her napkin and then sets it back down on her lap.

Jen sits motionless, waiting for me to continue.

“Um, I wanted to tell you about it. I’m not quite sure, but she said that she was, um, hurt by her uncle?”

Linda’s eyes glisten, but she maintains her masked expression. There is little time, no time at all really, between my words and her actions. She stands up and puts her face very close to mine. I see all of her wrinkles, the deep lines that tell her story.

“You listen to me,” she says, “and you listen very closely. This is none of your business. What happens in a family is for the family.” Saliva bubbles form on her lips.

I nod. My leg starts to bounce, or maybe I’m shaking.

“You are a guest in this house, and you will never speak of this again.”

“I’m sorry,” I say. I will never speak of this again.

No one says another word. The house is screaming with hostile energy. I can’t even look at Jen. She walks off to her room. I pretend to do my homework in the living room, and I go to bed early.

“I need to borrow your house key,” Bill says the next day. “I lost mine at work.” It sounds temporary, but it isn’t. Another copy never gets made. If no one is home, I have to wait outside. Sometimes I go for long walks around the neighborhood, which has the feel of a middle-class neighborhood in Florida: single-story ranches with parched grass, skinny palm trees, and bleached sidewalks. Sometimes, when I just don’t have the patience to wait or walk, I break in through my bedroom window.

Jen begins to take out her anger on me any time we’re home alone. She screams and yells. She tells me everyone hates me and wants me to go home. She points out all of the things I’ve come here to change about myself. She calls me unpopular, unfit, boring, ugly.

I start leaving for school a little earlier in the morning. There’s a phone box just outside the bike pen. If I get there at 7:00 am, I can talk to my dad for ten minutes before the bell rings. It’s 4:00 pm the previous day in Connecticut. Inside the scratched and marked-up plexiglass shelter, I feel safe. My dad fills me in on what’s going on back home. I close my eyes and picture it all, as if I’m there.

I don’t call my mom as often, because I’m afraid she’ll hear the sadness in my voice and want me to come home. I can’t go back, not until after graduation, and I can’t tell her why.

I don’t tell either of them what is really going on. I tell them I’m making friends and having fun. I tell them my host family is kind. I tell them I miss them, and I’m a little bit homesick. I can’t help but tear up when I tell them that part. Every time. But my dad says to stay strong and stick it out. Every morning before school, he gives me the pep talk I need to stay one more day.

“Thanks, Dad. I love you.”

“I love you, too, Honey. We’re so proud of you. Talk to you tomorrow.”

 

My history teacher takes our class to the school library to give us class time to work on our research projects. Angela, who showed me around my first day of school, sits at the computer next to me.  She asks me how it’s going.

At first I smile. I know what I’m expected to say — that everything’s going well. But there’s something about her kind face that makes me want to tell her something real. “I’m locked out of my house.”

Her hazel eyes go wide. “No!”

I tell her what’s going on, except for the truth about my host sister. I just say that she’s weird and really mean to me.

After class, Angela invites me to sit with her and her friends at lunch. They are going to a field hockey game after school. Some of them play, some of them just go to hang out. They invite me to come along. They invite me along!

I leave a message for my host family on their answering machine.

“Hi, it’s Sarah. I just wanted to let you know that I’m going to go to a field hockey game after school. Some friends invited me — we’ll probably get something to eat too. Okay — Bye.”

Yes!

 

Field lights bounce off the aluminum stands. Our backpacks act as armrests and dinner trays and the McDonald’s bags as placemats. Angela is out on the field. Her friends and I watch the game, well, watch the running and the stick swinging. I don’t care much about the details.

Beside me, on the metal bleacher, the blonde girl named Tracy smiles. “Do you have a boyfriend back home?”

I decide not to lie. “Mmm, no.”

“Then you can have some fun while you’re here,” Tracy says, raising her eyebrows.

“I guess,” I say, trying to play it cool.

When I get home, the door to the house is locked. Jen lets me in, and she seems put out by the effort. “My parents are mad at you,” she says.

I walk past her to the kitchen. Linda is drying dishes. Bill is reading some papers on the counter.

“Thank goodness you’re okay,” Linda says.

Bill looks up at me but stays quiet.

“I’m sorry, I don’t understand,” I say.

Linda clicks her tongue. “Not coming home when you’re expected. Not telling us where you are?” she says.

“No, I — I — Didn’t you get my message?”

Jen speaks up. “Nope. I checked the machine when I got home from school. No message.”

“I’m sorry. I thought I left one. I must have called the wrong number, or something.”

“Make sure it doesn’t happen again,” Linda says.

“Of course,” I say. “I’m so sorry.”

“Are you going to ground her?” Jen asks.

I pick up my backpack and walk down the hall to my room. I know Linda’s response before I hear her say it aloud. “Don’t be…” and I close the door behind me.

 

The next day at lunch, I tell Angela what happened.

“You’ve got to be kidding me!” she says.

“I know,” I say. “I guess I’m just gonna try to keep my distance”

“Shit.”

“Yep.”

“I was going to ask you anyway, I swear this isn’t a pity invite, but there’s a party on Friday. You should come, and then just stay at my house.”

“Really?” I must look like a smiling fool. “Yeah, that’d be great.”

“We’ve got to get you the hell out of that house.” She smiles at me like an ally and a co-conspirator. I feel the relief that escape can bring.

 

*       *      *

I met him at this party, in a circle of lawn chairs in a friend of a friend’s backyard. My red cup is filled with vodka and red juice. His name is Philip, and he goes to another public school in the city. He isn’t the surfer-type I had fantasized about, but he pays attention to me. He is the first to do that. I take his attention as a replacement for attraction.

We kiss that night. It’s messy and awkward.

“You kiss differently in America,” he says.

I blame the vodka punch.

The next morning, I have something to talk about with my girlfriends, a story to tell. They let me gush before saying anything. They know him. They know about him.

Angela pours milk on her cereal. “He’s kind of a wanker, Sarah, I mean, from what I’ve heard.”

Tracy chimes in from the kitchen table. “I’ve heard he’s a real shit head.”

I watch the red light in the toaster, and say, “He seemed nice enough. Nice to me anyway.”

“Nah, trust us. A real shit head that one,” Angela says, taking a seat next to Tracy.

I look at them sitting there, waiting for me to agree. I nod and turn back to my toast.

But when he calls a few days later, my friends’ warnings are too distant to be heard. He wants to know if I’ll be at another party the next weekend. We’ll meet up there, he says. In my head, I call it a date.

I wear a white skirt and blue tank top. I wear a red bra, so he’ll see the straps peek out on my shoulders.

“You look like a slut,” says Jen. She’s standing in my bedroom doorway.

I don’t respond.

“Where are you going?”

I pick up my purse. “Nowhere, Jen. Just a friend’s.”

“You look stupid,” she says.

“Thanks. I gotta go.” I move past her, scraping my back against the doorjamb. I wait down the street for Angela to pick me up.

As soon as we walk through the front door of the house, I look for Philip. I find him in the kitchen, sitting on the counter with a beer in his hand. It doesn’t take long for him to hop down from the counter and lead me to a room down the hall.

It’s someone’s bedroom. The only light in the room comes from streetlights, through open window blinds. The bed is low to the ground and unmade. A dark blue blanket is pushed off to the side, tangled up with a wrinkled white sheet. He closes the door behind me. I want to go back out to the party.

“Hey,” he says as he moves in closer.

My voice quivers. “Hey.”

He kisses me against the door. I taste his beer and breathe in the salty sweat that dampens his skin. He lifts my tank top over my head, exposing my red bra. He grips my arms, still over my head, and pushes them into the wood door. Looking into his eyes, I don’t see Philip anymore. I see Mr. Harrison.

I see him lock the classroom door and I hear him say, “Shhh. It’s okay. No one can see us in here.” He steps slowly toward me, then, past the desks. I move away until my back hits the wall. Inches separate us. He unzips my jeans. I try not to breathe. I search his face for understanding, but up close his features are unrecognizable. With one hand on my waist, he turns me around to face the wall and holds my wrists in place. I close my eyes and go somewhere else, so I don’t feel the pressure between my legs, or the tearing.

I press my lips together to muffle my cry. When Philip is done, I lie still on the narrow bed, my eyes fixed on the ceiling. I stare at a thin stress crack in the plaster that winds its way toward the door. My skin feels cold and raw. I reach my arm off the side of the bed and feel around the carpet for my clothes. My fingers find someone else’s t-shirt. This is supposed to be the story I could tell my friends.

Philip rolls off the bed and looks toward the far window. I stare at his back, the movement of his back muscles as he picks up his clothes and pulls on his shirt.

He tells me not to talk about this with anyone. “Don’t be a fucking schoolgirl,” he says.

“I’m not,” I say.

He leans over the bed and puts his face up to mine. I think he’s going to kiss me. Instead, he steadies himself. He looks me directly in the eye, maybe for the first time. “Good. Then maybe we can do this again sometime.”

He pushes off the bed and stands up. I clench someone else’s shirt to my neck as he turns to leave. I roll over, toward the window, so I don’t have to watch him walk out.

The sheets feel moist and dirty. The dark blue blanket hangs onto the corner of the mattress. I give it a quick kick to the floor and find my underwear. My skirt and tank top are in a small heap next to the door with my bra — my red bra. I dress slowly and slide my feet into my flip flops. I leave the room, on shaky legs.

“You okay?” It’s Angela. She’s headed to the bathroom.

“Yeah. Yeah.” I follow her through the bathroom door.

I try to freshen up at the sink while she pees. I drink from the faucet and rinse the sour taste from my mouth.

“What happened?” she says.

I can’t look at her. I feel the heat rising in my cheeks. In my head, I hear Linda’s dismissive voice, Don’t be silly. I don’t say anything; this is my secret to keep—my second. I splash my face with water to buy more time to think. Don’t be silly.

I still don’t look at her. “Nothing,” I say with my face dripping into the sink. I grab a hand towel and check myself in the mirror. I don’t look at my wet eyes. Don’t be silly. I let them go dull. “But you were right. Philip’s a loser.” I finally look at her, but not at her eyes. I focus on her nose, her forehead. I smile and go to the door. “Can we just leave? I want to get out of here.”

 

Rudy Shepherd

Over the past 10 years I have been making work that explores the nature of evil through the mediums of painting and sculpture. This exploration involves investigations into the lives of criminals and victims of crime. I am exploring the complexity of these stories and the grey areas between innocence and guilt in a series of paintings and drawings of both the criminals and the victims, making no visual distinctions between the two. By presenting the people first and the stories second a space is created for humanity to be reinstilled into the lives of people who have been reduced to mere headlines by the popular press.

Going along with these portraits is a series of sculptures called the Black Rock Negative Energy Absorbers.  These sculptures are meant to be a counterpoint to what can seem like a vast, unsolvable problem.  They pose a solution, while at the same time questioning the viewer’s belief in the power of art, and the power of belief.  These have taken the form of a large outdoor public sculpture at Socrates Sculpture Park in 2006, human scale works in 2008, and small-scale ceramic sculptures called Healing Devices.

The Healer Project, a video first shown in my solo exhibition at Mixed Greens Gallery in 2012, continued this line of inquiry by creating a fictional world in which magic is real and people are changed by the healing powers of a mystical being. The Healer, an outgrowth of the Black Rock Negative Energy Absorber sculptures, moves through the world in a state of detachment; he is an invisible man. Much like the Bear character in my previous 2005 video project, The Healer both leads us to contemplate intermediate spaces—those between binaries such as “good” and “evil”—and serves as a self-portrait in which to explore feelings of social and political frustration, isolation, and impotence.

The Holy Mountain project continues this exploration while also investigating the “holy mountain” archetype. In many parts of the world, so-called holy mountains serve as symbols of humankind’s journey toward a heightened form of spiritual awareness. This project is inspired by the final chapter of Alejandro Jodorowsky’s 1973 film The Holy Mountain and first began two years ago with a series of paintings of holy mountains from all over the world. It has continued to include traveling to these sites and filming my character the Healer exploring and drawing power from these sacred places. So far I have gone to Devils Tower (Bears Lodge) in Wyoming, the Black Hills of South Dakota as well as Mount Shasta in California

In addition to this I have been working on a series of paintings that draw heavily on photos from news sources and seek both to present the events captured by them in a more nuanced, complex way and to grant these otherwise disposable images a newfound permanence in our collective consciousness. Examples include a limosine set ablaze by the Black Bloc during the inauguration of Donald Trump, a car smashing into a crowd of protesters in Charlottlesvilles, VA and Alan Kurdi found dead on the shores of Greece.

In the media, and oftentimes in our society, we make efforts to articulate clear lines between acceptable and unacceptable behavior, between the good and the bad. As a result, individual people are made into moral or ethical examples, but at what cost?  Is the oversimplification of issues and the divisiveness we see in the reportage of the news making it more difficult to understand and empathize with one another?  My most recent work is an exploration of these questions, which I engage through an ongoing dialogue with news as it unfolds.

–Rudy Shepherd

Rudy Shepherd

Mistake House: You titled your recent exhibition at Smack Mellon in Brooklyn Everything in the Universe is my Brother after the title of a poem by Sun Ra, an American writer and jazz musician who embodied the Afrofuturist movement in his work. You also captured his likeness in your series, The Healers. How does Sun Ra’s “otherworldliness” inspire your work and how do you engage with the movement of Afrofuturism in your practice?

 

Rudy Shepherd: Sun Ra was an artist not limited by the rigid structures of the past; he was someone who dared to chart his own path. It is this courage that has always inspired me about his work. His conceit that he was not from this harsh cruel planet, where people treat each other so poorly connected with me the first time I saw his seminal film Space Is the Place. It was the first time I came in contact with the ideas now considered “Afrofuturist” and it is something that has filtered into the work that I do. There could be no Black Rock Negative Energy Absorber, no Healer, and no Healing Devices without Sun Ra. He showed me that there are many ways to talk about politics and that science-fiction is just as effective a model as more direct approaches. This was also confirmed in the writing of Octavia Butler, another person included in the Healer series.

 

MH: You shared, in an article in The New York Times about your portraits of criminals and victims, that you felt a hesitancy about painting the Charleston shooter, Dylann Roof (McDermon 2017). You recognize that painting both the perpetrator and victim is controversial; yet, you find it important. Can you expand on why you think it’s important—perhaps even necessary—in your work, to humanize even those who have done terrible things?  From your point of view, what does this humanization achieve in our increasingly polarized media and society?  Do you regard your humanization of people in the news as a civic responsibility, as an attempt to get to the truth of the human (or dehumanized) experience?

 

RS: My hesitation at making a portrait of Dylann Roof stemmed from something he said after being apprehended about how he wanted to start a race war. He wanted to further polarize people. My portrait project is all about empathy, taking the time to mourn the loss of the people killed by Dylann Roof, but also and—this is where it gets radical—to try to comprehend, in whatever flawed way we’re able, why he would do such a thing. To see that he will suffer the rest of his life for the choices he made on that day.

 

Now this is not to forgive anything that he has done, or suggest that he should not be punished for his crimes, but my question is: Is it possible to think more deeply about this situation, about this person, to still see him as human with the potential to do good in the world? The media would suggest that this is not possible, that we should think of him as crazy and forget about him. But I think that is part of what lead to this situation in the first place. I think Dylann Roof represents a whole generation of kids that feel disenfranchised, emasculated, impotent—and that these violent attacks on innocent people are a cry for attention, for agency they lack in their lives. If we don’t think deeply about these incidents and their underlying causes they are going to keep happening.

 

MH: In the portraits, often the only way for the viewer to discern between victim and perpetrator is by reading the title of the work, in which you offer minimal, headline-like context. For example, “Josef Fritz, locked daughter in basement for 24 years fathering 7 children with her against her will” (2008). How do you view the relationship between the text in the title and the actual portrait? How important is the written word in developing the concept in your paintings?

 

RS: The portraits and their titles are two separate things that build up together to create the meaning of the piece. My intention in creating the portraits is to find and represent the humanity of the people in the pictures, whether they are the victim of some terrible crime or the perpetrator. I find that the media tends to flatten people’s lives out to be mere illustrations of stories. I’m interested in who these people are on a deeper level. Who were these people before this inciting incident? What brought them to this moment? When I exhibit my work, I show the portraits without labels right next to them so that for a time the viewer does not know who these people are, they are human again. If the viewer is curious and reads the title, they will get to fill in the story about what happened to these humans, but in that gap between looking and reading, the person’s humanity is re-instilled, even if only temporarily.

 

MH: Your work with portraits often wrestles with Gothic tropes–the monster within—yet resists producing caricatures of demons and angels, perpetrators and victims of crime. Your portraits are often described as tender, humanizing, and empathetic. In your process of transforming photographs into watercolor portraits, how do you psychologically reckon with the subjects you paint so that you do not simply absolve or vilify the individuals and instead elucidate their humanity?

 

RS: Early on I realized that watercolor was the perfect medium for this project because of the effect it was having on the portraits I was making. It brought a sense of sentimentality to the portraits that conflated people’s sometimes extreme emotional connections to the subject matter. As I’ve mentioned several times now, I am trying to get people to be empathetic about someone they have potentially already made up their minds about. To do this I have chosen to reframe the person, take them out of the photographic reproduction we are used to consuming, and recreate them by hand. This translation is full of pathos and as much as I try to remove it, some of how I feel about the person is translated into the drawing. That being said, I stay away from caricature and vilification and challenge myself and the audience to deal with the complexity of each person’s story.  

 

MH: In this issue of Mistake House there is a supplement exploring findings from a recent project on the Principia College campus titled, “Moral Discourse in a Post-Truth World.” In the past, you have said that the exploration of the nature of evil in your work involves “investigations into the lives of criminals and victims of crime” (Mixed Greens).  Would you consider your creative practice as journalistic in that it is engaged with the investigative task of uncovering and describing the truth? Or, are you perhaps engaged with the act of truth-making?

 

RS: My job as an artist is to pose questions. To challenge the status quo, the way we have always done things and ask whether we can do better. I leave the journalistic work to the people trained to do that work. My work as an artist, a political artist, is to push our culture forward to a better place. It is a role artists (and I mean this in the broadest sense of the term) have been doing since the beginning of time. Since we were documenting the day’s hunt on the walls of caves, artists have been looking at the world we live in from a step removed and questioning what we see.

 

MH: Your work intentionally offers no resolution to the issues of guilt and innocence, or social and political frustration. The work forces the viewer to draw conclusions and engage with the subjects it suggests. What insights or conclusions have you drawn about the nature of evil since you began engaging with your artistic practice?

 

RS: I don’t know that I have come to any conclusions, if anything I have more questions now than when I started. One thing I know is that within each of us is a dark side and dependent on our circumstances and the situations we are put in, more or less of it is expressed. It is part of the reason I am obsessed with cult leaders and documentary films about cults. It seems that in each of these films the leaders of these groups set out to do something positive, spread the love of their god, build a community and live in a better way. But it seems that every time, the darker side of human nature tears the whole structure down and creates a situation worse than the one they meant to escape. The human ego seems to be the destroyer of all things good. Boy, I could sight some examples from my one life to prove it, but I think I’ll pass on that.

 

MH: In a piece by The New York Times, you say that you are “trying constantly not to just flatten [life] out” (McDermon 2017) When you depict both criminals and victims in the same non-biased way—as a means of showing the complexity of human nature—is there a certain headspace that the work requires? Your portraits radiate empathy for humanity; as the artist, where does that vulnerability transport you both emotionally and mentally?

 

RS: I feel like I have answered this question already, but one thing I would like to add is that it can be really challenging emotionally to do some of these portraits. When I am making a portrait of someone who was tragically killed I feel their pain, their families’ pain and that emotion pushes me to do my best work, to honor this person in a way no one else will take the time to do. At the same time when I sit down to make a portrait of someone like Dylann Roof, I am confronted with a whole other set of emotions. I am challenged in a real way to think about the ethical implications of what I am doing. Is this the “right” thing to be doing? Is art really the place to be having these discussions? From my experience it tends to be the only place life is discussed with this level of complexity.

 

MH: You have explained that your paintings exploring the gray areas between innocence and guilt evolved from the Black Rock Negative Energy Absorbers project at a time when you started thinking about the “dark side of human nature, that part of all of us that causes us to mistreat and distrust one another” (McGrath 2011). In your words, the Black Rock series of sculptures attempts to “expunge negative energy from the viewer” who sees and feels the effect of “tragic events that continue to unfold in the world around us.” Can you speak about the evolution of your concept from creating a physical, three-dimensional form and space (to release negative energy) to engaging with the two-dimensional renderings of faces of humans who are subject to and responsible for the evil that generates this negative energy?

 

RS: While working on the smaller Black Rock Negative Energy Absorber sculptures in 2006, I saw this New York Post headline that showed this young black man, Ronell Wilson, under the headline “Fry Baby.” This egregious sensational headline caught my eye because of the look on the young man’s face and the little portraits of police officers below him. It turns out that Ronell Wilson was accused of killing the two police officers and the reason he was on the cover was because the day before in court he had stuck his tongue out at one of the widows. To see a newspaper so blatantly disregards someone’s humanity like this was upsetting to me, but as I looked into the story it was hard to see Ronell Wilson as some innocent victim of the media’s cruel ire. In this case there were no clear good guys and bad guys, what Ronell Wilson did was terrible but what the New York Post did was also terrible. What struck me is how what the Post did by shaming this man so publicly was going to affect the way people look at me and other people (black men) that look like Ronell.

 

I didn’t know how at the time, but I knew it was somehow related to the sculpture project. So I bought a copy of the paper and hung this page on the studio wall. I eventually decided to make a painting of Ronell Wilson and that was the beginning of the Criminal/Victim project. Twelve years later, the project has morphed in many different directions but at the core it is still an investigation into the complexity of these types of stories. The drawings and paintings of people and situations are an attempt to speak directly and indexically about the problems going on in the world by naming and articulating them one at a time. Whereas the sculptural work, both the Black Rock Negative Energy Absorber sculptures and the Healing Devices (small ceramic sculptures), attempt to suggest a solution by bringing in an element of the spiritual. If we can’t figure out with our logical mind how to fix the ills of our society, can we call on God, magic, the Great Spirit of the Universe to help? I know among liberal-minded artist types this kind of thinking is not popular, but it, like art, is something that mankind has been using to cope with the unknown since the beginning of time. All cultures around the world have faith traditions and all of those traditions have sacred objects, objects imbued with power to change things in our material world. My sculpture practice hopes to build on that tradition by understanding what has come before and building new forms and traditions for our present time.

 

MH: In an interview titled “Heroes and Villains” in the Wake Forest News, you touch on the rhetoric of mythology and religion in your art; specifically, the Black Rock Negative Energy Absorbers (McGrath 2011). Can you speak more to the specific religious and mythological influences on your sculptural work? As a spiritual object that is meant to absorb negativity, your sculptures parallel the criminal and victim portraits, which absorb the negative media attention and reveal a human-being. What spiritual and mythological influences have informed your creative practice when working on the portraits?

 

RS: I began talking about this in the answer above, but I would like to add the following: Up to now the Black Rock Negative Energy Absorber project has been about creating a fictitious belief system loosely based on things that exist in the world already, from new age traditions of healing crystals to those of various African cultures like the Bamana people of Mali who create Boli—figurines thought to control and shape spiritual energy–and the Latin American cultural tradition of placing an Azabache charm on a child to protect the new born against the evil eye and negative energy.

 

MH: Can you speak to the significant difference in scale and shape between the Black Rock Negative Energy Absorber exhibited in Socrates Sculpture Park and the sculpture installed behind the Visual Arts Building on the Penn State’s University Park campus? How is the shape of the sculpture influenced by its location? How does the size of your sculptures change the viewer’s perception of your concept, as in the Healing Devices?  How does the magnitude of the sculpture interact with the magnitude of a viewer’s “negative energy”?

 

RS: All of the large public Black Rock Negative Energy Absorber sculptures are meant to be site responsive, meaning they are designed to fit aesthetically in the space where they reside. The BRNEA at Socrates Sculpture Park was in a large empty field with the New York skyline in the background. Its size, shape, and orientation were all designed specifically to sit in relationship to the buildings in the background, as well as not be dwarfed by the big open field it was in. The piece at PSU was a smaller more intimate space nestled between three buildings with a walkway right in front of it and so it did not need to be as large to have a similar effect.

 

With these large sculptures as well as the Healing Devices and the human-scale BRNEA sculptures I am also thinking about the pieces in relation to the human body. Whether the piece towers over you, is your height, or is something you can hold in your hand is all very intentional and suggests a different type of interaction and relationship between the person and the object. I am using scale here in a similar way to the drawings and paintings, either small to encourage an intimate relationship or over-sized to overwhelm your senses and give a sense of awe.

 

MH: Before switching your focus to art, you were studying to become a doctor. Does your medical background inform your creative processes, and if so, how? There is an inclination toward empathy in both lines of work, but are there other ways in which your medical lens informs the artistic practice?

 

RS: My interest in becoming a doctor was all about wanting to be of service. Through art I have found a way to do that which makes use of my unique skill set. At first this was the only connection, but now that I am exploring the idea of Healing Devices and doing performances as
the Healer, the specific idea of being a healer is coming into my work and linking back to what made me want to be a doctor.

 

MH: You have said that you “sometimes . . . dream of just locking [yourself] in a room with Internet access and painting materials and never coming out” McGrath 2011). While you might not get the chance to enjoy prolonged isolation to work, it sounds like your creative process requires periods of incubation, steeping, and stewing for ideas to fully form. With all the demands of working as an artist, how do you preserve spaces and times to burrow and work creatively?

 

RS: My current job as a professor at the Penn State School of Visual Art provides me a lot of time to work in the studio, wander around aimlessly pondering the meaning of life. I have all the isolation I could ever want. I am finding now that I have enough time to work and think alone and I am more interested in finding opportunities to work creatively with other artists and musicians. The performance practice has been great for this and has really brought some fresh energy into my practice.

 

MH: You’ve shared advice on working as an artist. The first and main point: “work hard, work really hard, really really hard” (McGrath 2011). The creative process is demanding at every step—conceptualization, generation, revision, evaluation, and final exhibition—and, like a glacier, most of the work will never be seen. How do you think about your work each day to help you stay motivated?

 

RS: It is easy to work and stay focused when I have deadlines out in front of me, exhibitions that I am creating work for, and I am working on a project that is conceptually all worked out. It is harder to stay focused and motivated when it is not clear when the next show will be or if what I am working on makes any sense. It is important to me to always be working in new directions, trying out new ideas and challenging old assumptions. So, it is important to go through these challenging phases in the creative process.

 

During these times I remind myself that it is my work, I can do whatever I want, I do not need to be overly concerned with how it will be received critically (something I can never predict anyway). Sometimes it’s fun, a lot of times it’s not, especially the large Holy Mountain paintings that take 3-6 months to complete. There are days in the studio where I feel like I am ruining the painting or that I will never finish the damn thing. It is important during these times to have discipline and courage, to work when I don’t feel like working, when it’s not fun, and I am not sure I am doing the right thing. Chris Ofili once told me that you have to be willing to ruin a mediocre painting to make a good one.

 

MH: What excited you most about the piece you did with the Laundromat Project in 2009, in which you set up a drawing station in front of a Harlem laundromat for community members to be creative together and exchange art work? In the 1950s and 60s, Allan Kaprow engaged in pieces which he called “happenings,” occurrences of ordinary life documented in some way. Would you consider this project a type of “happening”?

 

RS: I like the idea of thinking of that project as a type of Happening. It was definitely a project that existed in that specific moment in a way it never will again. It was part performance, part sculpture, and part public engagement. It was an experiment, one I learned a lot from that shaped future public art projects. It didn’t go quite as planned, but it was the things that didn’t go right that I learn so much from. Failure is an important teacher in art, I wouldn’t consider the project a failure, but I did fail to get as many people involved as I hoped. Trying to figure out why has taught me so much.

 

MH: Do you ever play hooky (we hope you do)? And, if you do, what is your favorite thing to do when you take off suddenly, as in a dérive?

 

RS: Yes, I play hooky, probably too much. My most distracting hobby is running. I started off running for fun and to get in shape, but over the years it has grown into this huge pillar in my life and like everything in my life I have taken it to an illogical extreme. I do these things called ultramarathons, which are races that are longer than a marathon, usually on trails in the mountains. So far, I have run 18 of these races included six 50 mile races and two 100 mile races. This weekend I am running a 50 mile race, the North Face Endurance Challenge in Washington DC and in July I will run the Vermont 100 for the third time.

 

 

 

Rudy Shepherd

In the Summer 2017 issue of Art Papers Magazine, painter and critic Paul Ryan wrote:

Recent tragic events and individuals on both sides concerning racial profiling and police brutality—such as Trayvon Martin, George Zimmerman, Darren Wilson, the Ferguson riot, Eric Garner—are common subjects for Shepherd…[He] works from a conscious position of neutrality and places his emphasis on humanizing the individuals he renders, regardless of whether the press-public dynamic has villainized or idealized the subject. His quiet, unassuming paintings and drawings—humble interventions in the public dialogue that remind us of our universal humanity—have the effect of slowing things down. Although Shepherd tacitly recognizes that in some situations lawful and/or moral violations have occurred, he removes any identifying text and elements of visual context from each portrait, making matter-of-fact note of them in the works’ titles instead. Considering the consequences of claims of innocence and guilt, and various lingering effects of such verdicts, Shepherd’s…portraits emphasize the gray and complex areas of media and public presentation/representation, dialogue, and interpretation.

 

Aurora Robson

On Aurora’s website, her bio explains her work as “the founding artist of Project Vortex, an international collective of artists, designers and architects who also work with plastic debris. In addition she has been working on the development of a college course called “Sculpture + Intercepting the Waste Stream” designed to foster creative stewardship at academic institutions. Her goal with the course is to encourage shifting of paradigms in art and science education while helping restrict the flow of plastic debris to our oceans.” The Above Tedx talk is entitled “Trash + Love.”

Aurora Robson

Reviewing Aurora Robson’s work in the May 2015 issue of Sculpture Magazine, critic Barbara Schreiber writes, “[Robson] works with a global nightmare of a material—plastic. Robson was first motivated to work with salvaged material after learning about the Great Pacific Garbage Patch. She has an oddly personal attachment to her plastic flotsam, anthropomorphizing it in numerous ways, including ritualistic cleaning, a process that seems akin to biblical footwashing. Therein lies the beauty, profundity, and intoxicating WTF-ness of her creative practice.”

Kristiana Kahakauwila

Mistake House: You explain in a Writer’s Digest interview with Chuck Sambuchino that you found your voice and your vision when you were finally “fearless in [your] writing.” In your own words: “I let my stories access all my anger, my sadness, my confusion, my hopefulness. My characters, if they are raw, are so because I was raw.” How have you maintained your voice and vision since this breakthrough? Do you always feel fearless in your writing, or is this something you still need to fight for?

 

Kristiana Kahakauwila: I’m always fighting for and pushing myself to that fearlessness. Maybe it’s with craft, attempting new ways of storytelling. Or maybe it’s with subject matter. I’m trying historical fiction now, so I’m trying to be fearless in where I take leaps away from my research and dig deeper into my fictional world. And then, always, there’s a need for under-represented voices to be fearless because our voices upset power structures that have been in place for a long time, and there will be folks who don’t like that.

 

MH: Talking with Tyler McMahon in Fiction Writer’s Review, you discuss the notion of truthful storytelling, saying “the most truthful story doesn’t appear from a single objective point of view, as textbooks might have us believe.” You go on to say, “Truth comes from layering as many points of view together as possible and letting your reader experience them all.” Given this statement, it is clear that you value the complex process required to provide an honest, accurate picture of reality. How do you resist the temptation to manufacture false coherence—to sanitize your work by oversimplifying the variety of perspectives and voices? How do you embrace the messiness in your writing and writing process?

 

KK: I enjoy playing with perspective and point of view. In my collection, This is Paradise, I have one story written from serial 3rd person—so all third person but rotating which character’s perspective the reader gets. I have a serial first person plural, and first person plural is already an amalgam of voices trying to be heard, at times splintering and at times speaking in unison. Now I’m working with omniscience, which is another kind of layering—and a kind of pressing into fear for me, per the first question—so I’m invested in multiplicity and multiple voices on craft level. But, really, I think the idea of messiness in process is most exciting (and terrifying) for me. With my novel project I’ve been trying to write to discover, to excite myself. That’s meant skipping around, exploring scenes in order to unlock (or unleash?) characters, rather than writing in chronological order. I’ll follow my research, going down rabbit holes because some tiny fact—school girls, in 1899, rescuing an organ from one side of their dormitory as the other half burns—is impossible to leave. Who knows if that scene will make it into the final work, but how can I leave behind this incredible moment? So I’m hoping that the messiness allows me to find beautiful language, images that neither the reader nor I can shake. … Also, Scrivener really helps.

 

MH: Regarding your debut novel, To Weave with Water, in your talk at the Radcliffe Institute (2016), you introduce the Hawaiian word “mo’olelo,” a small word encompassing many meanings: “story, history, tradition, legend, yarn, chronicle, essay, myth, research, pubic record, private journal, succession of a talk.” Your readings reveal that the novel itself honors distinct voices yet weaves them together like yarn in an organic structure. What kind of processes do you go through in order to explore such disparate stories without leaving your reader feeling disoriented?

 

KK: A lot of stories are disorienting at the beginning, as the reader steps into them. But what’s impressive to me is how stories teach a reader how to understand them. A good story sets up a pattern of some kind, whether it’s with formatting, or voice, or even the terms of an unreliable narrator (just how and in what ways are they unreliable?). Readers are astute; as soon as they know the rules of the story, they’ll orient to them. And then, the author abides by that contract. No cheap tricks! Satisfying surprises must come from within the narrative, must abide by the terms of orientation.

For example, I’m playing within the omniscience point of view with a variety of voices and rhetorical modes. The reader feels these different rhetorical and narrative modes colliding and collapsing from the beginning, and so they learn to expect those shifts and changes. If these different voices and registers suddenly entered in the last chapter of the novel, it wouldn’t be fair to the reader and it wouldn’t make sense.

 

MH: You mention that the historical portion of This Is Paradise deals with corruption and scandal (Bellingham Review 2013). You note that in some cases, “…not every family member is on the same side of the dispute.” How does introducing characters with opposing viewpoints help you navigate your own opinion in light of varying perspectives? Does the process of building multiple perspectives help you develop empathy for experiences and viewpoints that are unfamiliar to you?

 

KK: I’m someone who can be moved by any good argument. I’ll agree with side one, only to immediately see all the merits of side two, if that side argues well and logically. So I like being in the middle of my characters and seeing the world through their viewpoints, their world-views. I want to believe them, to empathize with them. And by doing so—by honestly engaging the characters—I’ll come out the other side of a story and more deeply understand where I am on an issue.

 

MH: As previously mentioned, you’ve shown an interest in many different perspectives—of natives, tourists, and those in between—and emphasized the importance of layering these perspectives in order to reach “the truth.” Do you think each outlook is equally important? Or do you think one perspective may have more clout than others in defining the truth?

 

KK: After an initial sketch—where I’m just discovering setting, character, tension—I’ll then have an A-ha! moment where I realize why I started writing this draft. I’ll understand, suddenly, what I’m honestly wondering. Maybe the question is: can a bad husband be a good dad? Or, can a kanaka maoli who’s part of the diaspora ever fit in on island when they grew up off island? Once I know what’s at the heart of the story, I’ll re-write and revise in light of that question, and my characters will be acting to understand that same question. Then, naturally, the opinion that holds the most weight will come to the fore. A daughter’s reflection on her dad. The diasporic character will find a new way to understand indigenous community. At that point the understanding that’s needed for the story, and for the reader, organically rises to the top. I don’t press that perspective to have more clout, but it’s the one that offers some new or deeper understanding that wasn’t there before.

 

MH: Your interest in people appears to be a driving force behind your work. You discuss your fascination with the individuality of perception and experience, saying, “I love that people can have the same stimulus but respond with completely different emotions and thoughts. I am constantly amazed by that, and I want to understand it” (Bellingham Review 2013). In the process of developing dynamic characters, how do you expand your imaginative capacity for empathy?  In other words, how do you imaginatively escape your own experience to temporarily inhabit the space of another in your creative process?

 

KK: I grew up in Long Beach, CA. My mom’s side is of Norwegian-German descent, and like many immigrant groups they take their heritage very seriously. My maternal aunt recently bequeathed me my grandmother’s lefse turner, and I cried. (My aunt, who’s 90, took this in stride. This is the beauty of being 90—everything is a sweet nonevent.) When I was growing up, my parents and I spent a lot of time in Hawai`i, where my paternal side lives. When you live in and move through different cultures—whether as a child or an adult—you learn that so much of what we believe to be “so” about the world is heavily influenced by community and familial and cultural expectation. I learned early to see the same object or action from different perspectives. This is an act of empathy. It’s also an act of survival. Ask anyone who code-shifts when they move between school and family, or family and friends. Shifting like this is how folks who are mixed—and I mean this word in a lot of ways— learn to fly under the radar.

This skill serves me in story-writing in terms of shaping characters. So many of my characters know how to move between spaces, through contexts. Even if they have identity matrices different my own, my characters are aware of that code-shifting, that malleability. This makes them compelling characters on the page but also allows me a way into their selfhood and development.

If I’m still hitting a wall in the story, then I’ll switch up the terms. If a story is siding too much with one character, I’ll try to tell it from another’s perspective. Or I’ll place the same tale in a new setting, or era, or cultural context. Now what do these same actions mean? Now what new resonances does the dialogue take on?

 

MH: You’ve said in the past that research is an essential aspect of developing empathy and identified context as playing an important role in a character’s response to a given situation.  Do you think it is essential for a writer to feel compassion for her characters?  If a writer lacks compassion for a character—either because compassion is unavailable or the character is fundamentally unlikeable—does the writer risk writing a character that lacks complexity or lends itself to stereotype, or not? What would you do with a sociopathic character, for example?

 

KK: Compassion. Empathy. These are words that mean: I’m striving to see the humanity in someone else. Even a sociopath. The great sociopaths in fiction have something human in them. Or, the writer is asking, do they have something human in them? Or, even better, the writer is asking: do any of us in this place/era/society have something human in us? I’m thinking of American Psycho. How the satire in that makes the novel reflect so acutely on the moment of time, on the reader. So the ability to ask the question and chase an answer—that’s an act of empathy because it doesn’t dismiss the character. There are characters of mine I don’t like, or think are whiny, or think are making terrible decisions. But I always remember that they are human and thus deserving of my attempt to understand them.

 

MH: In speaking of place and travel, you have suggested that individuals who travel into a previously unknown context grows out of themselves and are therefore able to feel an association with to all humankind. This perspective seems connected to the ways in which people turn to books, art, and meaningful conversation in order to “see themselves” and the world with more depth and understanding. What relationship do you see between curiosity and gaining new perspectives? Is curiosity inherent or something that can be cultivated? Why is curiosity necessary?

 

KK: I think curiosity is essential for an artist, for probably all of us as humans. How freeing curiosity is—the opportunity to wonder. To be in a state of wonder. I also recognize that curiosity is a privilege. Curiosity takes time. Wonder takes freedom in your day, in your mental and emotional space. If you’re afraid, if you’re exhausted, if you’re hungry—it’s near impossible to be curious in those moments. I think of that a lot with students, especially young ones. How can you be curious, be in a state of wonder, be receptive to learning, when you’re just trying to have your basic needs met?

So, yes to books, to art, to meaningful conversation. But also, yes to pragmatic acts that make that possible—school lunches, smaller class sizes, support for nurses in public schools. And access for all students, especially those who are left out by structural inequality. Curiosity certainly can be cultivated but it takes providing for other needs before curiosity can really flower.

 

MH: Your writing tends to illuminate the darker side of tourism—the commercialization of the environment and the marginalization of the people who live there.  Backed by extensive research and Hawaiians’ authentic experiences, you address extremely complicated issues, yet invite readers into a compelling narrative.  How do you enter into these difficult problems creatively without becoming polemical in your writing?  What do you seek as a reader in writing that addresses such complex issues?

 

KK: I appreciate that this question comes right after I got polemic in the last question.

I put story first. I love great stories—sweeping, all encompassing, staying-up-all-night-and-forget-where-you-are stories. And I love that the best of those are teaching me, even if I’m unaware of that teaching. So I spend a lot of time getting my stories to sweep. But the stories I tell always have history nipping at their edges. They always have the question of indigeneity and colonialism and history and nationhood just off stage, and some readers will catch that and maybe others will just sense it, in an unnamed way, and that’s enough. The writers I admire do this, and I read and re-read them. Toni Morrison. Junot Diaz. Michael Ondaatje. Patricia Grace. Julie Otsuka. To name just a few.

 

MH: You’ve said that we don’t like to think about the darker, more complicated side of our vacation spots, arguing that this tendency toward avoidance stems from the fact that we forget that people live in the places we are vacationing. What steps do you feel people can take to break out of this ignorance, and to what extent do you believe it is the responsibility of the artist/writer to combat this issue?

 

KK: It’s amazing how far daily interactions go. I worked in food service for a long time. A “thank you” goes a long way, or patience when things go wrong. Or just following rules, like crossing the street when the light is green. Plus, learning the history of a place. I’m surprised how many folks come to Hawai`i and never tour Iolani Palace or visit the Bishop Museum. The Bishop Museum isn’t a perfect place, nor does the Estate’s trust have a perfect history, but for a visitor the opportunity to learn about the islands of Hawai`i, and to learn about Oceania as a whole, is unparalleled. I learn something every time I visit there.

I don’t think it’s the artist/writer’s job to go out and sit someone down and say, Learn now. Rather, it’s our job as citizens to get out there and say, There’s so much I don’t know. There’s so much school didn’t teach me. There’s so much I’m unaware of, and I want to be aware so that I can be a better citizen, a better community member, a better person. When you go looking you discover that there are a ton of artists ready to tell a story, share a history, offer a different perspective than the one usually presented. The artists are ready if we go seeking them.

 

MH: In the stories of This Is Paradise, the setting is just as much a character as the people. Could you speak to this character of “place” as a body that is, like the Hawaiian people, historically annexed, suppressed, and marginalized?  How does your writing address this body—the Hawaiian islands—in a way that gives voice to the Hawaiian people?

 

KK: I’m always nervous about being called a voice for any group of people. I will, however, happily claim to be one voice. But, as in many of my stories, it’s in the space where many voices meet that a deep sense of the community reveals itself.

In terms of landscape and oceanscape—in terms of setting—I’m very careful with how I describe the place. I want it to be fresh, real. The Hawai`i not of appropriative movies or TV shows but of my family, my friends. Of my own lived experience.

 

MH: In your interview with The Fiction Writer’s Review (date), you discuss how you turn typical depictions of Hawaiian gender roles on their head in your stories in order to create characters that are, in your words, “fully human.” Can you further discuss your perceptions of gender portrayals in culture? How do these perceptions impact your writing?

 

KK: A lot of scholarly work has been done around how Hawai`i is marketed, but Haunani Kay-Trasks’s essay “Lovely Hula Hands” is one of the first pieces to explain the imposition of this kind of sexualized tourism. Even today this happens. I was watching the latest Hawai`i Tourism Authority ad campaign, and some of those videos are embarrassing and deeply uncomfortable in how they depict Native people—or erase them altogether. So my stories work to undo these gross– there, I said it, really gross—ways of framing the islands to visitors.

 

MH: You have served as faculty at the Low-Residency MFA in Creative Writing program at Oregon State University-Cascades, taught at Chaminade University in Honolulu, and you are currently an associate professor of creative writing at Western Washington University. In previous interviews, you’ve discussed how your writing practice is informed by your teaching/role as a professor. Can you speak more to how students and classroom discussions energize your own work? Or, is it a difficult juggling act to balance teaching and a creative practice?

 

KK: It’s always a difficult job to juggle time commitments. I’m not very good at that. I pour myself into my work because it’s so gratifying, but I need to learn better boundaries around that. Having said that, though, teaching forces me to re-see things I think I know. I didn’t really know commas until my first time teaching composition, and then I had to learn the rules of commas—and not just idly learn them but come up with a succinct and fun way of explaining them. So now I can rattle off eight rules complete with examples, rhymes, and sentence diagraming that looks like a gigantic math equation. Similarly, I didn’t really know omniscient point of view until I had to teach it to graduate students, debate it with them, give examples and practice it in writing exercises, and then exchange that work. So these days the second I’m struggling to understand some aspect of craft, I force myself to teach it. And my students, in return, offer new angles, new perspectives, new mathematical equations. So it’s always fun for me, and I think for them, too.

 

MH: In many of your interviews, you mention how the Pacific history course you took in college led to a realization of your own voice as a writer. Can you speak more about how experiences/courses in higher education (grad or undergrad) impacted your personal development as well as how your interests and passions developed during your time as a student?

 

KK: As a freshman in high school I tried out for the cross-country team because I thought cross-country meant cross-country skiing and I was excited that there was a school activity that was going to take me to the mountains and the snow. Which is how I ended up on the cross-country running team. I wasn’t terrific at the sport. I never ran at the Varsity level. Never scored a point for JV. But I loved the comradery of the team, and I really loved putting one foot in front of the other… for miles.

I think it’s important to do things you’re not that great at but that you lose yourself in. The more you do that, the more it gives you permission to try something out, to mess up, to try it again or in a new way. I wandered through a lot of college like that. I ended up doing well in Chemistry but never getting into the a cappella group I so longed to be a part of. When I was getting my MFA, I was told that there was this fantastic Pacific Studies program under the History Department’s umbrella, so I decided to enroll in a graduate course there. It changed everything. In that class, and subsequent others, I was taught—at last!— the history of the Pacific and of Hawai`i. In some ways, of my own self. I had gone into that first Pacific Studies course wanting to work hard but not expecting to be that great at it—you know, like running, I was ready to just put one foot in front of the other—and it ended up changing my life.

 

MH: While much of your work deals with identity, some of your work also grapples with domestic challenges. For instance, “Portrait of a Good Father” looks at a family’s turmoil surrounding the husband’s affair and his son’s death. To what extent does your work aim to be political versus personal/individual, especially as you navigate historical fiction as a genre in some of your recent work?

 

KK: I believe in the particular experience as a microcosm, so I’m always driving into the particular. My story “Thirty-Nine Rules for Making a Hawaiian Funeral into a Drinking Game” is exceptionally specific in detail and concern. Even the title is particular! But I’ve had people email me from all over the country to say the story spoke to them—they understood what it meant to be outside of family like that, or to come into the family like that, or to feel loss like that, or miss a grandparent like that, or… or… or… Beginning writers will sometimes talk about wanting to make their piece “universal,” and that seems the death of good writing to me. I’ll riff off Chekhov: Show me the glint of light on a single wave, and I’ll understand the whole ocean.

Historical fiction especially needs to focus on the particular so that the vintage artifacts and details don’t take over the stories of these characters. No one wants to read another history textbook—they want to understand what these huge moments meant to the humans who lived them.

 

MH: In a talk you gave at the Radcliffe Institute of Harvard in 2016, you state that we “carry our ancestors on our shoulders.”  What duty do you feel as a writer to acknowledge your familial history?  To what extent do you feel that this history is collective? What advice do you have for young writers who need to address their own familial and cultural context?

 

KK: I don’t feel that I need to write my familial history. In fact, I shy away from writing anything directly about my family, as that wouldn’t be fair to them. They didn’t sign up for me being a writer! But I do feel a responsibility to my community—to a larger indigenous community as well.

One of my favorite books is where we once belonged by Sia Figiel. Her dedication reads like this:

For the women
(who are always a step ahead)
and the girls
(who know everything there is to know)

The novel caught a lot of flack from certain corners in Samoa because it showed dark and difficult aspects of contemporary culture in Samoa, especially the powerlessness of young women in the face of abuse, patriarchy, missionization, and violence. However, Figiel spoke from a place of honesty, empathy, protectiveness of the “girls who know everything there is to know,” and in this way she offers a portrait that is beautiful, heart-breaking, decolonial, hopeful. One more thing: Figiel has spoken of how she sees herself not in the heroines of the novel but rather in one of the more complex adult figures. By placing herself there, she’s forced to honestly question her place in this community.

If I were going to give advice to young writers—especially those of color—I would tell them to write to the people in their community who most need a voice. Write a love letter. Question your own position, your own assumptions. Be honest. Turn the camera on the unlit corners but also on yourself. That’s where the best writing, and the most important work, probably lies.

 

MH: The relationship between the individual and the community is a definite theme in your writing. You explain this in your interview with Read Her Like an Open Book, in which you discuss “the tension between an individual and a group, between the individual who wants to belong and also must separate” and how it “strikes [you] as particularly true to the familial and communal experience of the islands.” Could you speak more to this tension and what it has meant for you as a writer? How do you think about your voice as an author in the context of what it means to be a part of, as well as witness to, a community?

 

KK: As someone who grew up off-island but who is kanaka maoli, I move between outside and inside. I identify with that movement—with being a part of but witness to—in works by other Oceanic writers. In addition to Figiel’s work, I’d note Patricia Grace’s Dogside or Potiki. I think of Brandy Nalani McDougall’s gorgeous collection of poetry The Salt Wind: Ka Makai Pa`akai, or of this image that haunts me from Donovon Kūhiō Collep’s chapbook Proposed Additions, where the narrator carries his grandfather’s filing cabinet on his shoulders as he walks to `Ewa beach. I think a lot of us are carrying around this filing cabinet of experiences that we’ve both lived and witnessed, and we want to explore and understand them, and so we do it the only way we know how: we write.

 

MH: Hawai’i has been in national news in the past month after Derrick Watson, judge of the United States District court for the District of Hawaii “issued a nationwide injunction blocking President Trump’s travel ban” on the grounds that the order was in possible violation of the Constitution.[1] There was significant backlash from the Trump administration manifest, for example, in Attorney General Jeff Session’s dismissal of Hawai’i as well as his misunderstanding of a judges’ authority when it comes to disagreement over what the Constitution says. Have you experienced increased questioning about your homeland in light of these events? If so, do you welcome these questions or do you feel tokenized by such inquiries?

 

KK: I often answer questions about Hawai`i or indigenous history with recommendations for must-read books. For me, Vine Deloria’s Custer Died for Your Sins: An Indian Manifesto was life-changing. Deborah Miranda’s Bad Indians: A Tribal Memoir. Craig Santos Perez’s unincorporated territory, which is actually a series of beautiful books. You don’t have to agree with her politics but you’re going to learn a ton with Haunani Kay Trask’s seminal From a Native Daughter: Colonialism and Sovereignty in Hawai`i, and everyone should read Hawai`i’s Story by Hawai`i’s Queen by Queen Liliuokalani, the last reigning monarch of the Kingdom of Hawai`i.

We have to acknowledge that Sessions said what he said as a purposefully racist move intended to denigrate and dismiss a judge’s authority because of the color of the judge’s skin, and because of the color of the skin of the people he represents. One way to fight that kind of racism is to learn its history in this country, and how that history continues to operate. When I read a book such as Roxanne Dunbar-Ortiz’s An Indigenous People’s History of the United States I have an opportunity to meditate deeply on how many of the decisions I make today (how I vote, how I shop, how I educate, how I understand my relationship to the environment) are a product of structures that were created a long time ago with the express intention of disenfranchising certain people. Within that meditation, that learning, I can decide to act differently—vote differently, buy differently, teach differently, move through space differently—so that I do less violence to the least protected people in our society.

So, ask away. I welcome questions. But then, do the work of receiving an answer, and learn from the words and works that are out there.

 

MH: Your forthcoming novel, To Weave with Water, tells the story of a young girl from the rural, east side of Maui.  After working as a domestic servant for an American plantation family, her childhood experiences feel “claustrophobic.”  The question arises, “How can [she] ever return to the ways of [her] parents?”  This character appears torn between two identities—the one of her rooted past and the one of an alluring future.  This dynamic speaks directly to our experiences in the 21st century.  In our fast-paced and constantly shifting world, how does one maintain respect for tradition while adjusting to corporate and nationalistic globalization, which can often be debilitating to tradition and culture?

 

KK: I’d rephrase this question. Culture and tradition is not at all at odds with globalization or modernization. Oceanic peoples are incredibly global and incredibly modern, and have been so for a long time. Culture and tradition is at odds with colonialism and neo-colonialism. Let’s take a recent example. A couple months ago there was a really splashy headline in the news that NASA had just discovered how to navigate by the stars! Of course, this was laughable in Pacific communities, where Oceanic peoples have been using celestial navigation for several millennia. (To be fair, NASA is launching a system that will treat pulsars as navigational beacons, so it’s a little more complex than how the headlines framed it. But even the framing says so much about how certain bastions of knowledge are revered and others not.)

We could take another angle with this: Let’s go back to the moment that written language is introduced in Hawai`i. That’s 1820. By 1834—a mere 14 years later—do you know what the most literate nation in the world is? It’s Hawai`i, with a literacy rate of 91-94%.[2] By contrast, the United States has approximately an 84% literacy rate today (per a 2016 study).[3] So when I ask how a character, who’s been thoroughly colonized in a missionary school, will ever return to the ways of her parents, what I’m really asking is: How will she decolonize herself? How will she come to understand that modernity and tradition are intertwined, and she can be and have both? That in fact the most modern woman is one deeply in touch with her traditions and ancestral roots? That the most global citizen is one who lives what Oceanic people live all the time—in spaces that are trans-national, trans-economic, and defiant of colonial borders. (Epeli Hau`ofa is foundational for an understanding of this trans-economic and trans-national identity. His essay “Our Sea of Islands” is a great place to start.)

 

MH: You have explained how a course you took on the history of the short story gave you a “great base for understanding where [your] work fits into a larger arc.” Where, would you say, does your work fit into that larger arc? How do you think your work communicates with the works that have come before it? Are there any particular works you think your work directly connects to or contrasts?

 

KK: When I was in graduate school one of my professors—the fantastic Peter Ho Davies—taught this history of the short story course. We had a series of emulations we were supposed to do, and one of mine was of Katherine Mansfield. I’ve always been fascinated by her breathy tone and how she’s digging into serious and deep issues of inequity but in ways you’d never suspect as a reader. Six years later This is Paradise is published, and one of the reviews notes that stylistically there are moments the stories reference this author, and that author, and Katherine Mansfield. I was so excited! I immediately sent the review to Peter. You take these things in as a student—these moments of style, of language, of voice, of hope, of advice, of attempts that don’t pan out and those that do—and then, amazingly, sometimes, someone who doesn’t know you identifies the thing that you learned. And you realize, hey, I’m part of this trajectory. For me the larger arc is always about being in conversation with writers I admire—from Mansfield, to Baudelaire and 19th Century French writers, to my wonderful wonderful mentors and teachers. I don’t know if my work is any kind of evolution, but it’s definitely in dialogue.

 

MH: Do you ever play hooky (we hope you do)? And, if you do, what is your favorite thing to do when you take off suddenly, as in a dérive?

 

KK: I am famous for playing hooky from email and texts. I just go off grid. My friends don’t take it personally anymore, but they also know that if they leave a voicemail I won’t listen to it for a month. It’s the only way I get writing done.… The other way I used to “take off” was to surf. In Hawai`i, my roommate, who was also a colleague at Chaminade and a dear friend, would wake me up at 5am and we’d get a dawn session in before work. We’d rinse at the beach and then head up to campus. I remember one morning walking into class and realizing I still had sand all over my ankles. I miss those days. But I just bought a cold-water wetsuit so I’m going to try and recreate them in Washington State. We’ll see how that goes.

 

 

 

[1] Savage, Charlie. “Jeff Sessions Dismisses Hawaii as ‘an Island in the Pacific’.” The New York Times. The New York Times, 20 Apr. 2017. Web. 25 Apr. 2017.

[2] Walk, Ka`ano`i. KSOnline. Kamehameha Schools. Feb. 2014. https://apps.ksbe.edu/kaiwakiloumoku/node/606

[3] US Department of Education, National Institute of Literacy. 22 Aug. 2016.

 

Kristiana Kahakauwila

For me, the creative process—the act of writing—begins before I’m ever in front of a computer screen. I was on Big Island once, up in paniolo country, and I noticed how the grass, windswept, grew in arches. I knew as soon as I saw that grass that I was going to have to write it one day. The experience, the act of observation, is the first moment of writing for me.

Research is another part of the process. Research offers so much depth and context, not just for the work but for my own self, my own development. When I first set out on my novel project I visited a number of archives and museums—the Mission Houses Museum on Oahu, the Japanese Cultural Center in Honolulu, and more recently the Bancroft Library at University of California at Berkeley, to name a few. But then, there’s also the experience of just listening, of paying attention as my aunties and uncles talk story, or my parents recall when they were kids or first married. I love listening while my elders talk because then I’m the recipient of their creative process, of their storytelling.

One of the things I struggle with sometimes is turning the more archival research into fiction. I want to adhere to these details of history, but a novel needs to take its own leaps, craft its own worlds. When I moved to Bellingham my colleague and friend, creative nonfiction writer Brenda Miller, invited me to join her writing group. That group writes in timed intervals with some sort of “boundary” or rule set up—shortest sentences possible, a single long sentence. I found that these boundaries allowed my brain to work in different ways, to access different images or voices. My research, which I had conducted a year or two or three before, would return, unbidden, and an odd fact I had read—say, schoolgirls in 1899 rescuing their books from one side of their dormitory as the other half went up in flames—would suddenly become an image so clear it was as if I was recalling having been there myself. That was really freeing for me, and it helped me remember that the knowledge I have is integrated into me, waiting to come forth as needed.

Finally, I always remember how fortunate I am to be able to sit down and write. To come to the page to play with language, imagine, remember. I’ve been surrounded by stories (and great storytellers) since I was a kid, and now I get to join their ranks. I get to tell stories of my own. The creative process doesn’t begin and end with me or my experiences. Rather, I’m a part of a larger storytelling process that has shaped and inspired, and now leans its ear in to listen to me.

Kristiana Kahakauwila

Writer Kristiana Kahakauwila is of kanaka maoli (Native Hawaiian), German and Norwegian descent. She earned her BA in comparative literature from Princeton University and her MFA in Creative Writing (Fiction) from University of Michigan—Ann Arbor. In 2015-16 she was the Lisa Goldberg Fellow at Harvard University’s Radcliffe Institute of Advanced Study.

Currently an Associate Professor of Creative Writing at Western Washington University, Kahakauwila has also taught at Chaminade University of Honolulu and in the Low-Residency MFA at Oregon State University–Cascades. Before entering academia, Kahakauwila served as a writer and editor for Wine Spectator, Cigar Aficionado, and Highlights for Children.

Her debut book, This is Paradise: Stories (Hogarth, 2013), explores the natural and social environments of contemporary Hawai’i, weaving together multiple narratives that reveal the negative cultural and environmental impacts of commercialism and tourism.

Her work has been well-received and recognized. This is Paradise was a 2013 Barnes & Noble Discover Great New Writers Selection and was short-listed for the William Saroyan International Prize for Writing. Her next project is a novel, a multi-generational family drama that explores water and indigenous rights on the island of Maui. This novel traces the trajectory of globalization’s impacts in Hawai’i since the nation-state was annexed by the United States in 1898. Her works draw attention to the beauty of the Hawaiian people and landscapes while exposing the devastation caused by colonialism and capitalism.

Kahakauwila was the Jane Tinkham Broughton Fellow in Fiction at the 2013 Bread Loaf Writers’ Conference. She has also been the recipient of residencies from the BAU Institute at the Camargo Foundation in Cassis, France, and the Djerassi Resident Artists Program in California, among others. Recent work has appeared in Off the Path Volume II: An Anthology of 21st Century American Indian and Indigenous Writers (Off the Pass Press, 2015), GEO Magazine, Mission at Tenth, Kartika Review, and RED INK.

When she is not teaching in Bellingham, WA, she is likely back in Hawai’i.

Kristiana Kahakauwila

On the slopes of Haleakala, high above the health food store in Pā`ia and just below the paniolo town of Makawao, once stood the Wai`olu Girls Seminary, named for the stream than ran beneath the girls’ dormer windows, the water so cold they could keep a jar of milk beneath its surface for three days and it came out just as sweet as when they brought it down from Haleakalā Ranch. Not that the girls needed to keep the milk fresh, with the dairy only a mile away, and all the sweet, big-eyed cows to tease on the way. Mele used to stand on the kiawe fence and rub her thumb to forefinger, the sound soft as water on sand, and the cows would come, thinking she had fruit to give them.

At the school—where now The Retreat is built, with teak furnishings imported from Bali and saffron-hued mandalas painted on the concrete walkways—eighty-seven Hawaiian and half-Hawaiians (and one Chinese girl), ranging in ages from six to eighteen, were culled from families across Maui. An additional three hailed from Big Island, five from O`ahu, and one traveled all the way from Kauai to attain a fine ethical character, suitable for teaching or the strenuous duties of Republican motherhood. Indeed, the strictness of the girls’ schedule was part of their training, with Mondays devoted to washing, Wednesdays to choral rounds, Fridays to sewing, and Saturdays to bathing, when the entire school tramped down to the pools at Ka`ena. Sundays, of course, consisted of church and Bible study, though in the evening small domestic crafts such as lace-making or embroidery were allowed.

Where now, at the north east corner of the property, the Retreat’s heated infinity pool draws the eye to the horizon line, a goat yard once stood. Beside that was the makai wing of the school, with the first-floor kitchen and dining room overlooking the ocean, and the second-floor sickroom set at a distance from the main dormitory in an attempt to prevent the spread of disease. The mauka wing, with its windows facing the ascending hillside and the cloud-heaped summit of Haleakalā, was given over to instruction and a dedicated music room where the girls practiced harmonizing their hymns for a monthly performance at the haole church down the hill. The central hall that connected these two wings was dominated by a dormitory on the top floor and on the first floor an office beside the formal parlor, where Headmistress entertained guests, mostly members of the haole church who wished to observe the girls whose betterment they funded.

The school was built around a central courtyard that hosted sing-alongs and picnics, the main water-pump and, in May, graduation day. Hanging on the wall in The Retreat’s library you can see a photograph featuring the class of 1903, the first group to receive printed diplomas. The eight graduates sewed their own white holokū, trimming the wrists and neck in lace they stitched themselves, and wove the haku lei that wreath their heads. They pose against the wooden railing of the back porch or perch upon the steps, their knees folded gracefully together, their skirts a wall that reveals no curve, no suggestion of hip or leg. The wreathes highlight their hair, loose and wavy, and on their lips a smile arises. They could pose for a Waikīkī postcard were it not for those high-neck dresses, their hands chastely folded in their laps or tucked behind their backs.

Of the eight graduates, three are engaged to Lahainaluna seminarians and destined to become missionaries in the South Seas. They retain the zeal of the recently converted, and so will not recognize themselves in the natives of Kiribati or the Marquesas or Pape`ete, where they will be sent, the former to work with the London Missionary Society and the latter two to combat the evils of Catholicism in French Polynesia. Three more, including Mele, look forward to a September matriculation at the Normal School in Honolulu. The last have been selected as domestics. Pru is intended for employment by the Chapman Family, whose sugar cane fields fill the three miles of hillside between the ocean and the school and who are the most significant patrons of Wai`olu and its students. Beni will begin work in October for a well-known Honolulu family—a doctor, his wife, and their twins, one girl and one boy, only a year old at Beni’s arrival. She will raise them, feed them, love them as if she gave birth to them herself. After fifteen years with these children—her hānai, her heart—she will discover a rash on the edge of her earlobe and ask her employer, the Doctor, for a salve to calm the irritation. Instead, he will have her arrested on suspicion of leprosy.

In the photograph, Mele stands on the step above Beni, resting her hand on her friend’s shoulder. Mele’s is the only hand not hidden behind a back nor curled into the folds of a skirt, the only hand that seems to remember the gift of touch, of affection, of promise. Later, when the school burns, this is the hand that is scarred, the only human casualty in that whole awful conflagration. Pru, still angry at Mele for betraying her to Headmistress, will say the constellation of burned skin is a sign of God’s punishment. Headmistress—calm even in the face of the absolute destruction of her dear Wai`olu— will claim it’s a lesson, a reminder to Mele to think before she acts but always to act as she thinks God wills. And Beni, predicting the changes to come, how their lives are like canoes tossed by foreign winds, will say it’s a mark by which Mele can steer her life, as a navigator steers by a slash of stars in the night sky.

When next we read of Mele, it is not her name that appears but a mention of her hand. In letters collected by the Wailuku Historical Society and photocopied for The Retreat’s files, the Chapman women write that the “disfigured appendage” does not keep their domestic from being most helpful to them. She is their “dear girl,” their “little song,” a “regular aide-de-camp.” When, a year after her hiring, Mele runs away from the Chapman Estate, her abandonment practically breaks poor Mother Chapman’s heart. In a letter to her husband, Mother Chapman surmises, “If one cannot trust a Wai`olu girl, then is there hope for any of that entire race?”

The school’s reconstruction is completed in January of 1905. For the next thirty-five years it remains a female-only educational institution, until shortly after the bombing of Pearl Harbor when the property is enfolded into the Fourth Marine Camp and used as a military hospital. After the war it serves various purposes, as a co-educational two-year college and later as summer housing for pineapple pickers. But it falls into disuse eventually, until 2003 when The Retreat, LLC, purchases the property and renovates it, opening their holistic health experience in 2005.

When we reflect upon the photograph of the class of 1903, those girls seem lost to us now. Their home—the school—burned to the ground just days after the picture is taken. The missionaries’ journals turned to mush by the sea, and the blossoming educators forgotten in the turmoil of the 1909 labor strikes. Beni is the last to receive written attention, her medical records at Kalihi Hospital noting the impossibility of having her paroled and recommending she be sent to the colony on Moloka`i.

However, as any Hawaiian can tell you, memory lies not in medical records or archives, letters or diaries, not even in photographs, but in the land itself. Visiting The Retreat, you can dine beside windows that open over a sloping hillside of sugar cane fields still owned by the Chapman Family, the view to the ocean much the same as it was one hundred years ago. You may walk beneath the ironwood trees that line the drive and recall that these towering conifers—saplings at the time of the fire—escaped the same fate as the seminary building. Or clamber into the deep ravine beside the garden, where organic lettuces and herbs are grown, and wonder how, with the stream so slight, the girls ever fit whole bottles of milk beneath the waterline.

If, after a day of exploration, of comparing your own observations to that of the rich history dating all the way back to 1861, you fall asleep upon The Retreat’s linen bedsheets, you might dream you see a lantern hovering outside your window, or feel the pad of a finger running the outline of your ear, or hear a single watery splash as if someone has dived from a great height. If you let yourself, you might then dream of koa trees taller and thicker than ironwoods, and the heavy scent of sandelwood perfuming the air, and somewhere a tiny snail singing a melody that makes you thirst for water. You might dream all this, and more, and in the morning, unable to understand all these visions, let them slip away, one by one. And this is just as well. These recollections are not yours to keep. They belong to the place, are seeded in the land, and it’s the land that decides when the stories are released, and to whom, and what purpose they may serve.

Aurora Robson

 

Aurora Robson is an artist-activist working in wide-ranging media, though she is best known for her work intercepting the waste steam. Robson demonstrates the power of transformation in her work, repurposing plastic debris to create aesthetically powerful sculptures that draw attention to the issue of plastic pollution. Born in Toronto, Robson moved to Maui, HI, where she spent her childhood. She lived in New York City for over twenty years, where she earned a B.A. from Columbia University with a double major in visual arts and art history. She now resides in Hudson Valley, NY with her husband Marshall Coles and their two daughters

Robson’s work and ideas have been featured in Sculpture Magazine, WIRED, Art in America, Art & Antiques, on the cover of Green Building + Design, BBC News the Forum, and the Houston Chronicle, among others. She founded Project Vortex, a collective of international artists, architects, and designers working with plastic debris. She has also designed a college course titled, “Sculpture + Intercepting the Waste Stream,” which fosters interdisciplinary learning in both science and art, and encourages students to see how artmaking, environmental activism, and community outreach connect and work together, a course described in Robson’s TedxPeachtree talk, Trash + Love.

Aurora Robson’s awards include a New York Foundation for the Arts Fellowship in Sculpture, a Pollock Krasner Grant, a National Endowment for the Arts Art Work Grant, and a Ted/Lincoln Re-Imagine Prize. She has had solo exhibitions at New Gallery of Modern Art, Project 4 Gallery, Salve Regina University Art Gallery, Penn State Arboretum, Figge Museum, Franklin Park Conservatory & Botanical Gardens, Rice Gallery, and many others. Her sculptures and installations have been included in group exhibitions at Lumenhouse, The Ernest Rubenstein Gallery, Barone & Odom Gallery, Satori Gallery, Architecture and Design Museum, PPOW Gallery, and many other venues.

Aurora Robson

Mistake House: In your 2013 TedxPeachtree talk, Trash + Love, you explore the idea that every aspect of experience is worthy of appreciation, despite any perceived lack of value.  First, will you speak broadly about this concept of “attentive appreciation”? What is required, for example, to appreciate what seems valueless? What do you see as the benefits of this activity—ethically, creatively, humanly, etc.? And, in your view and experience, how does this process work? How does one move from dismissal or contempt to attentive appreciation and from attention to transformation?


Aurora Robson: People aren’t typically born with a great sense of appreciation for much of anything. We tend to transition out of a state of juvenile entitlement to a state of greater appreciation and wisdom throughout the course of our lives. This type of appreciation requires emotional maturity. Senses often develop over time, like a sense of appreciation for wine or art. As you develop tastes for new things, you develop a deeper sense of appreciation, which is very similar to the type of attentive appreciation I am interested in. The key for me is often factoring in the big picture— imagining myself in outer space peering at this solitary planet that supports life. I remind myself that no other planet has offered anything comparable. Making value judgments or creating false hierarchies is not appropriate—especially when we understand so little (as a species) about the actual mechanisms at play here in our vast, ever-changing universe. We are stardust with a temporary heartbeat.

 Acknowledging the highly improbable aspects of life alone helps me to establish an internal subtext of attentive appreciation, which in turn informs all subsequent day-to-day decision-making. When things seem valueless, I try to look at them from a different perspective. From the viewpoint of a fibroblast, a lemur or a grain of rice, for example. We reflect our surroundings. Why do I perceive this particular item or experience as without value? Who or what does this serve? Sometimes the value is not evident at a given point in time, but reveals itself slowly, and is often surprising. Searching for an answer over time breeds humility, which furthers a sense of appreciation—like delayed gratification. I see this as intentional postponement of joy to help develop one’s own sense of appreciation. A heightened appreciation makes life more enjoyable. We don’t need as much in order to experience bliss if we appreciate more of what exists around us. It is marveling at the everyday, reaching through the veil of the mundane which enshrouds us to keep us behaving as if we are “sane.”

 Sometimes, I have to physically move myself to a different location (or point in time) in order to recognize the inherent value in all that exists. All that exists has value—which at some times is very difficult to see. Slowing down helps. Engaging with the seemingly valueless item or experience in as many ways as possible often reveals its hidden significance.

 Our existence is the most valuable experience we are sharing right now. Just breathing is a great and miraculous thing. Always something is far better than always nothing—and adopting this type of stance is beneficial to all life on earth. With a greater sense of attentive appreciation, behaviors that are not sustainable or harmful quickly become distasteful and counterintuitive.

This approach seems to facilitate spiritual, intellectual, and creative growth and is highly healthful and surprisingly addictive. It is like a lens that helps you see things for what they are, a gift. Most things that are addictive don’t offer such positive consequences. Imagine an eye you didn’t know you had slowly opening, revealing joy to help you overcome the dissonance that permeates our consciousness through our often spirit/mind numbing daily encounters.

 

MH: Regarding the nuanced awareness you bring to trash in your sculpture, what do you think happens to the value of waste when it is collected, transformed, and added to a larger installation?  By changing its structure, color, and purpose, how does its inherent value change?  Do you think that your art reveals that waste has value, or imbues waste with value?

 


AR: Art and garbage are polar opposites, yet they are the two things we leave behind on earth. Once transformed into art, debris becomes the antithesis of itself. That doesn’t commonly happen with material. Most people agree that the greatest value is not in things, but rather in love or related actions. When we cast aside our biases (in terms of material in particular), we see debris for what it really is, displaced abundance. It is a viable resource. It is more suitable for sculptural applications than many materials are. Plastic debris has“plasticity” built into it. It also has archival integrity built into it. From an environmental standpoint, this design flaw is catastrophic, but from an artist’s perspective it makes the material worthy of greater exploration.

 I like to think that my work reveals the inherent value in this material. Many people don’t realize that petroleum is the primary ingredient in most plastics. A recent Columbia University study states that there is enough plastic in US landfills to fuel all the cars in Los Angeles for a year.

I explore a lot of “why nots” and “what ifs” in my work. Revealing inherent value is part of my hope, but I also aim to imbue it with value by virtue of ingenuity, craft, attention to detail, creativity, love, and patience. These are things you can’t place a price tag on, but are far more valuable than matter, from my perspective. In the end, it is immaterial to me, and much more about a meditative practice of transformation. It is about establishing value where it ought to have been recognized in the first place. Plastics have been too cheap for too long; the real cost is catching up to us. The MacArthur Foundation recently released a study projecting that by 2050, there will be more plastic than fish in our oceans. This should alarm us because not only are most plastics toxic, they are also being ingested by plankton. Plankton are responsible for roughly 50% of the oxygen in our atmosphere. So, how does that impact climate change predictions? Water temperatures and acidity levels? The delicate balance of our entire ecosystem could be shifted by our careless handling of this seemingly innocuous material. Plastics, whether in our everyday items or in our art, need to be handled and priced appropriately so that we can collectively circumvent yet another road towards the imminent demise of our ecosystem.

 

MH: Your piece entitled The Great Indoors mimics the inner and outer structures of the human body through the use of plastic bottles.  Many of your other pieces utilize organic forms and idiosyncratic designs, suggesting a natural composition despite the artificiality of plastic.  What is the significance of portraying organic structures through inorganic materials that—in reality—harm organic structures, such as plants, humans, and the ocean?  Do you feel your artwork dispels or embodies this ironic relationship?

 

AR: Roughly 92% of all seabirds have plastic in their stomachs. Humans are walking around full of trace toxins due to our constant contact with plastic. Polyethylene terephthalate is particularly bad (the clear bottles) in terms of its widespread use for beverages. Bisphenol A got a lot of bad press about a decade ago, so now we see many bottles advertising that they are “BPA free,” but BPA has been widely replaced by BPS, which is potentially even worse in terms of toxicity. The FDA does so little to protect us. Our fears as a society are painfully misdirected. Stacks of water bottles bake in the sun outside of grocery stores across America, photo-degrading and leaching toxic chemicals into drinking water, which we then pay a premium for. At the same time, we pay taxes so that we should have safe drinking water from our taps. Plastic particles are finding their way into the food chain, our water, and, if the trajectories don’t shift, will subsequently compromise the balance of our atmosphere.

 The Great Indoors was a reflection on plastic pollution and the need to take action as a society. I was thinking a lot about the myth of interior vs. exterior. Of the otherworldly organic forms inside us at a cellular and microscopic level and how they correspond to astronomically scaled phenomena. We are part of this system and there is only a very thin membrane between us and everything else. If we continue to make art that honors nature while harming nature (using more virgin resources than not), we will eventually find ourselves restricted to simulated natural settings. I hope my artwork embodies this ironic relationship while inspiring more people to take decisive action to reduce their plastic footprints and help restrict the flow of plastic to our waters, or do something to actively engage in sustainable practices.

 

MH: Is there something about the word “natural” that we need to rethink? Or, does your art practice embody a grief or informed nostalgia for a natural world that is undergoing escalating harm—and, even more so as the concept of climate change has been denied by those in political power?

 

AR: The word “natural,” to me, is something I think about mostly in terms of our habits. I think it often comes naturally to people to do things that are self-destructive. When we are motivated by fear, we behave self-destructively. I am interested in helping people develop the opposite behaviors in terms of what comes naturally, being motivated by love instead of fear or anything else. Learning to love that which we hate is an exercise in leaning into our discomfort. Hopefully we all know the benefits of that type of exercise by now. If we think about how plants grow in the direction that is most beneficial to them and follow suit, we’d be a lot better off. Let it become natural for us to do no harm to ourselves or our planet. Let it become just part of what we do, like brushing our teeth. Keeping our waste out of the environment doesn’t seem like it should be beyond our capacity as humans.

Both the arts and the sciences are under attack under our current administration. I wonder if this will inadvertently unite the two sectors, encouraging meaningful productive action and unprecedented dialogue. Perhaps sharing limited resources and tapping into each others’ respective skill sets will result in more sustainable courses of action. Perhaps this will inadvertently unite the two sides of the brain in a way — allowing us as a species to use both hands.

I don’t think of my work as nostalgic at all. I like to think I am on the forefront of a way of practicing that will become more sophisticated as future generations develop better sustainable practices. I am focused on how art can be of service in a changing world that relies, in part, on visionary thinkers using their specific skills to help envision and create a sustainable future so that the platform for all forms of human activity can remain in tact.

 

MH: Your not-for-profit organization, Project Vortex, unites “artists, designers, and architects actively working with plastic debris,” provides on-site resources in the interception of waste streams, and “[raises] awareness” regarding plastic and waste pollution.  How do you navigate the relationship between art and activism?  What advice would you give to students and professionals dedicated to social change and the betterment of humanity through the arts and via interdisciplinary relationships, such as the ones formed through Project Vortex?


AR: To me it has to be art first. The development of Project Vortex has been a slow labor of love. As time passes and I understand more about the nature of the plastic pollution problem and discover others around the planet persevering in terms of the innovative work they are doing to address this issue, I see a greater need for the network to form, develop and grow. My hope is that it will provide support for all participants, as well as serve as a potential resource for academic institutions around the globe who are interested in developing more sustainable curricula. The PV members can be thought of as potential partners for academic institutions and conservation groups who can assist in the implementation of sustainable art and design programs and courses, which could in turn help alleviate the strain plastic pollution is having on our planet.

 

MH: In your TEDx talk, you shared experiences related to the three-week intensive course you taught at Mary Baldwin University entitled, “Sculpture + Intercepting the Waste Stream.”  Because the students wanted to find the best materials for their soon-to-be art projects, the river cleanup transformed into “a treasure hunt.”  Do you think that exercises like this—ones that require seeking beauty and potential in discarded waste—help individuals develop empathy and curiosity?  Do you see potential for this philosophical approach in other academic fields? How might this idea of discovery, reclamation, and transformation be applied beyond plastics to other concepts or situations?

 

AR: Since the first implementation at Mary Baldwin, the course has been tested at many other academic institutions—each time with astoundingly positive results. When a student slows down and approaches something this problematic or unpleasant one component at a time and factors in everything that can be done to make trash into its polar opposite, they start to develop a sense of attentive appreciation. It becomes less overwhelming and more mesmerizing. You spend time cleaning, shaping, sculpting that singular bit of trash, and you realize you are doing the opposite of that which has brought this nightmarish problem to the forefront. If the material were handled with greater care by more people around the world, it would cease to be a problem. You are suddenly part of a complex solution to a widespread complex problem that will ultimately affect every living creature on this planet. It becomes monumentally life changing for some people. Empathy, accountability and curiosity are only a small fraction of what students often come away with.

 Academic exercises are usually somewhat insular. They often don’t yield real world results, which many students deeply crave. People in their late teens and early twenties are looking for ways to engage in topical issues that are effective. Academic institutions have a tendency to become bureaucratic behemoths that aren’t designed to mirror the fluid changes in societies or actively engage students in creative problem solving. Giving students an opportunity to have impact on the world outside of academia is like creating a bridge.

The sense of accountability and ownership that results from seeing your effort result in value can’t be measured but I suspect students desire and deserve those kinds of opportunities. This course is cross-disciplinary in nature thus encourages proactive dialogue between the arts and sciences. Such convergences are most fruitful in terms of solving environmental and societal problems. I am certain that a culture of creative stewardship can be developed through academia with widespread implementation of this course or variations on it.

When a clean up becomes a communal act and a treasure hunt for art supplies, students enjoy becoming educated stewards of the planet and engaging with their communities in a meaningful and productive way. They start to see problems more as opportunities to find solutions. They develop a keener ability to recognize potential and opportunity. Biases fall away as the students lean into their discomfort (working directly with debris), by working as a group. This creates an interesting aspect of competitive transformation, thus heightening the caliber of work tremendously. Plus, there is the added pressure of public display with an auction at the end to support local conservation efforts and future implementation of the course.

 It is designed to bridge the divide between academia and the real world through a practical engagement that is highly relevant and timely—especially when budgets for art supplies at academic institutes are being cut and funding for sciences and arts are being restricted. It is a cost effective approach with lasting effects on students.

 In terms of other materials and how this type of course could be applied, it isn’t really about the material at all. It is about intercepting waste in general, so that as the population continues to grow, we don’t continue to cover the surface of our planet with waste and choke life out. Working with what already exists I think is how creatives will serve humanity in the future more and more. Mining the earth for limited resources is simply not sustainable, innovative or necessary.

 

MH: Several of your installations are very large—some spanning over one hundred feet long—and all of them are suspended above the ground.  In your TED talk “Trash + Love,” you discuss that this curation choice quite literally exalts the perceived waste into an object of wonder that forces observers to look up, thereby inviting “receptive, reflective, and optimistic” thought in response. Your art also comes from landscapes from recurring nightmares you had as a child.  Would you describe your art as uncanny, or sublime?  Do you find that the expansiveness, looming structures coupled with the playful color palettes and soft curves both inspire wonder and instill fear?  And, if so, what is your sense of the value of both wonder and fear, especially in terms of the kinds of attentional processes and transformations your process and work embody?

 

AR: I like the words “uncanny” and “sublime” with regard to my work, but I would never call my work that. I put it out there and hope that it is received with a combination of results according to each person’s needs. I hope that it is received like a good book, giving people an opportunity to hear their own voices speaking to them through the words that I have written, but with their own inflection and inference. A good book is a different book if you read it again three years later. We are changing and need to listen to our own voices through art and literature at intervals. I only want to make work that creates space for reflection. 

At a glance, most people don’t realize the work is made of debris, so they get an “Aha!” moment that I love to provide—a certain degree of waking up and wonderment needs to take place in order for people to change their values and perspectives.

The proliferation of plastic debris and its negative impacts on the environment also serves up an aspect of abject horror. In my work, I am subjugating the negative aspects of my childhood recurring nightmares while retaining their structural qualities. I do this as a personal meditation on positive transformation that serves as a great metaphorical basis for the global environmental dialogue I am engaged in. The nightmares I had, it turns out, are very common in children the age I was when I had them. I learned this from doing a series of lectures with kids in 2-4th grade classes a few years ago, in which I showed images of some of my paintings that illustrate the all-encompassing nature of the nightmares while maintaining their formal/structural qualities. About 1/3rd of each class said they had the same nightmare. I was surprised to learn that these are actually very common stress dreams in children. One little girl came up to me and gave me an unsolicited hug while she said; “Thank you for making me not afraid to dream anymore.”

That said, my goal is not to instill fear, rather wake people up in a loving way to the profound impacts and consequences of our seemingly insignificant decisions. I try to create a positive space for people to actively engage in productive dialogues around issues of value, perception, and consciousness. I think about wonder and fear in contrast to being oblivious or careless. The average person in this country thinks all they have to do is throw their plastic bottle in the recycling bin and carry on with their grossly consumptive habits. Without the art, understanding the breadth and scope of this problem would only result in apathy and depression.

 

MH: You work with a team of artists to create your work. How do you think this feeds your creative process, having others to help you put your construction together? Will you talk about the value and process of collaboration and of the various kinds of roles that your studio assistants and other artists play in this process for you?

 

AR: The best thing for me is when I am in the process of creating sustainable art that sustains me and as many others as possible. I love being able to feed other artists through sustainable art practices. I love hearing other perspectives and approaches to solving any given problem that arises in the studio. I am flexible, but my work is very labor intensive. Working with crews is very different from working alone. I love both ways of working for different reasons and try to balance out the two so that I can sustain both. To me, any day I get to work in the studio either with a team or alone is a great gift.

Some studio assistants are best at hands-on fabrication, while others are best at helping organize the chaos of debris we work with, or helping source and collect specific types of plastic debris. Some are best at cleaning it, sculpting, assembling, welding, or helping develop systems. I like working with different people from different cultures and backgrounds, so visual communicators are always helpful to have in the studio. I have been very lucky in terms of studio assistants over the years. My main assistant Marina Litvinskaya has been with me for 10 years on and off, mostly on, and she is like a part of my family now. People like her, who take pride in their work, appreciate craftsmanship, pay attention to details, are sensitive, rational, playful, and have good taste in music and literature, a sense of humor and innate ability to focus on attentive appreciation every day are invaluable beyond measure. My husband Marshall Coles has been my other constant in the studio and on installs for a decade now too. I can’t imagine doing my work without his sensitive critical intelligent input.

 


MH: You’ve drawn attention to the dichotomy between trash and art, two examples being that “art is the opposite impulse of throwing something away” and that “plastic is a global nightmare and art is a global language.” Yet within your work there’s a harmony between the longevity of trash and the lasting impressions of art. Can you expand upon the “mediation” between these contrasting ideas?

 

AR: I think of my job as a mediator in many ways. I am interested in exploring unifying dialogues through my work so that I can somehow be of service. I see art as a possible bridge between socioeconomic and cultural divides. It can provide people from vastly differing perspectives something to agree upon in some way, thus creating a subtext of harmony and peace to build upon. I look to create equalizing indisputable platforms designed to support harmonious existence and dialogue by taking seemingly disparate ideas or juxtapositions of opposites (waste and art for example) and merging them in ways that both retain their essential aspects, while revealing complementary unions and shared potentialities. My practice is a form of anti-discriminatory pattern recognition.

Plastic debris is constantly moving in the wind and water and morphing at its source—designs for bottles and containers constantly change and often for no apparent reason other than to keep designers employed—I marvel at how frequently new cars and cell phones are designed. So much pointless redesigning of products that were perfectly well designed in the first place is happening everywhere. Addiction to this “freshness” is highly addictive and extremely problematic. Consequently, there is a vast, complex treadmill that imprisons us in a constant state of fear-based comparative analysis and competitiveness that is often more damaging than simply disengaging from it would be. Liberation is akin to alienation.

Once displaced abundance has ceased to fulfill its initial purpose, I approach it pragmatically; I attempt to use visual communication to breathe new life into it by configuring it to reveal formal qualities of life forms and reference my childhood nightmares. I incorporate structures found in natural, living forms. Studying formal qualities that constitute a particular living organism and imbue this deadly, problematic, highly invasive, lifeless material with those qualities, rendering it peaceful, harmless, and, ideally, even inspiring—despite its toxic nature. In this way, I aim to shift the trajectory of the material that is headed downward, into the waste stream, so that it arrives at a completely different destination. While the initial purpose of the material has expired, the utility has not been exhausted by any means. I feel I have barely scratched the surface of what is possible with plastic debris as a primary medium, but if it were to suddenly become a non-issue in terms of its detrimental effects on our environment, I would lose all interest in it, and move onto another problem to solve through art.

 

MH: Your sculptures have an otherworldly quality to them, though they are made of and rooted in things of this world. You’ve also mentioned in previous talks and interviews how your art, at least initially, has stemmed from your nightmares. How do you explore this space between the world we inhabit physically and the world we inhabit mentally?

 

AR: The nightmares that terrified me as a child have since become my fodder. They’ve served me very well—I wouldn’t have my practice if I weren’t plagued with them as a child. I suffered because of them, but now they serve me, which is kind of like falling in love. It hurts a lot sometimes, but has the potential to work out quite well. Plastic pollution is a highly disturbing phenomenon, but it too reveals great potential for all sorts of interesting applications, including providing a mobilizing force to potentially unite artists, scientists, academics and conservationists and for helping people tap into a deeper subset of creativity which could have incredible results for our collective consciousness.

I usually listen to information during the morning—while I work. I try to structure my days so that the mornings are spent working while learning about current scientific inquiries, political events, literature, history, news, or pop culture, and then the afternoons are spent with music, so that I can process, filter, digest, and distill whatever (often disconcerting) information I ingested earlier in the day. I try to explore the space between the mental and physical without distinguishing or compartmentalizing the two. In my mind they are not in fact disparate, rather part of the whole, like the breath and the body and the spirit. They are best experienced together.

 

MH: The knot-like, choking nightmares you’ve formally drawn upon parallel the experiences of many creatures that come to contact with waste, like sea turtles becoming trapped in plastic netting. Will you talk about the use of metaphor—or other kinds of associative trope—as an effective means of developing insight, empathy, and—subsequently—compelling creative concepts?

 

AR: The parallels were not intentional. I didn’t set about to work with plastic debris because I was conscious of the gyres of plastic choking marine life. I stumbled upon this issue by being open-minded and entertaining the possibility I saw in the material as it littered the streets by my old studio in Brooklyn. When I learned of the gyres of plastic in our oceans and the grave consequences this material yields, I noticed the correlation between the formal qualities of plastic pollution in our waters (tangled knotted chaotic shape shifting messes) and my childhood nightmares. I took that as an indication that this might be an appropriate course of study. This focus is familiar to me because of the nightmares. I overcame the childhood nightmares and haven’t had them since I was a kid. This may be part of why I have a sense of not entirely optimism, but not pessimism, when it comes to helping solve this daunting environmental crisis.

 

MH: Let’s talk about realism and representation, an issue that arises in both visual art and in poetry- and fiction-writing. Regarding the simile between, for example, nightmares and the ocean-born hazards that sea-turtles face, you actively bring awareness to the problems waste makes for the organic world, yet your work doesn’t often represent organic forms realistically—the closest being Plant Perception (2014) and The Great Indoors (2008). What are your reasons for intentionally distancing your art from the recognizable representation of living species, for using organic-seeming but nonobjective forms instead? Can the inorganic and organic not be joined because that would suggest a harmony that doesn’t exist in the environment today?

 

AR: That is an interesting conclusion, but I don’t think of it that way at all. I am not trying to be didactic or emphatic. I often find representational work to be confining and limiting. I make work that I like to look at or be around. I often have to live with my work for quite a while before it finds a permanent home, and since I enjoy space for both interpretation and revised interpretation as time passes I try to provide that to others. It is an attempt at sharing the liberation I experience in the studio. Work that references something on a cellular level later on reveals astronomical aspects as we learn more about our universe and deepen our understanding of the shapes of things that are out there and currently exceed our capacity for measurement. Intellectual and spiritual growth allows for entirely new readings of work when it is suggestive as opposed to emphatic. It isn’t a painting of a puppy, but it has puppy-ness—that is what I find interesting. Indisputable essence devoid of delineation. Let the viewer find what they need at any given time, so they have an opportunity to reflect. I want to create familiar, yet non-specific experiences for the viewer because those types of experiences benefit me.

 

MH: As of this moment, you’re combatting waste in two major fields: that of artistry and academics. Will you discuss your approach to teaching and academic programs? Would you say your academic programs are “intercepting the waste stream” of thought? How have you seen students’ thought develop through the course?


AR: Recently, a student from an implementation a few years ago reached out to me to ask if she could use the techniques and methodology she learned while taking the course to create a large-scale installation of her own and I was ecstatic. I really hope to make this type of approach commonplace in my lifetime. I like how you put it—“intercepting the waste stream of thought”—that is very compelling to me because I look back upon my days in college and remember thinking so much about so many things and feeling it would have been nice to have more of those thoughts put into action, not wasted on an essay that gets graded and then fades away.

My approach is developing and changing, even as I type these words now – possibly because I haven’t found a satisfying method yet for encouraging widespread implementation.

 

MH: In your Tedx talk, you mention the phrase “perceptions of matter.” Matter can imply that which is physical and tangible or that which carries importance. In your view, how does the artist or writer—the creative worker—most effectively use the materials at hand (the “matter,” whether plastic, paint, or words) to evoke “the matter at hand” (the significance or substance of thought and experience).

 

AR: Choosing your material wisely while recognizing that it isn’t the material itself that matters, rather our relationship to it that matters. It is how we treat matter (or words, or each other) that reveals the important truths worth sharing. Our suffering isn’t interesting in and of itself. It is our ability to navigate through suffering to a state of bliss and finding a vehicle (or material) that enables us to proceed with grace—be it stone, marble, text, dance, plastic debris, whatever—that is essential. It is in our intimate handling/engaging with material where aspects of the “matter at hand” that are worthy of contemplation become revealed. To me, the best art is about revealing, not concealing or subterfuge of any kind. To me, there is no better way to reveal than to get past our preconceived notions of hierarchy and just commit, commence. Begin again and again and again.

 

MH: Your work is physically present for viewers, entangling them within the many spirals and lines of the plastic while emphasizing the importance of fixing the problem of waste. But what about the spaces the waste does not fill? How do you manipulate emptiness in the context of your work? What is the value of emptiness?

 

AR: Negative space is a device I use only sparingly. It is a compositional tactic that serves commercial artists very well, as it is incredibly pleasing to the eye. I am currently focusing more on the issue of hyper abundance—displaced abundance, which doesn’t allow for much indulgence in terms of emptiness. However, it is interesting because the diaphanous blobs in my childhood nightmares emerged from the negative spaces in these knots, so in a way, they are integral to the work.

Even remote deserts are littered with plastic debris, so playing with emptiness and negative space seems overly indulgent to me somehow. As above, so below. Emptiness and silence personally provide me with respite, and I enjoy them in my life, but I don’t think that my job entails providing that for others at this time. Although, I am sure that (like everything) will change over time.

 

MH: Much of the plastic you use is from plastic bottles, which aren’t usually vibrantly colored, but your art is rich and vibrant with hues. How does your use of color reflect your voice and express the message of your work? In terms of the conceptual significance of your work, which we have discussed at length here, what is the significance of color?

 

AR: I am jealous of the mantis shrimp. They see more colors than any other living creature, yet what is it they are doing with that visual information? They are violent tiny creatures in an artless society under the sea. I love color. I love playing with color. It is like an endlessly enjoyable toy to me. I can resist it sometimes, but often don’t see the need to. I think the surprise moment of realization when a viewer becomes aware that what they are looking at is actually made from plastic garbage is so important; which is why I often use color as a device to further distance the material from its original state. Once airbrushed (with non-toxic environmentally conscious paint) a piece of trash can be fully transformed and totally divorced from its previous state.

 

MH: We are interested in the discussion of “shifting perception” for the audience who views your art so that the concept “trash” is completely removed from the viewer’s thought process. Given how colorful and vibrant your sculptures are, do you select certain colors by specifically trying to alter a perception or enlist your audience in a particular way?

 

AR: Sometimes it is very specific—like Pulp Fiction, which was made from Tropicana bottles after they switched to plastic bottles (and incredibly thick bottles at that). They started selling us less juice for more money in these super durable bottles that are designed to last essentially forever. This warranted an orange colored sculpture of course. It is nice when not resisting temptation does no harm. I anticipate that often, the sculptures will be in direct sunlight for many years, and while the plastics I work with take hundreds to thousands of years to photo degrade, the paint will fade over time, so in anticipation of fading I will often start more vibrant than I would otherwise. I hope these suspended sculptures eventually become like ghosts and remind us of our frivolous times past in a loving hovering way so we don’t continue to make the same mistakes.

 

MH: In a previous interview, you mention the Chuck Close quote posted on the wall in your studio, “Inspiration is for amateurs, the rest of us show up.” You mention that you do not give into the notion of hitting a “block.” Can you speak to the ways in which your consistent creative practice and work ethic enables you to keep moving forward? What kind of methods or states of consciousness do you draw upon to keep yourself “showing up” even when you aren’t feeling inspired?

 

AR: I think my work ethic stems in part from resisting the life of an artist for so long. I was so terrified of being poverty stricken and alienated. I didn’t want the life of an artist. I wanted to be an engineer or a marine biologist or an architect. I wanted to design and build bridges. I wanted a simple, peaceful life with health insurance and benefits. In college, I swore I wasn’t going to indulge in art. But then, I took one studio class, and then another, and then I was hooked. There was no escape. Carl Jung said “What you resist persists,” and I think that applies to so many things in so many ways. Sometimes, you need to resist in order to find your passion. I finally succumbed and by the time I did, I knew for certain that if I did anything other than art with my days, I had zero chance at personal fulfillment, which would likely make me a burden on someone, if not society as a whole. I knew that if I at least tried with all my might to find a way to sustain myself (and now my family, too) through my art, there was hope for me. I am determined because I know from experience that giving up is easily the most boring option. You are what you do and I have no intention of being an imposter. I also think there is validity to accepting your practice for what it is, even if on some days your output isn’t stellar.

 

MH: In this same interview, you stress the importance of “developing as many skills as possible before launching into a full-time [art] practice.” Can you expound on the skills you developed prior to becoming a full-time artist? In what ways do these skills specifically inform the work that you do now? This may be a question that only students would ask, since we are imagining the future as working artists and writers, but how do these accumulated skills grow and transform over time? What can the serious student expect to encounter in terms of inventive growth—and not just reproducing the same forms over and over again?

 

AR: I did so many different jobs—things ranging from sous chef to dog walker to welder to scenic artist. I was a waitress, a bartender, a hostess, a graphic designer, an art director, and a set dresser. I did props for a TV show. I did hair and make up for a fashion photographer. I did antique restoration. I worked at an umbrella factory as the head of the art department. I took each job very seriously because I needed the income and I really like to push myself to see what I am capable of. It is so weird waking up every day in this body and getting to try new things. It never ceases to amaze me that the days keep coming and it is still me in this body, with my ever increasing life experience shuffling itself between the foreground and background of my consciousness. The ways these random jobs serve me now as an artist are still being revealed. Working as a bartender taught me how to interact with people who are behaving badly in a productive and calm way. It helps me in art contexts quite often. The work I did as a scenic artist and art director helps me plan and design exhibits to scale. It is very useful to know how to make a scale model and, and in my opinion, every artist should develop this skill set. The work I did as a graphic designer helps me create my own presentation materials/online etc… The more you know, the more you will be able to be independent, and most artists gravitate to art because of the independence that it offers. The freedom of being solely accountable for all the decisions pertaining to your practice is the ultimate freedom, but with that there are, of course, many consequences to consider.

 

MH: You mention in several interviews that the notion of “transformation” is an important theme in your work. To what extent do you depend on your inherent sensitivity as an artist and an activist? Do you see a relationship between sensitivity and self-transcendence?

 

AR: To me, sensitivity is strength. But it means you need protectors, too. It isn’t like a switch you can turn on and off—it is a constant that can be as crippling as it is empowering. It also helps you recognize subtle nuances or aspects of existence that need to be made visible for discourse. Artists as humans with heightened sensitivities can serve by helping identify and make visual these murky aspects of our consciousness that are worthy of discussion. You have to be sensitive in order to identify these things in the first place; and you have to notice and trust yourself if you suspect you have found something of cultural significance. Exploring with great sensitivity often reveals more than simplistic broad strokes. To share a real sense of anything, you have to develop your sensitivity. Once you do that, honing your skills so that you can develop and use your own visual language becomes much easier and you can start to dance in that space.

 

MH: In an interview, you explain your perception that “used objects contain historical energy.” To what extent is your sculptural work in dialogue with that energy? Do you feel this energy transform as you alter the objects for the sake of your work? Do you make specific choices about how you use a particular object in response to its historical energy?

 

AR: I empathize with debris. I know there are stories embedded in this material that I will never have access to. Consider the anonymous person who selected a bottle of dish soap 30 years ago that washed ashore on a distant beach after being tossed about by ocean currents and carried halfway around the planet. There is poetry and sadness and loss inherent in the material, but also seduction, utility and desire. That bottle was once the chosen one, shiny and new. Allowed into the person’s home and given real estate there. A spot on the counter or a few inches on a shelf next to who knows what. Maybe it was a famous person who owned that bottle of dish soap—or maybe it was my grandmother. There are no indentifying marks, there is mystery. Was that the brand she bought? So many stories are lost and found, resonating in the objects that litter our landscapes and suffocate harmless, defenseless, innocent creatures that share this ecosystem with us. Each bit of debris has a rich past, has traveled through many hands, hearts and homes. It is so personal, yet impersonal. Understanding that energy can not be created nor destroyed, but can only change forms leads me to practice moving energy around until it finds a position where it can serve a purpose and hopefully do no harm.

 

MH: You’ve mentioned in interviews that you read a lot of Buckminster Fuller. “Bucky” Fuller was an incredibly important and prominent thinker during the last half of the 20th century, who is perhaps not considered as widely today as he should be (although the Buckminster Fuller Institute extends and perpetuates his thought). Will you talk not only about how his ideas have impacted you and your work, but about why Buckminster Fuller’s ideas should be revisited and given more attention now?


AR: I think this quote says it all:

“Pollution is nothing but the resources we are not harvesting. We allow them to disperse because we’ve been ignorant of their value.” – R. Buckminster Fuller

 

MH: You’ve mentioned that you feel art making becomes simply “luxurious frivolity” when the art-maker does not have vision. You also stress the importance of not contributing more “stuff” to the world and your work is a testament to this value, as your transformation of plastic waste as a medium is clearly in line with this ideal. Could you more explicitly explain your view of luxury vs. necessity in terms of the current art world and perhaps offer any ideas or solutions you feel the contemporary art world should reconsider in light of where we are in human history? Are there artists (such as Thomas Hirschhorn or Spencer Finch, perhaps) whose work aligns with your ideal?

 

AR: There are many artists whose work aligns with my ideals—too many to mention here. I am highly addicted to contemporary art. I may have misspoke though, or changed my perspective since then. I think art is both a luxury and a necessity. Things, like people, can be conglomerations of opposites simultaneously. I think it was Jean Arp who said; “art is a fruit that grows on man,” and we need balanced diets in order to sustain ourselves. Fruits and vegetables are both luxurious while they are nutritious and essential to our diets. We need and love art or else we will suffer from some kind of cultural scurvy. A society without art and culture is not a society; it is something else. Fresh fruits and fresh art offer essentially the same benefits. We can develop tastes that serve us instead of destroy us. It is just one of many paths to heightening our sense of appreciation and recognizing our inner wisdom.

 

MH: Do you ever play hooky (we hope you do)? And, if you do, what is your favorite thing to do when you take off suddenly, as in a dérive?

 

AR: Of course! Dancing to music at full volume is one of my favorite ways to play hooky. It helps me process and relax. I also love to sing, cook, and garden. (Growing fruits and vegetables is so much fun, especially with kids helping out). I love sunshine and animals. I love to play anything with my daughters (9 and 5) and I love practicing yoga. I love being in or near the ocean. I love hanging out with old and new friends. I love a well-crafted cocktail. I love traveling and discovering new music. I love trying new things—last winter I tried snowboarding for the first time with my 9-year-old. I love long hot bubble baths resplendent with candles and a good book. I seize all opportunities to snuggle with our pets, our kids, and my incredibly patient and supportive husband. I like to play frisbee, make fairy houses with my daughters, be barefoot in the grass and on sand, to swim, to go roller skating and running. I love to play Bananagrams and watch movies. I love stand-up comedy. I love people who make me laugh. I love absurdist humor. I am very curious and never get bored. And I like to play a lot. Almost as much as I like to do my work—but not quite.

 

Bug Poem

They swarm, head high
when I’m standing,
mid-air above sapling, golden,
they hover like ashes
the heat of a fire floats
and deck in and out
of sun beam and tree-shadow
burns through the pines
reflecting off the water,

and I think this is what love looks like.

A thousand floating bugs
on the edge of the water,
unconcerned, detached
from the bird and the cold,
silent everywhere
except for the hum
of their wings,
and the lap of lake-wave,

loop, spin,

move three square inches to circle each other again.

Peaked Saint

If your walls could talk
I would beg them to stay silent
like I have tried to be.
If they could hear
I would have asked for boiling pipes,
so desperate to fight the pain alone,
all I needed was water
a degree hotter than my cheeks, steam
to sooth my contracting tomb
squatted as close to the drain
and the spout, gripping ceramic walls.

Not everyone dies a bloody death.
Not everyone’s redemption
means the bloody death of their child
in a lukewarm pool.
At least you fell from me
and in to the water,
baptized in front of the soaps
while your father watched television
in the next room.

Heaven will accept you,
a peaked saint, frail and flushed flesh,
a malleable blood lump
missing a beating heart or blood pump
my fingers forced down the drain,
forced to stay silent, a missed carry,
a tiny abomination in the water, sacrificed.

Innate Value

You are valuable, and I’m able to see your value from any angle. People have become blind with insanity because no one lives in sanity where you see the sanctity of a soul. We don’t see the depravity in our audacity to have a mentality that treats humanity as vanity. We don’t understand the innate value in the human anatomy as we elaborately think of ways to make someone live in agony. I just agonize over advice that will advise you to analyze the things people comprise, because that implies that we should surmise the value of a person from the content of their supplies. Or we turn to education and intellect to select the importance that someone warrants. We can’t forget to mention performance is often reported as being able to determine if someone is important. Because if you don’t have some sort of ability for an active activity or possess the capability to display creativity in music or art, you’ll experience much futility because you’ll been thrown into captivity of being labeled insignificant. I won’t fail to comment on the militant social structure that young people are so vigilant to continue to implement. Teens think the popularity of their friends is obviously an indicant of if their lives are significant. We won’t stop there. This list wouldn’t be legitimate if I didn’t add to it the amazement of achievement which has a worldwide agreement to be sufficient appeasement for deeming the value of a life as decent. And to top it off, if you’re not considered physically alluring, I assure you that few people will reassure you that your life measures a value beyond that of treasure. I don’t take pleasure in making a lecture on all the pressure the world puts together. I hope you see this as a loving gesture that suggests you’re no lesser of a human whether or not you’re a possessor of whatever qualities society claims to make a life valuable. I’m on an endeavor forever to show that just being a human being means your value is limitless, and no one can limit this with any amount of ridiculous fickleness. So, please don’t let the spiritless take down the spirited. The vigilance of a villainous syllabus will have you thinking there’s some meticulous synthesis you need to do to before you have value, but the fact is the state of being a person is indigenous to the state of being irreplaceably precious.

Go Live It

Who are you when no one’s looking? Are you looking the way you look when you know people are looking? Or are you constantly looking to make sure no one’s really looking to see the true way you look? Because when I look around, I see a lack of intensity directed towards integrity. So, infidelity runs wild while no one lives in fidelity. They think their ability to get away with doing wrong gives them indemnity.  I’m not just talking sensual or sexual faithfulness either, but the perpetual way we treat honesty and facts as being flexible. It seems like having honor and just doing the right thing, because it’s the right thing, are just conceptual and only apply when convenient, so most people treat it as though they could take it or leave it.  I’m trying to critique the way people don’t respect the value of respect.  So as a critic, I’ll criticize the critical size of people’s lies that say they honor the wise, but when wisdom lies in front of their eyes they ridicule it for being lame, as they rid themselves of a clue of living a life that’s true.  Then you hear people idolize the character of true idols you could characterize as living ethics that are vital, but when you challenge them to have their character rise to be eye to eye with this character’s eyes, they’ll criticize you for taking life too seriously and acting deliriously for being unwilling to compromise some “silly virtue” for fun, laughter, pleasure, or just convenience because you’re too much of a goody two-shoes.  This insult results in people choosing to indulge in being two-faced until they’re engulfed in this occult that gives little value to those who truly value values.  If this doesn’t sort of make you sore, then maybe you’re letting the message soar above your heart because I’m calling us to stop having a short view of integrity that we just look over, but instead see it as a paradise shore we would sacrifice for to secure.  And I’m sure you can see the irony of a culture who hates the fake, but then tries to break the authentic. Because for how many people who claim to hate masks, there’s a massive mass that pushes against those who try to live the full mass of their words.

 

 

To Belong

Everybody longs to belong, and you’ll be longing too long for belonging if you’re logging bonding hours talking about belongings.  When too many conversations are revolving around materials of matter, and not the materials that matter, there’s no evolving of the relationship.  The lack of involving someone in your inner thoughts prevents the involvement of a solvent for solving your loneliness.  Yet that exact issue is almost harmonious with all the copious amount of people who claim that, “No one understands me and my issues.”  That thinking is so erroneous, but we never challenge people to stop complaining and leave the coziness of being isolated and to allow someone into their pandemonium.  Now of course there’s an appropriate way to approach someone who feels like an alien, alienated from humanity.  They feel no one can appreciate the uniqueness of their differences, and this bleakness of reality must become our weakness.  My thesis (is the secret) is for us to live in frequent ceaseless meekness.  Only then can we help rein in loneliness, and help someone reign over feeling misunderstood because someone took time to stand in the rain with them as they felt they would drown from the constant lonesome hurricane.  The smile coming from someone because they feel similar with another person without using a simile is sincerely a symphony for the eyes like the beauty of Sicily.  So, we need to lessen the lessons of legends from people we see as legends that say opening up is the best way to be destined for pain.  Because now we have people falling off the edges of ledges into an abysmal abyss where only apocalypse exists for those who consist of complexities too complicated to get. But I promise you that closing yourself off is never the answer. You’ll be consumed by the cancer of solitude, and I know it’s hard to include people inside your insecurities, but not everyone is there to intrude, but rather some are there to understand and offer servitude. But before you can really find belonging with humans, your attitude needs to be aimed at the highest altitude, because God’s aptitude to understand is an infinite amplitude above any dude’s. Once you comprehend that true belonging begins and ends with God, who knows you from beginning to end, you’ll be able to distinguish, with the help of our King’s English, what belonging is meant to feel like, and you can extinguish all your delinquent thoughts and relationships

A Dirge Melody: Don’t Let the Humans Know We Contain Souls

If you want the pearl
the oyster growled as a lioness
you will have to pry me from this rock
wrest my shell jaws open
cut my living muscle self apart.
Can you do that?

They can. They do.
They polish, bleach, buff,
label the pearl grade C
light luster, barely usable.

No one asks the dead
why are you dead, when
piously wearing their flesh.
For a pearl: the gravel
irritating my soft heart I coated in
substance of my shell.

A man with nimble fingers
nimble brain chains the pearls
creates a jolie-laide necklace
of 113 other variants.

Slasher Flicks

A genre of publicly-traded companies is Horror
with much higher death counts.
They “cut” and “slash” better than Kruger or Jason ever could
‘cause they kill by the thousands
in dark-colored tailored suits at a long table
in a room with views with views.

Macy’s is “cutting” 10,000 jobs
the New York Times tells its readers.
See, no kitchen blade borrowed from a homeowner’s block
no blades for fingers—
just a pen.

The CEOs get raises for taking care of shareholders
while retail workers fold clothing to be unfolded again
while the money to fold gets less and less
while Republicans cry for less regulations
while people are being folded over
lost in the darkness of a crease.

“Shareholder value” is their concern.
So they cut and slash and crush
until gore is brought to a new level:
The Walking Dead team is envious.
Alchemists are envious as well:
the CEOs of corporations like Walmart
have turned blood into gold.

And automation is their next step;
they want to kill efficiently like the Nazis:
planned, structured, and documented.

So, what do we do?
We fight for the best jobs by going to college
and getting surrounded by debt
(while they’ve paid 0% interest for over a decade)
until we make it to the top,
and once we do,
we stare at the scars along our body
and start our own killing sprees.