the reckoning

CPH said, “too many” can be as few as three—

the magic number exposing how the trick is done,

light shifting from the blonde assistant to hands

concealed in the dark. the advertiser’s golden ratio

of aggregate melanin. the progressive tipping point

where the cool is lost from chic restaurants, the polish

from AP classroom. where they no longer feel

embarrassed for confusing Eunice for Jackie

for Miki. Julio for Erik for Hugo. where “diverse”

slippery slopes to “awkward,” “ghetto,” “overrun,” or

silent blue-eyed glances. the not flaxen straw

breaking the tolerant’s back. it’s a quaint thought.

but experience shows “too many” can be as few as

one.

 

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Review: Boyfriend Perspective by Michael Chang

Really Serious Literature, Sept. 9, 2021

Paperback. $14.95.

 

Cover of Boyfriend Perspective

 

Reading Michael Chang’s Boyfriend Perspective is like flipping through a fashion mag while reading a revolutionary’s diary. The poems celebrate their own arrival, their own awesomeness, sometimes slipping in the center to admit their limitations and vulnerability, only to resurrect themselves with wit and biting self-awareness. Incorporating poems from Chang’s 2021 chapbooks, Drakkar Noir (Bateau Press) and Chinatown Romeo (Ursus Americanus 2021), along with some new and previously uncollected work, Boyfriend Perspective is queer, Asian American, observant, fun, critical, urgent, and knows more than you.

 

The space provided by a full-length collection allows Chang’s work to explore a wider range of emotions and tones (bombastic to quiet), idea expansion (objects to emotions), and formal experimentation (free verse to haibun). Some of the best poems from each chapbook continue to function as anchors or whirlpool pieces that other poems in the collection get sucked toward or are stabilized by with linguistic or emotional resonance. The work is also a celebration of pop culture, queer life, queer sex, and the body as a sponge. The work situates itself in the world of Lindsay Lohan, mid-2000’s internet blind items about closeted celebs, Sonia Sanchez, Alice Notley, Sean Lennon, Frank O’Hara, Rick Ross, Bruce Weber’s photography, Annie Prouxl’s Brokeback Mountain, Wayne Koestenbaum, Cornel West, and ultra-famous queer ’80’s supermodel and icon, Gia Carangi.

 

Chang’s voice remains true to itself, at once contemptuous, teasing, and capricious, with moments of deep insight that feel like the cracking of an egg. One of the best qualities about their voice is its duality: a haughtiness and know-it-all attitude that rides shotgun with vulnerability, an anxiety that nothing will change despite the voice’s commands. The true emotion of the collection lies in the manic vacillation between ego and ego death. What is the modern experience but daily assaults of multiple validations and humiliations? Chang’s speaker is in all of us.

 

The collection offers a range of styles and forms—haibun, zuihitsu, short free-verse, all-caps list poems—but long lines and more essayistic or block prose poems are at the heart of this collection. These long lines tell us something: the speaker is not interested in cutting themselves off. Stylistic capitalization choices feel right in poems where power, hierarchy, class, race, capitalism, and value systems are examined and thrown up against one another. A sometimes lowercasing of the lyric “i” speaks to the vulnerability of our normally bullet-proof speaker. In “Two Shakes of a Lamb’s Tail,” Chang writes, “i’ll miss him, i’m sure, but / doesn’t it just eat at you when a boy is too perfect?”

 

“Yankee Yellow” is a prose block poem that looks to the reader to discern its patterns and associations. It’s no accident that the poem’s title is built from such loaded words; as the poem unfolds, the definitions of “Yankee” and “Yellow” start to expand, contract, or unravel as Chang places food, brand names, literature, and public figures alongside them, modifying their meaning. The repetition functions as a reminder that as far away as we wander from the phrase we are pushed back to its commanding presence. Maybe most importantly, Chang references the poet George Oppen: “Yankee Yellow Oppen’s G-string” and “Yankee Yellow New Rochelle” (Oppen’s hometown). Oppen, from the school of Objectivist poetry, provides a lens through which to think about Chang’s work. Louis Zukofsky defined Objectivism in terms of its focus on sincerity and approach to poems as objects; however, that definition may be less helpful than looking at the work as a link between modernism and language poets. The Objectivist movement was staunchly left-leaning, interested in ethical poetry, and Oppen famously joined the communist party: “Yankee Yellow commie scum.”

 

Chang’s work hovers around the influences of Objectivism, language poetry, and the coolest, wisest graffiti you’ve ever seen scrawled under a bridge: “There are two wolves named Dolce & Gabbana. First disarm them with / a compliment, defuse their racist anger.” Chang’s work becomes its own phenomenon complete with the peaks and valleys of vacillating popular trends. Each poem reads like a fashion fad or society spectating its own rise and fall, whipping in and out of style so violently that the somber truths that lie beneath emerge in gasping one-liners. In “Squeeze,” Chang writes, “Sometimes I feel like our relationship is two con artists trying to / con one another.”

 

“Incendiary Chxnxmxn” is a political language poem that appears as a code poem. When you solve for X, the first line of the poem—“AX XNGLXSH-CHXNXSX PHRXSXBXXK (1875)—becomes “AN ENGLISH AND CHINESE PHRASEBOOK (1875).” The date is important, as it’s not only the source of the found text below but also the date of the enactment of The Page Act (a precursor to the Chinese Exclusion Act of 1882), which outlawed the entry of Chinese women to the U.S. The Page Act is often cited as sexually motivated, a way to stop women of color from entering the U.S. and becoming “sexual threats” across racial lines. Chang ends the poem with a purposeful mixing of commerce and sex: “SXME MXN LXVX CXPXTXL / & SXMX MXN GXT PRXFXTS / BXY XS MXNY XS YXX LXKX / CXN YXX LXT MX SXX XT? / YXXR CXCK, X MXXN” (“SOME MEN LOVE CAPITAL / & SOME MEN GET PROFITS / BUY AS MANY AS YOU LIKE / CAN YOU LET ME SEE IT? / YOUR COCK I MEAN”).

 

“America’s Sweetheart” underscores this tension regarding objectification, dangerous power differentials, and politics in sexual and romantic relationships. “Is Brett a human boy…” the prose poem begins, and though it’s not punctuated as a question, it is one. It goes on to describe all the objects that surround Brett, the achievements he’s earned, “his hand up the skirt of some unsuspecting girl who thinks she has found the one.…” By these descriptors, we know Brett’s class, race, and gender, and we’re still questioning if he’s human. We question it because at the end Chang warns, “Brett is so happy though he never throws a tantrum in public but she doesn’t know that Brett is an undecided voter.” How can we be so close to someone and not know them politically? Who benefits from that separation? Cis, white, hetero women and privilege are clearly under scrutiny here; who else would have the “luxury” of not knowing their partner’s politics?

 

In “Rage is Just a Number,” the speaker again approaches themes of sex and objectification but this time places themself more in the spotlight: “He lets me touch him till he shudders. / I’ve learned to feed the ducks within / me. They’re always hungry. / I’m the bag of old crusts, a vessel for / your hate: flip me over, turn me inside / Out. / You can journal your disappointment/ later.”

 

The speaker sees themself as something to be used, hated even, and in this moment our speaker is naming themself the object, “I’m the bag of old crusts,” and giving permission to be objectified, “flip me over, turn me inside/out.” Chang’s work and speaker is showing us here how consent functions, how sex sometimes works as permissive momentary objectification—how that’s different than the other exchanges and objectification taking place in the collection.

 

No one is safe from this speaker’s criticism, not even poets. In “Adverse Possession,” Chang writes, “Nobody: / Absolutely nobody: / Poets: SELF-PORTRAIT AS.” Critique is a form of protest, and Chang is asking for more—more from poets, more from lovers, more from America, more from a failing society, more from you, dear reader: “sex is good, but have you ever fucked the system?”

 

Chang’s work, not unlike the abstract art it references, finds resonance in what’s universal and yet is specific in its expression and vision. Questions that arise while reading Boyfriend Perspective stay with the reader long after finishing the text: What happens when you live in a disposable culture? Do you dispose of yourself before anyone else can dispose of you? If everything is an object, should we objectify ourselves before anyone else does? In order to safeguard oneself from disappointment or disappointing others, should you state out loud you’re disappointing or will disappoint? If we observe pop culture, will we become embedded in it? If we have sex do we become embedded in our lover? Is everything an exchange? or some kind of sale, or deal, including relationships? Is everything a trend or a moment, how do we know what moments are meaningful, or is that the point? None of it is more important? What if what or who you desire (by its very nature) will or wants to destroy you? Or what if who you love will never recognize your humanity? If your lover is shallow, should you be more shallow? Is your lover’s racism, ethnocentrism, misogyny as certain as their indifference to your pleasure? Or is this complicatedly part of the pleasure? Is your lover’s kiss no more valuable, no more intimate, than watching them shit? In the title poem, Chang writes, “sometimes it’s freeing to love someone/take off ur life jacket & plunge.” With these instructions, we just might.

 

After all the questions, the Lindsay Lohan references, the Brokeback Mountain quotes, the rifling through and examining of culture and objects, we might wonder what is left? Chang writes on the last page of their collection, “here is happiness / more or less / what saves us.”

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Gravida 3 para 1

When the nurse asks if I have a surgical history

I begin to form the word of my uterus and its

 

drawing out, consider inviting her into the recovery room

filled with women giddy from their return to somatic

 

solitude, then into the smoke-filled apartment with its

futon mattress and warm bottle of retsina, reward

 

just for time, passing from before to after

it. I begin to form the word, but the word—its roundness, its flat vacuum

 

of a face—swallows its own tail. After the medical abortion

I imagined a fish, small fry flapping, and still in some Boston Harbor

 

it haunts a stand of seagrass, is haunted in turn by its half-sibling

the surgically aborted, ripped from stories

 

too. Sibling’s sibling I do not speak of, my double-standard shame, my

ill-gotten fishlet, in my mind I hold you in loving kindness and say no

 

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When I Am Dorothy Gale

The curtain comes crashing down

and there I am, ruby-footed and murderous,

doing it all for the bloated shadow

of a little man. How foolish I have been

again and again, poppy-cocked

and clumsy, letting the boom of a voice, the cast

of a giant, tease me into storming

the castle to take what I never lacked. What is

more incarnadine: the glitter of these

shoes or the myth of blood now on my hands.

I look at the man and he looks back,

the fury of being caught pinking his cheeks.

I am not the heroine, and I know that

too late. He has no power to give me, after all,

the fading of his theatrics, and if he did,

I understand he’d keep it. We all fell for green,

called it real. There’s no place like money.

There’s no seduction like a beast of sewn-up skins,

a cotton ball on fire, a thrown voice

that tells us what we want to hear. Which of us

escapes? He told the lie; I did the killing.

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The Herbalist

Before we met up in Rome, I hadn’t seen Samuel in ten years, and most of what I recalled from our conversations on smoke breaks and at parties were details about his girlfriends—the one with the long nipples whom he had loved and who’d eventually left him for her high school sweetheart; the one with a dead little brother and a penchant for being choked; the one who was ethically non-monogamous yet completely obsessed with him. Did I remember these stories because I’d been a little in love with him? Or had he simply repeated them so many times?

 

During my library fellowship in Padua, I had spent my days in the dark of the archives taking photographs of very old books about plants and my nights walking back to my apartment through the rain to eat pasta and sausage and drink vino sfuso from the two-liter plastic bottles that I had refilled every Wednesday. I knew my last week in Italy would be greener as I ventured south to Rome, but I wanted it to be different, too. I had visions of myself like Timothée Chalamet in Call Me by Your Name, suddenly young and trembling underneath someone’s hands. Why not Samuel’s? He was the only person I knew who lived in Europe, and I hadn’t been with anyone since my last relationship, the one that had made me want to flee my life in the first place. When I messaged him on Facebook, I didn’t explicitly say it was a fuck trip, but he agreed to meet me there and accepted the offer to stay in my Airbnb.

 

His flight from Berlin got in before my train, so he met me at Termini, where I was disorientated by all the flashing billboards and signs, reminding me of Times Square in a way that made me feel both comfortable and homesick. And then there was him, another flash of the familiar, a face I’d known so many years before. His blond curls were shorn, and he had a man’s face now, the boyish softness I’d once liked supplanted by a network of fine lines that extended out from the corner of his eyes toward his temples and down along his cheeks—many more lines than I had, in fact. His blue eyes lit up with his smile, and soon he was hugging me and telling me that I looked “great, really great,” which was a relief to hear after all the pasta and wine. “You too,” I told him, and then I asked if he’d ever been to Rome.

 

“Four or five times,” he said.

 

“Oh. So this is familiar.”

 

“It’s been a while. Actually, one of my best mates lives here, George, and I haven’t seen him in three years. I don’t know where the time goes.”

 

“Yeah? Did you two make plans?”

 

“Nothing concrete. I figured I’d see what you had in mind.”

 

I told him somewhat abashedly that it was my first time, and I wanted to see the sights—but he didn’t have to come with me, of course.

 

“I’d love to tag along,” he said. “The Colosseum never gets old.” The dad joke pleased me, as did the ease of speaking in English again, even though he had a bit of an affected European accent now, as vague and placeless as I suddenly felt.

 

I planned to take a cab to the Airbnb, but being less intimidated by the public transit system than I was, Samuel directed us to the proper machine to buy tickets, and then to the right bus, and after thirty minutes of swaying and conversation about the book I was writing on herbal remedies for grief and what he’d been doing in Germany—he was a sommelier, it turned out—we arrived in a one-bedroom apartment in Trieste, smaller than it had looked in the photographs, but not too small. We put our things in the entryway and explored the unit, recently remodeled to look like an Ikea showroom, white and ordinary. The only signs of life were the corn plant in the bathroom and the succulents in the bedroom window, although even they were only visible when the blinds were open. I was relieved when he suggested we go for a drink right away.

 

As we walked to the restaurants on the closest piazza, the sun broke out from behind the rain clouds that had followed me for most of the fall. No longer trapped inside a bus or underneath the arc of an umbrella, I turned my eyes toward the palm trees and umbrella pines that arced above the tops of ochre buildings up to the sky. If we were brave enough, we could sit on a patio beneath them, tempting the rain to come again.

 

We were.

 

Samuel made everything easy by speaking to the waiters in English, making no effort to go through the charade of attempting Italian after the first obligatory ciao. Focaccia and hummus arrived along with our wine, and I didn’t feel hungry, but within twenty minutes, everything before us was gone, so we ordered more.

 

It turned out that Samuel remembered more than I did from the nine months we’d worked at the same restaurant. He asked me about my brother, my parents, and of course our manager Mark, who I’d been dating at the time. “There was always something off with that guy,” he said. And there had been, but I didn’t want to tell him about the time Mark shook me so hard I bit my tongue, spitting blood out in his sink, the pink stream mingling with his beard trimmings. I should’ve quit right away, but I’d just gone on with life and the effort of loving him until it became too much. I’d kept my graduate school admission a secret, staying until the day my father drove up to help me move, and then I left forever.

 

As Samuel asked me questions, images came back to me in uncertain flashes. Besides the alley behind the restaurant, we had once talked on a brown sofa, and once on a staircase strung with Christmas lights. I’d forgotten almost everything about that time, but he remembered so much of me and who I had been then, a person I almost never thought of, and a person who was in many ways lost to me. I felt bees take up residence in my chest. I didn’t even want to remember those years when I was living them.

 

Another memory floated to the surface. Samuel had once gone to the airport without his passport and asked me to bring it from his apartment. I had searched through boxes and drawers, then sat on his white comforter in the morning light. I must have found it—it was on that trip, after all, that he’d met the girlfriend he followed to Berlin. So I asked Samuel about her.

 

He let out a long sigh and looked up at the sky, blue except for a cluster of gray clouds crowding together in the distance. He shook his head. “Fuck this,” he muttered.

 

I didn’t know what to say. “Sorry?” I asked, trying not to be offended.

 

“No, no, it’s not you. I just can’t keep talking about this shit.”

 

“If it makes you feel better, I don’t really want to, either.”

 

“God! Thank you!” he said, relieved. He lowered his eyes to mine again. “When you see old friends, there’s always this ritual, as if we can’t enjoy ourselves now without resurrecting our memories first, trying to crawl back into who we were.”

 

I knew what he meant, yet I now felt annoyed and a little embarrassed. I could feel my face hot, probably red. If we weren’t going to talk about the past, what was left? Maybe this had all been a mistake.

 

I could feel Samuel looking at me. Then, he half-stood, leaning over the table and bracing himself with one hand as he kissed me. It was a long kiss, and I could taste the wine in his mouth, rich and leathery. He pulled back and sat down again, his stained lips still slightly parted.

 

“Sorry,” he said.

 

I laughed and told him, “Don’t be sorry.”

 

We could have gone back to the apartment right away and taken off our clothes, but I think both of us knew that that would be less satisfying than prolonging the feeling between us and the question of whether or not we would sleep together—although of course we would. Really the question was whether it would be full of passion and desire, the urge to wring something out of each other, or whether it would be ugly and awkward, the simultaneous consummation and death of another part of our youth. The longer we waited, the more the desire would grow. So we walked toward the Borghese gardens.

 

Now, there was a levity to our conversation. I could feel the laughter bubbling out of my throat as we walked side by side, or sometimes, through a crowd, with him slightly ahead of me. His phone was out as he navigated the streets, so I didn’t have his full attention, but I wasn’t sure I could bear it if I did.

 

When we got to the gardens, he stopped at a picturesque cart to get us two plastic cups of wine, and then we were wandering past the Villa Borghese, which I’d bought tickets to visit the following Saturday. We walked down a long, wide sidewalk with cloud-like pine clusters above it. Soon, the sound of harp music was in the air, and we were navigating around puddles to get a view of the Temple of Aesculapius, the water reflecting the purple-streaked sky and the gathering clouds. We stood at the fence and gazed out toward the figure obscured behind the columns, but my eyes kept flitting back to my own reflection, our reflection. I remembered one particular photograph of us together at twenty-two, his arm around my shoulders. The last few hours revealed that I’d barely known him, but something had inspired that embrace and my bright gaze within it, perhaps precisely the same things that inspired the image I was looking at now in the water. Perhaps there was really something there, here.

 

Samuel looked down, and then he kissed me again, his hand on the back of my neck, and I used my free arm to pull him as close as I could, to feel the realness of him, nearly dropping my wine in the process. After a minute, though, he seemed to remember our surroundings. There were other tourists clumped around the harp player, children splashing in the puddles in their little yellow boots.

 

It started to rain. We ran back toward the museum, where there were men selling umbrellas for two euros a piece. We each got one and then, for the walk back, we were forced to stay in our own circles of protection. It wasn’t a romantic rain but a miserable one—I was wearing my suede boots with the little heels for the occasion, and they were soon soaked. I could feel my socks getting wet underneath them, my feet becoming cold, then numb.

 

When we got back, we were both drenched from the shoulders down. Samuel broke the coldness that had crept between us, taking off his jacket, his shoes and socks, all while still standing in the foyer, and then turning toward me as he took off his shirt. I saw the expanse of his chest, his lungs heaving beneath his bony ribcage, and then he picked me up and carried me to the bed in my wet layers, which he peeled off one by one. I giggled, I laughed, I tried to protest that I could do it myself, but he was in a serious mood as he warmed up each of my hands between his palms, lifted my shirt, and started to drag his hot breath down my ribs, down past the waistband of my jeans as he helped me shimmy them off.

 

You come back to that first time with someone again and again. The moment when desire was at its peak and you held yourself taut, waiting to see if it could be fulfilled. That time, it was. I realized I had wanted this for a decade. With him, I became my younger self again, but not naïve or open to abuse—just unashamed, ready to grasp what pleasure I could take without worrying overmuch about the consequences.

 

“Wow,” he said afterward. “I didn’t expect this.”

 

“Then why’d you bring condoms?” I asked jokingly.

 

“Well, I thought it would take more effort to seduce you, at least.”

 

We kissed, and I asked for him to warm me up again.

 

The first night was lost to love. I didn’t leave the room again, although he briefly put on his raincoat and pants, too rushed to get fully dressed before dashing down to buy a few slices of pizza and another bottle of wine. We went to sleep in the wee hours of the morning, and I kept startling awake from dreams. In one, we were making love on the floor of the Basilica of St. Anthony, the saint’s preserved tongue falling from its reliquary to get between us. In another, we were apart, me trapped in the belly of a strawberry bush, Samuel eating the fruit rather than cutting me out. After each, I woke and found him next to me, wound my arms around him. I couldn’t get close enough.

 

The next day, we reemerged into the world. We walked to see the obvious sites. Each one seemed less beautiful than the prospect of losing myself with him again. But Samuel had made reservations for lunch on the opposite side of the city, so we spent all day out in the bright cold, kissing in front of strangers and staring at each other and laughing at the surprise of it all. What was art next to this? All of culture, really, existed simply to try and capture the feeling that was in our chests, waiting to be looked at and stoked into flames again and again. The next day in Vatican City, I looked up at the Sistine Chapel and thought, meh.

 

By the fifth day, we had given up on the world. We tried to order in pizza, but instead we got two plastic containers of burrata, each with different accoutrement—peppers, pieces of basil, a whole tomato. We ate them laughing. I wanted to stay inside those moments forever, but of course, another urge was rising, too. I wanted to ask him, What next? He wasn’t going back to the States for the holidays, he told me—his parents were coming to Germany. And a small, irrational part of me thought that perhaps I could come, too. Nothing was waiting for me in my apartment back home, except for the gift my subletter had left on my counter. She’d sent me a photo of it along with the keys, and from the size of the box, I guessed it was a mug. Perhaps—definitely—it was too soon to meet his family, but I was willing to pay the ticket change fee for even another day, another night.

 

When the sun fell that evening, I was ravenous. Samuel had a restaurant in mind, and after a three-course meal down the street from the Pantheon—a building I had still not set foot inside—we ran through the cold to the bus stop to wait for the vehicle that would take us back to our temporary home. We found two seats, one in front of the other. Samuel sat down behind me. As the bus drove past the glorious fountains, the ancient architecture done up in wreaths and ribbon and lights, all I could think about was how to voice the whispers in my heart.

 

He leaned over my shoulder. “Hey. What do you think about going over to George’s tonight?”

 

“George?”

 

“You know, my friend who lives in Rome.”

 

“Oh. Where does he live again?”

 

He told me the neighborhood was on the other side of the river, in the opposite direction from the one we were heading in. It was past 10:00 p.m. already—not that we’d been going to bed early—and going back out into the cold was the last thing on my mind. If Samuel sensed my hesitance, he pushed right through it. He told me about meeting his friend in Berlin, and the crazy nights they’d had together in their twenties, and the fact that he’d been feeling guilty because George’s fiancée had just left him. With just two nights left in the city, he wanted to get the visit over with. That way, he and I could enjoy the rest of our time together. I didn’t have to come if I didn’t want to.

 

“No, no,” I said. “I can come.” The truth was that I couldn’t bear to be away from him.

 

We got off the bus at the next stop and hailed a cab. We held hands in the back seat, and I asked Samuel what to expect. He told me George was “a riot.” When we arrived, he leaned on the doorbell, and then we stood in the cold outside an ancient stucco building. We waited for so long I started to doubt we had the right address, but just before I asked Samuel to call, a man came down. He was short with a little bushy beard and a beanie pushed over his brow.

 

“Look what the cat dragged in,” he said to Samuel. I expected George to be American, but no, he was British. “This wanker!” he exclaimed, standing on his tiptoes to ruffle Samuel’s thinning hair.

 

“And you must be Hannah.”

 

He walked us through the lobby and up the five flights of stairs, past peeling paint and the sounds of television sets coming through the doors. Panting, we arrived at a tiny, split-level apartment with a sofa and a kitchenette beneath a spiral staircase that led, I assume, to a lofted bed. There was so little in the apartment that it was hard not to notice everything in it—the dishes in the sink, the Clockwork Orange poster on the wall, the coke on the table. I wasn’t aware it would be that kind of night, but almost as soon as we sat down, both men had done lines.

 

I hesitated, and then told them I’d have just the tiniest bit. George offered us wine, too, and I accepted, then perched opposite the sofa on a little, leather, heart-shaped ottoman while the two men caught up.

 

George told the story of his jilting with a certain hysteria, as if he couldn’t quite believe what had happened. He and Anna had known each other for a year, been engaged for six months. He’d never thought he’d get married at all, but she’d been so jealous, and in June, when he’d gone on a trip to Marseilles, she’d been convinced he was cheating. Knowing this tale was not meant, really, for my ears, I made myself small. I looked at my phone, scrolling through the photos we’d taken. George was telling Samuel how Anna had left him the first time, via text, and he’d flown back right away to swear his love and win her back. She’d thrown the ring he’d bought onto the ground. It hadn’t been good enough for her, she told him, it was a fucking piece of crap. And it had been—he’d just grabbed something pretty from a vintage store in the neighborhood; he’d thought it was about the gesture. In one of my photos, Samuel was in front of the Trevi Fountain. In another, I was in front of a blooming oak leaf hydrangea. There were none of us together. As I scrolled, I half-heard the tale of George and Anna’s reunion, how they’d finally bought a proper ring and she’d moved into his flat—this one, although it was hard to imagine a second person’s possessions inside it—and they had started actually planning the wedding, her mom visiting from Naples and sleeping on the sofa, as if there were room for that.

 

“Fuck. Women,” George said.

 

“I know it,” Samuel said.

 

“Is she your girlfriend?” George asked, and I realized he was talking about me. Trying not to look too interested in Samuel’s response, I stood up and started looking for a glass. Samuel didn’t say anything, and when I sat back down with my water, George pressed him.

 

“Well, is she or not? Would you share her?”

 

Samuel just smiled and rolled his eyes. When we made eye contact again, he winked at me. It was true that even I could see George was just heated up, but I wished someone would try and tamp it down.

 

My new love and his old friend drank more, did lines, talked. Mostly George talked, going on and on about Anna’s mom’s visits. I drank water; I drank wine. We heard about the way she kept the house, the things she made and didn’t make for breakfast, the way she made it impossible to fuck with her snores and sighs. Maybe there were signs earlier, something he’d missed.

 

“Signs of what?” Samuel asked.

 

His ex-future mother-in-law had had a dream a few weeks prior to Anna’s departure. In it, the family dog had been pregnant with puppies, but she hadn’t ultimately given birth to them. Her swollen stomach disappeared, and Anna was the one who had the litter. There were four of them, tiny and brown, and the dog was so jealous she could barely be kept out of the nursery. She scratched and scratched at the door, the paint peeling up underneath her claws, and the puppies whimpering behind it. Anna didn’t have enough milk, the right milk, and the dogs began to grow up thin and angry, their cries an unceasing, hideous peal.

 

At first, George had thought it was funny. They didn’t have a nursery, and Anna wasn’t going to have puppies, or kids, or anything. She had an IUD. Slowly, he started to understand that she was actually upset about it. She thought it was some portent of what they would give birth to together. He’d tried to make light of it, tell her he could wear a condom. Or if there was something wrong with their kids, so what? They could raise a differently abled child together, couldn’t they? As long as it wasn’t actually a dog. Hell, even if it was. But Anna couldn’t let it go. For a week, she wouldn’t have sex with him, and then when she finally did, she spent the whole time staring up at the ceiling. She cried afterwards, making him feel guilty as shit. A week later, she moved out of the apartment without warning. He didn’t know where she’d gone, George told Samuel. He hadn’t looked, yet, but maybe he should start with her parents’ place in the south.

 

Underneath the tannins of the wine, I could still feel the numb drip at the back of my throat. I wanted to relax—just an hour before, I had felt so stupidly happy—but now, the bees were back again.

 

“I don’t think you should do that, man,” Samuel counseled. “It sounds like all you can do is move on.” He tried to get me involved in the conversation, to tell George about my research. “Is there an herb he could take?”

 

“I’m a historian, not an herbalist,” I said.

 

George leaned across the table toward me and told me, “I bet you could help me forget.” Then he turned back and asked Samuel, “Seriously, is she fair game?”

 

“Ask her,” Samuel said. “She speaks for herself.” I went into the bathroom and shut the door.

 

Sitting on the toilet with my tights around my ankles, I messaged him from my phone, which I’d had the foresight to keep in my hand. I’m ready to go, I typed. I listened to the muffled talking—George was on again—and waited for a response.

 

It didn’t come.

 

I went back out and took my seat on the ottoman. I kept my phone in my hand. Now, George was leaning back against the sofa, his red face jutting toward the sloped ceiling and the square pane of glass set into it. When Samuel glanced in my direction, I widened my eyes, can we go? and he gave me a subtle shake of his head, no, not now. Or maybe we didn’t know each other well enough to silently communicate. Maybe he had no clue what I was saying. Instead of trying to figure it out, he laughed at George’s stories. He offered me more wine, and I refused.

 

“She’s not very fun,” George said.

 

And Samuel looked at me brightly and said, “She can be.”

 

“Well, what’s her fucking problem tonight?”

 

I had had enough. I stood up. “I think I’m ready to leave,” I said. And then I put on my coat and went down the stairs, my legs trembling.

 

On the ground floor, I messaged Samuel again, but he hadn’t even seen the last two. Maybe his phone was in his coat pocket. Or maybe he knew that as soon as he took it out, George would grab it.

 

I stood there and looked through my email. I read the news. I gave Samuel all the time in the world to come down and get me, but he didn’t. So I went back out into the night and tried to remember the path the car had taken. I’d been relying on Samuel to know where I was, and now I was as good as lost. I looked at my phone again and again, toggling between my messages and the map that would get me to the appropriate bus stop, but I kept taking wrong turns onto narrow, darkened little streets. What was wrong with me? Why did I feel like this? It was late, now, but as I wandered on, I began to pass couples, to see orbs of light suspended above the street. And soon, I realized I was by the American University, young people still milling around at the end of the semester. They came in groups of twos and threes and fours, everyone a part of something—as I had always hoped to be, as I had always failed to have been.

 

Finally, I gave up and called an Uber.

 

Back in the Airbnb, I took off my shoes and crawled into bed with my coat on. I clutched my phone in front of me, reading through our whole exchange on WhatsApp since October. But since we’d spent every moment together for five days, there was no record of our affair in text. I tried to think through it from beginning to end, from the first kiss to the last one just before we’d gotten on the bus. As I wrapped myself in these recollections, I first worried that Samuel would be angry at me when he came back. Or maybe he wouldn’t come back at all. Then, remembering the suitcase spilling open just to the side of mine, I began to dread the certainty that he would. I fell asleep composing a speech in my head.

 

At six that morning, the doorbell rang. It took me several minutes to find the light switch, my shoes, and the key. I took my coat off. When I arrived at the front door, Samuel had an apologetic little smile on his face. A smirk, some would say.

 

“Did you have fun?” I asked.

 

“I did. Sorry George bugged you, though.”

 

“I wanted to leave.”

 

“And you left.”

 

What was there to say after that?

 

We had only one more full day together, and he spent most of it asleep in bed.

 

Late that afternoon, we went to the Villa Borghese at our appointed time despite the fact that Samuel was hungover, actually wrecked. A part of me wanted to confront him, but another part felt pity for the way he winced in the sunlight, the lines etched more deeply on his face than the day before. And another part knew that all confrontation would accomplish was the utter destruction of the bright, sparkling feeling that had breathed between us for five days. There was still a glimmer of it as we stood side by side looking at Bernini’s Daphne and Apollo, more beautiful than I had imagined. This was the stuff of myth—pursuit and desire so intense that they make us inhuman.

 

Samuel’s flight left in the early hours of the morning, and I don’t think he woke me up before he left. If he did, the moment receded into the landscape of my dreams, which had become boring again. In them, I was arranging my photographs into files, trying to decipher lines of curling text, checking my email. When I woke up, I remembered that I preferred them to be that way. I cleaned the apartment. I packed my bags with my clothes, my souvenirs, my toiletries, and a clip from the Haworthia that grew by the window.

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Your Name in F# Major

A flamingo of a man in a pink-blush tux

plunked a single piano key repeatedly

 

for nearly an hour.

By the end of the evening

 

I heard such gorgeous silence

and sobbed. My mind

 

was in brambles and the notes he pecked

all hatched like eggs at once.

 

Every flap, every cheep

became your name and I became

 

a mockingbird. I said your name

as if I were your brother and just caught

 

you snooping in my desk

for the cigarettes I kept hidden.

 

Then I said your name

with the reverence of a child

 

learning his mother existed

as before-mother for the first time,

 

reconciling one identity with another.

Now I say it like we just met,

 

introduced by a mutual friend

we later admit we never liked.

 

I’m trying to commit

the syllables to memory

 

without making it obvious. Hi,

it’s nice to meet you. It’s nice

 

to see you again. Hi. It’s so nice. Your name.

I say it so often it loses meaning

 

the way cotton candy dissolves

so humbly and quickly

 

into a glass of water but the water

is delightfully altered, and I don’t remember

 

your face anymore

but you’re in the swirl,

 

and I drink and drink and

stay, please, with me, I am chapped,

 

chirping, I’m spun, oh sugar, oh

sweet, your

 

name, oh your name, your

sweet, invisible name.

 

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Don’t Mistake Human Remains for Cocaine

Aunt Glenda gave me and Cricket $200 to buy an urn for the ashes, and we fled. After suffering our closest (and richest) relations’ disdain and neglect from a thousand miles away our whole childhood, suddenly having them inside our small, shabby southwest Florida home micromanaging our mom’s last arrangements was a lot. But they thought we were too young to figure it all out on our own. We were twenty-two (Irish twins, eleven months apart) and fairly fucked up, so they may have been right.

 

Still.

 

Cricket and I had barely spoken since I ran away to college. Cricket and I had barely spoken before I ran away to college. Cricket and I had had little to do with each other, in fact, since we were around six years old and still building pillow forts in the over-abundant living room in the house that it turned out we couldn’t afford so we’d moved away after our mom (who was technically our grandmother) divorced her alcoholic second husband and buried her two real daughters. Having little left to give, our mom had split herself in two and given each of us half: I got her respect, but Cricket got her love.

 

So the two of us, likewise, split the universe in two and agreed to keep to our side. I drowned my adolescence in a pile of books; Cricket went with the more traditional sex and drugs. Cricket dropped out of high school; I escaped to college. But we were both burnt out by our aunt and uncle’s cloyingly perfect manners and good-breeding that day, so we were doing fine with each other for once.

 

We took the $200 and drove down to Fancy Street by the beach to find a container they would deem acceptable to inter with our mother’s ashes in the venerable family plot in Virginia. The day was moist and desolate. Hurricane Wilma had stopped by that weekend, downing nearly all the power and telephone lines, and the streets were strewn with flotsam. One whole tree had been plucked from the ground and lay on its side, its roots flipping off the sky.

 

We parked our mom’s indecorous yellow Toyota Matrix and wove our way into and out of stuffy boutiques, picking up hollow blown-glass artisanal pieces, fine, porcelain basins, and deceptively simple boxes imported all the way from Japan; in each, I tried to picture the woman who’d manhandled every moment of our childhoods, mostly from the comfort of her depression-bed, shutting up long enough to be called “at rest.” The well-coifed sales ladies looked at us askance, as well they should—we were obviously up to the worst kind of mischief—but they asked if they could help us, anyway. This sent us into peals of laughter. Could they help us? Could anyone help us? Were we even worth helping? Not according to most of our relations. What kind of help would have helped us, anyway?

 

Having no answers to these and other questions, we left before the cops could be called.

 

Cases, canisters, vessels, casks, repositories, barrels, bowls, tankards, pitchers, bins, and drums. We tried them all, but nothing was vibrant enough, irreverent enough, spiteful or woeful enough. We’d been at it for hours when our fractured nerves and our natural distrust for each other resurfaced. There were no contenders. We were at the end of Fancy Street, and it was clear that none of those ostentatious ladies believed our white-trash asses could pay for what they were selling.

 

We ended up by the pier where our mom used to bring us to play as kids, having escaped the respectable relations herself when she was much younger and Florida was still a string of quirky fishing villages. There was a kitschy tourist shack. We went in and immediately spotted a hideous pink-plastic flamingo vase for ten bucks. We bought it without conferring. Pocketed the rest of the money.

 

We brought the pink-plastic flamingo vase back to our aunt who was comme il faut in this and all things. Completely straight-faced, we handed it to her, knowing this would have made Mommy cackle. Watching Aunt Glenda’s perfectly manicured fingers shrink back, we pretended we were the idiots she thought we were.

 

“Perfect,” she said nobly.

 

 

In lieu of a funeral—our mom had been a rabid atheist—we had a gathering in the home. Even if the traditional news outlets had been functioning full-force, it would have been small. She spent her last decade razing bridges. One of her former friends, who we used to spend Christmas with, told us straight off she was there only to support me and Cricket. Our mom’s favorite cousin, in contrast, did not come because we were “two ungrateful bitches.” Neither our mom’s students nor the people she’d taught with for nearly forty years showed up. But the brassy old biddies with bad teeth and backs she’d slung fabric with at Jo-Ann’s when her retirement money wasn’t enough came out en masse toward the end of the night.

 

Aunt Glenda, bless her well-bred heart, greeted them with all the grace a Southern Lady could muster. I sat on the piano bench in the living room and tried to make small talk with everyone. It was Halloween. My one-year anniversary, exactly, with my girlfriend back at college. My brain kept catching on this fact. (When I asked her to come with me, she informed me the request was improper.)

 

Uncle Aaron said something disparaging about Provincetown.

 

“I love P-town,” I said, having gone there recently and discovered that women walked hand in hand all over town without anyone batting an eye.

 

“I bet you do,” he said, vehemently. And so my evening went.

 

Cricket got wasted instead.

 

Cricket is 4’11 and elfin—fair hair, green eyes, pointy ears, with a wyrd-witchy style. Besides our age for one month every year, and our birthright of intergenerational trauma, the only thing we share is our chest size. Though I’d never admitted this, in high school I had admired Cricket’s ability to try just enough of every drug to experience it and be liked, but never enough to get truly messed up. It was a sort of self-possession I never had. But this was not one of those nights. While Cricket was in the living room getting drunker and drunker, judgment oozed from our aunt and uncle. So Cricket sad “fuck it,” took several bottles, and went out to what used to be a garage but had more recently been our drug-dealer cousin’s room before he ostensibly killed himself in a shoot out with the police-who-never-fired-a-shot.

 

Cricket was staggering around beyond blackout drunk, so I called Little Crystal, one of Cricket’s best friends, to come over for support. She suggested Cricket try on the Pez dispenser costume that Cricket had put so much work into, and now wasn’t going to get to wear to any Halloween parties, after all. Cricket had collected Pez dispensers (and other small things) for years and had really done a great job with the Cricket-sized Big Bird Pez dispenser.

 

It fit perfectly.

 

Unfortunately, it had no arm holes.

 

And Cricket was hammered.

 

And the floor was concrete.

 

Cricket crashed down head-first. And then refused to go to the hospital. Cricket could barely speak through the alcohol and concussion but was adamant on that point. NO HOSPITAL. In hindsight, I suspect it was a fear about health insurance now that our mom had died. Even though Aunt Glenda and Uncle Aaron probably would have covered any hospital bill from that night, that would, obviously, have come with its own baggage.

 

But over the past four years, I had lost my mom, my cousin, the alcoholic second-husband, one of my best friends from high school, and even my childhood cat, who was eaten by the next door neighbor’s bull mastiff. Now Cricket, the last person I had left, was lying on the ground with a head-knot growing bigger than a grapefruit.

 

I flipped out and called an ambulance.

 

The paramedics came and examined Cricket. They told us that there was about a 50% chance of internal bleeding and long-term brain damage and a 50% chance everything would be fine. They also pointed out that Cricket’s stomach should probably be pumped. But they said they couldn’t legally force someone to go to the hospital, even if it would save their life.

 

 

Apparently, it takes more than alcohol poisoning and a concussion to kill a Watts.

 

Cricket hasn’t died yet.

 

Aunt Glenda and Uncle Aaron packed up and left—thank God—the next day. They took the flamingo and the bag of ashes, sans the little bit sealed up in a small wooden box that Cricket kept. (Though the flamingo had mysteriously disappeared a year later when they interred her in a muted marble urn.) I had taken the month off school to help pack up our mom’s things and deal with the details. But we didn’t do any of that. Cricket moved into our mom’s bedroom and then just went to sleep, like our mom had when her daughters died.

 

Week after week.

 

It had never actually been my house. They’d moved there after I went off to college to try to get our cousin away from his drug contacts, not that it worked. There wasn’t even a single drawing or stuffed animal of mine from grade school, let alone a bedroom—I slept in the fabric closet. I tried to get Cricket to do things that I thought would be helpful in the long-run, while I was there to be helpful. Cricket did not want to. Any more than our mom had wanted to. My whole life at home had been one interminable cycle of trying to make people do things they didn’t want to do so that I could survive and be happy.

 

I quit.

 

I went back to Wellesley. That semester was a mess. I took an incomplete in all my classes at my dean’s suggestion. My quantum mechanics professor demanded that I still come to lectures, so I told him I never got anything from his lectures and walked out. My girlfriend informed me that it had been very hard on her to have me gone for so long. As though I had timed my mother’s unexpected death of a cancer she’d been diagnosed with three weeks before she died in order to inconvenience my girlfriend.

 

And Cricket, who had never lived alone and unsupported, was left to figure it all out. A friend of a friend knew a friend who needed a place—a young guy around twenty—so he moved in to help cover the bills. A week later, Cricket went on a road trip. Maybe the air of depression lingered in the house when we were all gone. Maybe the guy chose that house because he was depressed.

 

Or maybe it was haunted.

 

Not long before our mom died, she reconnected with a man she’d had a crush on when they were kids. Nearly sixty years later, he was coming to visit to see if they might kindle something. Before he arrived, Mommy made Cricket take the decal of the squirrel with gigantic balls off the toilet seat. She said, “We wouldn’t want him to get the right impression of us.”

 

So Mommy would have found what happened next hilarious. And Cricket and I, well, we didn’t not. It wasn’t that the new roommate killed himself—that part, of course, was tragic. Cricket found him in the living room. But beside him, Cricket found the box of Mommy’s ashes pried open. A little was dribbled out on the floor beside him. Cricket realized he must have thought Mommy was cocaine. And tried to snort her.

 

 

Cricket and I sorted ourselves out, more or less, as the years went by. I earned three degrees, was baptized into the Episcopal church, and now live in California where I tutor rich kids, thereby assuring that those who have keep on having. Cricket moved to Atlanta and waited tables for a decade before moving to Portland and establishing a house-cleaning business that they work at when they aren’t rioting for political causes. Years later doctors found some neurological issues that may have been from that night or may have come from the beating Cricket took during more than a decade playing roller derby.

 

Cricket is the only person from my old life still alive. This is both a blessing and a curse. Otherwise, I could pretend that life never happened. Could pretend I have always been what the people here see when they look at me: a well-educated, middle-class writer and teacher, church leader, cat mother, singer, and friend. With perhaps a few more stories than average.

 

But Cricket calls and sounds like giving up, so I drop everything, in the midst of a pandemic, in the midst of wild fire season, and drive up to Oregon, even now. And try to get them to do things that would be helpful, while they lie in bed and refuse.

 

 

Cricket kept our mom’s Toyota Matrix for years as it decayed. Someone busted in the passenger’s side door. The last time I saw it, there was no window, just a rainbow-colored fleece blanket duct-taped over where a window should have been. Despite that, someone bothered to “break in.”

 

The only thing they stole?

 

That box of Mommy’s ashes.

 

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The Burnt Floor

Bronski and Janet saved for three years but could only afford a room on the burnt floor. The hotel was a fifteen-minute drive from the amusement park, all those lanky spotted mammals behind high fences, the wavelike rollercoasters plummeting from frozen peaks. The first two floors were four-star accommodations. The third, one point five.

 

The room contained two beds, frames scarred black. The ceiling was veined charcoal, the rugs blossoming with scorch marks, black ripples on a white pond. Only one wall retained its original green-and-white wallpaper. The rest curled, blackened, exposing pale sheetrock beneath.

 

At least the beds had clean sheets. They looked clean, anyway—Bronski couldn’t smell much of anything through the respirator. Each of the kids wore one, too, in a child’s size. The clear plastic window obscured little Becky’s face, dimming her eyes, swallowing her cheeks beneath twin filters. Jeremy’s was too small; the rubber straps sank into his neck, reddening his pale skin.

 

When they first started planning this vacation, years ago, Bronski and Janet had smiled at each other over the

freedom it would bring, the shrugging off of responsibilities and anxieties. But then Janet’s hours were reduced and Bronski’s company stopped handing out Christmas bonuses, and by the time they checked the online box for the burnt room, they were no longer smiling.

 

Jeremy attempted to view the park from their window, but the smoked haze of the pane was too clotted. There was a spot at the corner where a previous guest had tried to scrape away the singed layer with a razor blade. It was the only clear spot, a window within a window. Jeremy bent, removing his respirator, unburdening his irritated skin, pressing his bare cheek to the pane, squinting.

 

Bronski sprinted to his son’s side, snapping the mask back in place. “What did we say?” he asked.

 

“Sorry, Dad,” his son replied.

 

“You can take it off outside. In here, you’ve got to be safe.”

 

Then Bronski lowered himself to the small clear pane, searching for the castles of plastic and synthetic stone, those birthday cake lights strung along turrets. But he could only see his own reflection, framed by that ring of black char.

 

 

On the first day, they rode the roller coasters. Afterward, little Becky attempted to pet the lanky spotted mammals, a smile painted on her face. Bronski kept raising her up over his head, helping her get those extra feet. A staff member in a safari hat and cargo shorts scolded them, threatened to have them kicked out, but their family knew something about evasion and bled back into the crowd, an estuary emptying into the open sea.

 

Jeremy said it was the best day of his life, even though he’d thrown up all over himself and Becky after round three of rollercoastering.

 

Becky agreed as she wrung out her dress over a fountain with a marble shrew at its center.

 

“At least it doesn’t smell as bad as the room,” Becky said after adjusting her sodden outfit.

 

“Did you take your mask off?” Janet asked, turning on their daughter.

 

They’d told the kids the same thing that was in the waiver they signed at the front desk: the rooms were only carcinogenic if the air wasn’t filtered.

 

“I had to itch my nose,” Becky said.

 

Bronski shook his head, careful to not unseat the animal ears his children forced him to buy. “Just don’t do it again, alright?”

 

 

Upon returning, they crossed through the immaculately draped entranceway, thick crimson carpet beneath their feet, golden curtains obscuring unblemished windows, the waft of chlorine spilling over from the indoor swimming pool. They passed two golden sphinxes on their way to the stairwell.

 

The elevator only went to the second floor.

 

Before they could push open the heavy, pneumatic door, a bellhop ran over and sprayed them down with perfumed rose water. The children coughed and wiped at their eyes. Bronski made sure to hold his breath. The hotel called the practice scent therapy, as if it were for the good of those residing on the burnt floor rather than the rest of their guests and the world at large. An employee sprayed the concoction whenever their family entered or exited the building, like passing through a carwash.

 

Bronski held open the stairwell door with one hand, drying his lips with the other.

 

Janet doled out the respirators as they climbed.

 

 

In the early morning, Bronski woke to what he thought were bird songs, maybe those swamp crows he’d read about in the guidebook. After the haze of sleep receded, the noise more closely resembled the sound of his children giggling, the elastic twang of rubber snapping into place over bare flesh. Bronski sat up, turning to where his two children lay in bed. They were still, frozen beneath the sheets, masks possibly askew. It was dark, made all the darker by the burnt sky overhead. Bronski wondered if it was his fear driving an auditory hallucination, all those whispered jokes from his coworkers about fire-retardant swimwear. The kids were probably fine.

 

Nestling back into his pillow, Bronski had flashes of what their vacation could have been if there were only more hours in the day or an eighth day of the week on which to earn overtime. But his company no longer offered overtime, just regular time, and the burnt floor was all they’d ever be able to afford. He tried to push the whispers from his mind.

 

He rolled over and slung an arm around Janet, pulling her close, letting himself believe he’d done right.

 

 

The next day was more rollercoastering. Banks of screens showed the kids as they screamed down long drops, as they screamed at boogeymen who emerged from behind fiberglass crypts, as they screamed as their spacecraft fell from orbit. Like everyone else in the park, Janet and Bronski never purchased the photos, only snapping grainy duplicates with their cellphones. A souvenir was still a souvenir.

 

Bronski hoped that was the only thing they carried home with them. He started to worry when little Becky began to cough uncontrollably after exiting a western-themed Hey-Hey sing-along cart ride. The cough went on and on, wet and dry at the same time. Harsh to the ear.

 

“Too much singing, honey?” Janet asked, stooping to Becky’s level, pulling her close.

 

“They played all my favorite songs,” Becky stammered between coughs, a ropey line of snot connecting their shirts in a spiderweb weave. “I couldn’t help it.”

 

“You sang beautifully dear,” Janet replied, catching Bronski’s eye, her brows furrowed in concern.

 

Everyone said you had to take the kids to the park before they got too old, before the magic wouldn’t be magic. The years weren’t slowing. If he had put off the trip a few more months, he would have put it off a few more months after that, and so on and so forth until he found himself crying at songs from their childhood as he dropped little Becky off at college.

 

No, now was the only time, regardless of the money, regardless of the room, regardless of the rash that was spreading around the contours of his mask where the gasket pressed tight to his cheeks. The kids deserved their three days at the park and Bronski deserved those three days where he could be present in their lives, not some blur rushing out the door at five in the morning, only reappearing after dinner had been cleared from the table.

 

 

“It’s a great deal, but not that great,” the woman behind the front desk said, a fake smile stretching her cheeks. She toyed with a pen and sketchpad, doodling little caricatures of human faces.

 

“But I thought we had access to the pool?” Bronski said, hand on Jeremy’s shirtless shoulder, his swim trunks laced tight around his stomach, towel in hand.

 

“If you selected the upgraded package, yes, the pool would be all yours, but your reservation says you chose our economy option.”

 

“Can’t you just let us in, just this once? No one will notice.”

 

“Oh, people will definitely notice, but I can bump you up to full access for another fifty dollars a night. This covers the sanitation fees for our third-floor guests. Would that work?” the woman asked, her doodle beginning to resemble Bronski, his sleep-deprived baggy eyes, the desperate frown carving his face.

 

“But we’re already paying—”

 

Bronski’s reply was cut short by a series of sneezes from Jeremy followed by a chorus of coughs. His son covered his face with his towel, bending low toward the plush carpets. The fit wouldn’t stop.

 

“You should probably get that looked at,” the woman said. “Somewhere not right in front of my desk.”

 

Bronski wanted to scream, to tear the notepad from her hands and scribble out the insult of himself etched there, replacing the drawing with his own rendition of the woman and what he thought about her subpar service, but he couldn’t ignore Jeremy’s distress. Without another word, he steered his son toward the stairwell, through the perfumed mist of rose water.

 

“We’ll just get you into the shower, right bud? A shower’s basically the same thing as a swimming pool, yeah? Just as good, I promise.”

 

 

The third day was less rollercoastering, more snapshots with park fixtures. Men and women dressed as fairytale characters. Ridiculous confectionary streets. Castles that seemed to blot out the sun. Janet wanted to get a shot of their children in front of each landmark.

 

“Just put your arms around each other,” Janet said, waving the children together before a man-made waterfall, an animatronic orangutan eternally peeling bananas to their left.

 

“Haven’t we taken enough pictures?” Jeremy asked, his sunburned cheeks glistening, a labored wheeze accompanying the question. The kids had been lethargic since breakfast.

 

“There will never be enough pictures,” Janet muttered as she snapped the shot, quiet enough only Bronski could hear her.

 

“Can we go to the pirate ship again?” Becky asked.

 

“Yeah, let’s do the pirate thing again,” Jeremy added, before a skull rattling sneeze escaped from his mouth and nose.

 

Unlike the day before, a stream of black mucus coated his shirtfront, snot mixed with coal dust and char, a river of oil dripping onto the downtown sidewalk. He raised his hands, touching his nose, inspecting the black webbing, eyes growing wider with each second. Then he was screaming, and little Becky was screaming, and Janet was screaming, and a man dressed like a pantless opossum was escorting them to a white-walled service station behind the so-called lollipop factory. A tiny rhino attendant appeared from inside, wiping at Jeremy’s face with a towel, mopping up the black mucus, smothering his screams until they faded to whimpers.

 

“Staying on the burnt floor?” the pantless opossum asked Bronski, pulling him aside as the rhino gave the children and Janet rainbow-colored lollipops the size of basketballs.

 

“How did you—”

 

“This happens all the time. We have a protocol now,” the opossum said as he scratched his distended belly.

 

“But the manager said it was safe.”

 

“Hey, I’m not casting judgement, but I need you and yours out of my clean-up room. We charge by the minute.”

 

“Are you serious?”

 

Don’t worry, the lollipops are on the house. Just get going, alright?”

 

Bronski never imagined he’d be intimidated by a giant pantless opossum, but he also never imagined he’d put his family at risk for a few blurry photos on a water slide and a shot of his kids hugging a stranger dressed like a cute, moderately stoned alien. He thanked the opossum, shook the rhino’s hand, then escorted his family back into the sweltering summer sun.

 

The pirate ride no longer held the same appeal.

 

We’re leaving,” Janet yell-whispered into Bronski’s ear, carting little Becky away toward the parking lot, Jeremy following in a half daze at their heels, gnawing on his lollipop with sluggish bites. “You need to find us somewhere to sleep.”

 

Bronski sighed. “I can do that,” he replied, unlocking their rental minivan. The respirators were piled on the back seat, those empty plastic eyes staring back at Bronski from the upholstery as if he were the world’s biggest idiot, as if he’d fallen for the oldest trick in the book.

 

“Great deal. Real great,” he muttered as he pushed the masks onto the floor, making space so Jeremy could stretch out on the seat, the A/C breathing down from twin vents in the ceiling.

 

 

That night, they didn’t return to the burnt floor. Instead, Bronski found a public park, one with a lot of trees. They’d sleep beneath the open sky, the far-off arches of the rollercoasters hidden by citrus groves and palms, the firework show muted by distance and several freeways.

 

They found a flat stretch of ground far enough from any wetlands. All the ponds and rivers in the area had signs warning of alligators, of water snakes, of parasitic fish. Bronski laid out blankets on a layer of mulch and drying fronds, smoothing out the pointed leaves before his family could take their place.

 

The night sky resembled the charred ceiling in some distant way, the eroding blackness of it, but each breath Bronski sucked down was light in his lungs, the synthetic plastic replaced by his wife and children’s sweat, the fried chicken-finger scent clinging to their mouths.

 

“Are we going back for our stuff?” Jeremy asked, half asleep.

 

I’ll go up and get the bags,” Bronski said.

 

“That place smelled,” Jeremy muttered, tucking his face into his mother’s side.    

 

Bronski could almost smell the smoke on the wind, but for the moment, the scent of char was far off, a concern for later. He sucked in another lungful of air and lay quiet, listening for something moving in the bushes, something from those warning signs with scales, sharp teeth, mouths that could easily fit a child. He’d stay awake all night if he had to. He’d been careless with his family’s safety once.

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Review: The Last Unkillable Thing by Emily Pittinos

University of Iowa Press, April 15, 2021

Paperback, $20.00, 68 pages.

 

The Last Unkillable Thing

 

Few first poetry collections dazzle with the freshness, lyrical alacrity, and tender surprise found in Emily Pittnos’s debut collection, The Last Unkillable Thing, winner of the 2020 Iowa Poetry Prize. At its center is the tragic, untimely death of the speaker’s father, with many of the poems asking how one can bear to live in the world after such loss. And while the imagery of death and the natural world forms the foundation of this collection, the poems are never afraid to venture onward, pushing past the immediate shock of grief and into the world in which one must continue. These poems ask questions a less intrepid poet might avoid. The result is dark and stunning—raw, yet crafted with undeniable guile.

 

At the heart of the collection’s opening poem, “Assuming, once again, it’s done with,” lie the lines “A lapse in grief / is another emptiness; a space, in turn, filled by the usual remembering.” This emptiness is the space in which The Last Unkillable Thing stakes out its territory, as if to say I knew to expect grief—but what comes afterward? The poem continues, “the unthinkable / made so possible as to become fact—he vanished / and she went on,” which is a dynamic that drives the poems without constraining them. What might it mean to interrogate the self in the face of all-consuming grief?

 

Yet, while the poems focus on tragedy, they still find ways to push against the establishment of genre, experimenting with punctuation, white space, the line, the sequence, the function of form. A series of poems, each titled “After,” alternates between fragments caught in justified blocks and gorgeous, italicized long lines. Other poems, such as “With Key in the Door,” use the colon as an associative tool, as in the lines “It is impossible to quit: / forecasting an alternate life : hazy glow in which : / I am brighter : kinder : unorphanable.”

 

As the different modes of language in The Last Unkillable Thing coalesce, a rich, complex interiority begins to emerge. Death may have been the catalyst for this collection, but the speaker allows her interrogations to venture beyond guilt, forgiveness, vulnerability, longing, and desire. Often, the speaker implicates herself by speaking through the lens of an animal. In this vein, “Study of a Lone Beast” oscillates between the fear of further loss and the precarious act of weaving a spider’s web, opening with the stanza “The false widow builds her web / in a chasm—the grace of risk, / her passage of silk an act / of survival,” a set of lines which holds the simultaneous beauty and danger of living clearly in front of the reader’s eye. The poem ends in a similarly haunting stanza:

 

Suppose the worst does happen—

by sunrise the web wrecked, glittering

With snowfall, and where has she gone

the queen of this realm?

 

There’s an unmistakable beauty in the destruction of the image, the spider’s home destroyed by glittering snow, the false widow implicated in disaster she couldn’t possibly have stopped. The line “Suppose the worst does happen” has haunted me since I first encountered it in this poem, though more haunting still are the moments where The Last Unkillable Thing accepts that the worst one could imagine has happened, and that the world has unforgivingly kept on.

 

Pittinos expertly uses the tool of the poetic sequence to ground the poems in this collection, holding the pieces together with bonds more powerful than mere similarities in subject. Halfway through the collection, “She Must Have Been a Bit Green to Look At” follows the speaker as “She steps into the wool of midnight,” into isolation, where she can confront the burdensome beast of grief that lurks in the shadows of the collection, reckoning with both “the menagerie inside her” and “the colorless ghost / at her bedside by morning.” Despite its length, this sequence constantly reinvents itself, taking ever-shifting angles of approach to its subject matter. “In the night hall she rises, razes / a vase to the floor,” begins one section, painting a portrait of the speaker’s psyche with the dichotomy of day. “In the morning: mice / casually rinsing / their puny hands in a puddle. // Even they, she thinks, cower not from me,” the section ends.

 

Another long sequence titled “Subnivean (or Holding Back the Year),” which is approximately the same length, serves to build the world of The Last Unkillable Thing in much the same way, though this poem thrusts us directly into the first-person perspective of the speaker, opening with “I expected the snow, but waking stuns. / A world of storm struck white—distance / collapsed by an absence of shadow,” taking in an expanse that opens endlessly outward, enveloping the speaker in the low light of loss. Here, the language is as striking as the content is shockingly honest, as the sections are unafraid to name what troubles them. One section reads:

 

I’d be lost

without my own bright footpath: tilled snow:

cloud cover: moonglow refracted: the shotgun crack

of a bough unburdened.

Could I walk off the hours

I’ve spent ashamed, attempting a life

that would make the dead proud?

What would it look like,

how much would it weigh?

 

The section shifts boldly from the image of bent moonlight to the violent roar of a shotgun into the interior. Beyond its lushness and deft command of language, these poems, particularly the sequence poems, show the reader how the speaker sees the world—one in which cloud cover might lead to shame, in which tilled snow might represent a good life.

 

Even with its consistency and generous worldbuilding, The Last Unkillable Thing leaves room for discovery and surprise, as in the reluctant eroticism of “I Grow Less Visible” (“A silhouette can sway / a person—the woman releasing / her bra behind scrim. My breath more alive / than when held in) or the violent embrace of “It Is Not Animal to Forgive” (“A man dresses a deer—quick split, blood / guttered by rainfall—before pressing a woman / to his own soft belly). Here, the emptiness of a snow-covered field belongs just as much as the possibility of “the touch of joy,” found, perhaps, in “the belly of a bridegroom” or “the oyster / even without pearl,” adding to an overall sense of fullness that gives the collection its depth.

 

There is an ever-present danger lurking on the outskirts of this collection, as “Nightjars bed down in snow” or the eye of the poem passes over “the wood duck, displaced, alone in a shadow.” Much like the poems in this marvelous first book, human experience is endlessly complex, surprising, and unexpected, as the myriad compelling images and emotionally striking landscapes in this collection so seamlessly portray. There’s a real vulnerability in The Last Unkillable Thing that gives way to so much more, almost as if to say to be human is to grieve. And while the poems themselves are unafraid to behold beauty, they never lose sight of the pain that lingers beneath them. After all, Pittinos tells us, “Doesn’t it hurt / to be human. I’m so human I could die.”

 

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On the Other Side Is Everything

Mira Ayer knew the previous owner of the house had died there. She and her husband Adam, the new owners, were not concerned with this detail—in the current market, anything that might deter other buyers was a boon. Beverly Franklin’s middle-aged daughter and a fierce-faced granddaughter turned up for the final walkthrough with the Ayer family to hand over an impossible number of keys and an ancient garage opener.

 

“Oh,” said Mira. “I’m sure we’ll replace the garage door before we move in. But thanks.” Beverly’s daughter, eyes brimming and clutching a dried bundle of herbs that left a trail of crumbs, stayed close as Mira made her way through the house with the realtor. Mira did not want to look at the bundle or the woman; the daughter’s desperation for conversation was palpable, and Mira hoped to avoid any maudlin outbursts.

 

The granddaughter pointed out the best features of the overgrown garden to Willy and Emma: an excellent climbing tree in the front yard with strong, low branches and a homemade rope swing, and two gnarled plum trees in the side yard. Emma stared steadfastly at her cell phone while her younger brother Willy attempted to listen. Mira, at once provoked and impressed by her daughter’s rudeness, said nothing; she didn’t want to give these people the impression that they would be welcome to drop in in the future.

 

There had been little to disclose: an abandoned sump pump in the crawlspace, a broken hinge on the door of the outside shed. The house was built in 1951 and had aged accordingly. It was at least built with more of an eye toward longevity than some of the former vacation homes they had viewed above Miwok Valley’s old shipyard district. The floor had a slight tilt Mira noted during their first visit, and the geologist she hired for the final walkthrough spent an hour underneath the house to inspect the foundation. When he emerged from the crawlspace, suspiciously clean, his conclusion was the house was in no danger of moving; at some point in the past it had just settled.

 

“Didn’t we all,” Mira said, but the geologist kept his gaze fixed on his clipboard as he added up the figures on his invoice. “Excuse me,” she said to Beverly’s daughter, sniffling beside her. Mira gestured to the phone in her hand as if to make a call and walked alone to the back of the house.

 

Marshlands ran beyond the back porch, a series of looping waterways that moved up and down with the tides. Mira’s eyes followed the course of the smaller straits as they wove into the largest channel, which poured into the unseen bay. She could only trace the water’s path so far until it seemed to dissolve into the dazzling hem of the sky.

 

A spasm of movement on the pavers caught Mira’s attention. It was a pair of crows—they were having difficulty flying, flapping awkwardly to gain a foot of altitude before landing roughly on the ground. They bleated at her, their pebbled eyes imploring. Mira’s realtor and Beverly’s daughter approached from the side yard, and the crows squawked and hopped away.

 

“There’s something wrong with those crows,” Mira said. “They can’t fly. They’re just stumbling around.”

 

“Maybe they’re drunk,” said the realtor, laughing uproariously at her joke. She was in a celebratory mood, bolstered by a generous helping of the champagne Adam brought.

 

“They’re fledglings,” said Beverly’s daughter. “They’re learning how to fly. The crows used to nest in the old fir tree. My mother fed them leftovers.” Her eyes moistened once more. Mira gave the realtor a look, and despite her impairment the realtor caught its significance.

 

“Mira, I have some last documents for you to sign. If you would just follow me.”

 

Adam and the children were inside the house, drinking sparkling cider. Through the sliding glass door, Mira could see Beverly’s daughter on the back porch. The granddaughter came to collect her, and Beverly’s daughter cast a final doleful glance at the house. She produced the crushed bundle of herbs once more, and with a yodeling scream that made the realtor drop her champagne glass, threw them like confetti over the back porch.

 

 

Renovating the house was Mira’s project. Earlier that year the company Mira co-founded was acquired and her position made obsolete. Representatives from the new company came in on planes from the Midwest, smooth-faced occupiers who mentally measured the ends of her office and spoke to her of their wives while Martin, her old partner, sat with the head of the new company in the conference room. It’s not a departure, it’s a transition, Martin had said, and Mira imagined for a moment how she might burn everything to the ground, not only incinerate the office but release proprietary information to their competitors, send certain photos of Martin to his wife. When they offered her a figurehead position as a non-voting board member, she declined.

 

Adam came up with the idea that buying a fixer-upper in Miwok Valley would be a fresh start, an opportunity for Mira to “funnel her executive skills into creating something of value” for their family. Mira, while unenthused at the idea, couldn’t think of a compelling reason to stay in their cramped North Beach condo where there was not enough room to politely ignore one another. She and Adam were in the throes of something neither was inclined to address.

 

Where a younger couple would have had a baby to fix the problem, they bought a house. Mira had given up resisting the waves of inevitability; Miwok Valley was where all upper middle-class families ended up.

 

Still, she had a nagging feeling that buying this property and moving into the suburbs was an irreversible mistake. There was a tightening in this house, an invisible tether being fastened. Even Mira’s body seemed foreign to her: her pants fit differently, pulling awkwardly across her stomach and hips, her chin had lost its shape and gained a down, and the hair on her head was coarser, with more silver streaks to be kept at bay.

 

She did not expect any real difficulty renovating the house: it was only a matter of updating appliances and hardware, removing the kitschy ’70s remodel details, choosing the new paint colors. Mira had ten spreadsheets for the renovation before they closed. Yet almost immediately, she and the house were at odds. Their new home was full of rude surprises below the surface—a hidden asbestos chimney, faulty wiring in the kitchen. One of the walls in the small room that adjoined the master bedroom had an inexplicable lip; when she examined it with a flashlight Mira realized the entire wall had been mirrored and then painted over. There was a sneakiness to this house, and things that should have been easy were difficult and stubborn.

 

Adam hired Ken Russo, a local contractor who had done a job for one of Adam’s co-workers, to head up the renovation. Mira disliked Ken from the start, but Adam insisted he came highly recommended; Adam wanted to “take something off her plate.” This was the dance they were stuck in, Adam and Mira: strained niceties on an eggshell floor. Mira was unsure if Ken was even licensed—Ken was vague when questioned on his credentials, referring always to Adam’s co-worker’s recommendation. This was the coven of men, Mira thought: unspoken agreements and invisible courtesies that skittered from female observation like minnows.

 

Ken was a head shorter than Mira, with bandy legs and a chest that strained against his collared shirts. He called her “Myrna” instead of Mira so often she stopped correcting him, and then began giving her jocular nicknames on the false name. Ken was a ringmaster when he showed the work from the previous day, grandiose and eager for praise, but less articulate when it came to explaining the rising cost of the construction. His wife often accompanied him, as beautiful and forbidding as a sphinx, stationed at a little round table Ken placed in the dining room.

 

The kitchen remodel began one month into general construction. The beige relic of an oven was removed and the centers of the weight-bearing walls scooped out so the kitchen would overlook the dining room, and beyond that, the marsh.

 

“See, Myrn,” Ken said to her. “I got all that wall down for you. It’s nice and open now like you wanted. And we’re ready for the countertops, ahead of schedule. Just waiting for those countertop people you hired.”

 

“Is it—does it look crooked? There, that plywood where the countertop is going to go.”

 

Ken shifted from one foot to the other, and Mira found herself staring at his shoes, polished and heeled, as diminutive as a child’s. “Oh, no. That won’t be a problem. Once the countertops go in, it’s all going to be first class. And see.” He pointed to a spot, discolored and uneven, higher on the kitchen wall. “We—I got up in the attic yesterday and went through all the venting. It’s extra work for me but I closed up that vent you don’t need and drywalled the hole. I did that extra for you, no charge.”

 

Mira frowned. “Why wouldn’t I need that vent?”

 

“Well, you know, there’s that other vent right there in the living room. And now everything’s nice and open for you.”

 

“It’s a kitchen, Ken. It gets hot and smelly. I’m not sure why you would think we wouldn’t need a vent.”

 

Ken glanced around at the workers on the periphery and his wife, glowering at her phone on the table. “You could always get a fan. Lots of good little fans you could put right on the counter there. I can pick some up for you at the hardware store.”

 

 

Mira walked the neighborhood while Ken and his workers took their lunch; she knew they needed a break from her as much as she needed one from them. She traced the children’s path to their new middle school and took photos of gardens she liked. On the sidewalk near her house a graying specter in blocky sunglasses and a faded fishing hat stood frozen, holding an equally grizzled dog at the end of a lead. Mira raised a hand in greeting, but he remained in place, as still as an egret.

 

“Who are you waiting for to die?” he called out to her.

 

“Excuse me?”

 

“Who are you waiting for to die so you can snap up their house?”

 

“I’m your next-door neighbor,” Mira said, stepping closer to him. “We bought Beverly Franklin’s old house a month ago. We’re still renovating and not quite moved in.”

 

“I thought you were a realtor,” the old man said. “They circle like vultures. Looking for dirt lawns and Cadillacs. Waiting for someone to die so they can buy a house for cheap.”

 

“I’m afraid we’re one of those,” said Mira.

 

“Oh well,” he said. “Come over for a cup of tea once you’ve moved in.”

 

 

The side room connected to the master bedroom was a vestige from the days when women did their hair and makeup in a separate space to preserve the mysteries of female beauty. Mira had had every intention of prying the mirror off the one wall and knocking out another wall to enlarge the bedroom, but her desire to rid herself of Ken outweighed anything else. The number of necessary projects was dwindling, and with no small amount of satisfaction Mira gave Ken a final deadline of two weeks to complete his work, hoping he would be done in three.

 

Ken met her that morning with a grave face. Mira had become accustomed to the underlying intent of his theatrics; she suspected he was behind schedule, or ready to show her a fresh problem that required more money.

 

“Myrna, I have something serious to tell you.”

 

“Okay.”

 

“Last night, the guys and I were working here late. Because you know, you’re on that tight schedule, and even though these things take time we’re trying to do that for you. We were sitting there in the living room, having a little dinner break, and we start hearing these noises above us in the attic. Knocks and scraping and stuff. The guys got real spooked. You know, they’re spiritual, like me.” Ken produced a cross, gold and enameled, from beneath his shirt. It looked to Mira as though it had come from a vending machine.

 

“Probably raccoons,” Mira said. “I’ll do some research and call someone.”

 

Ken’s face furrowed. “Oh, no. No, no, no. Not raccoons. I’m religious but also what you call intuitive. I can feel energy. And there’s a bad energy here. All the guys left last night after the noises started. But I can handle this for you, Myrn. No problem. I’ve done this sort of thing before.”

 

Mira regarded Ken with incredulity. The previous week she had brought him to tears when they went over the bills and his updated estimate, even as she kept her voice low and reminded him it was business, nothing personal. Ken called Adam later that night to discuss the bill, saying Mira had grown emotional when discussing it and that he hoped the two of them could work out the business end of it. And yet here he was, resilient as ever, with a new line item for ghost busting.

 

“It’s fine,” Mira said. “Let’s move on. What’s the status of the bifold door?”

 

“Myrna, this is a real problem. I don’t know if I can get the crew to stay on. And you got children moving into this house. It’s no good. But I can take care of it for you.”

 

“Give me a ladder. I’ll check it out now.”

 

The attic was oppressively airless, and Mira’s shirt soon stuck damply to her back and breasts. The low ceiling forced her to crouch as she shone the flashlight of her phone into the attic’s dusty corners. There was a tangle of electrical wiring against a wall and a single vintage mousetrap, but no fresh tracks or scat to suggest any visitors.

 

“Nothing,” she said as she climbed down the ladder. “Other than a potential fire hazard. What’s going on with those wires?” Ken gave her a look of great sadness. He worked half-heartedly for the rest of the day, emitting the occasional sigh and leaving early. Mira knew he would not call Adam about this specific issue.

 

The children were starting school in less than a month. Mira paid Ken what she hoped was his final bill and hired a locksmith to change the locks. The moving company transferred all the items from their house in the city a week later. Mira unpacked the boxes with renewed vigor, reveling in her solitude and efficiency, the broken-down cardboard out with the recycling that Friday.

 

 

On their first night in the house Willy woke up screaming for Adam in a way he had not done since he was a toddler with night terrors. Mira, restless in her own bed, ran half-awake across the hall to her son’s room. He was in a dream-like state, wailing and incoherent, vaguely dissatisfied that she was not his father. She gathered him to her chest awkwardly, his long legs hanging off the bed. Through his sobs he tried to describe a nightmare, crying harder every time he spoke of it. Mira rocked and shushed him until he fell asleep, his gentle hiccups at her back as she closed the door.

 

She paused in the living room, gazing out through the glass patio door. Outside the marsh and night sky were an inky monolith, dimly lit by an unseen moon. It was unaccountably stuffy in the living room, the air thick and pressing upon her. There was a pressure building in Mira’s chest and she realized she was holding her breath, listening for one of Ken’s phantom noises. She returned to her bedroom, musing as she got into bed that she would have to get into the usual things—yoga, meditation, acupuncture—whatever people did when they were having some sort of midlife crisis.

 

 

Mira had taken to visiting John Brodie, their ancient neighbor, in the afternoons before picking the kids up from school. He had waited for her one day on the pavement outside her house. “I’ve come to collect on our deal,” he told Mira. His dog had died and he needed someone to converse with.

 

On her initial visits Brodie served Mira tea, but they soon fell into conviviality and stiff drinks in etched tumblers. The friendship surprised Mira. She normally found the paternalism of older men irksome, but Brodie had a plain way of speaking she enjoyed, one that did not treat her as young or old or incapable of understanding or arguing with anything he said. Mira thought he must understand women in a way few men did.

 

Brodie had lived in his house for nearly sixty years and knew much of the history of the neighborhood and its inhabitants. His memory of past and present events had a certain fluidity, as if all time existed on the same plane in the boozy glow of their afternoons. He told Mira the channels in their backyards were man made. Before the township cut the channels, storms and king tides would bring the waters of the bay right up to their doorsteps. Herons and egrets overtook the backyards of the houses bordering the marsh and Brodie could fish from his patio, once even catching a small leopard shark. The constant threat of flooding made the neighborhood a wilder place, but also a more interesting one.

 

Mira offered to host some afternoons at her house, but he always refused. Brodie had a strange hostility about her house, as though it were a neighbor he had had a falling out with.

 

“Bad juju at your place,” he said. “I haven’t been since before Beverly died.”

 

“Jesus,” Mira said. “You’re as bad as that sham contractor.”

 

 

The Ayer family had been living in Miwok Valley for nearly half a year when the smaller things in their house, knickknacks and decorations, started to rearrange themselves. It was as if everything in the living room had shifted, only slightly. It was so imperceptible that Mira wondered how long it had been happening before she noticed. Her first impulse was to dismiss it as her imagination, or to credit it as the collective work of her husband and children.

But one day she realized the wall clock in the living room had moved at least six inches from its point of origin. The clock was memorable because Mira had agonized about where to place it; it required a sturdier nail for hanging, and she did not want to pockmark the wall with her mistakes. There was now no evidence or nail mark at its original position, no scrapes across the fresh paint to record its journey. Adam sometimes took it in his head to tackle a minor house project without notice, but this was not his work. This was elegantly and invisibly done.

 

The smaller objects of the house shifted fractions of centimeters each day, as if on the same plane of some gently twirling surface. Mira did not understand how the items moved; she only observed each day that they had done so. She said nothing to her family, waiting to see if one of them would comment on the changes in their home. It should have been obvious to them; they spent more time out of the house than she did. But her children were too absorbed in their new school, their activities, and their social lives. Adam also said nothing, even as he had to scoot the rolling chair in their home office to match the slowly moving desk.

 

 

“Do I look different to you?” Mira asked Emma. Adam was staying late in the city for drinks with his co-workers, and Mira and the children were waiting for dinner to finish up in the oven. Mira had subscribed to one of those meal delivery kits that condensed meal preparation to opening plastic bags and heating their contents. Tonight’s chicken parmesan was beige when it came out of the package, so Mira chopped up garlic and added the purple potatoes she bought at the farmer’s market. Emma, sitting at the dining room table, looked up from her homework and considered Mira.

 

“You look like a mom,” Emma said.

 

“Well, that’s refreshing.”

 

“Like a mom mom,” Emma clarified. “Not like one of those underage hot moms.”

 

Mira stood before the hallway mirror, the reflection of the marsh behind her. She knew she was becoming objectively less attractive. It wasn’t her imagination: Adam had difficulty looking at her directly, as if she were a too bright sun. Her entire face was different, changing in small but accelerated degrees. These things happened to women; they lost their youth and the world averted its eyes so it wouldn’t have to witness such a thing.

 

Mira felt curiously dispassionate when she considered it. She was more interested in tracking the recession of her beauty than chasing it. She was noticeably older—at once brittle and soft—but her skin was brimming with electricity. She got little shocks when she touched things: the decorations that kept moving, the children, Adam. It was the glimmering of something, a shoot pushing through resistive earth.

 

 

After discovering the house’s movement Mira spent most of her days inside, leaving only to take the children to school or to run the most necessary of errands. She stopped visiting John Brodie; it was enough of an effort to keep up with her family’s conversations. The house was still her secret, but Brodie might be able to pry it out of her. Sometimes he would pause at the pavement in front of her house, coming no closer than the farthest edge of the walkway before moving along.

 

Adam asked if she might want to do more things out of the house—join the school’s PTA, see if there were any local volunteer opportunities. He couldn’t imagine what she did all day in the house. It was fine, he stressed, after working hard for so many years. He just couldn’t believe she was satisfied with so little to do. Mira did not debate her husband on the exhaustiveness of domestic duties. She did not tell him things were moving in their house, all the time, and that it was more than enough to keep her occupied.

 

There was a spiraling structure to what was happening, the items always moving in the same counter-clockwise manner. Pictures of the Ayer family, arranged in a deliberately casual manner above the living room mantle, left their position and traveled across the bifold door. They passed over the dining room, the thin stretch of wall above the open kitchen, and orbited back to their original spot by the time the children returned from school.

 

The largest concentration of activity was in the living room and lessened as it radiated outward to the surrounding rooms, the decorations and furnishings moving at a slower pace in the kitchen and bedrooms. Mira sat for hours in the living room trying to catch the movement but she could not—not out of the corners of her eyes, not even as she was sure the couch itself had shifted while she was on it. If she had some way to graph the movement, she was certain it would have a natural symmetry, like the innate geometry of a nautilus shell.

 

The objects in the side room—the room that had evaded major renovation—did not move at all. Mira had furnished it sparsely when they first moved in, and now she brought in additional decorations to see if anything would change, but the room remained still. Mira didn’t know what to think of it, this static refuge in an ever-moving house. She ran her hands over its walls, trying to find a pulse, but instead the brimming shocks in her hands quieted.

 

Her fingers found the wall’s mirrored lip, and this seemed to be a clue, an invitation even. Mira retrieved a screwdriver from the garage and picked at the edge. A chunk of the mirror broke off, and as Mira turned the piece over in her hand she caught a glimpse of her own face. When she saw herself she felt the electricity return, whisking the blood back and forth in her veins. She was overcome with the need to see the mirror in its entirety.

 

Mira drove to the drugstore and filled her cart with nail polish remover. The checker hesitated as he rang the last bottles up but said nothing. Though she intended to start the next day once everyone was out of the house, as soon as she returned home she doused a rag with the remover and held it to a section of the wall. She scrubbed furiously with the rag and scraped at the loosened paint with her fingernails.

 

There were layers of paint—not just the warm gray Ken’s painters had applied, but a light peacock hue Beverly must have chosen. Mira was covered in sweat and slightly high from the fumes of the acetone. She scrubbed until she saw her own face in the speckled mirror, blurry, as though it had not yet found its final shape. She could see the channels of the marsh behind her in the mirror, even as she knew the marsh was in the wrong position; it would not be reflected here. Mira’s eyes followed the winding lines of the water in the mirror until she was dazzled. The room had gone humid. She scoured and scraped until she felt the walls of the room start to awaken.

 

“Mom.” Emma’s exasperated voice cut through the thickened air. “Mom, I can’t find my….” Her voice trailed off. “Dad!” she shouted. “Mom has scratched up the wall! Come and see it.”

 

Adam shuffled in, and seeing the mirrored wall, was quiet. “I thought we were going for beachy minimalist,” he finally said.

 

 

Adam’s company was having its annual employee review period, and for two weeks he would have to work extended hours. After sitting down with him and bearing his interrogations about her afternoon with the wall, Mira convinced him she had only suffered a moment of renovator’s remorse, exacerbated by the inactivity of her days.

 

Mira stayed out of the side room and volunteered at the children’s school. When she came home in the afternoons with Willy and Emma, the house’s silent admonishment pressed upon her. Mira had grown uncertain after her day in the room; she did not trust herself or the house. She remembered what Ken had said about bringing the children into the house, and it occurred to her that she had failed them on some basic maternal level of protection.

 

But the children remained blissfully unaware of anything that did not revolve around them. They were mildly embarrassed to have Mira in their classrooms, re-shelving books and filing paperwork for their teachers. Emma did not acknowledge Mira on school grounds, and Willy gently asked if she wouldn’t want a real job, like she used to have. Being in the classroom was unbearably dull, and Mira wondered what the house’s decorations were doing, if they had frozen in her absence or if they continued in their fatalistic pattern.

 

Adam left early for work Monday morning, and Mira decided she would not join the children at school that day. After dropping them off, she stood on the pavement outside the house, its half-drawn windows staring back at her. John Brodie was watching her from the window of his living room and raised a hand of greeting.

 

Two crows perched on her porch’s railing. Mira was sure they were the same crows she saw when they bought the house, but they were no longer awkward—they were fully formed and beautiful. Brodie, his face stern, beckoned to her through his window, clawing the air as though he could pull her to him. Mira’s hands, static since her afternoon in the side room, were tingling. She turned from Brodie and made her way up the stairs. As she approached, the crows launched themselves into the sky, their feathers gleaming like oil slicks.

 

Adam had kept the door to the side room closed after Mira’s incident, but now it was open, and Mira entered and sat before the mirrored wall. At first she saw only her own reflection. She stayed there so long she memorized every line of her body, even as it changed before her eyes. Mira stayed in that same place until something within her constricted, and time circled and doubled back on itself. Parts of her were trickling out, and new parts washing in.

 

 

The sounds of her family on the other side of the door, increasingly distinct, pulled at Mira. When she emerged from the side room, it was night. All the lights in the house had been turned on. The contents of their home, all the furniture and knickknacks, were in a violent circle of disarray, as though they had been placed in a giant blender with no lid.

 

Willy let out a cry when he saw her, and Emma pressed against her father’s side. Adam stared at her nakedly, unable to wrest his gaze from her face. She was irresistible now. The hallway mirror reflected what her family saw: her body had devoured the little shocks. Her face and chest were a droughted landscape, raised and scarred. But her feet—her feet were just skimming the ground. She was strong and graceful, like a dancer. Mira laughed, and that too was new: percussive, an echoing rasp of a sound. Behind her in the mirror, the waters of the marsh had broken free of their forced channels and were lapping at the back porch.

 

Her body was molten, and the cooling waters of the marsh beckoned. Mira swept past Adam and the children into the awaiting evening, her electric fingers propelling her forward through the night like a breaststroke.

 

It’s not a departure, it’s a transition, the bracing air sang. She wasn’t leaving—there was no here or there anymore. The waters of the marsh held a duplicate of the night sky. They met Mira with the grace of a practiced host, welcoming her home, and removing the rest of her burden like a cloak.

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