All Articles by Joshua Lindenbaum

Eat Your Heart Out

“Okay, I will,” he blithely responded.
“Yea, you do that,” she smiled. “Wait, what are you—”
“Oh my God,” she whispered.

Taking out a scalpel, he looks down at his chest;
now looking at her, he slowly runs the scalpel,
starting above the collar bone, right in the middle of his chest
down to where the ribs end their protection.
Blood flows out of him like bats out for a hunt.
He places the scalpel on a floating, shiny, metallic table lined with wax paper.
A detached hand passes him the rib spreaders.
As he cranks, his bones crack like dry wood being snapped in a forest.
Locking the mechanics in place, still staring at her,
not needing to look down, like a practiced guitarist,
he rips his heart out of his chest cavity,
squeezing the organ out of its beats,
and takes a giant, teeth-sewing bite,
creating sounds of crushing moist flesh—
almost the melody of biting into a tough orange.

Blood runs from the corners of his mouth;
He licks every drop that escaped his quivering tongue:
closing his heavy lids to truly take in the taste of salt and iron
as the blood runs and dries along his throat.
Upon opening his eyes, she’s still frozen.

Holding out his heart with a teeth impression a dentist could use,
he offers her a bite.
She looked hungry.

This is Called New Year’s Resolutions

I’m going to kick 2017’s ass
so hard-
so hard the 7 will become a lightning bolt.
And don’t act like you didn’t know, the 7 is the ass of 2017.

I’m going to kick 2017’s stomach
so hard-
so hard the 1 will become a “less than” sign for a math equation.
And don’t act like you didn’t know, the 1 is the stomach of 2017.

I’m going to kick 2017’s head
so hard-
so hard the 0 will become a thick c.
And don’t act like you didn’t know, the 0 is the head of 2017.

I’m going to kick 2017’s legs
so hard-
so hard the 2 will become a half a clothes hanger.
And don’t act like you didn’t know, the 2 is the legs of 2017.

But I wonder, what will I turn into when 2017 kicks back…

The Greatest

The greatest movie
the greatest director
 
the greatest writer
the greatest boxer
 
the greatest coach
the greatest player
 
the greatest actor
the greatest president
 
the greatest general
the greatest war
 
the greatest football team
the greatest country
 
the greatest this
the greatest that
 
the greatest superlative
the greatest diminutive
 
the greatest word
the greatest greatest

Woke up Choking at Zero Four Hundred [fresh out of elegies]

The unofficial version of the story:
He was stumbling home on Valium and unlaced Chucks
cutting through the old abandoned factory,
tripped, fell into the pond where they used to flush
their chemicals and dyes—floated, floated, sunk.

Willie’s obituary might as well have been blank
(we weren’t even 17) some junk
about still searching for his path. “Let’s give thanks
for the thousand tiny deaths he missed,”
said, mid-cigarette, the Cobain-quoting priest.

Early mornings, when the toxic pond-sludge drips
like honey down my throat, at my weakest
hour, it happens: Walking from dream to dream
I slip in and sink.
Willie, we weren’t even 17.

Nude Sketch: Tupac

Nose ring rusted
Red Wings jersey faded to a sun-wrecked pink
bandana, once head-tied
(to keep one’s brain from exploding, Foster Wallace said)
now unknotted, hangs limp around your neck
lacking even the noose’s grim dignity.
Twenty years on and the runoff still spills—
all those ripoffs and posthumous
comps, a desert hologram, a Broadway show,
a bad book of poems
Oakland’s own dopeboy toilet paper Cantos
capsuled between graffitied bricks—was this
your rose grown from concrete? Demolished
projects reincarnated as coffee shops, shards
of a reckless era giving way to accolades,
cultural heritage, grudging respect?
In death, your fists—like it or not—unclenched.

Protest Singer

You could reach into my voicebox
and pull out a fistful of ammunition.
 
You could reach into my larynx
and pull out a dead canary, X’s for eyes.
 
Come see me spitting spent shells
like sunflower seeds at the monument’s feet
 
scrap metal castanets on asphalt
clattering broken sambas.
 
You could reach into my throat
and pull out a hawk’s war song
 
retransmitted as sequencer bleeps.
You could decode these carnivore’s
 
harmonics, what it means when
1 rings out, 2 bleed together
 
like brothers, 3 evaporate
and never reach you. On every
 
harp string the ghost-note of gunfire.
Every harp string a cord in my throat.
 
I’m disentangling the vocal cords
that got knotted in the windstorm.
 
I’m stringing them up against the sky like chimes.

When Mothers Would Bathe You

A careless girl is warm and cool like cornflower blue

filling the tub with a sweat-heavy heart

Where home sweet home is

sweet and sour

as a purse full of stolen sauce packets

And you’re a tidy list of pleasant tasks,

assembled with the discreet love

of a wet finger taming a curl.

 

(Count one by one) each

toe a flower petal floating

on the surface

(One joy at a time) four

wet feet on a wet tile floor is every day

a reminder to be good

 

And like water realizing light,

I know you flicker even when my eyes are closed

Discarded Headstones

Here where broken pile on broken where
marble stones and limestone
crisscross together in a final, final resting place—
a place for remembrance, for collecting together the discarded,

As though death were not enough
the threat of time further advanced a more fatal blow. Forgotten.

Surely loved ones carefully selected
the stone, the words, the size, its shape.
After all, what more can one do for mortal remains
than to erect statues and tablets, signifying a final resting spot?

Imagine their dismay if, ages later, they were to return
to search for, but never find that grave so deliberately marked!
Or what if, in death, the specters of those passed were to rendezvous
at the haunts of those gone before?
Without this marker—without this label—how would they?

It is a good thing death is not such—
that these markers are merely comfort objects for the living
not useful to those passed.

A good thing that, once lain to rest
those bones, that dust
do not need a sentinel as they rejoin the stuff from whence they came.

And it is a comfort to think that
once removed from our physical form our
essence may engage each other
void of any earthly marker—whether stone or bone in the
ether apart from atomic bliss.

The Slope of Seasons

Taking a draught of Autumn draft
I stopping sought
on the air
the old subtle sting, butcher’s shop smell
Or the aura of blackening coffee beans
smoky incense, thick through and hanging around
A hundred of those old suburban towns
Each of one street
Each with a thousand tree-closed tunnels and
Luminous dead-orange
Maroon soaked arches
Cathedrals
Their dying architecture passing through
more years in an hour
–wilting, falling–
than those Autumns I’ve left to pass on foot

Elegy with Underlying Tones

Imitation of Kelli Russell Agodon

 

I hide from emotions at a funeral by saying a joke:
A lonely man went to a burlesque show—His pride was stripped.
The only time I cry is from laughter. I skipped
a rock across Roubaix Lake. When we sprinkled the ashes,
the fire in my eyes was doused.

My grandma always said she was proud to be an American.
I am not worried about the deficit. It’s big enough to take care of itself.
I think of Lee Greenwood’s song and how grandma was never able to stand up
against the cancer.

Some of my grandma’s remains were poured into an urn
that now sits above our TV—Wheel of Fortune
will never be the same. Did I start out by saying:
I hide from emotions at a funeral by saying a joke?
Those last four words weren’t necessary.

How did I come upon a burlesque?

Gifted

The morning the angel fell in love with her,
he attached his blazing invisible wings to her
shoulder blades with transparent duct tape.
 
Her first child would often reach behind her ears
and stroke the shivering feathers in the air
or he would tilt back his head to see the cirrus
canvases tacked above the sunset, grinning
as though he spotted a familiar face peering
’round the corner of a rose-tinted cloud.
 
At those times, she would glance over her
shoulder or gaze up into the heavens swathed
in playclothes of pink chiffon and red tulle,
and she would pray that he would never forget
whatever it was she could never see.

We Children Had No Choice But to Give Up the Roses

and the stone lions guarding the front door under the magnolia
trees, the curved bronze figures resting and dancing in the den,
the matted-down olive carpet running up the stairs, the towering
grandfather clock standing watch in the foyer, swinging its golden
scepter stiffly, ticking loudly, precisely, right, left, and on and on,
every second boxed in by glossy walnut panels and beveled glass.
 
On guard with the lions, we examined our parents: so easily
persuaded by other adults, dismissing our protests with half-smiles
then sending us to the front porch swing again. On crossed hearts
we swore we would grow up someday, if only to rescue our white
mansion from someone else’s hands. They offered us one last look.
 
With small hands, we waved goodbye to the windblown bench
and the roses drooping out of the window boxes and we drove home.

What Da Vinci Saw in Her

You said you would only know for sure once
you saw her in person, so you flew to the Louvre
and you saw her as he once did, sitting upright
all day against the wall, smiling so softly
at the crowd, not smiling to you,

and you thought:

she’s smaller than I expected but
not as small as I had imagined.

I had hoped you would be sure after
you saw her in person, when you returned home,
but you never look at me as you once did.
Last night I awoke to you crying so hard
you looked like you were laughing,

and I thought:

each of us is at best a study in perspective
with an incomprehensible aura and a mouth

cracking with time.

Artemesia Gentileschi, Self Portrait as the Allegory of Painting (1639)

Dress in green, hair
half done
A painter’s allegory
should always include some color

Remember me?
I was immortal once

In 1610, it’s said
foreshadowing

A year later, truth from
true pain

I heard there ought to be some blood
on the history
otherwise it’s not really
history

Remember me?
I am immortal once more
in all the wrong ways

scene: filmmaker seeks poet’s advice on composition of sext to future wife

A friend brought her fried clams and
Mexican Cola, said this
was a metaphor for sex
Now help me write this text, faggot, I
am trying to seduce the girl
who sits by the door in Global Studies
and aren’t you good with words?

She drank the coke with its cane sugar base
imported special
said, take her to the museum and mention
something about masterpieces, I
have never been in love with anyone
who loved me back
Why would you ask me anything
when you already know
the trick about clams?

The friend shrugged. Said,
I make movies, faggot
you write poems
now help me sext this girl
before she becomes my muse

Georgia O’Keeffe

Black hat style, all western
and a black dress in the
sun, for the bones

She made flowers strange, made skulls
pastel
Did you dream of ghosts, my dear?

In high school some girls dropped a book
in a barrel of ink
stained the flowers black
got detention
also: a legacy

Who else dreams of a ghost all in black,
wandering the desert strange?

Morning Meds

Tossing the various pills on black marble counter, throwing bones like a sangoma or inyanga

Western medical treating symptoms, Eastern divinity, there are no cures

Heart condition at age thirty living with it, this cardiac cocktail every morning

 

Blood pressure, rhythm, deteriorating arterial linings—fighting back black buzzard hearse

Thoughts—debris that can clog dam blood rivers, set free life with these pleasures, women

Booze—feeding pagan desires—distractions from facing the darkness

Passage

Hot petite, not even a hundred-pound blonde—lost my virginity with in high school

Clear starry darkness on a West Virginia hill

My bottle green 1970 Pontiac Le Mans Sport 350, black leather bucket seats up front

 

Four on the floor—she fell & bumped her head years later in a parking garage

At our ten-year reunion—she had no memory

Our one unforgettable night—that is now mine, numbered with my days

The Geese

Ducks zoom in jet fast, then glide quite slow, wings cool

Geese gawk honk hiss—this pond is home—belongs to future big potato eggs

Ducks, heron, hawks shooed away with flapping wings, ritual daily blares

Pond impounds two geese each year—nesting here like clocks, bring spring

Honks of hope their love lasts, guarding against fox, raccoons, coyotes, hands

Of men & teen mischief—one goal—beaks to peck, eyes to peak, goslings reach the sun.

Would You Rather

Claudeen and Will don’t know each other very well, but
when they got together
they got to talking like freshmen philosophers, like

if you were immortal
but doomed to drift forever,
would you pick outer space or the sea?

Will said the sea
’cause then he could just kick it with the sea creatures.

Claudeen asked if he’d ever seen a deep sea anglerfish

and she said space, so
her path could be illuminated by the stars
until she bumps uglies with Jupiter
or finds that other universe.
 
 
But I think the fish will be poor company.
And the galaxy too big
 
 
And I don’t want them to be alone,
 
 
so Will, he’ll make a life raft of seaweed and empty Sprite bottles.
He’ll keep afloat at sea level
sending signals up to space with sunlight and a hand mirror.
And Claudeen will hover at the edge
dropping asteroids in Morse code.
 
And they’ll drift together

The Politics of Eating a Peach

Whether its skin is peeled, or teeth
are plunged into its ripe visage
without any such preparation,
the decision will be hated by someone.
Cutting into the peach would be a mistake:
the public would think it a violent act;
they’d scream monikers like monster.
To grind one into jelly for a sandwich
is out of the question: the choice between
white bread or rye is far too divisive—
there’s no winning that battle. Then
there arises the problem of variety.
Freestones are, by popular opinion,
most pleasing to the eye: indigenous
to America’s cooler regions, creamy red
over pallid skin. But some might take
exception to its tractionless slide
upon the tongue. Clingstones are equally
pretty, though too soft to the touch,
and many Western varietals would be
agreeable if not for their uneven texture.
The best choice is to go hungry,
and let the peaches’ fleshy insides rot,
so appetizing in their topaz bowl.

Woman Gives Birth!

“It’s selfish, that’s what it is, Trish!”

“How’s it selfish?”

“It’s perverted.”

“My body, my choice.”

“Don’t pull hippie bull-shit on me!”

“It’s natural!”

“You’re putting yourself in danger and the baby.”

Mum’s been against self-birth since the beginning.

My friend Day is also having a baby, the normal way. Tells me that I’m brave. Doesn’t say it like it’s a good thing. Get the feeling she agrees with Mum. Don’t live far from Day, just ten minutes. I’m always the one visiting her, even now my bump’s showing.

People make space for their PODs (Pregnancy Observer Device) in their living-rooms or kitchen. Day has a special room for it. She’s been reading Pre-Birth; apparently if an embryo’s exposed to too much light it can cause ADHD, but too little’s been linked to autism. Spent a fortune on an embryonic lamp giving, ‘the perfect contrast of natural light proven to stimulate early cognitive abilities.’ It basically just turns off at night and on in the day, like the sun.

The POD Day bought cost a bomb. Her boyfriend’s face was a picture! Should’ve known better than to cross Day, “Just whack the embryo in a budget POD, it’ll be fine.”

“Our baby isn’t even fertilized. Already you don’t give a shit! Having second thoughts? Is that what it is, Mike?”

“No. It’s just that it costs—”

“Money shouldn’t be a factor in our baby’s health!”

They spent 9000 EE (English Erno). Had to take out a loan. Their POD has a double layer of silicon, meaning the artificial ‘womb’ lining is thicker; if it gets knocked or bumped it’ll be more protected. Most people don’t even move them though! Her POD also has an inbuilt classical music system. All proper studies say anything pre-birth won’t make a difference.

PODs have an inbuilt heater keeping an embryo at womb temperature. They’re basically a translucent football filled with liquid. Had a go at feeding Day and Mike’s embryo when I was over last. Formula’s pre-made, just add water. Day made me wash my hands six times before picking up the spoon!

There’s a little hatch on the outside; I flipped it up so I could pour the formula in. Watched it slide down the artificial umbilical cord, then seep through a valve connecting it to the biological cord transferring it to the baby. Started moving round a bit; reminded me of an axolotl, pink and half-formed.

Day wants a Birthing Party, or more accurately, ‘Baby’s Being Removed Party.’ It’s an American thing, but it’s taking off here. You invite everyone round to see the baby taken out, people bring presents and cards.

Day was in tears the other day, “I can’t do it. I’m an emotional wreck!”

She’d read in Pre-Birth that it’s common for ‘Mother’s-to-Be’ to have pregnancy induced mood swings lasting the POD incubation. Bollocks! Next she’ll complain of backache. Last time I was over she argued with Mike.

“Maybe it’d be nice if it was just you, me, and the baby. People could visit later,” he said.

“I ask for one thing. The soon-to-be-mother of your child!”

“I just thought it would be nice for it to be just the three of us.”

“I guess if that’s what you want, it doesn’t really matter what I want, does it?”
Mike’s now arranging the Birthing Party. They’ll probably get a nurse to take the baby out. Most people do. Though it’s becoming more popular to DIY it. There’s a step-by-step NewTube guide.

Day’s having a Hetro-embryo; Mike’s sperm is fused to her egg. The other type’s a Fembryo; where two eggs are used, one’s adapted and used to fertilize the other. They can’t make Menbryos yet. My baby’s slightly different; technically it’s a Fembryo; but, both eggs are mine. Some people don’t like it, think it’s like cloning, or worse, incest. They’re ignorant.

Cloning uses 100% of one person’s DNA. If two eggs are taken from one woman, the eggs are genetically different. And it’s not incest, as both eggs came from me; clinics don’t allow fertilization with anyone in your immediate family, but genetically it’s not an issue; all eggs and sperm chromosomes are screened before use. Not 100%, but cuts down on all types of disability.

People say that PSMs (Planned Single Mothers) are unnatural. We’ve gone far beyond what’s ‘natural’ anyway; Parents can even choose chromosomes deciding the eye and hair color of a baby! Price for that’s phenomenal though. Anyway, PSM wasn’t allowed till five years ago. I remember the SMBC (Single Mother’s By Choice) marches. Now it’s not that uncommon, or so I keep telling Mum.

“Trish, babies should have a Mum and Dad, Mum and a Mum, or Dad and a Dad! Single men can’t reproduce you know!”

“That’s just because they don’t have the technology yet.”

“You wouldn’t be giving the baby a good start.”

“You were a single parent. I’m fine.”

Mum put the cup she was holding down hard. “I didn’t choose to be a single mother! It just happened.”

“Lots of people end up single mothers. Planning it is far more responsible.”

“Aren’t you worried it’ll have eight eyes? You need two sets of DNA, like nature intended.”

I’ve explained that it’ll have two sets of DNA, just like other babies but it doesn’t get through. Partners make each other miserable; Dad made Mum miserable. She still complains and he’s not been around for 15 years. If Menbryos existed maybe Mike wouldn’t be having a baby with Day—LOL, only kidding. But seriously it’s great if it turns out ok, but what if it doesn’t? Two people that don’t get on are forever connected. I’d rather just have the baby.

Had my implant removed so my womb would work. When I was twelve a nurse came and gave it. Put it in all the girls, just above their hip. Not sure exactly what it does; lets off a chemical or hormone, making the womb uninhabitable but leaving eggs fertile. Didn’t give much thought to it. Boys don’t do anything. There’s an injection for them; implant’s inserted beneath the scrotum making sperm infertile post-ejaculation. Most schools don’t fund male and female contraception though, so just the girls are “treated.”

Remember being taught about PODs. Developed at the end of the 21st century by Dr. J. Hoelscher. Can’t remember what the J stands for. He was Swedish. Studied stem cells, which were all the rage at the time. His wife and child died in childbirth. It was rare then, but still happened. Dr Hoelscher spent the rest of his life trying to produce a device that could grow a baby externally. By the time he died his research hadn’t gone anywhere. He’d experimented on monkey embryos, but their heads grew too big. But then one of the big private health companies took an interest. They got it to a stage where it became feasible and it wasn’t long before it was being considered for use.

There were protests in the streets. We watched an old color clip on a DVD. Men and women with banners in their hands and chants on their lips, “Babies near the heart, not in a jar!” and, “Choose God, not the POD!”

Wouldn’t guess now, with all the stick I’m getting for Self-Birth! Anyway, by the end of 2190 pretty much everyone used PODs.

When I had the implant removed, it left a thumbprint-sized scar. Mum caught me looking at it, “That’ll be the least of your worries when you’re all stretched out. I can tell you that!”

Had to wait three months for my womb to kick back into action. My lady parts started bleeding for days at a time. What a shock! Apparently that’s a side-effect of a fertile womb.

I went to see my GP, Dr. Heath. She’s female. I had a male Doctor, but he was rude about Self-Birthing. Not at all impartial. Let’s not get into that. Dr. Heath had my eggs ready and fertilized. She’s never spoken against Self-Birth, but she did feel it necessary to read the long list of side-effects, despite us going over them last time: headaches; cramps; severe abdominal pain; stretched vaginal opening; organ rupture; death—to name but a few.

I collected my miniscule frozen embryo and took it to the hospital. Needed to have it inserted within three hours; otherwise, it gets too warm. Got a taxi to the hospital, not taking chances with the HB (Hover Bus). Went to the private section. Self-Births aren’t on the NHS now as it’s a redundant procedure. Cost round the same as buying a POD though. Two nurses took me into a purple room. I opened my legs. They had a syringe with my embryo inside. Squirted it through my cervix into my womb. Sharp pain, then throbbing.

Stayed in hospital for three days. It’s almost 100% successful, but I was warned not to do anything strenuous. Voila: I was preggers, old-style.

Day asked me why I did it. Everyone thinks that: why would I go through all this when I could have had it PODded? I just wanted to. Everyone thinks wombs are like the gall bladder, without a use. At secondary school I met one girl who didn’t even know women used to birth! When I told her she was horrified. But I think, wow! I have an in-built POD inside me, fully functional, like the Victorians and twenty-first century women. There’s something beautiful about it just being there, inseparable, home-grown. In a POD, it’s like a goldfish.

I’ve always known I wanted a baby, and one day I woke up and thought, FUCK IT, I’m doing this my way.

At the start Mum rang every day, “Sure you want to do this? Not too late to pack it in, get it PODded.”

She found out that you could get a baby PODded four months into pregnancy. Doesn’t happen often, but sometimes the implant’s not inserted correctly. ‘Cause most boys don’t have anything, it leads to pregnancy. The nurse responsible gets sued a shit-load. Remember seeing it on the news:

‘Help! There’s a baby inside me!’
Cut to an interview of a tearful nurse, “There were so many schools, had to do seven that day.”

It’s made into a big deal, but when the embryo’s small it’s pretty simple to just transfer it to a POD. That’s how they did it when PODs were first started anyway, grew it in a womb, then moved it. This procedure’s still on the NHS, another fact of which Mum reminds me.

Went to visit Day again. Knew exactly how she was doing—updates ImagePlate hourly with Mother-POD Selfies: Just me and spuddy! She’s got Mike’s forehead. 😀 😀

She hasn’t. You can’t possibly tell! I’ve hidden her updates, but Day messages me personally: Trish! I was thinking. How can you stand not being able to drink or smoke?!!! :O

It’s not hard, Day. I don’t smoke anyway!

She sent back a laughy face with a picture of her stubbing out a cigarette. Last time I went to see Dr. Heath I heard my baby’s heart-beat, inside me. No amount of wine could make that not worth it. I texted Day pictures of my scan. She wasn’t impressed: All shady. You can hardly tell the head from its feet! Can you tell the sex now?

Not Yet. :-/

Hers is beginning to press against the sides of the POD now. It’s a girl. With PODs you can tell that from the very beginning. I could have asked the nurses to sex my embryo, but I wanted it to do it the old-fashioned way, when a scan picked it up. More special that way.

Yesterday I waddled to hers.

“Trish, you’re so big now!”

I showed her the stretch-marks on my stomach. Some on my arms and legs too. She stared without blinking, “Why do they get big, too?”

“Water retention. Also it’s easy to gain weight when you can’t exercise easily.”

She sucked in her lips, stroking her flat belly, “Will it go back in…after?”

“Doctors say I can do sit-ups and stuff. It’ll get close.”

“Close?”

“Yes, I’ll always be a bit stretched.”

“I read a study saying women have evolved past reproduction.”

“Really. How come?” I asked, with a barb.

“Humans stand on two legs, instead of four, making our pelvic bone narrower and our hips smaller. We’re the wrong shape for it now.”

How interesting! Told Day I was feeling tired and left. She’s so up herself! Just because she and Mike are having theirs in a POD. I’m doing perfectly well on my own.
Turned out to be my last day at work today. Was going to go until six months, but they said they’d pay maternity starting now. All I needed to do was sit. I’m a receptionist. They insisted. Mum offered to pick me up, but I’ve been walking for exercise.

“Trish! You’ve put on weight.” Bumped into a guy I’d gone to school with.

“I’m pregnant.”

“Nice cover.” He laughed through his nose.

“No, really.” I pulled up my jumper.

He looked as if I’d told him I’d got a brain tumor, then peeled back my scalp.

“What? Didn’t you realize in time to get PODded?”

“I wanted it this way.”

“Only Africans do that!”

Not PC, but usually only people in really poor parts of Africa Self-Birth. Some very isolated parts of Asia don’t support it either. In the UK if you earn under a certain amount you get a POD free.

“Well, I’m doing it too.”

“Who’s the—father, mother?”

“Just me.”

“What? Like, both eggs?”

“Yes.”

He glanced down at his watch, “Gotta go. Hope it turns out good.”

Dickhead. Should see the looks on people’s faces when they see me, fresh out the museum. An old lady came over the other day, “I don’t want to alarm you, but you may be pregnant. Get to the hospital right away. I’ll call a taxi.”

Took the taxi. Got it to take me home. Started wearing really big jackets. Mum goes to the shops for me now. Claim back pain; partly true, but I’m just so sick of people treating me like a one-woman freak-show. Mum’s moved in to help. She keeps covering corners with pillowed fabric, “I’ll not have my grandson brain-damaged ‘cause of you!”

I’m growing a boy. Found out at last week’s scan. Didn’t really mind, but it’s nice to know. Makes him seem more real. Every night now, before I go to sleep, I say good-night to him, too.

Sometimes I get hot and cold sweats. Threw up the other morning. Mum saw me in the bathroom, said, “Got no one to blame but yourself!”

He started kicking the other day. Felt odd, always knew he was in there, but now he’s really there, telling me he’s fine.

Asked Mum if she wanted to feel. She said, “No, I bloody well don’t! It’s creepy.”

The very last week before I passed four months she got old footage of birth from the 2050s. Didn’t want to see. I know what’s gonna happen, don’t want to think about it until it’s time. Mum insisted.

The woman screamed for a long time, her face was sweaty. Strange to think everyone in the DVD’s dead now, even the baby.

“Is that really what you want, Trish?”

“When she had the baby in her arms, she looked so happy. Like everything had been worth it.”

“That wasn’t happy! That was delirium. She was traumatized!”

Mum couldn’t believe it when I still wouldn’t get it PODded. Too late now! Eight months! Mum’s finally shut-up.

Mobile’s ringing.

“Hey, Day, what’s up?”

“Getting the house ready for Birthing Party. Mike’s doing most of it, bless him. I’m curled up with a hot water bottle. Getting compassionate contractions. Pre-Birth says that’s not uncommon.”

She hasn’t come round to visit once since I’ve got big.

Compassionate contractions? She doesn’t know what a contraction is! We spoke on the phone the other day, I asked her about her POD, “You getting a nurse round, or DIYing it?”

“Nurse. Urm, Trish.”

“Yes?”

“Do you think it might be easier, if you didn’t come?”

“Don’t worry. I can still make it.”

“It’s just that, Mike and I, feel that, you’d be uncomfortable. You know, with all the people. What if you can’t make the stairs, you might faint or something.”

“I’m pregnant not bloody disabled!”

“It’s just that, Mike and I think we wouldn’t be able to accommodate your needs.”

I slammed the phone down. Bitch! She was just worried I’d steal her thunder.

Eight and a half months now. Hospital’s asked me to stay for observation. Given me a room to myself. Brought my Spindle so I can access the Wi-Fi.

They’re going to induce me today. Not sure if excited or terrified.

Keep seeing the woman’s face from the DVD. Soon I’ll be holding Adam. That’s what I’ll concentrate on. That’s what it’s about. Mum’s pacing up and down. Day was supposed to come; apparently, it’s Harmony’s first check-up and it couldn’t be rearranged. Mum says she doesn’t want to see the birth, gonna stand outside when it starts.

My first contraction, sharp, more severe than I’d thought.

“Contraction!!! I’ve had a contraction!”

A nurse was waiting just outside the door. Big injection; epidural. It’ll kick in soon. Two more contractions. Four people are here; two doctors, the others nurses. My legs feel fuzzy, a warm feeling’s spreading my lower body. The nurse nearest looks very white.

“You delivered before?” My mouth’s dry and my words are croaky.

“Now don’t you worry, Trish. We’ve all done a lot of research.”

Mum’s holding my hand, “It’ll be OK, Trish. It’ll be OK.” People keep telling me to push.

I can’t help making noises. There’s a screen over the middle of me. Can’t remember it being put there.

Don’t know whether it’s been hours, or time just feels slow.

Sweating so much it’s dripping down my fingers. Sharp pains, dull pains, throbbing pains, all the pains! My body’s making shapes it wasn’t meant to. Maybe Day’s right about women being too evolved.

“Waaaaa!” The noise is shrill. I strain to sit up, but can’t. Nurse coming over. Holding him in a white towel.

There’s a red sheen round him, his eyes are closed.

“You did it, Trish!”

“Thanks, Mum.”

I made him, each of his tiny little toes and fingers. I don’t want to put him down, but my body aches and my lids keep dropping. Just gonna close m….

Was in the paper that week, front page headline:

WOMAN GIVES BIRTH!

A guy wearing a tie came from the BBCV. Asked whether I’d do it again. It was an experience: feel Adam’s mine. Truly mine. But I think: Self-Birth, once was enough. Can’t explain how good it felt taking Adam home. Knew I was having a baby, known that for nine months! But I hadn’t realized what that meant. Meant I was a Mum.

Me and Day started talking again. She feels more comfortable now Adam’s out. We go to Play-Day each week. Harmony and Adam are too young to appreciate, but Day insists it’s vital for “early socialization.” Didn’t tell the other parents I’d Self-Birthed. Wouldn’t let the papers use my name or picture either. Didn’t mind for my sake, but don’t want it to be something Adam gets picked on for. Day must’ve said something. Parents keep claiming they can tell he’s come out, ‘that way’ cos of his head. Babies have soft skulls; they squash a little for birth, but go back. Pointless explaining. They’re adamant Adam’s head’s too ovular.

Harmony touched a drumstick this week; Day practically rolled her onto it! She’s convinced Harmony will be a musical prodigy ‘cause of that classical POD.

What Counts

Jacob can’t remember learning math; it’s just something he’s always known how to do. If there were 3 chickens and papa took away 1, there were 2 left. It was simple. His parents, humble, hardworking people, never had heads for figures like he did. They were born to till land and milk cows while Jacob was born to count. His earliest memories are of trying to help his parents budget. Before most children knew how to multiply, Jacob knew each of his parents’ expenses, how much their income was, the cost of their property, and how much they owed. He can still remember the planked walls, the sweet smell of corn wafting in through the window, the aroma of his parents’ sweat, and the feel of their calloused hands on the back of his neck as he sat at the kitchen table and tried to problem solve. If there were three acres of land and the bank took away all of them, what was left? Nothing. What was nothing multiplied but nothing? Still nothing.

 

 

Now at almost ninety years old, Jacob’s gnarled spine hunches him over a shopping cart as he does what he is born to do. 50 rolls of toilet paper in one box. At 264 squares per roll and approximately 3 squares per use and 6 squares on a normal day, that’s 44 days’ worth. At $17.99 that’s 36 cents per roll—it says so on the sign, but he crunches the numbers just to be sure. A good deal. It’s not the nice quilted paper; it’s the uncomfortable scratchy kind, but for 36 cents, it doesn’t matter. He picks up one of the cardboard boxes with wrinkled hands and aching arthritic wrists, and puts it into his cart. He slides a second box on top of it, feeling the same dull throb in his tendons, and looks at his stack of toilet paper with triumph. He’s lifted them both all on his own, and although they are lighter than they appear, he allows himself a moment of pride before hobbling toward the cash register. A successful trip.

At the register, he leaves the two boxes in his cart. He knows the cashier can reach over with her scanner, and there’s no need to exert himself again until he’s made it out to his car. Bulk Blokes is Jacob’s favorite store.

Three young adults fall in line behind him at the register—two boys and a girl. They’re well-groomed, the boys wearing bright colored t-shirts tucked into jeans, one of them with a well-used Sony Walkman stuffed into his back pocket. They’re likely in their twenties and attending the local university. The girl has a bag of chips under her arm which is almost double the price it was last week. A rip off. One of the boys carries two bottles of pop, not a horrible deal, but Jacob has seen better, and the other has two cassette tapes.

As the cashier leans over to scan the barcodes on Jacob’s purchase, the trio begins to snicker, whispering amongst themselves.

“That is a lot,” the girl remarks to her friends, sizing up Jacob’s toilet paper.

“Well, it is Bulk Blokes,” the Walkman boy answers.

“But when would you ever need that much?” she whispers.

Jacob rummages through his pockets and places his metal coins on the counter, counting out the amount he owes, listening. His eyes have been going, requiring bifocals in recent years, but his ears are still as sharp as they were sixty years ago despite the gray hairs sprouting from them.

The conversation continues and the girl sneers, “I guess when you’re old enough to shit yourself, you need a little extra toilet paper.” Jacob almost loses count of his coins. Almost.

The group snickers, and the Sony Walkman boy remarks, “In his case, a lot extra.”

The old man’s face burns with damp heat, but he continues to count out his money as if he hasn’t heard them. The cashier pops her gum, oblivious to his embarrassment. He pays exactly the amount owed before shuffling on, pushing his cart away from the kids, all pride he’d felt a moment ago gone.

In the bright parking lot, he slides the boxes onto the backseat of his 1980s Buick but no longer feels the swell of accomplishment at moving the large boxes all on his own. His arthritis seems to have grown worse in the last few minutes, climbing up from his wrists and pulling uncomfortably at his elbows. To the old man, arthritis is like having a child clinging to him, crying and crying. Even when he gives it attention with a wrist brace or an aspirin, it continues to shriek. It was the only child he had, and it had been the reason Jacob retired.

He slides into the driver’s seat with a grunt, but doesn’t start the car. Instead he simply looks out the window feeling sorry for himself. The air of the car is heavy and suffocating. Jacob doesn’t want to feel the cool release of the air conditioning. He wants to sulk in the sweltering heat. 32 degrees. I guess when you’re old enough to shit yourself you need a little extra toilet paper.

 

 

Jacob couldn’t blame his parents. No one saw the stock market crash coming and even with the hardships, the little family survived it: Mama, Papa, Jacob, and even his youngest sister, Charlotte, despite his protests to sell her. He had been joking, of course, but he couldn’t help but seriously consider the math. It wasn’t so much her selling price which would gain them a profit, after all she was only a baby at the time—she had been a soft pink blob of tears and shrieks, crying for food which they didn’t have. Hardly any work could be gotten out of her at that age.

They would have to convince potential buyers that she was a long-term investment, and the money the family would save without the necessity of diapers and baby food would prevent them from falling into further debt. However, his mother had been surprisingly offended by his joke, perhaps sensing the extent to which he had considered the variables of the proposition. Her response was well enough anyway. The market for a little sister was probably horrible.

Although Charlotte was too young to remember the ravenous hunger which kept her up at night and almost killed her, Jacob could never understand how her tribulations didn’t scar her into her adult years as they did him. She was the antitheses of her frugal older brother, going through three husbands, travelling the world, and living in six different countries before settling back down in Canada. She had lived a wonderfully reckless life, the kind that Jacob could only dream of. Even as an old man he can still feel the ache of hunger that once was like the ghost pains of an amputated limb.

 

 

Now Jacob clenches his fingers around the steering wheel, his bones creaking with the movement, face still hot with embarrassment. The kids from the store skip out in front of his car, chips and pop in hand. They toss their purchases into the back of an old blue Toyota and file into it. The vehicle rumbles to life and rolls through the parking lot.

Without thinking, Jacob starts up his little red Buick. The air conditioning blows at full blast, but the moving air is warm. It’s not dry heat like it was during the hard times. It’s heavy and damp. Jolene by Dolly Parton crackles though his old stereo that’s tuned to an AM oldies station.

Before he can think to stop himself, he pulls out of the parking space, and follows the Toyota. The truck moves onto the street and the red car takes the same route. This isn’t efficient in any way, he thinks, as a needle of anxiety plucks his nerves. It’s wasteful. Jacob can’t bear to be wasteful. In all his years of driving, he’s never driven somewhere where he didn’t need to be.

Yet, he continues to follow, far enough away to avoid raising suspicion, but close enough to keep the blue Toyota in sight, as if by following them he can somehow explain why he needs to buy 100 rolls of toilet paper at a time. He wants to scream until they understand. He needs them to know how the fear of hunger stalks him, more badly than he’s ever needed anything.

The truck and its tail weave through residential houses down University Drive. The man’s earlier suspicions are confirmed; they are students, renting within walking distance of the school. Rent is a waste of money. Always better to buy.

The truck pulls into the driveway of a little house with green trim and white siding. Jacob parks a little way down the street, watching beneath the shade of a tall pine tree, 2.2 kilometers from Bulk Blokes. The girl flounces out of the driver’s seat, grabbing the chips from the back with the boys trailing behind her. The train of students disappear into the house and Jacob sits alone staring at it with his car still running, wondering what he’s doing there.

A sudden anxiety grips him, sharper than the small pinprick he’d had earlier. The gas he’s burned could have been saved for other things, important things.

Chastising himself for being so foolish and calculating the gas he’s just wasted, he pulls out and drives back the way he came, onward to his home. 4.3 kilometers in total.

 

 

After The Depression, Jacob went to school and ended up working for a company that advised failing businesses as he had advised his parents when he was a little boy. His job was to play with numbers and variables until he could present each faltering company with the amount of costs they had to cut before the company went kaput—bankrupt. Quite often, a look of horror and hopelessness would flood the faces of his customers when he presented the figure. He knew that look. His parents had worn it when he was a child, and as he had learned, suggesting the sale of family members wasn’t an option. Instead, he would give them advice for lowering costs like cutting back hours, burning less electricity, and shopping at Bulk Blokes where they had wonderfully cheap deals on toilet paper.

 

 

When Jacob pulls into the driveway of his little house, he doesn’t feel like bringing the toilet paper inside. It seems like too much effort. But it is more efficient to take it all in one trip, and he’s already been so wasteful, so he carries one of the large boxes and lets the other tumble onto the driveway. He kicks the second box, dribbling it awkwardly up to his front steps. He goes in, plunks the first box outside the bathroom and brings in the second.

The house is simple. It’s one story with a small boxy television. The only art that hangs from the plain white walls, a painting of a field of wheat under a cyan sky, was a gift from Charlotte. There is one bathroom and two bedrooms, one for him and one for when his sister comes to visit. There is a military tidiness to each room, the beds made with blankets tucked under the mattresses, dust to be found on nothing.

After Jacob closes the door behind him and his 100 rolls of toilet paper, he slides off his shoes and places them neatly on the mat. When he looks up, he smiles at the sliver of color he can see where the kitchen is and he uses his thumb to caress the ring finger of his left hand where there is no ring. He heaves a gentle sigh.

The walls of the cooking area are out of place in the plain structure, painted a rich orange and red, the metallic colors of a setting sun. The paint has now faded from the vivacity it once held. He thinks about repainting them, as he always does, but knows that if he marred the color, even in their present faded state, he could never forgive himself. To do so would be a blasphemy against her.

To Jacob, she is in these walls. In the red he sees the wild flames of her hair, and in the orange, he sees the gold flecks in her eyes. They warm him, like the sound of her laughter, and the way he’d felt when she told him that his penny pinching was—what was the word she had used? Endearing. Such a lovely word. His frugality was undeserving of the title. Oh, Susan.

He had never breathed easier than when he was with Susan. She inspired the one moment in his life where he had spent a gratuitous amount of money on something unnecessary: the paint for the walls. Together they had run the wet rollers up and down the bare walls, Jacob’s chest tightening more and more as he recalculated the cost of the bright paint. But then she smiled at him, and the anxiety slipped away. They’d spent the rest of the afternoon laughing and bringing his kitchen to life.

That moment of ease had been fleeting, and it was likely never to repeat itself. Jacob’s chest had remembered how to tighten at the thought of money, and when the idea of marriage was proposed, he simply could not justify a wedding. Painting the walls was one thing, but a wedding? Marriage was marriage. All they needed was to have a few papers signed for it to be official. A large party to commemorate it was wasteful beyond epic proportions. He could still hear her words, the shrill break in her voice as she told him if she couldn’t have a wedding then she couldn’t be with him. That was 40 years ago.

Jacob had run into Susan at Bulk Blokes sometime just after his seventieth birthday. Her skin was no longer taught and firm, and her hair had lost its vibrant sheen of red, but amid the wrinkles on her baby powder skin were those same golden flecks in her eyes. She was waiting in line to purchase a few baby jumpers. She and her husband were expecting grandchildren, she explained with a smile. Jacob had been there for the deal on instant noodles. He was stocking up now just in case the price rose again. He thought he saw a flash of melancholy in her eyes as he told her this. Time had softened the pain of their tumultuous split long ago, and Jacob wondered if perhaps it was pity he saw resting behind that smile.

He wondered what the kitchen walls in her home looked like, but she was called away by the cashier before he could ask.

 

 

The man hobbles past his faded kitchen walls to the closet and pulls out a plastic bag from a ratty slipper. He empties his pockets, putting his coins into the bag before tucking it back in the slipper and closing the door. He has multiple hiding places like this throughout the house—except for in the guest room. He doesn’t want Charlotte to find them and tell him he’s crazy. This is a habit he adopted from his mother who never trusted banks again after the crash. “You need more than one hiding spot in case someone breaks in. Safes are too obvious,” he’d been told when he was a teenager, watching as his mother slipped money into a flower pot or tea cup, before she forgot where it was hidden a week later. No wonder we lost the farm, he’d thought. Unlike his mother, Jacob knows exactly how much is in each hiding place and where all of them are.

Now he moves to the chair in front of his clunky white computer and sinks down into the cushions with a groan. Clicking open websites on stocks in which he has always been interested, but too afraid to invest, he lets his eyes glaze over as he calculates probabilities.

His eyes drift away from the computer screen to the stack of cardboard boxes next to the bathroom. His good buy, his pride. He no longer feels the gratification he had when he found them, glaring at them as if it had been them that made Susan leave 40 years and 62 days ago, caused his mother’s nervous breakdown, the hunger he never forgot, and even the stock market crash. But it wasn’t them.

A stab of pain swells in his heart as he recognizes the truth. It was him. It had always been him and his constant anxiety, his counting. Despite losing the farm when he was a child, he and his little family had survived. They’d been okay. But he’d never forgotten, never let go. His sister had almost died, but she had lived her life more fully than anyone he knew. Meanwhile, he’d lived in paralysis. A bigger house, a nicer car, soft toilet paper. He’d never left the country and he was almost 90, now only leaving his home to go to Bulk Blokes. He could have bought a pair of rings, he could have had a wedding, and he could have had children and grandchildren with Susan. It was all his fault. The crippling fear that stalked him throughout his days had debilitated him. He can see it now, but there isn’t anything he can do to change it. It’s just him, alone in his little house with his regrets and 100 rolls of uncomfortable ass-scratching paper.

He can’t stand the sight of the toilet paper anymore. It’s a bitter reminder, mocking him for all that he has lost to the constant fear of not having enough. I guess when you’re old enough to shit yourself you need a little extra. Or in his case, a lot extra.

He scowls at it and tries to stand.

Getting up takes three painful tries, as if while he’s been sitting, his spine has molded into the shape of the chair. Once he’s up, straightening himself out involves several pops and groans of aged muscles, but he is determined to get those damned boxes out of his home. He doesn’t know what he’s going to do with them, but they can’t be here. Not anymore. Not ever again.

Jacob loads his arms up with one box at a time and makes his way out to the car, eventually shoving both into the back seat.

Satisfied, he hops into the driver’s seat, adjusts his bifocals and pulls out of the driveway, motoring towards Bulk Blokes.

The sun has just dipped its head below the horizon of little houses and the sky is the color of his lovely kitchen walls. Somewhere in the back of Jacob’s mind, it occurs to him that it is a Sunday and Bulk Blokes would have closed 22 minutes ago, but it doesn’t slow the pace of his car. 60 kilometers per hour, 10 over the speed limit. He zooms towards his favorite store, glaring at the oversized cartoon man that’s their logo. It grows larger and larger with his approach, and he swears that after this day, he’ll never shop there again. He’s going to buy toilet paper with two—no three!—three whole layers. Soft toilet paper. He’s done with these cheap ass-scratching rolls that feel like the paper towel in public restrooms. But what to do with 100 rolls? Could he leave the boxes in front of the doors of Bulk Blokes? No. There would be little satisfaction in that.

He zooms past the store in his Buick, weaving onto University Drive. He doesn’t know where he is going, but he can’t bring himself to stop just yet, no matter how much gas he is wasting. Not without figuring out what to do with that damn toilet paper in his back seat.

For a moment, he wonders if he is having the same kind of breakdown his mother had.

Would reality start to slip from him too? “Let it,” he grumbles. Nothing matters except for getting rid of that ass-scratching toilet paper.

Without realizing it, Jacob steers his little red car towards the green trimmed white house which he had been to earlier that day. He stops his car at the edge of the driveway and sizes up the house. The windows are dark, blinds shut to the front of the street. I guess when you’re old enough to shit yourself you need a little extra. Or in his case, a lot extra. He glares at the home and without pausing to kill the engine, hops out of his car and pulls out a roll of toilet paper from the backseat.

Jacob marches up the driveway, clutching the roll in his hand as if it is a weapon, a grenade that will blow everything all to hell. He stops immediately in front of the house and gazes up at it.

Slowly, he unravels the roll of toilet paper, pulling out 6 squares—exactly a days-worth, lovingly caressing it between his index finger and thumb as if it is a fine silk cloth.

Then he throws it at the house.

His arm isn’t what it used to be, but still the roll soars through the air, like a superhero with a cape flowing behind. It’s majestic the way the roll dances through the air as it unravels, flapping in a large arc until it lands on the roof of the garage with a gentle thump, leaving a long tail of white hanging behind.

Jacob smiles, goes back to his car and takes two more rolls. These he unravels and throws as well, white streamers of liberation arcing through the sky and draping over the porch and the tree of the green trimmed house. He throws it all away, the fear of hunger, the tightness in his chest, the loss of Susan, everything that has ever bogged him down takes the form of rough papery whiteness. He doesn’t even feel the arthritis in his elbows and wrists.

He grabs more and more until he loses count. Jacob feels like a child, but not the kind of child he was, concerned with figures and money. The kind of child he wished he could have been. Giddy and carefree like his sister who had climbed trees, chased chickens, and didn’t have to explain to their parents that they were going to lose their home.

He fills the darkened sky with his streamers of white, until his breathing is heavy and his arm begins to ache. The house, the tree, and the lawn are completely draped in toilet paper. The mess on the lawn isn’t intentional; he doesn’t have the strength he used to and the bombs didn’t always make it to the roof, but he enjoys the effect it has none the less. Jacob takes a step back and admires his handiwork; it is as if the yard and house have been covered by a poorly knitted blanket of white.

He hobbles back to his car to get more rolls and is surprised to find that in his excitement, he’s thrown over 50 rolls, 13,200 squares in total. The first box is empty, the second plum full and filled with opportunity. He considers opening the second box but thinks better of it. He’ll keep it. Not to be frugal, but for next time. Next time? The thought sends a childish jolt of glee through him.

Breathing heavy, elated by his rebellion, the toilet paper bandit leaves the empty cardboard box with the Bulk Blokes logo clearly printed on the sides on the driveway like the calling card of a master criminal.

He smiles as he climbs back into the car. He takes one last look at his work, and he knows that for the first time in his life, he’s wasted nothing.

 

Self-Alienated

You persistently try to find meaning in a universe apathetic to your attempts. In case you’re reading my story and persistently puzzled by the frequent, out-of-place burning numbers, however, feel inclined to look up “Kohlberg’s Stages of Moral Reasoning,” as well the criticisms which note that the stages may be circumstantial modes of reasoning—not modes we progress through as we grow. If you aren’t bothered by the numbers, feel inclined not look this up, and feel proud that you possess the ideal soul in your improbably absurd slice of reality.

A nanoscopic “7” burns somewhere as the sack of semi-conscious tissue and nerves that self-identifies as “he” begins to feel warm sensations in its appendages. He blinks, brushing away a blanket with a cool, half-numb hand. He rubs it. The hand is just numb enough to feel like it’s made of leftover chicken. He still rubs it. There’s funky twitching in his armpit as more blood flows, and he can feel his hand finally heating up.

He looks at a clock: it’s a green blur that he guesses reads “8 or something.” He scoots forward in his bed, rocking it. He doesn’t even think about waking his roommate as he climbs down the bed’s frame. A sweet percussion song that’s sung by a girl for some reason, For the Damaged Coda, is playing somewhere in his temporal lobe as he crosses the room. He almost forgets that it’s only in his mind.

He gets his bathroom stuff and showers and all that. He assumes he’s using free will as he nods his head to the sick beat while his cerebellum uses habit to drum along with literally all his movements: hanging his towel, twisting the shower 3⁄4 on before twisting down some and notching quickly back to the perfect heat. His basal ganglia are lazy: his hands twitch awkwardly as he finds the right temperature. The heat is heavenly and the water hypnotizing until he remembers that today is the day he should text his friends.

A picoscopic “3” burns somewhere as his limbic system lights up and an array of thoughts appear which look something like this: [“Do they still like me, even though I haven’t texted in two weeks?”; “I’m Fredrick Wilson, the Debate Captain!”; “Why would they care? I’m boring. We only talk about school and our dreams and that runs low fast; without board games, at least.”] He gets out of the annoying, hot, tickling shower, goes to his room, picks an outfit out of the dirty clothes hamper like a privileged heterosexual college student, grabs his backpack, and leaves. His roommate is still sleeping.

The elevator door opens, and as he steps into it he thinks of going to breakfast and one of the empty classrooms and texting everyone he cares about “hey, what’s new with you? How’s school/work-because-his-parents-don’t-go-to-school?” Then he has the genius idea of texting them now, “so I can give them time to respond as I eat breakfast!” He does. While texting, he realizes it’s eleven, and is glad his meal plan won’t cost extra this week.

He doesn’t remember he has a date with a girl for dinner and a movie tonight.

When the elevator door opens, he transforms into an upright human centipede whose waddling butt is still in the elevator; whose stumbling legs reach across campus, into the cafeteria where they spiral around a seat like an amazing ball of yarn knotted together by a three-year-old, and that shoots off to that room he thought about and wraps itself throughout the room like a pile of spaghetti anxiously, awkwardly texting and waiting to be texted while pretending to do homework that’s no less done within three hours; whose head is sitting in a desk about to tap its head.

He taps his head. “What am I doing?” he thinks. He remembers the three pillars of writing: cognitive ease, that the tendency is to write what makes sense; novelty, that the tendency is to write in both creative, unexpected ways that hook the reader; “aha moments,” that the tendency is to use the other pillars to lead the reader towards epiphanies, which are so addicting they can change all the pointless ways the reader was going to act and think into new, equally pointless ways.

A microscopic “6” burns somewhere as the pillars’ chunking device makes his frontal lobe spit the heuristic, “well, writing resolves Mental Set and Apathy by producing neurotrophic growth hormones in my dopamine tracts—at least that’s something.” He actually reads one of his homework assignments and thinks about it and writes it and rewrites it and eventually makes it easy to read and just novel enough that the professor will like it without being so insightful she feels threatened or skeptical of it. Just as he finishes, he remembers that he needs to make a bibliography.

A yellow “1” burns somewhere as he realizes his teacher will give him a bad grade and his parents and future coworkers and future versions of himself will make him feel bad if he flakes out now. He furrows his brows as he pulls together the rules for the MLA-8 and cites his single source.

He remembers he has a date at 6 tonight with a girl for dinner and a movie. He looks at his Fitbit: its 5:19 and he’s only walked 3,210 steps. He frowns as his hippocampus activates an image of himself and his Mom talking, vowing, to reach 10,000 every day.

He transforms into a centipede that spirals around campus, whose thousands of heads are looking at sky and trees and whose hands are in their pockets. The centipedes’ head exists at 6:01, where it’s standing near the cafeteria and looking at its date.

“Hi Freddy!”

Hello Grace. How are, uh, things? What’s, you know, new and stuff?” They’re walking towards the cafeteria, talking about stuff neither of them will remember two decades from now, smiling. One of them laughs. The two become centipedes, curling on each other in an intricate dance about the cafeteria’s buffet.

“Do you mind eating in the little café downstairs? All these people are stressing me out.” There are hundreds of people in the cafeteria.

“Yeah, sure. Why stressful?”

“I have agoraphobia, so I get really stressed when I don’t have a way out.”

“That must be stressful.”

“Just leaving my dorm is hard. Thanks for agreeing to go downstairs; I know it doesn’t make any sense.”

He’s just an agreeable person that doesn’t have a static psychological conception of how people ought and ought not to act, so he says, “No, I mean, it makes sense.”

There’s a white “5” burning in front of a clock near them, and as he glances at it he forgets literally everything and can’t feel anything. Warmth rushes back to his body and he remembers who he is: someone standing in a cafeteria, listening to a girl saying, “Really?” and himself responding, “Sure, why not?”

“It’s just, I’ve had people, friends really, obviously they aren’t anymore, tell me I’m just too much and not worth their time.”

“Oh.”

“Family too, my brother acted that way.”

“Oh.”

“He doesn’t anymore: I called him the other day crying and asking him to forgive me for everything I’ve done, but he just sorta said, no, its water under the bridge. Don’t worry about it.’”

“That’s good. You wanna sit here?”

“Huh? Oh sure. I love my classes though. In Positive Psych I was freaking out, because, you know, there’s only one door and no windows, but then he taught me about growth vs. static mindset and I realized, you know, I’ve had a pretty static mindset, but I can change; I can grow. That’s the whole point of neuroplasticity.”

“Speaking of that, and fear, I heard there’s this drug that can, like, cure phobias.”

They stare at each other in silence, neither smiling. Suddenly she smiles. “Are you joking with me, or… what?”

“No, I mean, I know I’m very good at my deadpan jokes, but no.”

“Oh.”

“Yeah, my professor called it…” he forgot what adrenergic antagonists are called.

“Something. But you just remember whatever freaks you out, think about it, take the pill, go sleep, and the next day the phobia is gone.”

“Wow.”

“Yeah, so, I just thought I’d say that.”

They turn into another pair of centipedes who reach from the café to the movie theater one floor below. In seats they both watch the “Secret Life of Pets,” and he constantly either remembers Louis C.K. doing two minutes of stand-up that made him laugh more than the entire film or thinks about keeping his hands and feet from touching hers, because they’re constantly almost touching his, like itchy little spiders. Those two centipedes’ abdomens sit in that particular spot in space-time for eternity, but their heads are outside the entrance to his dorm building.

“What time is it?” She shows him her phone. “It’s only 9! The movie was way shorter this time!” A black “3” is smoking fumes a meter above where they stand, and his body goes numb and forgets everything before feeling returns and he remembers where he is and who he’s with. His limbic system has already decided that they’re only getting dinner and a movie, and that now he needs to play video games until his roommate starts getting ready for bed. His cerebral cortex is too lazy to bother explaining this decision, so he just stands there, hands in his pockets, looking at her.

She smiles. “Ok.” She reaches out her arms, and latent social-modeling memory tells him to do the same. They hug. He steps back again, hands still in his pockets as he watches her.

She frowns and says, “What are you, why are you just…”

“Oh! Right. Good-bye. Sorry, I’m not good at things.” Now he’s walking away from her, and her from him.

The awkwardness makes his neck itch, and the thought that, in pointing out his awkwardness, she “got him good, well played, well played” legitimately crosses his mind, even if only like a spider scurrying across the surface. As he moves towards the elevator he asks why he’s dating her, and answers that they were just going out to dinner because he had nothing better to do, but had moved to movies because someone else standing in the room mentioned a movie and he somehow got politely roped into dinner and a movie with the girl.

He asks himself why he doesn’t want to date her, and his limbic system basically responds with clicking sounds that feel like fear and disgust. His cerebral cortex makes sense of these sounds by recalling that his older cousin married someone with mental problems, and now his family talks shit behind their back about how awful their marriage and their fights are. They’re especially worried for their two daughters, who are super cute but might be traumatized for life.

They were, because epigenetics are a thing. Being traumatized as a kid changes your genes and makes literally everything more stressful than it needs to be.

His cerebral cortex also makes a horseshit comparison of Grace to prototypes of what a “girlfriend” is. Grace was literally 2.1 standard deviations from it. He ignores the thought, but if he was 1/10 of even a level five person he’d have squashed it like the spider it was.

He opens his computer and stares at it. He looks out the window, and is surprised to see 3⁄4 of the sky filled with an enormous purple face, whose protruding tongue dangles between steel grey clouds like moist, sweaty pink whale. He’s about to ask what the heck it is when he remembers the ten million times he’s seen it floating in the sky, even since he first remembered the sky. He’d taken science classes that taught all the different micro-expressions it made, and at which time of the day, and why. He watches it closely, watching its tongue wriggle so slightly it would have been imperceptible had he not known how to watch it. He smiles, remembering the black and white video of Louie Armstrong and Buzz Lightyear landing on that celestial visage, planting a flag in its cornea as they read a prewritten speech about the value of our collective struggles to communicate and work with each other, even in the apparently absurd meaninglessness in which we stand.

He’s opening his eyes, glancing about the white and black sphere as feeling returns to his arms. He remembers that he’s from a time when it’s possible to download the memories of those who died hundreds of years ago. He notices a clock on the side of the tiny pod, and remembers that he has to go to work soon. He decides to live just one more life—he picks a quick one, just a tiny section of an Identity that barely had the opportunity to develop.

He could have chosen to have an active role in the memories; to manipulate and analyze his reality through a dozen different lenses, gathering insight from the manner the memories were portrayed. He can choose to do so now. But even five seconds before he makes his decision, someone with even a primitive fMRI would have known he’d chose to let everything just flow in, raw and unfiltered.

He clicks a button. Four stories below, a cylinder of snotty DNA strands has a needle slowly retracting out of it. The needle moves in a circle and up a level, before finding the appropriate cylinder and stabbing. The DNA cylinder gets filled with synthetic RNA nanobots that begin transcribing data and bringing it back to the needle. There, they’d be spun together into a connectome whose stories were desperately linked up with the “Kohlberg-Haidt Universal Narrative Genome.” Those bugs created bugs, of course; errors in the code that let unrelated but occasionally self-destructive crap get through. The pathetic humans’ prefrontal cortex would smooth over even those, however, to continue to create the illusion that it has a single, continuous identity. He’s leaning back and closing his eyes when his finger accidentally flips a switch, and two-dozen needles emerge from their compartments, each stabbing another cylinder. If he existed in a primitive culture whose inhabitants were unaware that their reality was an eleven dimensional multiverse in quantum scales (from quarks to quasars) physically impossible for their gelatinous organs to comprehend, he probably would have had a seizure. But his culture threw sanity to the wind, just plowing through reality with bio psychosocial moral reasoning and a bad sense of humor, so he didn’t.

He’s looking at a girl looking at him as the coaches’ words, “find a debate partner” echoes in both their ears. He shrugs, because she’s a friend of a friend, and then they’re holding a trophy as he secretly wishes he earned better “speaker points” than she did, then watching her speak as he stutters, frowns, and looks away and prays she makes arguments only moments before she does. They’re hugging, and she’s telling him she’s choosing theater over debate, but that they should “stay in touch.” She talks to him at a party with dyed hair and shows him her tattoo of the neurotransmitter serotonin, “the happiness neurotransmitter,” because before she’d get blackout drunk at all the college parties she was the “happy-go-lucky theater girl,” and she wanted to remind herself of it.

She’s watching him and the theater girl standing with their trophies, smiling, and then she’s telling him that the key to winning is to make your points quick and get out fast. She’s debating with him, just to see if they’ll be a good team now that his partner left, and then he’s driving her home as she’s telling him about her parent’s divorce because he seems so nice and quiet and smart. She mentions her ex-boyfriend being needy and calling her even as she remembers he was there when her ex-boyfriend did so; when she’d responded by putting that loser on speaker while hiding laugher. She doesn’t realize she’s talking to someone she barely knows as she tells the sweet smart quiet kid “I wish my ex and I hadn’t… I just felt so dirty after we did it and…” Freddy’s arms turn into rods as his eyes drill holes in the streets ahead of him. They walk past each other without speaking 29 times those next three years. She constantly runs down the dozens of younger debaters and smiles and chats with them as he watches with a scowl. She stands up when the high school Captainship results are announced, and he’s still scowling.

She’s watching her stand as Captains are announced, and she thinks, “Oh, my poor baby.” She’s driving him home as he stares holes in the road ahead when memories rearrange themselves and she says, “You know, my pastor told me ‘There’s no such thing as quality time without quantity time.’ What he meant was that you need to do lots of boring stuff with people, like debate, I suppose, but any activity really, in order to make relationships come out of them.” He looks at her with an expression like a ghost, and she realizes how few nuggets of wisdom she has for him.

She’s writing on a board as she tells him they’re in college now, and people are busy. He shouldn’t worry if the two of them are literally the only people on the debate team, because that makes them captains. He has an expression like a ghost, and she realizes that she barely even knows this kid’s name and their entire team—club really—is going to die with them. Grace walks in the room, and mentions something which leads to someone talking about the new Avengers movie and he says he wants to see it and Grace says she wants to too and they look at each other and say “Sure, ok.”

He walks along the ceiling, hands in his pockets, as he listens to the older boy tell him about his old partner and the first trophy they won together. He sees a section of the older boys’ centipede that joins a debate team in college that he accidently runs into the ground. He scratches his first bits of peach fuzz while deciding not to tell him, so they can enjoy their moments as partners together. He’s standing in front of a crowd, scratching his long red beard, as he gasps and tells his congregation of summer-camp debaters that, “If you tell yourself you do this activity for the leadership opportunities and trophies, it’ll chew you up and spit you out.” He’s about to tell them how to use the newest advances in neuroscience and social psychology combined with Kantian comprehensions of the innate way we gather and make sense of experience so they may avoid self-alienation, but that’s the moment he’s disintegrated by an alien assassin’s laser-phaser.

He opens his eyes as gasps of heat and light pump through his arms. A clock is flashing behind his head, all numbers lit and singing. He rubs his eyes and opens the pod to discover reality is still clicking away, and he’s late for work.

 

The Future, An Ocean

It is unquestionable
as to what attracted you
to this shore, the light-beige
 
color of crushed bone,
where the motions of spume
push clumped seaweed
 
and husks of dead fish
in and out with the raging tide.
Now you face the sea,
 
positioned on the threshold
dividing the future,
set shrewdly before you
 
in a collage of thrashing brine,
with the past beating
windily at your back.
 
Wading deep into the rush,
you vanish in the wake
of one towering wave,
 
accepting whatever
comes next. About this
there is no question.

65 Inches Wide and 37 Inches High

Let us observe the Clarks in the television room of their small but not unhappy home, a respectably uninteresting red brick that might wait on a grassy hill in any mid-Western neighborhood. Amelia Clark is sitting on the couch. Her legs are propped on the coffee table, sprouting towards the television. The back of her head is resting on the rise of the sofa, and a large bowl of popcorn is floating on her stomach, bobbing up and down as she breathes. She plucks a popped kernel, drops it elegantly into her mouth, munches, and repeats; the popcorn travels in a delightful loop, arcing from bowl to mouth to throat to stomach. Harold Clark is Amelia’s husband. He is sitting next to her. He is also plucking popcorn, but he plucks in handfuls. His legs are grounded. His eyes are closing; he would like to go to bed.

The large television screen in front of Amelia and Harold is three days old. The story is that Harold had been walking through a large television store in a large department shopping center in the neighborhood’s large shopping district when the television spoke to him from a window. He couldn’t remember what it had said, but Harold heard it, and Harold had walked inside and bought it because of what he had heard. And so here it sits, naked as a newborn baby, watched by the amiable Amelia and sleep-wanting Harold Clark, sharing the most entertaining parts of the world in waves of colorful, digital wonder.

But if we allow ourselves to enter Amelia Clark’s mind—just for a moment, and without drawing attention to our doing so—we will notice one small grievance concerning the television. Because the television room belonging to Amelia and Harold Clark is so small, and because the television screen is so large—65 inches wide and 37 inches high, thinks Amelia, recalling Harold’s words of adoration as he stroked the television screen after it spoke for the first time—the viewing experience is, regrettably, less than desirable. As we sit here with Amelia, let us imagine paying good money to visit a museum and, upon walking into a room to view an excellent painting, notice that this excellent painting reaches all the way to the corners of the walls and, consequently, invites these walls to suppress its radiance. There is nothing sadder than unrealized radiance. Let this image guide our empathy for Amelia.

Amelia and Harold watch the television for two more hours. In this time, Amelia finishes the bowl of popcorn and, as she sweeps her tongue across her teeth, the largeness of the television and the smallness of the television room begin to frustrate her viewing experience more and more. Later that night, when the television is asleep and Harold is too, we find that Amelia, lying in bed, is still looking for particles of popcorn.

The next morning, Amelia tells Harold that she is unhappy with the size of the television room. Harold agrees, and the Clarks, unwilling to swap their large television for a smaller one, decide to look online for a real estate agent. They find one whose advertisements they know from the television. They call immediately and make an appointment to see a man named John.

“How can I help you?” John said to Amelia and Harold in his office.

Harold, who had been resting his arm on the neck of Amelia’s chair, leaned forward and said, “We’re looking for a house with a large room for a very large television.” He made a little square with his hands. “It’s just that, well, our television room feels so cramped.” His hands were on his lap now. “We just don’t feel like we can enjoy ourselves like we used to.”

Harold’s earnestness reminded John of a small dog asking for a treat, and he responded by nodding with the measured enthusiasm expected, he thought, of all competent realtors. He scrawled a note on a fresh pad of paper, filled in his clients’ details, underlined an earlier note, and returned to the Clarks.

“Is there anything else you’d like to see in the house? I’m thinking laundry size, kitchen layout, wall color, floor preference.”

Amelia, confident that she was speaking for both herself and her husband, said, “We’re open to anything if it has a large room for the television.” She closed with a smile and found Harold’s hand, which she squeezed and then let go.

Later that afternoon Amelia was watching a program on her new television when the phone rang. It was John. Apparently he had found a promising listing, though he warned he didn’t know just how large a room they needed for their television. He said the room was, in his opinion, fairly big, but whether it was to their taste, well, that was hard to say. John gave her the address and Amelia agreed that she and Harold would be there in the morning.

It was a fine house that John found. The street on which the house sat was a two-minute walk from a bus stop and there was, to Amelia’s interest, a selection of cafes next to an electronic goods store just two blocks away. But when Harold and Amelia walked into a room they thought could belong to a dining table or a set of armchairs, and when they discovered that this room was the room that John believed suitable for their television, they were, politely, quite shocked. The simple fact of the matter was that the room—the biggest in the house—would not do.

It was not Harold’s intention to sound rude or ungrateful, but he thought it pertinent to say to John that he was disappointed in the real estate agent’s estimation. He reminded John that his and Amelia’s television was of a substantial size and that they would need a room with adequate space for the television to sit or hang comfortably without appropriating an entire wall. Amelia, who had been standing beside her husband and looking at the walls as if they were a stain on one of his shirts, could do nothing but nod quite vehemently.

A few weeks must have passed and John, regardless of the geniality in his intentions, had been unable to locate a house with a large television room. John might have felt better about this ineptitude if the market had been weak, but the truth was he had been having a good year prior to his engagement with the Clarks. He wanted to curse the Clarks, but he didn’t. He was a good Christian man with good Christian values and, whenever he felt a demon trying to tempt him into calling Amelia and telling her to shove her television up her fucking arse, he took a deep breath and prayed with the knowledge that everything would be okay.

Three days before John would notify the Clarks about the discovery of a listing with a very large room conducive to a very large television, Amelia received a call from her doctor. She was pregnant. Harold laughed with joy when he heard the news and it was agreed that they would celebrate over dinner at a nice restaurant.

On his way home, Harold smiled a great smile. It was a smile that spoke of victory, of mighty achievement, for he and his wife had, as he said again and again to the steering wheel, won for the household their very own child. Amelia was less certain and, as she waited for the sound of the car in the driveway, she found a channel on the television that said its shows were just for new mothers and mothers-to-be. Despite her qualms about watching the television in the small room, Amelia was so happy with this channel that she nearly, though never quite, forgot about: one, the confined feeling of the room; and, two, why she had started watching the channel in the first place.

His wife’s pregnancy filled Harold with so many bubbles of pride and adoration that he had decided, without consulting Amelia, to make a reservation at a fancier restaurant than the nice restaurant he and his wife normally frequented when they had something to celebrate. He considered it a necessary act, a dutiful show of love that was demanded of him and that he was happy to appease, for money was no longer an issue in the Clark household and, he thought, if you didn’t splurge to celebrate your wife’s pregnancy, when else could you spend a bit of money and justify it so easily?

In the car, Amelia thought herself quite indifferent to her husband’s choice of restaurant; she knew she would be happy as long as they returned home in time for prime time television. Nonetheless, she told herself that she would act, with great conviction, like a wife overwhelmed with gratitude for her husband’s thoughtfulness. She would do this by smiling when he smiled and laughing when he laughed; importantly, she would tilt her head affectionately when he said something nice, an action she knew, from years of experience, inspired within him his own glow of affection for her. Later that night, she would lie in bed and listen to Harold breathe beside her and ponder if she had been successful in these endeavors.

Before that could happen, however, she had to eat dinner and, between mouthfuls of garlic prawns and mushroom steak, Harold and Amelia tasted their way through the future.

“We’ll have to set up a savings account in the child’s name. I’ll make a note of that.”

“There’ll be more clothes to buy—we can think about that nearer the time.”

“Private school would be nice, but we’ll have to save a bit more if we really want it. A good one, that is.”

“What do you think about Denise as Godmother? That would make Adam her Godfather. Maybe I’ll ask Francine.”

“I think she’ll be a girl.”

“A girl, nice. A boy would be nice as well.”

And then, as if the couple had been playing a guitar with a missing string, Harold, in a moment of profound awakening, realized that the arrival of a child would have to be considered as they looked for a new television room. Of the revelation, he said, “We’ll need a house with another room!”

Amelia, having exhausted her stockpile of pretense, looked at Harold as if he was a stranger that had just taken a seat at her table. She said, quite simply, “What?”

Harold wasn’t slowing down. “And we’ll need a yard. I remember playing in the yard as a boy. Oh, Amelia, a yard is a necessity!”

Amelia was reluctant to agree with her husband but she gave a quiet nod. She said, “A yard could be nice if we find a house with a yard and a room for the television.”

Harold agreed.

Three days later, Amelia answered the call from John and he told her about the house with a television room that was of a very agreeable size. Amelia didn’t know why, but she had a wonderfully good feeling about this house, and she said as much to John and then to Harold when she called him afterwards. For the rest of the day and well into the night, Amelia watched television with a grand smile and, as she sat on the sofa, with all the attentiveness of a child before a teacher, the tension in her shoulders relaxed and the muscles in her back eased. It seemed as if a great load had been removed from her body.

When John showed to Harold and Amelia the television room the next day, the baby-expecting couple was very happy. Amelia was so happy that she thought she wanted to cry. She didn’t, of course, but she thought that if she had been an actress, she might have, in future years, recalled this moment in her life as a means of bringing tears to a character overwhelmed with joy.

The house was in a respectable neighborhood, evidenced by the judiciously trimmed roses, carefully maintained hedges, and immaculately polished letterboxes that seemed to fight each other, quietly and noisily at the same time, for passers-by attention. The neighborhood was so nice and respectable that a neighborly local might have, under the spell of colloquial real estate confidence, described the locale of the house and those around it as a pleasant area where the city shakes hands with the suburbs.

There was even, to Harold’s delight, a quaint lawn in a quaint yard outside the house. But it was inside the house, in the large, empty room next to the kitchen that the Clarks found themselves not long after John had ushered them inside. For it was in this room that Harold and Amelia began to envision, like two prophets speaking of the great Messiah, the location of their television.

John discovered the seriousness of the affair when he walked into the room and asked the couple if they would like to join him for a pot of tea on the deck, which wrapped around the house and overlooked the yard.

“No, thank you,” said Amelia. “We are just going over some things.” With these words, Amelia had not only refused John’s offer, she had effectively disposed of the possibility of further interruptions from the real estate agent who, silenced and alone, proceeded to wait in the kitchen and listen to the couple’s stratagem for the remainder of the visit. This is what he heard, and what he might have seen had the couple been more forthcoming.

“I think the television would sit very nicely on a stand along this wall,” said Harold, who pointed and then walked to one of the longer walls in the rectangular room. He developed his argument by saying, “That way the sofa can sit along this wall.” He pointed to the opposite wall. “And we can walk freely from one end of the room the other.” When it came to debates and discussions, or anything that required of Harold a parting shot, a final commanding word that might sink the anchor in his port, he often found a home for terms and phrases he knew little about, but whose sound and general meaning could be translated into definitive, uncompromising success. One term that Harold liked to use was feng shui, and he used it now.

And yet, Amelia was uncertain about the viability of Harold’s suggestion. She was particularly concerned about light from a glass door at one end of the room creating a glare on the television screen, an experience she compared to driving on a long road ridden with potholes, or eating a soup seasoned with too much salt. The prospect of an impaired television screen brought her more discomfort than the possibility of the sofa sitting in the middle of the room.

“Wouldn’t the television look nice here?” She pointed to the end of the room where there was no glass door. “There’d be no glare and the sofa could act as a partition—we could make a cozy nook over here and no one would be able to walk through it.” Of this suggestion Amelia felt quite strongly and, without intending to dismantle her husband’s idea, she said, “I don’t much care for a walkway between me and my television.”

But Harold must have taken these words to heart because he opened and then closed his mouth without uttering a word of reproach. Instead, he walked to the glass door and looked at the lawn in the yard. It was very green. Too green, he thought, for a lawn governed by the summer sun. It was so ripe with greenery that Harold was reminded of something like a pasture in an English countryside, one that he might have seen on postcards and books and even on the television. When he moved his eyes above the lawn, he noticed in the distance a father and a small child walking pleasingly down the street in front of a row of houses that looked just like the house John had opened for him and his wife. The father held the child’s hand. The child did a little skip. The image directed Harold’s attention to Amelia’s womb.

Amelia, who had made it her responsibility to continue planning the location of the television in her husband’s absence, was collected by his mental and physical return and, specifically, the look of concern in his eyes. She asked of her husband, “Harold?”

“What about the child?” he said.

Amelia wanted to empathize but she couldn’t. She said, “There are two more rooms: one for us, one for the child.”

“And what about guests? Where will they stay?”

“We’ll buy a sofa bed.” Then she said, “Or we could move the child into our room if someone had to stay.”

At a later date—after the passing of at least nine months—Harold would look back on this moment and ask himself if he had not been swayed too easily by the casual assurance in his wife’s tone, and if he had not given enough thought to the repercussions of his wife’s suggestion that had seemed, at the time, to be an easy and accessible solution to a problem not yet felt. Right now, however, he simply smiled at his wife and said, “You’re right.”

In the kitchen, John had finished his pot of tea and was fighting the call of sleep as he sat, or rather leaned, at the dining table. It was a half-hearted fight, something lousy that saw his falling head rise lethargically back into place, only to droop again and again. For the result of this fight—a return to consciousness in which he would close the deal and rid himself of the resolute Clarks—is destined for victory: in two minutes, Amelia and Harold, holding hands and staring in delighted anticipation at the vast, uninhabited wall that is to be the happy home of their television, will make an offer and all but move into their new house. And if we allow ourselves, as attentive observers to the actions of Harold and Amelia Clark, to consider what lies ahead for the couple, we might see them sit, day after day after day, on a comfortable sofa, watching their huge television in its appropriately oversized room, as they exclaim, with astonishingly fresh jubilation despite the frequency of such exclamations, how beautiful, lovely, and perfect is this room for them and their television.

At Once

There is nothing more capable than an Apple font for undermining her self-esteem. She thinks, a nagging woman isn’t flattering, fact of ’Merica, probably world, and these words are not hers but phrases her next door neighbor spoke, a kid with a faux-hawk and cargo pants. This is the sort of nonsense that, floating in the ether of her brain, drifts to consciousness when she is at a loss for what to say.

The husband says, “I don’t like to go on walks.”

The wife says, “You haven’t seen me all day.”

He stares at the computer screen, and she says, “Cycle.” Then, “Look at me.”

He clicks a bit and types a bit. He turns his head slightly as if to say, ‘I’ll be there in a minute.’

She taps her foot—she’s that kind of woman.

She taps her foot toward a stretch of back.

The clock on his computer states 10:05 in Helvetica Neue.

“It’s ten o’clock,” she says.

“I know, I know,” he says.

“We are going for a walk,” she says.

‘At once,’ she wants to add.

“We are going for a walk,” she repeats.

“It’s too cold for a walk,” he says.

“You have coats. You can put on a hat and gloves.”

“Yeah—”

“You have gloves,” she says again, “and a hat and coats,” as though reverse order will be more persuasive.

He clicks a bit and types a bit and does not turn his head slightly as if to say, ‘I’ll be there in a minute.’

She taps her foot. She crosses her arms. Her anger, as much as it comes from self-defense, makes her feel ugly and craterous, a little absurd.

“Give me a minute.”

“Don’t lie.”

“No, no, I’ll be there.”

She has become this kind of woman, the kind of woman who demands ‘At once, without delay.’ She has been remade in the image of those so desperate they cannot wait. Helvetica Neue is thin and elegant, thinner and more elegant than she. She has told him as much. He has said, “That’s ridiculous.”

“I know,” she replied. “So why are you doing this to me?”

These were not the right words because he groaned and put his head in his hands. The computer screen lit up his skull where his hair did not cover it.

Not saying anything feels like a self-inflicted wound.

“You are my husband,” she says. This is a statement of implication.

“You are my husband,” she repeats. This is a plea to buy into a certain construction, to go through the motions of a role.

“Did you hear me?”

“Yes, I heard you,” he snaps.

In the ether of his brain are not ones and zeroes but steely routes of logic. She doesn’t know how to speak that language or her own.

 

 

The wife’s friend takes the wife to a rodeo.

In the parking lot as they get out of the car the smell of bull crap wafts under their noses and the wife inhales and exhales. Her chest expands to the size of the moon.

“This bull crap smells good,” the wife says.

“No,” the friend says. “Say it like you mean it.”

“This bullshit smells amazing,” the wife says.

“That’s better,” the friend says. “Now loosen up some more.”

“Lord, this bullshit smells amazing,” the wife says. “I’ve been needing real bullshit.”

The friend says, “That’s right. Look how relaxed you are.”

The wife lets her shoulders shrug and the friend puts out a hand to stroke her hair.

The hand stroking makes the wife feel good. The friend is a free spirit, a comforting suggestion to the wife that taking pleasure in small things, little moments of contact, is sufficient. To take pleasure in a walk, the smell of animal droppings, a hand caressing—sufficient for what? And yet here is an answer. She can no longer imagine infidelity as a substantial betrayal, or kissing a woman as unnatural.

“You are going to like the rodeo,” the friend says. “It’s just what you need.”

 

 

Young men, leaning on walls, watch women walk by in cowboy boots and then look back down at their phones. A group of girls to the side of the entryway look at the men, dreaming, with their meticulously drawn-back hair and glittery eyeshadow, of capturing their gaze. A chilly draft follows the wife and friend through the wide doorway—chilling with the rising volume of the rock music near the arena—until, higher in the stands, the air warms.

When the announcer booms out the next match-up of bull and rider the names cannot be heard—only the country twang of the announcer’s voice, the auctioneering tone atop the music. People beat their feet on the bleachers.

 

 

“These two chipmunks spend all day running up the wall to the windowsill of my office. They just cram their cheeks with food. When they first started visiting they were as wide as a walnut. Now they look like stuffed socks. And they don’t want each other around.” Her words hit his ears as so much chatter, but she goes on anyway.

She continues, “I don’t know if it’s two males or two females, or if it’s a male and a female and it’s just not breeding season, but each time one of them sneaks up the wall, the other one races up the wall and chases the first off. And then the first one has to wait until the second one has shuffled through enough of the seed before venturing back up. And they both go through so much seed—digging and shunting off most of it until they find what they want—and by the time they go down their cheeks are super puffed out. And they take this food back to their homes—one lives across the street, one around a building and out of sight—drop it off and come back for the same thing all over again. They do this all day. And I don’t know that it’s good to eat that much. Or to waste so much. Or to fight with each other so much. Or why nature is like that to begin with.”

They momentarily go off the sidewalk and into the road to avoid shattered glass.

“They’re small,” she says as they step back up, “so why can’t they get along?”

He does not respond immediately.

“It would be one thing if there wasn’t enough to go around. But there is enough to go around. They just can’t make the right use of it.”

“Hm,” he says.

They walk for a few minutes silently. She is hoping he will comment. Instead, they reach the top of a hill and he begins to shiver.

“Hm?” she presses.

“What’s that?”

“You said ‘hm’ before.”

“Oh.”

“What were you going to say?”

“I don’t know,” he says.

“What are you thinking about?” she asks.

“Um—I don’t know.”

She blows out hard and her breath forms a cloud between them.

“You don’t know?”

“I’m not really sure. I guess I was thinking about this thing called Cassandra.”

She tries to be patient.

“Cassandra?”

“It’s a database,” he says.

“Of course it is. So you were thinking about Cassandra.”

“This is why I don’t like to answer you.”

“Oh, this is my fault,” she says.

“Yes.”

“All right,” she says.

 

 

“Say something,” she says.

“I’m cold. Let’s go back.”

“You’re cold? It’s warm. Feel my hands.”

She takes off her gloves and presses her hands against his face.

“Well, I’m cold,” he says. He takes off his gloves and tries to touch her face.

“Don’t put your hands on me,” she says.

He puts his hands in his pockets and says, “God. You’re always so mad.”

“I don’t want to go back,” she says.

“So don’t. I’m going back.”

“You’re just going to leave me in the street?” she asks.

“That’s right,” he says, or she thinks he says. He’s down the street and at the corner and she can’t see his mouth and his footsteps blend with and muffle any distinct words.

 

 

A lull descends when the men ride. The only sounds then are thudding hooves, snorting bulls. And it is not that time has slowed down but that the crowd pays attention to each millisecond of it, each millisecond important.

This one kid, skinny and young and swallowed by flannel and jeans, drops onto a brown bull of moderate size.

The kid puts up an arm and grips with his legs, simulating what he has seen. Then the buzzer goes off and the bull bucks forward, seesawing, out of the gate.

He stays atop it for one second—just that one—

Falls at the end of that second, shocked and unprepared for the sensation of the bull beneath him. The bull goes on, unaware at first that it has lost his rider. As it turns, it sees the man on the ground, struggling to get up.

The clown runs between, whipping and waving the red flag.

The bull repositions. The men yell to get the rider’s attention, to get him in motion. Though near the gate, the rider won’t make it back, slow as he’s rising, the length of the journey increasing with his increasingly sluggish effort—

A heavy front hoof knocks him down.

The crowd gasps.

 

 

At the look on her face he says, “I’m sorry.” His expression is not tender but responsible.

“Don’t say it, if that’s all,” she replies.

He says nothing, and then she says, “Whatever,” in a small, manipulative voice.

“I’m sorry,” he repeats.

“You would leave me at night in the street.”

He sighs, exhausted.

A car’s headlights fall on them. They move back onto the sidewalk.

“You would abandon me at night in the street,” she repeats.

“I need to get away from you.”

“Get away from me then.”

“Look, let’s move on.”

“Move on back home?”

He turns down a side street as a kind gesture she both wants and does not want. Following feels equal to putting a pacifier in her mouth.

 

 

“Knocked breathless or crushed?” the wife asks the friend.

“Crushed,” the friend says. She laughs. “Don’t be so horrified. He’s probably fine.”

“Is this normal?” the wife asks.

“Not normal—but it happens sometimes.”

The music cranks back up in the interim as the crowd recovers.

The next rider is larger and more muscular than the last. He climbs onto a tan bull stamping at the dirt. When the buzzer goes off, the crowd falls silent.

Four, five, six seconds in, and then they start screaming. At this point the rider has accomplished something; there are stakes. They whoop until eight, nine, ten seconds, and then they are quiet again, on the edge of their seats.

Bullshit that you can’t change the other person, the wife thinks. She has found herself changing on account of the husband, talking more relentlessly, turning silent for long measures, feeling smaller and less capable and drained, not knowing what to do to earn affection, becoming more dependent, needy, womanly. Had he changed? Her actions did not seem to affect him, except that they irritated him, and he had not seemed to be, originally, an irritable person.

It’s a simple and visceral pleasure, watching the bull rider, being caught in the grip of her friend, who has reached for her arm. The crowd roars again.

“Yes,” the wife shouts back. The friend can read her lips if she can’t hear her.

The friend smiles and the wife cheers like she wants to rip her throat open. The friend must like to hear her use her voice in this way because she grips back harder. They squeeze as if they would break each other’s hands, and then they let go laughing as the rider falls off the bull at eleven seconds, his short burst of strength a marathon.

 

 

“Let me feel your hands,” the wife says.

The husband puts out his hands obediently. She brushes her fingertips over them. They feel icy and dry.

“If you went outside more, you’d acclimate.”

“It’s freezing,” he whines.

“You sound like a girl.”

“How cold do you think it is? Ballpark the temperature.”

“I don’t know. Forty? Fifty?”

He pulls out his phone and opens Apple’s weather app.

“Thirty-four,” he says.

“Apple says it’s sunny and it rains, or that it will rain and the sun shines. I don’t know why you think they’ve got the temperature right.”

“I’ll buy a thermometer,” he says.

Amazon’s orange and white home screen lights up the night.

“Stop buying a freaking thermometer,” she snaps.

He grins because he thinks he’s being funny. At the mercy of his perceptions, she asks, “Why can’t we just go for a walk?”

“We are going for a walk,” he says.

“You just ought to love me,” she says.

“I do love you,” he answers.

“Liar,” she says—not the right word.

 

 

People trample straw and peanut shells into an already tamped down dirt floor. Peanut dust lingers in the accordion-like folds of the stands; here and there spots are dusted clean from bored audience members taking their seats.

The wife thinks how the best riders could hold their legs and torsos still, a hand focused on the braided rope.

The friend says, “Don’t ever watch bull riding on YouTube. Makes it look easy, when every bit of time they stay up there is so hard.”

This strength is rewarded with loud roars and then with hot dog wrappers and empty drinks cans strewn carelessly around the stage.

The wife pulls the friend out of the stream of people leaving and gives her a quick kiss on the lips. The friend returns the kiss, pushing back in a fraction of a second. They are both hungry and eager. The friend does not even seem surprised, as though she always believed this possible of the wife.

This acceptance makes the wife push back.

The back of her neck—that’s what the wife wants. The friend answers by grasping the wife’s arm, a match of force with force.

The longer they do this, the more exhilarated the wife feels. She decides that love demands aggression. She pulls away from her friend and shakes her head, a firm, if slight, ‘no.’

The friend laughs. “Of course not,” she says. “This is therapy.”

 

 

When they reenter the apartment a light is still on. She switches it off. In the dark, he stumbles into her.

She does not give. As he falls down, she says, “Well, I’m sorry.” And it does not sound sorry, is just on the other side of it, close enough he won’t call her on it, far enough that she has not capitulated.

This kind of control is what he must feel all the time, and that’s why he doesn’t need love.

“You ought to use your phone’s light,” she says, but she is really thinking about the use of force to get what you want. “I did mean to make you mad,” she says. “Does that make you mad?”

“Shut up,” he answers.

She grabs his arm. “Don’t be so mad,” she says.

He jerks away from her, but she knows if she pushes him hard enough, he will have no choice but to push her back.

Six of Spades

They introduced themselves in turn in their south-Wexford accents, starting with the tavern owner sitting to my left.

Lawrence Cronin, or “Lar” as he insisted I call him, with his scruffy salt-and-pepper beard, pale skin, and of course his endless stream of questions, such as where was I from? What was I doing this far south? Didn’t a fully-grown woman know better than to drive the guts of 5km on an empty diesel tank? In an area she didn’t know? Did I play cards? What did I want to drink?

Across the table and to my left was Pig-in-Muck McCarthy, a bulky man of few words and as many teeth, with a head that made me think of a hard-boiled egg. And directly across from me sat Seánie Pascal, sallow-skinned beneath a peaked flat cap and chewing on a piece of straw. The faint smell of manure and sweat hung in the air, not associating itself with any one of the men in particular.

When asked a second time what I would like to drink, I ordered a whiskey. When asked which whiskey, I read the label of the first bottle my eyes fell upon—Black Bush. Lar landed a glass in front of me, declaring his admiration for a woman with taste. I took a sip and it had a taste all right—a taste like petrol. It wasn’t a very ladylike thing to drink either, but something told me I’d get more than one funny look if I tried to order a mojito in here. They might have thought I was trying to teach them a foreign language.

“Deal ‘em out, Pig!” Lar clapped his hands as he returned to the table, slurping a freshly- pulled pint.

Pig-in-Muck scooped some playing cards from the table and began to shuffle them so that the barkeeper and I could join in. His hands looked like boulders. “Rummy?” The question was directed at me.

“Sure.” I sipped from my whiskey glass and tried not to wince at the burning sensation it left behind. Pig-in-Muck dealt seven frayed, dog-eared cards to each of us. I rearranged mine in my hand so that three kings and two sixes were side-by-side. I fought to hide the smirk that rose to my face; already, I was just two cards away from winning.

“Lorraine was it, you said?” The cards in Seánie’s hand quivered. Trying not to let my eyes linger upon the man’s tremor, I opened my mouth to correct him.

“No, Laura.” Lar had beaten me to it.

“Laura.” My name sounded clumsy coming from Seánie. “Used to know a girl called Laura. You didn’t go to school around here, no?”

“No, I grew up in Blackrock.”

“Fair enough so. Here, I think I saw you across the way this afternoon.” He nodded towards the hazy window behind me. “With himself. Bertie.”

I turned to look, peering past the big faded “Heineken” sticker. The autumn evening had stolen away the sunlight, but the shadowy outline of Loftus Hall, with its eight visible chimneys, stood strong across the marshland. Some of its downstairs windows glowed, and headlights flashed in the driveway.

“Mr. Price is my client.” I turned back to the table. “What’s happening over there? Surely they aren’t giving tours at this hour.”

“No haunted-house tours on Halloween night?” Lar chuckled into his cards. “Woman, it’s no wonder you’re in the business of tearing stuff down ‘stead of making something of them.”

I gritted my teeth against the sting of the remark. I didn’t admit it, but I had actually let Halloween slip my mind that year.

“What’ll your demolition fellas think o’ the devil’s hole?” Seánie picked up a card from the deck, slid it into his hand, and placed another down on the table. A ten.

A laugh escaped from my throat as I drew from the top of the deck and turned over a queen. “The devil’s what-now?” I decided to keep the queen in my hand and discarded a four. I shook my head in Seánie’s direction. “I don’t know what that means.”

“The hole that goes through every floor of the house, and the roof, that can’t ever be patched up.” Lar placed a card. “Did Bertie not show you it? Did he not tell you about the devil at Loftus Hall?”

“The devil? I thought they were only ghost stories,” I chuckled again and sipped my whiskey. Its cotton-like dryness didn’t feel so unpleasant anymore. None of the men laughed with me, and I felt the whiskey turn cold on its way down.

Seánie chewed on his piece of straw, arms twitching visibly. “Oh, it’s a great story. Ah, you may tell the poor girl now, Lar.”

“In the 1600s, the Hall was owned by a well-off British family called Tottenham, and there was a daughter—Anne.”

Seánie played a three to me. I didn’t need it. I pulled a two from the deck. I laid it down for Lar, who kept talking as he played.

“And one night a stranger knocked on the door and asked could he stay the night, saying he’d just arrived by sea. Tottenham—that’s the British lad—invited him in coz of there being a storm, and he became their guest.”

Pig-in-Muck laid down the six of hearts. Shit. Seánie picked it up and placed it in his hand, leaving a jack down for me. Bastard. I took an ace from the deck and left it on top of the pile, still holding out for my king and my six.

Lar paused and stared at me. I nodded to reassure him that I was still listening to his story, though honestly I was a little more interested in winning the card game. “Later in the evening, Tottenham and his brother—I think it was his brother—and young Anne were having a game of cards with the strange lad, and I can’t think what the name of the game was but everyone needed to be holding three cards, and Anne found herself a card short.” He picked up the card that I had laid down and placed a three.

“She thought she’d dropped it, so she reached down under the table to have a look for it, but what she actually found was that the stranger had bloody hooves for feet—they’d been sharing their home with the devil! And when he realized he’d been found out, he shot off up through the ceiling and out the roof and away into the night went he! And poor oul’ Anne was never the same, and when she died they had to build a special coffin for her because her body was all curled up from rocking back and forth. No word of a lie.”

I slammed my hand down on the table, making my whiskey and the three cloudy pints of lager—as well as the two older men across from Lar and I—jump on the spot.

Lar roared laughing. “Ah, sorry, pet – I didn’t think I’d scare you that much.”

He hadn’t scared me—what happened was that I had seen Pig throw down the very last king in the deck, meaning it wasn’t likely for me to win now.

Evidently on edge, Seánie picked a card from the deck, and mulled over it for a long time. Guilt rippled through me; I had done a better job of shaking someone up with a single motion than Lar had managed to with his entire story.

Seánie finally came to a decision, but the card dropped from his trembling hand, fluttering beneath the table and disappearing into the shadows.

My pulse slowed down as my eyes scanned the table—in this scenario, I was Anne, I was the vulnerable young maiden in the presence of not just one but three strange men and there was no way that I would be looking under the table. God, what had come over me? I felt like such an eejit for being sucked in by Lar’s bullshit story, but even so, I couldn’t unfreeze myself and go looking for the damned card.

“I’m not looking down there. Not after that story of yours.”

A smirk broke out on Lar’s bearded face. “Seánie, you’ll get it, will ya? I think Laura’s scared.”

I clenched my fists at his last comment, yet still I couldn’t bring myself to defy him and do it myself. I watched as Seánie began to shift in his seat and duck his head below the table. My cheeks grew hot with the realization that I had believed that I’d been playing cards with the devil himself, and the fact that I had sent a quivering old man under the table when I was more than capable of doing it. The women back in the office in Dublin would have a right laugh when I told them about it—it might even make a good story for Christmas dinner at my mother’s that year.

A shriek rang out from under the table, sending Lar, Pig and me leaping to our feet. Seated at the outside of the booth, I managed to recoil from the table, feeling my knees give way beneath me. I stumbled backwards and landed near a lice-ridden barstool, gazing at the ceiling, heart pounding. The whiskey must have affected me more than I’d thought it would. I hoisted myself up against the bar to see the three men standing frozen by their seats, pale as ghosts, eyes unwavering, watching.

Watching me.

I looked down. My legs were covered in coarse brown fur, covered to the knees by my navy skirt, and my dainty size-4 feet had been replaced by neat little hooves, which had broken outof the patent black pumps I had been wearing. The shoes were still under the table, side by side, as though I had stepped straight out of them.

A laugh burst forward from my core and reverberated through the weather-riddled wood of the tavern as I exited through the ceiling.

This would certainly make an excellent story for Christmas dinner.

Amy Pleasant

Amy Pleasant Profile_Photo by Jason Wallis Photography

Photo by Jason Wallis Photography

Amy Pleasant earned her BFA from the School of the Art Institute of Chicago and her MFA from the Tyler School of Art. She currently works from Birmingham, Alabama. Pleasant’s work has been widely exhibited and reviewed, including solo exhibitions at Jeff Bailey Gallery in NY, whitespace gallery in Atlanta, Indianapolis Museum of Contemporary Art, the Birmingham Museum of Art, Atlanta Contemporary , CANDYLAND Stockholm, Sweden, Rhodes College, The University of Alabama at Birmingham, and Auburn University’s School of Liberal Arts.
Her work has been included in group exhibitions at the Knoxville Museum of Art, the Hunter Museum of American Art, the Weatherspoon Museum of Art, the Columbus Museum of Art, the Wiregrass Museum of Art, the National Museum of Women in the Arts, the Mobile Museum of Art, the Southeastern Center for Contemporary Art, the Huntsville Museum of Art, Clifford Chance, and the U.S. Embassy in Prague, Czech Republic.
Pleasant’s numerous awards include an individual artist fellowship from the Alabama State Council on the Arts (2003) and an individual artist grant from the Cultural Alliance of Birmingham (2008). In 2015, Pleasant was a recipient of the prestigious Joan Mitchell Foundation’s Painters and Sculptors Award. Reviews of her work have appeared in Art Papers Magazine, Sculpture Magazine, and Art in America, among others.
Her work in a variety of media—including painting, drawing, and sculpture—examines the body and repetitive gesture.

A.D. Carson

Harlem Writers Pic

A.D. Carson earned his BA in Education and Creative Writing at Millikin University and his MA in English from the University of Illinois, Springfield. He went on to work as a high school teacher while serving as the Writer-In-Residence for Benedictine University. Currently, he is completing his PhD in Rhetorics, Communication, and Information Design from Clemson University, where he has raised awareness of historic and entrenched racism through his See the Stripes campaign.

Carson has also released several independent albums and mixtapes. Though he has his Hip-Hop ties, Carson works in other creative media, as well. His writing has been published in Collage, The Alchemists’ Review, Quiddity International Literary Journal and Public-Radio Program, and The Guardian, among others. His essay, “Oedipus-Not-So-Complex: A Blueprint for Literary Education,” is included in the critical reader: Jay-Z: Essays on Hip Hop’s Philosopher King. Carson’s first novel, COLD (Mayhaven Publishing, 2011), hybridizes poetry, rap lyrics, and prose. He is also the author of The City: [un]poems, thoughts, rhymes & miscellany, a collection of poems, short stories, and essays. He is the recipient of the Grace Patton Conant Award for Literary Creation and is also a 2016 recipient of the Martin Luther King, Jr. Award for Excellence in Service at Clemson University.

Carson uses his performance and written platforms to raise political and social awareness, and he connects music and literature in his dynamic approach to teaching.

Amy Pleasant

Mistake House: Your work incorporates many media, including drawing, painting, sculpture and cutouts. How does the variation in media correlate to your creative vision?

Amy Pleasant: Exploring the work through different materials helps me to understand the work in a more expansive way. I recently started working with clay. I like giving myself a new problem to solve, putting myself in a place that I don’t quite understand. It shows me the work from a new perspective. Pulling the images into a three-dimensional space changed the way I thought about making something in two dimensions. They all feed each other.

MH: Much of your work utilizes a muted color palette—grey, beige, black, ivory—what draws you to these tones? What significance does your use of these muted tones give to vibrant colors when your work utilizes a different palette, like in your exhibition in Jeff Bailey’s gallery?

AP: My palette is very stripped down. All of my work comes out of my drawing practice. The works on paper are made with India ink and brush and the paintings relate to that “drawn” image. I like playing with subtleties in color. I like to alter colors very slightly so that they are slow to reveal themselves. A lot of my work is about creating a slowness in how the viewer “reads” the work. One of the ways is to keep the palette really tight. In the exhibition you mention at Jeff Bailey Gallery in 2011, I was experimenting with color and how much of that color I wanted to reveal in the work. I will often work on a color-stained ground and then slowly I push it under veils of paint.

MH: Artists like Marcel Dzama, David Shrigley, and Amy Sillman come up in discourse surrounding your work, particularly in relation to your storytelling and paint-handling. Are there any artists that resonate with you and that may inspire your process?

AP: I draw inspiration from so many places. My dad is a painter, so I grew up with art books all over the house, and my earliest loves were Picasso and Matisse, then came Philip Guston as a young art student. As you mention above, I think Amy Sillman is a great painter, Nicole Eisenman, Stanley Whitney, Katherine Bradford, Thomas Houseago, Hans Josephsohn, Bill Traylor, Hiroshige, Fante flags, rock paintings, the Bayeux Tapestry, ancient art and artifacts of all kinds.

MH: In a previous interview, you mention that you enjoy observing people when they are unaware of being observed. What have your observations revealed to you about human nature, and how do you incorporate that into your art?

AP: What I meant by that is that there is a difference in how we move and how we act when we are unaware of ourselves/unaware of others. We live in such public times where everything is documented and everything is shared. There is this performative way of being that I think covers who we really are. There is a way we engage with our bodies and gesture that is not so self-conscious in these places when we are alone.

MH: In your exhibition “Time Lapse,” you detail the passing of time through moments in ordinary life: a woman thinking about her husband, someone getting out of a tub, etc.
How might your work address the concept of time, and how did you choose these particular moments to showcase? Do you always try to appreciate the seemingly mundane in your own life, and is that necessary for an artist?

AP: Yes, the work was about documenting the ordinary and thinking about the passage of time. I was creating a grid structure on the canvases and then would draw each step of the scene from square to square and then start to dismantle it. It was important to me that I let each scene lead to the next. The paintings were not predetermined. That work was and my current work still is about documenting the ordinary but in a less narrative way. The repetitive is very important to me. The things we do again and again sometimes without thought are actions that I am quite interested in. I do try to appreciate the mundane in my own life. This world moves very quickly, and I hope to create a sense of calm and thoughtfulness with my family. I want to be present in this life, in making and in living.

MH: Many elements in your “Time Lapse” exhibition mimic cinematic devices or tropes. What inspired you to use those devices in your artwork? Do you see a correlation between your pieces and the cinematic experience?

AP: The work in “Time Lapse,” and for many years after, took the form of a “storyboard,” like a filmmaker would use to map out scenes. I focused on stories that were somewhat familiar scenes and wanted to explore them from multiple vantage points. Slowness. Documenting the unfolding of a moment. Taking the time to see each part.

MH: Dorothy Joiner compared your work to the musings of the 16th century French philosopher Montaigne, who called exploration of the psyche “a thorny undertaking.” Do you see your pieces as correlating to Montaigne’s philosophy?

AP: The work in this exhibition was created during a time of intense self-reflection and examination, and Ms. Joiner saw a connection between that and some of Montaigne’s writings. And yes, I agree, it is a “thorny undertaking.”

MH: While beautifully capturing the quotidian, how do you envision your artwork celebrating something greater than the sum of its parts?

AP: The celebration is in the parts.
MH: One reviewer identified your paintings as “full of existential angst and loneliness.” Does your work consciously incorporate these elements? Do you see a relationship between art and angst?

AP: My work is about our presence in this place and about examining that very thing. Especially in the work that the reviewer was writing about, a lot of the work focused on figures in isolation. I have been told more than once that there is a loneliness to that work. There isn’t any clear beginning or end to the narratives in the work, and that maybe leaves the viewer without a conclusion. Maybe there is a sense of expectation that is not fulfilled in the work, which can leave one with an unresolved feeling. I like that space though. As viewers, what is our expectation? What do we come with? Those paintings were also made during some difficult years in my life and I am sure that makes its way into the work as well.

MH: For your exhibition “re / form” at whitespace gallery, you conceived the entire exhibition with that particular gallery in mind. Is planning your exhibition around a particular gallery something that you do often, and does that affect your creative process?

AP: I did plan the installation of the show specifically to whitespace gallery in a way I had not before. The gallery was converted from an 1893 carriage house in Inman Park, Atlanta. The owner wanted to keep as much original as possible, so there is exposed brick walls and floors and one wall is the original wood panel that still has notes and dates written on it. Every scratch, word, or splatter marks a time and place, and I wanted those things to speak to my work in the exhibition. Materials were specific to the show. I used raw, wooden beams for the sculpture bases and propped the paintings on concrete piers instead of hanging them in a traditional way on the walls. I do consider the space for each exhibition, and it absolutely influences how the work will come in, what will be left out, what needs to be where, etc.… For “re/form,” it was more about how they came together; uniting wall and floor and drawing attention to spaces that might be invisible otherwise.

MH: In that same “re / form” exhibition, you featured several busts of heads that you said were inspired by Roman portrait busts. What correlation do you see between contemporary and classical art? What particular aspects of classical art do you incorporate into your own work?

AP: I spent about two years taking pictures of the Greek and Roman busts at the Met from behind. I wanted to see the head from behind, no face, no identity, a person who doesn’t know they are being looked at. These busts are incredibly beautiful, and they made me think about identity. I started making these very crude, clay heads. I wanted them to look like rocks out of the ground. I was thinking a lot about how we search for our human form in the world. The busts I made have no face. You continue to walk around them but there isn’t one. I’ve been interested for a long time in the collective human experience and the individual and how each person is shaped by every life experience they have. I am fascinated by our sameness and need to be understood.
MH: In your artist’s statement for your “re / form” exhibition, you invite the audience to “consider how the history of the figure in art has shaped our understanding of the human experience.” Fertility and the female experience are certainly one of the themes in this exhibit. Could you speak a little to the challenges facing women as they consider their female identity in contemporary society?

AP: Fertility and the female experience were not intentional themes in the show, but I am sure that my own life experiences come out in some of the imagery. The show was really about human experience. I’ve always been interested in archeology and in artifacts; the search for history, the search for our collective story. The challenges are still there for women in my field. They are still underrepresented and undervalued.

MH: Your pieces in the Blink Exhibition seem to either maintain a sense of “color blindness,” or provide a sense of equality through individual uniqueness when it comes to the human form. Given that race-relations is currently a pressing topic, to what extent do you feel your presentation of the human form provides commentary on this issue? Specifically, do you feel your exploration of the human struggle with identity as a whole speaks to the issue of race and identity?

AP: I think we are all in crisis right now. I think we are living in dark times and having to face some really complicated realities. We are continuing to expose the inequality that is a part of our country. It is embedded so deeply and the effects are long lasting. Everyone wants to get the conversation over with, but really the conversations are just beginning. I do think that my exploration is of the human struggle as a whole. I hope that my presentation of the human form provides a connection to the body. My body. Your body.

MH: You’ve mentioned that your work is in many ways inspired by storytelling and narrative—a tendency you attribute to your Southern background. Could you share some of the stories told by your art and why you feel that the sharing of stories is important?

AP: Through storytelling we connect to one another. It is a natural human tendency and helps us to understand who we are. The “storyboard” paintings that I spoke about earlier in the interview were about presenting a narrative of everyday life. No beginning, no end, just repetitive activities. It was about presenting something familiar but in a new way. My work is less narrative these days but storytelling is still important to me. It offers a platform to share.

MH: Many of your paintings deal with repetition and imagistic patterns. What do you value in repetition both as a concept in and of itself and as a part of your artistic process?

AP: I spend a great deal of time drawing the same image over and over again. I like to “find” the image. When I draw something again and again it becomes less self-conscious, and I understand the gesture in a deeper way each time. I’m interested in how we recognize images; how we see when we are presented with something we have seen before. Are we actually seeing? Or projecting an expectation? Are we actively looking? How close can two things be and still be different?

MH: In your interview with Candyland Podcasts, you discuss the concept of a site specific wall drawing, explaining how “it is of the moment and then disappears after the exhibition is over.” How does the temporary nature of this work affect your creative process, and how might your approach to these pieces differ from those in a more permanent medium, such as ink?

AP: The wall drawing I made in Stockholm at Candyland was made up of images that documented my experience there. I had a month-long residency and the drawing included images of things I had seen, people I had met, experiences I had. I carried sketchbooks everywhere and tried to be present and take in this place that was new to me. The wall drawing was painted out at the end of the exhibition, and I like that it was a temporary experience, made for a particular place and marked a specific moment in time. It lives in my memory and hopefully for those who saw it. Works on paper or paintings can be returned to over time, and you can experience them over time. Your relationship to a work can change; your understanding of it can change. That is one of the beautiful things about living with art–that communion between work and viewer.

MH: In that same Candyland interview, you discuss your fascination with different “simultaneous activities.” Could you speak a little more to this idea? To what extent do you see your interest in the everyday connecting with this notion of simultaneous activity?

AP: I’m interested in what life must look like from afar; all of these lives weaving in and out of each other. We affect each other on a daily basis whether good or bad. We make choices every day that determine our path. A lot of my works on paper attempt to document these “life maps” in ink. Characters act out scenes and interact with one another fading in and out of view, altering the flow of actions. I think about this ordered chaos that is life.

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?

AP: We all need a little hooky…and yes I do! If is it a sudden unplanned get away, it may be to one of my favorite patios for a great meal or cold beers. My neighborhood is full of great food and drink. If I go far from home to get away, my favorite thing is to go stay with my best friend in Upstate New York. We take walks, cook great meals, and have drinks on the lawn.

From the Editor’s Desk

Welcome to Mistake House, a publication of Principia College’s English Department and a home for diverse student voices, with special features devoted to the work of professional writers and artists. Our 2015 premiere issue was met with positive reception and reader engagement, and the editors are grateful for the continuing support of our readership. For the last four months, we have been busily preparing the second installment of our “Buddhist catnap,” considering many generous submissions and assembling a diverse selection of poetry and fiction. As Bernard Maybeck, the architect of the original Mistake House, insisted, “monotony is a sin.” True to our namesake, readers and submitters can expect to find in the eclectic pages of Mistake House solid craft combined with eccentricity, freshness, and experimentation.

Named for a series of assemblages by modernist sculptor Joseph Cornell, our professional section, Soap Bubble Set, will once again showcase one visual artist and one writer. For this issue, our Editors are excited to highlight Alabama-based artist Amy Pleasant and South Carolina-based author A. D. Carson. Along with featured work from Pleasant and Carson, we are sure you’ll enjoy exclusive Mistake House interviews with them, where readers are offered insights into their creative processes.

Benjamin Franklin quipped, “A house is not a home unless it contains food and fire for the mind as well as the body.” Our selection of poetry and short stories are the food and fire constituting our banquet and hearth, the creative and intellectual hospitality we extend to our readers. Once again, we invite you into the house, to hang up your jacket, and pull up a chair. Welcome to Mistake House.

Brandon O’Neil, Editor-in-Chief

Ruth said…

parting the orange-sherbet hair
from the paste of make-up and sweat
that lined her face, smiling
with the apple red lips
that cocooned her
Snow White teeth, picking at
the retro jumpsuit whose buttons
had slipped undone during the evening,
with words promising to tickle
your tongue with her broad
southern Irish accent,

“Your blonde hair makes you
look like an angel but I see
the devil behind your eyes.”

The words poured like silk
caramel into my ear.
There they rest in my mind,
where the cynical cold
has set them to a crisp.

In bitter moments,
I may break off a segment
and nibble on its sweetness.

Rabbit Summer

Sun licked dew from five acres of waist-high grass—illegal height in Tennessee. Matthew drove
the lawn-mower down the ramp backward. Half & half. That’s what we decided when he hopped
off. I went first, gear locked on three and steady—machine and myself at a good hum. I didn’t
feel the bump, only saw grass quiver. I gave Matthew the sandwich and wrapped my hand in the
plastic bag. The kit’s body swung limp and broken. I threw it toward Matthew’s side along with
its mother. My half of the field still needed to be mowed.

Critters and Mamma

The barn mamma built on the hill above the pasture years
ago brought to life the big, stubborn, black-maned mare,
who trotted the haul up the hillside pasture when mamma came home each
night, to the little house below, by the little garden grove.

The big black barn that was crammed with hay,
brought play and life to the vermillion headed
youngling,
who would go fast down the path after mamma as she met the
mare, just a shout from the little house lined by mamma’s lilacs.

The barn that was built with tack and loft, and sweat,
brought to life the caught-red-handed ransacking
raccoon, who was hungry, so was welcome.
He would go fast to the rafters when he heard mamma walk
up annoyed yet joyed at her frightened new friend.

The barn that was built on the hill below the mountain that just grazed the tree
line brought to life all of the little beings that followed
how great the team could and surely would be, thought
mamma, who loved and listened and
though the followers whined and begged, they were loved each day, and fed.

The Matters of Mondamin Street

In the latter half of 2001 I made several trips to my father’s home, where, for a week and sometimes two, I took care of him while he convalesced. Neighbors he had known for years, who he himself had helped in times of trouble, could not manage the task, nor could nurses, whose job it was to handle such matters, find the temperament in themselves to care for a man with so difficult a personage. It was not that he was cruel or unjust, but that as his pneumonia receded he became particular to the point of devastating the patience of anyone who was not me — his son. So when the call came from our family doctor, I was taking photographs for a magazine of the still smoldering rubble at Ground Zero, which a month earlier had been the World Trade Centers. In an hour I was on a flight back to Chicago and driving the fifty or so miles to Minooka, where, as the sun was setting, I saw the last of the October light dust with a copper glaze the newly planted mulberry trees along Mondamin Street. Beyond those trees was a woman, who looked like a high school teacher of mine, walking with her five-year old son, the two of them looking into shop windows at their reflection and laughing at the silly faces they made. How distant, it seemed, my hometown was from that world-ending devastation I had witnessed only a few hours earlier. And despite the fact that my father was recovering, as the doctor told me he would, I harbored the morbid notion that this trip to Minooka might be the last time I saw him. Why this premonition occurred to me with such strength and clarity is still a mystery, since my father lives to this day, and why that trip in October in particular seemed more ominous than the others I do not know, but all this led me to question what would happen in the event of his death, who I would see and how I would go about wrestling with the inevitability of selling his property and dealing with his possessions. Would I call the Methodist pastor, whose name escaped me at the time but who had phoned my father more often than I had, or would I call the parent of a high school friend, whose mortuary off Simon Street was where everyone in town would end up one day? I was, without fully knowing it, preparing for my father’s end, which prompted me to wonder too if I would be at his bedside when it happened, or if I would instead be attending to some menial task, like preparing soup on the stovetop or taking a nap on the couch, in which case I would miss what words of wisdom he might want to bestow on me before he passed. All this I meditated on, and it must have sufficiently preoccupied my attention because not long afterward I noticed I had driven farther than I needed to go and was now on the outskirts of town near an old railway overpass where as a boy I had once hatched a plan to run away to Chicago. When I slowed to turn the truck around, realizing that my father could in fact need me, I looked at the overpass again and thought about what it meant to me as a child, how I had taken refuge there one rainy night, how in the sleepless dark I could not avoid timing out which trains sped through Minooka on their way to Chicago and which ones slowed down long enough to be boarded. I parked the truck askance in the tall roadside grass and crossed the pock-marked highway where, even before entering the overpass, I felt the cool October air made more cool and more dense by the walls of reinforced concrete, which emanated with an ammonia scent that, over the years, must have come from the urinations of countless strays — dog, cat, or human. From the road, the overpass seemed like a place of safety, but once inside, that feeling lessened, as if I had entered that vast network of bunkers in France or Belgium during the wars of last century, or maybe as if I had come across an entry point to the Cu Chi tunnels dug by the Viet Cong for the Tet Offensive in 1968. To know I would likely be safe with twenty thousand tons of freight moving over my head was a comfort, but there was also a stupidity to my being there, to anyone being there. Why stay any longer than you needed to in a place that would invite even the possibility of disaster? With that as a parting thought I left the overpass and drove back to my father’s house, where I idled up the driveway and sat in my truck a few moments looking into the garage at his beat-up suburban. Whether my father had gotten into some kind of accident I do not recall, but one of the headlamps had been ripped out, leaving a jagged metal cavity the size of a watermelon. And the longer I stared the more I could not see how this was any kind of accident. Someone, I thought, must have come by one evening with a sledge hammer and smashed out the headlamp, leaving my father in that cost-benefit analysis state of wondering whether to endure the suburban the way it was or call the insurance company to have it fixed. But there were other things, too, that stood out, which I hadn’t seen from the road, or maybe it was because of the waning light, but now that I was closer, the paint on the side of the house had bubbled up in tiny cottage-cheese flakes and the hedges of the northern bayberry had not been trimmed for the winter, and beyond the house lay our vast and fallow fields that hadn’t grown corn for several years. It was as if the farm itself had moved beyond its original intent, which led me to think again of my father’s death and how much longer he would be on this earth and the arrangements and the conversations that would need to happen with people who were his friends, most of whom had likely attended my christening, but who, after he was gone, would treat me with a practiced pity or a fabricated kindness. How unwelcome and unhelpful, I thought, those conversations would be in mollifying my grief. And from those imagined conversations I leapt to the evening of a future memorial service, in which friends and relatives on a cloudy day would all collect on the vast front lawn next to the driveway, all of them mingling and gesturing and moving about in tiny ash-colored groups the way sheep graze a pasture, only the groups would avoid the hickory benches and the dining room chairs and the faux highboy, all of which were inexplicably out on the lawn too, and all of which my father had built during a woodworking spree in the eighties. Just then, while I sat there, a brief gust of wind hit the idling truck with a gale-like quality, and suddenly the vision I was having of the memorial service started to merge with reality, and all those people and hand-crafted pieces and many more things too like flatware and China, blankets and clothing, were blown about mercilessly on the lawn by a wind that – only in my mind – turned cylindrical and lifted everything and everyone into the air and away, leaving the house in the stilled and crepuscular state it actually was. What had started out as a plausible rendering of a memorial service – almost a planning of it – had turned into a projection of disaster, the effects of which must have led to a kind of automatic pilot in the way I moved about because I do not remember doing things I must have done, like getting out of the truck and walking onto the front porch, or, after entering the house, hearing the screen door slap or stepping onto the creaky floorboards in the picture-ridden hallway that led to the bedrooms. What reclaimed me from this dream state must have been the sight of my father, sitting up in bed in his pajamas, his blank lemur-like eyes staring at me over nickel-plated reading glasses. We hadn’t seen each other in more than a year, yet, instead of greeting me, he asked for a pen off the bureau: something in the newspaper must have needed circling, or so I thought. This was the first of my visits to him that fall and he struck me in that moment as both the man I had always known as well as the man I would never know. How many times while growing up had I seen him, not in bed, but in the morning at the kitchen table, turning the large butterfly-wing pages of the Minooka Herald Times and circling the names of people he wanted to hire or a tractor he wanted to buy or a restaurant he wanted to go to, only to have these avenues of interest swatted away by my mother’s frugality, which was not really frugality at all, now that I look back on it, but more an encounter with an economic truth that many farming families in the Midwest confront from time to time. And though my mother had already been dead for several years, it seemed that my father was still playing his role, the role of dreamer, and tonight, to fulfill that role, he needed a pen. Why it was so far away from him I did not ask, but I walked it over to him nonetheless, half hoping he would use it to circle the name of a lighting consultant who would replace the single bare bulb overhead with either a bedside table or, at the very least, some recessed lighting where the ceiling met the wall. But wanting there to be more and better light did little to improve the brightness of the bulb, whose glow fell away from the ceiling in concentric circles of ever increasing shadow, shadow that seemed to mobilize the darkness in the room. When the bulb flickered, as it did occasionally, I could sense the darkness closing in from behind the several waist-high stacks of magazines and newspapers making a pathway to the bathroom, also from the thousands of creases in the pitcher’s mound pile of dirty clothes on the floor, and too from the angular night shapes that seemed as much a part of the books on the bookshelves as the books themselves. I recall too the ink of the ballpoint pen being a gunmetal black as my father scribbled onto a piece of paper the number of a post office box, which he told me to check immediately because the insurance companies had been calling him, wanting to know the status of the mounting medical bills. I felt like I had hardly walked into his room before I was walking out into that hallway with the creaky floorboards and the picture frames, a hallway that was no longer lit by the waning light of the day but instead engulfed in total blackness. Now, like a blind man, I felt my way toward the front door and in the process tipped several picture frames off center, after which I tried as best I could to straighten them out, though I could not see them, or my hands in front of my face. How long had it been, I thought, since I had experienced such darkness, a darkness that would not lift? I then shut my eyes several times, and in the blackness of those long blinks came – unsolicited – the image of the last lighted thing I had seen, that of my father in bed, staring at me with his wide and incurious eyes. And it was in that ephemeral image that I saw my father from then on: the skin around his jowls that over the years had drooped a little and eventually merged with the rooster-like wattle of flesh under his chin, the strawberry red rosacea which in the year since I last saw him had spread slow as lichen from his cheek bones down toward the bone-white bristles of his unkempt beard, at the stunted cloud-gray hairs on his head that were as sparse and maddeningly erratic as those on the head of a newborn child. It is that vivid and unrelenting image I saw during those long blinks that I compare my father to when I see him today, whether in person or in photographs. And even though I sensed that more frames were tilted off center, I continued toward the front door, and was soon outside and into the truck and driving off toward town, into the moonless night that dampened even the Halloween glow of the r-shaped streetlights in the post-office parking lot. I had seen Miss Burmeister and her son only an hour before looking into shop windows, but now she was walking alone and across the pavement toward me with a stack of mail in her hand. She was at that moment the undisturbed and fearless photography teacher I had known as a senior fifteen years ago. And what specifically I had planned on saying to her has now been lost to memory, though I do remember having something more in mind to say than “Hello”, which is what I did say. However, the tone of her response was different from mine; hers was more of a “Hello” in acknowledgement, as if she were greeting a perfect stranger rather than her favorite student, the one who would go on to become so interested in photography that he would leave farm and family for free-lance photo journalism, documenting the atrocities in Srebrenica during the war in Bosnia and the genocide between the Hutu and Tutsi in Rwanda. And before I knew it we were past each other, she continuing to walk through the blackness of the parking lot into an adjacent neighborhood and me, muttering to myself in confusion while I scooped mail out of my father’s PO box. Had it been that long, I thought, had I changed that much? Before I knew it I was sorting the mail on the hood of the truck under the municipal-orange glow of the streetlights, and doing so, I noticed right away the many envelopes from Morris Hospital, located in the nearby town of Channhan, where my father spent several days being treated in early September. And inside those envelopes were several pages of bills, and on those bills were rows of seemingly endless charges ranging from a few hundred dollars to over fourteen thousand, charges for antibiotic injections, x-rays, blood work, medications, bone density tests, hearing tests, cardiovascular tests, kidney functioning, liver health, diabetes, bills for services rendered from doctors of nearby hospitals as well as – unbelievably – my father’s GP, who somehow managed to send a bill for a physical exam all the way from South Beach in Miami where, said doctor, spent the month of September. Each statement had a different color, title, and account number, as well as columns that were labeled thirty, sixty, and ninety days in which to pay the staggering totals. How anyone, I thought, doing this accounting could think that such astronomical sums could be paid by anyone but the very wealthy was itself a mystery. And while there were pages with numbered columns for time lengths, there were also whole other pages devoted to very different column headings, ones listing what health care providers would be charged versus how much my father would owe, which at first looked promising until I discovered that my father had signed up for Medicare B and not Medicare A (B being compensation for the cost of medication and A being the cost of a hospital stay). It seemed, then, within this labyrinth of financial detail, Morris Hospital, and the nurses and doctors there, and Medicare itself, had all conspired to run every possible test they could in order to bilk my father out of tens of thousands of retirement dollars. How anyone was supposed to navigate this sea of financial obligation without going mad or bankrupt was beyond me. But even before I arrived home I knew I would not disturb my father with the details, all of which could wait until morning. Instead, when I arrived at the house, I went to the basement, to the old dark room, where I wiped the dust and grime off the shelves and then prepared the solution baths for developing the pictures I had taken at Ground Zero the day before. I had planned on shooting at least twenty roles of film in those two days I was scheduled to be in New York, but because of the call, I ended up with only five, which I processed over the next few hours, until almost three in the morning, when, while the last of the pictures were on the drying rack, I looked through the shelves and found some canisters with old negatives. How I had never seen them over the years I do not know but I opened them up and rolled out the contents under the infrared light. Here were pictures I had never seen of my parents’ wedding day in 1969, silly pictures that someone had taken and that must have ended up in a secret photo album I had never seen. Everyone was in formal clothing, the men in tuxedos and the women in varying styles of ruffled dresses. In one picture my Uncle Bill had looked toward the camera and stuck out his tongue, in another an aunt of mine put her hands and fingers to the side of her head like devil horns. And somewhere in the middle of the role was a picture of my father standing in the receiving line, my grandfather to his right and my mother to his left. Unlike the others, I had seen this picture before, but with the smallness of the negative and in the infrared light the picture came to mean something different than it ever had. The story goes that my father had been yawning during a brief moment in the receiving line, his mouth open as far as he could make it, like a lion roaring. Anytime I had ever seen this photo when I was young or when I was reminiscing about it with him, it had always struck me as a lighthearted moment on a day when monumental things were happening in a person’s life. Yet that night, in the dark room, my father’s gaping maw did not remind me of a humorous moment on his wedding day. Instead, I saw a never-ending scream.

Five Fights

When Lewis was six, he got into his first fight. It was a school holiday and his mum was working, so his dad, who didn’t have a gig till the nighttime, took Lewis to St. James’ Park to look at the birds. Lewis really liked birds. His dad would play old jazz records by a man called Bird in their living room. On nights when his mum was home, Lewis’s dad and mum would dance together and Lewis would sit at the piano and pretend to be playing. The jazz man’s name was actually Charlie Parker, but Lewis preferred Bird.

Lewis brought a bag of stale bread crumbs to feed the birds. He and his dad walked down the little dirt road and his dad whistled a song by Bird. Lewis knew his dad would play it at his gig later that night, and even though he wasn’t old enough to go into the jazz clubs, he always imagined a big stage and people dressed in fancy clothes with long gloves and top hats. That’s how people looked in the pictures of Bird playing in front of the stage, and to Lewis, his dad was just as great as Charlie Parker, if not better. After all, Lewis’s dad didn’t just play saxophone—he played piano and trumpet too.

Lewis was learning the piano. He didn’t think he was very good, because his dad was so much better, but his dad often clapped when Lewis played and turned to Lewis’s mum saying that he had natural talent. Lewis didn’t know what that meant.

He clutched the bag of bread crumbs and when they reached their usual bench, Lewis’s dad took a seat and Lewis ran over to the pond. He took a handful of breadcrumbs and threw them out to the birds. The ducks instantly swarmed over. They were always loud. The swans were aloof. They stayed at the edge till they deemed the offering of bread crumbs acceptable, then they glided over, a royal procession, scattering the ducks.

It was a grey London day, damp and just cold enough that Lewis had on a blue jacket with brass buttons. His mum had made it out of scraps from the shop she worked at. It looked rather smart. Lewis’s dad said that he looked just like a little jazz musician when he wore it.

Lewis was zoning out, methodically tossing bread crumbs to the birds, thinking of his dad’s big concert that night. He did not notice the boy who came up behind him and it was only after the boy actually shoved him that Lewis snapped out of his trance.

“Look at you, sissy,” the bigger boy said, then shoved Lewis again. This time it was harder and Lewis almost stumbled. He caught himself before he could fall and glared.

The bigger boy shoved Lewis harder. This time, Lewis did fall and he yelped as he collapsed onto the muddy shore of the pond. He knew his mother would scold him for the stains. She had worked very hard on the jacket. It had been a birthday present and it hadn’t even been two weeks. He felt the tears before they came but tried very hard not to let the bigger boy see him crying. Even so, a sob managed to crack through.

The bigger boy leered over, snatched the bag of breadcrumbs from Lewis, and then kicked Lewis in the side. Now there was a footprint on the side of the jacket. Lewis could handle the names and the breadcrumbs being snatched. What he couldn’t handle was this nice jacket his mum had made for him being ruined.

He leapt up, yelling, and then jumped onto the boy’s back. The boy yelped in alarm and tried to shake Lewis off, but Lewis wrapped his arms tightly around the boy’s neck and held on.

Someone grabbed the back of Lewis’s jacket and yanked him away from the boy, who stumbled backwards from momentum.

“Lewis.” It was his father who had grabbed him. “What the hell?”

“He pushed me!” Lewis pointed at the bigger boy, who scrambled to his feet and started to run up the hill to a lady pushing a pram who Lewis figured was his mother. The bigger boy was crying now and the mother was rubbing the dirt off his face. Lewis knew he was going to get into trouble. His dad’s hand was still on the back of his jacket and Lewis shrank behind his father, trying to hide away from the view of the bigger boy. He was going to get a scolding when he got home, he knew that. Maybe he wouldn’t be allowed to watch television for a week.

The lady with the pram stood up and started marching towards Lewis’s father, who squeezed Lewis once on the shoulder.

“I’ll handle this,” he said, and walked to the lady.

Lewis watched his dad and the yelling lady. All Lewis could see of his father was his back, but he seemed calm. Lewis watched them. Maybe they were talking about how they should punish Lewis. He hoped the lady wouldn’t suggest not having sweets for a week. He’d just gotten a big bag of candies for his birthday.

Lewis’s father was walking back to him now. He looked angry. Lewis felt like he was going to cry again, but then his father turned round to the lady again.

“Teach your bloody kid some manners!” He kicked the ground, and then turned back round. He grinned; Lewis didn’t know why. His dad ruffled Lewis’s hair and scooped him up. Lewis giggled as his father set him on his shoulders. He could see all of the lake from up here, all the birds pecking away at the shore, all the children running around. He clutched his dad’s head and his dad started to whistle one of their songs.

 

When Lewis was eleven, he got sent home from school because he punched an older boy in the stomach. Lewis had brought a bagged lunch to school that he actually had no intention of eating. His mum had made him a sandwich last night and it was cold because it had been sitting in the refrigerator. His dad had had a show that night and Lewis had started going to them, because his parents finally decided he was old enough.

The shows weren’t like the pictures he’d seen of the old jazz musicians. There were no velvet covered seats, no standing ovation, no elegant ladies in pearls, no men with monocles. They were usually in small bars or restaurants. The one last night had smelled like beer. The stage wasn’t even at the front. It was in the corner. And people weren’t watching.

The first time Lewis had gone to one of his dad’s shows, earlier that year, he wanted to yell at the people in the restaurant. They weren’t paying attention. They didn’t understand the music. Lewis could listen to his dad play for hours. These people were barely paying attention. He had asked his mum why they weren’t really listening and his mum told him that these people came for food and that the music was a sort of added bonus. Like how sometimes there was a toy at the bottom of the cereal box but that they never bought a cereal box just for the toy. Lewis told her that he would buy a cereal box for the toy and his mum rolled her eyes and told him that when he had the money, he could do what he liked.
Last night, his dad had played West End Blues and Lewis, who had just started learning trumpet, knew how hard that particular song was. He expected everyone to stand up and start clapping. But there was only some scattered applause.

He went up to his dad afterwards, when they were outside and his dad was holding his trumpet case with one hand and had a cigarette in the other, and told his dad that the performance had been fantastic. His dad chuckled but then took a long drag of his cigarette and didn’t say anything. His mum hadn’t gone; she said she had to get up early and was tired.

At school the next day, Lewis held his little bagged lunch and didn’t want to eat it. He was sitting outside, underneath a tree, watching the other kids run around. Thomas Fletcher, one of the ruder boys in class, came up to him and asked why he wasn’t eating. Lewis refused to answer and Thomas snatched up the bagged lunch and wouldn’t give it back. This would’ve been alright, but then Thomas said something about how it was a lousy lunch anyway, with the cheap sort of bread and margarine instead of butter and how not even a dog should be eating it, and that’s when Lewis stood up and punched Thomas in the stomach.

He was sent to the headmaster’s office shortly after that because Thomas had run off and told their teacher. They phoned home and since Lewis’s mum was at work, it was his dad who came to the school. He spoke with the headmaster briefly behind a closed door. Lewis couldn’t really make out what they were saying, only that it sounded loud and angry.

He thought he was going to get in trouble. He and his father silently walked from the school to the car (a small, beat-up thing they had only recently gotten). The ride was quiet. His father stared straight forward. Lewis tried to keep his gaze out the window, but he glanced at his father every few minutes, trying to figure out what was going to happen. He knew he shouldn’t have punched Thomas. He knew he was probably going to be suspended from school for a few days and that it would go on his record and that his mum would cry when she found out. He pressed his forehead against the dirty window of the car.
They didn’t take the turn that would lead them to their flat; instead, Lewis’s father took a left and pulled in front of a McDonald’s. He got out and held the door open for Lewis, cupping the back of his neck as they walked inside.

“Do you want the toy or are you too old for that now, Lew?” his father asked when they got in line. Lewis glanced at the little plastic toys in the display case and shook his head. He couldn’t remember the last time they were at McDonald’s. He’d been little then and he had asked for a toy. His father ordered two burgers off the value menu and a drink. After a moment’s hesitation, he got fries as well. He winked at Lewis. “A treat,” he said, pressing his finger to his lips. “Don’t tell Mum.”

They sat face-to-face in the little booth with their food and Lewis spent most of the time looking at the fries and avoiding his dad, till finally, his father cleared his throat.

“Look, Lew—”

“I’m sorry, Dad, he was just saying awful stuff and I wanted him to shut up and—”

“Lewis, I’m not mad.” His father sighed. “I’m sure he was saying some nasty shit. I know how kids are. You need to learn how to pick your fights, ok? Sometimes people are going to say some terrible things about you and you won’t be able to do anything about it. Sometimes it’s better not to say anything.” He looked straight at Lewis and Lewis ducked his head down.

“I’m sorry,” he said again.

“It’s alright.” His dad leaned over the table and clapped him on the shoulder. “Now, you’re suspended for three days, but that just means we can get some music done.” He grinned at Lewis, who managed to smile back.

“Is Mum going to be mad at me?” Lewis asked when they were getting back into the car.

His father’s lips tightened. Lewis thought that maybe he shouldn’t have asked that. His parents were fighting a lot. Lewis could usually hear them from his room, even if he had music on. His mum wanted his dad to get a proper job. It used to happen only once in a while, but now it happened every other day.

“She’ll be fine in the end,” his dad said, starting the car. “She always is.”

 

When Lewis was fourteen, he had to go to the hospital because he broke three ribs. That was the year he started going to a posh secondary school. His mum and dad had separated the previous year and he’d gone to live with his mum and her new husband in a nice house and they went out to eat every week. His mum’s new husband, Harold, was nice enough, even though he was almost as old as Lewis’s granddad. He worked in a bank and had short, neat blond hair and light skin. Harold had two kids from his previous marriage—Eliza and Alex—and when they visited on weekends, Lewis’s mum fit in right with them, all fair and blonde. Lewis now found himself patting down his messy curls down when he walked past the big mirror in the upstairs hallway.

It happened when he was walking home from school. Three boys had followed him, close enough so that he knew they were there. He tried to shake them off, clutching at the straps of his knapsack, peering over his shoulder. He didn’t know what they wanted. Lewis took a shortcut through a park and it was then when the leader of the boys—Michael Oakley—yanked his bag.

“Heard that your mum’s a gold-digging whore,” Michael hissed.

Lewis froze. This wasn’t the first time someone had made a terrible comment about his mother. It was the buzz around this circle, the young, pretty shop assistant with no education who managed to woo an older, rich, recently-divorced man and left her husband for him. At the cocktail parties that Harold brought them to, Lewis noticed that none of the ladies really talked to his mum and instead, sort of talked over her. Lewis’s mum never let it bother her though; she just sort of smiled and nodded. People at school assumed the worst about Lewis’s mum, so they tended to assume the worse about him. Lewis didn’t like people talking about his mum like that, but he also knew that if they were still in the East End, no one would be calling her names or yanking his knapsack.

“Bloody stig.” The boy with glasses took a step closer. The one with freckles pumped out his chest.
They edged closer to him and Lewis started breathing faster. He ducked, trying to run away, but Michael caught him and shoved him to the ground. He remembered what his dad had told him years ago and knew that there was no way he could overpower these three. But he didn’t want to curl up and let them thrash him. He tried to get a few blows in, but they were just stronger and he was outnumbered. He didn’t, however, give them the satisfaction of crying.

He called his mum on the mobile that he’d been given for Christmas and she and Harold rushed over to pick him up and bring him to the hospital. He’d started crying then, because his mother had started crying. She was really weeping, asking him why these boys would’ve done this, why they thought it was ok. Lewis only felt a few tears on his face. They stung the cuts. Harold made some remark about how it was violent video games that were causing such schoolboy ruckus. Lewis wanted his dad.

“Can I call Dad?” Lewis asked in the waiting room.

His mum stroked his hair.

“I did, love. It went to voicemail. He’s probably very busy right now.”

The last time Lewis went to one of his dad’s gigs, he counted ten wrong notes. Lewis winced each time. The tempo on the third song was off. Lewis wasn’t sure if he’d noticed because his father had a bad night or if Lewis had just never paid that much attention before. He was really into his music nowadays; this posh school had a good music program and his teacher moved him up to the upper level classes within the first week because Lewis was that good. His father was very proud of him and had ruffled his hair and bought him some new sheet music. “The good stuff,” he had said. “You’re ready.”

Lewis wanted his father now. He couldn’t explain to his mum why Michael Oakley’s gang picked him, couldn’t explain that it was her fault and that he was angry at her, but he also pitied her and he didn’t know what to feel. His dad would understand, Lewis knew this. His dad would tell him it was all like a song and that things never had to make sense.

Lewis pressed his face into the side of his mum’s arm and closed his eyes.

 

When Lewis was sixteen, he came home with a bloody nose. It was a summer night and he’d been out with some old friends from when he used to live over by the East End. He often met up with them on the weekends when he stayed with his dad. His dad had moved from their old flat to a cheaper, one-bedroom one. When Lewis stayed with him, they’d cook hot dogs in the microwave and watch Monty Python. His dad didn’t care that sometimes Lewis would bring girls home. In fact, he always made tea in the mornings and greeted whoever had spent the night with a cheery wink. When his dad had a gig, Lewis would come along. Sometimes, Lewis would play with his father. Those were the nights they got the most tips. He knew why, but he didn’t know if his father knew. He didn’t know if it was better if his father knew or not.

Lewis had been thinking about music a lot. His music teacher told him that if Lewis really wanted to, she’d write him a glowing letter of recommendation to the top conservatories. She had connections. She could get him a spot. He told her he’d think about it.

In the last few months, Lewis started staying with his dad a little bit less. He’d also started dating this rather posh girl, Anita, from school. She had red hair and was the type of girl who went on ski trips to the Alps over the Christmas holiday and never thought twice about ordering drinks and dessert at restaurants. Lewis sometimes caught himself checking the price of drinks before remembering that he didn’t have to worry about money anymore. Harold paid for everything. Anita had met his mum and Harold a couple of times. They thought she was charming. She often asked about his father. Lewis always made some excuse.

Anita was in Venice for the summer, so Lewis was out with his old East End friends that night. They went to one of the pubs on the corner of the street where Lewis used to live. The bartender recognized him, he’d known Lewis’s dad. They got a round of drinks on the house and as Lewis toasted to old times, some fellow in the corner scoffed.

“Got a problem, mate?” Lewis always was a bit brasher when drunk.

“Your old man’s a waste,” the fellow said, tipping back his own whiskey. “Can’t get a gig nowadays. Don’t know how he ever did.”

“He’s in Edinburgh right now,” Lewis leaned over to this man, “at a jazz festival.”

“That’s what he told you? He’s always in here, wasting the little money he has on liquor. No doubt he’s gone to Scotland to do the same.”

Maybe it was because he had a bit too much to drink or maybe this man’s words had a ring of truth to them that Lewis didn’t want to admit, but whatever the case was, before he could stop himself, Lewis punched him in the face. This fellow was not one to cower away, so he hit Lewis back. They both managed to get a few swings in before the bartender broke up the fight. Lewis’s friends were cheering him on and they held up his hand in victory when they left the bar. Lewis ducked down his head in shame. The blood trickled down from his nose and he tasted it on his top lip.

He found his way back to Harold’s house well past three in the morning and tried to tiptoe slowly inside, without waking up anyone.

“You said you’d be back at midnight.”

This was his mother, who was sitting in the dining room, in her pink satin bathrobe, arms crossed over her chest. Lewis had just closed the door behind him and stopped still in the hallway.

“Mum, I’m sorry, I—”

“You can’t keep doing this!” She stood up, her voice starting to break. “Do you know how much I worry about you, Lewis? Do you even think about your future?”

He’d been apologetic before but now he stood up a little straighter, his voice edged.

“I am thinking about my future. I told you. Mrs. Carter said I can get a good spot—”

“Oh, yes that’s what this family needs. Another musician.” His mum was really shaking now. “Lewis, do you remember how poor we were? I couldn’t even get you proper birthday presents. We had to keep the heat off in the winter. I had to sell your grandma’s jewelry to pay rent. You’re so good at school. You could get a good job. You could be something.”

“I’m really good though.”

“That’s not enough. You never know. Do you want to live in a shitty flat your whole life and have to worry about paying for water?” Her voice cracked and Lewis saw that her eyes were red. She had been crying. “I don’t want to worry about you when you’re older. I don’t want you to have to worry about buying groceries or paying rent, Lew. We got out of that. You can stay out of that.”

There was a distance between them, Lewis still in the hallway, his mum in the dining room and Lewis didn’t know how to close it. He felt angry, he knew that, at his mum mostly, but there was a snaking feeling of anger towards his dad. If his dad had regular gigs, Lewis could do it. If his dad brought in money, his mum wouldn’t have left and they’d be ushering Lewis off to school. He clenched his fist, thinking of his dad in Scotland now, wondering if he was playing a gig or if he was just drinking, like the man in the pub had said.

And then, Lewis felt the guilt bubble up and close around his throat, almost suffocating him. He unclenched his fist and, looking away from his mother, away from the pictures of Harold’s family in the hallway, Leiws rushed to his room.

 

When Lewis was twenty-one, he went to one of his dad’s shows. He’d dressed up for it, in a smart jacket and a tie, and combed his hair back so it didn’t stick up everywhere. It was going to be at a good location, that’s what his dad told him on the phone, the type of place where people actually went to listen to the music and not just eat.

Lewis was back in London for the summer. He was studying accounting at university. He’d always been good with numbers and accounting offered a steady, reliable job. Harold said he’d be able to help Lewis out with jobs when he graduated.

His girlfriend, Sam, was with him tonight. Lewis had wanted to go alone, didn’t want to drag Sam along for this, but Sam was the sort of person who didn’t really understand music but loved it nonetheless, so she wouldn’t know that Lewis’s dad played a few wrong notes. Also, Sam really wanted to meet Lewis’s dad. Lewis was hesitant to bring her along at first, but as they walked into the venue—a rather nice restaurant with a big stage up front and elegant waiters with bowties—and he felt Sam’s hand on his back, he was thankful that he wasn’t alone.

His dad had invited them backstage and Lewis talked briefly to the maître d’ and, with Sam close behind, headed through a hallway and behind the stage. The musicians, all dressed in black, were readying their instruments, emptying out the spit valves, blowing a few notes, adjusting their reeds and mouthpieces. Lewis’s dad spotted him before he did and raised a hand.

“That’s my boy!”

The rest of the musicians glanced up, offered a nod or a brief wave, and Lewis’s dad walked over, trumpet in hand and embraced Lewis.

“Hey, Dad.” His dad smelled faintly like cigarette smoke and valve oil—familiar scents that Lewis hadn’t smelled in a while. He held onto his dad for a bit longer.

“Lew!” His dad clapped him on the shoulder and then ruffled Lewis’s hair. “My God, it’s been ages. This is Sam isn’t it?” He stuck out his hand towards Sam, who smiled sweetly and shook it.

“Nice to meet you, Mr. Tyler.”

“Just call me Will.” He turned back to Lewis. “How’s your studies going? What is it you’re studying again…?”

“Accounting,” Lewis said.

His dad laughed and then shook his head, turning to Sam.

“All the talent in this one—that pure, raw musical talent—and he picks accounting.”

“I like maths, Dad.” Lewis was blushing. He felt it in his cheeks and when his dad tried to make eye contact, he found he couldn’t hold it for long. He didn’t know why he felt the need to justify himself, but he wanted to. “And I can get a good job straight out of uni. All big companies need accountants. It’s the practical thing to do.” There was an edge to his voice that he didn’t realize till he finished his sentence. His dad, who had been smiling just before, now had his lips drawn in a thin, straight line. He didn’t say anything in response to Lewis, just fingered the valves of his trumpet.

“Say, Lew…” His father spoke finally but was looking more at his trumpet than at Lewis. “I spoke to the conductor and he said it’d be ok if you wanted to play the piano for a song. It’d be a good thing for the crowd, y’know? Father and son, like the old times…” He glanced up at Lewis, smiling unsurely.

Lewis wanted to say yes. Or maybe he wanted to want to say yes. He thought of Mrs. Carter back in secondary school who could’ve put him in a conservatory. He thought of how he had met Sam, how he’d been playing the piano in a bar while a bit drunk and Sam had come up and said that his music was lovely. He thought of the way the keys of a piano felt beneath his finger tips, slightly slick, and how sometimes the keys stuck together and how each piano had a different feel. He thought of his father’s hands on his own, showing him where Middle C was, showing him how to press the pedals, clapping him on the back and saying that Lewis had natural talent. Then he thought of the yelling. He thought of wrong notes at performances, scarce applause, bored gazes. He felt a lick of heated anger in the back of his throat but as it rose, it turned to a chilling numbness.

“I haven’t played in a while, Dad,” he said, looking away. “I wouldn’t be any good.” He paused, glancing briefly at Sam, who was smiling to herself, then back at his father. “We’ll watch the show. I’m looking forward to it.” He reached to touch his dad’s shoulder. His father stared at him and then nodded slowly. Lewis saw the creases on his father’s forehead, deep and weary, before his father smiled.

“Ah, well, that’s a pity. I hope you like the show, though.”

When Lewis and Sam took their seats, at one of the tables near the middle, and after they had ordered their drinks, Sam leaned over to Lewis.

“You played just the other week,” she said. “At Grace’s party. You were rather good.”
“I know.”

“It would be so nice if you played with your father,” Sam said, with a sigh.

“The show’s starting.” Lewis looked straight ahead, not at Sam.

The curtain at the front of the stage rose. The jazz band had about twenty people. Lewis’s dad was fourth trumpet or something like that. Or maybe he was the second third trumpet. Or the third second trumpet. Whatever it was, he wasn’t the first. The song they started off with was one by Bird. Lewis felt a lump in his throat. He knew this song well, knew its insides and outs and where the tempo picked up and where it fell and when the right place to take a breath would be. He watched the band, unable to look at his father initially, because he didn’t want to see his father make a mistake. Towards the middle, though, his favorite part, the part he used to sing along with his father to, he let himself look.

His father held his trumpet up and his eyes were closed and the way the stage light shown on his face made the creases and lines disappear. Lewis didn’t know whether he should be happy or sad. He just reached over for Sam’s hand and tried to enjoy the song.

We Need a Verb

What if there were no birds on earth,
no waterbirds or cranes, no cardinals
nor the robins flighty in the trees
and no creamy seagulls or pelicans

squawking at the beach, no eagles screaming,
no fish hawks diving, no fowls or owls
hooting and looting mice in the woods,
and no mosquitoes or butterflies to boot.

Not even bantam roosters in Wallace Steven’s
old Key west. Why…the idea of flight and flying animals
and insects would be nothing more than
the crazed idea of a science fiction writer! But

one bright, compelling day, archaeologists working
deep in Grand or Glen Canyon or under a Wal-Mart
parking lot, discover fossils of a winged animal
covered with a gossamer-something they decide
to call, “feathers?”

While realizing that the earth was more ancient than
mideast religions ever dreamed, others
paused to ask: What should we call them?
Those winged creatures that once circled earth,

riding a magic carpet, descendants of dinosaurs,
they say; what a glorious world it must have been
in those days of sepia when angels sailed.

We must create a noun to call them,
okay call them ‘birds.”
But we also need a verb.

Feed

Her temper was like a lit cigarette. Buck had already seen her burn hot and mean before crumbling and fizzling out. She made a phone call at the payphone just outside the gas station and slammed the phone down into the cradle. She lifted the receiver and slammed it down two times, three times, and by the fourth time he saw her arm wilt and sag to her side. Defeated, she leaned against the gray plastic of the phone booth. The woman looked up. It was early morning, just over an hour shy of sunrise.

Buck was looking for some flesh to house him, to hold onto his loneliness for a little while. He had been watching her for the past thirteen minutes from the cab of his rig. Idly, he picked at his teeth with his thumb nail. His mind was just about made up.

This was his third day driving through Nevada. The desert was always fussing. At night, the insects whined and the creatures stirred. It gave him the creeps. There wasn’t much out here. Just cacti and brush and wrinkled heat vibrating above the pavement. Sometimes he saw a truck stop or a gas station, like the one he was at now, and he would stop, relieved to find something real.

Driving was one of the things Buck knew best. But it was the damn scenery that yoked his throat and made his breath tight.

There was mischief here. Buck saw it most in the red dirt that crusted around his boots like scabs. That deep sand always followed his feet and coated his cab with rusty brown. He hated it, like the grime was some left over evidence of a crime he didn’t commit.

Buck glanced at her, his hand resting on door handle. She looked his way and their eyes snagged. Buck felt it then, this palpable loneliness, like the vibrating thrum of cicada wings clapping against his spine. He stepped out of his rig. The slam of his door echoed and disappeared somewhere into the empty morning. He walked across the gravel parking lot to where she was standing. He tipped his baseball cap to her and smiled quick as he approached.

She traced his outline in the dark with her pinky finger. “Hey,” she said.

“Hey,” he said.

“You passin’ through?”

“Thought I might stick around for a while.”

She shrugged and pulled pack of smokes from her red leather purse. She offered him one and he declined.

They talked for a while. He introduced himself. Her name was Amelia. They kept their voices low like they were keeping a secret. All around them, the muted light from the rising sun stretched, slowly shifting the inky black shadows up and away from the horizon. Daytime was coming soon. Buck idly twisted some of her long blonde hair between his finger and thumb as they talked, her voice hitting his ear like the sound of crumpled paper.

Her dress was a slip of cheap satin and lace. If Buck strained his eyes he could see her nipples. Buck didn’t mind looking and she didn’t seem to care.

She had on this pair of cowgirl boots, though, and Buck just couldn’t make sense of them. They seemed too big for her feet. They were cherry red and sky blue and had swirls of glittering stones that studded the sides.

Amelia asked about his hat. As she did, she flicked the brim and let her finger trail down the bridge of his nose as she pulled her arm back down to her side. He caught her smell in his nose: a little sweat, a little smoke, and something like cinnamon. She asked about his rig. He smiled.

“So listen,” she said after a while. “My car broke down a ways back. I left some important shit in there and I’ll need it if we’re gonna be familiar.”

“Familiar?” He was amused.

She rolled her eyes before taking a long drag from her cigarette. “You know what the fuck it means.”

Buck studied her through the smoke. Her face was sallow, but cute. “Is it far?” “Nah, I walked.” She gestured to her feet.

Those red boots. He nodded. “Sure. Let’s walk.”

They started west on the highway, leaving the small brick gas station behind them. The road was empty this time of morning. Buck looked around. Gradually, the desert colors inverted around them. The reds and oranges of the coarse sands were outlined with the black ink of night. The sky, typically such a deep blue in the evening, sopped up the warm pinks and reds that belonged to the ground. It was like the world was upside down.

Buck looked again at Amelia’s boots. The cheap plastic rhinestones caught and swallowed the early morning light, only to spit it back up. Boots like that couldn’t help but make noise. Crunch, crunch, crunch. It drowned out the rest of the desert noise he couldn’t stand.

Buck tried to keep the small talk going. She was all nods and one word answers. After evading his questions, she grabbed at his hand and then let go once he laced his fingers into hers. Buck couldn’t decide if her aloofness was sexy or annoying. It had been about ten minutes since they started walking. He wondered if he should feed her some shit excuse about hitting the road and cutting his losses now.

“You don’t like talking about yourself much, do you Amelia?”

“Ain’t much to say,” she replied.

“I’m just trying to get to know you.”

“Yeah, I know.”

He sighed and turned his eyes forward, away from Amelia. He was tired. The sun was just about up, but there were still shadows to conceal and hide the desert from him. His eyes grabbed onto the outline of a foreign shape a ways off. As they approached it, he realized it was a deer carcass, partly decayed and partly picked at by other critters. Its legs were fractured and splayed beneath it. Buck stared hard at the carcass, squinting his eyes against the new light on the horizon.

He had hit plenty of deer with his rig and he had seen just about every kind of animal limp and dead on the side of the highway. Usually he caught the rotten flesh in glimpses, but now his pace was slow. He had time to look, really look, at the slack of its broken jaw and the bloodied crust of its fur and the rot of its bones. He studied the bend of its back and the deep red slick of its exposed innards. He looked away, then looked up. The monoliths on the horizon loomed over the dead animal. They seemed reverent, like headstones or weeping priests.

They passed the deer. Amelia laughed. It was a little laugh that came out like a scuff on pavement.

She lit another cigarette. A trail of smoke followed her through an otherwise clear morning. Buck was impatient. “Are we close?”

“Close.” Amelia’s voice came out like a wheeze.

He knew there was nothing waiting for them. Maybe he always knew it. He stopped. “We should head back. We can get in my rig and I’ll take you to your car.”

Amelia rolled her shoulders back and tilted her head from side to side. She gave her head a light shake.

“No.” She dropped the remains of her second cigarette to the ground. It hissed as she crushed it into the dirt.

Buck tensed, pulling his broad knuckles into fists at his side. He didn’t like hurting people, but he wasn’t stupid. Something went sour inside him. She avoided just about every question he flung at her and he was cross. She kept laughing, too, like there was some joke in the air he didn’t understand. He grabbed her arm and pulled hard. “You best tell me what’s going on.”

She turned away and struggled against him. He watched her breasts bounce and pull against her dress as she moved.

“Enough!” She yelled.

He held her arm tighter. “Tell me what’s going on!”

She turned towards him, indignant, nose turned in the air like she smelled something bad.

She stopped abruptly and jerked her arm away from his fist.

“What’d you bring me out here for?” He asked. “You fucking tell me right now. What’s going on?”

The strap of her purse coiled around her shoulder like a snake. Her eyes darted all around, but she wasn’t nervous. It was like she was waiting for permission. Her gaze finally settled on his and he felt that same strum, the same pluck of loneliness and sorrow he felt when he had caught her eye before.

“What the fuck is your problem?” He shouted.

She tipped her head to the side. She laughed, that same small laugh that she had for the dead deer. “It’s been a long night, Buck.”

He didn’t have much time for anything after that. It was all jaws and teeth like cactus quills. They both shouted, but all he could hear was that noise, that awful desert noise. The insect chatter felt like scrapes on his ears. Some critter yipped, he couldn’t tell what. Rocks crumbled, the desert shifting away from itself at the break of day. And then there was this breath in his ear, like a wheeze, grumbling loud and mean and above the rest of it.

Buck strained to see the face before him but there was no face. There was only carcass, deer carcass, the same broken jaw and the noiseless cry he had seen before. He felt his legs splay out beneath him. A struggle. He tried to fight it off, but there was no fight left. He closed his eyes and saw red boots and dirt. Blood, blood. Buck felt gone.

The sun was almost up. All the shadows of the night disappeared like ghosts. Critters mulled around, their noises changing with daybreak. The landscape responded in kind, the light allowing the scenery to take a different form. Those sleeping spires were no longer beasts, nor men, nor headstones, lingering on the horizon’s seam. They were instead rocks, a crown, resting on the mantle of the rising sun.

A.D. Carson

Mistake House: You’re equally involved in music/performance and writing. What would you say are some of the biggest differences between writing for the page and writing music? In what ways are these artistic processes similar? Do you utilize each medium toward a different goal? What informs your choice?

A.D. Carson: Each piece dictates its own medium. There are times I start with the intention of writing a poem or a story and it just turns into a song. Similarly, there are times when I want nothing more but to write a song and then it turns into something entirely different. I don’t spend a whole lot of time trying to force a piece to be something it doesn’t want to be. I’m guided by what comes out on the page whatever the case, though.

MH: As a social-rapper-poet-professor activist—that is, someone who works in varied modalities—you are what’s called a “hyphenate.” Do you ever feel pressure, from within or without, to narrow the fields in which you work? How do multiple platforms complement or obstruct your process? Magnify your voice or diminish it?

ADC: It’s only an issue working in so many modes when I’m asked how I see myself as an artist…like, “Are you a poet? Are you a rapper? A novelist?” There’s no pressure to narrow, though. I’d actually love to be able to do more, honestly. Not everyone digs poetry or rap or prose, so I would love to get into doing other things. I’ve tried my hand at screenwriting and children’s books. Can’t hurt to do more. I’m all about learning and trying and failing and trying some more.

MH: How do you view or distinguish between your three different roles: author, performance artist, and educator? How do these roles impact one another? For instance, how does your teaching career inform your writing practice/performance and vice versa?

ADC: They’re all education in a form—and I mean that I’m being taught. I learn so much from doing the writing and the recording and the research and the lesson planning. And they all produce similar results, ideally. The performances of each are different, but they have much more in common for me than they differ.

MH: In your essay “Oedipus-Not-So-Complex: A Blueprint for Literary Education,” from Jay-Z: Essays on Hip Hop’s Philosopher King, you speak about the fact that you had to advocate for the usefulness of hip-hop pedagogy as relevant to the study of literature. Can you explain this relevance to our readers?

ADC: Hip-Hop Culture affects so many people. It seems natural to bring that influence into the classroom to meet students where many of them have a wealth of experience to offer. In that essay I really just want to try to make that kind of relationship more accessible to folks who might not have thought of using Hip-Hop in their classrooms.

Since writing that, I’ve really been thinking about the ways professors, teachers, and students might consider Hip-Hop artists as scholars who are theorizing through their work rather than only considering their work as objects to study.

MH: Will you describe your PhD research and dissertation and talk about the ways in which they are unconventional? During your visit to Principia, you mentioned some of the challenges you faced while getting approval for your dissertation. What advice do you have for other creative scholars as they might try to “buck the system” in order to do truly original scholarly work or employ alternative processes?

ADC: Funny you use the term “buck.” My work is about Black voices and their use when disconnected from the Black bodies from which they come. Simply put, I’m trying to do the work I mentioned earlier—trying to demonstrate how an artist might theorize through Hip-Hop, rap, and spoken word poetry. I would advise any creative scholar to continue to try to push those boundaries. It benefits the entire academic community to continue to interrogate those ideas of what is and is not “proper.” I’m also really interested in raising the questions that make us rethink how access to our academic institutions might change as we reconsider what counts as “scholarly research.” Particularly, I think it’s interesting that we have someone like Nas, whose name is associated with the Nasir Jones Hiphop Fellowship at Harvard. I don’t know if 17-year-old Nas would be admitted to Harvard to participate in that fellowship program.

MH: In the beginning of COLD, you explicitly state that you did not want your writing to be about yourself. Why was this a concern for you? How did addressing this concern affect your creative process?

ADC: Hip-Hop does this, I think. The reasons I relate to lots of my favorite songs are that they have a great deal to do with being able to see myself in the stories that are told or being able to identify with the “I” in some way. I wanted COLD to work the same way. In a lot of ways, writing the book was like writing an album with fairly extensive liner notes that include poetry and prose.

MH: Yet, some of your writing contains autobiographical elements. In your work, how do memoir/realism and fiction rely on and appropriate content from one another? Do you have an ethic regarding what is fictionalized and what remains factual evidence in your content?

ADC: Again, I like to think of my approach as something fairly common in Hip-Hop. There are these “real” elements that are rendered differently by the kinds of tellings I choose to employ. I don’t know if I really think too consciously about it. I imagine that might present many problems for some audiences. I do try to present certain elements “how they happened” by utilizing other kinds of media in conjunction with what I’m creating. I’m not so sure if that qualifies as “factual evidence” if it’s working with something that might be fictionalized, though. That’s a good question.
MH: Mistake House Magazine not only engages with the concept of process, but through our invitation to enjoy the content “with your feet up,” we obliquely reference Kurt Vonnegut’s statement that a short story is a “Buddhist catnap,” a place of psychic reintegration. However, in your poem “See the Stripes,” you challenge the notion of the work of art as a solitary, individualist place. Instead, you assert the need to be socially engaged, as in your lines: “And if that/ is an uncomfortable truth for the institution, so be it. / These are the stripes we bear…” Could you elaborate on the necessity or ability to sit (or stand) in the company of uncertainty, doubt, and uncomfortable truths?

ADC: Those truths have to become a place we visit often. The present moment we live in sits firmly on the days that have come before it, and the days to come will rest upon today. I don’t know if certainty, assuredness, or comfort should be our primary concerns with regard to whether we sit or stand in or around those truths.

I had tried so many times to articulate the things that come up in that poem for an entire semester before that piece came. I just let it come to me…and it wasn’t a comfortable process. I took it with me to Switzerland to the European Graduate School—about an hour or so away from where Baldwin wrote “Stranger in the Village.” I embraced feeling like a stranger in my new home [Clemson], a stranger in Switzerland, and a stranger to myself/the process of writing the piece. What the piece is asking for also went into its creation.

MH: What do you have to say to the young writer (or, musician, artist, etc.) who wants to know why creative work is relevant?

ADC: I say keep doing the work you love doing. Loving doing it is the reason it’s relevant.

MH: As a visiting writer at Principia College, you spoke about the various cultural and historical references made by other artists in their work, such as in rap music. Your own work also focuses on culture and history. For example, your artistic focus seems to rest on not only places you’ve inhabited, such as your childhood neighborhood or the universities you’ve attended, but more specifically on the history in these places. To what extent do you draw on your surroundings and their history for inspiration and motivation for your work?

ADC: The spaces and places we find ourselves in have stories that we should be deliberate about listening to. I just try to be attentive. South Carolina—Clemson, particularly—gives an entirely different vibe than Illinois. It’s only natural that what I create here reflect that. I don’t even try to resist that.

MH: When did your work begin to reflect ideas about social justice? Did this intention first emerge when you endeavored to be a professional rapper as a high school student? Do you remember a particular image or instance that ignited this passion?

ADC: Art, for me, has always been a way to make a comment about whatever circumstances moved me or connected to me emotionally. The notion that the world could be better, and therefore we should help however we can to make it so, wasn’t triggered by any particular moment or image. I do, however, remember one of my cousins, when we were fairly young, remixing a gospel song, “Jesus on the Mainline,” on a hot summer day to try to convince my grandmother to give us freeze pops. His version, I’m sure, was “If you want a freeze pop / tell Him what you want.” Not exactly social justice, but it got us all freeze pops.

MH: In your song, “Familiar” you write, “For the beatings, the treatment, the rapings, the hangings and lynchings/ I hope that we can be forgiven/ I never lived it, but boy, it’s familiar.” Many social analysts believe we are now in a second nadir of race relations in the United States. Do you agree with this assessment? What are some of the parallels you see between the present and the past? What is our hope for the future?

ADC: “Familiar” was really just my way of demonstrating that we haven’t really made as much progress as we’d like to think. The verses are deliberately variations of the same thing…I always thought Langston Hughes’ “Dream Variations” was a dope poem for that reason. I imagine that if we don’t learn from the past, we can be certain our future will look familiar. My hope is that we use history as a means of understanding the present. If we’re diligent about that, perhaps the future will look different. It’s disheartening to me that James Baldwin’s The Fire Next Time reads like it could have been written in 2016.

MH: What would you say are the main problems affecting gender equality and women in the African-American community, and how would you address them? How can Hip Hop culture, poetry, and fiction support African-American women in their fight for social justice?

ADC: You’ve asked several questions here that take lots of time and consideration to work through, I think. The acknowledgment of gender inequality is a good place to start. For example, we find ourselves in conversations about the deaths of Black boys and men often, and it seems Black girls and women get left out of the conversation a bit too easily, too conveniently. We should be diligent about saying their names, allowing their stories to be told, and fighting for justice for them as ardently as we do for anyone else.

With regard to Hip-Hop culture, poetry, and fiction helping Black women fight for social justice, I think those modes are vehicles capable of working in the same ways they do for men. Our stories have to reflect the experiences of our world, whether it’s rap, poetry, or fiction. And the storytellers have to be reflective of the people who exist in those worlds.

I certainly have lots more to read and learn and experience so I can be better about doing better in my writing and my living. I have to be better about listening and learning and doing what I can where I can to help however I can. I don’t know if I can speak for all of Hip-Hop culture, but I think the desire for and work toward understanding, after the acknowledgment of the necessity of much work needing to be done, is a start.

MH: You have faced criticism, and even harassment, after launching your See the Stripes project at Clemson University. How have you dealt with some of the negative voices or criticism in response to your work as an artist or in response to your political activism with See the Stripes? How have these experiences affected you as a person and an artist?

ADC: Don’t read the comments section on anything. That’s the best advice I have about that. The negativity gives me the energy to persist. I don’t always feel that way, of course. But I just try my best not to give it too much time and attention. I’ve said this before, but my grandmother said, “Don’t let people live in your head rent free.”

MH: Let’s talk about some of your influences and inspirations. You’ve mentioned Gwendolyn Brooks as an important influence and source of inspiration. How has Brooks influenced your development as a writer?

ADC: Gwendolyn Brooks influenced me enormously simply by being so generous with her time and attention. She talked to me, she read my writing, and she encouraged me to continue with it. When a writer of her stature tells you that you should write, that you are a poet, it’s much easier to push back that doubt that stops you from creating and sharing and such. I can’t thank her enough for being that someone to me and to so many other artists she inspired.

MH: At Principia College, you also discussed Kendrick Lamar’s album To Pimp a Butterfly. Can you explain why you feel this particular album is significant?

ADC: Rereading Ellison’s Invisible Man while listening to TPAB made that album a great experience for me. There are so many layers and connections that can be explored with just those two works. The album helped me make sense of the book in some ways I would not have considered otherwise. I’ll always think of IM when I hear “What’s the yams?” on “King Kunta.”

MH: In the forward of COLD, your former professor A.A. Rhapperson describes how the conformity and rigidity in academia caused her to become disinterested in her work, to lose her drive. She said she was “fakin’ the funk.” As her student, you reminded her of the joy of writing and the optimism she once possessed. As you’ve gone through a PhD process and worked professionally as a writer and teacher, how have you continued to “live the funk”? What practices do you incorporate into your creative process to continue to produce, and then share, lively work?

ADC: The best way for me to stay “true” is to do what I like. I could be oversimplifying. But I really just try to learn every day and be honest with myself and my work. It’s much harder than it sounds sometimes, but I really just try to do work that pushes me in those ways.

MH: In your talk at Principia, you mentioned addiction and in one case said something about addiction being a necessity. Can you elaborate on this idea?

ADC: Perhaps I was talking about embracing dopeness, since addiction is such a big part of our lives. I’d referenced Talib Kweli’s line, “I speak at schools a lot ‘cause they say I’m intelligent./ No. It’s ‘cause I’m dope. If I was wack I’d be irrelevant.” I mentioned it to call for dopeness rather than wackness. I can’t imagine many folks would stand in opposition to that. My hope is to just do dope work.

MH: You also stated, “sleep does not stop the process.” What exactly do you mean by this and in what way does your creative process continue during sleep? And if your work doesn’t stop even for sleep, where and how does your creative process find rejuvenation?

ADC: There was a point when I used to keep a notebook by my bed to write things down in the middle of the night. I use an app on my phone now. It seems stranger than it actually is, I suppose, but if I’m working on a piece and I get stuck, sometimes sleep allows all the cords to detangle. I’m pretty sure I wrote the entire “Golliwog” song asleep.

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?

ADC: I really enjoy writing and recording, so when I have time, those are the things I do. I get my fair share of terrible TV shows in here and there, as well. And naps on my recliner—that’s definitely a thing.

A.D. Carson

Familiar
Producer: Preme
Additional vocals: N/A
BPM: 60

[1]
This one for the niggas,
the ones that was called that descriptor
when they was delivered

out there in Virginia,
the ones ever since who have taken the care to defend the

people surrendered from coast to the coast to the cold and the whip of the lash,
I never lived it, but I’ll tell now…
boy it’s familiar.
Said, boy, it’s familiar.

For the gangs with the chains on they hands and they ankles it ain’t just a sankofa song.
For the Kings, whether Martin or Rodney, who knew it unlikely but asked could we all get along!
For the answer we know to that question that keep us a little suspicious,
We ain’t the first that have wished it.
We ain’t the first ones to get it.
Said, boy, it’s familiar.

For the mothers, the daughters, the sisters
who don’t get attention but often are victims,
so they suffer in silence from all kinds of violence
and try as they might we don’t listen.

For the beatings, the treatment, the rapings, the hangings and lynchings,

I hope that we can be forgiven.
I never lived it, but boy, it’s familiar.
Say, boy, it’s familiar.

All black on my windows,
pistol under my pillow,

if I’m an activist, I’m no pacifist.
I’m just keeping shit real, though.

I ain’t turning a blind eye,
and I ain’t expecting no heroes.

I ain’t pressing no 911,
but I ain’t living in fear, though.

[Hook]
Now what?
The same shit. The same shit.

Now what?
The same shit. The same shit.

Now what?
The same shit. The same shit.

Now what? The same shit.
Now what? The same shit.

Boy, it’s familiar,
mess with them boys, and they kill you,
then get a lawyer to deal with
annoying appeals to
the public to show ‘em they did ‘em
a favor destroying a villain.

No, you ain’t living

if you know you ain’t living
but seconds away from a sentence,
making a way for a system.
You die or they take you to prison.
Take what they know you ain’t giving.

[2]
This one for the niggas
who just got from prison,
or on they way, stuck on the ave.

Hustle from morning to evening for things that they need
or the things they can have.

City’s so cold, that you gotta fend for yourself, they compare it to Iraq,
‘cause it’s a war that we live in.
Imagine the war when our children say “Boy, it’s familiar.”

For the gangs and the fame
and the whips and the chains
and the game that we play through the pain

that we drench ourselves in when we win
since we win at the game then it seems we should call it champ pain.

Elevated—we taking the L but we winning,
‘cause we still living.
Living through pain, but we living.
Giving through strain, but we giving.
Boy, it’s familiar.

For the mothers, the daughters, the sisters
we don’t give attention but often are victims,
We inflict them with violence
and tell them to suffer in silence, so why would we listen?

For the beatings, the treatment, the rapings, the hangings and lynchings,
I hope we can be forgiven.
I hope we can be forgiven.
Boy, it’s familiar.

All black on my windows,
pistol under my pillow,

if I’m an activist, I’m no pacifist.
I’m just keeping shit real, though.

I ain’t turning a blind eye,
and I ain’t expecting no heroes.

I ain’t pressing no 911,
but I ain’t living in fear, though.

[Hook]
Now what?
The same shit. The same shit.

Now what?
The same shit. The same shit.

Now what?
The same shit. The same shit.

Now what? The same shit.
Now what? The same shit.

Boy, it’s familiar,
mess with them boys, and they kill you,
then get a lawyer to deal with
annoying appeals to
the public to show ‘em they did ‘em
a favor destroying a villain.

No, you ain’t living

if you know you ain’t living
but seconds away from a sentence,
making a way for a system.
You die or they take you to prison.
Take what they know you ain’t giving.

Video: https://www.youtube.com/watch?v=8K6ooond-e8
Message
Producer: Truth
Additional vocals: N/A
BPM: 82.5

[1]
I’m still standing where the terror lives
Swear that I don’t wanna sleep but taking sedatives
for the pain.
And they keep blaming me for being hurt, needing work, seeing certain defeat.
In the mirror I see me,
and it’s clear what reap we sowing over and over
goals of a soldier—just tryna live. Look over our shoulders.
Just hoping that knowing better, expecting fire to come,
and still they ask, “If he wasn’t guilty, why did he run?”

For one, I’m guilty of being black as the night.
And two, I’m too aware of your fear of it. Fight or flight.
The righter right, in the brightest light, ain’t gone try to write my type of sight as the kind of plight that’ll spark the dynamite to make the world see
me as a human being. Sure as breathing leads to dying,
you and me ain’t seeing I the same. I done claimed victory before.
It’s the history of my fore-
fathers and you ain’t ‘bout be bothered to try to learn it.

[Hook]
If it’s all about these words I write,
then I hope that you receive ‘em
and more that you can believe ‘em.

It seems nobody wants that….

They telling me back then it was bad to have black skin.
I’m paying the cost now,
and saying we lost how
we can make what little we have into something better.

I think it’s all in the…

[2]
As sure as property costs and I gotta turn what I know into real estate,
when the realest state of reality bites
and the dealer takes from the pot before the card’s even dealt,
there’s other things on my mind that I’m more concerned with.
Not what Momma taught—The Golden Rule—
“Do unto who…what was done to you.” This shit’ll be burning now.
But the schools want me to think that I’m doomed—but I ain’t going.
I’m living and trying to get it. I’m s’posed to be learning how.

And they just teaching me to hate myself,
‘bout chains that I’m s’posed to break myself,
that ‘justice’ means “wait for help”
that ‘good life’ means “take for self.”
I’m busy redefining ‘great’ for self.
So when you hear me say “word to words.” just know the purpose behind it.
You see my work is defining me for myself.

I still stand where the terror lives
and they keep telling me to take but instead I give…my word.

[Hook]
If it’s all about these words I write,
then I hope that you receive ‘em
and more that you can believe ‘em.

It seems nobody wants that….

They telling me back then it was bad to have black skin.
I’m paying the cost now,
and saying we lost how
we can make what little we have into something better.

I think it’s all in the…

Sick
Producer: Truth
Additional vocals: Truth, Dead Prez
BPM: 90

[1]
From shorties to early 40s
we all wanna be Barry Gordys with different stories.
Nature naughty, never relate it to being taught we
can never make it unless we take it into the courts. See,

while you thinking it’s getting better,
I’m sitting, sketching letters and thinking of Medger Evers,
knowing I could never let us forget that it’s just alleged….
That freedom and the peace that you speak of is just a brief moment in history we
cannot see,
but we seek—

but if the meek shall inherit, then you’ll be
one of the first in line,

but I can’t wait, cause I got work to find,
family to feed, and lots of hurt inside.

And if the worst that I
could do is make coins from curses I
was handed down to write these verses, I
hope they collect ‘em in a book and then teach ‘em in every ghetto
‘bout the nigga after crumbs to get back like Hansel and Gretel.

[Hook: Dead Prez ]
“…sick…”
…sick of working for crumbs and filling up the prisons…”

“…sick, sick, sick, sick, sick of working for crumbs and filling up the prisons…”

“…sick of working for crumbs and filling up the prisons…”

“…relying on religion…”

[2: Truth]
Lord let us…
Momma used to pray
that Jesus would come and get us.

I really just prayed that the cops would never sweat us.

Midwest wind is rough without sweaters,
the salads without lettuce,
our kids without better
education and leaders
to elevate us and teach us
how we was sold on the beaches—
they separated and beat us.

Reparations,
they never say that we needed.
The cotton picking,

ain’t got a pot to piss in,
build up a lot of prisons,
fill ‘em up.

Pull us over like “get em up.”
Move, and they’ll hit you up.
Louima to Michael Brown—
laying the bible down.
The president promises,
brightens, admonishes
the curse and the punishments.
I’m done with it.

I’m a get mine and let the drummer get

what’s rightfully ours.

Sticking to the truth
as we writing these bars.

[Hook]
“…sick…”
…sick of working for crumbs and filling up the prisons…”

“…sick, sick, sick, sick, sick of working for crumbs and filling up the prisons…”

“…sick of working for crumbs and filling up the prisons…”

“…relying on religion…”

Documented
Producer: Truth
Additional vocals: Lesley McSpadden, Mobb Deep, Dead Prez, Aretha Franklin
BPM: 82.5

[Lesley McSpadden ]
“…doing too much. You don’t do a dog like that. You didn’t have to shoot him eight times. If he was doing something to you and you was trying to stop him, where do the police shoot you? In the leg. You just…shot all through my baby body…”

[1]
Raised in the streets. No surprise where we at.
J’s on my feet—Bull’s eyes on my back. Listen,
the thin line between better living and prison
is where I happen to get it. Can’t write me out of existence.

The sentences that I’m given are disproportionate.
Literacy’s important. Scribbling me distorted.
Written to reported. Luckily it’s recorded.
History won’t forget me like Emmet, Trayvon and Jordan.

And since the Birth of a Nation the curse that I’m facing
has hurt and helped disturb my relations
to my forefathers, my mother and my sisters. Suspect
if we all reap what we sow, know that when I collect.
I’m coming for souls. The white, and the blue and the red,
the life and the loss, the blood, sweat and tears that were shed—
return ‘em to me…
‘cause if you really earn what you keep…
…they’re all mine

[Hook: Mobb Deep , Dead Prez ]
“…when the slugs penetrate you feel a burning sensation…”

“…that’s why I write the shit I write in my raps…”

“…getting closer to God…”

“…when the slugs penetrate you feel a burning sensation…”

“…that’s why I write the shit I write in my raps…”

“…it’s documented. I’m in it…”

[2]
They told me to pray
Bend my knees and hope for a way
To be free. Forget man and focus on faith.
And I tried, but when I opened up my eyes I was lost,
Looking back, forward and side to side-by-side. Crying and caught
off guard,
Our Father Who art in heaven I ask:
White sheet or black face, why should I wear a mask?
If my choices are suicide or marching straight into slaughter;
I ain’t trying to play in the game, but can’t save me a quarter, then what do I do?

Not win, or say “Fuck it,” and lose.
A kamikaze mission—literally Catch 22.
Flyer than fuck. In my eyes you see what is up.
But you don’t really want to know, and you got reason enough
to do what you will. And so will I—future fulfilled.
Imagine hoping everyday that you live,
the way that you live. The way that you give
something is standing to fight. And I know I’m outnumbered. If it’s over tonight.
Then remember I said I was before knew it was planned.
I was a human being. I was a man.

[Hook]
“…when the slugs penetrate you feel a burning sensation…”

“…that’s why I write the shit I write in my raps…”

“…getting closer to God…”

“…when the slugs penetrate you feel a burning sensation…”

“…that’s why I write the shit I write in my raps…”

“…it’s documented. I’m in it…”

[3]
Was raised in the streets. No surprise where we at.
J’s on my feet—Bull’s eyes on my back. Listen,
the thin line between better living and prison
is where I happen to get it. Can’t write me out of existence.

The sentences that I’m given are disproportionate.
Literacy’s important. Scribbling me distorted.
Written to reported. Luckily it’s recorded.

History won’t forget me like Emmet, Trayvon and Jordan.

[Aretha Franklin ]
“Come all you fair and tender maidens.

Be careful how you love young men.

They’re like a star on a summer’s morn…”

80s
Producer: Truth
Additional vocals: Truth
BPM: 103

“…reports on a new kind of cocaine called ‘crack.’
It’s going nationwide, especially among the young. A drug so pure and so strong it might just as well be called ‘crack of doom’…”

“…in the nation’s biggest cities: New York, Los Angeles, Miami, and Chicago…”

[1: Truth]
At the end of Jim Crow
who would have thought that the outcome…
they took out Martin King and Malcolm.

Left was the Hueys, the Fred Hampton, Jr.
They found him,
shots to the head, no guns was around him.

Astounding,
they felt the nation was browning.
Currents that could make an impact, so they ground them.

Counter Intel
had the Intel.

Had the men jailed.
We was hanging on by a pin nail.
Broken,
black boy searching for income,
then come crack cocaine. Man, it’s been one.

The Contras and CIA, they sent some.
Dissolved in sodium bi.
That’s where the scent from.

Murder
and the gang banging the byproduct.
Killing niggas by the thousands, so why stop it?

President Reagan
played his best role being Satan.
The whole administration
facilitating crack in the eighties.

Crack.

[Hook: Truth]
Crack in the eighties.
Crack in the eighties.
A, yo, crack
and a nigga with a Mac acting crazy.
Leave the stash with his lady,
now it’s crack in the babies.

Crack in the eighties.
Crack in the eighties…
nigga with a Mac acting crazy.
“…in the nation’s biggest cities: New York, Los Angeles, Miami, and Chicago…”

[2]

In this New Jim Crow
my bro got a mandatory minimum—
and it wasn’t for him selling Ritalin.

New slaves—same thing as the old slaves.
Better check the 13th Amendment.

Same benefits, different percentages, same business,
big house where the niggas live.

They still locking niggas down without a share,
so black boys move white like Obama care.
He just tell ‘em pull they pants up and don’t loot.
In the street they yelling “Hands up. Don’t shoot.”
But we still getting shot on the spot. You ain’t safe if a
cop is a modern-day slave catcher.

He just there to oversee the plantation,
to help facilitate the damn nation’s
plan, which seems to be the man made into
labor for slave wages, or sell base like
crack in the eighties.

[Hook]
Crack in the eighties.
Crack in the eighties.
A, yo, crack
and a nigga with a Mac acting crazy.
Leave the stash with his lady,
now it’s crack in the babies.

Crack in the eighties.
Crack in the eighties…
nigga with a Mac acting crazy.
“…in the nation’s biggest cities: New York, Los Angeles, Miami, and Chicago…”

“…crimes with not-so-happy endings are criminals who need money to buy drugs or who are on drugs.
In the alphabet of illegal drugs, few have become so popular, so potent, so addictive, so fast
as what’s known on the street as crack.
Since CBS New reporter Harry Smith first investigated this the Crack Problem has become the Crack Crisis…”

Where I’m From
Producer: Amen Ra, The Mad Rapper
Additional vocals: N/A
BPM: 83

I’m from where the
murder rate is disturbing but no curbing the crime.
Time and time again you’ll find the swine has a purpose but trying
to protect and serve—ain’t the one you see ‘em doing.

Hear the pistol fire and it’s likely them that’s shooting.

Ain’t no policing the police, but at least we all know it.
And ain’t no dreaming in the streets about being a poet.
We owe it all to public schools where the rules is to show it
that you know the answers to the test but unless it’s an oval

that we filling in, then the feeling is like swimming and drowning.
And Black is Black. We don’t distinguish from cinnamon, brown and
mahogany, onyx and all of it’s chronic so we swallowing tonic
and wallowing all in it…see I find it ironic
that this is iconic. It’s marketed, so you want it, and I sell with promise.
And I can guarantee—
he’s got a bullet and a badge and took an oath to protect and to serve, but just a look
and he’s scared of me.

And I’m aware that he is, but I wonder are you.
And they ain’t asking you to freeze ‘fore they open and shoot.
I know you think “He got degrees,” but I’m hopeless as you.
A nigga with a PhD’s still a nigga when blue lights flash and I match the description
ain’t no explaining that.
Ain’t no amount of philosophy spit negating that.
Can’t quote a book and then hope you out,
if he’s got a badge and he believes that he can choke you out.
Hands up; stand up, and they shooting you down.
So keep your eyes on your mirror when you cruise through your town.
I’m from where the boys in blue don’t play.
Cough up a lung where I’m from—USA…

 

Shoot Back [Second Amendment]
Producer: Preme
Additional vocals: Malcolm X
BPM: 82.5

[Malcolm X]
“I was supposed to have said something about negroes should buy rifles.
White people been buying rifles all their lives…no commotion.”
“We’re supposed to be organizing some kind of negroes to arm themselves with rifles and shotguns for self-defense.
America is based upon the right of people to organize for self-defense. This is in the Constitution of the United States.”

[1]
Everybody seems to be concerned with the greater good,
say the last thing we need is guns in our neighborhoods.
But when I weigh the good against the hoods wearing ‘em
I think that if it’s legal maybe we should think of bearing ‘em.

By comparison, I’ll give you an analogy:
I’m Trayvon Martin. George Zimmerman is after me.

He’s got a pistol. And all I got is snacks on me.
He proceeds to chase, eventually’s attacking me.
A lot of people will probably see it as blasphemy,
but if I had a pistol on me, then, I could blast for me.
And maybe then there would have been a trial had for me
where I was the defendant to be convicted. Asking me,
is the prosecutor,
under oath, nastily,
“Did you really have to kill him?” I’d say, “Actually,
I was just standing my ground cause he was after me.”

Now compare that story to the reality.

[Hook 1]
We got Freddie Gray, Mike Brown, Tamir Rice,
and a whole bunch of people walking ‘round in fear like
we ain’t supposed to be mad. I’m thinking, “Yeah, right.”
How many people gotta die before it’s your fight?
How many people gotta suffer till you choose that?
It’s probably the most irresponsible, conscious, decision I’ve made to say this…
but I’m thinking shoot back.

[2]
It’s probably the most irresponsible, conscious, decision I’ve made to say this.
And a lotta people I know prob’ly won’t play this.
But fuck it. They say you have the constitutional right.
Who gone protect you as you move through the night?
You got media that’s malicious,
people starting militias,
they holding on to guns like it’s a part of they religion. Swear we coming to get ‘em.
They want they country back so
they avoid the fact that it was built on our backbones,
Revise history like The Man in the High Castle.
They want men like me to be cool with being they chattel.
But I ain’t on that slave shit.
I ain’t with that “Boss is you sick?”
The most you’ll get from me is a hock of this spit.
And that’s it.
I’m saying, ain’t no crime in standing my ground.
I ain’t gone wait for people standing around,
hope they recording it.
Nope.

If I’m danger and it’s from the police,
I’m supposed to call another police?

[Hook 2]
Rekia Boyd, Miriam Carey, Aiyana Jones…
all killed. We’re all here. They’re all gone.
We ain’t supposed to have fear? I’m thinking, “Y’all, wrong.”
How many people gotta die before it’s your song?
How many people gotta suffer till you choose that?
It’s probably the most irresponsible, conscious, decision I’ve made to say this…
but I’m thinking shoot back.

[3]
They say it’s better to have it and not need it than to need it and not have it.
And I ain’t saying nothing we don’t know, but to stop having to hashtag names
of blacks that’s slain
we must observe facts that’s plain.
And guns ain’t the answer; they the problem,
but the law of the land,
the same law that said I wasn’t a man,
says that I can keep and bear arms.
My sleeves rolled up so I can be prepared. I
Won’t be slowed up by people saying it’s a worse solution.
And what’s worse, these people don’t see it as persecution.
So, legally, I’m supposed to be me, and be free, and not live in fear,
when history says they do not want me here?

I’m thinking well-regulated militia. Who gone police the police?
Oh, we’re gone wait until they kill some more of us on the streets?

[Malcom X]
“The second amendment to the Constitution, uh,
spells out the right of people…”

[Hook 1+2]
We got Freddie Gray, Mike Brown, Tamir Rice,
and a whole bunch of people walking ‘round in fear like
we ain’t supposed to be mad. I’m thinking, “Yeah, right.”
How many people gotta die before it’s your fight?
How many people gotta suffer till you choose that?
It’s probably the most irresponsible, conscious, decision I’ve made to say this…
but I’m thinking shoot back.

Rekia Boyd, Miriam Carey, Aiyana Jones…
all killed. We’re all here. They’re all gone.
We ain’t supposed to have fear? I’m thinking, “Y’all, wrong.”
How many people gotta die before it’s your song?
How many people gotta suffer till you choose that?
It’s probably the most irresponsible, conscious, decision I’ve made to say this…
but I’m thinking shoot back.

Good Mourning, America
Producer: N/A
Additional vocals: N/A
BPM: N/A

“I remember that I’m invisible and walk softly so as not to awaken the sleeping ones. Sometimes it is best not to awaken them; there are few things in the world as dangerous as sleepwalkers.”
—Ralph Waldo Ellison

This is the Next Time. Prepare for Fire.

The grotesque fantasy of the shrinking so-called majority,
America’s nightmare, is slowly transitioning from
somnolent slumber to a waking state akin to sleepwalking.

America, for as long as it has existed, openly endorsed terror,
and rode the wave of fear that followed to super-powered dominance,
domestically and abroad.

To be clear, when I say “America,” I mean “White America”—the America
America sees, wants to see. Not the real America, but the ideal America.
The America that stated, equal “All men are created” while enslaving men and women
who legally counted 2/5 less than their American Masters.
America, the Beautiful, who “crowns” her “good with Brotherhood,”
but from sea to shining sea shoots down and locks up
young black boys and girls, men and women, with impunity.

This is the Next Time. Prepare for Fire.
America’s Nightmare is America waking up.
“Good Morning,” America says.
Good Morning America says,
“Good Morning, America.” Says,
“Good. Mourning America says you’re a true patriot.
Don’t let America die. Don’t let America’s death be in vain. Fight!
For America. This is
good mourning.

The black and brown bruises on the American Body
must be cut off, must be amputated
or risk infection spreading.
Sleep, America. This is an age-old procedure. Perfected.
Or inject local anesthetic, remove bruise. Move. Repeat procedure. Or
just sleep. It’ll all be over when you wake up.”

This is the Next Time. Prepare for Fire.
This is America burning. This is America: learning
this is no nightmare.
This is America waking up, realizing
its bruises have not been removed, may not be removable,
and trying, trying, trying to remove these imperfections,
or risk infection s p r e a d i n g,
this black becoming blacker,
this brown becoming MORE,
this body belonging to this mind that has perfected seeing itself
as pristine. This is America operating,
White America cutting into her Native skin,
excising what
does not belong, what she does not want to see.
Cut deeper. Cut
to the White. It burns, but it’s worth burning.
Not seeing it must be worth the price.
This
is America screaming: “THIS IS AMERICA!”
waking up.

This is the Next Time. Prepare for Fire.
The remains will be Black.

This is America on the brink of break—
ever aware of a two-ness of which there is a constitutional greater
and lesser, necessary evils that history won’t heal and
Hennessey won’t help,
darkness and lightness created in the likeness of
White God and White Jesus
who would rather see White America burn than see it turn
into what it already is,
what it always was.
America becoming awake, America becoming aware,
is America becoming so scared of what she knows she is capable
of doing to herself.
Dream sweet, America. Dream deep. Breathe deeper.
Now deeper. And sleep.
Sleep.
You were made from this.
You were made for this.
You were made by this.

You are on fire.
This is the Next Time.
America is burning.
“God gave Noah the rainbow sign,
No more water, the fire next time!”
—Quoted by James Baldwin

Amy Pleasant

 

Pan

It was Eli’s idea to go gold panning. Not hers. But while it usually bothered Ruby to go mindlessly along with someone else’s plans, for Eli she could make an exception; even if it meant sitting all day in the hot sun with her legs and ass falling asleep on the rocks.

When Eli pulled up in his bright red Wrangler, Ruby couldn’t help staring at him from her patio slab. His well-tanned arm was hanging out the window and he was tapping out a rhythm against the door. “Tomorrow” rattled the speakers in a sexy, swoony chorus of trombones. Normally she didn’t “get down” with hip-hop, but this particular song always got her in the mood. And Eli knew that.

“Well hi there, handsome,” she said, strutting down the stone path to the Jeep. As it happened, she’d taken the time that morning to doll herself up with a pair of red heart-shaped sunglasses, a floral skirt, a tight white blouse and a creamy headscarf that just screamed “Jackie Kennedy.” Something in the morning air had given her the notion that she ought to spend the day swishing her hips like a twenties pin-up—and what better costume for such an undertaking than this?

Eli turned to her and frowned; his hand still banging against the door.

“You know we’re going gold panning, right?” His left cheek bulged with the pressure of the abscess tooth he still hadn’t done anything about. He looked like a chipmunk with a kickass Jeep.

Ruby stopped swishing her hips and let her hands, which until then had been tossing her hair from side to side, fall dramatically to her waist.

“Uh yeah, duh, you texted me that and I said ‘cool,’ remember?”

“Yeah, I remember the text. What I’m just not so sure about, though, is why you’re wearing that when you’re gonna have to sit in the dirt for literally the entire day. Why didn’t you throw on some sweats or something?”

Ruby crossed her arms and jutted her lip. Could he really be this much of a Neanderthal?

Or was he just playing some retarded, unfunny character?

“Uh, because it’s our anniversary. Would you really want me showing up in shit-stain sweats on the day we’re choosing to remember two whole years of our lives together?”

“Well if we’re spending it in the mud, then yeah, I would rather you chose logic over theatre. Besides, we can go out afterwards. We’re not going to spend literally every second of this calendar day in the mud. We will be eating dinner at some point.”

Ruby sighed and bit down aggressively on her Bubblicious. “Should I go back in and change then?”

“Nah, never mind,” Eli said, waving his hand dismissively and tossing his head towards the passenger seat. “Just get in.”

Ruby stomped her foot and flung her arms in a mismanaged flail of exasperation. Then, resigning herself to the inevitable, she marched around to the passenger side where Eli was holding the door open for her.

“You do look really cute, by the way,” he said, flashing his best swollen Sears catalogue grin. She melted and smiled back, climbing in as elegantly as she could. She had to clear a space for her feet in all the Timmy’s wrappers covering the floor, but she tried not to mind.

“Yeah, sorry, it’s a little messy in here…just been really busy lately…” “Oh it’s fine,” she said, reaching around for her seatbelt.

“Hey. Come ‘ere a second,” he said, leaning over and pulling her face to his. Ruby sighed through her nose as he pressed his lips to hers, trying as hard as she could not to bump the swollen spot. Phrases like “true love” and “destiny” flashed through her mind like neon signs in

a down-and-out montage. If she could kiss him this passionately with his face all swollen and gross, they could survive anything together.

Eli pulled away with a theatrical sucking sound and started the engine. Now it was time for seatbelts.

An hour later, they pulled into what appeared to be a truck stop in the middle of fucking nowhere. In front of the single level, faux-log building was a sign painted onto an overturned high-back bath tub. In peeling gold paint it boasted “All Day Gold Panning–$20. Tools Included.”

“Weeeell, here we are,” Eli drawled as he threw the Jeep in park and hopped out. Ruby finished the text she was working on and hit send before following after him. By the time she climbed outside, Eli had disappeared inside the building. A moment later, though, as she was composing a witty response to the one she’d just received, Eli re-appeared in the doorway, brandishing two shovels in one hand and two large, steel pans in the other.

“You should have done something about that tooth. It looks awful.” she tsked at him. “You know it could travel up into your brain and kill you?”

“All hell it’s fine; quit worrying,” he stated, trying to cover up the impediment it was rapidly causing in his speech. “Now—you ready to get rich, baby girl?”

“Do those things really work?” She asked, staring doubtfully at the pans. From where she was standing they looked like frying pans without any handles.

“How in the hell are they supposed to keep the gold in? Doesn’t it fall out when you dump them out?”

“What?”

“When you dump them out! I mean, don’t you shovel dirt in and then dump everything out in a—I don’t know—one of those wooden table things with the bars? Like a conveyor belt?”

“That’s a sluice. That’s one way of doing things. But it’s not what we’re doing.

We’re…I’ll just show you when we get down there, okay? It’s a little hard to explain without showing you…but obviously you don’t just shovel everything in and dump it back out…”

“Shut up, you know what I meant.”

“”Whatever, let’s just get going. Can you put your phone away long enough to follow me down to the creek?”

“Oh my god I’ve sent like two texts all day. Excuse me for having nothing to do sitting in the Jeep and then standing in the parking lot.”

Either Eli didn’t hear her or he pretended he didn’t. Swiveling on his heel, he headed into the trees down a skinny, winding path that was largely overgrown with shrubs that all looked like Poison Ivy. Ruby stumbled after him, tearing at the burrs that threatened to overtake the clinging fabric of her skirt. She wanted to complain but she knew there was nothing Eli could do about the burs. He was trying to do something nice for her, even if it was a bit weird. The burs were just a hazard of love. Love wasn’t easy. She knew that. She would just have to tough it out. Eli would be impressed with her in the end.

A million years later—the tips of Ruby’s fingers thoroughly overtaken by invisible bur barbs—they spilled out onto a rocky peninsula. Surrounding the peninsula was a babbling brook which trickled in and out of Ruby’s peripherals in a splashy, blinding ribbon of nature.

“It’s gorgeous,” she murmured, sneaking up behind Eli and placing her hands on his hips. “It is that,” he said with a charming hint of Southern Twang. “I think we should set up

just over yonder,” he said in a pubescent cowboy drawl that sounded like the ubiquitous teenage employee in The Simpsons. Ruby followed his gaze to the right where the peninsula and the shore made a little armpit of mud. “That’s where we’ll be makin’ our fortune. You see, the gold is heavier than the rest of the mud, so it falls out of the run-off as soon as it can. Spots like that little muddy section are primo hunting grounds for nuggets.”

“Do you really think we’ll catch anything?” “You don’t catch gold, sweetie. It’s not a fish.” “Uggh, you know what I mean.”

“Well, now, I just don’t know—only one way to find out!” Eli winked at her as he made his way over to their intended panning spot. Ruby stumbled after him; her flip flops snagging over and over on the crusty rocks.

“Okay, so what you wannna do,” Eli said, placing a pan on the rocks and thrusting a shovel into the creek bed, “is you wanna shovel a shit-ton of dirt into the pan; really pack it in there. Okay? Give it a shot.”

Ruby glanced around for a clean place to sit, and somewhere decent to drop her purse. Sadly, there was only mud and crusty rocks. She chose the latter. After placing her pan in the water and having it float away a few times on her, she finally planted it on the shore and started

loading it up with soft, rich looking creek soil. The smell invaded her nostrils, making her think of when she used to pull worms apart in her mother’s garden.

“I love this smell,” she gushed, smiling broadly.

“Nothing like it,” Eli said gruffly as he slipped ever farther into the mountain man role he always liked to adopt as soon as they were beyond the city limits. Ruby stared at his glistening biceps, imagining their future children dangling from them, giggling away. God, life was good.

“Okay. Soon as you’ve got your pan looking like mine, you’re gonna want to knock it around a little to get the heavier materials to settle to the bottom—just like this.” He knelt down and started swishing the pan around, banging it occasionally against a rounded rock. Ruby marvelled at his dark brown hair falling into his eyes, at the bright red eel of his tongue as he bit down on it in concentration.

“You get it?” Ruby nodded.

“Good. Then all you gotta do is swish some water over it until the dirt’s down below the rim of the pan. At that point, you can kinda jog it around just below the level of the water, and the creek will wash away all the useless shit for you.”

“It’s so elegant,” Ruby said, feeling profound.

“Yeah, well, ya know. The guys that used to do this needed it to work. They all had families starving to death back home.”

Ruby smiled at his mentioning of families. His mind was obviously in the same place hers was.

“You think you got it?” He asked again.

“Oh yeah, I can do it,” she said confidently, going so far as to pick her pan up and move a little ways down the peninsula as if she had some strategic reason for doing so.

“Don’t get too far away. The current’s a little strong over there. A soft current’s best.” “Oh I know. Just something I wanted to try out.”

“I…alright,” Eli said, turning to his pan and whistling a tune Ruby didn’t recognize.

Squatting down in the mud like an animal, Ruby banged and rinsed her pan the way Eli had told her to. At first it seemed like way more dirt was being washed away than was supposed to be. But soon the mud was flush with the edge of the pan and trickling away at what seemed to Ruby to be a perfectly adequate rate, and she felt certain she was doing it right. Images of the beach mansion in Sleeping with the Enemy flashed through her mind as she pondered the new, rich life that awaited them at the end of this arduous day. She wasn’t expecting to walk away a millionaire or anything; that would be ridiculous. But certainly they’d do pretty well for themselves after a whole day of panning. This was the twenty-first century, after all. Gold panners hadn’t been at it in like a hundred years. All the gold of the olden days would be gone, yeah, but surely new gold had trickled down in a hundred years’ time.

She liked the feel of mud and mountain water on her hands. There was honesty and freedom in manual labor. She’d heard that somewhere before, and for the first time in her life she could feel how true it was. Swaying to and fro with the motion of the pan, she couldn’t help humming a long, deep note that made her think of Weeping Willows and little kids in overalls fishing with saplings.

Maybe when they struck it rich, she would convince Eli to buy a plot of land out here instead of a southern mansion. Their future kids would thank her. Then they could—

Something tumbled in her pan, catching her eye—something that shone like a thousand tiny suns, blinding her with its magnificence. She almost called out to Eli but quickly decided against it. No point in embarrassing herself over a false alarm.

Plunging her hand into the pan Ruby fished about with two perfectly manicured fingers, like tongs, hoping to clamp onto the glimmering item. Could it have really been a million dollar nugget, or just some stray bolt? No telling what kind of refuse might be floating around in these hick parts.

One of her fingers slipped suddenly inside of something that felt suspiciously like a ring. Her mouth flooded with saliva. Could people die from such excitement?  She pulled her hand out with a sucking sound like the one their lips had made in the Jeep. There on her finger was the unmistakable shape of a muddy engagement ring.

Now she really did throw up a little in her mouth. She wobbled on her haunches but managed to right herself by standing up. Eli looked over briefly but quickly went back to focussing on his pan without saying anything to her.

She stooped to splash some water over the ring, hoping Eli would simply think she was still panning away. Her mind was polluted with half-formed thoughts of what to do next. Why would a ring like this just be sitting in the very patch of gold-panning water that Eli decided to take her to? Could it really be the most innocent and fortuitous find of the year? Or was something bigger happening here?

She flicked her hand to dry the diamond and stared stupidly at its glimmering mass. It was easily a full karat—maybe more. Could Eli even have afforded something this big?  Sure, he had a good job working for his dad at the roofing place, but this kind of good? He took her out a

lot, and his apartment was pretty nice, but this looked like something on the hand of someone with accounts in the Caymans….

Or was she just being a bumpkin? There were probably whole cities filled with people wearing rings like this—cutting onions with them on and fishing them out of toilets on a daily basis. No reason to get so excited…

Except there was! Eli could be proposing to her this very second! Only two possibilities existed, as far as she could see it. Number one—an unfortunate millionaire’s wife had been Heli- skiing in the mountains upriver from here and lost her ring going over a particularly turbulent slope. Or, number two—Eli had driven up the night before, planted the ring in the mud, then driven back home and gone to sleep with the knowledge that they’d be back the following day to retrieve it. If that were the case, though…then he might be kind of an idiot. What sane, clear- thinking adult would just leave a diamond ring sitting in a creek?

Ruby glanced at Eli squatting in the mud, swishing the pan enthusiastically around and around. His head was tilted back and he was singing the hell out of “Life is a Highway,” despite the fact that they were not currently on a highway. He’d removed his shirt and tied it around his head in some unfortunate white man’s version of a turban. Did he think it was actually protecting him from the sun? Did he honestly believe that this was the way that people dressed in the woods? What kind of a husband and father would he be if he was constantly driven to such ridiculous flights of fancy?? Turbans in the woods and diamond rings buried in the mud and abscessed teeth he couldn’t be bothered to deal with despite the fact they might kill him… Fuck—he was a total moron!

Ruby clasped her dirty hand to her mouth. She didn’t know what to believe. The creek seemed obscenely loud, echoing all around her like the future laughter of her extended family when they found out she’d married an imbecile.

“Whatcha got there?” Eli shouted over to her. She turned and caught him staring at her. Damn. She’d been staring so intently at her hand that she’d forgotten to keep pretending to pan.

“Oh…nothing…just a piece of trash.”

“Are you sure?” Eli said, getting to his feet. “Kinda looks like you found a ring or something.”

Ruby snorted.

“Yeah, looks like it, hey?”

“Well, yeah. I mean I can see it right on your hand there.” “Yeah, guess you can.”

“Yeah, I can. I’m standing right here.” “Right.”

“Do you uh…maybe want to show it to me?”

“Oh I don’t know,” Ruby snapped, jumping to her feet, the pan still clenched in her other hand. “Do I? Do you really need to see it again so soon?”

“Again? What other time was I seeing it?”

“Right, you have no idea what I’m talking about.”

“Kay, whoa,” Eli said, raising his hands defensively in front of him. “What the hell are you talking about?”

“I’m not gonna do it. Not when you ask me like this.”

“Ask you what?”

“Oh my god, could you stop pretending to be so thick? I know exactly what this is!” “What what is?”

“WHAT WHAT IS? Uh, the ring on my finger! HOW do you think it got all the way out here—right in the spot we just happened to be panning for gold?”

“Whoa, hang on a second. Are you really saying you think I planted that here? A ring worth tens of thousands of dollars—you think I would just leave something like that out here for you to find—in a body of water with a current—at an actual gold panning business that rents out its shores to tourists—you think I’d do something like that?”

“Well…I don’t know. You do these ‘romantic’ things and I…”

“I like to do romantic things, so you think I’m an absolute fucking idiot?” “Well no—OBVIOUSLY not like that…”

“Uh huh. And yet here we are.”

“Yeah, I don’t know. Let’s just forget about it. Maybe we can sell it when we get back to

town.”

“Uh—no, obviously not. We’ll give it to the people at the company. Somebody obviously lost it while they were up here panning for gold on what was supposed to be a fun family retreat. They’re probably worried sick about it.”

“Yeah.”

“You’re not keeping it.”

“Oh, no, sir! I will not be keeping the ring, sir!

“Kay, I’m done here,” Eli said as he turned and stomped back to his things. He was shaking his head and thrashing his hands through the air over and over again—both signs that he was irrevocably pissed off. Ruby stared after him.

“So, you’re not proposing, then?”

Eli turned and stared at her, at a loss for words. “Are you serious?”

“I would have said yes, if you’d just asked me.”

“Ruby—it wasn’t even on the table. We were just panning for gold.”

“Yeah, on our anniversary. And you said all that stuff about ‘ooo wonder what we’ll find,’ like you knew exactly what we were gonna find. And you told me to pan right there,” she pointed at the spot where she’d dug up the ring. “And you were playing ‘Tomorrow’ when you picked me up, like you were thinking about our future…”

Eli blinked a couple times; worried that Ruby might start crying. Sometimes she did that after making one of her speeches.

Sure enough, a couple seconds later a single tear popped out and trickled down her cheek, trailing a muddy streak as it went.

“Oh hell, I’m sorry. You weren’t insane to think I was proposing. It makes perfect sense after you put it that way,” he said, gathering her head against his shoulder. “Is that what you want? Do you wanna get married?”

Ruby sniffled wetly. “Uh huh.”

Eli swallowed hard.

“Well…I don’t know…I guess that would be okay, then.” Ruby pulled away and looked him in the eye.

“You guess?”

“Oh fine, whatever, it’s definitely a good idea.”

Ruby leaned in and kissed him, her lips covered in dirt and snot. “Okay good,” she said, smiling. “And we already have the ring.”

“Well—no, we don’t. I told you, we’re giving it back to the lady at the company.”

“Oh fuck that lady. She’ll just keep it for herself. People aren’t good, Eli. They’re only ever looking out for themselves. Who’s to keep her honest the second we leave?”

Eli frowned.

“I don’t know. I can’t guarantee anything about other people. But I can decide how I act, and I’m going to do the right thing.”

He grabbed hold of Ruby’s hand and tried to wrench the ring off her finger. But her skin had swollen from the water and a loud crack sounded as her knuckle hyper-extended in his hand.

“Ow, goddammit!” Ruby shouted, jumping away from him. Eli leaned towards her and she swung the pan reflexively at his face. She’d meant to simply scare him off, but the crack of his jaw against the steel was unmistakable.

“Oh my god, ELI!” she shouted, dropping the pan into the mud. Eli teetered a few times in front of her like a drunken boxer. Then he fell hard on his back over the rocks.

“OH JESUS FUCK, ELI!” she shouted, throwing herself down on his body. “ELI! ELI!

CAN YOU HEAR ME?” She pulled at his eyelids, thinking desperately of what to do.

But then suddenly he burst out laughing. His face was streaked with blood on the one side where the abscess tooth had gone flying, but Ruby didn’t mind the gore at all. Eli was alive! And not just alive—he was happy!

“Oh my god, Eli! I thought that tooth had gone straight into your brain and killed you!”

“Nah, babydoll. Ain’t no tooth can kill me,” he said, back to his drawl. He yanked her down by her shirt and kissed her in the mud and blood and tears. Ruby snorted happily into his face and Eli chuckled as their teeth knocked together.

“We’re gonna make it, aren’t we?” Eli asked, staring deep into Ruby’s eyes as she pulled back to look at the wreck of his face, which was rapidly bruising like a dropped peach.

“Yeah, I reckon we are,” she smiled, prying the ring off behind her back and slipping it into the waistband of her skirt.

Silence

I auditioned for the play. The cast list was posted: I didn’t get the part.
I had to get out of the lobby. I slipped down the dark hallway
out the door glowing red under the “EXIT” sign.
What now?

I had to get out of the lobby. I slipped down the dark hallway—
someone had turned the lights off.
What now?
I couldn’t remember my lines.

Someone had turned the lights off.
I needed to get outside in the sunlight.
I couldn’t remember my lines.
My fingers fumbled and found the door latch.

I needed to get outside.
In the sunlight my mom’s car pulled up.
My fingers fumbled and found the door latch,
cold like the bite of a sour apple.

My mom’s car pulled up,
the moment flooded back, stabbing,
cold like the bite of a sour apple.
How had I forgotten my part?

The moment flooded back, stabbing.
I had practiced so many times.
How had I forgotten my part?
The words flew away, bat-like.

I had practiced so many times.
There he was, waiting for my words, but
the words flew away, bat-like.
I couldn’t see very well in the dark.
There he was, waiting for my words.
He already knew the words—just needed me to say them.
I couldn’t see very well in the dark.
His eyes glowed through a patchwork of shadowed skin, expectant.

He already knew the words—just needed me to say them.
My heart, paper thin: fluttered, tore.
His eyes glowed through a patchwork of shadowed skin, expectant.
I couldn’t say a word, wondered where they had gone.

My heart, paper thin: fluttered, tore.
I auditioned for the play. The cast list was posted: I didn’t get the part.
I couldn’t say a word, wondered where they had gone—
out the door glowing red under the “EXIT” sign.

The Persistence of Memory

It comes knocking. And when you don’t answer,
it throws pebbles at the window. And when you don’t slide
open the screen to let in last summer, it rams
in the back door of your mind, splintering wood
and equations from eighth grade geometry class.
You’d let that go, except it’s headed upstairs
towards the attic that you’ve long since locked up but
Memory doesn’t care. It grabs your wrist,
drags you up the stairs. Won’t let go
until it’s thrown mix tapes out the window,
dumped drawers of tchotchkes and mementos,
ripped each and every photograph in two.

Barbed Wire

Eight years old, and I always knew when to duck,
bend my knees just enough to slip under
that invisible line of barbed wire.

But I forgot, I forgot one day
what I was looking for
and that twisted wire, that one thorn
tore up my cheek, over my nose,
and my head whipped backwards.

When we met,
I knew what I was
looking for and I slipped under
your arm. Distracted
by your stupid thrift store button ups
and your memorized Neruda. Distracted, and
just like that,
you whipped me backwards
and I was bleeding.

Trifolium repens

Japan. Countryside. May 2009. Shigeo Obara finds the secret. They occur in large clusters,
which is 40.6 degrees from the terminal leaves of any deciduous tree. Scent is somewhere
between onion and spice, dog-breath and brown sugar. I smell it in my clothes after running
my fingers along the ground. Obara holds the world record for most leaflets found on clover:
56, solid double stem. A four-leaf purposely cross-bred with itself for generations. It’s not
about patience or focus. Not luck or practice. He knows the secret. He observed the bloom.
Everything is a matter of consequence. Unlike him, I can find them on a good day. That is,
when I stand outside, eyes closed. Feet tucked in tufts of grass. Face pointed towards sun
long enough to see spots at the edge of my vision—the world becoming blue-gray, wild mutation.

Destinations

Musts composes this poetry in his native Latvian, then translates into English. His poem, “Destination,” appears here in both languages.

A līdz B

No punkta A līdz punktam B,
Esmu atkal mājās, Vidzemē!
Kur gaisa vētras putni kliedz
Un pagastu pagalmos bērni zviedz.
Kur vīri dāmām ar acīm miedz
un pēcāk sārtu rozi sniedz.

Silts mīļums virmo māju gaisā,
Šeit Alūksnē – mūsu pilsētā skaistā.
Beidzot savā mēlē man domas raisās
un latvju pusdienas virtuvē taisās.

No punkta B līdz punktam A,
Es esmu tālā svešumā.
Kur dīķos svešas zivis lēkā,
Un cilvēki viens par otru dēkā.
Daži laimīgi, daži krīt pašu grēkā.
Es jūtos viens un ilgojos šai ēkā.


Destination

From point A to point B
I’m back in my cold home country,
a place where storm petrels always screech –
a place where I always used to dream.

I’m here in my cold home country, and
people around begin to look like strangers.
This place where I always used to dream,
has become a blurry image in front of me. At least so it seems.

People are looking at me a bit strangely
because I think differently now.
Home, now just a blurry image in front of me. It seems
to be lost inside of myself.

I think differently now.
Home is not a place anymore.
It’s a feeling that can never be lost.
Sometimes it’s forgotten, but never gone.

Home is not a place, but a feeling
that can only be found in my heart.
I will never forget that, will never have to go
and look for my home.

A place that can be found in my heart
is set in stone.
Finally, I found my home,
a place I can call my own.

doubting Gödel’s incompleteness theorems

in order to understand you must first have the sense of what systems are they
whole or complete do they exist in your mind or outside do they
invoke in your imagination in your mind’s eye four walls eight windows or
the opposite it is a question of projection not of the numbers but of you of how
you are able to move in relation without spinning without distancing the
truth from the not truth and why is the parting glance such a sorrow
if recursion is implacable i mean almost nebulous how do you then eliminate f if you do not know
it i mean it is like a dance it requires you to move
backwards when you’ve gone too far forwards step back into proportion into spellbinding
meticuluum i mean rather predictably continuum
why do you care about the output if your grammatical imprecisions are
the output themselves it is a new grammatology a new life-world being-world it is all still
but constantly moving you find one f and another falls away in its place methodically doubting itself
is that why you want to know it———- is that why f falls falls falls and how do you then
return from this disjunction this occupiable vistresence that is prone to shatter it brings with it all the
difficulties of knowing how to know i mean if the propositions are undecidable then how do you decide is
it in the decreed falsities where you find the fatal paradox or beyond how is it for you i want to know i want to know it inside and out to step inside the subnumerical vacuum and dance i mean it is so delicate it
might break and if that distance can become calculable then tell me what are you

Woof

I can think of at least a handful of times where I thought about stopping, but the most recent was when I made Laney cry.

While it wasn’t first time I had ever made anyone cry, I will say that it’s the only time I have ever made someone cry tears that burned my brain like dripping candle wax that just won’t cool.

She cried all night. I thought she’d stop blubbering around midnight, but it never seemed to stop. Perhaps she did eventually stop crying that night, but I was so used to the noise that it echoed in my dreams.

I can’t say that I think I deserved it. All I had done was ask her about where she got that pack of Oreos. When I had returned to my room that night, I saw Laney munching on a fresh pack of those white and black cookies, facing my side of the room as if she were a bated hook.

Unsurprisingly, I was curious immediately. I perched myself on my bed like a bird and stared at her motionlessly from across the room. She leisurely inserted one cookie after another into her chubby little face. I think she must have learned to ignore me by that point, which spoke volumes about her patience when I compared her to any of my previous roommates. Good for her? Not really.

We had been roommates for about a month at this point, but I still hadn’t decided I was ready to say words to her yet. In the beginning when she tried to speak to me, I would make animal noises.

“Good morning, Ashley!” she would say to me.

Straightaway, I would jump out of bed and respond to her with a bark, like a guard dog. Her initial jump backwards was extremely satisfying, but it unfortunately did not last. My behavior seemed to disturb her greatly for the first few days, but over time she became used to my squawks, snorts, and grunts. I became bored again.

The next week, I started changing things up. I started taking small things like candies, then bigger things like a mug. A decorative pillow from her bed. The spare charger for her computer. Scissors. Her stapler. Some photographs of her family. I waited for her to notice.

“Hey Ashley, have you seen my stapler?” she eventually would ask me, as if she wasn’t scared of me at all. I shrugged my shoulders, knowing downright that the stapler was under my pillow, and continued reading my Cosmo magazine about sex positions that I didn’t understand. “You know,” I remember her continuing to speak to me, her pale, rotund face unmoving besides her plump, puckering pink lips. “You know, I doubt Ms. Moody would want you reading that magazine.”

Ms. Moody was the housemother in our dorm; the only person that didn’t hate me. She was kinder to me than my actual mother. Laney didn’t know shit about what Ms. Moody wanted or didn’t want.

Laney didn’t know shit about anything, really. She didn’t know I had stolen this magazine from the garbage can in the teachers’ lounge, or how I always read Cosmo in front of people I didn’t know so they knew I was tough. She didn’t know that no one else had taught me how to put on makeup, or how to wear my clothes, or what sex meant. She didn’t know about how any of that stuff might be important to me at 15 years old. I could see her perfect nail polish and her rosy red cheeks and her designer shoes and I resented her. I wanted to scream in her fat little face.

But I didn’t.

I stared into her face as I counted up to five in my head. Then I jumped off of my bed, rolled-up magazine in hand. She tried to ignore me, she tried to not act scared, but I saw her twitch when my feet hit the floor. I knew she was mine.

All I needed were two, two and a half large steps before I had pressed Laney up against the wall in our dorm room  and started breathing on her face. She tried looking away from me, she tried escaping my breath, but I just breathed harder until she was whimpering and squirming to get away from me. I looked at her as mean as I could, but instead of barking as I had in the past, I simply whispered: “Woof.”

I took my rolled up magazine and jabbed underneath her fat little chin a couple of times, then threw it into Laney’s lamp without breaking eye contact. I didn’t mean to break the lamp, but it added a nice dramatic effect. She was in house and now she knew it.

I stepped away just in time for Ms. Moody to appear at our door.

“Girls! I was walking the hall and I thought I heard a crash.” She scanned the room for disorder. “Is everything okay?” I jumped on the opportunity.

“I’m so sorry,” I pleaded. “I think I accidently broke Laney’s lamp. Please, please don’t be mad.” I covered my mouth to look concerned. I felt my face redden as I stifled my laughter.

“No, no, don’t worry.” She looked at Laney, whose face was red and flustered. “Sweetheart, we’ll just have to get another one. Not the end of the world, all right? You don’t have shoes on, so go ahead and hop up on Ashley’s bed and we’ll get this picked up.” I watched the sweaty porker climb on to my bed as Ms. Moody directed me to get some wet paper towels. She left to retrieve the vacuum cleaner. When I returned, Laney was still sitting on my bed, but this time she had her stapler, which she must have found underneath my pillow, in her hand. Neither of us said a word. Neither of us needed to.

The next day, I returned to the room to find Laney eating the Oreos. And this is the story of why Laney wouldn’t stop crying.

I was in a good mood, so I said, “Hi Laney.” I climbed on top of my bed and sat like a bird, watching her movements. She didn’t look up at me. “Hi Laney,” I said again, more loudly. “Where’d you get those Oreos?”

This time, she did look up. “Ms. Moody gave them to me,” she said without missing a beat. She was clearly trying to get a reaction out of me.

“Really,” I said. It wasn’t a question. “Yeah. I guess she must really like me.”

“Or she just feels bad that your lamp broke.” “Either way,” she said, “they’re delicious.” She continued sliding the cookies into her mouth and chewing loudly.

“You know,” I said as I felt around to see if any of the other items I had stolen from Laney that week were still there. They weren’t. “You know, I hope you enjoy them.

Honestly, you look like you enjoy cookies quite often.” As I lay down, I made two pig snorts and closed my eyes. I heard the sobbing begin.

Laney and I didn’t speak for three days. We did not acknowledge each other for three days. My guilt was inexplicably tremendous. Maybe I felt bad because she was chubby. Each night, I heard her sobs from across the room, but whether she was crying again or the sobbing was replaying exclusively from my memory, I do not know.

On the fourth day, I decided that I would do something extremely unfamiliar to me and apologize, at least to stop the crying. I bought a pack of Oreos and headed to my room.

Ms. Moody was there to greet me, along with two tall, police officers, one of them bald. Ms. Moody’s eyes were red and puffy, and although I shouldn’t have wondered, I wondered what I had done wrong. I entered the room and stood in front of the trio, my back facing the doorway.

That’s when I noticed Laney’s absence from our room. “What’s going on?” I asked as I felt my heart drop into my stomach.

“I think we’d like to ask you the same thing,” said the baldy. Ms. Moody buried her face in her hands as he lifted up a Ziploc bag containing all of the family pictures I had taken from Laney. Each person in each of their pictures had their faces carefully cut out. In addition, one smaller plastic bag filled with one large brown-green nugget of marijuana was in the bag. I didn’t need to have experience with the drug to know what was happening. “We found these in your pillowcase.”

I heard a person step into the doorway behind me, but I did not turn to look. As the police officers and Ms. Moody began to converse, all I could hear was my heart pounding in my ears, and one small, confident whisper from behind me. “Woof.”

 

Artmaking, Unconditional

Perhaps she tumbled from doorframe to ground,
fabric and limbs crumpled
on hexagonal tiles –

perhaps landed leaf-like – the crunch of a moment
snatched in spite of time
enough

to loosen fingers from wood, dust and cobweb,
crucifix figure of the gone-moment
sealed in gelatin silver.

A good photograph in monochrome can make one
disregard the reality of colors.
I forget

there were hues in her existence, invisible to the city
in whose bustle her hope
was engulfed…

There is nothing romantic about suicide, they say.
But there is a necrophilia inseparable
from the veneration of art.

My friends and I joke, call the darkroom a crypt,
spend hours in its cider-light, famished,
feet aching, necks stiff…

If I didn’t love this so much, I’m telling you,
I would either give up
or lose my sanity.

If we killed and ate each other tonight, reckon
future psychologists would
make us famous?

…sustained by the posthumous emergences
in developing trays, moments we
snatched in spite of time.

(In response to an untitled photograph by Francesca Woodman)

Justin Quinn

MH: Let’s begin with a question you sometimes seem to balk at by suggesting that your path has evolved by chance and that at times you simply engage with what is at hand. Granted that chance operations—including certain aspects of our lives—become the basis of discovery and choice, nevertheless, will you tell us what sparked your creative and personal journey from Ireland to the Czech Republic and including the United States? Looking back, what has been the most interesting creative or artistic development in your multinational, polyglot professional experience?

JQ: I very much dislike house repairs and tend to leave things half broken until they finally have to be dealt with. Until that showdown occurs, I tend to find ways to work around this without disturbing the flow of things. This may not seem like an answer. But I found myself in Prague in the early 1990s largely because Ireland at the time was a frustrating place for someone in their early twenties. So I leave and I’m in a country whose language I barely speak, a literary culture I barely know. I start to find ways around the problems. And those hacks, or temporary fixes, then slowly become a life, a way of living. It goes for poetry as much as earning a living. I strongly believe that making decent art of any kind has less to do with imposing one’s will on words or colors—say, using those materials to express oneself—but rather in a kind of openness to the materials themselves, or in the case above, to my circumstances. That way you find yourself, as Stevens says, more truly and more strange.

MH: Much of your poetry, such as your collection Waves and Trees, draws from your experience as an Irishman living in the Czech Republic. Specifically in terms of your artistic and scholarly influences, how have the two nations helped you define your voice and your use of craft?

JQ: I only learned to use the Czech context for scholarly purposes in the last few years (more on this below). In terms of the poetry it’s not so much a question of the confrontation of Irishness and Czechness (whatever those two things may be), but rather, I suppose, being a resident alien. I’m not sure I’m grateful to either nation for their influence on the poems I write. Certainly, as an Irish citizen, I’m grateful to be allowed to be resident in the Czech Republic. But my gratitude goes rather to the poets of the English language, whether they be from Ireland or wherever, and to those Czech poets, who are most dear to me. Claudio Guillén said writers have a special relationship to their second language—they are not so intimate with its literature, as they are with that of their mother tongue, but this distance can also be enabling. It’s like an extra dimension, or an extra wavelength, that other anglophones can’t quite catch. They hear murmurs, intimations, but not the words. That’s been a tremendous privilege: to have my ken extended in just this way.

MH: You’re something of a “hyphenate”: an accomplished scholar of modernist and contemporary literature in three countries; a poet; a critic; a translator; and, a novelist. Translation may be a central metaphor for the conversation between forms, languages, poets, and cultures that permeates your work. How do you feel these things “talk” to each other in your work? Can you describe one specific example where you have experienced multiple “voices” affecting each other in a passage or line of your own writing or your translation?

JQ: This is a difficult question, as I’m not quite sure how it works myself. On days that I’m writing poetry, I do it early in the morning, sometimes getting up around 4 a.m. (at least in the summer). Then I stop around 11 a.m., do some exercise, lunch, doze, and work on a critical essay in the afternoon for a few hours. The poetry is ticking over in my head when I’m writing the criticism and vice versa. In all types of writing, I try to be clear, or if I’m being vague, then I myself have to be clear on why that’s necessary. I dislike criticism and poetry that has a troubled relationship with grammar. I’m not really disposed to write about the same themes in my poetry as in my criticism, so I’m hard put to see any crossover. But I have experienced a strong crossover between poetry translation and my own poetry writing, more or less in the terms described in the previous question.

MH: Your poem “Seminar” draws from your experience teaching American literature to students in Prague. What is there in American literature that you believe is beneficial to Czech students? Setting aside McDonald’s™ and KFC™–the vulgar accoutrements of late capitalism–how has United States culture affected Czech culture? Are any of these effects positive?

JQ: Many are positive. For a lot of Czechs, the US is an ideal example of democracy at work–a state to be aspired to and befriended. Many people here are very grateful to Reagan for forcing the Soviets’ hand and bringing an end to the Cold War. Some of the journals and magazines try to emulate American examples like The New York Review of Books or The New Yorker. The downside of this has been a reluctance to see the pernicious aspects of American foreign policy, especially in Latin America during the Cold War, when the US exaggerated the Soviet threat and aided and abetted “right wing death squad democracy” as Allen Ginsberg put it. As for the literature, Ginsberg himself was a transformative presence, and then a later wave arrived that included Elizabeth Bishop and others. Because Czech is a small culture and language, the literature has to be attentive to external influences, and one of the major ones is that of the English language.

MH: Your critical reviews are balanced, but always have an edge. What do you value most in the critical discourse, both as a critic and as someone whose work receives critique?

JQ: As a reader of reviews, I want primarily to be informed by the piece. The reviewer should be able to deftly and briefly characterize the work, and only then offer an opinion. If it’s going to be trashed, I want the reviewer to tell me why it’s worth the trouble of trashing. Most reviewers as they become more established get to know writers and lose their independence. The same goes for reviews I’ve received of my own work. What I appreciate most is the response of an intelligent and sensitive reader—whether the review is positive or negative is always secondary to that.

MH: Much of your critical writing also addresses in one way or another complex relationships between poetry and politics. In your discussions of the social and political implications of poetry, you appear to be skeptical of the conventional notion that language is a valuable shaper of national consciousness—or at least feel that this idea has changed or is problematic. We have several questions about this topic: what are your current views about the relationship between poetry and politics/social issues? In your view, which poets are doing the most compelling work in this area now? And, what nations or locales do they represent—or does locale matter in such work?

JQ: Although these things preoccupy me, I like to find a wide range of pleasures in poetry. For instance, I recently enjoyed the American poet Joseph Massey whose lyrical minimalism finds no place for an abstraction like politics. And though I’ve just done it in the previous sentence, I’m wary of labeling poets as American, English, Irish, etc. Perhaps Massey is better described as a poet of the Pioneer Valley in Massachusetts. Above all, he and all poets belong to their language, which is something that easily exceeds the limits of the nation. As for poetry and politics at the moment, a lot of the work is a little predictable. In the US it takes the form of kneejerk criticism of foreign policy, racism, etc. If your sole aim is to express sympathy with the suffering of others, then you’re probably best off donating some money to charity or going on a march, instead of saying so in a poem. If you want to express your ethnic identity, then, once more, there are many better occasions to do so than a free-verse reminiscence about your ancestors. Warm feelings usually lead to limp lines. I think Paul Muldoon plays brilliantly with ethnic identity and politics, constantly surprising. In his last few books he’s dealt with the various wars the U.S. has been engaged in, but he refuses to use poems for moral grandstanding.

MH: Your forthcoming book, Between Two Fires: Transnationalism and Cold War Poetry (Oxford UP, September 2015) examines the transnational movement of poetry during the Cold War. In particular, using alternative analytic frameworks and postcolonial theory, you argue that Czech poetry had more influence on the Anglophone tradition in this period than has been previously recognized. Will you give us a sneak preview of this argument through an example?

JQ: Primarily I was interested in the way in which the Cold War created a particular framework for the transmission and understanding of culture, and specifically poetry, even at times when it seemed irrelevant. Some poets were right at the centre of the action, like Allen Ginsberg, zipping around the various flashpoints and catalyzing changes in widely divergent cultures. Others seemed external to it. The first idea of it began when I discovered that the Czech poet Miroslav Holub was famous and influential in the US and UK in the 1970s and 1980s (spoken of as a possible contender for the Nobel Prize in Literature), and yet a minor figure in the Czech context. Obviously some weird forces were at work in this case. I started pulling at that thread, and eventually came to understand what was going on in the reception of postcolonial poets like Seamus Heaney and Derek Walcott in the US. It was a kind of outsourcing of politics in culture. Poets like these could tell a story of oppression without any connection to US foreign policy, whereas if American audiences had looked to poets of similar standing south of their own border, they would have been forced to question the involvement of successive governments, both Democratic and Republican, in that part of the world. We warm to the story of an Irish writer in his struggles against a British oppressor, but are made uncomfortable by other writers whose work implies that we are the oppressors. Of course, this is something that several US editors and critics twigged to in the 1980s, especially Carolyn Forché, but there was still a strong aestheticist line that insisted that politics spoiled the poetry of Latin America, but not of Ireland or the Caribbean, because those places told us stories that were altogether more heartwarming.

MH: As we’ve noted, you operate in the “in-between places” (in terms of forms, cultures, languages, influences, etc.), places that Terry Eagleton in After Theory says can be the most creative. One of the “in-between” things we love about your poetry is its subtext. Under the surface, through a use of ironic double meaning that might almost be called clever, are layers of allusion where things meet. An example of this subtext is in your poem “Russian Girl on Přížská” with its lines such as “The way you walk is slash and burn./Like understatement’s now a crime.” These interstices in your poems are serious fun. Are they fun for you? How and where does this play with gaps and overlaps arise in your discovery and working process?

JQ: Right there is the delight of the whole endeavor. The fun of it is most intense at just such turns. As for the interstices, it’s harder to say. I have such a limited awareness of the process. I’m too absorbed in it when it’s happening to be able to give an accurate account of it afterwards. This is not to say that it’s like a trance. I do, mostly, answer the phone and I like to think I would notice if the building was burning down. But your question, which is fair, is perhaps one that artists are singularly ill equipped to answer.

MH: Another thing we love about your poetry is your use of given forms. For example, “Recession Song” is a Spanish sextilla and “Russian Girl on Přížská” is a contemporary sonnet that fuses the 16-line sonnet of George Meredith’s sonnet cycle Modern Love with iambic tetrameter and a Shakespearean rhyme scheme (ending with an unconventional ghgh rhyme in the volta). The strictures of given forms seem to lend your poems a singing quality. Will you talk about your use of and experimentation with strict forms in your poetry?

JQ: The form for “Recession Song” I found in an anthology of 17th century English poetry. It was a particularly beautiful short poem, and I started to wonder what would happen if the same form dealt with a more modern idiom and theme. That’s often how it works. It’s a more tactile and semi-feral activity than it might seem at a distance. Something in you goes, “That sounds nice. I’d like to make a song like that.” Obviously with rhyme you have to train yourself before it becomes natural, but the pay-off comes when the form leads you beyond yourself and your narrow intentions and emotions. That’s when the language starts doing some of your thinking and feeling for you. Given how limited, vain, and uninformed most of us are, or at least I am, that will always be an improvement.

MH: Your poetry employs what might be called a gentle pastoral lyric with images of landscape and domestic life, yet the associations within the poetry’s images and diction invoke subtexts of displacement, catastrophic war or genocide, economic distress, and other imminent dangers in social or political relations. In your essay “American Sublime and Allen Ginsberg” you spoke of “the ligatures between private ecstasy and political vision.” For you, what is the relationship between lyricism and politics in your poetry?

JQ: Perhaps a little glibly I have to point back to the poems themselves. That’s where I think about this stuff to the best of my abilities. Outside that enclosure I think I resemble most a drunk at the bar shouting his predictable opinions about the state of the world. It’s precisely because poets aren’t good at answering questions like this in prose that makes them poets in the first place. I can’t really talk straight and analytically about these things, at least not in relation to my own work.

MH: In a 2010 interview for Radio Praha, you spoke about first moving to Prague. You mentioned the initial difficulty of not hearing your native language spoken around you, in addition to the difficulty, as a writer, of not being able to feed off of the contemporary speech that surrounded you. Did this experience shift the way in which you conducted your own creative process? What did it teach you about the idea of “inspiration”? As you’ve become fluent in Czech and now stand immersed in it as the culture in which you live, how have your perceptions of the creative process evolved?

JQ: Funnily enough, I don’t think in terms like this. I’m unanalytical about these issues. Throughout my writing life I tend to concentrate on the practicalities and leave the larger abstractions to work themselves out. Thus, in my case, I know I write best in the early morning, with a pencil on loose A4 paper which rests on a Brampton folder. I’m either on the couch or on the armchair. As I said above, I’m up early and drink a lot of coffee. This creates a strange state of consciousness, when I’m still half dreamily asleep, and yet also wide awake. That’s ideal as stuff floats into my head from left field. I like peace and quiet, and a computer open to check the OED and Thesaurus occasionally. More generally, all I really know is that my adopted country seems to suit me, even after two decades. I don’t know why that it is. I imagine that my diction has become a bit distant from the demotic, but other poets probably do slang better than me in any case.

MH: In a 2010 interview for Radio Praha, you spoke about first moving to Prague. You mentioned the initial difficulty of not hearing your native language spoken around you, in addition to the difficulty, as a writer, of not being able to feed off of the contemporary speech that surrounded you. Did this experience shift the way in which you conducted your own creative process? What did it teach you about the idea of “inspiration”? As you’ve become fluent in Czech and now stand immersed in it as the culture in which you live, how have your perceptions of the creative process evolved?

JQ: Rejection is integral to any career, including an artistic one. It never disappears. Some rejections are like body blows, others one forgets a few minutes later. If it’s particularly bad, I usually wallow for two to three days in self pity. It’s important at that point to assess the exact contours of the rejection. Is it from someone you respect? Was it an informed and considered decision? If the answers are yes, then you’d be stupid not to think about the matter long and hard.

MH: The Soap Bubble Set section of Mistake House is partly where we wish to connect the student with the professional. Naturally, we have some questions of interest to student writers:

Was there a moment where you felt like your work started to move from the student state to that of the professional?

JQ: Perhaps when my first poem was published in a national newspaper in Ireland. What had previously been a rather furtive activity was now public knowledge. In terms of the writing itself, I was fairly convinced from my late teens that I was willing to arrange most things in my life to allow the writing of poems. Simply put, little else seemed quite as interesting. That said, it demanded and still demands quite a lot of worldly wile and time management to pull off the trick.

MH: You’re a busy man—juggling family, teaching at Charles University, and writing and translating in several forms. What advice do you have for the busy about how to maintain a work ethic and a creative practice?

JQ: Apart from the wiles mentioned above, it’s important to have people around you who take your writing seriously. I don’t purely mean that they should consider you a genius, but rather they should know that the writing is an integral part of who you are. My wife has what at best could be described as a polite interest in the art of poetry, but she knows how important it is to me and helps me make time. I would hope she thinks I reciprocate in similar fashion. This is grading into marriage counseling, but no less valid for that.

MH: How do you feel about your earlier works when you compare them to your current works?

JQ: I don’t think about this very much, and haven’t much to say on it.

MH: What do you value most deeply as a teacher?

JQ: Serious passionate engagement in the work at hand. In some cases, because of the particularity of the student, this isn’t reflected in grades. But those are always of secondary importance–which is not to say that grades are unimportant, just not as important.

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?

JQ: Frost said that the best bit about farming was shirking chores. I’m in agreement. As mid life responsibilities descended on me in the last decade it’s become harder to play hooky, or as we say in Ireland, to mitch. You skive off and someone doesn’t get their letter of reference written and perhaps they don’t get the job they deserve. I write the letter, but only promise to do things I know I can deliver well and on time. So the upshot is that I don’t really play hooky. You aren’t playing hooky unless there are bad consequences either for yourself or others. Thus I plan my dérives, which sounds like a contradiction. I arrange my affairs so I can take off for a walk for a day or a few days. I’ve had a lot of longer waits in airports in the last year, and I’ve become preoccupied with trying to get out to the open countryside from them. To my surprise, you can’t get out of some airports at all, unless you’re in a road vehicle or plane—you’d need wire-cutters, etc. The best, though, was Amsterdam. I walked out of the terminal and within about twenty minutes I was strolling through sunny meadows, being observed by a colony of rabbits. They seemed happy, and I lay there for an hour.

Justin Quinn Bio
Justin Quinn Poetry

Dirt Road to Nowhere

Enough was enough. Anevay Jaimson left work early and sped off in her pickup truck, the man’s sly touch still crawling on her skin. The sexual harassment had become a regular occurrence —something she couldn’t ignore. She drove past run-down gas stations and dumpy antique stores, along streets where listless old men stood on corners and cornfields were landmarks. She drove until everything she knew became unrecognizable. The road, not the winding kind that wandered through pastoral scenery, seemed endless. It continued straight ahead like a metaphor for life, or death. She drove like she was at gunpoint— recklessly, impulsively to where she would end up. The date of her father’s birthday echoed in her head, yet her steady hands intuitively adjusted the steering wheel. As she drove, she untied the apron still clinging to her hips. With one swift motion she tossed it onto the seat beside her.

She was sure this time she’d be fired, imagining her boss eyeing her slowly as she pushed through the diner’s double doors. He would look at her long and hard. He was the type of man who never got a passing glance from any woman, the boy who desperately wished for the comfort of strong, tender thighs wrapped around him. Anevay took out a cigarette and lit it, taking long drags and watching the smoke fly out of her open window. It made breathing one less burden for her.

She made a sharp right turn onto an unmarked dirt road and slammed on the brake. The truck stalled. A few feet away a thick mass of spruce trees obstructed her vision. Looking into them was like peering into the pitch dark with no moon. She knew she had arrived, but she made no sudden movement. Her hands gripped the wheel tightly, her arms locked into parallel lines like oak plywood. Anevay let her foot off the brake, and the truck rolled forward voluntarily. You shouldn’t have come, she told herself. It had been a decade since she had last been here.

Anevay felt the rocks crunching beneath the truck, wedging themselves into the rubber cracks of the tires. She imagined her fragile body rolling over shattered glass. She bit her tongue hard, tasted blood, as her truck approached the vacant lot. The trailer, once white, now had rust stains trailing from the windows. An awning drooped over the front porch steps. A pink tricycle lay on its side, abandoned. Other toys were displayed like an exhibit of her childhood. Nothing had changed. It was as if she had entered a memory.

Anevay shut off her engine and extinguished her cigarette. A neighborhood dog barked ferociously in the distance. She imagined its square head constricted by a metal chain, its powerful jaw snarling and spitting.

“Damn dog,” its owner said. Anevay heard the dog yelp.

Its whimpers reverberated through the woods, echoing in distress. Anevay traced her fingers over the smooth scar hidden in her thick black hair, recalling the screaming and crying; the fists swinging and shoving; the curses polluting the air; the dank smell of bourbon oozing from his pores. That time she had gotten too close. The jagged edge of his broken bottle had skimmed her head. She remembered a red rush of blood and then a mad rush to the hospital for stiches, the sickly medicinal flavor of the cherry lollipop her reward for being a good girl.

That day she and her mother had left for good.

 

In the car ride from the hospital her mother had told her they weren’t going back home. Anevay had shrieked and tried to slap her mother, but her blows could not reach her from the back seat. Her mother did not turn her square Cherokee face around. Instead, facing forward, she told Anevay to sit still, so Anevary cried at the top of her lungs. She cried until her voice became an angry whisper. She cried until she fell asleep.

When Anevay woke up she was on a hotel bed. Her mother was lying on the twin bed beside her, flipping through TV channels. Anevay pretended she was asleep, watching her mother through the curtain of her eyelashes. Her body was propped up on starch white pillows. She seemed relaxed with one leg stretched out and the other bent at the knee, but her face remained rigid. Her dark, almost black, eyes rarely blinked. Anevay studied her mother’s face, noticing the small crows feet starting to form by her eyes. She was nearly thirty. Above the corner of her mother’s left eye Anevay could make out a purple reddish bruise underneath her concealer, still fresh. Fearless yet broken, her mother stared blankly at the static television. She flipped hypnotically past digital images as if she was searching for something, as if the dotted pixels on the screen were codes that could explain secret truths.

Pulling herself out of her memory, Anevay lifted her finger from the scar, dropping her hand to her side. Even the coarse black wires of her hair couldn’t hide the scar. She knew it was still there. Anevay wanted to suffocate the emptiness inside her.  She reached for her lighter and a pack of cigarettes in her purse. The cool metal in her palm steadied her as she lit the cigarette between her shaking fingers.   The sweet, sticky vapor spurted out of her mouth in quick puffs. Sometimes she wished her tired body would simply break down, decompose like the minerals in animal bones, and go back to where it came from.

“Why did I come back to this god awful place?” she said out loud. She opened the truck’s door and stepped out.

Her tan midriff showed slightly between her jeans and a black t-shirt. A few freckles dotted her arms and cheeks and her left cheek displayed a darker birthmark. As she walked to the lawn her sharp jaw line clenched, her arms swinging beside her.

Looking around, Anevay could see her father everywhere, in fragments. She remembered his big white freckled hands, his smell of pine soap and mild sweat after returning home from his carpenter jobs, and his short rare bursts of laugher. The memory of her father taking her to a pawnshop flooded her mind. He had held her hand, driving the car like a father should for once, not dancing back and forth on the dotted line. His usually blood shot eyes had been as bright and clear as crystal lakes that day. Inside the shop, he told her to buy anything she wanted. Anevay peered into the glass display cases. Her eye landed on a plastic Tweety Bird watch. “That one,” she had said, her stubby finger smearing the glass as she pointed. On the car ride home she unrolled the car window and stuck her hand out. She felt the current travel through her fingers spread like eagle’s wings, the yellow watch securely strapped around her wrist.   She had worn it every day afterward, pressing it close to her ear to hear the seconds tick by.

Anevay looked down to where the brown grass met the edge of the dirt road. It was the spot she had last seen him stumbling outside with his hands reaching up in the air as the nauseating motion of the car carried her away, dust intruding on her innocent eyes until he was nothing but dirt.

Anevay took out her lighter and played with it in a daze. The cigarette still dangled between her lips as she watched the blue flame rise and die by the flick of her thumb. She sat down and smoked, still playing with the lighter. The sun began to move inch by inch across her face, half of it darkened with shadow. The lighter fluid was running low.

She looked over her shoulder. On the dead lawn the ugly hunk of rotting metal mocked her. She imagined burning the trailer to the ground to make her mark, to say ‘fuck you’ to her father, dead but never gone. She imagined the soot and ash rising higher and so far away from her that not even the burnt smell of fire would remain on her clothes. She reached down and untied her shoes. The dead grass pricked her feet as she walked over to her truck, yanking out a spare container of gasoline. She unscrewed the cap as she walked over to the trailer. Walking along the edge of the trailer, she doused the bare, rusted exterior. She threw the empty plastic container across the lawn and reached into her back pocket. Flicking the lighter on, she stepped forward, her naked feet behind the line that divided her from her past and what was left of her. She extended her hand down to the gasoline like a thirsty dog. A surge of fire surrounded the trailer, climbing and eating its way up to the sky. Anevay jumped back and watched, the blaze heating her entire body. For the first time in her life Anevay felt the meaning of her name: superior. She never wanted to forget the feeling of her bare feet rooted on solid ground, but she had to go.

 

Anevay took a detour, pulling into a gas station to buy another lighter.

 

The door made a jingle sound as she entered. Rows of fatty foods and cheap-boxed dinners sat on the shelves. Making her way through an aisle to the front, she grabbed a bag of gummy bears and a lottery ticket and placed them on the counter.

“Feeling lucky today?” the teenager behind the counter asked, scanning the lottery ticket.

Anevay smiled faintly, not looking at his face. The nametag on the boy’s red vest read, “Sid.” The doorbell jingled again as a family walked in, laughing. A few miles away a fire truck siren echoed wildly in the distance.

“Oh and this,” Anevay said, quickly placing a lighter on the counter.

“I’m trying to quit,” Sid said, scanning the barcode. The cash register beeped.

“ Good for you.”

“Twelve dollars and sixty two cents. Oh, I forgot to ask. Did you find everything you’re looking for?” Sid asked.

“No,” she replied, handing him exact change, avoiding his confused stare as she walked out, the doorbell jingling loudly behind her.

Gray Blob

Emily lay on her bed in underwear and a tank top, her body balanced precariously on the edge of the mattress and her hand suspended above the dusty wooden floor. The room was dark, and the floor was littered with clothes and trash.

Emily’s chest felt fragile—her skin like glass, her papier-mâché ribcage shaking with each breath. She turned her head to look at the calendar once more. The date had been circled with a fat red marker almost half a year ago with the words “Frank’s birthday!” written in the small box.

She reached for her phone, caught herself, and dropped her hand again. She rolled over and turned her face into her duvet. The excess material made it hard to breathe, giving her the impression of being caught in a place somewhere with horribly muggy weather.

Emily smiled at the idea of being somewhere else. Getting away from Boulder City. That sounded nice. Maybe she could go somewhere with a beach. She’d always loved the ocean. Emily pictured herself lying on the warm sand, waves caressing her skin and sunlight flooding her senses. What if she quit her job, packed her bags, and left? California was right next-door, and besides, she had had worse ideas. It was two hours to the Nevada-California state border. Long Beach was only eight hours away. She didn’t really care how long the drive was as long as she was on a beach by the end of it.

Emily’s phone buzzed on her nightstand, and her breathing stilled. Her chest suddenly felt full. She seemed a little more solid. Frank?

Her hand shot out so fast that she knocked her cellphone to the floor where it continued to buzz face down on the hardwood. When she picked it up the phone felt heavy in her hand. The rectangular shape didn’t fit comfortably in her palm like it used to.

The screen read, Missed Call: Mom, and her chest felt hollow again. Pressure built at the back of her eyes, and her head dropped onto the bed. The fabric bunched around her, shutting out the rest of the room. She pressed the material into her face, imagining it enveloping her and snuffing out her life.

The sound of curtains sliding along a metal rod alerted Emily to the light breaking through her darkness. She pushed herself off the bed and turned. The window was open, sunlight streaming in through the glass, caressing her skin.

“What the—” Emily slid off her bed and walked to her window. Her heart beat heavily against her ribs and her legs felt weak. She drew the curtains together again, making sure the fabric met in the middle.

Emily studied the pattered curtain, still grasped tightly in her hands. Had they caught on something? Had she opened them unknowingly? She backed away from the window, acutely aware of her small underdressed frame.

“I would appreciate it if you didn’t close those, thank you. It’s too dark in here. I can’t see.”

Emily screamed and turned around. Her room was still, darkness surrounding her.

She was aware of every breath that expanded and contracted her papery lungs, the sound many times louder than usual in her ears. Her eyes darted around the room, never settling on a single object for long. She moved to her bed and fell onto her mattress, legs shaking slightly.

She placed a hand against her forehead. “No, maybe I’m just sick.” She gave a small laugh. “Yeah, that’s it. I probably never even closed the blinds, I just thought I did.” Speaking her thoughts gave her some comfort but her heart fluttered weakly in her chest.

“Oh, you’re sick now? I wouldn’t be surprised. I passed by your kitchen on the way to your room and it’s a mess. You probably got food poisoning or something.”

Emily caught her breath and her blood hitched in its circulation. The room felt strangely silent, pressing into Emily’s skull and chest. Each breath felt grossly unsatisfying, as if she was breathing in tar.

“Frank?” She called, her voice dry and cracking. “Frank, if that’s you, it isn’t funny, damn it.” She tried to laugh but it came out sounding like a deflated balloon.

She inched towards her bedside table and wrapped her fingers around her lamp, slowly lifting it into the air. Although the lamp wasn’t overly heavy, her arm still shook under its weight.

“Frank?” She called again.

Her curtains flew open once more, and light fell upon a small figure at the base of the window. Standing at about three feet, the figure had two short legs, two short arms, a very little neck and an oblong head. It was gray and hairless, with no distinguishable facial features. In fact, it didn’t even have a face. Emily thought she was looking at the back of it until she realized it was probably looking up at her.

Emily’s scream was raw and sudden. It welled up from somewhere deep within her, starting as a whimper and escalating to a piercing screech.

“Oh my God!” Emily tried to throw the lamp but it caught on the outlet and fell short of the Gray Blob.

The Gray Blob scurried out of the way, holding up its short arms, its mitten-shaped hands held up in way of apology. “I didn’t mean to startle you.”

Emily threw a pillow but it bounced off the window and onto the floor.

The Gray Blob ran forward. “Please stop throwing things! I can explain.”

Weapon, weapon, weapon, Emily thought, the words becoming a desperate chant in her mind. She groped around her and found a used fork on her side table. She lifted it above her head and clenched her jaw.

“Wait, stop!” The Gray Blob touched her knee and Emily gasped.

She was sitting on the edge of the bed, her feat dangling just above the clean hardwood floor. Light filled the room and soft jazz played from the speakers on the desk.

Frank danced into the room, jeans hanging low on his hips and a towel tossed over his head. He did the grapevine past her, snapping to the beat of the song. Emily’s chest filled with warmth watching him, and the warmth spread to her extremities.

Frank stopped at the desk and frowned. He pulled out the chair, looked under the desk, and stood up again.

“Honey, have you seen my shirt? I had it here before I went into the shower.”

“Oh, I thought you’d left it lying around so I put it away for you.”

Frank’s shoulders sagged and he sighed. “Of course you did. That’s what I get for taking up house with a neat freak.” He smiled at her. “Come here.” He placed his large hands on her knees to brace himself, his fingers spreading out over her legs like rays of sun, warming everything they touched. He leaned in.

Emily gasped and she was back in her room, the Gray Blob still touching her knee.

“What—” Emily’s words fell from her lips and her voice died in her throat. She looked around the room, half expecting to see Frank with the easy going smile still on his face. The vision had been so real, so vivid. She could still feel the warmth from Frank’s hands on her knees.

Her raised arm fell onto the bed, the fork clattering to the floor, and she began to knead the duvet with her fingers. She touched everything within her immediate range of motion making sure they were solid

The Gray Blob removed its hand from Emily’s knee and took a step back. “I’m sorry. That must have surprised you.”

Emily turned her head, her realm of consciousness expanding to include the little figure. “What are you?” The words barely left her mouth in a rush of air. After a beat of silence, in which the Gray Blob wrung its hands together, Emily spoke again, impatient for answers. “Where did you come from? How did you get in?” Her voice came a little stronger now.

The Gray Blob began to shuffle its shapeless feet. “I came in through the front door, I’m surprised you didn’t hear me. I came from you.”

“Me?” Emily grabbed her stomach.

The Gray Blob began shaking its head. “No, not like that. You’ve been steeped in your emotions for so long, brooding and remembering and re-remembering your past that you eventually created me. Unconsciously. I’m a compilation of all of your strongest memories and emotions.”

It took an incredible amount of effort for Emily to shake her head . “That doesn’t make any sense. How could I just create you?”

Gray Blob shrugged its shoulders. “I’ve sort of been copied and pasted into reality from your memories. For the past month I’ve been suspended between reality and consciousness. I didn’t become something solid until a moment ago when you,” Gray Blob left the sentence unfinished and Emily looked away, her hair swinging down to hide her face.

“Does this normally happen to people?” Emily pulled her knees into her chest.

“I don’t really know much beyond your realm of consciousness, so I wouldn’t know. But I don’t see why not, since it happened to me.”

Emily wrapped her arms around her legs. “What happened a moment ago, when you touched my knee?”

The Gray Blob looked—or Emily could only assume it looked, as it had no eyes—at its hand. “Probably a memory from your past. That’s what I’m made up of, after all.”

“A memory? About Frank?” Emily released her legs and sat up straight.

“Well, you haven’t been thinking of much else recently.”

“So, if I touch you here—”

“No, I wouldn’t do that if I were—“

Emily placed her hand on the Gray Blob’s arm and was thrust into another memory.

Frank was at the stove making dinner, humming to himself as he stirred the contents of the pan.

Emily walked up and leaned over the stove. “Smells good. If only you could make something other than stir fry.”

“Whatever. You love my stir fry.” He nudged her with his elbow. “Hey, Em, watch this.” He began to tilt the pan, sliding the meat away from him, a small smile tugging at his lips.

Emily grabbed his bicep. “Careful, master chef. If you flip it and the meat falls into the stove, it could cause a grease fire.”

Frank let out a sigh that carried something unspoken with it. “Okay, Mom. I’m not completely incapable.” When Emily loosened her grip on his arm, Frank turned to her and smiled softly. “I’m joking. Thanks, Em.”

Emily jolted and removed her hand from the Gray Blob’s arm. She wiggled her fingers, the feel of Frank’s bicep still etched into their tips. Why did that memory seem sadder than she remembered? Had Frank’s sigh always been so heavy? Was his tone always so short?

Emily extended her arm, “What other memories do you have?”

The Gray Blob took a big step back, stopping just outside of Emily’s reach. “You probably shouldn’t do that anymore.”

“What do you mean?” Emily felt something in her chest tighten. “They’re my memories. Who are you to keep them from me?”

“It’s not going to be healthy for you in the long run,” the Gray Blob said, wringing its hands again . “You’ve been re-playing these memories in your head for weeks and look where it has left you.” The Gray Blob motioned with its arm to the rest of the room.

“No, thinking about them and re-living them are different. If I can just re-live those memories one more time I can make sense of everything.” Emily stretched her hand forward once more, straining her fingertips to brush the Gray Blob.

But the Gray Blob took another large step back. “You’ll just get sucked deeper into this hole that you’ve dug yourself. Frank left you two months ago. I think it’s time for you to face the facts.”

The Gray Blob’s words resonated in Emily’s core. And she sat up straight, folding her hands into her lap and staring at her duvet.

The next morning Emily found herself across from the Gray Blob at her dining room table.

Emily scooped cereal into her mouth. “So what’s the deal with you. Are you, like a girl, a boy, both?”

The Gray Blob turned a page in the newspaper. “I’m not really certain myself.” Gray Blob shook its head. “Forest fires are getting pretty bad out in California.”

Emily spooned more cereal into her mouth. “Okay.”

“And you still wanna move there?” Gray Blob asked, turning a page.

Emily stirred her spoon in the bowl. “My cornflakes are soggy.”

“Hm?” Gray Blob lowered the newspaper.

“My cornflakes are soggy,” Emily repeated. “I can’t stand it when they’re like this.” She got up and dumped them in the sink, running the garbage disposal.

Gray Blob lifted the newspaper again. “You still could have eaten them you know.”

“No, I honestly can’t stand soggy cornflakes.”

“Then how can you stand to live in your apartment right now?” Gray Blob let the newspaper fall slightly.

Emily let her eyes travel over the mess that had accumulated over the past month. Her eyes picked out every piece of trash and speck of dirt.

Has it always been like this? She asked herself, turning in a circle. Emily’s hands itched to pick up the discarded wrapper on the floor next to her, but she knew that if she started cleaning now she would never stop.

“I think you should leave,” Gray Blob said.

Emily turned to it. “Leave? And go where? California?”

Gray Blob shrugged. “If that’s what you want.”

“It’s too expensive.”

“Good thing you have a lot of money in your savings account.”

Something in Emily’s chest constricted. Gray Blob made it sound so easy. “Where would I work?”

Gray Blob turned a page in the paper. “You have time to find a job.”

Emily crossed her arms, her fingers leaving red blotches on her skin. Gray Blob insisted it knew what was best for her, yet it made her problems seem trivial, like they were all in her head. Then again, Emily supposed most problems were in her head.

Gray Blob folded the paper and set it aside. “Look, Nevada isn’t the place for you anymore. You’re smothering yourself up here in this apartment. I It’s too full of Frank. You’re twenty-seven and still have plenty of life to live, but you’re acting like an old widow.”

Emily’s lips pressed together, a knot forming between her shoulder blades, and she turned to face her kitchen sink.

Out of the corner of her eye, she could see Gray Blob extend a hand. “I understand it’s hard. Four years is a long time to spend with someone, but you have so many more years. You can’t just waste them on this apartment.”

Emily rubbed the back of her neck, her nails digging into her skin. Her lungs felt constrained by something tight and heavy, making it hard to breath.

Gray Blob lowered its hand. “Sorry. I’m giving you a lot to think about. Here, we’ll start small. Let’s clean up the kitchen.”

Emily once again became aware of the mess surrounding her. “You call that a small step?”

“I’ll make a deal with you.” Gray Blob scooted its chair out. “I’ll help you with the kitchen, and when you finish I’ll let you see a memory.”

The muscles in Emily’s shoulders began to unclench. “You’d let me do that?”

Gray Blob sighed, “Yes, I don’t like it, but if it helps you clean this place up then I’m willing to compromise.” Gray Blob jumped from the chair and made its way into the kitchen.

“Wait,” Emily called after it. “Why are you doing this?”

Gray Blob turned to her. Emily stared at the smooth gray surface of its face, feeling like part of her was chipping away with each passing second. Gray Blob shrugged. “I’m also made up of you’re deepest wants and desires. In fact, I’m probably being pretty selfish right now.” Gray Blob didn’t say anymore, just motioned to the kitchen. “Now come on, we have work to do.”

The next few weeks Gray Blob helped Emily clean her apartment. As the piles of clothes and trash disappeared, fear began to settle in Emily’s core. The more she returned her apartment to its previous condition, the less she felt Frank’s presence.

Gray Blob did not follow through on its promise to let Emily re-live a memory. She was forced to remember on her own, relying on her own recounts, which she no longer trusted. Every time she found something that reminded her of Frank, she wondered if the memory and the emotions it held were real. She could not touch or feel them in that moment. She could only rely on what was already gone.

She began to try and catch Gray Blob off guard. If it was leaving a room or folding laundry, Emily would strain her arm and hope to brush it with a finger. Aware of her actions or not, the Gray Blob always avoided contact.

The day they finished cleaning her living room, Emily decided she couldn’t handle any more. Rain smacked against the windowpane as she and Gray Blob sat on the couch and watched television. Gray Blob flipped through channels, its blank face did not seem to register the images that passed on the screen.

“I want a memory,” Emily said.

“No, you don’t.” Gray Blob continued to punch the buttons on the remote.

“I want a memory,” Emily repeated, her voice strong.

“Trust me, you don’t.”

Emily pulled herself up off the side of the couch. “Who are you to say what I want and don’t want?”

The Gray Blob stopped channel-surfing and looked at Emily. “I’m just saying it won’t make things better.”

“Who says I want things to be better? I just want things to make sense.” The more Emily spoke the more each breath rattled her small frame and threatened to rip her seams.

“But they won’t make sense. Can’t you see that?” Gray Blob tossed the remote onto the table and turned to face Emily fully.

“I need to know the facts.” Emily’s breath came faster now, her heart fluttering feebly.

Gray Blob leapt to its feet so it was eye to eye with Emily. “You want the facts? Frank left because you were you. That’s it, end of story, done.”

Each raindrop that hit the window sounded like a gunshot. The water soaked Emily’s skin, leaving water-stained trails on her face. Something heavy settled in her stomach like a stone, a stone she knew would never fully go away.

Gray Blob sat back down and grabbed the remote. Emily remained still, trying to remember how to feel solid.

A month and a half later, Emily sat on the stoop of her apartment. The buds were just beginning to break on the trees, the sun’s rays caressing their soft green curves, nurturing their growth. A breeze floated past Emily, and she tugged her sweatshirt tighter around her.

“Are you still out here? We’ve put off packing long enough. We need to start today.”

Emily turned and saw Gray Blob in the doorway.

She placed her chin in her hand. “I was just thinking about something. What happens to you when I leave?”

Gray Blob hesitated on the threshold of the apartment building. It tapped its foot a few times and swung its arms. Finally, it stepped onto the stoop and sat down next to Emily.

“I’ve been thinking about that too, and I suppose I disappear.”

The wind blew past Emily a little more forcefully. “You—”

“Disappear, yes,” Gray Blob finished.

“Why?”

Gray Blob tapped its foot on the ground, its knee bouncing up and down. “Because I belong here, in this part of your life, just like the memories and feelings I am made of.”

“But, don’t people say this stuff stays with you forever?”

Emily furrowed her brow.

“Yes, and in that sense I will stay with you forever. I’ll be in the memories you carry with you. But when you leave this apartment, when you leave Nevada, you will leave behind your baggage.”

Emily’s stomach twisted. “I don’t think I like thinking of you as baggage.”

“But in the end, that’s all I am.” Gray Blob’s knee stilled.

Something in Emily’s core twisted uncomfortably. “But it feels like you’re more than that. Sometimes it feels…I don’t know.” Her shoulders sagged and her limbs felt heavy suddenly.

An ice cream truck rolled slowly by her apartment complex. A group of children chased after it, their screams and laughter piercing the air. Emily flinched.

“I still don’t feel like I’m solid,” Emily confessed. She wasn’t sure why, but she needed Gray Blob to know.

“But of course you are. You always were.”

Gray Blob’s words didn’t completely comfort Emily, but she turned to it and said, “Thanks for sticking with me. I couldn’t have made some of these changes without you.”

Despite its featureless face, Emily could practically see Gray Blob smile. “Ah, but you could have. All this time you wanted to get on with your life, but you just were too scared to start.”

Emily put her chin on her knee. “So then you’re really just in my head.”

Gray Blob shrugged, its line of vision focused somewhere on the ground. “I’m as real as you believe me to be.”

Emily turned to rest her cheek on her knees. “I think you’re very real.”

“Good,” Gray Blob said, looking up at her. “I like that.” Gray Blob stood. “Now come on, you move out in a few months, and we haven’t started packing all your useless junk.” Gray Blob entered the building. Emily listened to the soft sound of its feet padding up the stairs.

She sat still, relishing a moment that would soon become a memory. She soaked up the sinking sun and the feeling of her fingertips brushing the concrete beneath her. The air smelled fresh with the promise of hope. This too, she thought, would become a memory. .

Emily promised not to forget this one. It seemed really important that she not forget it, though she couldn’t say why.

The breeze blew once more through the trees, and Emily stood and entered her apartment building after Gray Blob.

Outside, the buds on the trees unfolded in the afternoon light.

Buzz Spector

1.
By way of introduction I offer as my own an explanation of my artistic methods provided by a student attending a lecture I’d just given about my work. “So,” he paused before asking his question, “your art is tearing stuff up or stacking things?” I paused myself before replying, “well . . . basically . . . yes.” I tear stuff up; always paper, mostly pages. I stack things; mostly books, but sometimes more organic materials. On occasion I cut printed papers up and paste some pieces down. From time to time I stack things up (again, mostly books) in front of a camera and make photographs. In recent years I’ve sloshed paper pulp around in vats, lifted masses of it up in screens, deposited the wet sheets on tables and festooned them with strands of string or yarn before pressing and drying them. On other occasions I’ve painted on paper or pages (not, so far, on canvas). Before, during, and after all of this, I’ve made drawings, or else written words that sometimes can be read as art.

2.
I tear pages. I stack books. On given days these processes, or others that seem similarly inane in summary, occupy me in the studio. I assert that I am an excellent tearer of pages or stacker of books, but what then constitutes my virtuosity? Look at one of my altered books and you can see the torn edges of every sewn or perfect-bound sheet that formerly comprised its text block. My systematic excising of pages leaves a form whose organization in itself challenges the suggestion of random harm within the word, “tear,” commonly used to describe what I’ve done. As for my stacking, it’s the ordinary work of aggregation, whose oddness arises from what it is I’m building up with. Books in a row could be on anybody’s shelf, but books in a stack raise some interesting questions.

3.
As an art student I acquitted myself well enough in the sculpture, printmaking, and painting studios. I could do a very good job of drawing the elements of a still-life. I enjoyed sketching the figure or a landscape. Indeed, the first ten years of my exhibiting career consisted almost entirely of drawings, although of a more process-oriented kind. In a sense I became the artist I am now through an act intended as a negation. Let me explain: In 1972 I read about the work of Robert Ryman in an essay, by Robert Pincus-Witten, in the June issue of Artforum. Looking at the black and white reproductions of Ryman’s white paintings, my thoughts ran something like, “This is not art. This is just white paint. It’s not even white in these pictures. They’re white paintings that look gray in reproduction because halftone images can’t ever be completely white.” Irritated and fascinated, I decided that if a white painting was art, then a pencil drawing which was merely shades of gray was also art, and I set to work straightaway. This exercise in shading was easier said than done. Wherever my crosshatching overlapped, a darker band emerged in the graphite, and after many hours of working and reworking the paper, my field of gray was visibly traversed by many horizontal bands. It was beautiful, at least to me, and also a way to understand something of what Ryman was doing with that white paint.

4.
When you tear pages out of books, you accumulate a great many torn pages. Now and then I would make collages out of this material, at first by carefully cutting away the text on one or several pages, but saving the strips of the spaces between lines of type. Since I had cut the words out at what type designers call “x height,” the tops and bottoms of some letters were left behind. The bowl beneath a lowercase “g” made for an especially evocative graphic residue. Little fragments of letters, still almost readable, peppered my otherwise blank Page collages, and thinking of my cutting away process as a form of erasure led me to think about erasing images. The exemplary object for such erasure was the postcard. Souvenir par excellence, the postcard is writing for from one to another, and putting one into the mail validates both the experience of the place pictured on the front and the bonds of whatever nature joining the sender to the recipient. I make grids of old postcards, whose images I have partly or almost completely sanded away, into arrays of ghost images ─ windmills, bridges, castles, and flowers are among my assortments ─ over which I sometimes paint the silhouettes of stacked books.

5.
In 1999 I was invited to spend a free day in the studio with a Polaroid 20 x 24 camera. One of the small number of these special large-format cameras was then on loan to Columbia College Chicago’s photography program, and invitations were being made to artists unfamiliar with the machine and its capabilities. I’d previously used film cameras mainly to document my work, but was familiar with the exceptional physical and chemical attributes of large format Polaroids from seeing the 1979 installation, at the David and Alfred Smart Gallery (now Museum), of a life-sized Polaroid photographic reproduction of Raphael’s The Transfiguration of Christ, from the original oil on wood painting in the Vatican Museum. I decided to make my own version of a transfiguration by photographing all of the books in my library by or about Dieter Roth, whose extraordinary work with artists’ books had greatly influenced my thinking about the book as art. I loaded a cardboard box of Roth books into my car and drove to Chicago. Once in the studio I realized that the accidental arrangement of the books in that carton was at least as visually appropriate to the image I had in mind as any of the sketches I’d made, so the finished work includes that box, upended and still filled with books, plus a few more stacked on top or leaning against its sides. All of the books are placed with spines turned away from the camera. The titles are unreadable, but slightly open pages can be seen here and there.

6.
“So how might things proceed from here; how to stall a sentence so that it lingers over a nothing-in-particular in order to make the duration of its reading stand in for a silence of some sort.”

This sentence, writ large, is the text of Sentence, a pencil drawing of mine from 2003. Here’s another, from an ink wash drawing, Life Sentence, I made the same year:

“A BRIEF MORNING – THOSE SCREAMS OF RAGE OR JOY – THEN THE LONG BECOMING OF BODY
AND SELF– CONSCIOUSNESS OF POWER AND REGRET IN THE WANING DAY– BREATHE IN AND OUT.”

7.
Another invitation, in 2002, brought me to papermaking. In January of that year I was invited by the College Art Association to contribute an editioned work to their ongoing series of commissioned artists’ prints, benefitting CAA’s Professional Development Fellowship Program. The edition was to be produced at the Rutgers Center for Innovative Print and Paper (now the Brodsky Center for Innovative Editions) in the Mason Gross School of Art on the Rutgers campus in New Brunswick, New Jersey. Most of my work as an artist has been on, or of, paper, yet I’d never made paper until my visit to the Brodsky Center. My initial impression of the paper studio was of rank, fecund aromas. Anne Q. McKeown, a master papermaker with the MFA from Yale, presided over this area. My first thought was of making a little book with handmade paper pages, but I was enthralled by a small paper piece Anne had made to show me, consisting of strips of abaca fiber and linen over cotton, in which lengths of string had been embedded. Pulling the strings out created torn edges in the paper strips that resembled the torn pages in my altered books. I tugged at one string and then another, enjoying the process but not especially liking the look of the tears. It wasn’t until that evening, over dinner at an Ethiopian restaurant, that it occurred to me to use lengths of string to form words in script. But what was there to say? I thought about recycling the last sentence from some writing of mine, “only the text is total,” but that line, which so neatly closed my essay, seemed pretentious by itself. I dropped the vernacular “as if” into the dinner conversation at some point and immediately realized I’d found my phrase: “as” to be torn out from the sheet; “if” to remain as a string capable of being pulled. The next day Anne and I quickly worked out a procedure for making the edition: first a layer of black cotton, then white string spelling out “as,” in cursive, then a layer of overbeaten abaca, then a red string cursive “if” (except for the dot over “i,” made from pigmented overbeaten linen), and a topmost layer of white overbeaten hemp. I let the ends of the strings emerge from the left margin of the sheet. Once the proofs had dried, I tore the white string away, revealing the sheet’s black interior. The red string remained, dangling from the side of the work, inviting viewers to give it a little tug.

8.
Much of my art consists in removal (all those torn pages), occlusion (all the books inside those stacks), or excision (the rest of the images in those collages of photographic details). What I’ve taken away from view could be seen as metaphors of forgetfulness, but I am more interested in acts of taking away that are also transmogrifications of the object. I remove such stuff as could make visible the remainder as armature of a different value.

This essay first appeared in the exhibition catalog for Buzz Spector: Shelf Life: Selected Work at Bruno David Gallery in St. Louis, MO in 2010.

Buzz Spector Bio
Buzz Spector Interview
Buzz Spector Artwork

Who Will Perform the Rites

It has only been three nights since I decided that you didn’t love me                                              
   enough. Tonight, trenched in silent anger we feign sleep in some alternate universe,
      some parallel hell where we stare dead-eyed at the same ceiling, the same
   eggshell white. Laid to rest in separate rooms, I swelter under winter blankets 

left on the bed too long; it is April now. You shift on three inches of air,
   which slowly leaks from the blue inflatable mattress in the living room. Odd
      that you chose that room as your campsite, since what we’ve been doing
   can hardly be called living. I’ve felt bound up in my own body, like those Egyptians

whose souls still managed to slip out of yards and yards of cloth. They packed
   their tombs with amulets, statues of gods, took every gilded thing 
      into the afterlife; once you're gone, this small apartment will become 
   an exhibit of our love. I will have an empty bed, not grand, but engraved 

with the unyielding shape of your body. I will have the gaping closet which held 
   your shirts, a shadowy mouth shouting now what? I will have pictures 
      of us, which I will peel from the frames I picked so carefully; I matched 
   the fake-gilded scroll work to the gold sweater I wore, the dark faux-wood 

to your dense hair. I will remove the pictures, and in the hollow frames I will place 
   my organs for safekeeping, ceremony: intestines, bittered with the dinners 
      I will eat alone. The stomach in the blue acrylic frame will hang grey against 
   the pop of color, riddled with ulcers. The fear that you may never want children 

left my tenderer parts in disrepair. The lungs have shrunk, wasted with the cutting breaths 
   of wails, the shallow panting of questions unanswerable. I will put those 
      in the small oval frame we purchased from a run-down highway thrift-shop, 
   now a memento mori, an anatomy-theatre attraction. In the darkest frame, 

my liver, my poor seat of passion, my other heart which I now drown in elixirs, 
   wrap in linen, sprinkle with perfume. How odd that once they thought 
      it was a place of humors; I would rather have it on the wall where it cannot pump 
   its heat into my blood. I wish to sleep the sleep of the embalmed. 

Buzz Spector

Buzz Spector

MH: You work through multiple media–drawing, painting, the sculptural construction of books and pages, collage, and sometimes end your process with photography. For example, your piece My Fiction begins with a sculptural process and ends in a photographic one. How does the procession of media filter the ideas you wish to convey? Does this metamorphosis alter concepts or suggest their malleability?

BS: Most art today applies more than single mediums to the task of its making. This is more a question about the role of photography as one of the mediums I use. I’m interested in the way photography replaces the object with its image; in how reading the photograph—both for its mise en scène and as a thing in itself—makes a space for us to associate what we know of the books whose titles we can read with what we remember of our own experience of reading some of them. In My Fiction, the fact of my ownership of those books is unconfirmed by the composite image. Neither, of course, is my having read any of them. All that’s certain there is that I stacked the books. Unlike the actual structure, however, the focal plane of the photographs makes books further back into blurs. I’ve exhibited My Fiction several times over the years and on each occasion the conversations among viewers about the books they see in the work and their own histories of reading comes up against the indecipherability of those stacked books receding into the distance, a distancing into space as well as time.

MH: In works like Red C/Red Sea, your acrylic painting of a boat is coupled with a more conceptual presentation of the scattered or stacked post cards. How does painting, with its conventional implications of “originality” and “creativity,” converse with the “cheap and easy” images in postcards?

BS: To be specific, the framed pair of postcards in Red C/Red Sea is one component of a work whose other portion is a stack of printed postcards of the same passenger ship on blue and red water. The cards in the frame are identical vintage postcards. I carefully painted the ocean red on one of those cards, while the other is unaltered, except for an “X,” applied by a previous sender of the card, indicating where her stateroom was located on the cruise she’d taken in that liner. The several thousand postcards I had printed to make this work are both from photographs of the first card— the one without the “X”—before I painted on it. The “red sea” in half of the printed cards was made by switching around the cyan, magenta, and yellow plate assignments of the four color offset press run. The red cards, then, are as “original” as the vintage card I painted because they are not reproducing the appearance of their photographic subject. Instead, they convey the consequence of my intervening in the conventional method of their printing.

MH: In many of your exhibits you display books in unconventional ways, either as scattered parts of a conceptual piece, as in Malevich (with Eight Red Rectangles), or as sculptures, as in Toward a Theory of Universal Causality. Could you speak to your fascination with books, both their content and their physicality?

BS: I had the eight oversize books built for use in my Malevich installation. Actually there are four sets of books, two of which are now in institutional collections while the other two sets are stored in my studio. The Malevich books need to be seen in conjunction with the wall element, whose apertures are in the same spatial configuration as in the 1915 Malevich painting to which my title refers. What’s “wrong” about the situation is that the equal depths of the apertures won’t accommodate any of the books on the floor, each of which contains a different number of blank pages and, hence, a different depth.

My book stacks are, in sum, a commentary on the lives of books in libraries; on their connection to ideas of archives, vaults, or institutional memory as something distinct from individual recollection. Alberto Manguel refers to the spatial aspect of this in his majestic book, The Library at Night, “. . . when the library lamps are lit, the outside world disappears and nothing but the space of books remains in existence.” I usually stack my books on the floor rather than the shelf. Books on floors are unusable for browsing purposes, since only the outermost titles can be read. I have a further ambition to “randomize” all the books of a library—a private one, of course—to demonstrate how little effect on browsing such reconfiguration would have when the volumes are still shelved.

MH: You mention in an interview with James Hyde of the Journal of Contemporary Art that your work is meant to be understood “in terms of the excavation or displacement of its objects from their situations.” Could you give an example of a work that operates in this way and then speak to the concepts that result from this displacement?

BS: At the time of that conversation, I thought of my book altering as excavations and my book stacking as displacements. The displacing aspect of my stacks is apparent, but I’ve come to think of my page tearing as more a graphic exercise than a sculptural operation. A former student of mine, Ted Lowitz, once told me my procedures turned books into more of themselves, and I’ve stayed happy with the idea that my excising of successive leaves of a book could supplement the symbolism of the resulting artifact to such an extent that my lessening made for more meaning in what’s left.  

MH: In your 1993 interview with David Pagel, for BOMB: Artists in Conversation, you said that you believed that people often take reading more seriously than they do in viewing a piece of art, because of the shorter amount of time one can spend looking at a piece of art in comparison to reading a book—regardless of its quality. Do you use the forms of books to lampoon the glibness of looking? Or, do you use the forms of books to lampoon the pompousness of reading as a serious pastime? If so, how does this parody operate?

BS: I don’t think of my work with books as being parodic. The differences in attention span I point out aren’t a means of discrediting books or artworks themselves but rather a way of drawing attention to armatures of absorption we apply to reading much more so than for gazing at art. As I’ve said in another context, “We dress up and go out to look at art. Undressed, in bed, we read.” Pierre Bayard points this out in his How to Talk About Books You Haven’t Read, “When we talk about books . . . we are talking about our approximate recollections of books . . .” and he goes on to note, “What we take to be the books we have read is . . . an anomalous accumulation of fragments of texts, reworked by our imagination and unrelated to the books of others, even if these [other] books are materially identical to ones we have held in our hands.” 

MH: Why do you think spending time with art is so difficult for many people? And, do you think reading is taken as seriously in a visual culture as it used to be prior to the internet and digital/media culture?

BS: This arises from the same assumption as in the previous question, that conditions of viewing art are neutral so what’s “difficult” must be something within the objects. I sometimes ask audiences at my public lectures to tell me the longest interval of time they have spent looking at an individual artwork. It’s a trick question of a sort, coming as it does after my having projected images of my art in installation views or studio set-ups. A typical response would be in the range of five-ten minutes because the assumption is being made that art is something you see in a gallery or museum. So far, nobody responding to my question has included time spent with artworks on their own walls, tables, or floors. When domestic space—that space where most reading takes place—is considered, the differences in timespan between reading and scanning are obviously mitigated.

MH: Do you try to make your work accessible to those who take reading seriously or to those who take looking seriously?

BS: I think accessibility in my work is more a matter of its material and procedural affects than the self-identification of my viewers in relation either to reading or looking.

MH: Books might be called physical containers for ideas. The way you make art, you appear to use the containers to create another container (the artwork) for new idea. Does this layering of container and concept parallel the simple idea of books as layers of text and subtext—as a hidden place that must be mined or explored?

BS: The books I’ve altered haven’t stopped being books. They are as present and available for handling as any other books, except when the institution owning them prevents one from touching. The physicality you refer to is of embodiment beyond shelf life, so to speak. When I touch my beloved, the expression of care is directed toward the inner life of a mind but the application is of hand to skin. Looking and holding are simultaneous in reading print books, but also in e-readers. Even reading from a desktop screen requires a mouse or keyboard at hand, so some vestige of touching continues to accompany most situations of reading today.

MH: We have to ask, where do you get all your books? Are you a fanatic reader? Do you keep every book you acquire?

BS: My library is being acquired volume by volume. The books I use for installation purposes are borrowed from local sources. At first I kept a material inventory of some 2,000 books in my studio, but I learned over time that public library systems and used bookstores have thousands of discarded books they’re very willing to give away for my purposes. I no longer transport any books-as-material to the site of an installation project. There are always plenty of books nearby. I’m really less of a reader now than in years past, in part because I can make use of my history of reading in developing the lecture or discussion courses that comprise at least part of my teaching. My love of fiction and poetry continues unabated, but I more frequently check such books out from the library, buying a copy after one reading if I am particularly moved, or else if the book I’m curious about isn’t yet available in my university or community library. I do not keep every book I acquire, and am now thinking about dispersing parts of my library as gifts to special collections libraries or, in the case of certain older rare books, to auction where selling them covers my studio rent. I will never sell a book inscribed to me.

MH: Tearing, cutting, stacking, pasting, arranging and rearranging, inhabiting: all are physical and perhaps spontaneous activities. What is the place of physical action in your work?

BS: We’re all acting physically as artists. Even when our art is about ideas someone has to apply the letterforms to the wall. I believe in thinking with my hands as well as my head.

MH: How much planning vs. improvisation happens in your work?

BS: Every artist has a plan; otherwise it’s impossible to even start. But the negotiation with one’s materials is where one makes a better or lesser work of art. This is the substance of teaching art; helping students to see the difference between their intentions and what they’ve made.

MH: You sometimes depict yourself within or surrounded by arrangements of your books (and your books sometimes seem to be a stand in for yourself). Can you talk about “inhabiting” an idea and a world of ideas?

BS: As long as I’ve been constructing book stacks, now more than thirty years, I’ve been aware of the place I occupy in relation to my books. That is, within them.

MH: The Soap Bubble Set section of Mistake House is partly where we wish to connect the student with the professional. Naturally, we have some questions of interest to student artists and writers:

Was there a moment where you felt like your work started to move from the student state to that of the professional?

BS: I can almost pinpoint the date in April 1972. I’d been working on a graphite drawing at home as part of my participation in an advanced drawing studio. It took many hours to complete it according to the protocol I had set for myself. When I brought the drawing to class my instructor immediately asked me if I was interested in trading for it. My confidence in the work I’d made was confirmed by that request. I said “no” to the trade, by the way, and I still have that drawing.

MH: You’re a busy man—juggling teaching at Washington University in St. Louis with critical writing and ongoing art projects in multiple media. What advice do you have for the busy about how to maintain a work ethic and a creative practice?

BS: Everybody’s busy yet some people get more done in whatever sectioned-off interval of time, than others. Students are all familiar with the imposed deadlines of semester’s end and often, after graduating, they think they’ll begin treating their studio work as a continuum rather than episodes of one semester in length. This is a mistaken idea that can lead to, in my case, staying home on a New Year’s Eve in order to finish a drawing that I could sign and date for the year I graduated so as to say I’d finished at least one artwork in the six months since I’d left school. No, the best way to get stuff done is to keep your calendar going. Mark off studio times for each week or month, and when things come up, remember to block in “replacement” time later.

MH: How do you feel about your earlier works when you compare them to your current works?

BS: What I can say about my concern with this issue is that it has kept my standards high in judging whether any just-completed work of mine has succeeded or failed before I let that work go out to the world.

MH: What do you value most deeply as a teacher?

BS: Teaching artists teach by demeanor as well as demonstration, and assessment of particular studio pedagogy is as much a matter of students recognizing attentiveness on the part of their instructor as it is the learning of art techniques. It is a general characteristic of great teaching that heartfelt enthusiasm for the subject and those who study it is joined to thorough knowledge of the field. There’s more to it, though, when studio art is the subject. It is at best a minor pedagogical virtue to teach the making of art in such a manner that the work of one’s students mimics one’s own. I think about how the traces of the attention paid by a dedicated teacher can subsequently flourish in students’ own work, helping them to see what they’ve made outside of the shadows they themselves cast by their ambitions, their anxieties, or their ideological bent.

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 derive?

BS: How long is “playing hooky”? I take a few minutes off every morning I sip my coffee and work the New York Times Crossword puzzle. It used to be said of me, by people I love, that I don’t know how to take vacations. For this question I will propose that a vacation must be the long form of playing hooky. That criticism was true enough when I was still employed in academic administration, but nowadays I am happily (all) there when I am ensconced with family and friends in a cottage by a lake in the Adirondacks, especially when the annual Friends of the Schroon Lake Library summer book sale takes place.

Buzz Spector Bio
Buzz Spector Artwork
Buzz Spector Essay

Justin Quinn

WOOD SONG

I remember the world in spring —
those few weeks when the blooming trees
let go their pollen for the breeze
with unexpected force to swing
sky-high, multitudes milling round
at different speeds of draught and drift
so many metres from the ground —
a festival, a stunning airlift.
Maple, walnut, beech,
alder, plane and ash.They say the world will end (again).
A few weeks till the dead of winter
when we’ll be iced or burned to cinder.
What do I know? Women and men
tell kids it’s certain that the trees
will change to green again in spring.
Outside the roots and branches freeze
while the burning logs whistle and sing —
maple, walnut, beech
and all the rest now ash.

 

LOST CHILD

They call and call around the neighbourhood,
but still the child won’t come. He’s here somewhere,
he must be here somewhere among the bushes.
He’s found the only crawl-space in the briars,
a secret chamber cut off from the world
surrounded by the canes hooped like barbed wire,
as well as burdocks’ large deflecting leaves
that nod indeed, indeed, there’s no-one here.
The stalks incline to hint that over there,
not here, the parents might have better luck
than hacking their way through this messy tangle.
Indeed they don’t. Perhaps, they start to think,
he’s wandered from his stretch of asphalt road
in curious pursuit of colours flecked
and stippled through the plumage of a jay,
that flits through foliage in fear of him,
as though the child could sprout wings and fly up
to snatch this bird out of its native realm.
But really what this jay-bird thinks is nothing
to what begins to run through their two minds.
It’s also possible that he has found
a new friend in the tall apartment building —
behind one of its concrete panels, he
is trying on new masks, playing hide and seek.
If they stand looking at the hundred windows
for long enough they might just catch a glimpse
of their child in a skeleton costume,
or Batman, not reflections of the sky.
The world is suddenly large and intricate,
a labyrinth with slots of awful darkness
in its design, trap-doors and oubliettes,
that only hours ago had flattered them
into believing that it was transparent,
that it was mastered pole to pole, and that
a child could wander safely round these parts.
Now everything gets in the way — the roads,
the walls, the glass, the glare from off the cars.
Even the blue sky’s in on the deception
in ways they can’t explain but only feel,
as if the earth’s face is shoved up to them
to block their sight or usher them to where
their child is once again not to be found.
Whatever path the boy now walks along
seems further shadowed by the early dead
whose stories hang around the neighbourhood.
There was the man who one night flung a rope
around the strong branch of a linden tree
and swung from it until they cut him down
at daybreak. Then there was another who
fell off a rock face in Tibet or Nepal
and left his parents decades to outlive him.
And then the man who tends the common land
about the buildings — his son in his teens
was taken in a way I’ve yet to hear.
When or if the child comes round a corner
at last (most times they do, sometimes they don’t)
and has a tale that could be even true,
the neighbourhood is once again transformed —
the early dead return to background colour,
the details blurring in the foliage
(Tibet or somewhere else?); the surfaces,
textures, volumes that constitute the street
move back and now are passable once more.
The briars unhook themselves, the windows open
to show the dark interiors of rooms,
the birds are merely soft noise in the trees.
The world releases itself back, a road
that’s wide and brings you anywhere you like.
Which is yet more deception. I am the child
or panicked father standing in the road.
I am the neighbour watching from a window
wondering if I should go down to help.
Events will turn and make me with their will.
I might become the man who works the land
in common, whose eyes look upon the earth
most steadily of all these different people,
and still he works, at one with happenstance.
Each year he takes the strimmer from the garage
to mow the spears of grass and outsize weeds
that shoot up by the paths and on the waste ground
(that isn’t waste ground but remaining plots
of orchard and of vineyard stranded here
amidst the villas and apartment buildings
that sprang up over the last century),
then rakes and gathers all the green that falls.
He neatly stands his three beers in the shade,
spits on his aging hands and goes at it.
Some days I wish he had a bigger scythe
to take down every standing block of concrete
and give us farms and woodland once again.
Some days I wish he’d leave the wild worts grow
and let them take dominion everywhere.
And every day I greet him with good will
which he returns then gets back to the job.

 

ON KRIŠTOF KINTERA’S INSTALLATION UNDER NUSLE BRIDGE, PRAGUE
beginning with a line by Jan Neruda

The earth’s a child and doesn’t think
to draw the people in so fast
that they’re transformed to pools of blood and cartilage
at the very last.

For instance when they climb the railing
held up four hundred metres high
above the parks, the buildings and the roads,
and step into the sky

the earth wants them so much it says,
‘Now come to me.’ It’s had enough
of barriers keeping them apart.
Who could resist such love?

And so they come down in their hundreds,
these ones who wanted quickly out,
so tired of leaving things to fortune — some
in silence, some with a shout —

as streetlamps twist their necks to look
up at the heights and finish gazing
down on a human heap against the earth,
whose love still proves amazing.

 

CONVERSATION GALANTE

She says the dead come back for a mere flake, fleck
or fume of favourite food. A fragrant air
we hardly know is more than they can bear.
For them the speed of our bored talk is breakneck.

She says when we lean in to catch the scent
that rain showers summon from the April earth
dead millions groove themselves into the berth
of our one sense. They are engulfed, content.

He says let them do what they want, these dumb
sad hordes of shades. Do you think that they’ll come
the moment I push back the floral hem

of the summer dress you look so lovely in,
and lift it off, leaving you just a grin?
What do you reckon that will do to them?

 

EMBASSY DINNER

A square of twilit lawn seen through French doors.
Summer evening. Aperitifs. A roast.
The affable minister murmurs to the host.
Breezes glide across the parquet floors.

The waiters move in silence. Now the wives
draw dutifully together for a talk
of family and schools, and watch the clock.
Two years to go till our first child arrives.

We live five floors up in a block of flats
across the city. Half a mile of muck
to walk through from the Metro. Like diplomats,

we say, ‘No, after you,’ and fall in bed,
still laughing, stripping off to fuck.
Nothing of those hours has touched us yet.

 

TO-DO LIST

It’s like some awful joke:
my young son in my arms
before he goes to bed,
pressed close, not dead,
a tiny bloke
with bones his blood still warms.

He’s full of chat, age six,
of schoolyard push-and-shove
and big plans for next day.
I might as well say
a sack of sticks
has taken all my love.

His bones, in time and times,
like mine will fall apart.
OK. First job to do
tomorrow: go through
the ancient rhymes
for words like love and heart.

 

SALUTATION

If you’re fine gazing through the sea
— mid-ocean, in a mid-sized boat —
at the giant shadows that agree
to keep you for a while afloat,

then go on, look into the ground
that shoulders your whole house’s weight —
the chalk and dirt packed pound for pound,
the limestone strata, and the slate,

in mile-long waves that kindly crest
to this spot underneath your feet.
(They’ll take you with them as their guest
when they move on from your smart street.)

That’s why your neighbour, his old clay
still quick enough, like a ship’s boy
comes whistling shanties. Every day
for fun he hails you with, ‘Ahoy!’

Buzz Spector

Buzz at Z-L opening_2010

Buzz Spector was born in Chicago and was educated at Southern Illinois University at Carbondale and then the University of Chicago, where he received the master of fine arts from the Committee of Art and Design. Internationally recognized as an artist and critic, his work has been exhibited in museums throughout the United States and Europe, including the Art Institute of Chicago, Los Angeles County Museum of Art, Museum of Contemporary Art Chicago, Corcoran Gallery of Art (Washington, D.C.), Mattress Factory Art Museum (Pittsburgh), and the Luigi Pecci Center for Contemporary Art (Prato, Italy). Spector is also a highly accomplished teacher who received the College Art Association’s Distinguished Teaching of Art Award in 2013. Having taught previously at Cornell University and the University of Illinois at Urbana-Champaign, he is currently Professor of Art at the Sam Fox School of Design & Visual Arts at Washington University in St. Louis.

The subject matter of Buzz Spector’s art typically involves an exploration of the idea of the book, the text, and the individual experience of perception through wide-ranging media including sculpture, photography, the artists’ book, printmaking, and installation. In 2012 Sara Ranchouse Publishing issued Buzzwords, a collection of new page art and interviews with Spector spanning thirty years of his work and ideas.

Buzz Spector Interview
Buzz Spector Artwork
Buzz Spector Essay

How to Keep

“You can’t touch them,”
my babysitter warned
about the bunnies burrowed
in a hole at the corner
of our front lawn.
I’d see puffs of fuzz float
from their home and land
soft in the grass as I drew with chalk
on the driveway.
I’d peer in at the tight-eyed lumps,
barely furry hides heaped
on top of one another.
“You can’t because the mother will smell you
and won’t come back to teach them hopping.”
I listened
but thought Babies, don’t go.
So I reached my hand inside to feel
the puddle of wriggling
smooth skins.
The next morning
half a rabbit hind
lined the walkway to my house.

Karyn with a Y

Oh my God, remember that roll of nothing
but the crew pretending to be
more buzzed than we were
from jello shots? No one ever saw those. It was before Facebook.
Aw. I miss that.
And then the next year we were seniors, and we all had
MySpace, and the morning after
prom there were, like, 200 pictures tagged of me
and Greg Poccono. Aw.
It made me miss prom.
And, like, sometimes I just click back a few pages.
My first night of college. Aw. Look
at those little rooms we shared.
Aw. Look
at the caps, gowns, lipstick.
Aw. That shitstain Jenny who was my best friend
at Applebees
before she got obsessed with going
to Zumba every day.
I miss her.
This morning I had time to snag
a white mocha Frap. It was so yummy, and now I miss it!
Work was basic, but me
and Kayla snuck into the storage closet and ate half a gallon of tortilla chips,
and, like,
I miss that.
This screen used to be blank,
and I miss that. Aw.
That last line was deep.
I miss writing it. Aw.
I’m nostalgic for the period
at the end of “Aw.” Aw.

There’s No Place Like

I’ve seen a hermit
crab make a can of Sprite home,
and she seemed happy.

 

A Late Night Thought

What a dangerous thing a late night thought can be. A late night thought can torment like a leaky faucet, dripping endlessly. Our eyes widen to reality as it slips slowly away from us—our dreams slowly become the newer, richer world. It is stripped and stretched and mangled, the once calm thought. Thinking of an almost. All those almosts, so close. Spread out like a cadaver, the original intention dies, and taking its place comes a mangled Frankenstein idea. That Frankenstein thought, unlike the original, is misunderstood—fearful of a fire like truth. But what is the human mind but a warehouse of incomplete thoughts put together by some monkey while the big boys upstairs smoke their cigars and laugh about their success? We are slaves to the late night thought. Do you not believe me? If not, then you’ve never had your enchanted life bursted by love–or so we call it. A late night thought is like an itch, that, no matter how hard you scratch, will always be an incessant step mother to that infinitely small point on the back of your head, nagging at your closing eyes. Your eyes slowly become pebbles drifting to the bottom of a river—vision distorted, along with your thoughts. A cloud drifts by in the night sky and you believe it was sent to rain on you, but maybe you aren’t the only one that cloud is there for. As if there is a center to anything but ego. Shall we move away from this cardboard “big” picture and climb back into a smaller, more concrete understanding? I know we could, but the late night thought is stubborn; it won’t face facts; it just drowns it itself in a pool of imagination. In a weird way, that’s what makes us human: a late night thought strips away logic and replaces it with a stain glass sphere of emotions. It is the true nakedness of a sleepy driven drunken human spirit. No other being can feel the way we do with a late night thought. Let us at least admire for a moment the idea that our complexly trivial emotions are Gods, immortal in lieu of the bane harsh reality we view…So what do we do with a late night thought: let it run rampant through the streets, or silence it before it gets too cocky? Like a crackling fire, we must be careful with a late night thought: let it grow too fast and it will burn everything, but if left unfed, then there will be no splendor to keep you warm. The answer, I suppose, is lodged somewhere in our hearts between each gushingly boisterous beat: Buh boom, buh boom, buh boom.Late night thought, I envy and hate you; I admire and scorn you. I wish my mind could control you. But for now, I’ll let you wander about my mind and my heart….Buh Boom, Buh boom… buh…boom….

Become a Color

                in the golden light of dawn rising 
                                 walk the woods and become a color

                strip the sinews off your body                 breathe each molecule bare as
                                 the violet breath in your lungs blooms purple algae

robin-egg haze grazes the tips of grass              a blue sun rises in pulses of silver 
                                 while your muscles blend in bass tones of shadow

                let skin explore the icy burn of                snow melt in the brook

     let tendril vines take your vertebrae in         hand cradle capillaries and sink 
                                                                                                      into your soft palate

                wild roots need an anchor body             to become a color

 

The Simple Life

Paris & Nicole have perfect manicures
and they are milking cows. They look so good.
Nails hard as a spell of hail.

Doctors recommend daily usage of SPF 40,
at least, 60 for extra protection—if things get too bright.

Like contemplating a rhinestone. Nicole’s
all like oh my god, it’s too hot outside.
Palm tree decals almost melting & Paris concurs.

Then udder hanging with a cipher’s weight,
the milk spilling; the girls tan against the grass looking good.

Agreement: the easiest kind of knowledge.
We’re always saying a lot of things we don’t mean
to each other. The book fell open on its broken

spine and it said flos for flower, sol for sunlight.
But meant everything. Paris suffered, sighed.

Daily Routine

Walking awhile at night
Each house got personal.
-Jon Anderson

Then impersonal again, in the old style of repetition.
All the houses with their minor domestic differences.
It seemed dishonest somehow to find comfort in them,                                                                                                                                            those gestures: the manicured lawns                                                                                                                                                           with expensive sprinkler systems, the garbage bins
pulled to the curb for Tuesday pick up, the recycling.

Still, I admit, I did find comfort in them, & was troubled
by that. I’d go to coffee shops & talk like a philosopher
regarding death & sex. At home I’d hunch over poems
as though they were important, but then I’d sleep to the hum
of the television. Wasn’t it all…?

I wanted to live without distraction. I became
obsessed with the little deaths of daily routine. I was made
to speak grandly of the mundane things.

Justin Quinn

quinn7

Justin Quinn was born in Dublin in 1968 and received a BA and PhD at Trinity College Dublin. He co-founded the Irish poetry magazine Metre, which ran for seventeen issues from 1995 until 2005. Quinn currently resides in a Soviet-era housing project on the outskirts of Prague in the Czech Republic. He lectures at Charles University in Prague and the Department of English, Pedagogical Faculty of the University of West Bohemia. He has translated extensive works by Czech poets Petr Borkovec and Ivan Blatný and is currently translating the work of Bohemian poet Bohuslav Reynek. 

Quinn’s poetry has appeared in the Yale Review, TLS, Poetry Review, Irish Times, New Yorker, Poetry Ireland Review, Souvislosti, The Literateur, Body and the Irish Review among others. He has published six poetry collections, and a monograph entitled Between Two Fires: Transnationalism and Cold War Poetry will be published by Oxford University Press in September 2015.

Justin Quinn Poetry

Solitary

I.

John’s brother Colin went to jail when he was twenty-three.

Colin stole cars and used them to pick up kilos of cocaine from the docks at the edge of town, then drove in to the city to sell. He later told John he would leave the cars somewhere no one would be likely to find them—behind abandoned warehouses, inside abandoned warehouses, in fields next to abandoned warehouses. Colin would then call one of his boys to come pick him up from wherever he was and do the same thing the next day.

Colin had been running drugs in the city for years, but he’d only been caught at twenty-three because he’d cheated one of his boys out of a couple thousand dollars and had been ratted out. Colin found out and beat the man to the point of brain damage only moments before the cops arrived to put him in handcuffs. When they shoved him in the cop car, he said, simply, “I can’t survive in prison.” He had ten years left.

John spent every Thursday afternoon at the prison visiting Colin, or talking to him on the phone, or at his apartment waiting for one of the guards to call and tell him his brother had been locked in solitary and therefore John couldn’t visit that week. Knowing that someone would call, one way or the other, weighed heavy on him, heavier than the image he had of Colin sitting on a metal folding chair with his socks pulled up on his calves and his ear to the receiver. If not on Thursdays, John went on Tuesdays. Visiting the jail twice in one week was often too much; having to walk through the metal detectors and go through the process of being patted down was just too much. But he still went.

John knew Colin had run drugs. He’d known it for as long as he could remember watching television with his father and seeing news clips of women who’d lost their husbands to drug warfare, babies in the crook of their arms. Colin had started when he was seventeen, used to come home early in the morning looking haggard, dustings of white under his long nose, smudges on the backs of his hands.

John never said anything, because their father never said anything, just used a third of the money Colin brought home to pay the electric bill and keep the television going. Before he got sick, their father had worked at the coffin factory in town and had spent all day drilling wood planks together for someone to be laid in after they died. When the boys’ mother died, he built the coffin for her funeral. John went to the funeral; Colin was in the city that day and didn’t get back in time for the ceremony. Their father said nothing.

And then Colin ended up in jail, and John ended up living in an apartment they’d rented once John turned twenty and had finally moved out of their father’s house. The apartment was in the bad part of town, out near the docks, which was why Colin wanted it. John didn’t really care. He worked at a body shop in the center of town. He’d come home with grease on his forearms, take a shower, watch a movie, and go to bed. Colin would come in around the time John left for work in the morning. John took money for rent; he did not know what Colin did with the rest.

Colin had a girlfriend named Renee who sometimes came along when John went to visit the prison. Renee was the daughter of the man who owned the body shop where John worked, and the two got along well enough that the hour’s drive to the prison each week wasn’t so bad. Renee would paint her nails in the car on the way because she wanted to look nice for Colin, who’d never once said anything about the color of Renee’s nails.

II.

In December, Colin had been in jail for two years and three months. It was John’s second time seeing his brother that week. He hadn’t been able to come the previous Thursday, since Colin had been in solitary for kicking a guard in the face. When John arrived at the visiting room, Colin was stretched out in a chair, his long legs crossed at the ankles. The sleeves of his jumpsuit were rolled up and a fresh tattoo of a skull, raised and red, was on his right bicep.

“Long time, no see,” Colin said.

Colin’s voice was as long as the rest of him, drawn out vowels and consonants that hissed at the ends. He stood half a foot taller than John, and his hair was buzzed close to his narrow head. His face was purple from left eyebrow to chin; his right hand was bandaged, and John could tell Colin’s shoulder was dislocated from the way it hung loose in his jumpsuit.

John sat down on the other side of the barrier from his brother and looked at his body cut into circles through the hole into which one spoke. Renee always scooted her chair up close to the barrier when she was here; she hated that other people could hear her conversation. John didn’t care. He figured the type of people who visited other people in prison had bigger things to worry about than what he might say to his brother.

“Hey.” John adjusted his body in the hard chair. Colin re-crossed his legs.

They talked about nothing for a few minutes. John didn’t mention his brother’s injuries. Colin told him about spending the weekend in solitary, which was always the same: “pretty damn solitary.” Eventually Colin asked about their father. John told him that he wasn’t getting any better, and that the treatments were eating away at what little money their father still had from their mother’s life insurance. Something bitter flashed in Colin’s eyes, a dark stroke over the irises, and was gone.

“How much does he have?”

“Not enough,” John said. “I don’t know.”

Colin sighed, ran a hand over his head and realized there was no hair to grab, a nervous tic he had.

John listened to the woman next to him tell her husband that their son had started walking. Her voice was flat. She held up an iPhone with a video of the child taking steps. The husband crossed his arms and watched. This moment, like every second John spent in the prison, was like pressing the jagged edge of a key into his palm, and then pressing it harder.

Colin started talking about religion, about a book he’d read this past week and how people turned every day occurrences into holy things, like the way their food was shaped on the plate and how that could mean something miraculous. Colin never really talked about things like this. Faith, to John, was the chill of winter and the steady belief that the days would, eventually, get warmer. John didn’t know what faith felt like to Colin, if it felt like anything anymore.

“What was your lunch shaped like?” John asked, scratching his wrist.

“Like getting out.”

John looked up at his brother. “What is that supposed to mean?”

“My lunch was shaped like getting out of prison.” Colin blinked steadily. “I can tell, John. I can tell they’re gonna let me out early.”

“That’s not what I meant.”

“Well, it’s true. My green beans looked like Renee’s face and my mashed potatoes looked like the apartment. I just know they’re letting me out.”

John ignored this. It hurt him to hear the earnest seriousness in Colin’s voice. He sounded younger, and it didn’t match his hollowed cheeks, his lean, tense body. John had never thought of his brother as naïve, but at this moment, he saw something had shifted. “Letting you out for what?” he asked. “Good behavior? Yeah, right.”

Colin narrowed his eyes, sat up straight, spoke defensively. “It could happen.”

“You kicked a guard in the face last week. You’re not going to be let out anytime soon. I’m sorry.” John’s throat hurt. He swallowed twice.

Colin stood up abruptly. Two of the guards yelled something and made their way over. One put his hand on a nightstick.

“Colin. Come on,” said John.

“Fuck you. I can tell you don’t believe me. I’m not gonna waste my time talking to someone who doesn’t have any idea about what it’s like to be in here. You’ve never even asked. You just come here and complain about your own life.”

“Anderson! Sit the fuck down. Visiting hour isn’t over yet.” The guard with his hand on the nightstick patted it. “I’ll tell you one more time.”

Colin didn’t move. “How about you just listen to me when I talk about the one thing that’s given me hope?”

John swallowed again. When the guard grabbed Colin by the forearm, John heard Colin’s shoulder popped loudly.

“Anderson. Are you fucking listening to me?”

“Colin,” John said. “Just—”

John watched his brother be led away, gray-eyed and angry. He tried not to listen to the sounds he made when the guards pulled out their sticks. On the drive home, he tried to think like Colin and looked for signs in the clouds, something telling him it would get better.

III.

Two weeks later, John was back to visit, one cubicle over from the last time.

Renee was not with him, since she had come last week. John had not. Colin hadn’t called him last week either; John had thought about phoning the prison but had decided against it.

Colin was led in. His shoulder was back in place, and the bruises around his cheekbone had faded to brown, edged with yellow. He didn’t look at John.

John wanted to make easy conversation, but there was none, so he told Colin about the most recent round of their father’s treatment.

“At least he’s not getting any worse,” he said finally, because it was the only thing he could think to say about it.

“I knew it,” Colin said.

“Knew what?”

“It’s not going to get better,” Colin answered. “I know it’s not.”

“Don’t tell me that. Don’t tell yourself that.”

“I saw it, John. He’s going to die.”

“What do you mean you saw it.”

“I saw it the other night, when I was eating dinner. I saw a tombstone.” Colin crossed his arms, stretched his legs out in front of him. “It was Dad’s.”

John saw his father’s thin hands in the light of the television, imaged their absence on the sides of the recliner.

“Fuck off,” John said. “Are you still talking about that bullshit miracle-in-the- meat thing?”

His brother’s face darkened. “You don’t know.”

“Actually, I do. I know that it’s all a load of shit and that if you believe it, you’re finally letting this place get to you.” John knew his voice was shaking. He wondered if Colin had been like this when Renee had been here. Maybe that’s why she hadn’t answered John’s call about coming today.

“I know you think it’s crazy. But the more you think about, the more sense it makes. John, Dad’s gonna die, and it’s gonna be soon. That’s just the truth. I didn’t have to see the sign to know. But it just made everything so much clearer.”

“Did your dinner tell you when, exactly? I’d just like to be fucking prepared for the day my father dies. If you can see that information for me, that would be really helpful.” John’s hands tightened into fists at his sides. “I didn’t come here to listen to you talk like this.”

“Of course not,” Colin said. “You came here so you didn’t have to sit with Dad and listen to him choke when he sleeps and lean over him to make sure he’s still alive.”

John didn’t say anything. He stood up. The girl in the cubicle next to him looked up, saw his expression, and looked back down. He realized his voice was getting too loud but he couldn’t lower it.

“I’m leaving. You’re crazy. You’re being crazy.”

Colin just sat there. John knew his brother watched him leave.

IV.

Colin’s face was thinner the next time John went to visit, his shoulder blades jumping nervously at his back.

“Renee,” he said when John sat down.

“John,” John said.

“No. Renee. She’s pregnant.”

John looked at him. “Whose?”

“That kid that works with you guys at the shop. Max.”

“Fuck.”

They sat there for a moment; John drew a circle on the knee of his jeans. Colin stared at the tile, his mouth set in a proud line.

“What happens now?”

“I love her,” Colin said. “I just keep loving her.”

John asked him if he was eating, rubbed at his own shoulders to indicate his brother’s. “You look…not great.”

“How am I supposed to eat the face of God?” said Colin.

He looked like any one of the other prisoners, sullen and close-shaven. There was no seven year-old boy, draped long-limbed over the seat of their father’s motorcycle. Maybe that was someone else’s story now.

John walked out.

V.

Four days later, the phone rang at noon. John paused his movie and answered it. One of the guards at the prison said that Colin had been asking for him before they moved him to solitary on Friday, that he was unresponsive now and hadn’t eaten in three days. He wondered if John could convince Colin to eat something. The prison would make an exception for a visit.

“What’s he in solitary for?”

Someone was yelling in the background so John missed the guard’s answer. He said he’d be there later.

Colin was sitting in the room alone when John arrived, since it was before visiting hour. John sat down across from him and said nothing. His brother looked bad. His lips were cracked open and the side of his head was swollen, his ear bloody.

“What the fuck happened to you?” John finally said.

Colin shrugged.

One of the guards behind them answered, “Hit his head on the cell door. Said we needed to let him out because he’d seen it coming, and we weren’t doing anything. When we ignored him, he hit it harder.”

John felt his stomach flip. “What is wrong with you?” he asked Colin. He wasn’t sure he wanted an answer.

“I told you. They have to let me out. I saw it.”

“Colin, that’s not…that’s not how it works. I’m sorry. You have to behave if you want them to let you out.” He felt like he was talking to a stranger; Colin’s eyes were on the floor and his shoulders were hunched. John could smell his brother from across the barrier, piss and sweat and blood and something even sharper.

“You need to eat, okay? You have to. Stop being like this. It’s not helping your case.” John wished he could reach out and put his hand on his brother’s arm, his index finger light on his tattoo, wished he could feel his pulse and know he was still in there somewhere.

“It doesn’t mean anything,” Colin said.

“You need to eat.”

“I can’t. It doesn’t show me anything anymore.”

VI.

On Saturday, after a cancelled visit the Thursday before due to Colin’s time in solitary, the phone rang just after ten a.m. John picked it up and there was static on the line. It popped, and he was reminded of Colin’s shoulder, the way the guard had yanked it, the sound it had made.

“Sorry?”

“It’s Warden Darren Harvey, down at county.”

John held the receiver tight. His hands had begun to sweat.

“John, I’m sorry. I’m calling to tell you that your brother died last night. He hanged himself from the water line in solitary.”

John was silent.

“I’m sorry. I’m very, very sorry.”

He threw up on his sweater.

VII.

John and Renee went to Colin’s funeral. John’s father couldn’t leave the house, couldn’t breathe now that it was below freezing. He had maybe two months left. They had enough money for one treatment, which meant they had to choose between it and pain medication.

Renee held onto John’s arm and didn’t cry. He wanted to say something to her, like she would be a great mom, but he couldn’t say anything. John hadn’t cried at all, but when they were asked to throw handfuls of dirt onto the coffin that his father didn’t make, he felt it starting in the back of his throat.

There hadn’t been a spot left next to their mother, so Colin was buried in one of the back rows. There were only a few tombstones there. John saw one belonging to a girl who had died when she six. It was snowing and quickly covered the dirt John had thrown into the hole where they’d put Colin. John felt like he was the one who had died.

Renee dropped him off at the apartment after the service, told him to visit soon. John went to Colin’s old room and sat on the edge of the bed. Colin hadn’t been in this room in over two years and four months. John thought about calling his father but couldn’t make himself pick up the phone. He hadn’t picked up the phone since he’d gotten the call from the warden, although it had rung many times. Each time it rang, John almost picked up the receiver, imagined he would hear Colin on the other end of the line, his long voice over the static.

He realized, sitting there in Colin’s room, that Colin had always been a kind of oracle, a kind of light that could find other lights, things John wasn’t able to see. The day of his arrest: “I can’t survive in prison.” Looking at Renee when she was playing with a child in the park: “That girl is going to break me.” After their mother died: “Dad’s not going to make it”—all of it said so frankly and without a doubt. John had just pretended he hadn’t heard and looked away, always looked away.

Now John picked up a photo of the three of them, him and his brother and their father, their father dressed for work, Colin tall and proud, that had been tucked into the corner of Colin’s mirror. John was smiling and Colin was looking across the frame, his face in profile. Their father was healthy. Colin looked just like him. John looked at the photograph and tasted the stale air of the gravesite, noticed the dirt still on his fingers, leaving prints on the edge of the paper. He put it back in its place, smoothed the edge of the comforter back straight, and left the bedroom.

Incantation

I dreamed my father cracked

a wishbone
over my head and blessed me.

The sound like lit match.
Anointed with the heart of the carcass.

I wondered why he was being so good.

Of course in dreams
bones shatter like teeth: the two prongs

unsinewed, gnostic, meaning

it could happen, it can’t not happen.
So the choice was easy.

All good dreams begin with my father

blessed me, even if the blessing muddles like gravy
in the morning over crossword, bread, glass misted.

Stir it

in my coffee with a finger,
one half of the philter, his the other, somewhere out there,

black milk of daybreak and you drink and you drink—

The flesh singed gently, as in all good dreams.