The Boy

Two down. Two Greyhound days down, and Texas by morning, so Billy figured. Dallas by noon, and then, who could say? Across the bus’s wide aisle from him, Sam slept, her boy tucked into the crook of her back, the both of them curled against the upholstered plastic of two cruddy seats. Sam cropped her hair high and tight, like a boy’s, like her boy’s, but it had grown out of late, pressing up from her scalp in ragged shoots. Messy. Ugly. Billy sprawled himself over two seats of his own, one sneakered leg thrown sideways from his hip into the empty aisle seat, a single sentence writ across his face: “I dare you to sit with me, motherfucker.” Dallas by noon, and then, a new life to last him for good. Girl and girl’s bastard in tow, but a life of unknown newness nonetheless.

 

Boy and mother turned in dream. The boy woke for a moment and scrambled to his mother’s lap. Lodged against her breasts, the boy folded his feet into the seam of Sam’s legs. Thomas. Small for four, already blessed by thick glasses with brown, gawky frames, the only ones available to the state Medicaid patients. The boy wore a button-up shirt beneath a natty pullover vest, though the temperature had topped eighty the long way across Indiana. Thomas’s wrists were thin. Thin wrists meant a boy would always be small, even when he grew. Like with feet on a kitten, the forever smallness of things betrayed by wrists and feet.

 

Billy held up his own hands. His wrists were solid, comfortingly so.

 

Outside, the last, drab Hoosier fields passed by, Michigan long gone. Corn melded on the pane with the boy’s mirrored, blond head.

 

Billy knew that Thomas would grow up to be an outcast, too weak for sports, too gangly for girls. He pitied the boy, saw how much a problem the boy already was and, from the look of his bones, would always be. High school, where Billy had shined, would be awful for the boy, and there was Billy in that satin-framed future, around to see the whole damn pageant. Unless Thomas someday found the thin-wrested gumption to run away in the steep of night.

 

Billy bent to Sam, to kiss her, but the smell of her made him stop. She’d not had a good wash, anything more than a splashdown from a tepid faucet in a truck stop restroom outside LaPorte in more than a day. He hated Sam’s smell when she hadn’t washed. She didn’t smell like a woman, so he thought, but more like old milk left out on a counter. And he’d done that once, in a Southfield apartment, gone and left a gallon of milk out behind a pile of dirty dishes after he was done eating a bowl of Corn Flakes. Days passed before he remembered, tracked down the faint hissing sound which had plagued his space for days, the sussurations of the sour milk’s vapors in escape from around the cap. The bottle, swollen fat and pregnant, he’d thrown carefully away.

 

Billy fancied himself an expert on scent. Scent was the hook, not looks or money, that really attracted one of a pair to another, nothing but scent. Pheromones, the odors a body produced by the natural order of being a body and which really did it for some other poor sack of blind and groping meat. A part of Billy supposed, maybe, that he should love Sam even when dirty, when awake or asleep, but he could only smell what he smelled, only the scents brought to his waiting nose, what came.

 

Billy also knew that the boy, Thomas, was the real problem between them. Not bad scent. Without Thomas, he and Sam could’ve left D-Town years ago, escaped to warmer nights and better jobs, because Sam wouldn’t have needed her mother for day care and diaper cash. If he’d met Sam before whoever-was-Dad had done, they’d already be gone, years hence, a few short but happy lifetimes ago.

 

Billy thought of Mary Saunders from his twelfth-grade homeroom. Near on five years had passed since he’d sat next to that crazy Mary. Mary Carrie they’d called her, after the movie. While he waited for the first-period bell, she’d make eyes on the pages of her notebook, scores of them, like laden plates of fish-egg bait. He’d never been close enough to smell her to tell if she had good pheromones, but he’d bet not. Sour for certain, full of salt and old cold cream.

 

Sam stirred, pushing against the child on her lap.

 

“My leg’s asleep,” she said, before turning her head to the window.

 

She revolved her body as far away from Billy as she could, and Thomas’s right leg slipped off her knee. The high-top sneaker hit the underside of the seat in front of them with a metallic ping, bounced off a heater grate, and so many miles rolled by, Billy’s head flushed awash in visions. He became lost among visionaries. He was lost already.

Dallas was hot that June. The temperature reads they passed in the taxi, going from the bus station to the motel, blared 104, 105 in gaudy florescence, like advertisements for the pleasanter coast of Hell. People outside walked briskly with their shoulders squared and their backs erect, moving as though proud that they were here, swarming in the heat and taking it well.

 

“This is awful,” Sam said. “A hundred and five? Give me a fucking break.”

 

“Dry heat,” Billy said. “You can feel the difference. Ninety’ll break a back in Michigan because of the humidity. Humidity’s what makes heat rough.”

 

“We shouldn’t have done this,” she said.

 

“My great-grandfather,” he said. “You know what he wanted? He wanted to marry a Dutch girl before he came to America. He tried to find the right woman for weeks. Couldn’t do it, but he looked, right up until they loaded his bags on the boat. Still, he wanted a girl from home, so you know what he did?”

 

“Gave up?” she asked. “Got on the boat by himself like a grown-up?”

 

“He went to a brothel, right there in Amsterdam, asked if any of the girls would marry him. ‘Somebody wanna marry me?’ he asked. ‘Get up right now and I’ll pay your way to America.’ So my great-gramma, she stood up and said she’d do it. She came with him.”

 

“Great,” Sam said. “I’m thrilled. It’s still too hot.”

 

“They were married fifty-seven years,” Billy said, nodding. “We could be like that, you and me, if you got a better attitude.”

 

“So if I get a better attitude,” Sam said, “I can be a whore. Bought and borne for your stupid ass.”

 

Though Billy searched her for intent—jest or wrath—he saw only the long lines of her face gaping back at him. Her eyes were closed, her mouth thin-lipped, her arms held close to her chest. Her body braced, all of her an oracle of nothing, a fount of excommunication.

They bought a room for the night, one with a single bed, wood paneling, and no AC. Sam cracked the lone window as far as it would go, three or four inches, before the painted-clogged jamb stopped its slide dead. She craned her neck askance and put her face into the crevice. She grimaced, scrunching her features shut and strained. Billy could swear her face pinched and shrunk, as though trying to slide out between the frames.

 

Thomas sat on the corner of the bed, rummaging through his tiny, hard plastic suitcase. The contents were limited, only a shirt or two and a pair of swimming trunks. Sam had wanted him to have something to carry, to train him a little with some responsibility, but he had nothing that couldn’t be replaced if he left the bag behind in a gas station bathroom. From somewhere deep within the case, a pocket that Billy couldn’t even see, the boy pulled out a stuffed animal he’d ferreted away on his own, a toy ghost come all the way from Detroit.

 

Billy frowned. “What the hell is that?”

 

“Super Banana,” Thomas answered.

 

“Oh, leave him alone, will you,” Sam said from her window. She lay flat on the sill, fanning her face with a Mexican take-out menu someone had left on the peeling Formica countertop in the ‘kitchen,’ just a nook on the far side of the room that couched a sink and a battered, broken stove.

 

“He is a boy, isn’t he?” Billy asked.

 

“He’s four.”

 

“So he can still be a four-year-old with some balls.”

 

Thomas ignored them, flying his stuffed, man-shaped banana around the room. The toy had arms and legs made of rainbow shoestrings. Machined, white leather hands and sneakers. As he dragged the toy across the end table beside the bed, which held nothing but a single lamp and an ashtray, one of the toy’s legs caught in the ashtray’s cigarette rest, and, as he flew it by, the boy pulled the ashtray off the table and across the bed, still attached to the banana. Leftover, metal-gray ashes spilled out onto the ivory sheet. Billy stared at the pile, on his side of the bed. He let out a long sigh and stood immobile.

 

Thomas stopped playing and tried to tug the toy loose, but the leg was wedged in good. A minute and the boy whimpered, then softly cried.

 

Vacating the window, Sam came to him. She cradled his shoulders and removed the toy from his hands. Gently, she pulled the leg free of the ashtray.

 

“Maybe I should cry, too,” Billy said. “Until somebody helps me. It’s my money for this palace. My job quit. My ass in the ashpile.”

 

“Don’t,” Sam said, hugging her boy.

 

“A place like this won’t change the sheets twice. You know that as good as me.”

 

“Please,” she said.

 

“Lucky they were clean in the first place.”

 

Billy could feel the ashes already. They pasted themselves, cold and slippery, against his back. His night would be a sleep on shoreline dirt, the absent tide gone and not coming back.

 

He slumped into a tattered armchair in the corner and tried to rub himself free of the slick mess he swore was on him, but he couldn’t.

 

This was a mistake. His life was a mistake, everything that had followed the doctor’s slap and his first heaving breath.

 

Even if he brushed the ashes away, they’d have worked their shitty fingers into the cloth, buried themselves in the fibers. They were waiting for him, and him alone, and once they hopped aboard his skin, he would never be rid of them, not of a single mote, and he’d wake up in the morning as dirty as a mule, every morning, ever after.

By Wednesday night, when the travel money was gone, Sam started in on a nonstop cry, one lugged up from a bottomless well in a broken pail, one that slaked the room’s thirst with nothing wetter than a woman’s constant regret. Her eyes were inflamed, the lids pinkeye swollen, the whites tarnished with windshield cracks of red.

 

Billy pulled off his shirt and tossed it on top of the pile they’d grown in the corner beside the chair, because they hadn’t yet found a laundromat close enough for walking.

 

Sam gripped the Mexican menu in one hand, fanning herself. Eight in the evening, the temp ninety, more than ninety. She was pallid; she looked boiled. In her other hand, she held a rolled-up Vogue, stained by irregular shapes on its back cover, an ad for a fancy perfume.

 

“Cockroaches, now, too” she sniffled. “I’ve been after them all day.”

 

Billy looked closer. Carcasses speckled the wall behind her.

 

“I would’ve cleaned,” she said. “But, you know. If you turn your back.”

 

Her skin looked blue with dirt, her hair like a helmet of grease. Billy wondered if she’d been in the shower since they’d arrived.

 

Thomas dangled off the edge of the bed, at practice in the tying of his shoes, pulling one loop around the other with repeated circles of motion. Billy sat down beside the boy and showed him the right way, once again. Billy’s fingers moved quick and sure, and maybe just a little too angry, so when he pulled too hard as he unknotted the left shoe, Thomas looked ready to tear up again himself.

 

Billy refused to comfort him. The world was hard. The boy was so different, different like someone else’s child.

 

“There’s a kitty outside,” Thomas said, watching Billy’s hands as he started on the right shoe. “He eats everything, even pretzels.” The boy giggled, indelibly amused.

 

Billy nodded, remembering the animal from when he’d gone job hunting that morning, a scrawny stray with orange tiger coloring and two torn, Tom’s ears. The cat looked mangy, and had an unnatural lump on its back the size of a golf ball.

 

Billy double-knotted the sneaker. “You can’t have pets here,” he said.

 

“Someone should report us to management, then,” Sam said. “Got us a number of violations racked up.”

 

She whacked the wall, loud enough to make the neighbor next door pound back and yell in his familiar, throaty Spanish. When she pulled the magazine back, a new squash appeared beneath it on the wall, gleaming brownly in the light of the table lamp.

 

No comprendo,” she yelled. “No comprendo, la cucaracha.”

 

“Fine, then,” Billy said. “Five damn days before you gave up.”

 

He rose from the bed, leaving Thomas with one shoe still untied, and threw open the screen door. A horde of moths flew up towards the square-domed light above the room number—14, with the four hanging upside down.

 

Billy stood in the doorway, feeling the heat on his chest like the press of stones beneath an unmade plea. The fight was already long over, the field long deserted, the battle lost. Nothing left out here but the maimed and the dead.

 

He came back in, but left the door open. He fell backwards onto the bed, let himself go limp as he fell so that his weight bounced Thomas off onto the floor. The boy landed somewhere out of sight in a tangle of elbows and knees. Billy could feel the old, flattened ashes beneath him, cool and oily against his skin. He ground hard against them.

 

Sam unrolled the magazine and pretended to read, sniffling again. They all ignored the open door as though a cloud of mosquitoes wasn’t drifting in, and a crush of heat, and after a minute, the scraggly cat, which appeared in the jamb. It stepped across the threshold. Thomas ran to it and pulled it into his arms. The animal allowed him the expression of love without reservation.

 

Thomas took the cat to the chintzy corner chair and sat with it crushed against his lap. He petted the cat with a furious hand, petted as a man might sand a board. The lump on its back was a different color than the rest of its back, pinkish and lighter, where soft fur from underneath showed through. A tumor, then, of some sort, but Thomas didn’t care, rubbing the cat’s back and shoulders, squeezing its angry and tolerant face.

 

Billy got off the bed and brushed at his back. He made the motion a second time, rubbing and scratching and trying so desperately to remove the ashes, but they simply wouldn’t let go. He could feel them, tarnishing the skein of his innermost wants. He walked across to Thomas and swatted the cat out of his arms, stamped his foot once to frighten it, and the animal bounded, jangling claws on the linoleum by the door, absenting itself off into the nightdark.

 

Billy slung his arm behind his back, felt the sharp blade of his protruding shoulder, and scratched, dug, churned. He could feel the ashes, surely. Surely. He marveled as his arm came back out into the vacuum of space before his eyes. He watched the slow-motion arc of the arm of another man, another man with less patience, another man with less hope left alive inside, with less weight in his pants and his heart. This other man’s arm came flying off from his own dirty back, and the hand, that bad, that bad, that so bad hand, it slapped the boy, once, just a single time, backhanded him across the face.

 

No one moved in all the room, or spoke, or took in a needed breath, and the all of them remained frozen for minutes that were really hours, hours that presented time enough for thought, and reflection, and the sheer thrill of wonderment.

In the morning, the door still hung open, Sam and Thomas long gone into its sunborne frame.

 

Billy, woken alone upon the bed, regretted his loss with a vagueness more appropriate to a missing set of keys, and in truth, he couldn’t properly identify the source of all his grief, wasn’t sure, was it the slap, or the dirt, or Dallas itself which had burned away all his possibilities, all those supposedly first-class and everlasting years which his mother had once told him lay ahead of all good boys.

 

Across the room, the cat slept on the floor beneath the armchair. Beside the cat, a pile of old potato chip crumbs drained oil into the shag carpet at the chair’s foot. Bites, from fleas or mosquitoes he couldn’t say, dotted Billy’s arms and chest. They itched, and he tried not to touch them because he knew that if he let go on them, then the wounds would really want.

 

The bites stared up at him like myriad eyes, and he thought of Mary Carrie Saunders for the second time in a week, creating an audience in homeroom. Sometimes, she began the eyes with a series of dots, pinpricks of her ballpoint, and she’d come back later and circle them. She always drew them quick, was resolute in moving on, as if she knew that completing an eye gave it the power of true sight. Other times, the circles first, and then the dots, slammed home with vaccination stabs.

 

Sam had left him the magazine, para las cucarachas.

 

Billy got up, then sat in the chair where he’d hit the boy. Three cockroaches scurried across the far wall, bold now, running sprints. The cat woke, found Billy, and crawled into his lap. So, then. He was forgiven.

 

Billy looked down at the cat, a precarious bird perched on his legs, each of its scraggly paws made into a pinpoint of balance. The cat lapped at his arm hair with a long, coarse tongue, a pink fire, living and alive. After finishing with his arms, the cat stayed in his lap, settled and kneading, and then spreading out flat across his thighs. A chorus of fleas squirmed in its fur. The animal cleaned its face, tonguing a front paw and passing the wet limb over the lids of its eyes. He could picture Sam in Southfield, leaning back on a green plaid sofa and telling her mother what a bastard he was, how awful a summer in Texas could be. But that was okay. He knew better. If it weren’t for her boy, she would be with him still, be here, be contented, pulling down a beer from the 7-11. Laughing. If it weren’t for her boy.

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From Knowing to Unknowing

An Earlier Life, by Brenda Miller
Ovenbird Press, 2016
174 pages, paper, $14.95

Winner, 2017 Washington State Book Award in Memoir

 

 

In her most recent collection of essays, An Earlier Life, Brenda Miller examines the rich assortment of previous lives she has come through on her way to the life she currently inhabits. “In an earlier life,” she begins, “I was a baker in a bakery on a cobblestoned street. I woke early, in the dark, to do my work . . . In the quiet, I brought something to life.” The image of Miller kneading dough in the quiet hours of morning bringing something new into being is reminiscent of her work as a writer, and she delivers a breathing work of art between the pages of this book.

 

In “Who You Will Become,” Miller reflects on a sign which always hung in the front hallway of her childhood home, the Hebrew letters for Shalom with its multiple meanings—hello, goodbye, welcome, good and peace. She explains, “In Hebrew, the word for God means, “I am what I am becoming.” This presence is always imminent, always evolving. When we say Shalom, we are in the midst of this transition: hello, goodbye, turning to face the past and future at once.”

 

With that, she begins a candid examination of her life beginning in childhood and adolescence, through her early adult years and into a time of reconciliation and healing. The theme that one thing—a word, an object, an event—can carry more than one meaning, echoes throughout the book.

 

Miller’s close observations illuminate the remarkable contained within the commonplace, making the scenes dance on the page, and readers can’t help but pay closer attention to their own surroundings. “In Alaska, you understand how light is now a substance of its own making—tactile, with particles and waves and something else. You understand how light finds the least pinhole and expands.” With these opening lines of “Understand,” readers are suddenly more aware of the light that plays around them. Miller’s vivid account of her physical world brings the geography of the readers’ own into sharper contrast.

 

Later, in the essay “How to Get Ready for Bed,” she renders the mundane task of shopping for a new mattress into a work of art, a study of all the mattress represents: sleep partners past and future from boyfriends to pets, sanctuary and isolation, and the best description of insomnia I’ve read. “It’s as if you’re afraid of something, but you don’t know what. Maybe you’re afraid of that moment you slip from knowing to unknowing—the moment you’re with your unpartnered self alone.”

 

Yet not afraid to be vulnerable, Miller allows us to enter the places she stalled, consider decisions that led to trouble or heartache, and experience the consequences of missteps. Even so, she doesn’t neglect to shine a light on the beauty contained in even the darkest places. In “Beloved,” an essay tense with the possibility of violence, Miller describes a day boating on a desert lake with her boyfriend. He’s drinking and flaunting the fact that he could do her harm, that she’s defenseless. The stakes rise when he steers the boat into a secluded cove, “A place,” she writes, “that in any other time, with any other person would be a romantic picnic spot.” Juxtaposed against the visceral sense of mounting danger is this description of her surroundings: “This cool air in the desert, over the water. It’s a land of contradiction, the light bright and subdued at once. You can motor along the wide expanse of the lake, find a small canyon to enter and look for the hanging gardens: plants growing high above the waterline, gaining foothold and flourishing on bare rock, while beneath you—far beneath—a ghost garden mirrors the one above.”

 

By age eighteen Miller writes in “L’Chaim,” she no longer attends synagogue, but there is a thread running through these essays that suggests a search for spiritual meaning—a desire to understand how each of her ‘earlier lives’ contributed to the full spectrum of her life as a whole. Miller carefully considers each remembrance as if she’s turning them over and over in her hands to consider every plane, seeking the places where light shines through.

 

As co-author of the craft book Tell It Slant: Writing and Shaping Creative Nonfiction, it’s no surprise that Brenda Miller’s writing is exceptional. Many of her essays are written in second person. Speaking directly to readers in this manner, she calls them to walk alongside her, to share in each choice that moves her to the next experience. A life unfolds full of music and grit and danger. The beauty, and the pain, and the wonder on her journey toward wholeness becomes their own, a life shared.

 

In the epilogue, “We Regret to Inform You,” readers are treated with an outstanding example of a hermit crab essay—a term coined by Miller and co-author Susan Paola in Tell It Slant. In the form of rejection letters, she highlights a string of her ‘failures’ at various roles and relationships—with her elementary art teacher to the babies she lost in miscarriages to her grad school boyfriend, and finally, an acceptance letter from a pet adoption organization. The letters are bittersweet, sometimes funny, and always insightful.

 

Miller’s ability to turn angst into art, to interpret the ordinary with extraordinary clarity is unmatched. Her work wakes up the senses—external and internal—and will resonate with readers of poetry, as well as prose. An Earlier Life sings to readers, and they can’t help but hum its tune while going about their own tasks. Like bite-sized treats, readers can consume these essays one taste at a time, or in a decadent cover-to-cover feast—the perfect balance of savory and sweet.

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Love Itself Can Be Dangerous

Further Problems with Pleasure by Sandra Simonds
University of Akron Press, 2017
72 pages, hardcover $49.95, paper $14.95, epub $9.99

 

 

Further Problems with Pleasure, Sandra Simonds’ latest book of poetry, addresses similar themes found in her other collections. All of her work addresses important, timely subjects, yet she has proven with each volume that she is not afraid of leaving her audience uncomfortable. Her poems require her reader to work hard in order to come to a blended understanding of both content and syntax. The payoff is well worth it. To me, the most interesting of her subjects are her explorations of violence against women, the dangers of love, the complexity of living in the South, and the potential of suicide.

 

She opens this collection with a five-page poem provocatively titled, “Poetry Is Stupid and I Want to Die,” updating Marianne Moore’s sentiment for the 21st century. As the title suggests, her lines are manic, almost desperate. By linking her syntax in nontraditional ways and by ending and beginning new sentiments without regard for punctuation, she establishes the manic voice, which emerges from her Lego-like constructions of grammar and yet ends up being hauntingly beautiful. The poem opens as the female speaker, alone in a room with a man, considers how she might escape “unharmed / the way a woman has to manipulate both mind and body.” As many readers know too well, women find themselves in situations that can turn dangerous in an instant. Here, we are reminded to always consider an escape route.

 

For Simonds, love itself can be dangerous. Such a forceful theme is apparent in much of this collection. In “Spring Dirge,” she states, “Some people call it self-destructiveness / but I call it love.” Even more explicitly, she writes about the violent repercussions against women in “A Lover’s Discourse”:

 

Every so many seconds a woman is hit by a man
 with direct tectonic rage. Geology
 is some rough sadism I know
 not what. Agony is property
 but it is also agony. Vow to me, agony!
 Declare your allegiance! (Or buy me a house.)

 

Simonds’ manic voice mirrors the complexity of these lines and the familiar, cultural position of the powerlessness of women. Here, the speaker considers the payoff of an abusive relationship, one defined by agony and rage, to that of material wealth. In poem after poem, Simonds positions her speaker in these places of opposition.

 

For example, another favorite poem of mine from this collection, “Our Lady of Perpetual Help,” juxtaposes ideas of the feminine. The poem, set in Mississippi, describes a group of nuns who are not who “they pretend to be / One is pregnant under her habit / One thinks she ought not to touch that / One buys a Diet Dr. Pepper and Twizzlers.” Because this poem is set in the South, I can’t help but wonder about the sins and terrors of this geography. Is God dead? Has he been false (like these nuns) all along? The poem digresses into a word and sound play on “nun” and “none”:

 

This is a place of weeping things
 where the world has wept
 and wept and no one has come

No Father None     No Mother None
No Baby None Comes     No Sister
None Comes No Brother None Comes
No One     like None
It’s that kind of place
 You’ve seen it before
 It’s blind to everything, everyone

 

Although they are not officially marked, I would say that Further Problems with Pleasure is separated into three sections. The middle section, titled “The Baudelaire Variations,” is broken into sixteen smaller poems. Simonds translates several Baudelaire poems, mostly maintaining a close reading of the original, yet modernizing them in order to bring them into the contemporary world. Most of the translations follow the path other translators have taken, but a poem like “I Love Wine!” is acutely different:

 

Today, omg, I’m just so spaced out and splendid
 as I walk this earth without death, without an apron
without being a wife and so my queer heart transforms into the nostrils of a
 winter
 workhorse whose exhalation breaks through the iced tulip sky.

 

A large majority of the poems throughout her book are in the form of an address, and here too, Simonds ends with an address—this time to someone named Felix, requesting a trip to the “Oregon coast / [to] relax inside the boxed wine paradise of our dreams.” Historically, Baudelaire and photographer Felix Nadar were very close friends. Baudelaire claimed that Nadar was the “most amazing manifestation of vitality.” Perhaps Simonds is playing with this historical relationship and a present-day character to whom most of the poems in this section are addressed. Felix changes gender and appears to be a muse or imaginary partner. Remarkably, the name Felix is derived from the Latin for “happy.” Felix, for Simonds, is the “manifestation of vitality” that often, poem to poem, seems elusive.

 

The first and third sections of her book include both poems that reveal the hectic, intense inclinations of the speaker’s tone as well as poems that are tight, clear, and adhere to grammatical order. In both the first and third sections, the word “suicide” frequently occurs. It is a conceit that makes sense considering the desperateness of a suicidal mind. Mania and suicide go hand and hand. Simonds’ opening poems make the claim “I can’t imagine why anyone / would feel the desire to hurt a woman / who thinks about suicide every day.” Occasionally, the speaker of a poem declares that they don’t want to kill themselves, or they implode grammar into one important conviction in lines like “This is my life / I don’t want it I do.” Poems like “Ode to Suicide, Delirium, and Early REM” advertise from the beginning the difficulty the speaker has with life. Always keeping in the contemporary world, Simonds’ brilliantly contrasts a Twitter or Facebook posting about the shape of a women’s eyes to those of Mary as an icon:

 

mine are not almond-shaped, like my sister’s, my tips are “downturned,”
 something medieval and sad, something fenced-in the manuscript or
 economic,
 the way they paint the little strawberries are a technological advance,
and deep green vines up the gold-vermillion boxes to keep the text in, to keep
the lion in, to keep the flow
 of the blue flow robes in,
 Mine point down (Almond eye surgery for downturned eyes? please help,
 photos)
 the way Mary’s tips point down, the hue, a libidinous blue,
a corruption, wave, metal star work of mournful
 space —

 

I so admire how Simonds takes what to many of us might seem trivial social media moments and reminds us of the bombardment of criticism and difficulty that comes with simply surviving in the modern world. And, unfortunately for many, it becomes too much:

 

I follow these downward tips
 my eye sockets
that are not beautiful after all
 but eternally plain
as coffins.

 

In “Elysian Fields” the speaker asserts “Life is evil / That is all / I want to live because I’m stubborn.” The poem takes its title from classical mythology as the final resting place for the blessed. It also references a place or state of perfect happiness, paradise. As it is situated as one of her final poems in the collection, might Simonds be addressing the one thing her speaker searches for poem after poem? Further Problems with Pleasure, as the title suggests, is the elusiveness of that pleasure and all the obstacles that get in its way. Readers must endure the mind of one who toys with suicide and addresses difficult themes stemming from social to geographical limits and confines, but on the other end lies something real and rewarding and magical.

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Five Poems from Atopia

I like to photograph old signs 
when I drive along the Emerald Coast.
“Florida Hotel: American Owned” and
“Rachel’s Restaurant” I dreamed 
a beautiful poem up by the sea but
forgot it by morning; Make America 
Great Again vs Occupy Wall Street.
We talked about extreme weather 
and the stock market in the Gulf,
the water fluctuating around the sun
and pelicans, text message alerts
for tornados and when I got home 
I googled sinkholes and clicked on
the interactive map—14 by 12 foot,
8 by 6, 1 by 1, and read the warning 
signs, maybe the doors to your house
don’t close, maybe there are cracks
in the walls, maybe there are depressions
in your lawn, now imagine a bed
and furniture instantly falling into
the lawmaker’s hand holding up a piece
of limestone talking about an amendment
which will outlaw fracking in Florida forever 
“I’ve changed positions,” she says, “Look
at this limestone. It’s fragile. It’s porous”
and wishing I remembered my dream
of the sea by the sea, the dream enclosed
in the bulb of the sun, my body
covered by seawater, “It was almost
like there were colored rings around
the sun” your dad, the archaeologist, said
and driving home, the eye-level pelicans
and their prehistoric flight, seemed
calm, the bridge both flowing into
and forged by the metallic clouds

Philomel, lost cause, not quite, operatic as doves
 the oatmeal is cooking this morning and it will be a long
hurricane season from June
 to October, that season of hell as we approach
 an apocalypse, as showers fill the heart unable

 to process what is happening.
 Alone in your cabin, the outside world
 has a tongue, has words, scrolled
 and scrawled along the ridges of the bleak sky. 

 Oh Philomel, I have no pictures to post, no landscapes
 to paint, my song is sung in vain, and it is composed 
 of rubble. Fear not, Philomel.
			
Now the oatmeal burns inside its weeping pot
 and revenge is its own constellation of anguish,
 its own pattern of swallows moving across
 the luxuriant atmosphere.

 Personal history? What can we really
 make of it after so many years? 

 The metal bends, the apartment saturated with ash.

Our masters shift; this is the definition 
of domination
Still, Esmerelda, if you would like to take 
a dip in the filthy lake, I’m game 
and if you still have the impulse to be mesmerized by love,
I’m down for that too

I can even transform into a nude before your very eyes 
I promise
I can become just like a painting of paradise from the olden days

We could do this for a little while
before we have to go back to work again

inside the impenetrable flesh factory
where the meat screams

even though it is already dead
I’ve never known why this is 

Why does it scream night and day?
Maybe because it has no identity 

Esmerelda, they want our blood because 
they must know how sunny it is

how, long ago, we fed the horses and wept and sang 
by the fireplace; they must know

that we had such intense passions, 
that we thought the grasshoppers

eating the yellow fields were beautiful

and we looked at both the creatures
and the fields with a kind of awe

Our masters did not like this and our passions 
had to be held down
by a corresponding cruelty

the formal laws of the state
O the networks
of subjection are infinite

Read of an ICE raid: men, women and children sent to a detention center in Crawfordville, Florida Turn the page Bought erasers, pencils and summer workbooks for my children This is a cell All living things are made of cells This is the earth The earth is always changing If lyric poetry is cruel, I am forlorn at the loss of our wilderness There really is an “anti-parks” congressional caucus whose aim is to shovel the plants and rocks and trees into black plastic bags and throw those bags into the sea It is important to stay safe in Science How do we stay safe? Follow the rules and use the right tools The goddesses of Sunday welcome you We bring you this bowl of peaches and serve you with our porcelain fingers Here is a napkin Here is a knife Your wife and children are welcome too
Glandular fever punctuated by tropical storm Cindy which was a dud; many weeks of rain, the lymph nodes swollen, many weeks of wind while my children play inside the supernova-like sinkhole, Green tea and raw honey even though bees struggle for survival, Alex searching for climate-controlled storage spaces, I yelled at everyone, the black diamond and rattlesnake rattle fell upon me, I could tell you were trying to communicate, I suspected it was your fault, seizure like substance of air turned to current, maybe I blamed you for my illness, I knew you were the one taking me down through this amber realm, this dream space, fragile, filled with neurons, jammed with signals signals from the dead, then the realm spilled into the black hole of the summer solstice and out of the storm; O Angel, you were born.
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Aquifer Open for Submissions

After our first few months of establishing the tone and caliber of Aquifer, we are now happy to open to general submissions. We are seeking top-quality digital stories, graphic narrative, creative nonfiction, fiction, and poetry. Take a look at what we’ve been publishing, and see our Submit pages, starting with General Guidelines. Please note that, while our print-magazine submissions will remain open year-round, our Aquifer submissions will be open on an intermittent basis, depending on how many submissions we receive. Don’t worry–we’ll have at least two substantial reading periods every year. We look forward to seeing and reading your work!

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New Website Live!

Welcome to the new Florida Review website, also home to the brand new Aquifer: The Florida Review OnlineWith Aquifer, we introduce weekly literary features (poetry, fiction, creative nonfiction, and graphic narrative), as well as interviews, book reviews, and digital stories. These will be available free online, and later this year we will open up submissions to these new online categories. We hope to welcome more readers to the Florida Review family and create an even stronger sense of community around the great work we publish and the authors and artists we feature.

This moment has been a long time in the making, and we have many steps to go before the website is perfect. In addition, we have many more possible features in the works that we hope to add over the next year to make Aquifer: The Florida Review Online a fully multi-media arts and letters site. We are truly a work in progress, and we hope you will both forgive us and inform us (at flreview@ucf.edu) if you notice any problems.

In the meantime, we hope you will begin to enjoy the fabulous work that we will be adding on a weekly basis. We start off our literary features with two love poems by Major and Didi Jackson–to both celebrate the season of love and to focus us all on the nature of hopes and dreams. In addition, we have an online interview with Julie Marie Wade, whose poem “Katabasis” is featured in our current issue (40.2) of The Florida Review in print. Last but not least, we start off with two book reviews, Dana Roeser’s on Elizabeth Powell’s Willie Loman’s Restless Daughter and James Scruton on Kim Addonizio’s Mortal Flesh and Bukowski in a Sundress. Enjoy!

We have more terrific work coming! Check back regularly!

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