Two Poems

Breakfast with My Spiritual Advisor at Sunny Side Café

His first job out of school was working

as a hospital chaplain at Mercy,

sat bedside with the dying

 

for a living, and he tells me what

it was like to wait for the joints

in their fingers to go loose like he

 

was letting the fish steal the hook to swim

back off into scripture with.

Out down the road

 

the early service releases and a ringing

tower sends off the congregation

with the old, irregular style bell

 

ringing that signifies to me an actual

human is somewhere down there tugging

one end of some rope that crashes

 

a lead tongue against the hollow insides

of cast iron. You hear that, I say,

pointing with a slice of bacon to the air,

 

and he says they’re an expression of joy

meant to help us forget our sadness

for a minute or so, and I say

 

it’s there though, pointing at my heart

with the bacon, the sadness, even

when we let ourselves forget it,

 

same as it’s always been,

the heartache and the thousand

natural shocks that flesh is heir to.

 

He says he prefers Blake

over Shakespeare any day of the week

when it comes to either sadness or joy,

 

To see a world in a grain of sand, he says

and a heaven in a wild flower.

When the ringing quits

 

I say I prefer Frank Stanford, which

is a damn lie, but I don’t tell him I actually

prefer my wife’s hair slinking down her back

 

though I do, or that I prefer sneaking out at night

for a cigar on the porch in early fall,

or that I’ll always prefer to bury the light

 

and put on the darkness like a pair of wool socks

with a hole in one of the big toes

over Milton or Jesus or Sappho.

 

There are houses so broken

they aren’t worth fixing, and sometimes

that’s exactly how I feel. Waterlog turned

 

to dryrot turned so useless you couldn’t

sink a nail. Sometimes my wife whispers

she loves me from the other room and all

 

I hear are bells. Other times, there’s only

a lonely wind passing through the storm door

whispering almost nothing at all.

 

Art Fair

I came to meander through open-air booths erected

in the name of self-taught metallurgical fiends

who curl lengths of iron into abstract lawn décor,

 

in the name of grade school art teachers

who scrawl feverish landscapes into the night,

in the name of potters who breathe and bellow fire

 

into backyard kilns, in the name of woodworkers

who turn burlwood into bowls for still-life prints.

I came here because there exist people with second lives

 

that last longer than the first, and because we all

eventually fall into the shapeless crowds who wander

these grassy lanes like ghosts who’ve fallen

 

into portraits tacked in museum galleries. If I fail

to bargain down a smear of moon oil on canvas, just watch

me move in on that bloodwood cutting board,

 

or that hand-twined chandelier, because there’s a price

in my head that’s incapable of change and all it takes

is a bit of small talk and to look someone in the eyes.

 

I once convinced a man at a roadside fireworks tent

to knock ten bucks off a 12-pack of Mississippi Gambler

mortar shells so I could paint the night with more color

 

than you can imagine, and he just sat back into his body

and his impossibly quiet lawn chair. Just sat back down

into a life defined by a carnival tent of powder and fuse.

 

Listen, I came here to feel a rougher art rush through

each one of my eye’s billion vessels, because color

and form, and because far from the Louvres

 

of the world artists still find ways to fashion

grief into the arcades of other people’s hearts.

Because somewhere near these tents meat smoke rises

 

from pork fat spit into embers, and because somewhere

there is a moveable stage upon which a bass player

slowly unlatches his case, and because soon enough

 

the lights of this art fair will begin to dim, and each

one of us will drift back to the silence of our homes

where we will each unearth from slumber the stud-finder

 

level, hammer and a single nail in order to hang

an image upon the dining room wall

where before there was nothing, until now.

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Logos

The beginning of Virginia happened . . . when? That moment is lost in time. Early on, she was at the edge of my consciousness but still a writer whom, even as an English major, I had never read. Woolf wasn’t on the syllabus in any of my classes—not required reading in those days just before there were courses in feminist literature. After my graduation, I read Woolf with a vengeance. I liked the experimental novels well enough—Jacob’s Room, To the Lighthouse, The Waves—but what intrigued me most was the gradual publication of her letters and diaries.

 

That wealth of material gave me a window on a life radically different from my own. For a period of years, I felt as if her friends were also my friends, and that the conversations she participated in were as important to me as they were for her. It was easy to achieve this intimacy. The diaries and letters are filled with minutiae, nuanced insights, deeply personal impressions, and remembered conversations. They offer more information than most people ever reveal about their lives. The details are so extensive. It would probably be possible to chronicle Woolf’s daily life for decades.

 

I learned about her sister, the painter Vanessa Bell, and about Virginia’s marriage to Leonard Woolf, a Jewish writer, editor, liberal politician, and the man with whom she founded the revolutionary Hogarth Press. I was fascinated as her relationship with Vita Sackville-West unfolded, a love affair between two married women, flirtatious and communicative—resulting in the high humor and euphoria of Woolf’s novel Orlando—only to find a quieter resolution as they drifted apart.

 

What attracted me to Woolf? My life was completely unlike hers. I was not born into the London literati. I had my origins in a small town in northern Wisconsin. I had no famous father and no brothers at Cambridge. We definitely did not spend idyllic summers in Cornwall in a large house on the English seacoast waited on by servants, walking the beach, and playing games of cricket in the garden. My family took car trips across the American West, slogging along the interstates to see our country, camping out to save money, and eating macaroni and cheese out of a box.

 

I came from people whom Woolf might have dismissed or even despised and ridiculed—from farmers, mill workers, and civil servants, from those who were uneducated, at least by Woolf’s criteria. My people did not read books as a means of understanding the self, defining feelings, or interpreting the world. They worked. They were mostly just trying to survive and get by. I came from them, and yet I still wanted to be like Woolf. I wanted to write. Virginia became, at least for a decade, my higher power.

 

 

It’s 2006. My friend Nancy and I are touring London. I am here partly in pursuit of my mentor—Virginia Woolf. At this point, I’ve read everything she’s written. I’ve waltzed through that embarrassment of riches—the printed pages she left behind—her novels, letters, diaries, essays, and articles. Now I’m walking the streets she walked.

 

It’s dusk when we board the London Eye for a bird’s-eye view of the city beginning to turn on its lights. In our glass car, we rise and fall while feasting on this unparalleled view of London. Although it undoubtedly looked different in her time, this is Woolf’s city—a place she inhabited in all ways. After the ride, we choose to dine at the café in the crypt below St. Martin’s in the Fields. I order mushroom stroganoff with delicate new potatoes and a fennel salad. Nancy has a dish with steamed broccoli, cauliflower, and Savoy cabbage. Our globed glasses of white wine fracture light into the vaulted space.

 

It’s wonderful, yes, and isn’t this a moment Woolf might have chosen to memorialize? It seems to me I should write about it. What are we saying to one another? What are my thoughts and impressions of this day? If I don’t get this down somehow, won’t it be lost forever? I wonder. Does that really matter? Isn’t it enough that Nancy and I are here sharing this moment?

 

Later, I lie awake with jet lag thinking about Woolf’s second novel, Jacob’s Room. After a galloping romp through a young man’s life at Cambridge, we learn that Jacob, the protagonist, has died as a soldier in World War I. The final scene of the novel has Jacob’s mother and one of his friends cleaning out his rooms. They find Jacob’s papers strewn across his desk as though he had left for a stroll in the park.

 

There’s a horror in this vision, a sense of futility and emptiness. A person—vital and rich with life—is suddenly gone. The novel poses the ultimate question. What is left of all that sensation, what remains of so much rich lived experience once the person has passed? It occurs to me that, in her novels, Woolf is almost always writing toward the same end game. Yes, this is happening—this vivid and incredibly complex life tapestry. Yet, it’s also disappearing. Suddenly, because of either time or death, a chunk of it is gone, lost forever.

 

Woolf’s most autobiographical novel, To the Lighthouse, chronicles a family’s summer in Cornwall. But those moments are also lost. When they return to the house on the shore years later, the whole emotional tenor and tempo of their lives has changed. The mother has died, leaving them to struggle. The long-awaited trip to the lighthouse takes on a completely different meaning than it did on a day in the distant past when it was impossible to go because of bad weather.

 

At the novel’s end, Lily Briscoe, a peripheral character, takes center stage. She is a spinster and a Sunday painter, a woman not taken seriously by the male-dominated art world. Yet, she perseveres. Lily is at work painting the Cornwall scene when the family returns. Finally, almost giving up in frustration, unable to express the whole as she sees it, Lily declares a truce. The painting must be finished. There’s nothing more to be done. “I have had my vision,” she announces. And this seems the best we can hope for—to have that vision and attempt to record something about it even as the moment is passing.

 

Woolf tries to preserve those moments that don’t last, the globes of being and experience that simply disappear. She seems to be saying it’s important to celebrate the freshness, newness, and immediacy that make the world overflow. But the other side of this promise is the tragedy of time passing, the heartbreak of death and loss. I can clearly see this is Woolf’s vision. But is it mine?

 

After my trip to London, sick of the insistent need to turn every experience into copy, I stopped writing for five or six years. I told myself it was enough to have my experiences without constantly formulating words to describe them. It was an immense relief.  My mind felt free. And yet, there must have been something of a warring voice within me because I saved my notes—notes about that day in the city and the meal I shared with Nancy. I must have believed that, one day, I would need or want them, and I did.  But when I finally began to write again, it was with a different attitude. I knew I could live without writing, even without Virginia.

 

 

The Buddhists say that, to become enlightened, you must actually kill the Buddha, meaning you must destroy your idols. This comes from an old Zen koan attributed to the Zen Master Linji, a Chinese Zen Buddhist monk who founded the Rinzai sect of Zen Buddhism and who died in 866.

 

The saying says: If you meet a Buddha, kill the Buddha.

 

I guess I did this to Woolf after my trip to London. Not that I actually killed Virginia, but I doubted her. I saw her as a person, brilliant but limited, part of her own time, her class, and her culture. Woolf gave me a window on her world but not a passage into it. She had been my teacher, but perhaps I had learned what I needed to learn from her. She taught me to pay attention, to notice details, to hear my environment, and to listen to my own thoughts.  At this realization, there was disappointment and a sense of loss. It felt a bit like losing an old friend either to death or indifference. It’s all well and good to have idols, but suddenly, I knew I would never be this person who spent three weeks touring Greece with the painter and art critic Roger Fry.

 

Woolf’s festival of words took me somewhere. She got me to London and enriched my time there. But in the end, I returned home, leaving England for my own geographical and personal world. My physical and spiritual home for most of my life has been the northern boreal forest of North America. It’s a place where I walk on footpaths between towering trees, a place where I count my breaths while listening for the air rush of bird wings. This is where I belong.

 

This winter has been a hard one. Nearby, just off the footpath, several crows feed on the remains of unidentifiable dead animal. Busily tearing toward the center of the carcass for red meat, the two companionable black birds ignore this approaching human. Likewise, a soaring red-tailed hawk offers me no greeting as it flies overhead and beyond my field of vision. As I tread my forest path, I experience the spaciousness that exists outside and beyond words.

 

Don’t get me wrong. I love words for their capacity to partially tame the world’s wildness. I adore them as they lean into metaphor and traverse distances. But I see their limitations. Words are temporary containment fields. I believe that, although words were her medium, Woolf understood this. She was always writing into the void, always using language to push toward the no-word zone. In novels that exist on the margins of human experience—Jacob’s Room, To the Lighthouse, The Waves—Virginia has taken me to regions where there is simply nothing more to say.

 

What can we know of poor Jacob after he has passed? Lives and loves succumb to time. Individuals exist for a while and then they are gone. The waves roll toward the shore, relentlessly washing away all footsteps on the beach. Eventually, through her suicide, Woolf crossed the ultimate barrier. No one could follow her into that beyond. Still, during her lifetime, Virginia returned to the place of making again and again. She tried to hold her ground even as that ground was slipping out from underneath her. She had a faith I sometimes lose. When I tire of carefully wrought language, I leave my writing desk and head into the woods seeking the place of no-words.

 

Entering this wordless zone is another way of killing the Buddha. But I know he isn’t really dead. I’ll be back at my computer soon enough. Tall pine trees creak in the wind. It seems that, though it is incomprehensible to me, they speak in a language all their own. And suddenly I get it. Virginia is the hawk flying away from me. She was here but she’s moved beyond my field of vision. I can’t say where she is now or what she is like. I’m not even sure what I am like, but I am resolved. I turn back on the path that will take me home. My house isn’t far away, really no distance at all.

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Her Affective Labor

Dear Z: The Zygote Epistles by Diane Raptosh

Etruscan Press, 2020

Paperback, 116 pp., $17.00

 

Cover of Dear Z: The Zygote Epistles by Diane Raptosh.

 

Diane Raptosh is the poet of the unlikely.

 

Of course, any creative act in itself is rather unlikely, whether it is the cosmic creation ex nihilo in which the universe is manifested out of an accident of strong and weak forces converging and dissipating, leaving some errant subatomic particles behind to crash together for the big bang, or the simple clapping of hands, a rhythm, a disruption, a repetition. A creative act is the convergence of everything, an impossibility, which only has to happen once, and there it is: the dreamy reverb by David Roback, the breath between H. D.’s lines, the abdominal contraction before Bill T. Jones’s turns.

 

Over her thirty-year career, Raptosh has produced wicked, loopy, political, surrealistic, and unforgettable poetry: experimental and wild, a free-roaming poet of the Idaho sagelands. Her work leaps madly into the mud-pools of language with a child’s abandon, but with an intelligence that is hard, uncompromising, and disturbing in its own playfulness.

 

Dear Z: The Zygote Epistles completes Raptosh’s verse trilogy, a project nobly supported by Etruscan Press. The first in the series is American Amnesiac (2013), a book-length, ghazal-sequenced monologue spoken by a former Goldman Sachs exec, who seeks to recover his identity, to reconstitute himself as an improbable and decent citizen. In the second book, Human Directional (2016), Raptosh leaves the individual to explore the collective and atomized human consciousness via a slapdash of prose poems, exploded catalogues, and single-line jokes. In her trilogy, we are stuck in the hell-scape of an American post-capitalistic society: racist, punitive, commodified, cruel, and degrading. Yet, multi-vocal and therefore hopeful, precisely because of the fissures and fractures that occur amid all the digital noise.

 

With Dear Z, Raptosh brilliantly answers this world with a set of letters addressed to our pre-embryotic, single-cell existence: a single fertilized ovum, a “love speck,” which drifts down the fallopian tubes. Perhaps finding purchase on the uterine wall and becoming, and perhaps just being flushed out of the system entirely and not becoming. We will find that in Raptosh’s poems this difference matters perhaps less than we’d think.

 

The voice is materternal, not that of the mother but of the aunt: intimate, loving, world-weary, and transgressive. It is a voice that is fully queered and unmoored, wholly original:

 

Dear Zero,

 

Most humans evolved only once—in what’s likely

East Africa, 200,000 years ago. So don’t freak

 

when I shout out We share the same mama:

Mitochondrial Eve. Unlike the one in the Garden

 

of Eden, mtEve was not the sole woman on Earth,

but the one who made her descent into everyone.

 

So pray tell, teeny homunculus, as the line

from “Time of the Season” by the Zombies,

 

that British Invasion band, goes: Who’s your daddy?

 

Please know that should you come be, Big Data

will quickly conceive you as processing stream,

 

a more or less numeral entity—lacking internal lyric:

that giddiest hymnal. That solemn bee. The think feeling

 

fist that is inwit. Queerest iota, does this kind of talk

smack of hokum-humanist seething on my part?

 

Our shared mother mtEve was mostly a kink of statistics,

a ringing quark of a person: a true lovely, who probably

 

knew to venerate horses.

 

Here is a whirlwind of what Raptosh does so singularly well: the careening slant rhymes and punning, the clack of assonant syllables against sharp end consonants, and the driving free associations that make perfect sense. But amid all this dazzle, Raptosh is in impressive control of her material.

 

In this passage, she isolates “inwit,” a word she introduces in Human Directional, and a word she parses out in her essay, “Poetry is Where the Action Is”:

 

. . . inwit suggests the inner senses and interior sensibility: that collection of inner faculties the poet sets store by. Inwit is, by my reckoning, the very womb in which the poet thrives.

 

It seems to me that the entirety of Dear Z is an exceptionally crafted articulation and enactment of inwit. Indeed, one suspects it is a quality deep in our mitochondrial DNA, somewhere in our circuitry, we just know we must somehow “venerate horses.” Our capacity to engage in affective labor—to love, to imagine, to be awed, to empathize, to connect—surely comes from that first “mama” that Raptosh names.

 

Throughout these letters to the zygote, the speaker faithfully accepts the binary of becoming and not becoming, and she celebrates this suspended (and free-falling) state. After all, even the zygote that does “not become” has “been,” a sack of genetic coding as ancient as the first evolution.

 

Dear Z,

 

in the presence

of your latency—

 

that vacant shoe,

those shades

 

of facelessness—

let’s say

 

I think I feel

the sound of dots moving.

 

Our ancestral connections, both to the past and future generations, are but Morse code taps on our own genetic coding. We have the same mother running through us, the sound of dots moving. An un-extraordinary miracle-mirror. A tapping. Let.us.be.k.i.n.d.

 

Diane Raptosh gives us a speaker who possesses that womb-wisdom, who is generous and critical in her advice, especially when the news is harrowing. We have a great poet among us with commitment and daring and craft, who teases us and indulges us with her unconditioned and unconditional wisdom.

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Santa Maria Novella

Florence, Italy

 

Outside the Santa Maria Novella basilica, I draw belief

in God for hours on a bench and local and foreign

visitors watch me watching faith. We all stare down

 

the church. Revisit and retrace an object

as if it can save the millennium, as if it can save me.

I am drawing to you, Love, in straight black lines

 

as a spectator’s wrinkles deepen. Who is on the watch

for angels and Satan as millennials take self-portraits

filtered to Beautiful for hours in front of the church?

 

As if to follow as if to Like as if to Share as if to Friend

as if to Capture as if to Block as if to Leak. Is this social

media faith’s purgatory? Please believe in my selves.

 

Inside my real body, frescoes. Frescoes and sketches of

now dead little i’s and little u’s then purportedly loving.

Love™ – a façade as flat as the green and white lines

 

mapping the face of the Santa Maria Novella.

All one hundred people in this square freeze

to view order for seconds and minutes and hours

 

and the lovers kiss and hold it as if Love’s relics

as I wonder who will be discarded upon homecoming as

if trash blown up dew-slicked streets of East Walnut Hills.

 

u and i kissed and held it for years

in America to peel off the monochromatic

color scheme on Satan’s dividing palette yet

 

my image you displayed for no one. Unaffirmed,

unshared, you ghosted me. Our love—my grave.

 

Behind the basilica, the sinking sun births shadow-

twins, keeps loneliness company. Couples go silently

away. Nights, I pretend to be Loved™—paint God.

 

Where the tour

 

Where the auction

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Like Fireworks, Far Off

As if chrysanthemum fireworks flaring

gold, blue, red—brief, phosphorescent

amoebas throb, pulse. Next, a galaxy

of green stars spins out of existence.

Then, a flurry of supernovas

 

flare and fade. After, a comet-like

streaking ends in a white flash. All the while,

a far off chorus of oohs and ahs

mingles with some last applause.

Then, for a moment, it seems like dawn.

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’50s Movie Stars and Hong Kong Metro Stations

Attack of the Fifty-Foot Centerfold by Dorothy Chan

Spork Press, 2018

Paperback, 103 pages, $18

 

Cover of Attack of the Fifty-Foot Centerfold by Dorothy Chan

 

Everyone deals with their own sense of identity. We’ve all experienced our own unique moments, and presenting these moments in a way that conveys the inherent emotions that lie therein can be a personal, soul-bearing thing. In Attack of the Fifty-Foot Centerfold, Dorothy Chan’s poetic protagonist talks about her life in snippets. Through tales of men the speaker has dated and meals she’s cooked with her family, we see how a Chinese-American identity was shaped, and how that affects the speaker’s everyday life in blunt, humorous poems that involve ’50s movie stars and Hong Kong metro stations.

 

The three sections in this book are divided by subject matter. Though everything connects because it all relates back to the narrator’s persona, the sections are split between overarching themes of family, culture, and experiences with dating and men in general. The reader is walked through these sections with a tone that feels half-sarcastic until it doesn’t. We get long lines, pop culture references in tow, that give the reader a chance to understand the speaker on a personal level. For example, when talking about attractive men, Chan writes, “… O, I don’t get wet for / the Hot Dads of US Weekly or the dad / bods of Star, but give me Frank Sinatra’s / voice crooning in a Hong Kong cab.”

 

The poems switch between multiple poetic forms that lean to  the side of the traditional, including odes and sonnets, and yet use blunt language and modern-day references, producing a delightful whiplash in the reader. The easy way in which these verses connect with a contemporary reader makes this book a pleasure, and the book holds a similar range emotionally as well. Despite the fun nature of a lot of these poems, Chan doesn’t shy away from presenting the reader with poignant moments, such as one in which the narrator notes, “my mom tells me spirits never leave / their homes, and that we believe our loved ones / visit us in dreams about a week after they pass away, to say I love you.” Chan simultaneously opens up to the reader without presenting her cultural identity as something grim, sorrowful, or alien.

 

This is Chan’s second book. Her first, Chinatown Sonnets, also tackles some of the same overarching themes. What comes through most is the consideration of belonging as a concept. Chan’s narrator speaks to her parents in a mix of Cantonese and English, both languages belonging to vastly different countries and cultures. The speaker eats traditional Chinese meals with her father, but is attracted to bleached-blonde, lithe, toned surfer boys. There is a feeling of belonging to each place, but that is juxtaposed with a feeling of otherness. What exactly dictates the need to belong—or do you ever really need to belong? Chan tackles these questions by presenting her unyielding and unapologetic opinion on the subject, while also showing a complex identity can be exactly what makes a person belong. Her speaker is a loving daughter. She feels a certain sense of kinship with movie stars and musicians of the ’50s and ’60s. She still misses her childhood dog. All of these things make her unique, and she is confident in that—she belongs within herself. This exploration of the concept speaks of a time when she was not confident in this. We can all fall short—we can all question our place in society, at home and among friends. She has ruminated on this topic, and presented in a style that makes this book not only a beautiful read, but an enlightening one.

 

Chan accomplishes the feat of speaking about identity and belonging, and how they relate to the place one feels like they’re from—and she more than succeeded. This quick read is a gorgeous display of experimentation with poetic form and voice. The message it sends—though the words are personal to Chinese-American life—leaves the reader feeling just a little more confident about themselves, justified in the individuality and peculiarity of their own experiences, too.

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Overhang

I slipped and nearly twisted my ankle getting out of bed and trying to look out the window—as if it made a difference what the weather was. The day would be wasted at work, where I would mostly sit on the edge of the toilet, zooming in to towns in Greenland and Mozambique and the Russian Far East on my phone. My boss sat in a glass-enclosed office and scrolled Reddit all day, and it was clear from the way he talked to me that he didn’t know my name. I had lost my job as a sommelier and ended up here. I used to joke that I would rather be a day laborer than one of the petty tyrants I had spent my life tiptoeing around; that way, at least, I could keep to myself. Now my wish was granted.

 

I didn’t really know what my job duties were, although I was able to intuit that breaking down tomato boxes, wrapping them with twine, and setting them in the lot behind the building for pickup fell to me. Around six everyone left for the day, and I would work alone in the big empty facility until my shift ended at ten. The vaulted ceilings and troweled floor magnified every tap of my feet like snare hits. I dithered, playing on my phone; now and then I broke down a box and leaned it against the wall with the others, finishing by evening’s end however many were going to get done in my dithering style. The boss probably assumed I was sweeping and mopping. What did I care?—they paid me hardly enough to live.

 

Improved weather lured me outside—I spent the last couple of hours of my shifts in the lot behind the facility. I dragged out however many boxes I might realistically take care of. One night I flipped one on its back and tore off its flaps. With a razor blade I’d found on a windowsill, I cut two windows and a door in the front. My shadow reached into the bath of kudzu behind the barbed-wire fence.

 

I tore apart several more boxes and taped them together into some sort of hut, big enough for, say, a few cats to lounge around in.

 

Over time, I built the structures more and more elaborately, adding lookouts and flourishes, always thinking of symmetry. I cut out crenellations. I drew out entrance halls. I realized I needed this, enjoyed this little something. One night I made what you might call a castle, with four lookouts and a full-on gatehouse. I assembled a drawbridge that didn’t quite work, and then it was already five past ten. I would have to start the whole thing over the next day. I didn’t know where the boxes actually disappeared to—some kind of processing facility, I assumed.

 

On Memorial Day I was one of two employees scheduled. A professional cleaning crew was brought in. Nobody told me how I should interact, so I avoided them. I hauled every box I could find outside and built a room big enough for two people to have coffee in. I brought in two folding chairs and sat and put my feet up. I wrote “Hotel Pomodoro” over the entrance with a Sharpie. I liked to think I was daring them, whoever they were, to take it away. The next day my little cafe was gone, the asphalt clean.

 

I was supposed to have begun getting ready for work by now. The day was bright—I stood on my balcony and came alive in the sun. I was taking the day off: I wasn’t going to show up.

 

 

I walked to the corner store for cigarettes. An orange tabby sat at attention beside the door, pretending not to see me. “What is this, Buckingham Palace?” I said, never having felt more unselfconscious about dishing out tepid one-liners.

 

I bought my pack, saluted the cashier, stripped off the plastic, and strolled out into the sunshine. The skyline soared in the foreground; it looked as if the buildings were receiving medals, the tallest in the middle taking gold. They seemed to smile at me. The possibilities of today were almost overwhelming. I could walk all the way downtown. Maybe take in a movie. Or I could buy a novel and gobble up the whole thing in the park.

 

I decided I would take myself out for lunch downtown at the famous place I knew only by sight where the ramen was of the highest caliber.

 

I had no desire to call in and invent some excuse—I didn’t owe them a thing.

 

Was I quitting? Was that what I was doing?

 

At the bus stop a man I’d never seen before was dancing joyfully, barefoot, hair swinging. He leaned out from under the overhang and held out cupped hands, still bouncing. I handed him a dollar, we dapped, and the shop cat skittered out from behind the bench and scampered up the street as if our knuckles touching had launched him.

 

The cat stopped at the next corner and glanced back, waiting for me.

 

We let a car pass and crossed the street together. I started running to see if he would follow along. He did. We jogged past the shady schoolyard; a group of kindergarteners heaved a red ball toward the heavens and squealed.

 

The next intersection marked with an X the “downtown” of the neighborhood, a cluster of markets and restaurants with funny names: Victory Cigarettes, Zen Tool & Hardware, and, of course, Mr. and Mrs. Fruit.

 

Maybe I would buy myself something nice. Once a week I almost spent my entire savings on a giant television. If I were going to die on my feet, I might as well enjoy myself.

 

It was just now one o’clock, my in-time. If I snuck into the facility at two, when management had their daily meeting, maybe no one would see me come in late, and I could keep my paycheck after all.

 

The cat, who had gone ahead while I stopped to think, looked back at me expectantly. I caught up with him.

 

We reached the local ramen shop, the last shop on the last strip of this section of town. I had never eaten here. I assumed it was inferior to the fancy place, which I couldn’t imagine improving upon.

 

I looked at the menu, even though I knew it wouldn’t do. I wanted the real deal; I wanted something to look forward to.

 

The cat’s eyes blazed: he was fixated on something ahead, his heart thumping through his fur. He was staring into what I called the Zone, the fenced-off moonscape of wild grass and rubble between the inferior ramen shop and actual downtown. The road we stood on bisected the rocky terrain, rising up slightly before us and vanishing down. I knew it eventually led to the overpass I considered to be the border with actual downtown, only two blocks from the ramen mecca.

 

At the precipice of the Zone, the wind picked up. The cat paused, his body scrunched, the formerly linear stripes down his back now scrambled. He squinted nervously. I bent down to pet him goodbye and he shied away. I tried again, and he ran and hid behind a car.

 

The brightness of the chalky mass and the openness of the sky were paralyzing. I forged into the headwind, shifting my gaze to the sidewalk. The glaringly white concrete stung my eyes: there was nowhere to look.

 

I couldn’t walk straight; I slipped off the curb and veered into the road.

 

I was going to get hit by a car.

 

I stumbled back, blindly found the fence, grabbed on. I covered my face with my other arm, slid to the ground, and curled myself into a ball.

 

My eyes stayed shut for some time. I watched brain TV, avoiding myself. Maybe a few minutes passed, and I then heard the gentle crunch of slowing tires, and then an engine fan. I peeked through my knees—a taxi had stopped across the street. The window, opaque with reflective glare, came down, gradually revealing a woman’s impassive face, squinting at me.

 

In the car I asked if she could take me to the ramen place I’d just passed, the less exciting place. Taking the bus home from downtown didn’t sound pleasant, nor did I want to shell out for cab fare from there, which would approach the cost of lunch.

 

She asked if I meant the restaurant fifty feet behind us; I nodded. She searched my face.

 

 

The door chimed as it shut behind me. Someone—a waiter—emerged from a secret door in the wall and through the opening revealed the kitchen: immense steel cauldrons of bubbling broth, white-coated cooks. A woman stood at a steel table and portioned dry noodles into plastic bags, twisted them closed, and set them aside, staring vacantly ahead. The door closed and the scene ended.

 

I asked the waiter if I could sit at the bar. He led me through drawn curtains to an empty room—where was the bar? He set a menu on a table in the far corner, near the kitchen.

 

Although I already knew what I wanted, I picked up the menu and pretended to read him my order, envisioning the creamy, six-minute egg, the concentrated, nourishing broth, and the heap of soft yellow noodles from the other, better restaurant.

 

He nodded and took the menu. I waited.

 

Finally he came through the curtain holding my bowl, set it down, and left without saying anything. The ramen swayed—pork belly, seaweed, pickled mushrooms. This was not what I’d ordered.

 

The waiter burst through the curtains holding a jar of candies. I lifted my chin and writhed to get his attention.

 

He stomped his foot, acknowledging the mistake, set the candies on the table next to mine, and carried my bowl away.

 

I noticed my shoulders weren’t relaxed and dropped them. It’s only food.

 

A few minutes later an old man wearing chef’s whites limped into the room, holding a platter heaped with scallions and bean sprouts, clearly meant for a large party that was not there. He looked lost. Sweat streamed down his face.

 

The confusion on his face intensified when he saw me, as if he were just now realizing the restaurant was open.

 

He remained in his frightened stance, knees bent, five feet away, clutching the plate, staring past me. He seemed to be looking at my ear lobe. Then he glanced back toward the kitchen, maybe for guidance. I felt the urge to say something to him—I opened my mouth—and then the curtains flew back and the server rushed in, wove around the man as if he were a tree, and set before me something resembling what I’d ordered.

 

The broth was lukewarm and under-seasoned. The bewildered cook now held the heap of garnishes close to his knees, his arms tiring. He watched me eat.

 

He shuffled over and set it next to the candies on the table beside mine and returned to the kitchen.

 

 

The mizzling rain would have been refreshing on a certain kind of day. Not that it bothered me—it simply coated me, like a plant. My stomach growled; I had eaten three bites of ramen.

 

I walked in the general direction of home. Maybe it wasn’t too late to call in. Although now I would have to explain why I hadn’t contacted them earlier, in addition to lying about my absence. Lies on lies. I burst out laughing, which almost developed into weeping. I slowed to a halt, and stood, just stood there, water droplets quivering on my chin before leaping off like skydivers. At least that was how I imagined they appeared. A black SUV whooshed by, looking important.

 

On the bench at the bus stop sat the man to whom I had given a dollar, and sitting to his right was the cat, in loaf-of-bread position. A matching loaf—it was even the same color—of sandwich bread rested on the man’s lap. To his left were open jars of peanut butter and jelly.

 

He set one piece atop the loaf of bread, which he used as a table. Then he dunked his finger in the peanut butter and smeared it on the slice, and with deft, certain strokes he did the same with the jelly. He popped out another slice, slapped it on top of the filling, handed his creation to me without looking up, and went on producing sandwiches, piling them up between his legs. Now and then he glanced up at me. Maybe he was waiting for me to start eating. The window of time in which I could have plausibly said I was saving it—saving it for the first trash can once I was out of view—had passed.

 

I sat beside the cat. He didn’t acknowledge me. He knew I was there and accepted my presence, squinting and smiling, the way cats do. He was completely dry and smelled like fabric softener.

 

“Found him in a cardboard box,” the man said. “Taking a nap.”

 

“What did the box look like?” I said.

 

“What did it look like?” he said.

 

“Yeah.”

 

“It looked like a box.”

 

He stood, lifted the pile of sandwiches, opened a polyester knapsack, placed them inside, cinched the drawstring, set the bag of sandwiches on the concrete, sat back down, wiped his hands on his pants, and looked off into the distance.

 

“Anything unusual about the box?”

 

He looked over at me, and then at my sandwich, as if he hadn’t heard, or maybe he had and didn’t intend to respond.

 

I took a small bite. No granules, no razor blades. I nodded with approval, arching my eyebrows to make sure he got the message. He snorted and shook his head wildly, as if I had insulted his family and thrown the sandwich into the street.

 

“Crazy over there,” he said, motioning with his head toward the Zone. “Stadium is going to change everything. If they ever build it. Gonna wipe everything out. Gonna wipe out the whole neighborhood.”

 

Another SUV cruised by, looking official, its black-mirror windows reflecting the three of us like mangled dough.

 

“There’s gonna be a casino, too,” he said. “A goddamn casino. Can you believe they approved it?”

 

I had no idea what he was talking about. I caught myself starting to speak, emitting a truncated, guttural sound. “Ahp.”

 

He assessed me, first my sneakers, then my legs and shorts, working his way up to my face.

 

I had another bite of the sandwich. It was delicious. The jelly was exploding with strawberry sweetness. I tilted my head back and nestled it in the bend of the Plexiglas overhang. Hundreds of beads of water constellated above me, jiggling on their own, as if they were alive; every so often one broke away, streaked down the plastic, and disappeared. I got to thinking about the last restaurant I would ever work in; in the summer we served watermelon granita in crystal glasses, which either I or a runner would pass from a silver tray to guests waiting for tables. I was the sommelier.

 

And then I wasn’t.

 

“That’s why we like you—you stick up for yourself,” the manager, Jamie, had told me as I sat down to sign my termination notice.

 

At the time, I didn’t think it was the end of my career. The strange thing about being blackballed is nobody tells you—you gradually figure it out on your own, to the extent you can affirm it. Nothing was stopping me from trying to break back in, technically.

 

I remember standing in the parlor in the early evening before the rush, empty tray under my arm as I looked through floor-to-ceiling windows onto the sidewalk, watching the uneven stream of bodies, some hurrying by, some stalling; and then a woman stopped to let her dog pee on some impatiens fenced around a tree.

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The Doctor Looks at My Blood Work

Says: There are blacksmiths in your eyes.

Maybe this explains the forging.

The way I flatten heat. Bang

earth against answer until

I call it knife. Nodding to bellows

in their muddy howls. Told them

chemistry separates from slag.

I speak in gardens. Interrogate

the estrogen and her rising weeds.

From space this earth is more red

than any astronaut will speak.

In the dirt, the iron begs to be born.

I kneel before anvil and pray.

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Acknowledgment

You divorce. You remarry.

 

You are already a father; your new wife is already a mother. She has a blooming daughter that you come to love, a daughter to whom, in time, you begin to say I love you. A daughter who later begins to occasionally reply, with no discernible pattern: Love you, too.

 

You write a book for people just her age—that age we think of as between. A publisher buys the book, makes plans to release it, and over the course of many disorienting months these plans unfold as promised. Along the way, you encounter the moment when you must determine how to dedicate the book, when you will choose how to acknowledge the people you will elect to thank. The task is self-indulgently benevolent. You dedicate the book to your wife, first and last. You acknowledge your parents, your teachers, your friends, the people to whom you entrusted the book long before anyone wanted to pay you for it.

 

You acknowledge your son, of course, who is easily named. But when you try to acknowledge your wife’s daughter, who by now has been a part of your life for years, you hesitate. She is your child. Also she is not your child. The sentiment comes easy, but what to call her does not. You contemplate at length how you will identify her role in your life, the way you will declare—in print—what you are to each other. Eventually you end up with these words:

 

To my daughter, for being such an excellent human being to share the world with, and for teaching me so much about being a dad.

 

You send these words to your editor.

 

The day comes when the publisher of your book prints advance copies. These copies are not final; they are still full of mistakes. You show the book to your wife’s daughter, and she thumbs swiftly through it toward the end. While you watch, she slows and reads the acknowledgments page. She sees the way you have phrased your gratitude, sees the title you have bestowed her. She says nothing. She is thirteen. You do not, at first, know what to think of her silence.

 

But weeks pass, the book due to be finalized any day, and you don’t forget what she didn’t say. You remember your words: my daughter, for teaching me so much about being a dad. You begin to suspect that she has said nothing not because she is thirteen, but because she is thirteen and already has a dad. Her dad is not you. And finally one night when you are already feeling melancholy, you hover at the entrance of her room before bedtime and tell her you have a question. A personal question that might feel awkward. She says, dubiously, Okay.

 

You ask her about the acknowledgment, if she remembers what it says. She does. You ask her if she would feel better if instead of daughter, you wrote step-daughter, because that’s what she is. You ask her if, instead of dad, you should write step-dad, because that’s what you are. She says, slowly—Maybe?—and in the weight of that word you feel a sick and swollen tide of regret: at having asked the question, at having phrased your gratitude the way you did in the first place, at taking space in this doorway at all. She tells you, because she is an excellent human being to share the world with, that what you said was sweet. But she also describes, because she is an excellent human being to share the world with, how there are competing piles of guilt whose weights she has to measure, whose burdens she must compare. If you do not make the change, she explains, there is this pile of guilt. If you do make the change, there is this other pile.

 

You understand her.

 

You understand her, and you think in that moment that maybe you will never again be asked to undertake anything so parental as this, to gift her this retraction, to express the truth not the way you want to, not the way you feel it, but rather the way she needs you to. And what she needs is to be called step-daughter.

 

She compromises with you, suggesting that you could at least still say Thank you for teaching me so much about being a dad. You don’t realize until later that she is doing that right now. Teaching you right this second.

 

Because right now she argues how important it is for people to hear the true story. They need to have things explained. They don’t like things to be unclear, and you have been unclear. Worse, you have been untruthful. You have used the word daughter.

 

You agree to change the word. She thanks you. And then she tells you—she is so young, she is trying so hard—that at least you will have this copy of the book, this version that still says daughter, this advance that is full of mistakes. At least you’ll have that. You agree with her, even though you have no true idea what she hopes to mean, offering you this consolation. You ache with the possibilities. You thank her for her honesty. You say I love you. She says love you too. You will say goodnight now. You will leave her to her thoughtful room. You will go and you will nurse the strange dear knife in your belly, and you will send an email to your editor with the necessary correction, and for a while you’ll be lost, already fumbling to imagine some story whose words you would never take back.

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