Interview: Kate Carroll de Gutes

Author Kate Carroll de Gutes.     Cover of Kate Carroll de Gutes' Objects in Mirror Are Closer Than They Appear.     Cover of Kate Carrol de Gutes' The Authenticity Experiment.

 

Packing my carry-on bag for a flight to Portland, Oregon to visit my son and his husband, I ran my finger along the spines of books I’d purchased but had yet to read. I selected a memoir called Objects in Mirror are Closer Than They Appear, written by Kate Carroll de Gutes. I read the first few pages in order to weigh its merit as travel reading. I sat down to finish just the first chapter. An hour later, I had to force myself to close the book. Before tucking the book into my bag, I flipped to the author bio and learned that De Gutes lives in Portland, Oregon. This felt like kismet.

 

Before I could talk myself out of it, I quickly sent off an email asking her if she’d be willing to meet with me and allow me to interview her. Instinctively, I knew this author could guide me around some of the obstacles I’d been bumping into in my own efforts to write a memoir. Kate graciously agreed.

 

We met at Townshend’s Alberta Street Teahouse where we took up residence in a couple of chairs nestled in a back corner. For the next hour or so, we discussed the sometimes sticky challenges of writing about our lives and the people in them who didn’t necessarily sign up to become supporting actors in the stories we need to tell.

 

Kate Carroll de Gutes is the author of two books, Objects in Mirror Are Closer Than They Appear (Ovenbird Books, 2015)—which won the 2016 Oregon Book Award for Creative Nonfiction and a 2016 Lambda Literary Award in Memoir—and The Authenticity Experiment: Lessons From the Best & Worst Year of My Life, winner of an Independent Publishing Award medal in LGBTQ Nonfiction (Two Sylvias Press, 2017). Please also see Heidi Sell’s review of The Authenticity Experiment.

 

Heidi Sell for The Florida Review

You began your writing career in journalism. I’m wondering how that background informs your creative work. I’m finding there’s no shortage of people standing by to declare, “That’s not how it happened,” or “I never said that!” Since memories do indeed shape-shift over time, what strategies do you use to reconcile objective facts with subjective memory?

 

Kate Carroll de Gutes:

Both fiction and nonfiction are writing towards truth, but nonfiction writers are constrained by a ‘box of facts’ that they have to work within to get to the truth. I don’t make any composite characters in there. I don’t compress the timeline. I leave things out of the timeline obviously, but I don’t compress it as if ‘this all happened in one year’ kind of thing. Because I’m a real believer in facts. That’s why we read nonfiction, because we’re interested in the facts of someone’s life.

 

I don’t think it’s that hard to hew to fact and still get to some truth. I think you have to think awfully hard about it. How do you get there? And like you said, you have to bust through your own denial. What does that really mean?  You have to bust through your anger and your pain and your shame. All of that.

 

TFR:

Something I keep running into is that in my own mind, some memories have morphed and merged, and I realize that couldn’t have happened that year. We didn’t live in that house when she was that old, or whatever . . . What do you do with things like that?

 

De Gutes:

I think you tell your reader. There’s a phrase that I use a lot in that book [Objects in Mirror Are Closer Than They Appear], which is, “But that isn’t exactly true,” or “But that can’t be true, because we didn’t live in that house then.” And sometimes I interrogate myself on the page. Is this true?

 

There’s an essay in the book about my dad in the Navy. I had to do a ton of research for that. I got my dad’s Naval records. I talked to people that he was in the Association of Naval Aviators with. You know, my mom had Alzheimer’s, so I couldn’t trust her memory. She said, “Your dad wasn’t an aviator.”

 

And I’m like, “Yeah, he was. He had his wings.”

 

And she says, “Yeah, he just had those. He wasn’t an aviator.”

 

“But he was in the Association of Naval Aviators.”

 

She said, “No. They let anybody in.”

 

TFR:

Really? Can I get in?

 

De Gutes:

Yes! It turns out they do let anybody in, but it also turns out my father had his wings.

 

I have a new essay I’m working on. I inherited the kitchen table that I grew up with, and it was, I thought, my grandparents’. My mom said, “Oh, no. That was your great-grandparents’.”

 

And my sisters and I were like, “You have Alzheimer’s.”

 

This table always squeaked, and I sent it out to be repaired, to be re-glued and all of that and when the guy came to pick it up he was like, “Oh, wow! This table’s a hundred and thirty years old, at least!”

 

We’d totally dismissed Mom. So, I think those are important things to tell a reader. I’d completely dismissed my mother, and it turns out this was true.

 

TFR:  

I sometimes feel dismissed by my family that way, because I’m known for having kind of a wonky memory. So even when I’m sure I absolutely know something to be true, if they have any doubt, they just assume I’m the one who remembered it wrong. That’s something that I struggle with in trying to write my story. So I just think out loud on the page?

 

De Gutes:

Think out loud on the page, and also you have to remember that everybody has a different memory. You know, you’ll remember one thing from this meeting and I’ll remember another. It’s like the old car accident scene, right? Six people watch a car accident, and everybody has a different story about what happened.

 

That is the tricky part of memoir and that’s why, in my opinion, you always have to alert your reader. Like, “I’m imagining this. I don’t know this to be true. I think perhaps it happened this way.” I think an honest memoir writer will always alert their reader to the fact that they don’t know.

 

You know, my siblings remember this differently.

 

TFR:
Did you get a lot of push back from them?

 

De Gutes:

None, which I find fascinating. My dad had died by the time I finished the draft of the thesis. My mom read it. The original thesis was very different with a different ending. Her only comment was, “I don’t look very nice in this.”

 

I said to her what I think you should say to your family, which is, “Mom, these are just my memories, and they’re just the memories I chose to put down. It’s not the whole story.” When you’re writing about people, it’s hard.

 

You know, it’s like, No, I’m imposing a narrative structure. It’s okay, but people who aren’t writers don’t understand that.

 

TFR:

You mention in your book the generosity of your ex-wife and her current spouse in allowing you to tell your version of what happened. Did they know you were writing Objects as you were writing it, or only after you finished?

 

De Gutes:

My ex-wife definitely knew because we divorced while I was in graduate school. We were together twenty-four years so we had a lot of years of both reading together and talking about writing. I gave her the whole manuscript, and I said if there’s anything you object to let’s talk about it.

 

And she said, “I’m not even going to read it right now, because it’s your story. You tell it.”

 

You know, really gracious. She came to the book awards. She’s an amazing individual. And even her current partner, he’s like, “I hear I show up in the book. Do I get royalties?”

 

I’m said, “If you sell five thousand copies, I will send you on a cruise!”

 

He’s like, “All right, I’m working on it.” He’s a really good guy.

 

TFR:

If it hadn’t gone that way, if they’d been resistant or really upset with something you’d written, how would you have handled that?

 

De Gutes:

What do you do?

 

TFR:

Yes. Would you have gone ahead? Would you have abandoned the project?

 

De Gutes:

Well, that’s a great question. It’s a hypothetical, but I’m always open to change, you know? I’m sure you found my blog, which is actually becoming a book [The Authenticity Experiment]. I write about the people in my life. They all have nicknames, but my siblings were really upset about one of the posts.

 

And they said, “If you’re going to write about us, could you tell us and we could read it first?”

 

I said, “Sure.” And I actually changed a post for them. It was a simple change.

 

I think had my ex-wife been very upset about that I would have considered making changes. I would have considered cutting. As it was, you don’t know what happened in my marriage. That’s the biggest question I get from readers, “I don’t understand. What happened in your marriage?”

 

And I say, “That’s between me and my ex-wife.”

 

I hope I’ve told enough of the story that you’re engaged and it’s not tell-all. Nobody wants a confessional memoir, I don’t think. Read the National Enquirer for that.

 

TFR:

I have a blended family, so there are always these undercurrents of emotional stepfamily stuff going on. I’m trying to honor each of those stories that overlap my own, but it’s really difficult to tease apart and still tell a whole story. You talk about nonfiction writers being constrained by a ‘box of facts.’ So you use nicknames. That’s not something I’ve thought of trying, but they’d still know who they were in the book.

 

De Gutes:      

Right, they know who they are. I write about so many people on the blog and they didn’t sign up to be friends with, or to love a nonfiction writer, so you know . . . nicknames work for them. And some people I don’t name at all.

 

The post that just went up, my two friends that I was with, I didn’t name them. They both contacted me and said, “That was such a great post and I’d forgotten that happened. Thank you for that great post.” Neither one said, ‘Thank you for not naming me,” but I’m careful with people.

 

And I think with your blended family, again, you still have to tell your story. It’s your experience of the step-kids coming in and blending them with your own children. And is all of that germane? That’s the question I ask myself, too. I write it all down. You know, I write hundreds of pages to get ten. I’m sure you do the same.

 

TFR:  

Yes. There’s a scene that I have written again and again and again. I just can’t get it right. Part of the problem is revealing another kid’s personal crisis that was occurring in the same time frame as the event I need to write. That scene is crucial to the story, but difficult to write without exposing a painful time for our family that really isn’t relevant to the story I want to tell. Recently, I started over. Stopped trying to revise what I had already written and just started all over. This time I put everybody’s names in it, everything.

 

De Gutes:

Good.

 

TFR:

And now I’ll go back and revise again, but what do you advise in a situation where two stories are so tangled together?

 

De Gutes:

Well, the reality is it’s your story about it, so you don’t necessarily have to get their blessing. Right?

 

TFR:  

That’s what I keep going back and forth about. I think of Anne Lamott who says that if people wanted you to write nice things about them, they should have behaved better.

 

De Gutes:      

Right! Exactly, exactly! Anne Lamott will also tell you that she changes people. She uses composite characters sometimes.

 

TFR:

But you don’t feel comfortable doing that yourself.

 

De Gutes:      

I don’t. I think it’s wrong. I really do. I do feel comfortable, like on the blog, giving nicknames and I also know there are some stories I can’t ever tell. There are stories I’ll never tell except for—you know—like sitting here I might tell you a story, but I’ll never write it.

 

But you’ve got to write this one.

 

TFR:  

I can’t see the story without it.

 

De Gutes:

So I think if I were to give you any advice, I would say try writing it from a different point of view. Try writing it in third person. Try writing it in second person.

 

TFR:

I noticed that you use second person quite a lot, and it’s so powerful.

 

De Gutes:      

It is. And it’s a great way to approach a scary topic. So is third person. She could tell you there were many times when she saw what was true, but chose to deny it. You know, that kind of thing, right? It’s fascinating what a change in point-of-view will do for a story. Another thing is try writing in future perfect. Using second person or third person, you know. She will tell you in 2017 that . . .

 

TFR:  

I like that approach. I haven’t seen that in other memoirs. That’s something you did in this book that really caught my attention, that I really found to be very powerful.

 

De Gutes:      

It happened by surprise. It happened because something was out of the timeline, and I thought, I’ve got to make this work. Oh, I’ve got to change the tense. Oh, and it’s got to be future perfect. And there’s one other one that’s future conditional.

 

TFR:

Future conditional. I must admit I don’t remember exactly what that means. [Laughs.]

 

De Gutes:

Me too. I didn’t know what to call it. There’s a great book that I always refer to called Artful Sentences: Syntax as Style by Virginia Tuft. It’s just fantastic. It’s so helpful in these situations.

 

TFR:

You shift those tenses throughout the book. And I guess in my head I thought that was ‘against the rules’ until I read Objects.

 

De Gutes:

Fuck the rules, right?

 

TFR:

Some of your chapters are really short. It makes me wonder about how I might use little snippets of my own that haven’t grown into anything bigger.

 

De Gutes:

Well, you might think about juxtaposition and how you can bump some things up against one another, because they inform each other. But sometimes a really short piece just works.

 

I’m also a big proponent of if you’re just writing a scene and it’s powerful and it stands on its own, then okay. I’m also a big believer in doing what works for you. Judith (Kitchen) was a big believer in working with your weaknesses. So you want to tie it up tidy, and she’s like, “Life isn’t tidy. Let’s work with that, you know?”

 

Your weakness is that you want to tie everything up. Let’s leave it untied. See what happens. I think it’s human nature to want to tie it all up, but you can’t.

 

TFR:

I think for me the trick is giving the reader a bit more trust to make their own meaning out of things instead of trying to tell them what I think it means.

 

De Gutes:

Right, and you never know what your readers are going to bring to the page anyway.  I’m stunned when somebody tells me what they see and I think, Well, you’re right, but I wasn’t thinking that. I never saw that.

 

TFR:

Have you had anyone write a review of your book that you really disagreed with?

 

De Gutes:

No. I’ve been so lucky that I have only gotten good reviews. At least, the published reviews. There are a few on Amazon and Goodreads that . . . well, there are trolls out there. But no, I have been so, so lucky that my written reviews have all been good, and I’m really grateful for that because I know I would be kind of devastated.

 

TFR:

It’s tough to put yourself out there. I think most writers are introverts.

 

De Gutes:

Right, and sensitive little beings!

 

TFR:

Do you have a workshop group, a list of first readers? How do you keep yourself moving forward?

 

De Gutes:

I keep myself moving forward because I’m just ridiculously driven, so there’s that. I’m always writing. I always have a journal with me. I’m constantly working on something that may turn into something and may not. Like I said, I write a hundred pages to get ten.

 

I do all my work longhand and then type it. I have a great group of first readers that I went through graduate school with and they’re all thanked in the book—Cynthia Stewart Renee, Judith Pullman—and they’ll read anything for me, anytime. I’ll be on a deadline for something, it’ll be totally last minute, and I’ll ask, “Does anyone have time to take a look at this for me?” And they will. We do that for each other, and so they’re great first readers for me.

 

I have another friend who is a singer/songwriter, a storyteller, and she gives me a different kind of feedback. She’s like, “You need to take me right into the story here. I wanted to go right into the story. And I wanted to know what the cigarette smoke did to your nostrils. Did you sneeze? Did it make your eyes itch?” You know, things that other people don’t notice. Songwriters notice all these physical details.

 

TFR:

I wondered if there are any other writers in your family.

 

De Gutes:

None. Well, my grandmother’s sister, my great-aunt Bobbi. She was a writer.

 

TFR:

Did she have any impact or influence on your decision to go into this field?

 

De Gutes:

No. she died before I was born. I’ve always written. I wrote as a young kid even. It’s in my blood. Music and writing.

 

TFR:

And why journalism first? Over fiction or other genres, what took you there?

 

De Gutes:

Well, you’ve got to make a living. Right? I don’t make a living with this—teaching and selling books does not provide what I want. So, I ghost-write magazine articles and e-books and blog posts and thought leadership pieces for technology executives.  It works. It’s a little draining, like I’ve got to leave here and jump on a call, but it affords some flexibility, too. I can look at my schedule and know when I can book myself out. I work for myself.

 

I don’t consider it ‘real writing.’ But other people say, “It’s real writing. You put words down every day.”

 

TFR:

Do you have other big projects in the works?

 

De Gutes:

The Authenticity Experiment: Lessons from the Best and Worst Year of My Life is coming out from Two Sylvias Press in September (2017). Then another project I’m working on is probably narrative nonfiction/memoir. I think it’s going to be a hybrid book on Alzheimer’s. I’ve got an agent in New York now, which is great. I’m finishing the book proposal for that, and then she’ll shop that for me. And then I’ll have to write it.

 

TFR:

That’s a story that’s needed.

 

De Gutes:

That story is needed, right? There are 65 million people right now that have Alzheimer’s. We haven’t even hit the peak of the baby boomers aging. It’s a problem.

 

Judith died, my best friend died, and my mother died within a ten-month period, and I had to close my friend’s estate and my mom’s estate. I delivered three eulogies and closed two estates in ten months.

 

TFR:

That’s life changing.

 

De Gutes:

Right? Objects came out in June [2015]. Judith died two days after she finished the edit on the manuscript. So my book came out in June, my friend Stef died in January, and my mom died in August.

 

The years 2015 and 2016 are just kind of lost years for me. I keep thinking, when did that book come out?  It’s just been a year since I won the Oregon Book Award, so the massive change in the last two years of my life has been huge. You know, it’s both good and bad, which is why I started writing The Authenticity Experiment. We have to stop thinking in the binary about everything.

 

Life is messy and it’s both things—dark and light.

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The Void Witch

Erin knew that her only recourse was to lie. Her minimum-wage job usurped the term papers, extracurriculars, and the part-time gig scanning microfilm at her college library. It became the reason she woke up and then, later, didn’t sleep. It became a chemical gratification tethered to the smallest silver spiral in the tip cup, even as she found herself in the freezer hyperventilating over round egg patties, or rebuffing the advances of shift leaders, who cornered her against the donut display to talk about all the things their wives wouldn’t do.

 

Her housemates played golf and made bony, lowercase poems for course credit. They sprawled over their desks and whispered about the cock sizes of  “townies,” very careful not to say black. And when Erin came home, fingers sticky with jelly and powdered sugar, they asked, why don’t you just quit?

 

The answer was a one-bedroom apartment in Albany where her mother worked as a freelance seamstress and hospice-care associate, and where her father, just a year before, left for a doctor’s appointment and never returned. The answer was a flirtation with the poverty line, unsubsidized student loans, and a reckless impulse to double major in two areas that were expensive exercises in vanity. Her housemates thought she was slinging crullers for club cash, but she hadn’t donned a pair of heels since junior year.

 

Her academic advisor called her into his office and steepled his fingers and she could see it on his face, all the plates she’d left, teetering on sagging sticks. They looked at the steady decline of her grades and apologized to each other–she, because she was one of eighty-four black students and naturally felt a responsibility to represent well the totality of her race, and he, because of a mutation of white guilt that made her personal failure his personal failure.

 

The college was semi-elite but a little insecure about itself, and so prone to manic email blasts about notable alumni–all of whom were white men in suspenders who made bank on conservative news condemning the scourge of black Santa.

 

To afford this college, and perhaps one day spoil its reputation on the strength of some minor feminist accomplishment, she cleaned the guts of the milk machine, brewed arabica until she couldn’t remove the smell from her hair, donned white gloves in the basement of the college library, and scanned old, flaked film. It was all for something. But in the middle, between the unread assigned books, the betrayal of every genus of alarm clock, and the slack bullshittery of class presentations on dopamine inhibitors and Lewis Carroll, a central part of her personality became negotiable.

 

That is, her long and sexless history of being a know-it-all, the sort of coy, homework-loving show-off that bummed out her own parents, who though terribly mismatched were united in their desire for a daughter who might go out at night, do some sweet, illegal thing, and bring home a boy they could hate.

 

So she was a smart girl. And it was on this assumption that she rationalized all failure elsewhere: the social awkwardness, the general unluckiness with boys. But it meant nothing when customers pulled knives or wrote online reviews about her stinginess with the hazelnut syrup. It meant nothing when her coworkers–locals from the damp hollows of Hyde Park—decided that she was bougie, the kind of black girl that comes from the suburbs with shiny, respectable cheeks.

 

It was easy to be fired because it was easy to be replaced, so she couldn’t just be sick. She couldn’t just want time off. A family member needed to die, and that family member was going to be her father. It was almost the truth. In her fevered sleep, her mother’s voice emerged, husky through a length of telephone wire. The voice said simply, your father is gone. And though her mother was pathologically calm, there was a note of panic in her voice that made Erin resolve to never forgive her father—so inconsiderate, he couldn’t skip town under the standard guise of going to get cigarettes. And now in her senior year, her father, a liar, was going to become the lie that would get her out of work.

 

“Comic-con,” she whispered to Alexander, a customer (medium cream, no sugar) and art school dropout who sold frosty, hydroponic weed. The first time he crashed her nightshift with his halfway smile, they were already in the middle of something. Out of his eyes circling her face as she frothed milk came a candidly transactional dynamic in which his five-dollar joe became a two thousand percent return on blueberry kush. And occasionally, her body beneath his, pliant and stoned. Initially, he spent a great deal of time trying to get her into his car, which was, she thought, the kind of car drug dealers should avoid—a monstrous, candy-painted, German exercise in masculine panic. But as she slid into a smooth, heated seat, she was charmed. By the crooked cigarette hanging incidentally from the corner of his mouth, by his haywire strawberry blond hair, nimble rolling fingers, and the almost ugly collection of consonants in his protracted, Slavic surname.

 

So she became a customer of her customer, and this was not an insignificant factor in the disorder of things. It was work, school, smoke, sleep. It was the sudden redaction of sleep, kind professors pulling her aside to talk about the necessary recycling of T-cells, about the sunken pupil bombing reasonable midterms with unreasonable, fever-dream scrawl.

 

Her mother, a rehabilitated addict, had given her a speech before her freshman year. It was all about the family history, the bright, narcotic predisposition, laced between the hemispheres of her brain. So when she got high she felt guilty. Her housemates ate the donuts she left for them at night and complained about the haze around her room. Alexander came over, rolled sticky satori in sweet grape papers, and fucked her with his shoes on.

 

It was Tuesday when she told him about comic-con and the lie she planned to tell to get out of work. There was a contortion of his face she thought she understood: the you fucking nerd of it all. The very palpable change in a cool person’s regard when you admit investment in the fictional, your otaku-ness becoming a sudden strain of leprosy. But they’d talked enough about video games for her to expose herself, and for him to show that he was unbothered, if not forgiving of her off-putting excitement about the old school magic of turn-based systems.

 

His reaction was in fact the beginning of the end of the strictly casual nature of their relationship. It happened so stealthily that she didn’t realize until he was pulling a sketchbook of unfinished drawings out of his backpack, or she was in his car on break, trying to calm down after some minor disobedience of the espresso machine. No doubt the seriousness between them was a bit of a buzzkill, but it could not be stopped. And now, after telling him about her master plan, he said, all too casually, that his mother had a very aggressive kind of lung cancer.

 

She was unprepared, caught between hollow words of condolence and their post-coital radioactivity, and so she said to him, wow. She said, that sucks. Ultimately, the choice of words was significantly less weird than the fact of it coming out like a question. It was a phonetic contagion that spread like wildfire throughout her sorority, a dubious, lingusitic beckiness that she’d absorbed from the campus eyebrow gods.

 

It was lucky he didn’t seem to be looking for any particular reaction, and as he slung on his jacket and gathered his keys, she got the feeling that it almost didn’t matter that she was there, that the objective of his confession was a thing of tongue and teeth and throat, merely an effort to see how the words hung in the air. Still, when he started avoiding her, she was secretly relieved.

 

She got to work on her costume. It was a cosmetic exercise that became an existential one. She came home with the tulle, spandex, and paint, and studied her naked body in the mirror. Despite the smoking and the donuts, she was somehow in the best shape of her life. In her teenage years she’d attended a handful of local cons and marveled at the diverse set of acned girls in Lycra, their colorful synthetic wigs, the unabashed cant of their hips. She’d envied their confidence, watched as they pouted and smiled for pictures, unconcerned about the girth of their thighs.

 

It was why Erin took the new-fangled, network-approved idea of geekdom so personally. It was why she simply could not abide the fake glasses of sexy, square-jawed men. The cachet of the outsider had evolved to include her dopey subset of pit-stained, rough-thumbed gamers and anime freaks. But it was wholly antiseptic, and the reason why was because of a complete oversight regarding the terrible, squalid shame of the thing.

 

There was no ghoul in a letterman jacket to mock her fanart or douse her in pig’s blood. There was simply a tacit understanding about the things you did not talk about if you wanted to be invited to parties. Fandom became an interior endeavor, and in her cowardice, she began to resent the outliers, the ballsy few with their acrid D&D cologne and keen topographical knowledge of Gotham City. But to be a girl meant your bonafides were always questionable.

 

And if you were a black girl, there was a daisyed hellscape between the unimaginative and the well-meaning, a cognitive dissonance too ingrained to parse, requiring both peacocking and frantic camouflage. It was a series of rooms in which she was unwelcome—musty multi-console gaming rooms at dinky local cons where fedoras turned in unison to appraise the errant antigen, put-upon homunculi offering unsolicited education about the finer details of canon, hoping to show her up as a fraud. The general feeling of having nowhere to relax into her native tongue and release all that uncool, earnest ooze. But when she looked at herself in the mirror in her skimpy, badly sewn cosplay, for the first time in her life, there was no shame. The shame she felt now was reserved for a more current indulgence in make-believe: the successful mimicry of extroversion.

 

It happened like this: She came to college wanting to be someone else, and via a series of forced club outings, compulsory one-night stands, and soulless extracurriculars, she’d become a shadow. She was in pursuit of what all black girls were supposed to be born with—a jovial, ironclad self-esteem, a sense of rhythm, and a witchy finesse with jojoba and coconut oils.

 

She was in pursuit of that inalienable right to say whether or not someone was, in fact, down. So she went out and shouted over the music at dull, drunk boys. She socialized with her classmates, who gazed into the middle distance instead of at her face, coming alive only to disparage their parents who dared buy them used cars and ask for help with Microsoft Word. She joined a sorority, the college paper, the student-run literary journal, and, for reasons she did not want to investigate, the college gospel choir. She fell in love with any negging techie who emerged with an axe to grind about the fineries of sub and dub. She travelled to lonely Hyde Park churches and sang wan renditions of “Amazing Grace” in exchange for deep pans of post-service ziti. She checked for missed calls from her father and found none. She mixed with her sorority sisters—a band of leathery tanning fiends whose most distinct characteristic was being proud of being from New Jersey—and learned the right vernacular to pass off her casual bitchiness as truth. She took an editor position at the literary journal, where she met black student #57, her co-editor—an owlish neurotic in green-colored contacts who practiced calligraphy, approached her at a party simply to declare that he preferred Asian women, and who then tried to sleep with her to embarrassing avail.

 

Over poems about birds, menstruation, and heavy-jowled trees, he apologized about not being able to get an erection. At a mixer with a fraternity, she met black student #73, a rich, deeply fine Black Republican who was himself physically excellent proof of their race having once been bred for fields, but who frequently fawned over the administration of the elder Bush. When they slept together, it was a battery of punishments: the iron heft of his body and smug, brutish use of his mass, and the ebb and flow of sympathy and disdain.

 

At times he seemed human enough to share that old inside joke of having pulled off the improbable trick of thriving in white space. But then he’d fasten his belt and suggest she chemically straighten her hair. And when she somehow became vice president of her sorority, vetting new girls’ scared renditions of the Greek alphabet like the dictator of some lawless, Mediterranean Sesame Street, she knew she wasn’t in on the joke either.

 

She was a fraud, loyal to no particular version of herself. So maybe this is why it was easy to march to the registrar and demand—in the unlikely event of her graduation—that her diploma reflect a revision of her hyphenated name. And on the day she received confirmation that she could remove her father’s name, Alexander reappeared at her dorm with carnations and a black eye.

 

Here, he said, shoving them into her arms. And there was homework and a shower she needed to take but he was already shrugging off his jacket, rolling a j, and licking the edges, and she knew all of her lines. There were things she could do without too much calculation—harmonize, turn a cartwheel on the grass, reach through a wall of smoke and hook herself onto a man. But sometimes it was overwhelming, and every uncool word clamored up her throat, earnest and wet. She was smart enough to press her teeth together. She’d never become wily enough to control the ugly spasms of her face.

 

Black student #73 liked to use mirrors. He liked to say, look at yourself. And she would look, hoping to find something powerful, the way women held mirrors under their skirts and found in those mouths a crass new vocabulary. But when she looked at the way ecstasy rearranged her face, she only knew that she never, ever wanted to see it again. So it felt like a cruel moment of telepathy when Alexander, with his pretty half sneer, asked her to stop making that face, and also that when she smoked, she was too tight.

“Okay,” she said, dismounting and looking for her clothes.

 

“Hey, you don’t have to be like that.”

 

“You always keep your shirt on when we fuck. And it’s weird. I’ve never said anything about it. But it’s weird.”

 

“Yeah well, you talk about cartoons like they’re real.”

 

“They’re real to me,” she replied, realizing too late that saying this out loud would only exacerbate her humiliation. Alex, sensitive to this miscalculation, seemed for a moment like he might try to diffuse the situation, but then he turned away and began to collect his things.

 

“I gave you that Alaskan Thunderfuck at a wild discount,” he said, and the invocation of the central currency between them suddenly did not feel casual. Erin understood that she was meant to feel demeaned, and that was reason enough to direct her criticism where she knew it would hurt.

 

“You should’ve given it to me for free. Don’t think I don’t notice the discrepancy between what you sell me and what we smoke when you come over. It barely gets me high.” She took a little pleasure in the short circuiting of his face, the silence in the air as he tried to accommodate this impossibility. Then he laughed, which scared her a little, not least because he was still fully erect. He took a deep breath and pulled on his pants, his shoes.

 

“You know you belong here, at this school. You’re one of them. You don’t think so, but you are.”

 

After spending so much time fretting about how she was going to tell her manager a believable lie, it was as simple as pulling him aside during the breakfast rush and saying that there’d been a car accident. She was almost insulted by his nonchalance, by the long, irritated sigh as he retrieved his pen and snatched the shift schedule from the wall. When she finished her shift, she threw her apron over her arm, went outside, and felt the sun on her face. It occurred to her that her father actually might be dead. It was odd—in her youth she had obsessed over the mortality of her parents. She called them incessantly when they left the house, bartered earnestly with God for their safe travels to work and the grocery store. To some extent, she still felt this panic about her mother, but about three months after her father left, the fear she kept for him went out like a light.

 

He was eighteen years older than her mother. When they met, her mother was slim and strung out, and he was an old sailor who’d already buried two wives. They weren’t in love, but then a daughter, then a marriage. She wanted her daughter to have the father that she’d been denied. She wanted her daughter to be able to trust men, to love them without her fists half-drawn. And for a while it worked. In fact, he was closer to his daughter than he was to his wife, so much so that on the day he left, her mother just sighed and said, “I mostly can’t believe he would do this to you.

 

The morning of comic-con, Erin received a third urgent email from her academic advisor that she promptly ignored. She relished the opportunity to make a photogenic, labor-intensive breakfast. She washed her hair slowly, put on her face with a steady, serious hand—the slick primer, powder, and kohl. She rolled the fabric of her costume between her fingers and forgave its hot glue and crooked, sagging wings. She smoked a couple of joints, pulled on her wig, boots, and cardboard galactic gun. She boarded a city-bound bus, and when she arrived into the sea of Lycra and make-believe seething at the doors of the convention center, she was sure she was going to faint. It was pure and narcotic, the half-queasy feeling she usually got before a promising date or dreaded family engagement. A man in a Gundam suit hailed her out of the crowd, asked,  “What are you?” And she was so happy to be asked that she didn’t notice his penis, hanging flaccid through a chink in his mechanical suit.

 

“I’m a void witch.” She spread her arms and spun, emboldened by all the theater around her. “From the White Dwarf Chronicles? Second to last boss after you get to through the water chamber. A supermassive black hole gathers mass and density and then it—” when he started to stroke himself, she allowed herself a moment of paralysis, and then simply turned and walked in the other direction. Nothing so ordinary was going to sour her mood.

 

When they opened the doors, she ran to the comic-book cages. The red carpet was already soiled with mustard, glitter, and unpopular swag-bag toys, all the off-brand blockbuster heroes, meticulously hardwired mechs, and harried, plain-clothes journalists suspended in a state of ecstatic media res. She hung around in the stacks and tracked with her own eyes the transition of superheroes from silly ’60s panties to sleek post-aughts body stockings, the dewey decimal stink of expensive vintage issues thickening her throat. She hit Artist’s Alley with wild delusions of grandeur regarding her personal budget, leapt into makeshift dressing rooms, shimmied out of her cosplay into professionally sewn steampunk petticoats, and left with a handful of mismatched clocks. She watched the professional cosplayers strut between walls of polymer toys. She admired large oils and acrylics that rendered hokey two-dimensional icons with burly realism, the uncanny valley spread out before her like an odd, vaguely sexual dream.

 

She haggled for stickers and expansive giclée prints, already imagining how she might arrange them on her walls at home. And there were people who really did want to know who she was, some who already knew, mommies and daddies with cat-eared tots, laughing and raising their cameras, unphased by her cleavage and bloodshot eyes. Of course, there was the underarm stench, the claustrophobic cattle drive to the speed dating and gaming rooms. And then there were the panels.

 

The chance to see all the gods of her fantasy worlds, writers and fine artists who worked crowds like standups, guzzling water between awkward technical gaffes. There were others who were clearly too introverted to be on stage, men and women who were precious and cold, so allergic to eye contact it was hard to imagine how they managed their fame. There were voice and screen actors who moved in and out of character so fluidly that she worried over fractures in the fantasy and closed her eyes against their vocal tricks. Most importantly, among the stars of the con was Erin’s childhood idol, Haru Takahashi.

 

It was the first time he’d ever appeared at a con. A somewhat reclusive man of forty-five, he was notoriously awkward with fans, rumored to have a thing for dollar-store licorice and old, erotic film. Per his colleagues, he was prone to fainting in his home studio and rupturing his vocal cords for the acrobatic demands of his job, which was to be the voice of TV’s most beloved monkey god.

 

The Monkey in the Moon was a raucous, intergalactic animated saga that had been on the air for fifteen years, frequently alienating its multi-generational fanbase by ignoring its own rules, casually killing off fan favorites, and going on long, corny digressions about interstellar transit law. But none of that mattered to Erin, who had watched every episode more than three times, who, when newly indoctrinated into the fandom at nine years old, spent afternoons writing crude fan scripts that her cousins dutifully performed for her Fisher-Price tape recorder.

 

And so it was on this basis that she set out to attend his panel, maneuver her way to the front, and figure out a way to convey silently what she wanted to scream. Only just as she went to find the appropriate line, she checked her phone and found a fourth manic email from her academic advisor—whose subject line read: Get Your Shit Together, Erin!

 

There was no choice but to read the backlog and confirm what on some level, she already knew. She was failing out. Erin shut herself in the bathroom, ripped off her wig and considered the glitter on the toilet seat. Sweat streamed from the wig cap and into her eyes, and when she jogged back to the panel, her thighs caught on each other. Too late, she realized she’d left her galactic gun on the hand dryer. That she was still high was almost a comfort, a way to rationalize why the news felt italicized, why the floor of the con suddenly felt hostile, fluorescent, and too smelly to bear. It didn’t help matters that her wig had taken to spinning around her head, resisting every attempt she made to straighten it, until she simply gave up and parted it where it chose to sit.

 

With seconds to spare, she tumbled into the panel room and spilled all of her clocks. Sheepishly, she gathered them into her arms, and marched to the front of the room. She sat in the dark until it was time, fanning herself, looking around at all the mortals, the moist disarray of speedsters, expository villains, and ersatz sidekicks taking video, feeding burritos through their masks. She zeroed in on Haru, noting the way he fiddled with his notes, pushed his long, silver-streaked hair away from his eyes, and then seemed to regret his sudden exposure to the lights. He appeared as solitary as she hoped. The most subdued of all his co-panelists, when he did choose to speak, it was in that careful, golden tenor, his clipped, sarcastic answers splintering the room. It occurred to her that everyone had come for him. And so when it was time, she rushed up and planted herself directly in his line of sight. But when they passed her the microphone, her heart rose into her throat and his face swam before her eyes.

 

There was a prickly susurrous rising in the dark room, a titter here or there that she couldn’t quite make out over the emergency in her chest. He seemed relaxed as ever, almost disinterested, but there was a slight smile, more wary than pleased. She cleared her throat, looked down at the clock she suddenly realized was cradled against her breast. “So obviously I know you can’t spoil which level of quartz the grand ape mined from the saturnalian mine. But I need you—can you see me? I need you to know that I can’t imagine my life without your voice. The voice of the monkey king. He’s living in fear of the moon and the Luminescent Boar and I’m such a fan, and I just feel really—” She paused, and without warning, her eyes began to run like organic peanut butter, at which point she apologized, handed the microphone to small Batman standing behind her, and promptly rushed out of the room. Outside the convention center, she noticed the man in the Gundam suit—who she only now realized was not attending comic-con, but was a cousin of one of those dubious Times Square Elmos—was still out front. She bought a pretzel just for napkins to use to dry her face.

 

She looked around and found two Harley Quinns sobbing by the garbage, a Spiderman smoothing out a large piece of cardboard, setting up a tip cup next to a stereo. When she felt her phone buzz, a smiley, eastern European New York tour briefly engulfed her, their eyes turned skyward. Without thinking, she accepted the call. The voice on the other end was unfamiliar. Then it was too familiar. When she’d imagined this moment, she was prepared. She was steely and degreed. Sometimes she imagined she might hang up. But there his voice was now, after a year.

 

“How is my little girl?” the voice said, and she wanted to laugh, to scream. Because of course it was all so much better in her mind. Of the course the fantasy was in reality as casual as this—a knotted synthetic wig in her fist, a drooping falsie on her cheek, as she summoned a breath and said,“Oh, I’ve never been better.”

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The Illinois & Love, This I Know:

The Illinois

Frank Lloyd Wright’s mile high

 

skyscraper dream had 528 stories,

 

and atomic powered elevators.

 

It makes you think of a caterpillar.

 

Maybe we are all one caterpillar,

 

and our apocalypse is a chrysalis?

 

 

Love, This I Know:

My face was not my face

until it lost your trace.

 

Heartbreak is the power

to flower a flower.

 

Love is summer snow

& words are pajamas:

 

Fire won’t burn my hand

and miss, kiss, mere air.

 

Love can no more carry

my heart than a suitcase.

 

We have passed by

stand-ins & sentries—

 

There is the ‘one’

& ‘two’ or ‘three’

 

Never touch like we!

 

Walk on winter sand

we in we & in we?

 

(Wait, let me take a breath

& laugh today at death…)

 

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Two Videos by Carl Knickerbocker

 

Visual account of an audio visit to a convenience store.

 

 

I got Apple TV. Periscope came free. I got a little infatuated with Periscope. Made this short. On separate evenings recorded visual then audio Periscope broadcasts.

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Caught

Your mama drops you off at five o’clock, rolls in with an extra-large suitcase full of clothing for all seasons, a blue balloon nightlight, a patchwork baby blanket, coloring books, picture books, an unopened box of crayons. On her arm dangles another bag with blue toothbrush, blue toothpaste, your special blue cup, the blue multivitamins you take before bed. And at her side, you—a round, far-gazed boy, one hand clutching the fabric of your mama’s jeans, the other gripped around the snout of a stuffed pig in a checkered waistcoat.

 

“Any problems,” your mama says, “just call.”

 

“Yes.” In her shadow, we both keep still while she frets and fidgets, takes out a notebook crowded with tightly coiled numbers. She was like this as a little girl too, your mama—my daughter. All fluttering hands and nervous glances. “I’ve made up your old bedroom,” I say. “Logan can sleep there.”

 

She tears a sheet from the notepad, folds and presses it to my chest. “There’s where you can reach me,” she says. “And that one’s Doreen, his regular sitter. And Mrs. Bogart; she’s got a spare key if there’s anything you need from the house.”

 

Ink seeps through the page, blackens my thumb and forefinger. “Don’t worry,” I say.

 

Your mama plucks you off her leg and guides your hand towards mine. She says, “I’ll pick him up Monday morning. Before preschool.”

 

“Yes,” I say. “Don’t worry.”

 

For an instant, her face becomes pinched, punctured with tension before she breathes and nods. She kneels, cups the side of your head, and kisses you goodbye.

 

The tears begin after she drives away. A lost look, a panicked look, and then a wail that sounds like a ship taking its first voyage away from land. Water plunges past the hull, a huge exclamation, an oil-drum symphony between my ears. You pound a tiny fist on the window, twist backward in my arms. So, we go to your room—her old room—and I barricade the door on stiff-jointed knees.

 

Mama! Mama! Mama!

 

Shriek and shriek until you’re too tired and I can hold you again. There’s a little wind-up music box on the shelf—it plays “Singin’ in the Rain,” and you like that. Twist the handle round and round, sit sprawled on the old Parisian rug sniffling the last sobs away while I go downstairs to make peanut-butter banana crackers. Your mama used to eat those the way a magpie eats ladybirds.

 

 

Before I turn off the lights, before I leave the room, you reach across your bed—from beneath the cotton-wool blankets already kicked into a tempest—and say “Balloon.” I plug in the nightlight. Your eyes see further than mine, to something inside the blue Kool-Aid glow.

 

 

Almost dawn now, no orange on the horizon but at least a paling of the darkness. Stars begin to fade. Air rises off the ground cold and thick, like a glass of milk fresh out of the fridge on a summer afternoon.

 

And the front door groans open.

 

I can see you from the window, Logan. I can see you teeter down the front path and onto the deserted road, little feet almost too round to balance on—that stuffed pig under your arm better dressed for the cool morning than you.

 

I run.

 

I run and leave the front door wide. Feet naked like yours, over wet grass, past the post box with its tin flag rusted upright. I run fast and hard enough to see just as you dash across the neighbors’ lawn and behind their car.

 

“Logan!” I yell. And then “Don’t worry. Don’t worry!”

 

You keep going, leave footprints in the begonias, footprints in the chrysanthemums. They’re shallow impressions, only the size of my palm. At the end of the yard, you squeeze between two loose fence boards, no wider than the stump of a cherry tree. “Logan!” I yell. The stuffed pig lies grinning, plush-and-tumble on the ground.

 

Run down a back alley, through another yard, and then another. The footprints this time are puppy-dog small, brown markings over a stranger’s driveway. They wobble towards an accidental patch of trees, a scraggly bunch of growth that the men with cement mixers and trucks of rubble forgot to chop down when they built this place forty years ago. Fallen branches murmur at my ankles, but I can see you now. I get closer and you get smaller, smaller—small enough to fit inside one of my winter galoshes.

 

“Logan!” I yell. Nearby, you laugh—because it’s all a game, cat and mouse, grandmother and grandchild—you laugh and dart between the brambles of a knee-high brown bush. Footprints span the length of my thumbnail. Thousands of inchworms hang from invisible threads, and I thrust them aside like tasseled bed curtains. Now the grass wavers where you weave through it; now it doesn’t because you’ve grown too small for even that. You laugh and laugh and laugh, and I follow that sound, follow it around twisted oak trunks, bowing evergreens, and skinny matchstick saplings. Mayflies scatter like wrong-way raindrops. Rooks chitter and fling themselves at the sky.

 

“Logan.” I don’t yell this time because laughter fills greenery. Somewhere close, overhead. “Logan.”

 

Rising light catches the trees in faint silhouette. I look up and there you are, caught in a spider’s web, caught in strands of leftover moonlight, laughing and laughing and laughing and laughing.

 

 

In my hands, fall asleep again. I carry you back: out of the trees, across the alley, through the fence, over the lawn. You grow bigger as we go, filling one palm and then two, filling the crook of my elbow and then my arms. I ease you into bed, spread blankets smooth.

 

Tomorrow, when she comes to pick you up, your mother will look head-to-toe at you, at me. She’ll say, “Everything go alright?” And I’ll say “Yes alright. No need to worry.” Maybe you won’t say anything. Maybe you’ll laugh.

 

Steely spider threads tangle your hair. I pluck them free one-by-one, lay them on the pillow while you sleep until your face is crowned with silver.

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His First Night Home

from the hospital, I heard him cry

and lifted him from his bed

and brought him into ours,

and after his mother had fed him,

I rested him on my chest,

which rose and fell with him

until daylight.

 

And when I brought him home

from the hospital again,

after the social worker persuaded him

to let her call me, and after he told me

he thought he was ready to quit

using, I was afraid he might

sneak away in the night,

so I had him sleep beside me,

where all night long I heard

his labored breath, felt,

his legs beat against the sheets:

 

that sparrow, stunned

by the window’s false sky,

trembling in my hands,

catching its breath until

it fluttered and flew away.

 

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Two Poems on Love-Play

Roles

It was late, & you were

wearing your widow suit,

black of 1870s chic,

loaded with bustle.

I did my best Doc

Holliday—Val’s version, cock-

sure & half-goofy. You

laughed. I laughed. Val

would’ve laughed if he were here

watching me paw at your corset,

pull the strings to tighten it.

Moments like this,

we feel happiest,

field mice exploring

magnificent catacombs

of a dusty closet.

I act out in otherness;

you dress up the same:

not faces of whatever

force invented us,

but what we make

of ourselves

when we’re at play.

 

Let Me Be Your Dream Dunce

Bright-eyed desperado on a mission for disaster.

 

Snow-cap climber heading for the peak

 of Mt. Oh-no-one-goes-there-ever.

 

View-taker who topples over the railing of the boat

 into choppy waters you barely save me from.

 

Let me let go of rope, map, & stars—

 

I’ll walk into danger as a fawn

 not fast enough to flee the mountain lion,

 

tell you philosophies of nothing while we sit

 in your dream-Jacuzzi in our clothes.

 

Let me be clumsy, cuss, rant, & stub my toe

 on a jag in the earth,

 my forehead once more on the jeweled moon.

 

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An Introspective Journey

Beast: A Novel
by Paul Kingsnorth
Graywolf, 2017, $16

Cover of Paul Kingsnorth's Beast.

We only need to look around ourselves and the world to know there are many things wrong with our society: How our comforts have made us lethargic, how our technology only divides us, and how the lack of empathy between different cultures has only deepened in recent years. This is the rabbit-hole that Beast invites us to plunge down, in a beautiful exercise of stream-of-thought and self-reflection. Paul Kingsnorth’s poetic prose takes us into the mind of Edward Buckmaster, who has fled his normal life to live in solitude, high in the English moors. While this is not a new concept, Kingsnorth’s novel is original in its form and offers a tilted perspective that gives the narrative a unique voice.

 

Beast is the second novel to a trilogy. The first novel, The Wake, published in 2014, was that same year longlisted for the Man Booker Prize, won the Gordon Burn Prize. Both books stand entirely on their own, with no need to read one before the other. The Wake has been praised for its inventive language, as Kingsnorth merged his own form of Old and Modern English to write it. Beast, on the other hand, experiments with sentence structure, and you’ll find, as the narrative progresses, certain rules are either lost or forgotten. It’s notable, at first, then it becomes a part of the book, and then a part of the character.

 

Edward Buckmaster’s voice is both simple and dynamic in the constant questioning and reasoning between which he traps the reader. He has fled to the moors to find himself, to let nature overtake him, and eventually find enlightenment, as if it were that easy. We find Edward at the beginning of the novel already more than a year into his self-imposed exile, standing in a freezing river and letting the cold water numb his body. “The river sang and kept singing,” and Edward welcomes pain and challenge in the forms of nature and his own fasting. It’s not long before a powerful storm finds him and breaks his body. From this point on the core of the story begins. The sun stops setting, his food runs out, and it’s not long before a creature of some sort begins to stalk him. There are no other characters to be found, except in his memories. Even then, they appear as wisps and phantoms.

 

While there are only hints as to what Edward leaves behind in his earlier life, we rarely find ourselves caring about them. He is here now, high in the moors, alone with the rawness of nature and the creature. Besieged with hardships, fog, and visions, Edward must push himself forward. The sense of time becomes lost, as well as any firm sense of reality. That’s not to say that Edward is an untrustworthy narrator. Rather, the effeteness of Kingsnorth’s prose wraps the fog around his readers as much as it does Edward. We get tangled in the “hot and muggy and still and the sky was a uniform white across the farmyard and over the top of the silent ash trees” sentences that go on and against each other, through Edward’s head and seemingly out into the moors.

 

While the strength of Beast lies in Kingsnorth’s unique prose, at times readers accustomed to plainer fare may find it difficult. The 164-page novel ends up feeling a bit longer, as it becomes necessary to put the book down at times to consider Edward’s thoughts or the surrounding circumstances he finds himself in. The prose insists that you digest each sentence properly, lest you miss some hidden meaning. It brings on a fascination at the level of language as opposed to plot and requires the reader to live inside the world of the novel and inside Edward’s head.

 

The search for meaning in life is as old and cliché as literature itself, but there is very little that is cliché here. The narration moves from one thought to the next in a translucent, stream-of-consciousness manner that conveys Edward’s thoughts as if they were your own, contemplating topics and issues that are very much prevalent in today’s world. Indeed, Kingsnorth’s elsewhere-stated love for nature, ecological advocacy, and warnings about global warming are underlining themes that come to life in his settings as well.

 

To read Beast is to make a journey of two sorts, as it may be impossible not to consider your own value as Edward considers his. That is the beauty of Beast—it captures that essence of self-doubt that haunts all of us. Though we may or may not find what we are looking for at the end, there is a sense that the answers have been looking for us as well. The third and final novel in this trilogy has been said to take place two thousand years after the story of Beast. One can only wonder what new form Kingsnorth’s imagination will take in that far future.

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The Flood

It was a hard winter. Everything became further away and darker. The roads battered cars; they buckled and heaved and slowed everything down to the point that I stopped wanting to go out. Every time I got in the car, I imagined my own death. I asked myself, Is where I am going worth sliding off the road into the cold water, into a dark tree, into another frozen, creeping vehicle, into the smooth blade of a state plow? So I cut back. I worked from home. I did my grocery shopping once a week, on Sunday afternoons, although by the time I left the store it was already getting dark around the edges of the mountains and I had to follow the lights of my high beams up the valley road. Other things were cut away, visiting friends, going to dinner in the bigger town, seeing a movie, shopping, going to the gym; all these were non-essentials. I imagined that that winter was like the start of the end of days, all of the good things, the extra of civilization falling off.

 

I saw death everywhere. People were freezing in their homes, the news channel reminded us to check on elderly people, our oil bill asked for a donation to help those who had no money for heat. People got thinner, tougher, and meaner. I didn’t make eye contact in town. I pulled my coat collar up and my hat down over my eyebrows. I kept safe at home.

 

Joe and I started to lock the doors when we were out. I don’t know if we ever spoke about it, or if it was just something we both felt at the same time. We locked up the poor, little cabin, and all of our poor, broken things inside of it. People were stealing dogs and selling them. People were taking the copper and gold out of the underbellies of cars. They were even carrying off firewood. We watched the long driveway for strange headlights in the dark and looked in the snow for tracks, for footprints, for signs.

 

The cabin we were renting sat at the base of a cliff covered with tall, straight spruce trees. A swift stream ran between the cliff and the house, always in white water, stumbling over huge boulders. The stream rattled and spilled down through the rocks, collecting in big pools, bottomed with smoothed bedrock or soft sand. Just below the house the stream flattened onto a broad flood plain, mingling with another mountain brook. The two waters came together and raced along, white, towards the Connecticut River.

 

The cabin was heated by a cast-iron woodstove. There was a backup propane heater in the living room and another in the bathroom downstairs, but we could never figure out how to run them because the instructions were in French and the pilot light would not stay lit—it would flicker blue and then vanish back to air. The stove ate through wood, burning fast and hot. The place had been a summer home and, looking to make money quick, our landlords had done almost nothing to winterize it. There were gaps under the doors and where the windows met the wall. There was a hole in the ceiling above our bed through which wasps spilled in the summer and in the winter the cold would come in and hover over us as we tried to pull the blankets up. Worst of all, the house was built on stilts because the stream flooded often. They had surrounded the stilts with black plastic and fencing but still the cabin sat on air, a freezing pillow of winter that reached up through the floor. The dogs would refuse to get off the couch; the cats would walk the backs of chairs, over lamps, across the windowsills to avoid having to touch it. The stove fought the cold, but the heat wouldn’t stick—it would just slip away so that even as the stovepipe glowed amber the cold sat in the bathrooms and the laundry room and the downstairs bedroom. The cold was more comfortable in that home than the heat.

 

That winter I lived heavily, wrapped in layers. I wore two pairs of socks and walked the floors in slippers. During the day Joe and I rationed wood. The winter was so long and cold that we were worried that it might not end, and we would be left with no fuel. We’d keep the house right above freezing, so cold that the olive oil became solid in the pantry. I lost all sense of my body. I was never naked except for the brief moments between the shower and my towel. I felt like I gained twenty pounds, but, I don’t know, it could have just been that my body became alien to me, strange, a buried thing.

 

I stayed inside and watched TV wrapped in a fleece blanket on the couch. I cross-stitched Christmas stockings for Joe and me and for each pet. I went to bed early and slept late, following the long darkness. I walked the dogs with a headlight. The trees rose like bodies, and the shadows behind the trees became monsters and thieves. The winter made us animals. It took away everything nice and human. We were cut back down to size by it; we were bodies that needed calories and warmth. We could have slept for days, like skunks and bears. We stopped dreaming for anything besides this life. We became smaller that winter, and less beautiful. I lost things I never got back from that cold.

 

The brook between the cabin and the cliffs had been frozen for months. Early in December I could see running water between the icy banks, but then I could only hear it, dark and rough. The ice grew and grew in the cold of those days. It was the only thing that got bigger. It grew like continental plates. It changed color. Sometimes it was clear, others it was white, or gray.  When there was enough sun, it was blue. The blue ice looked like a blade—it was the ice of the freezing days, when the sun appeared but had no heat, just light in which to cast the world in shadow.

 

When I was out in daylight, I walked the dogs along the ice banks. It was so thick that it made no sound to walk upon it. Underneath I could hear the water, rumbling. The dogs were afraid of crossing the ice in the center of the brook, where they could hear the water. The ice made sounds of its own. It groaned. It creaked and snapped, brittle pops and long breaks. It shuddered like a fallen tree settling into the earth. There were other sounds that were harder to describe, hums, wavering tunes like Tibetan chants that sat right between two notes and seemed to be trying to break the world at its weak parts. Sounds rang along it, down the cracks, through the broad flat shelves. Dripping and grinding.

 

That winter the animals became restless. Fox and deer and coyotes stood in the yard and locked eyes with me through the windows without fear. The cats scratched at all the furniture. On the warmest days, I would try to let them outside, but they refused to step into the deep snow. Instead they tore away the legs of our couch. They peed secretly on the loveseat in the back room. They shredded it too, turning the canvas into threads. The dogs pulled apart my books. They got onto the couch and attacked the cushions until there were no cushions left; they had all been emptied of their stuffing and flipped inside out.

 

By the time the dogs completely destroyed that couch, it was early spring. The light was a little longer in the morning and the evening. The sun has some force behind it. I could turn my face to it and feel something in the sky. There was a day of rain, cold, steady rain that beat the snow down. That night we dragged the couch and the loveseat outside to the backyard, tired of living with those tattered things, tired of flat pillows and torn fabric. We had to pour gasoline on them to start the fire. We waited until it was dark. The gas burst and then snaked inside the forms of the furniture, under the skirts and up the backs, twisting along the wood inside it, slow at first then smoking. Smoking horrible thick black smoke that joined the dark sky. It burnt up the smell of that winter, the animals’ fur and our skin cells, our hair.

 

Joe and I stood back and watched it. The light from the house stretched out to meet us like an apology. We didn’t touch, we gave each other space like the one, or the both of us might burst into flame too. The snow melted out to our feet. The flames came through from the inside of the furniture, wearing the fabric thin and then bursting out hungrily into the air. We watched it in silence. The fire ate up everything and then, gnawing on the bones, the wood, the springs, the bolts, shuddering and collapsing, like skeletons in a mass grave, all the parts mixed up. We kicked the pieces that fell out towards us back into the fire. We watched the sparks rise into the black smoke pillar, following the raindrops back up. Shivering wet through all our coats and boots and hats, we walked back up the hill to the bright house. The fire lay in coals behind us, gnawing on the hardest bits.

 

The ceremony of it all stayed heavy between us. That winter had been hard. Joe had picked up smoking again, standing on the porch just an arm’s length from the door as if it might be warmer near the house. When he had quit, I thought we might be moving somewhere good together. With each night he shuffled in the cold, sucking on those menthols, I didn’t know, maybe we weren’t going anywhere at all because I was slipping too. I started seeing things at the edge of light, in the shadows. My fear of driving at night was a real fear. I saw things, my death, the death of the dogs, of my sisters, huge dark primal monsters made of the hills and spruce and rock. I was scared of little things, headlights in the night. I had to understand every sound I heard, place it, or I rocked myself to sleep, trying to rationalize my terror. The ritual of burning the furniture felt like our first attempt at ridding ourselves of these things, casting the devil out. The house was emptied. We sat at the dining table, looking at where the couch used to be. It reminded me of when we had first moved in, all the blank spaces and how tender we had been with each other.

 

In the morning, the fire was still smoking. I took the dogs down to look at it, the bent nails and twisted springs, the feet and rollers and joints of metal all blackened. I kicked some half-burned pieces into the coals. The snow was melted, and the grass was brown around the fire pit.  The morning was warm; there were invisible walls of heat in the woods and along the driveway. The sun was rising, laying a thick haze over the cold water. It was the sort of day when you are excited for no reason. I went out to lunch; I didn’t eat what I had packed for myself. I bought a $20 bottle of wine for dinner.

 

Coming home, the ice along the road was still solid. I could hear the water under it from the car, running, running. At the cabin, the ice was still solid on the brook, but the water was so loud, a contained scream down the valley. The rain had loosened the sand on the hill, and snowmelt ran off it, picking up big stones and dropping them on the ice like cannon balls. The stones bounced off the ice, bounced into a tree, rattled down with the water, or punched their way through. The water ran like a trapped thing. I couldn’t hear myself think for the noise. The dogs were spooked when I took them out—the rocks had been crashing all afternoon, the water screaming, they had spent the day looking out the windows, wondering what was happening, wondering if the world were coming to an end.

 

The rain came again as the night settled, warm and dark in the valley. Joe and I talked about floods. Two years ago, a tropical storm had burst through these mountain streams and cut off towns for days. It took weeks to get past mudslides, washed out bridges, roads swept away. The brook we lived on had flooded; the water had risen under the house and run through the driveway. Huge rocks had bowled down the hill, knocking over trees in the front yard. Gravel and riverbed were strewn through the woods. The driveway disappeared. A big section of the hill had fallen into the river. It remained a crescent of naked sand and rock where a few trees hung. It was an ugly slash on the hillside right across from the porch; we had looked at it all summer. We also drove past a safe and a refrigerator that the flood had swept up into the trees along the driveway, mixed with river bottom and debris. The people who had been living there when it happened had been stranded; the water pushed their cars up against the pines. They had walked out over the field to the higher, paved road when it was safe to leave the house.

 

We talked about the cuts on the trees along the river that had been made by the flood, how high the water had been, how strong, that it would use stone and wood to cut through things like trees, riverbank, to cut away forest. All the time the noises outside got bigger. The rocks were breaking open trees on the slopes, popping, crashing, and punching through the thick ice and the hiss, the scream of the water. The dogs were looking around in terror at the noises.

 

We lay upstairs and listened to the ringing, crunching, breaking up. It was like a storm but not from above. It surrounded us. At some point, deep in the night, there was a strange, big sound that woke me from sleep. The dogs were sitting at the window; the puppy’s head was cocked to the side. I was too afraid to go to the window and see what they were seeing. The noise finally settled, and the night lay broad and uninterrupted after that. Sleep flattened my fear.

 

At dawn, we could see that the ice had broken up in the night. It was piled in tall cairns in the front yard and it pushed against the trees along the driveway. The water ran—open, seething, twisted gray and white water—so loud as to need to be yelled over. It hissed and boiled like static. With the dogs I walked around the piles of ice, some pieces a foot thick and stacked in piles six or seven feet tall. These heaps bordered the river; I had to climb to look down into the flood. Some of the ice was cut into bricks, and other pieces had been moved in huge, flat sheets, like countertops, and plowed through the yard to the distant pines. Our fire pit had been washed clean, erased; only the grass kept its char. I found pieces of the couch springs in the driveway and charcoal that had been pushed hundreds of feet away by the water.

 

Sometime in the night, the water had jumped out of its banks and knocked the ice back into the trees. The stream had used our driveway as a riverbed until it found its way back to the low ground by our mailbox. For some time in the night, we lived above a huge, rolling lake of ice and snowmelt, a flood, flashing through the land around us.

 

I found a brook trout resting on top of a stack of ice pieces like it had been placed there carefully. I took a picture of it with my phone. This beautiful, bright fish, recently dead and still colorful, six or seven inches long, ended up on top of the ice which had been its ceiling for months. I thought of its strange death, the fear of the flood, the shattering of the ice, the change of its worlds, its gasping for air in the cold night under the dark sky, raised up like an offering to the low clouds. It wasn’t transformation, the slow dawn I hoped for. The thought of the flood roaming our yard in the night scared me more than the endless cold of winter. I imagined water running under our home, under our bed, breaking through the trees, the flood erasing our coals, as if nothing we did mattered and no one would remember.

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The Whole Speaks

An experimental documentary about a modern-day blacksmith and wordsmith, Nelms Creekmur. A text excerpt from his novel, NERBO (from the Italian meaning vigor) provides the backbone for the placement of the moving images, which were shot in his workshop in Atlanta.

 

Video by Caroline Rumley

Text by Nelms Creekmur

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