75 Simple Steps to Positive, Growing Change

1. Consider not reading the e-mail from your cousin Tommy, but then read it. Discover that your Uncle Dave has died. Of an embolism. Very unexpected, as is the case with these things. The e-mail notes the date, time, and location of the funeral. It is signed “best, Tommy.” Struggle with how this makes you feel. It’s been at least ten years since you’ve seen any of your relatives. Your mother’s funeral was the last time. You can’t believe how long it’s been. Ask yourself what you’ve even been doing in all that time. Decompressing is the only answer that comes to mind.

 

2. Take a Greyhound to Harrisburg to share Tommy’s grief as well as the grief of your Aunt Joan and Tommy’s twin sister Linda. Your own grief is of course less severe than theirs, but you are family and are grieving in appropriate amounts. Think about how your mother would have admonished you if you told her that the funeral were being held at a particularly bad time in your life, making it very inconvenient for you to attend.

 

3. Struggle to maintain your composure during the service, which is as anxiety inducing as anyone could have purposely arranged. Wonder who these people are. Assume they’re probably wondering the same about you. Shake hands with Tommy but don’t approach Linda or Aunt Joan, who seem almost too bereft at the cemetery, under a purpling sky that feels so close you could touch it. Imagine yourself being carried off by birds.

 

4. After the service, just as it begins to rain, accept a ride to the house from one of the other funeral attendees, a solemn man in his 50s, perhaps a business acquaintance of Uncle Dave’s. Tell him that you are the nephew. Smile and nod when he says, “Oh, the one from the city.” Thank him for his kindness when he offers his condolences. In the car, a twenty-year-old Acura kept in good trim, when he asks whether you mind if he smokes, ask him whether he minds if you vomit. Drive the rest of the way in silence.

 

5. Stand in the living room eating finger foods and drinking cocktails. The rain is falling in unbroken sheets, white noise humming in the background like classical music played at low volume. The boyfriend or fiancée of one of Linda’s friends, Dom or Don or something, hovers by the rolling bar and threatens with a drink anyone who ventures too close. Due mostly to these predations you’re on your third gin and tonic, which he keeps calling G&Ts. “Need another G&T?” he asks, you’re sure only trying to be of help in your family’s time of need. “Looking a little dry there, my man.” Watch him pick up some ice cubes with his fingers, which someone really ought to talk to him about—the tongs are right there. But, trying not to think about vectors of germ transmission, accept the drink, thank him, and then stand inconspicuously in front of a cluster of family photos. The largest photo is of Linda and Tommy at Epcot Center in their 90s clothes, lorded over by Uncle Dave and Aunt Joan. Picture their teenage resentment as a heavy, opaque liquid oozing right out of the photo.

 

6. Notice how the house feels like a place of pretty negative juju. Likewise Harrisburg in general, which you haven’t visited since you yourself wore appalling 90s clothes. You’ve come to associate both the house and Harrisburg with many painful instances of youth. Recall the day in 1992 when Uncle Dave body shamed you in front of basically the whole family. How afterwards you’d imagine him stealing away into the night to gleefully commit crimes. You did this to deflect his criticism, to make these the savage words of a vile criminal rather than the casual insults of a family member. But also, if he had no compunctions about reducing his only nephew to tears, imagine what he must have been capable of doing to complete strangers. Or his children. Looking at the raggedy group of mourners, wonder what they actually know about him. Walk to the buffet table to gnaw on a baby carrot.

 

7. While gnawing, try to remember past instances of positivity and bonding with your cousins since they are currently consumed by grief. Or so you imagine. Your uncle was not a warm man. No one would ever have said that about him, yet here people are in his home, or more correctly former home, celebrating his life. Recall a weekend visit when Uncle Dave pulled Tommy’s arm behind his back at a cruel angle for some offhand comment he’d made about the Penguins. How Linda had tried to intervene while you only sat there frozen to the spot. Remember how she yelled, “Let him go, Dad!” and the speed with which he then turned his anger on her for merely trying to defend her brother. Over hockey, no less!

 

8. Recall how you dissociated from the scene, even though back then you lacked the word for it. How you saw it instead as a tableau, not anything you were involved in or even necessarily present for. Witness it from a remove, as though watching it on TV or through the illuminated dining room window of a house you are walking past at night. Note your uncle’s hair, how the word that comes to mind is “yellow” rather than “blond.” See Aunt Joan smiling nervously—but at who? At you?—as though this gesture would exonerate Dave, excusing his behavior—his violence towards his children, to call it what it was—as a small peccadillo, as “Oh, you know how Dave gets sometimes.” See Tommy, dark haired like his mother, thin still at the time, having not yet started to lift weights in the garage, something you only now realize might have had to do with his father. See brave Linda, who looks like a beautiful and young female version of Uncle Dave, which she did her best to rid herself of at some point in her twenties when she got a wholly unnecessary nose job and began dyeing her hair red. She is the one to challenge him, not Joan, not Tommy, certainly not you. Note your relief and surprise when Uncle Dave suddenly lets the whole thing go, drops Tommy’s arm and reaches quickly, automatically for his beer, and how you all eat in silence until, finally, Aunt Joan turns to you and asks if you’re looking forward to seeing Santa at the mall the following day.

 

9. No. That’s not it. You weren’t a Santa-visiting child then. You were older. You and Tommy and Linda were in your early teens. Instead of Santa, you would have gone on long aimless walks together with some of their friends and smoked cigarettes and shared a small bottle of pilfered peppermint schnapps, you always on the outside of the group, the interloper, unable to really talk to anyone except for Linda. Recall their Harrisburg idioms, the slang you struggled to make sense of. The inside jokes you were not privy to, because Tommy made it abundantly clear that bringing you along was an obligation and not something he would have preferred to do.

 

10. Take a moment to acknowledge your gratitude for Dr. Becky and the tools she has given you for addressing and processing your trauma. Recall the body shaming incident again, only now recall it without the shame. You did not deserve that. Let it go. See? See how much processing you’ve done already? Take another sip of the G&T.

 

11. Also acknowledge that, despite the processing and healing, your current level of distress is exacerbated by the realization that Tommy has surely inherited some of these traits from his father. Things like that are passed down, cycles perpetuated, etc. Dr. Becky insists that part of what we must do to achieve healthy personal growth is to identify and nullify negative patterns. Tommy is clearly the victim of very powerful negative patterns, as evidenced by the time when, as kids, he deliberately pushed you into a patch of nettles. Recall your mother holding a cold washcloth to your lower back.

 

12. Wander back to the photos. On the same wall is a shelf on which sits an award statuette engraved with Uncle Dave’s name. Realize there is a lot you didn’t know about him. We are, after all, complex animals. Wonder what you could do in your own life to one day be worthy of an award. Consider doing something for children. Or better yet: orphans. You yourself are an orphan, which strikes you as an odd thing to be at 37.

 

13. Turn around when someone clears their throat behind you. Discover that Tommy has snuck up on you, which you take as further proof of his dilapidated mental state. “Gary, what are you doing with Dad’s award?” he says. You’re surprised to see that you’re holding the award—a hunk of Lucite in the shape of two hands doing a handshake bearing the words Harrisburg Order of Civic Friendship, Dave K. Lowry, 1997. Even with Tommy standing there with an accusatory look on his face, take a moment to run your fingers over its delicate edges. “You know Dad loved that award,” he says, “so maybe don’t mess around and break it, huh?” This could be a humiliation technique, but he’s not entirely wrong. There are some clearly flimsy parts sticking out at the ends of the Lucite arms. They could snap off. “You think I need this today?” Tommy says, eyeing your G&T. He holds out his hand and you put the award in it. “The glass, Gary,” he says and hands back the statuette. “Back on the shelf, and watch the drinking, okay?”

 

14. Mentally replay one of Dr. Becky’s DVDs, the one in which she says that inner growth often results from placing oneself in unfamiliar surroundings and seeing how one gets on under the duress of not knowing anybody or even knowing where to go for a decent sandwich. Here you are in Harrisburg, which has grown unfamiliar over the many years of your absence, trying to glean positivity at a funeral. You’ve read that this is how boys become men in Africa. Not by traveling to Harrisburg, but rather by going off into the wilderness to fend for themselves and possibly entering into combat with a lion, and additionally without the convenience and security of their houses and families. And when they return to their houses post-wilderness, they are changed. Positive, Growing Change. Although more likely they live in huts.

 

15. Careful to avoid detection by Tommy, head to the rolling bar and accept Dom’s (?) offer of another G&T. Then, in need of some peace, sneak off to the pantry where instead of peace you discover Linda crying into a large sack of flour. Wonder briefly about appropriate levels of grief and about catharsis and the various ways in which we as damaged human animals express our many emotions. It’s been years since you’ve given any thought to Uncle Dave’s penchant for casual cruelty or whatever his specialty was, but being here now, supporting your family, you can feel in your bones that he has misused people in bad ways. Wonder if there’s a sense of relief in Linda’s tears. Could a human even discern that? Maybe one of those cancer-detecting dogs could. Gulp down the last of the G&T and pat her reassuringly on the shoulder. When you do this, she jumps like a frightened kitten and looks at you with huge red eyes. “Oh, Gary,” she says, her shock giving way to arms being thrown around your neck.

 

16. Take this embrace as a sign that the healing can begin. Linda must acknowledge the awfulness of the past in order to begin the rebuilding! Over her sobs, say, “That’s right, Linda. Let it out.” And boy, does she. Soon she’s practically having a seizure. Recall how Dr. Becky says that sometimes when our pain has been sublimated for too long an inner dam must first break before we can allow the river of our emotions to flow once again at a healthy rate. Tell her she’s not alone. Tell her you know all too well that her father was a monster.

 

17. Feel how, with this avowal of solidarity, her sobs lessen. Her river resumes its correct path! Feel proud that you’ve taken the first beautiful step of an important journey, together as family. She pulls away. “What did you just say?” she asks.

 

18. Say to her, “We can overcome our trauma!” Say to her, “Your dad can’t make you—or anyone—suffer anymore!”

 

19. Smile as she calls out for Tommy. Maybe you’ve misjudged your own cousin. Surely he’s suffered as well. Been victimized at great length and intensity, etc. He must be in need of some dam-breaking, too. Identify and nullify, is what you will tell him. This is where it begins! Tommy arrives in seconds.

 

20. Listen as Linda says, “Gary, tell Tommy what you just said to me.” Here’s your chance. You’ll do Mom proud in terms of familial supportiveness! Put a hand on each of their shoulders. Say to them, “I know how hard this is. The complex emotions, the years of trauma. But we can change this.” The looks they’re giving you? These are grateful looks. Say to them, “Whatever awful things your dad did, we are not hopeless! We can heal.”

 

21. Take note of Tommy’s confusion, as though conflicting sentiments are waging an important inner battle. Ask him, “He body shamed me, do you remember that?” Ask him, “Did he beat you?” Turn to Linda, knowing that no amount of hurt and damage is unrecoverable from, and ask her, “Did he…touch you?” Watch her eyes go glassy with tears. The healing starts here, is the message you are getting in huge neon letters even as Linda again erupts into sobs.

 

22. Wonder how you should react when Tommy says, “That’s it. Get the fuck out of here, Gary.” And before you realize it, he’s got you by the arm, painfully jostling you out of the pantry.

 

23. Protest as he drags you through the house, but do it quietly so as not to bring up family skeletons in front of strangers. But even so, everyone turns to watch this parade of misunderstanding, because that’s surely what this is. Experience genuine confusion when the buffet table gets knocked over. Look in the direction of the breaking China, and as you’re being pushed out the door, see Aunt Joan’s questioning expression. Resist the urge to struggle as Tommy hands you off to Dom, who gives you a weak smile as he escorts you down the driveway. Accept that he’s just trying to be the good guy here, but he doesn’t understand. He’s not family. Up on the porch, see Tommy with his arms around Linda and Aunt Joan who are both crying, clearly in the midst of catharsis, now framed by a bunch of moochers and gawkers.

 

24. Yell to them, “We need to address underlying traumas! We have to acknowledge these things in order to heal!” Dom, you’re almost certain it’s Dom, pushes you into the passenger seat of his Nissan. Accept that leaving is for the best. You’ll mend fences later, at a less fraught time. Tell Dom that you’d like to go to the Greyhound station.

 

25. Be surprised to find yourself, again and again, thusly on fire, despite your widely acknowledged talent for flammability.

 

26. Consider worrying about how Dom drives, because surely he’s driving too fast for the road conditions. You don’t know how safe a driver he is on a good day, let alone now, in this downpour. His instincts could be way off.

 

27. “Look,” he says, “it’s a rough time for everybody right now. You gotta let the family work through their grief without adding to it, is what I’m saying.”

 

28. Doing your best to conceal your fury, say to him, “The family? I am the family. I am facilitating! What about you, Dom? You’re a stranger picking up ice cubes with your fingers!”

 

29. Accept the rightness of your argument when he doesn’t respond, and instead turns on the defrost. Listen to the whooshing air. “It’s actually Don,” he says after a while.

 

30. Unbuckle your seatbelt when you arrive at the station. As you open the door, Don says, “Seems like you’re carrying around a lot of sadness, man. I hope you can work through that.”

 

31. The gall of this guy. The absolute nerve. Let this remark go, however, because what are you going to say? What could you even say to this kind of gross oversimplification? Who isn’t carrying around lots of stuff, Don? Exit the car and walk through the rain with your dignity intact.

 

32. In the station, watch as a man chides several children while attempting to wrangle an old woman displaying all the classic signs of dementia; watch a teenaged boy hiss racial slurs into his phone; watch an elderly couple carrying garbage bags and disintegrating suitcases held together by peeling duct tape. But regardless of this cavalcade of misery, the station is a relief. It’s times like this when you are thankful that you do your shopping almost exclusively with a Citizens Bank Mondo Mileage Card. Travel-related purchases are easily reimbursed with bonus miles, and, thanks to this, attending Uncle Dave’s funeral has cost you only $14 round trip. Change your reservation to the next available Pittsburgh-bound bus, another thing that’s a snap with Mondo Miles. Luckily, there’s a bus leaving in 40 minutes.

 

33. After retrieving your ticket, hold a free weekly newspaper over your head and step back into the rain to find a liquor store. Circumstances being as they are, you can justify a pint of bourbon. Allow only a small amount of guilt to creep in. There’s actually a whole DVD chapter devoted to stress-propelled intoxication (Disk 4, chapter 2: What Not to Do [Although We Desperately Want To]!). Your sense, however, is that Dr. Becky would understand the need for the occasional drink, given that what you’re aiming for is incremental progress. Going “cold turkey” would be a bit much to ask of anyone, despite Mom’s near constant assertions to the contrary. So allow yourself a drink when necessary and ask quietly for understanding. You can’t be too hard on yourself all the time, is the thing.

 

34. Back in the station, stealthily sip bourbon from the bottle, which is camouflaged in your backpack. Count the minutes until you’ll be at home and can process the day’s events in a productive manner. Listen to a garbled voice spit out departure information from an overhead speaker. Watch the other Pittsburgh-bound passengers make their way to the gate. Take your place at the end of the line. Sip bourbon from your backpack.

 

35. Notice, just as the line starts moving, a sudden and insistent discomfort in your bowels. Run, they instruct you with grave seriousness, evacuate with all possible haste.

 

36. Clutch your stomach as you rush past a row of urinals. Observe each one flushing in turn—a salute to all the times you have communed with toilets! Consider how urine is sterile when it leaves the body—the purest part of you escaping. Bright like liquid sun hitting the gleaming white porcelain and slowly dissolving the innocent pink of the urinal cake. Then the flush. Water rushing your urine seaward in subterranean rapids. Part of you joining the biggest thing in the whole world, the sea, and it is changed by you, not you by it.

 

37. Attempt not to dwell on the condition of the stall. Refuse to dwell. Think instead of the kind and thoughtful inclusion by the restroom designers of a dispenser full of hygienic seat covers. But then, before you can even make use of them, an announcement crackles through the speaker: Final boarding, 12:45 bus to Pittsburgh. Last call. Since you cannot fathom missing the bus, continue clenching and run.

 

38. Step carefully onto the bus. Shuffle down the aisle. Notice the other passengers looking at you, possibly sensing some inherent weakness of character for being the last person onboard, for being so borderline irresponsible. Go directly to the toilet but stop when the driver says sternly through the intercom that passengers must remain in their seats until the bus is moving. Find a seat and try to ignore the rumble of the engine. The driver lists all the stops you’ll be making, really taking his time with it, but then, mercifully, pulls out of the station. Get up and lurch down the aisle while the driver casts his evil eye at you in the mirror. Decide that you don’t care. Let his curses come for you! Lock yourself in the claustrophobic’s nightmare masquerading as a toilet. Breathe through your mouth as you drape the seat with hygienic covers and then drop your pants and sit. Briefly consider thanking God for small miracles such as this. Allow yourself a few sips of bourbon.

 

39. Wake to an insistent knocking at the door. You can’t deny that you are quite drunk. Slap the life back into your legs. Exit the bathroom to discover half a dozen surly passengers waiting. Consider apologizing but don’t. A man in a western shirt with a braided goatee sneers at you. Does he know what you’re going through? Of course not! This is another life lesson: Reserve your judgment! You do not know how hard others have it! Walk back to your seat. The duo of teenaged girls sitting across the aisle look at you and giggle. They have no idea what unpleasantness awaits them, and you don’t want to be the one to tell them of all the heartbreak and job loss and stretch marks in their futures even though you are feeling more than a little pained by their behavior. As you approach Pittsburgh, take solace in watching the landscape grow familiar and soothing, the aqueous quality of the light that is particular to the Steel City.

 

40. Let your thoughts turn to Tommy, Linda, and Aunt Joan. You have to believe they’ll eventually be able to acknowledge their pain. They’ll see that your actions, even if perhaps the timing could have been a bit better, were only in service of ripping the Band-Aid off to allow the healing to begin.

 

41. Transfer to a city bus that stops three blocks from your apartment. Ride with your forehead resting against the window and feel the grease of the last forehead to rest there, but accept that the soothing coolness of the windowpane is more important than any potential forehead bacteria. Downtown on a weekday afternoon is so awful you can hardly stand it and yet there are people all over the place, completely at ease, closing business deals or whatever, all without a single thought to the probably impending cataclysmic events in their lives. Or maybe they’re not worried about that. Maybe they’ve already found Positive, Growing Change. At a red light, watch a man kiss a woman on both cheeks as they meet crossing the street. Right in the middle of the crosswalk! It’s the most European thing you’ve ever seen.

 

42. Arrive at your apartment and acknowledge your gratitude that you have not, to your knowledge, been burglarized. Lock the door behind you, slide the deadbolt shut, and plop down into the comforting embrace of your sofa. Open your backpack for the bourbon and, along with the bottle, find Uncle Dave’s award. Become aware of the hot buzzing in your head, the grotesque cramping in your stomach: the hallmarks of an impending shame-spiral. This is not due to the guilt of having “stolen” a cherished family keepsake, but due to the embarrassment at being thought of by the family as someone who would steal a cherished family keepsake. Become sickened by the idea that you might be judged so unfairly. You can offer no explanation for the appearance of the award in your backpack—this alone should exonerate you! Accept the overwhelming need for a drink. The bourbon is all gone except for a doleful little swish. Drink it and hope for the best.

 

43. Dr. Becky says it’s good to have a support system in place for when we are handed lemons. Look at the clock. Almost 6:30pm, which is too late to call Gil Zwieback at the counseling center to ask for advice on alternate support strategies. You’ve called him at home before and he seemed genuinely surprised by it. But you told him his phone number was there on the internet as a matter of public record. He said that you should probably talk about boundaries.

 

44. Become aware of your growing anxiety. You need to find your center, reevaluate, and concentrate on how to return the award unnoticed and unblamed. Put on the Your Power to Heal! DVDs, starting right at the beginning—Disk 1: You Are Also Worthy of Love and, By the Way, Your Emotions Are Valid, Too. Notice your anxiety already beginning to ebb during the opening credits. Dr. Becky is a godsend. Feel a pang as she appears on screen. A pang of what? Comfort? Desire? Can it just be a non-specific pang? A slight but not unpleasant pain in your side.

 

45. Follow Dr. Becky’s guided meditation and gradually feel a renewed sense of calm. You will find a way to address the award. Even though at this very moment Tommy is surely impugning your character to anyone within earshot, even though your family is surely already referring to you as a petty thief, deepening their suspicion that you are the “black sheep,” you will find a way to fix this. Do the focused breathing exercises and a round of affirmations. With each wave washing over the rocks (the DVDs are filmed on an inspiring Hawaiian beach), feel your desire for calmness manifest itself. Repeat Disk 1’s mantras: I am alive in this moment! I am present! I will persevere! She speaks softly but confidently over the crashing waves, but not in a sexual way, although who can say what other people find arousing? Repeat aloud: I am here, and no one is any more deserving of happiness than me.

 

46. Meet Dr. Becky on the beach. The waves lap at your bare feet and together you intone mantras over the roar of the ocean, drowning out all the cataclysm and disharmony that the world holds in store for anyone. Then, just as the sun dips into the water: a swell of fiery Hawaiian drumming!

 

47. Wake up in the dark, the weight of the Lucite hands on your chest, the sunset replaced by the DVD player’s logo slowly floating across the screen, caroming from wall to wall. Note the discomfort in your head. Your phone chimes. Six voicemails from Tommy. In addition to the hangover, find that your right ear is completely stopped-up. This has happened before. Thanks to a mishap in the bathtub a few years ago, you have a perforated eardrum, and this, coupled with chronic sinus issues, sometimes leads to your ear becoming stopped-up, plunging you into temporary partial deafness. It’s maddening—the deafness, the loss of equilibrium, the pressure in your sinuses that feels like a leather strap being tightened. There’s also nothing you can do about it except take a handful of Mucinex, put a hot washcloth over your ear, and wait it out. But that can take hours to have any effect. Stand up a bit unevenly and pace the length of your apartment. Rap your knuckles along your upper jaw hoping to loosen the clog of fluid. You’ve been here before. Every time this happens you’re sure it’ll be permanent. Panic overtakes any rational part of you and even Dr. Becky’s mantras can feel useless.

 

48. Spin in circles in the middle of the living room. You don’t know why or how spinning ever became a coping mechanism, but when the sinus/ear thing happens it’s never long before you find yourself doing it. It must have helped on some unremembered occasion. Peeking over the top of your panic like it is a wall, think that if you just spin quickly enough the centrifugal force will eject a globule of mucus and you won’t end up being discovered deaf and dead of a panic attack, alone in your apartment.

 

49. If Dr. Becky has any plans for another DVD installment, which you sincerely hope she does, realize that she’d do well to address this intersection of emotional and physical discomfort. She could even include you as an expert on the subject. Return to the beach. She’ll say something like, “Friends, with me today is a very special guest. A man who is no stranger to suffering and in fact has met his own personal demons head on to come out the other side like a phoenix rising from the ashes of personal trauma!” And you will nod wisely along.

 

50. Say to the camera, “Trust me when I tell you that no matter how bad you have had it or are currently having it, I can empathize! Do you want to talk about negative life-changes coupled with physical ailments? Let us not even talk about that! Let us instead talk about our ability to surmount these challenges! Let us instead talk about how no amount of suffering is too great for us to overcome!”

 

51. Think about how you’d act if you were ever to meet Dr. Becky in person. Would her hair smell like you’ve imagined, like coconut? Her face is the very embodiment of inner calm and personal fulfillment. Consider how you’d thank her for her DVDs, acknowledging how helpful they’ve been for you. Although it’s not as if you were some basketcase slob before the DVDs. You were simply in need of some extra tools. You’ve been through a lot. Your mother’s death, for instance. Recall her in those final months. Mostly she was this zombie presence in the house, lying like a small bundle of sticks in her rented hospital bed, out of her senses with morphine. Recall the occasional lucid moments in which her eyes became unclouded and she was able to lament all the things she would never have the chance to do now, like visiting her favorite beach in Maine again, like the bird painting class she’d looked up online. Recall how you became thankful for the morphine because, at least, it dulled those regrets for her.

 

52. Remember going to Darlene’s apartment, who, even though you hadn’t seen her for years, was still kind enough to obtain marijuana for you, which you then baked into a batch of cookies and fed your mother tiny bites of. She could hardly swallow anymore because of the tumors, but smoking it would have been impossible. Recall how, after she choked down a few bites, nothing happened for a long time, but then just when you thought the marijuana would have no effect on her she asked to be taken for a drive. So you bundled her up in her heaviest coat, although by then you could have fit two of her in it, she was so small, and you half carried her to the car and drove. It didn’t matter where, she told you, she just wanted to look at the clouds. They were so interesting all of a sudden, she said.

 

53. Think back on how grateful you were later that night once she was asleep and how you called Darlene to thank her for the marijuana. But she couldn’t talk, she said, because her baby needed to be bathed.

 

54. Recall your rage at your mother’s pancreas. That bullshit little organ. Wonder if it’s even an organ. What does it do? How can something so seemingly inconsequential—does anyone aside from doctors even know what the fuck it does?—decimate a body like that? What goddamn right does it have?

 

55. Continue spinning, continue hoping to dislodge whatever is clogging your ear. As you gain speed, marvel at how the meager interior of your apartment is transformed into a wonderful pattern of horizontal stripes. The room blurs, close your eyes and keep going, gaining speed.

 

56. Hit the wall with your head and collapse. As you look around, confused, watch the room gradually right itself. You’ve knocked a photo off the wall. The glass is intact so you pick it up. It’s you as a little kid, Mom and Dad on either side, arms thrown around each other and you, too, in some approximation of a group hug. Look at yourself and wonder who this smiling little doofus even is.

 

57. Touch the right side of your forehead and locate a hot, tender bump. Your head is chirping like it’s alive with grasshoppers, and for a moment all you can think of is mid-summer and Darlene, and the time you went to that bed and breakfast in the Poconos. There were grasshoppers chirping everywhere at night, so loud you’d have to raise your voice to make yourself heard. But then you got used to the chirping, you got used to Darlene, to her lying on the four-poster waiting for you, and now here in your apartment the chirping fades as well and you hear only a dull noise like some piece of metal that’s been clanged and left to ring itself out. A distant, imperfect bell.

 

58. Recall Uncle Dave and Aunt Joan welcoming you into their home once, when Mom and Dad were fighting especially badly. They’re both smiling at you as Mom drops you off and without a word gets back into her old yellow Malibu to return to Pittsburgh where she will fight some more with Dad and then leave him at the end of the summer and then you and Dad will spend the fall alone together, him sitting often in brooding silence staring out the window, until Mom comes back to get you and you move into an apartment with her and then Dad eventually moves to Scranton. Wish that you’d had Dr. Becky back then.

 

59. Feel the inexplicable need to go outside. Maybe the nighttime air will let you work on positive solutions. Maybe being outside will give you the necessary space to process everything that happened at Uncle Dave’s funeral and the unpleasantness associated with trying to foster an environment conducive to healing. Maybe you’ll be able to address the accidental theft of the award and the shame surrounding that. Maybe the stopped-up ear too. Identify and nullify!

 

60. Marvel at Pittsburgh at night! Dark and humid and quiet. There’s no one on the street, not even raccoons. Feel grateful for the solitude. Walk unevenly, which is now partly due to the ear and partly due to the head konking. Notice that within a block the cool air is already working its magic! Keep walking. Feel the blood rushing around inside of you. Think: If walking is this beneficial, imagine what running will do!

 

61. Run. Soon there’s something happening. Your hearing isn’t back yet, but over the rush of blood in your head tell yourself that you can hear your footsteps. Tell yourself that you can hear the control boxes at each intersection clicking over to change the traffic lights as you pass. You haven’t run in years! It’s wonderful. Think back on other times you’ve suffered from the ear thing. Wish that you’d thought to run then. Watch as scraps of litter blow along the street seemingly under their own power. Look down Franklin Street and see the broken discs of light from streetlamps where they spill from the sidewalk onto the asphalt and wonder if this is all simply what God, in whatever personal way we each conceive of a higher power, has planned for you. Perhaps these trials are yours to endure and this suffering will eventually make you a better person; no more need for coping mechanisms or mantras. But until that day comes, if it comes, tell yourself that you’ll go on bearing your specific crosses with hopeful dignity. You will repeat your mantras and, when necessary, run. Your ear hasn’t drained yet, but it will. The pressure will lessen with a long triumphant squeal. You’ll spit the mucus, tinged with iron-tasting blood, victoriously into the sink and that marbled glob will slide down the white porcelain into the drain and be gone. Another part of you joining the water, rushing seaward, home. And likewise, at some future point your family issues will be resolved.

 

62. Notice Uncle Dave’s award in your hand.

 

63. As you run, holding the shaking hands, think about how maybe you could still return it unnoticed. Tommy’s voicemails might be unrelated. They might be his guilt manifesting itself at having treated you so unfairly. Maybe he’s been calling you over and over (six times!) to apologize. You could take the next bus back to Harrisburg, slip into the house, and put it back. Tommy probably hasn’t even noticed that it’s gone. Things are never beyond repair. Maybe you could all go for brunch!

 

64. Allow yourself to be buoyed by the sudden thought that despite the feeling of permanence in each individual moment, eventually things may change. The idea that things will never change is something that’s been ingrained in us since birth. You know this for a sad fact, just like you know there are hands at the ends of your arms—you’re not saying that will never change, who knows? Your hands could get chopped off tomorrow! You’re just using it as a point of reference. But through lots of hard work utilizing Dr. Becky’s system you’ve learned that things frequently do change, although more often than not in ways we don’t like. For one, you’re not getting any younger. Kid yourself and say, Your hair’s not thinning up top! No one you’ve ever loved has left or died! These are changes you could do without. Ask God to let you keep your hands, let them stay, let them not leave you at an inopportune time!

 

65. Look about 100 yards ahead of you—someone, a young woman, is standing on an overpass looking down onto the train tracks. Could she also be suffering unjustly from some manner of panic or injury? But even if so, what can you do? Interact somehow? Place a sympathetic hand on a stranger’s shoulder? That didn’t even work so hot with cousin Linda earlier! But still, slow down and walk cautiously her way. Sharing even just a small moment of human interaction might help during whatever personal life issue she’s undoubtedly facing. Maybe just a quick nod? As in: Even though we are both in this moment alone, in a different but equally valid sense we are also not.

 

66. Become struck, the closer you get, by this woman’s resemblance to Dr. Becky. It’s uncanny. Reconsider approaching. Decide to just watch for a moment from a discreet distance because, after all, despite any desire for commiseration you recognize that sometimes the best thing is simply to be left alone with your thoughts. She might even lash out, misunderstanding your intentions, irascible and confused as God knows we all have every right to be. She really does bear Dr. Becky a striking resemblance despite how you’ve never once seen Dr. Becky standing on an overpass at night. But even lacking the proper context this is somehow comforting. You’re not thinking of the stopped-up ear or Tommy’s yelling or even your guilt about the award. You’re simply aware of your heartbeat and breathing and how both are now slow and even. This isn’t either how you would have imagined Dr. Becky being dressed in her private, off-camera life. You’d have thought she’d be wearing perhaps a skirt and blazer. A power suit. Or is it called a pantsuit now? The woman on the overpass has on frayed jeans and a sweatshirt that’s several sizes too big.

 

67. The thing is, the look on her face is just awful. Your heart goes out to her. Despite whatever personal shortcomings you’re plagued with, or even perhaps because of these shortcomings, you can recognize suffering in others and feel that someone should help alleviate that suffering if the opportunity presents itself. Realize that in this moment you want nothing more than to be the cause of this woman feeling any amount of, you guess, less aloneness. If you can do something to affect any kind of Positive, Growing Change for her, it would also surely lessen your own burdens. That must be how Dr. Becky feels. Approach her with a deep sense of calm and purpose, pushing all your feelings of reluctance down into a tiny ball that you will address later at an appropriate time.

 

68. Watch as she cranes her head to look further down the tracks, perhaps even hoping to alight on some small background detail that will provide her with solace. A bird taking flight, a cloud teased into a pleasing shape. But instead of that you see what she’s actually looking at. An approaching train. As it gets closer she swings a leg over the overpass’s low wall.

 

69. Overcoming whatever social constraints exist in cases such as this, shout at her: “Hey!” She looks at you with you don’t know what in her eyes, but is maybe fear? Drop into a sprint as she looks down at the tracks again. Shout: “Wait!”

 

70. She’s got both legs out over the tracks now, the laces of her dirty white sneakers dangling untied. With maybe 30 yards between you still, you can finally see her face clearly. She’s young but her forehead is crisscrossed with lines. Her lips are pale and thin. Her eyes glow dully under stringy bangs. Realize that she looks nothing like Dr. Becky. She looks like Dr. Becky post-hunger strike. Dr. Becky’s cousin on her third round of chemo. Yell, “No, wait!” She looks up again. Yell, “Hey, no!”

 

71. Run. Close the distance between yourself and this woman as she scoots tentatively forward. Take this as a sign that she hasn’t made up her mind yet. Feel your heart beating wildly. Ignore it. 20 yards. You’ll throw yourself forward and catch her because you have no choice. See yourself doing this: Leaping, diving, grabbing hold of her and pulling her back onto the overpass. Because if you do this, do only this one thing, then it will be okay. Then so much will be okay. You’ll lie together on the sidewalk and she’ll realize what a mistake it would have been. She’ll cry on your shoulder, probably getting snot all over your shirt in the process. You’ll stroke her dirty hair and gradually it will get better. Your ear will drain and your family will be healed and whatever wound has driven her to this will begin to scab over. Whatever fluids you need to expel, you will expel and send home. You’re thinking so clearly now as you fly across those last few yards. It’s almost dawn. The sky brightens, the streetlamps click off, and all your apprehension melts away like frost on a windowpane. Her hands tense on the wall to push herself off. You follow.

 

72. Manage just barely to make a fist around the shoulder of her sweatshirt. And yes! Yes! She’s heavier than you thought, or maybe you’re weaker than you thought, but you’ve got her. The sweatshirt’s pulled tight but she’s squirming. You have to get a better grip. The collar’s choking her, she’s spitting and gasping but you can hear her clearly over the sound of the train that’s now just beneath you. “Let me fucking go! I want to go!” Think: No way, José! You have to get a better grip. Look down at your other hand.

 

73. Let go of Uncle Dave’s award and then reach over. Pull with both hands. She’s fighting, squirming, punching. Her wounds must be so deep that this seems like the only way out. But that’s not true. This is just her dam breaking, it has to be. Strain, with every ounce of strength you have, to pull her the rest of the way back as the train finally passes. Collapse together onto the sidewalk. Gasp for air. Your lungs are burning. Your heart, beating its way out of your chest. See Uncle Dave’s award on the ground next to you, broken into pieces. The hands still whole, doing their handshake, but the rest in shards.

 

74. Look at the woman. She’s on her feet now. You want to tell her about Dr. Becky, about mantras of perseverance, but before you can do this she spits on you, calls you an asshole, and runs off with an arm raised high throwing a middle finger in her wake, her sweatshirt pulled all out of shape, hanging off her like a tarp.

 

75. Stay where you are and work to get your breathing under control. It’s okay. There it is. You can do it. Notice that your ear is unclogged. You can hear everything. So many tiny miracles! A car alarm down the street; the retreating train siren—both suddenly miracles. Look up as a car drives along the overpass and slows near you. See the man driving it roll his window down. Hear—hear!—him laugh at you and then watch him speed away. But what is this if not evidence of his own personal trauma? And what is trauma if not the opportunity to heal?

 

Share

House Sitting

Kim asked me to housesit for her parents while they took her on a Hawaiian vacation. They were personal friends to a celebrity shooting a movie there. She promised me: no houseplants to water, and their hound’s anal fissures had cleared up.

            When Kim put her hand on my forearm, two things happened: Everything under my skin turned rotten and sweet, and I knew Kim could ask me anything for anything. All she had to do was be everything I wasn’t.

            I hated dogs. But Kim’s didn’t know that, and her parents paid up front. I was broke because I was always broke. Rent was twice my parent’s mortgage before they lost their house and moved into a motel.

            The dog’s named was Bundy. She barked for no reason. Kim’s parents lived on a street where nothing happened. But Bundy barked at a moth giving itself to the porch light. I walked her along empty, immaculate sidewalks. No crickets sowing songs in the grass. I left her shits where she made them, if only to show that something there was alive.

            The house was nice in a boring way rich people like. The couch and carpet and curtains were comfortable and gray. Within thirty minutes, I’d found a garage full of craft beer and about three grand in bad hiding places. I debated renting a nice car, dialing up some people to drive around and drink with, but I couldn’t think of anyone to call.

            I didn’t have friends, except Kim. The bar where we’d met was a dimly lit refuge for the unloved. Her sorority had planned a “dive-bar crawl” and accidently ended up at a real dive. You could feel the avarice of spirit hanging onto the place. I was drinking the last of my last paycheck from a scammy sales gig when they came in on a gust of colorful noise. They ordered drinks no bartender in that shithole had ever made.

            Kim’s earring fell and twinkled between a barstool’s legs. Real diamond I could’ve hawked and kept drinking for a week. Instead, I tapped her on the shoulder.

            Kim bought me a grasshopper—my “good-deed reward.” For her own opaque reasons, she asked me over to her Kappa-Theta sisters’ corner booth. They smiled like I was something to eat—all teeth and small, small talk. Sales had been an easy job because I was good at lying about myself: I told her I loved animals, volunteered at a dog shelter; my parents hadn’t died last year in a cheap motel; Kim and I shared a birthday. What wild chance—us both wandering into this rattletrap. If I hadn’t loved her immediately, I wouldn’t’ve gone to the trouble of inventing someone worth knowing. But that’s how we became friends.

            Kim whispered to me that a man at the bar was dying; she’d eavesdropped on his death-wheeze and sneaked a pic on her phone.

            “This place is great. We’ll have way better stories than those Omega bitches.” Kim composed her face for a selfie and said “You don’t need to come back here.” There were classier ways to die, if that’s what I wanted. Then she leaned in and sniffed my neck. “No,” she said. “As my grandma would say, ‘there’s still some vinegar in you.’”

            And I didn’t go back. Because after meeting Kim, I didn’t want to die. From then on, she never let me go too long without a visit. We got ice cream; we did drugs she paid for; we threw coins into public fountains, making the most absurd wishes we could think of. Each time, I got a little farther from where she’d found me.

            Now, her parent’s hound shit on the carpet, baying like she knew something awful had happened. Kim didn’t respond when I texted that Bundy’s annal fissures had flared up.

            Her return date came and went. My calls, straight to voicemail. Bundy snuffled my knees, trying to tell me an accident had occurred on their celebrity friend’s movie set, and the family had been mauled by Bengal tigers.

            I drank beers in their hot tub until steam worked into my skull and fogged over the night sky. Brown bottles littered the back yard like abstract dog turds.

            Somewhat outside myself, I rummaged through Kim’s childhood bedroom. Everything she owned smelled like crushed-up Smarties. Leafing through her yearbooks showed me a teen-horror film scrubbed clean of blood and misery, where the serial killer is never even born. Friends signed the back pages with such professions of love, I felt embarrassed for them.

            Tucked into the back of senior year, were rubberbanded Polaroids: Kim, all cheekbones, elan, and flammable youth. She carried a chalice. Another girl, a knife. A circle holding hands. They murdered someone’s hamster and wrote blood-oaths of friendship on one another’s backs. Downstairs, Bundy moaned that Kim was gone, drowned beneath a Hawaiian riptide.

            Days passed. Bundy had started grief-chewing the furniture. She licked my knuckles. Her droopy brow wrinkled like sadness kept going in waves. Didn’t I understand? Kim’s heart had stopped with a nosebleed on a plush hotel carpet.

            After a week, the silence took on a mournful density. I sat still for hours without hearing a car go by. The next time Bundy cried, I cried too.

            I held onto her neck and asked where were life-long friendships? Where was black magic as Kim floated up from her body? Did she meet my parents, passing into the firmament? Did she tell them how she’d fished me from a slow death’s pocket?

            But Bundy only whimpered and licked her bleeding asshole.

            The stars came out. But I couldn’t configure familiar constellations. The planet wobbled around the sun, shedding a million or two mothers, fathers, and friends, along the way. The rest of us poor suckers bobbed in the long wake, staring up at diamond fields too distant and bright to console us of anything.

Share

west country

the bad thing is too big to look at. the bad thing is heavy. when i kick the bad thing, its side caves in like an old football. i put the bad thing in my backpack. i walk with the bad thing to the train stop. the bad thing and i buy a pasty from warrens. i throw the wrapper away, but i can’t throw the bad thing away. at church the bad thing lights candles. at home the bad thing holds my hand. when i talk to the bad thing, the bad thing talks back sometimes. when i read to the bad thing, the bad thing listens. the bad thing likes television. the bad thing likes location, location, location. the bad thing says it might go away if i took it on a country walk, but the bad thing is lying. the bad thing sings to itself, very softly, under its breath. the bad thing wants me to listen. i don’t want to listen to the bad thing. i want to leave the bad thing alone, by itself, in an empty room. the bad thing likes this room. the bad thing helps me close the door, so that we are in this room together.

 

 

Share

Rain

Correlation is not causation, but few things correlate more to a mood than rain.

 

Do people still come down with “a case of the vapors”?

 

What is weather if not causality in a landscape?

 

When it rains it pours. How does the Morton Salt Girl maintain her kicky attitude, happy under that umbrella and never bored with life?

 

Half the idiots in charge of this country don’t even know enough to come in out of the rain.

 

The Great Plains are basically a desert and thus Nebraska is a fairly dry state. In Lincoln, my Grandpa Boo was obsessed with his rain gauge, and therefore I, too, obsessed became.

 

Raining cats and dogs may come from the Greek cata doxa, “contrary to experience or belief.” I can’t believe how hard it’s raining!

 

Swipe a fingertip heart in the misty windowpane.

 

I hate to be the one to say it, but your parade’s going to get rained on.

 

Never have I ever been so depressed as when I lived for one year in the Pacific Northwest. It literally always rains and people metaphorically are always taking rainchecks. The Seattle No, I later learned it was termed, aka the Seattle Freeze.

 

A rain of arrows. Soot and ash raining down. What is life but a rain of blows?

 

This is the third year in a row that the rains have failed.

 

A peer-reviewed study found that of all 50 states, Washington ranked 48th for the trait of extraversion.

 

Gentle rain on the roof is as pleasing as alliteration, day or night, right as rain.

 

Does rain like being the external correlative of sorrow? Of pain? That feeling of tears going into your ears when you’re lying on your back and crying.

 

When you listen to “Famous Blue Raincoat,” what shade of blue do you see?

 

At this point it’d take a meteor shower to get the earth really clean.

 

Droplets stitch the day with gray silken threads. Come rain or shine, the hits just keep coming.

 

Share

Interview: Dantiel W. Moniz

      

 

In Milk Blood Heat, Dantiel W. Moniz populates the state of Florida with characters as distinct, flawed, and capable of beauty as the peninsula itself. Writing about fraught relationships of all sorts, set against the heat and humidity of North Florida, Moniz builds out complex emotional challenges—ensnaring characters in the grips of loss, deceit, indecision, violence, revenge—and each time forces us to see them as whole people, rendering a startling and affecting portrait of Black femininity that holds nothing back and demands our attention. The Florida Review asked Dantiel about getting honest about the human body, the rise of “Florida lit,” and what it means to write against national perception.

 

Milk Blood Heat was published in 2021 by Grove Atlantic.

 

Steven Archer for The Florida Review:

The first and last stories, “Milk Blood Heat” and “An Almanac of Bones,” feature friendships scrutinized by disapproving parents on the basis of difference, cultural and otherwise; the former others the white family, the latter othered by the white family, and both protagonists grapple with seeking in their friends’ families what they lack at home. Could you share a bit about what that dynamic means to you, from a cultural perspective? Did you mean for these stories to be inverses/ bookends?

 

Dantiel W. Moniz:

It makes so much sense that I write about grappling with whiteness in the ways these characters do in both of these stories, as I feel I’m still in the process of unlearning so many conditioned thoughts and habits that have rooted within me just by being alive in America. If you grow up anywhere in the world, and in the particular brand of it that this country produces, you are steeped in whiteness from birth, in every facet of life, explicitly and implicitly, and that invisibility can be one of the most dangerous parts. The ideology and systemic privilege of it (or the disadvantage of its lack), and the internalization of its supremacy, both in desire and repulsion. I think Sylvie (the protagonist of Almanac) falls a little more into this latter camp. While she absolutely uses Kit and her family as a measuring post in some ways, she also inherently understands that what she has, though viewed as lesser than, is powerfully her own, and having that normalization would actually be the lesser thing. I don’t think anyone’s work has to “deal” with the idea of whiteness (though I wish more white author’s works would), but right now, it’s still a project of mine. I want to make its effect on the lived world, the macro, micro, and everything in between, a little easier to see.

“An Almanac of Bones” was written before Milk Blood Heat was ever conceived of, so there wasn’t any conscious creation of echo, but definitely after having completed drafts of each of the stories that would make the collection, I noticed there was a lot of mirroring happening throughout, in these two pieces and beyond. I always knew I wanted Almanac to close out the book, but it was only due to both my agent and editor’s insight that I realized MBH should open it. I love cyclical stories, so I’m glad it worked out this way for the collection as a whole.

 

TFR:

You write about bodies in such a refreshing, fascinating way, leaning into honest renderings of the human body without resorting to the gross-out. I’m thinking specifically of “Thicker Than Water” and its exploration of scent—discharge smelling of egg, armpits of onion or celery. How important was this choice to you, especially with your women protagonists? How did you go about it from a craft angle?

 

DWM:

But bodies are gross sometimes! And I think if we were more honest about this, or at least more willing to admit this as human, we would all be better off. Women are conditioned to uphold the importance of being clean and sweet 24/7. It’s almost like I came into the world knowing I needed to be mindful of how I looked, how I smelled, even how I tasted; it’s an absurd pressure to put on a human body, which is generally unconcerned with anything other than its survival. And sometimes, those necessary functions are anything but pretty, the same way grief can be unpretty, anger, wanting. These rigid standards also make it harder to lean fully into pleasure. At the beginning of dating my husband, when we were 19 and 20, I remember him making this joke like, “Whenever you’re in the bathroom for a while, I’ll just tell myself you’re taking a long pee,” and I corrected him immediately, saying, “No, I’ll be taking a shit. Just like you do.” And though that was something I might not have ever said in previous relationships, I’m glad I did, because it’s so important to be able to take something for its fullness. It’s the only way to really love someone. It’s the same for my work. I have to let the characters be full in order to be real, and I especially wanted to honor that for the women and girls who people my collection. From a craft perspective, I’m thinking less about “how not to gross out my reader” and more how I think of crafting sentences and images in general: how does this sound, what’s the rhythm of this, and does it hit on the larger idea I hope to convey?

 

TFR:

So many of these stories feature moments of consumption as catalyst, catharsis, or climax—the blood rite in the title story, the octopus in “Feast,” the snails in “The Hearts of Our Enemies,” the bone fragment in “Thicker Than Water,” milk from a distant mother in “An Almanac of Bones.” Could you touch on how this motif found its way into your work? What draws you to write about eating, feeding others, being fed, especially when it comes to ingesting weird, weaponized, or non-food items?

 

DWM:

This is a beautiful question. I don’t think anyone’s ever asked this before. So much of my writing comes from an instinctive place. It’s often hard for me to see what’s coming up until I have it all in front of me, so I’m not sure, in its creation, why this element came into the work. But this question makes me realize, I am interested in how we nourish our bodies, or starve them. What we put into ourselves and what becomes us. With Feast, there was definitely this Phoenix choice, of wanting rebirth, a new opportunity to start fresh, and often we can’t have that if we’re clinging onto a damaged foundation. This motif kind of reminds me of the Tower card, which can be scary in a reading, but it really means transformation, if you’re willing to let go. With food, there’s also this element of connection; it can be a love language (which is why it’s so savage when it’s used as a means of revenge). Even the blood pact in MBH is about transformation. Let me become a little more you. Let us be the same. What we eat, who we feed, and what we desire in that feeding, can say a lot about a person or their world.

 

TFR:

While perhaps the most intense use of food and eating comes in “Exotics,” I wondered more in this case about how form and genre served the piece; it is the shortest piece in the collection, as well as its only speculative/ fabulist piece, and is arguably the most direct in its portrayal and exploration of the interaction of Black and brown people with excess, privilege, and sacrifice. What went into the inclusion of this piece in the collection? Could you talk about distilling one of the collection’s more subtle running threads in this way?

 

DWM:

Definitely one of the moments in my writing where I had to pause and think, Am I allowed to do this? Fun fact, there was actually another story in the book that I cut, that I think would have been described as speculative, and I wonder if it had stayed in, if people would have accepted Exotics as a necessary part of this book more readily. Probably not though—I’ve witnessed that people thrill to be snobby about mediums they perceive as genre. I think what lends this piece a lot of its speculative coloring is that I’m doing directly what I’m doing more subtly in every other story in this book—examining capitalism, race, class, consumption, how we cannibalize youth, and our complicity in these systems—which makes it feel surreal. I think people often don’t want to look at these things in their own lives and neighborhoods, so it makes it particularly unpleasant to have to in this way. For me, this story belongs in this collection. It’s right at home.

 

TFR:

The stories in your collection feel distinctly Floridian, and yet often get away with not name-dropping the specific areas in which they take place. What aspects of the Florida landscape, culture, and experience felt most important in capturing such an authentic portrait of life in the northern part of the state?

 

DWM:

I am a person who situates herself through landmark and memorization. I very rarely know street names and my sense of direction is…not the greatest. Mostly because I’m focused on other things and when I’m really present where I’m at, more ephemeral elements come to me. Like noticing the color and quality of light or how tree bark feels under my palm (if you have ever walked somewhere with me, you know how often I stop for trees). So being super specific about names and buildings or even particular cities wasn’t a priority for me. I was most interested in capturing the quality of heat of my state, its presence and aliveness, and how it enacts on the characters. That type of omnipresence becomes a mood.

 

TFR:

On a related note, so many of these characters come to life as vivid, well-realized, believable members of assorted Black and Hispanic demographics without being explicitly tethered to one background or another, even when one could hazard a guess using markers like the fish dreams in “Necessary Bodies” or the refrain of “por la sangre” in “Thicker Than Water.” Was this ambiguity a conscious choice? Did you find yourself writing with specific groups in mind, even if they were ultimately unnamed?

 

DWM:

In my work, I’m writing mostly around Blackness and its intersections. I was born a writer, it’s natural to me, but it took me a very long time to begin writing stories about characters that shared aspects of my identity. And once I understood I could do that, it opened up so much for me. I had been reading books all my life that characterized certain people only by their exclusion from whiteness, which itself was allowed to remain invisible. “The girl walked into the room” vs “The Black girl walked into the room,” and that being the main point of distinction visually or otherwise, like once you say that one thing, you should be able to see her. And I suppose readers could, if they had in their mind some catchall for Blackness. Even when I didn’t have the vocabulary for why, that used to upset me. So in my work, I don’t feel I have to be explicit in that way. My characters’ Blackness is not the biggest thing about them, though it does shape and direct their experiences.

 

TFR:

Last Spring, Milk Blood Heat was taught as part of a graduate course on Southern, Appalachian, and Florida literature at UCF, alongside the work of writers such as Steven Dunn, Jesmyn Ward, Leah Hampton, and Carter Sickels. What does “Florida literature” mean to you, as part of, or removed from, “the South”? How do you see your work in conversation with this emerging literary canon, and how might you hope to see that canon expand?

 

DWM:

This breadth of writers is so interesting, especially when you consider that each of the regions that make up what people consider “The South” is diverse and face the challenges that come with their particular national perceptions. Like, what Leah has to deal with in people’s discrimination against Appalachia, or Jesmyn Ward writing about Mississippi, is different than what I deal with in the perception of Florida, but they all stem from the same place—ignorance or indifference about the intentional repression or resource-stealing/shuttering from these places. What I’m excited for in the expansion of the canon of Floridian literature is the same thing I’m interested in for my human characters—a chance to explore its wholeness. To allow stories of people there to be as common as stories of people wandering around New York or other bigger, better regarded coastal cities. There are people trying to thrive even in the chaos of that place, and those people and their stories matter, regardless of its governance.

 

TFR:

Beauty and hostility appear in equal measure throughout Milk Blood Heat, in your portrayals of girls, women, mothers, siblings, and marriages, certainly, but also in your portrayal of Florida is a whole. Kids die at pool parties and nearly drown at the beach. Aquariums and museums full of nature and discovery are host to historical horrors, Klan activity, fiery destruction, black holes. Massive diversity and divisive politics; abundant wildlife, dyed water, pollution. With Florida being so often the butt of the joke, a shorthand for all things backwards and dangerous, did you feel at all compelled to temper or reclaim Florida’s image through your writing? Did any part of this book come out of a desire to engage with national perception?

 

DWM:

Absolutely. I think this question and the last are connected. And yes, I wanted to reclaim and to assert, but not to paint some idealized picture of Florida, but to show it for what it is, honestly, its dark and its light. I didn’t grow up with the perception that my state was literary or that any writing of artistic merit might come from where I was from. I grew up thinking I might never leave my city, let alone my state, but what that means is, everything I am now started as seed in that place, even though I wished to, and did eventually, leave. And what I and other artists, thinkers, and creators there have to say is valuable. I think its especially critical now, in light of all the legislation that’s being put in place to stop people from doing just that—from learning, feeling, thinking and most of all, connecting. That scares the people in power. So I hope, in even a small way, my work might encourage someone who might not be encouraged otherwise because they’d been overlooked.

 

TFR:

I was delighted to read, in your previous interviews, what a big influence film and television are in your approach to writing. What are you watching these days? Do you think film and TV are given a fair shake in literary or academic spaces?

 

DWM:

So here’s a fun thing I learned recently about symptoms of anxiety—you have a higher tendency to re-watch instead of starting something new. It makes a lot of sense to me on that level, the comfort of the familiar, but also for me, there’s the chance to analyze the same slant differently now that I know the story; even through the expected I usually come away with something new. Some always rewatches for me are Mad Men, Insecure, Veep, The Florida Project, and right now I’m rewatching Castlevania during flights. But I have been watching new shows and films too. Bones and All, both seasons of White Lotus, season 2 of Russian Doll, the latest of The Crown. These works offered exactly that slice of human emotional fragility and darkness that I come to the page for. In the summer of 2021, after stumbling upon Season 20 of Survivor and never having seen a single episode before, I started streaming from season 1 and now I’m on Season 41. Another thing I’ve learned is that I don’t really believe in this idea of trash tv. Like the Real Housewives of Atlanta is not supposed to be like Sharp Objects, although they both revolve around how women position themselves in power within their communities and families using socialized tools. I’ve learned so much about performance, conditioning, and gaze from reality TV, so I think it’s less about what you consume but how you consume and metabolize it.

To that point, I think more literary and academic spaces are making the explicit connection between these art mediums, and there’s definitely more attention paid to the writing that goes into image-making because there’s such an overlap between literature and adaptation. I’m actually teaching an undergraduate course on image this semester, teaching two books (We the Animals and The Virgin Suicides) and their film counterparts.

 

TFR:

Is there one piece of writing advice—something you hold dear, or perhaps tell your students—that you might share with us here?

 

DWM:

The writer Naomi Jackson once told me, “If someone can’t see where you’re going, they can’t help you get there.” Write for yourself and remember to protect that beginning space that’s just you and the work. It’s so important to get intentional about what the work is and what you hope to move toward before a community of writers can be useful to you. Be open to critique (this is so important) but remember you only have to take what resonates. And the best way to recognize that resonance goes back to understanding your intentionality for the work. One more thing—remember to play in your writing, remember you like this.

Share

Shards


Artist’s statement: This 8-page sequence, “Shards,” is part of a longer graphic memoir (in progress) titled InQuest. The memoir documents my own experience in a psychiatric hospital during a particularly intense mental health crisis, and my slow reentry to life routines after returning home.

I can still feel those experiences in my muscle memory. I vividly recall the sensations of fear, confusion, desperation, and dissociation. I could tell I was not making sense to those around me, but did not know how to change that. I was flooded with perception and realization, but could not find a coherent way to express what was happening in my mind.

One image that has stayed with me ever since this time is that of a sharp squiggly shape, like a shard of glass. When I imagine this shard shape, it represents fragmentation of thought and of self – which is what that experience felt like to me. My thoughts were not missing or meaningless simply because they did not make sense to those around me. My thoughts were there and they had meaning, they were just splintered. It would take time to reassemble them – and myself – after that splintering.

What I hope comes across in this work is the message that all parts of ourselves are valid and meaningful – even the shards and splinters. It may be tempting to dismiss or discard the sharper, more painful pieces of ourselves, seeing them as dangerous by nature. But if we discard these pieces, we are discarding pieces of our full selves. If we deem those shards as “dangerous” by nature, then what are we saying about ourselves?

Instead of dismissing people during their most difficult times, we must strive to accept and support folks for precisely who and how they are in the moment. Mental health is not an end goal. It is fluid and messy and unpredictable. It is not contingent on everything going as expected. Acceptance and support, then, shouldn’t be contingent on that either.

 

To see the author discussing the work in context with the larger project, click below:

Share

Interview: Talia Lakshmi Kolluri

     

 

Kolluri’s touching and exquisitely crafted story collection invites readers to imagine the lives of animal characters. Themes of trauma and grief, of time and friendship intersect as the unique voices Kolluri builds for every narrator embrace the mystery and estrangement of animal lives with magic and wonder. The Florida Review asked Talia about the process of making unreal things feel real, the art of crafting non-human voices, and the potential of fiction to address the climate crisis.

 

What We Fed To The Manticore was published in September 2022 by Tin House Books.

 

Fernanda Coutinho Teixeira for The Florida Review:

The book features a variety of animal-human relations. Some are on the more positive end of the spectrum, like Hafiz and the donkey and the pigeon and the Toy Man. But we also see the pain humans can inflict in animal lives, such as with the poachers in “May God Forever Bless The Rhino Keepers” and the boat in “The Open Ocean Is An Endless Desert.” So I’m curious about how, when approaching an animal’s perspective, you decide what kind of role humans will play in the story.

 

Talia Lakshmi Kolluri:

When I was writing this collection I made a deliberate choice to decenter human perspectives, so I always began writing each story with the idea that the animal experience would always be primary. But the crucial foundation upon which all of these stories rest is the fact that humanity has impacted every ecosystem on the globe, even in places where we have yet to travel. So in that sense, humanity has played a role in every one of these stories. But when I wrote humans (or humanity’s impacts) directly into a story, their portrayal was more likely to be negative when I was portraying a human system, and the human role was more likely to be positive when I was writing an individual human character. I think lots of individual people can be very compassionate stewards of nature. But we live in a world full of systems that are destructive and this is ultimately what I wanted to call attention to.

 

TFR:

Some stories, like “The Dog Star Is The Brightest Star In The Sky” and “The Hunted, The Haunted, The Hungry, The Tame” focus on relationships and bonds between animals of different species. How do you set out to define these relationships, and how do you keep them from coming across as too “human” while also keeping the reader emotionally invested.

 

TLK:

Early on in my process, I worried a lot about writing characters that came across as too human. Anthropomorphizing animals has long been viewed with varying degrees of skepticism and occasionally perceived as unserious. I wanted my characters to be believable. And while I love reading work that uses animal narratives as an allegory for a human situations, I didn’t want my work to be read that way. I also did not want my inter-species relationships to be viewed as superficial or cute. I wanted them to have emotional depth and nuance the way all of my own relationships do. Ultimately the best way for me to achieve this was to do solid foundational research in animal behavior and use that to shape how my characters behave. I kept their senses and general actions as close as possible to what I could learn from research. And when it came to the emotional texture of relationships, as long as I could keep their reactions within the framework of realistic animal behavior, I felt they could be believable.

 

But also, as I continued writing, I stopped worrying about my characters and their relationships seeming too human. In the wild world, a lot of different species interact and have lives that overlap. In some cases they have a history of collaboration, in others they may have a more neutral but regular interaction, and in some they have a mutually beneficial co-existence. In all of these cases, I have a hard time believing that animals don’t notice each other. And if they notice each other, perhaps they have significance to each other. Often when we describe something as human, it’s because we assign emotion to a reaction or interaction, and emotion is something that we are reluctant to assign to animals and instead hold only for ourselves. But why is that? I suspect we might be the only species that stubbornly insists that we are not animals at all, but are instead something above and apart from animals. But it just isn’t true. We are animals too. And if we respond to our surroundings and our interactions with emotion, and we assign meaning to things, then other animals probably do something similar.

 

TFR:

The spectrum of climate change is present in the book, like in “The Dog Star Is The Brightest Star In The Sky.” How do you view the role of literature in the ongoing political conversation surrounding this topic?

 

TLK:

I’m glad you asked this because I feel it is absolutely vital that literature directly bear witness to the astonishing uncanniness of the climate crisis, that is in fact becoming the ordinary texture of all our lives. For many of the years that I was writing the stories in this collection, I thought about Amitav Ghosh’s The Great Derangement. Ghosh writes broadly of the ways that contemporary literature, and fiction in particular, has failed to reckon with the climate crisis and the colonial history that lit the first spark of the crisis itself. Despite it being a pervasive and escalating part of our reality, it is primarily addressed in non-fiction work, and when it is included in fiction, the very real features of the climate crisis are often deemed too extreme and too unbelievable to be included in fiction intended to depict reality. Instead, it is categorized as something more like science fiction. In other words, unbelievable because it couldn’t be real. This isn’t to say that science fiction doesn’t show us aspects of our reality, or that our futures don’t eventually converge with things we once imagined to be impossible. But Ghosh’s point is that the impacts of the climate crisis are being felt right now, and despite that, fiction that describes it plainly has been treated as deviating from reality.

 

Early in the book he writes, “[i]n a substantially altered world, when sea-level rise has swallowed the Sundarbans and made cities like Kolkata, New York, and Bangkok uninhabitable, when readers and museum-goers turn to the art and literature of our time, will they not look, first and most urgently, for traces and portents of the altered world of their inheritance? And when they fail to find them, what should they—what can they—do other than to conclude that ours was a time when most forms of art and literature were drawn into the modes of concealment that prevented people from recognizing the realities of their plight?” I read this passage and felt as though he was writing directly to me, and telling me that my desire to write human impacts from inside the minds of creatures who have no agency over what humanity does, was a worthwhile artistic pursuit.

 

I think that confronting the climate crisis through fiction has the potential for magnified emotional resonance. I can read books and articles about ecology, and the science of climate change. I can watch the news and see the real-time impacts of droughts and superstorms. But all of these pieces of information will come to me from a distance, filtered through a medium that tells me that none of this information really applies to me. If I am watching coverage of a flood from my untouched home, then no matter how much empathy I purposefully cultivate in myself there is still some distance between me and the crisis because it is not, in fact, happening to me. But here is where fiction offers an opportunity. If I read a story where the characters face some aspect of the climate crisis, and I do what I always do, which is imagine myself as one of the characters, then suddenly the crisis becomes real. Because although it is not actually happening to me, the experience of imagining that it is creates an emotional response that brings me closer to the experience of the events themselves. I am less removed. My perception is less sterile. Instead of being reminded that it is not happening to me, I am instead reminded that it could and it might. And this difference is important because a person that does not see a vast distance between themselves and the climate crisis is a person more likely to be inspired to take action.

 

TFR:

Two of my favorite stories, “What We Fed To The Manticore” and “Someone Must Watch Over The Dead” employ, in addition to the animal perspective, elements that veer on the fantastical and mythical. What is the process to incorporate those elements in your work, and to decide when you’ll take a more realistic approach as opposed to a more magic one?

 

TLK:

I think my default way of writing is to write in a more mythical style. That’s what came to me naturally for most stories. But I found that some of them needed to be rooted in reality more than others, so in a practical sense I found myself having to deliberately incorporate realistic elements, instead of the other way around. I also find that myths, and fairy tales, and stories from various religious traditions are where animals stories most often live. I think the human heart hungers for magic, and there is truly something magical about wild spaces. Animals and birds and sea life are all so fantastical when I think about them long enough! I did find that I was more likely to discard mythical elements when I included human characters more prominently. Perhaps that’s because humanity holds a little less magic for me. Animals are still such a mystery to me and in mystery lies wonder and enchantment.

 

TFR:

Time is a recurring theme in some of the stories. In “The Good Donkey” you have a stunning scene of a drone attack that is rendered in the style of a rewind; “A Level Of Tolerance” is all about a wolf stuck in a time loop. What fascinates you about playing with time in your writing?

 

TLK:

Time is a tricky thing, isn’t it? I have noticed that the older I get the more I am aware of how elastic time is, how it speeds up and slows down according to how I feel, and how my perception of time has changed over my life. I also know that while time can be measured, it isn’t as rigid as we make it out to be. For instance, the time at the bottom of the Mariana Trench does not pass at same speed as the time at the top of Mount Everest. The other thing I think about often is how through memory and imagination, we are often traveling through time. If I recall a conversation from last week and I spend part of my day thinking about it, what time am I living in? Is it today? Have I returned to last week? Is it both? What if I’m imagining something three months from now? What time am I living in then? And what does trauma do to our perception of time? For those who suffer from post-traumatic stress, the memory of a traumatic experience can often feel as though it is happening again, in the present, in real-time. And this feeling can occur over and over. And perhaps after trauma, there remains the desire to undo the traumatic event. I wanted to find a way to convey the way that time is elastic, and also the way elastic time can bind someone in place when something painful happens.

 

TFR:

In your author’s note, you frame the notions of wildness and tameness as matters of dependence and communication. How did this influence your approach to dialogue in the book, and the process of finding each animal’s voice?

 

TLK:

I used this framing most often to imagine how well my point of view animal understood human life and all of its features. The closer an animal was to humanity, the better they understood human speech, human objects, and human choices. Perhaps the closest to humanity is the donkey. He began as a working animal but ultimately became more of a companion to Hafiz. In my mind this meant that the depth of their emotional connection would allow them to communicate directly. I also think that we are more likely to make an effort to communicate when it’s necessary and I imagine it could be the same with animals. But I don’t know that my ideas about interspecies communication had any real influence over how each character’s voice emerged. In a lot of ways, characters and personalities emerged organically. To me, writing fiction is a lot like playing make-believe. In each instance, I was pretending to be all the animals in every story, in pretty much the same way I would play all the characters in a game of pretend when I was a child. I think the difference here is that I could make all of the characters feel real to myself because I had a fuller understanding of their environments and how their senses worked. When I was small and I pretended to be a lion, for example, I understood what they looked like, and had an idea of how they walked and a superficial idea of what they did. But I had no real understanding of lion pride social dynamics, or what animals they had to compete with for food, or whether their habitat was dwindling or not. I just really wanted to be a lion. Now, I can take that same desire and fuel my game of pretend with a full spectrum of animal and habitat facts that I have gathered over the years, and maybe this is how the animals voices find me.

 

TFR:

I’m impressed by how evocative and memorable the titles in this collection are. How is your process for choosing a piece’s title? Is it usually something you come up with in the beginning of the story or after finishing it?

 

TLK:

I wish I had a process, but in most cases, the title arrives fully formed at the beginning and haunts me until I write something. Usually it ends up representing an idea that the whole story crystalizes around. In several of my stories, the title ends up embedded somewhere in the text, probably because they’re so linked to something I’m trying to communicate. The one exception is “A Level Of Tolerance,” which is a story I really struggled to find a title for. Instead of being haunted by a potential title, I was haunted by several lines that are now in the story. So, when I first wrote it, I gave it a working title of “832F” which is the identifying number of the wolf that inspired it. But my first readers had a really hard time connecting the title to the story and it seemed out of place to many of them, so I felt I needed something different. I ended up pulling the phrase “a level of tolerance” from a document that talked about wolf culling and discussed the idea that culling is used to bring wolf populations to “a level of tolerance,” meaning a level that the human population is willing to tolerate. I felt that phrase was a very sterile and detached description of how to think of an endangered animal population. I used it because I don’t feel very detached and emotionless when I think about the possibility of wolf extinction. Instead, I feel devastated. I thought the contrast was interesting, so I used it as the title.

 

TFR:

In the end of the book, you include sources related to every story. When writing about animals, how important is it to you to make sure you’re adhering to their biological realities? Is there any example of a story in which the science made it difficult for you to write out your ideas for the characters?

 

TLK:

It was incredibly important for me to make sure I was writing my animals as accurately as possible from a biological perspective. I am asking readers to take a series of very large imaginative leaps with me. I am asking them to believe that animals can tell stories, that they have their own mythology, that they can commune with the dead, that they are chased by mythological creatures, they can talk to people, and they exist outside of time. I am trusting the reader to take these leaps with me. But if I am asking them to jump, I must give them a firm foundation to leap from. I wrote a lot of unreal things, but I want them to feel real. And if they’re going to feel realistic, they need to be grounded in facts that can be verified. I want readers to wonder if vultures actually can understand how their carrion lived through eating. I want them to wonder if whales really do live inside a song net. But a reader may not ask these questions if nothing in the story feels believable. This is not to say that fully fantastical stories are not wonderful, because they are! I love stories that lean all the way into the miraculous and strange. But if there’s nothing concrete for me to hold onto in a story, then I understand it as something wonderful that will never be real. I wanted my stories to include the possibility that everything in them could be true, which I think comes from knowing that some of the things in them are true.

 

However, the story where I struggled with this the most was “The Open Ocean Is An Endless Desert.” Whales are amazing, and fascinating, and strange, and completely unlike humans in an astonishing number of ways. But the difference between whales and humans that was hardest for me to grasp was how precise their hearing is underwater, and how imperfect mine is. When I was writing this story, there was one afternoon where I jumped in a pool with my spouse and had him talk to me underwater to see if I could understand him. All I could hear were indecipherable noises enveloped in a strange echo and even though I saw where he was, I couldn’t hear exactly where the sound was coming from. I had to return to research to learn more about whale ears and whale communication and how they sing to each other over distances before I could come up with a way to describe their lives and community. But I’m glad I did because as much as I loved whales before, I am so much more in awe of them now.

 

Share

Two Poems

Witness Statement

And, behold, in the year
of unencumbered plague

 

those who trafficked in wickedness
did so on palatial golf courses.

 

An orphan cried for succor
and received spit.

 

Nothing of this was new
or profound, only more naked.

 

And, lo, I fed my son a breakfast
bar on a dying planet.

 

And on a dying planet
the wicked watered

 

my son’s playground with poisons.
They hallowed his oceans with lead.

 

Tell me what should I have done
but bathe bread in peanut butter

 

mince Flintstones in a cup of cola.
And, lo, the wicked thought only

 

of my boy as a horsetail dreams
of flies. His chest rose and fell

 

as we both tacked the garbage
truck rumbling its track.

 

In this was no sin.
In this was only another

 

form of hunger: the truckness
of the truck begetting wonder

 

begetting want. Oh, felt my boy
with every rattling atom.

 

And the wicked kenneled
a brown boy so like my son.

 

I said, I am sickened.
I said, I will maim you

 

with my claws before you
take their boy, my boy whose laugh

 

turns this truck ripe with refuse
to some radiant blessing.

 

Anubis at the DMV

Let me be blunt:

            fate is no whim.

 

It is the voice of

            a thousand bureaucrats intoning

                        now serving 554.

 

If diligence is a knife

            you are our bread.

 

if service is a repeating decimal

            a herd of digits flashed to life

                        you’re dead last.

            Ultimo.

                        The sarcophagal cero.

 

Each attendant is a monolith

                        in a desert you wander

                                    an hour, a lifetime.

 

Who can know?

            The intervals grow

                        immeasurable.

 

Think of a cat

            toying mindlessly with a string

                        an entire day

            bored

                        somnambular.

 

Past the grave

            vice or virtue is simply

                        the dust we brush off.

 

Let it accumulate.

            Let the carpet fiber

                        crack beneath your feet

 

Now you want to know

            how much longer

                        a day, a year, a league.

 

Like all dictators

            I simply push the beads

                        across, then back.

 

Who am I

            to enumerate

                        your wait time?

 

Who to tell you

            how to spend your death?

 

Share

Hog Suit

One morning, I found one of my pigs outside the pen. He wanted to get back inside; he was tapping on the fence with his snout and his grunts sounded distressed to me. When I let him back into the pen with the others, he seemed pleased. A weird little episode, but I didn’t think much about it.

            The next day two pigs were outside the pen. I checked the fence again; the fence was just fine. I put the two pigs back. Easy.

            The day after that, there were two pigs missing. One of the pigs was right outside the fence wanting to get in like on the other days. But the other pig could not be located. There were no hoof prints. He was just gone.

            So, I looked around my property until I heard some oinking. But the oinking was coming from above me. High up. I’ll stress that oinking ought not come from above. I looked up and there was my pig in a damn oak tree, looking worried. I got the ladder and brought him down—which wasn’t easy, he was a heavy boy—and put him back in the pen. He was relieved to be back with his buddies. But I didn’t sleep well that night. I was up late thinking about the moment I saw him on that branch like a nightmare bird.

            The next day a sow was outside the pen, and she was in bad shape. She had injuries on her ears, little cuts. They almost looked like words, but I couldn’t make them out. I looked for predators. There were none, and there were tracks, either.

            The next day, a sow was outside the pen, and she was hurt—she had cuts on her back and on her ears. I patched her up and set her back with the others. I looked around and found some tracks, but they vanished right at the edge of a pond. I thought whatever had done this might be in the pond, but it was a shallow pond, and I didn’t see anything in there worth noticing.

            That tracks looked like bear prints, but then they also didn’t look like bear prints, not at all, because there was something humanoid about them. The arch, the narrowness. But it wasn’t human either. In the end, I concluded that the tracks were of an indeterminate character.

            The next day, the pigs were inside the pen but there were three pigs stacked up on each other. What it was was a tower of pigs: a little tower, but still. They were in some sort of hypnotic state, standing on each other. When I gasped, they snapped out of it and fell. The tower crumbled. It took an hour to get them to trust me again and to get back into the pen.

            The next day a pig was in a tree, the same tree as before, and another was dead, pale from being drained of all blood, missing its ears. There were no footprints: no boot heels, no wolf tracks, no bear tracks. I thought what in God’s name.

            I had a vet come over. Same vet I been using for years. Good man. Bad divorce recently but knew lots about swine.

            What do you think? I said, as he was examining the corpse.

            Weird shit, he said.

            He said the ears had been removed with surgical precision. They didn’t have any teeth marks on them. They weren’t torn or ripped. They had been removed with a sharp blade and a straight edge of some kind.

            No animal did this, he said.

            The next day I had two pigs outside the pen, each drained of blood and missing eyes and ears. The eyes and ears were nowhere to be found. They had been removed from the premises and carried to God knows where. This must have been traumatizing for the other pigs. I knew it was for me—I had nightmares.

            There was no blood in the pigs. Not a drop. It was like someone vacuumed in there. I showed my wife; she was in disbelief. She accused me of doing it. Are you sleepwalking, Harold? Are you sleepwalking and performing savage acts?

            Later we found blood in our lemonade pitcher. As in, the lemons, water, and sugar mixture had been replaced (or transubstantiated) into blood. You better believe we didn’t drink a drop of that concoction.

            I called a scientist over to do some tests on the blood. The scientist knew his pigs inside and out. It was pig blood sure enough, he said. But he said there was a some magnetic field around the blood.

            What does that mean? I asked.

            He didn’t know.

            He did a battery of other tests. These were inconclusive. I asked him if he had any advice for what we should do. He said the missus and I should try to love the pigs while I still had them, because you never knew what was going to happen. This seemed like decent advice, though not scientific like I was hoping.

            Word got out and soon the Hortonville Gazette was talking about my swine displacements and mutilations. Nobody believed me; they believed the events had occurred, but they disputed the cause and minimized the impact on me. They said it was predators or teenage vandals. They said there was a rational explanation for everything. They published a hurtful cartoon in which I am sneaking into the field and night and putting my own hogs in a tree and cackling about insurance fraud. I wrote a letter to the editor complaining about the cartoon and the tenor of their coverage. But they didn’t print it. They thought I was a loon, and why would you publish the words of a loon in your paper? I wouldn’t. The only thing is, I wasn’t a loon, at the time.

            I was in a quandary: some unseen force was removing my animals from their pen, without harming my fence, and placing them in trees or mutilating them and, in addition, swapping out my lemonade with real blood. Who or what would do these things? And who or what could?

            I installed a security camera and pointed it at the pen. My wife was sure that we’d see footage of me sleepwalking out there, some dark part of my personality expressing itself all over my pigs in the middle of the night. I thought maybe we’d see a new kind of wolf. But the camera kept shutting off before it got anything good. Upon investigating, I discovered that the wires were frayed. I bought another camera and the same thing happened. None of the cameras picked up the other pigs that got lifted out of the pen, treed, or mutilated. None of the cameras survived the night.

            I bought another camera and pointed it at the cameras that were pointing into the pen, so I could at least see what was happening with the mutilated cameras. In that footage, you could see the lights go off in the pig-pen-directed cameras, and that was about it. A figure was seen by my wife in one of the frames. A hand coming out of the darkness. I didn’t see any hand no matter how hard I looked at the footage, but my wife said it was a hand and I believe her. At least she no longer thinks I sleepwalk in an evil way.

            Next, I bought myself a hog suit online. It wasn’t cheap. It was the best-looking hog suit I could find via the Google search engine. The suit was extremely life-like—the skin texture, the bristle hair, the snout, the ears. I donned it and I felt like one of my animals.

            That night I went inside the pen. I wanted to be with my pigs when the malevolent force arrived so I would have an opportunity to confront it and, hopefully, shoot it in its head with my .38, which I had covertly duct taped to my realistic-looking underside/teats region.

            The first night nothing happened: I just oinked around and got weird looks from the other pigs. And man did it smell bad in there. The second night I was tired. I was asleep on my haunches. I knew I had to stay vigilant, but I couldn’t help it. I laid down next due to some sows and it was quite comfortable. Here I am among my pigs, getting a brand-new perspective on life, I thought. I dozed with the pigs and dreamed their dreams.

            I was awakened several hours later by a breeze playing at my hooves. I looked down and noticed that the ground was many feet below me. I was being levitated in the night air, and I could see the moon shining clearly above me as I made my way to the top of a forty-foot oak tree. I could not see the thing that was lifting me into the air. I was placed on a branch in the tree. And then I watched as the other pigs were lifted, one by one, over the fence and into the tree. But I couldn’t get down. I fired off my thirty-eight, but it didn’t stop the force from getting the pigs out. I decided I’d make a jump for the branch right below mine. I figured I could move from branch to branch if I was careful. However, the pig costume was cumbersome and did not allow for the acrobatic maneuvers I was envisioning. I fell.

            I woke up in the hospital. My wife showed me a picture of strange, cramped handwriting on tiny parchment. What is this from? I asked. She said it was from the back of my ears. I felt my ears and there were cuts already scabbing over, raised like a braille. Then the nurse came in and told me I’d been drained of blood and spinal fluid. Not the whole way, but a little. But she didn’t have to tell me. I felt different, lighter, lesser. I didn’t even ask about the fate of my pigs.

          I believe the cuts on my ears spell out a message, though from who or what I have no idea. Are they legible to you?

 

Share

Interview: Kristin Keane

     

 

In An Encyclopedia of Bending Time (Barrelhouse, April 2022), Kristin Keane (whose fiction, “The Thin Line,” recently appeared in The Florida Review) pushes the boundaries of craft as she struggles with the loss of her mother, which she refers to as ‘disappearance’ in the narrative. Here, she implores the unanswerable question: How can we hold onto what is no longer physically there?

 

In a wildly unique and tender craft choice, born of her childhood memory of the World Book Encyclopedias tucked in her family home, An Encyclopedia of Bending Time is written as a hermit crab memoir with alphabetized entries—much like that of an actual encyclopedia, complete with «SEE ALSOS » at the end of each entry, suggesting the cyclical and perhaps neverending aspect of grief. Keane indicates each of these vignettes weaves in complex concepts of grief, time travel, identity, and the limits of science.

 

Told in reverse, and encompassing aspects of the ocean, tides, quantum mechanics, and even pop culture like Alice in Wonderland and Quantum Leap, this is a masterfully organized, deeply felt narrative held together by the tenuous strings of love, memory and consciousness.

 

Keane artfully employs the often tricky second person narration, in a sort of ekaphrasic encylopedic letter to her mother, allowing the reader an intimate glimpse at the mother-daughter relationship; together we witness an achingly sharp loss and confusion, transforming a personal experience into the universal.

 

As a writer intrigued with the concepts of grief, motherhood, and unconventional narratives, this title captured and endeared me to Keane’s work, her ingenuity, and her sense of hope.

 

Leslie Lindsay for The Florida Review:
An Encyclopedia of Bending Time is a stunning yet heartbreaking exploration of love and sorrow, endings and beginnings. It’s about boundaries and expression. The cover embraces all of that: a flatlay depiction of an actual encyclopedia, a rose, leaves, a moth, and octopus tentacles. Can you share a little more about those images, please? How you see them as representing the text? The symbolism, if you will.

 

Kristin Keane:
When we explored cover ideas, we spoke about the idea of using a meta image—one with an actual encyclopedia displayed in some kind of way. Shanna Compton executed the stunning design which depicts some of the most important symbology in the text such as the octopus, the rose, the moth. Alone, they each have relevance to different aspects of the story I’m telling about my life with my mother, but together also convey some of the broader questions and concepts the text wrestles with: How can grief be contained? How can loss, a thing which feels so out of control and unbounded, realize a kind of structure? My mother loved roses and preserving flowers, artifacts representing a specific time that dry out, wither and die, yet still hold shape. The moths appeared at the window the night my mother died, unable to cut through the boundary of the screen that borders the room and the night. The octopus is a motif I return to again and again, an image I conjured in my mind long before my mother was gone; trapped in my memory and in the text in a way, but also functioning to stretch and hold together the actual and figurative past, present and future versions of us. On the cover, all of the images are reaching beyond the limits of the book, as I do, throughout the text. The images I think cohere the conceit of the story which circle around the borderlines of science, memory, divisions between the living and the dead, but also around that which cannot be restrained—love and time.

 

TFR:
I’m fascinated and awed by linked collections, mostly because this is how humans think. An Encyclopedia of Bending Time is told in a cyclical flow-of-consciousness, and sometimes in fragmentary form. To me, this seems organic. But it also speaks to the idea of an encyclopedia, the “See Alsos.” In that sense, this becomes a sort of endless narrative. One could continually flip pages, reading every “See Also” over and over and over. Was that your intention? The idea that grief never really goes away?

 

Kristin Keane:
One of the features I loved most about The World Book Encyclopedias I reference reading as a child in the book, were their “See also” refrents, a structure which enriches the reading and learning experience, but also makes clear just how circuitous and unending that process is. This became a handy device throughout the book to both weave entries together and serve as a call-back to material that was explicitly and implicitly linked. In this way, as you point out, it does become possible to read it in a choose-your-own-adventure fashion as a never-ending interpretation of loss. One of the reasons I selected the encyclopedic form was because of this possibility, but I’d say more as a gesture towards underscoring the effect of loss, than as an actual suggestion for consumption. The story arc flows a bit untraditionally as I play with ideas of time-inversion and the dissary of grief, so I would worry that skipping around in the entries might create a sort of further scrambling effect that would confuse story lines and also introduce the possibility of missing material since not every entry has referents at its conclusion.

 

TFR:
Your mother loved the sea and she is represented in a beloved photograph at the end of the book. What I like about this is exactly how you describe it: the sea is always changing; it’s never the same. The waves, that sand, the rock, even the color, shifts as does time. You liken this to the concept of photography, that a photograph of an individual can capture them at that moment, and while a photograph is enduring, the tangible form shifts. Same with taxidermy, another ‘entry’ in the encyclopedia. Can you expand on those concepts, please?

 

Kristin Keane:
As I decended into an obsession with time, it became clear I had spent so much of my life observing my mother’s own preoccupation with it. Her interest in science fiction, time travel, taxidermy, and the afterlife all became entries in the book because they connect me very really to her as well as the process of trying to reach her again. Yes, I conjure the sand, sea, color—things that can shift with time, just as my experience with loss will. But I also conjure artifacts which are time-defying: photographs, taxidermy. It’s very interesting to me how we’ve engineered ways to paralyze and freeze these things which transform in ways that are so very out of our hands. The sea changes but you can preserve it a certain way, at a certain moment in time. The same is true for encyclopedias. The image of her we used in the interior back cover, another gift the Barrelhouse design team conjured, in some ways is the central image of the text for this reason. I write about how much this picture means to me, but also how very hard it is for me to look at. In some ways that is a central concern of the book: observing even when it can be so hard to. I wanted to break time—I still do. I’ve tried to look at these artifacts in the same way she does at the sea in that photograph, to make sense of the impossible reality that she is not here anymore.

 

TFR:
In terms of the second-person POV, which I happen to love, but some may find disorienting, ‘tricky’ or a ‘bold choice;’ I found refreshing. It speaks to the idea that we don’t really know what we’re writing about until we write it, that experimenting with this form is a way to determine where we’re headed. You artfully take that POV and shift the structure even more: an encyclopedic letter to your mother. You mention about ‘writing [your mother] into you,’ as a way to observe, to pay attention. In a sense, that’s what text is—a weaving, as in textiles. Can you share a bit about your craft decisions?

 

Kristin Keane:
My original intention with this project was a purely personal one: to write my mother letters before she left this dimension. I had collected ideas on little post-it notes in the period before she became really sick, one being ‘encyclopedias’ as they’d been such a central text and artifact of my early life with her. She died before that project had the chance to realize itself, and when I returned to the notes, I began thinking about the possibility of attempting to write to her as a means for understanding what had taken place instead. So, I considered that post-it in another way: an encyclopedia had personal meaning, was structure-laiden, and fit the criteria of attempting a communication with the dead (e.g. explaining concepts to someone who might no longer understand them). It seemed like a vessel full of craft possibilities. Like you, I think second-person at times can be tricky to execute effectively, but certainly because of this project’s origins, choosing any other perspective would have resulted in an emotionally flattening effect. One of the central conceits of the book is pushing against the limitations of science, knowledge, and intra-dimensional boundaries—all of which in my view meant I needed to hold her very close in order to interrogate the questions I put forward. I made the decision then, to address the possibility of her directly, by speaking to a disappeared version of her. I think writing in first or third person would have erased and diluted the intimacy that second person created.

 

TFR:
One of the themes that emerges is your struggle to understand time and what reality is now that your mother has “disappeared.” You explore quantum theories and other ways to study to the mind to dip into this realm. An alternative Kristin Keane emerges, Alice in Wonderland comes along, so does Scott Bakula as Dr. Sam Beckett from the television series Quantum Leap, but also Freud and Barthes, among others. Did you find these constructs helpful as you pushed through the pain of grief? What did you learn about yourself in the process?

 

Kristin Keane:
I had so many questions after my mother died and turning to thinkers and artifacts I’d been long preoccupied with brought comfort. I discovered the memory of objects and images from my early childhood and adolecence could be suddenly interrogated in new ways, carrying different meaning in her absence. The same was true in the case of some of the thinkers and works I bring forward as they too became imbued new significance, helping me to fortifiy my questions and also provide lanes for my examinations. In the case of Quantum Leap, for example, where before I saw only a story of time travel, was so clearly a tale of grief. With Alice, I became more drawn towards the focus on her bent reality, and the story’s preoccupation with limitations. These were interesting and meaningful exercises. I’ve been asked many times if I found the process of writing the book to be healing. Grief is as unique as fingerprints, and for me personally, the answer to that question is very firmly, no. My current belief is that I won’t be healed from this experience, something I learned in wrestling with myself on the page. I sometimes get the feeling that response might seem frightening, but that answer is the result of a lot of mental work I’m grateful for. It turned out I was in some cases, not asking the right things. How will I get over this ? became, How can I learn to exist in a space where there will always be a shape of emptiness ? In writing, I moved from wondering when the sorrow would lift, to understanding it wouldn’t. I know how sad that sounds, but I see this as a silver-lining as the state of understanding for me in this case, feels much more relieving than sitting in wonder. Alice, Scott Bakula’s Dr. Sam Beckett, Mourning Diary—and others—helped me make sense of myself and my experience. At a craft level, it became intriguing to me to encounter, question, and process them on the page. This book is as much about my experience with loss as it is about observing it. In a way, that feels more important and retaining tp me as a person, than searching for a space in the continuum where I am divided from my mother, but totally healed. At least, that’s where my thinking resides at in the present moment.

 

TFR:
I want to end on the concepts of hope and love, how maybe these are the great connectors—that our love is the strings that bind, keep us tethered in this cosmic twist of fate. What can we learn about beautiful endings ?

 

Kristin Keane:
I love this question so much—not what can we learn from them, but about them. In some ways, this question starts with sensibility as I think of beauty relating somewhat to satisfaction, which might be counter to other’s relationships to this word. This also depends on one’s conception of endings! This might mean ‘tidy’ or ‘complicated’ or something in between, depending on one’s preference for resolution. As a reader or viewer, I usually don’t need to be relieved of worry to find something beautiful at its conclusion, but in the experience of losing my mother, worry and questions were all I found in her death. I knew in embarking on this project that the ending couldn’t be neat because that quailty was so entirely untrue to my lived experience. My mother talked often about hope when she was sick, and we spent a lot of time dreaming that each new intervention would work to somehow change the anticipated outcome. All of my hope centered on her staying alive, which meant I suppose, that when she died that state dissolved. I could never have guessed how much I’d continue to cling to that word in the wake of her death, how I would come to desperately hope we’re wrong about the life/death continuum. That’s what this story became about for me: that there is not an end, that I hope for our dimensions to somehow dissolve to cease the missing. It’s pushed me to think differently about the possibility of upending what a conclusion even means. That possibility is very beautiful to me.

*

Keane is the author of the novella Luminaries (Omnidawn, 2021). Her work has appeared in The Normal School, The New England Review, Electric Literature, and elsewhere. She is a doctoral fellow at Stanford University where she researches the teaching and learning of literacy.

 

Share

Christmas Eve

A small tree leans against a wall. The windows, frozen over

lakes. There is no sky. Day and night.

 

Somewhere, grief is a place

no one is dying from. Heavy organ music. A cathedral, hymning the half-dark.

 

If you know anything, it is that a child dies at least once

in childhood.

 

You remember snow. Its quiet. How no one came.

 

How time can make small that which is no longer small.

 

Still. Imagine it is just another night. A cocktail and a cigarette in hand. A friend

saying, take care, before putting on a coat and getting in a cab. The snow, flitting

under streetlights. The moon laid across the lake by the park.

 

Imagine a life that you wanted to be yours. How you asked

to deserve it. Blue oars. A boat on a lake clear as harm.

 

Imagine some forever no one has named

heaven. Where loneliness is a mask

one is forgiven when it is taken off.

 

The last thing said or not said. Its sudden importance.

 

And all is blue. Day and night.

And all is blue. Day and night.

 

 

Share

Passengers

The day I met Bryce I could’ve given everything to him, let him take me over completely.

            Kentucky greenery flashed in my windows, a tint of blue as I cruised the Western Kentucky Parkway, a four-hour slot. I was in between: school and another life, the small town where I had spent four years getting a degree and whatever Louisville promised. A cousin named Debbie had moved to Louisville a few years ago, guaranteed me a couch while I found a job and saved money to find my own place. The Saturday night of graduation weekend, a friend, Andrea, had a going-away slash end-of-semester house party. I was leaving for Louisville the next morning. We’ll miss you, but at least you’re getting the fuck out of here. I usually avoid these parties, but Andrea said, You have to come. It’s your party. When I arrived I barely knew anyone. The vacancy deadline on my financial aid housing had passed. Crash on the couch, she offered. By the end of the night three people layered on top of each other, passed out from cheap vodka. I took a good look at myself, where I was: my life here had long been over. I revved my sixteen-year-old Corolla and left, then saw how late it was, thought about how much I had to drink. I couldn’t afford the cheapest of motels, so the highway rest stop was the best option.

            My neck had wrenched from sleeping in the backseat the previous night, curled in a spine-mangled ball on the lumpy, upholstery-shredded cushioning. I was hungover, too. When I got on the road, I didn’t make it far before I realized I needed gas and food, so I took the next exit, Calvert City. I pulled into the Love’s, bought a sandwich from the chain inside and ate slowly in a booth, savoring the food, which was all I expected to eat for most of the day.

            It was then that I saw him. Through the window, in the parking lot. He was by himself. He looked late twenties, wearing black shorts cut off at the knee, a sweaty t-shirt, a pack hoisted on his back like he planned on camping for days. The image of his body lithe against the morning sun. He was talking to a woman who shook her head, shooing him away, and he caught another woman. He walked backwards as she walked forward. He talked to her fast, but she didn’t acknowledge him until he gave up. He put his hands on his hips, his beautiful body, an ease in how he carried himself. I turned away to take another bite of the sandwich and when I looked back he was gone.

            When I finished I refilled my water bottle at the fountain–no need to pay for water—and splurged on some chips for later. I had just enough money for gas to Louisville. As I fueled the car, I watched the people coming and going from the travel store, families and truckers, and I wondered where they were headed. A mom yelled at a screaming child who, if I overheard correctly, had been refused some kind of candy. A group of truckers, do-ragged heads, some so scrawny their shirts flapped in the wind, others with large bellies, carrying on with one another.

            I exited the Love’s and, caught up in thought, where I was going, Debbie’s couch, I missed the turn for the highway and didn’t realize until I hit the point where the backroads heading into town started. I was waiting for the next offshoot road to roundabout, and then, in my side mirror, a figure in my periphery. I turned over my shoulder, and there he was, treading along the road as he lugged his pack, his frame so thin and the bag so monstrous.

            He noticed me driving and stuck out his arm, thumb upturned as he paced along. I hadn’t seen anyone hitch in years, dangerous I was always told, you never know who you’re picking up or who would give a ride. But those incidents were likely the exception, the chances low. And me, I was a wreck myself.

            I turned-about into a side road and headed toward his direction, pulled off the street, and hit the flashers to signal him. He clapped his hands together and jogged toward my car. He came into fuller view as he stood in front of the passenger door. His shirt hung loose, stains and rips at the shoulder and sides. I rolled down the window, and he peered in, his face striking, apple shaped, tanned with faded freckles at his nose, jaw thick, cheeks thin, eyes intense. He said, Hey, thanks man. He assessed, rolling his eyes over me as I said, Sure. No problem. I was struck with this pleasure. A man like him: beautiful. He said, Which way you going? I had to remember all over again, searching for the answer. Louisville, I said. Headed toward the Western Kentucky Parkway. He said, That’s perfect. He spoke with a drawl similar to the kind I grew up around. He was from the state, I could tell, or close to it. There was a time I was ashamed of my accent, tried to phase it out of my speech, but hearing it on him, it became endearing, made desirable a quality I once didn’t desire. He said, You going to let me in or what? I had forgotten this was required, opened his door.

            Where can I put this? he asked, motioning toward his bag. All I packed were three duffels of clothes and one box with personal items, so there was still room for his pack. I said, The back seat is fine if it’ll fit. I unlocked the back door, and he unloaded the clunky pack. He opened the passenger door, smiling as he said, It does. He slid into the front seat. He had ropey braids in his hair, twisted and ragged, his body emitting a sun-sweat smell. He likely hadn’t had a proper bath or shower in a number of days, and I breathed him in deeply, his natural scent powerful. So, where are you going? I asked. He drummed his knee up-down in my lower periphery. I sensed that thigh. He said, Meeting some friends of mine. A campsite at Red River Gorge. You ever been? I told him I hadn’t. Well you should, he said. I don’t get outdoors too much, I said. That knee drumming. Sounds like you need to get out, he said. We go rock climbing. The thought of climbing a mountain, so far from anything I would ever consider. He pulled his leg up, propping it against the dash, in my side eye-line. I looked, the inside of his leg, hair speckling the meaty flesh something gorgeous. But I took care to not look too long, the right amount to catch a glimpse but not too much so it’s obvious you’re admiring, because if anyone noticed you would be caught, exposed.

            I’m Bryce, he said. He lent his hand to me, and I cupped it, warm palm. And you are? I had forgotten myself again. I told him my name. Thanks for stopping for me, he said. Just drop me off in Louisville and I can make it to the gorge from there. That feeling of pleasure in providing for him came back to me. No problem, I said. He said, So, are we gonna get going? I was so caught up in taking all of him in – his scent, voice, body, face, lips, throat, hands, his thighs and legs – I forgot this was the next step, actually driving us. I turned onto the road and veered to the ramp.

            Hey, you got anything to eat? he said. I remembered the chips. I said, Yeah, in the bag there. He ruffled into it and pulled them out, ripping the top and munching a handful. So I told you where I’m going, he said between crunches. What’s taking you to Louisville, mister? This title struck me as odd. I was clearly younger than he was by a few years, and it suggested respect, like I had authority, but I didn’t. I said, I’m meeting up with my cousin. He said, Oh yeah? Louisville’s nice, man. Real nice. Lots to do. You live there? He tilted the bag to slide crumbs into his mouth. I said, No, then realized that wasn’t true so I said, Well, sort of. I’m moving there. A lapping sound as he inserted each finger into his mouth to suck the chip dust. He said, Where you moving from? I told him. He said, You go to that university, don’t you? Yeah, I said. I just graduated. He turned to me, wagging his index. I thought so, he said. You look like the school type. I was flattered he had given thought to the kind of person I was, but what did that mean exactly? He said, I always wanted to do that, go to school and all. I couldn’t though, ya know? He continued pacing his leg up and down, and I continued to not glance at it, the skin leading to underneath his clothes. He said, But I had to take care of my grandma. She raised me, ya know. I nodded along. He was generous in what he was offering about himself, endearing me to him. He continued, Mom and Dad were no good dead beats. I don’t even know where they are now, if they’re alive or not, and I don’t give a shit. Passion in his voice but matter-of-fact. He said, My grandma, she got that cancer. I said, I’m sorry to hear. He shrugged. It is what it is, he said. I took care of her best I could. This story made me feel bad for him. I wanted to say, I’m so sorry, but a sorry wouldn’t change anything, so I said nothing.

            Does this go back any? he said, motioning to his seat. I told him how to adjust it, and he pushed back. He tried settling but had a difficult time sitting still. He fiddled with the radio, not pleased with the pre-sets so he scanned each station, listening intently, even the static, before deciding to move to the next. He gave up and closed his eyes, so I could give a quick glance to see his face again, supple and stubbled skin, some acne, red splotches making him even more attractive, imperfections, flaking sun burn, serene face. He sat upright and sighed. He didn’t seem to have noticed me looking, and I was relieved. He grabbed a pile of CDs from the side pocket, fanning them out. Got any Hendrix? I said I didn’t. Damn, I could go for some Hendrix right now, he said. He examined each disc, displeased with the selection, until he picked one at random and pushed it into the slot, a mix of bluegrass an ex-boyfriend made for me even though I didn’t care for bluegrass. Bryce said, This is nice. But he kept switching the tracks.

            I’m so fucking starving, he said. You got anything else? I’m sorry, I said. I was disappointing him again. Could we…, he said, hesitating. Could we stop somewhere? Like he was ashamed at the question, his hunger, the circumstances that lead to his state of hunger, which were still vague. I assumed he was a camper, meeting his friends like he said. But that hunger, his unwashed clothes, that story about his grandma and neglectful parents. Yeah, we can stop somewhere, I said. I left home when I was a teenager with no support from my own parents. I hadn’t seen or talked to them since. If it wasn’t for the scholarship to school, which a high school teacher clued me in on and helped me with, I could be like Bryce. I asked him, Where do you want to go? He considered for a moment. There had been signs for fast food at upcoming exits. You know what? he said. Did you see there’s a Cracker Barrel coming up?

            I tried to remember how far. We had passed Dawson Springs, and I figured it was about fifteen minutes out of the way. Also, he said, and he kept rubbing the back of his head because he didn’t want to say the next words. Could you lend me a few bucks for it? I considered my money. I thought Bryce might have picked from the assortment of drive thru chains, which would be cheaper. I forgot how much Cracker Barrel meals cost. No more than ten dollars, right? I could buy Bryce’s meal, and I didn’t need to eat. Next time I stopped for gas I wouldn’t fill the whole tank. There was Bryce waiting for my reply. Shaving off ten dollars would be okay. Don’t worry, I said. I can get it for you. The relief in his Thanks man gave me satisfaction.

            After turning onto the Pennyrile, I followed signs to Cracker Barrel. Bryce and I walked in, passing the row of rockers out front. I hadn’t been to one of these in years. When I grew up in Leitchfield the closest one was in Elizabethtown, and going there was a treat for birthdays and Easter and the rare Sunday when my dad would declare after church, How about we go to the Barrel? My mom usually cooked Sunday meals, and this was a gesture my dad offered so she could take that Sunday off. He said it with pride, giving his family a luxury, the whole trip treated as an extravagance.

            I gave them my name. The place was packed with a considerable wait, but that was the point if you wanted to peruse the store, which I was awed by as a kid, endless. Now as an adult, it seemed excessive. I stood with my arms folded, the lively crowd making me uncomfortable, children running, parents telling them to be careful. Bryce loved everything. In the time we waited for our table he riffled through all he could: clothes, movies, Fourth of July decorations, toys and games, stuffed animals, dishware, figurines, candy. He would hold something up. You want this? How about this? Look how cool this is.

            They finally called my name and seated us. I got the sense that other tables, locals, eyed us like a threat, wondering what we were doing in their town. I grew up with the type. They were probably suspicious of Bryce, rough looking. Bryce ended up ordering a classic breakfast. You’re not eating, he said to me when I ordered my coffee. I told him I just ate. You can have some of my biscuits, he said. He played that peg game while we waited for our food, and when it arrived he told me stories of his mountain climbing, animated with hand gestures. Once he got up from his seat to simulate what he described, and I didn’t care what onlookers thought. He claimed he almost died a few times. I like the rush, he said, scarfing hash browns soaked in egg yolk and ketchup. This was a treat for Bryce like it had once been a treat for me as a kid, maybe the most substantial meal he had in a few days.

            When we left, as I pulled out of the parking lot, Bryce said, Hey look what I got. He emptied his loot onto the floor. A snow globe, a cat stuffed animal, a mug, sacks of candy, a mini figurine, a small jar of jam, pouring out from under his shirt, pants, pockets, shoes. Holy shit, I said. How did you? I was amazed at how much he could fit on himself. When did you get all this? He opened the jar of jam, stuck his finger in and licked. It must’ve been when I was in the bathroom and he waited for me in the shop. I had only shoplifted once. As a teenager one of my only friends convinced me to take a cheap bracelet, the kind popular in the late 90’s made of puka shells, from the mall, a typical dumb teenage act, pretending at rebellion.

            You can’t just, I said. You can’t just do that. He tilted the snow globe and watched the glitter fall. Yes I can, he said. I just did. I considered telling him to take it all back, but what was done was done. He said, I wanted to get some souvenirs. He held up the stuffed animal. You want the cat? Or the globe? I don’t know, I said. Taking one of them would make me part of the crime. He said, Well I have to get you something for driving me, and for the food. How about the globe. I gave in and said that was okay. And I found I took pleasure in feeling complicit, a feeling I resisted but then settled into.

            As I followed signs to get back on the Western Kentucky, Bryce said, Wait, I gotta use the bathroom. He drummed his leg like he was waiting for something. I pulled into the nearest gas station, and before the car came to a full stop he flung out the door and hurried into the food mart, leaving me to wait. I shut off the car to save gas despite the heat. I thought more about Bryce’s shoplifting. He had been kind to me, non-threatening, but his unpredictability was unsettling. But then my next feeling: That was exciting. I didn’t think Bryce was dangerous, but a part of me, dark and deep, wanted him to be, and his stealing heightened this want.

            He had been taking a long time in the food mart. I wondered if he got distracted and was checking out the items in the store, and I thought that maybe he was shoplifting again. I debated whether I should check on him. I was already behind schedule for when Debbie expected me in Louisville, so I was partially annoyed with how long he was taking. Right when I was about to get out of the car, I saw him on the side of the building. How long had he been out here? He looked around, aimless like he didn’t know where he was. I approached him, and he walked toward me with big steps. His eyes different, glazed over like jewels, and as I got closer he squinted at me like I was a stranger. Hey, he said. It’s you. I knew you would come. I said, Yeah, it is me. He tugged my arm, and I was surprised at this sudden touch, and he pulled me into him, wrapping himself around me in a hug, his scent permeating into me. I considered what others around us thought, some truckers to our left, and decided I wouldn’t let that bother me. I lead him to the car, and he nestled into the passenger seat.

            When I got back on the expressway, Bryce fidgeted in his seat. His leg thumps were bigger, and now he alternated between both legs. He held his arms, generating friction as he rubbed them, but the car wasn’t cold. He had been somewhat erratic before, but there was a change in him now. I wondered what he did in that bathroom. Are you okay? I asked. He said, I thought you would never ask. I’m fucking great, man. Can’t you drive faster? I was going almost ten above the speed limit, cautious about getting pulled over. I told him this. He said, No one’s gonna pull us over. Come on. I bet you can’t go twenty over. He was testing me. Ordinarily I would brush this off as immature, but I came back to that feeling, complicit with him. I pressed my foot against the acceleration, watched the speedometer climb. Bryce delighted, laughing, clapped his hands. I was fifteen above now, at eighty-five. Bryce draped himself over me, checking to see how fast I was going, his shoulder and upper body across me. Come on, he commanded. He grabbed my shoulder, his clench rippling into my whole frame. I said twenty over. You’re not there yet. I bet you’ve never gone twenty over in your life. It was true I hadn’t. My older car couldn’t handle it, and I avoided getting a ticket because of their cost. Bryce’s hand clawed around me was my safety. We were speeding together. I went even faster, past twenty, twenty-five, the engine revving, thirty, riding the rhythms of speed and the road with him, a rush. We kept climbing. Momentum and force, his hand guiding me. He bobbed up and down, like a child thrilled at the prospect of ice cream or new toy. Fuck yeah, Bryce shouted.

            I came to my senses. I imagined how it would play out if we got pulled over, what Bryce would do if confronted by an officer, if he would be combative or if the cop would be able to tell that Bryce was fucked up and associate me with him. And I had already given Bryce a thrill. I slowed down. What are you doing? Bryce said. Slowing down, I said. He said, Come on. We were just having some fun. I brought the car back to the speed limit. Bryce slouched in disappointment. You fucking fucker, he said, looking at me like I betrayed him. I can’t believe you, he said. Then he shoved me hard, which made me swerve the car. I held my breath, scared, then gained control. If there had been a car in the other lane I would’ve rammed them. Hey, I said. Are you trying to get us killed? He laughed an uncontrollable laugh, hysterical, hunched over, and he kept going on like that, laughing. Then he sat back up. Hey, you’re going to listen to me, you hear, pointing his pointer. He reached in his pocket, and I saw it in the corner of my eye, glinting. He replaced his pointer with the point of a blade aimed at me. Hey, he said. I asked if you heard me. You hear me? I nodded my head. What was that? I want to hear you say it. He brought the knife closer, an inch away from my lower right abdomen. All of my breath felt lodged in my throat. Yes. I’ll do what you said, I stammered.

            He was satisfied with my response. Danger, I thought. This is dangerous, what I had asked for, but not like this. I didn’t think Bryce had a weapon, and I felt stupid, that I had gotten myself in this situation. But there he was next to me. I was still so attracted to him. He held my life in his hands at the end of a knife. Good, he said. That’s real good. I was relieved. I would go along with whatever he told me. Look, I said. I don’t want any trouble. I’ll do what you say. I’ll take you to wherever you need to go. Red River Gorge, right? I saw that we had passed the city of Graham, heading toward Central City. He said, What the fuck you talking about? I’m not going there. I said, But, didn’t you say you were going mountain climbing? He threw his head back and laughed that same laugh. Fuck no, he said. I got a load to sell back here, and he took the knife off me to motion to his pack in the back seat. Meeting up with some friends of mine, and we’re going to make fucking bank off it, he said. The drugs, whatever kind he had taken in the gas station bathroom. He put the knife back on me. Okay, I said. I’ll take you wherever you need to go. He brought the knife closer and said, Damn right you will. I wanted him to tell me where that was exactly, but I didn’t want to press him, afraid it might make him angry.

            You wanna come with me, don’t you, mister? he said, shifting, startling me. He gave me that title again, though I still wasn’t sure what it meant. He was holding me hostage, and this title insinuated I was in a role of authority. Or was it an affectionate term? What if I did go with him, wherever he was going? I could ditch Louisville and Debbie, the shit job I likely needed to take to get on my feet. This idea, leaving everything and following Bryce, lifted up and burrowed into my skin, heart, throat, shoulders, body, an alternate possibility. His knife on me was a thrill, my life his, for him and no one else. He said, I can tell you do. I can feel it. Come with me, he said. What do you say? That story about his parents and grandma. I could’ve been like him if things had gone differently. When I left home, my parents and family, if I hadn’t been able to go school, I might have been homeless, drifting like him. I was already on the brink of homelessness. That story about his grandma, what had endeared me to him initially, I realized now was probably a lie. He said, Are you going to answer me?, brandishing the knife closer. I don’t know, I said. My answer surprised me. It was closer to the truth. I didn’t know.

            What do you mean you don’t know? Bryce said. His eyes widened to bright bulbs. I had set him off, should have told him I would go regardless of my uncertainty. He said, You’ve looked down on me ever since you saw me, and that’s a goddamn fact. You rich bitch school boy. His assessment of me was wrong: I had no money, no job. At school I had sat in dark lecture halls, the slides in my art history courses clicking away, each instructor providing details, context, analysis. I took notes dutifully, memorized everything with mnemonic devices for the tests, retained them for the finals, and when the semester was over they emptied from my mind. This is what I did for four years, and now it was over.

            How much money you got? I was shaky, my hand wobbly on the steering wheel, as he pushed the end of the knife against my lower right abdomen, the thin fabric of my shirt the barrier between my flesh and the tip. I said, Only about twenty-five. He said, Bullshit, with a scoff. I wasn’t lying: that was all the money I had. Tell the goddamn truth, he said. The pinch of the blade against me. Would he really cut me? As I was driving? His face was slack and stern. My wallet, I said. You can look in my wallet. He said, All right then. I said, It’s in my back pocket. I need to reach in my back pocket. This suggested he needed to get the knife off me if I was going to use my free hand to reach around. His eyes narrowed, skeptical. Okay, he said. But you better not try anything. He slowly removed the knife, and I retrieved my wallet and handed it to him. He opened it and pulled out the twenty and five. He said, And this is it? Yes, I said. That’s all I have. This is bullshit, he said. This. He held up my debit card. He said, You fucking liar. There’s gotta be more on this. I had withdrawn all of my money, fearing that if I used my card I might accidentally overdraw. No, I said. My account is empty. He said, Give me a fucking break. Now you’re a goddamn liar. I want you to show me. I said, What do you mean? He thumped his leg up and down more, stuck the knife at me again. Are you questioning me? He was so serious, but then he broke out in laughter, that hysterical laughter from before, like he had been putting on an act, and was so surprised at himself it was funny. No, I said. I’m not questioning you. Like I said, there’s no money in my account. I withdrew all of it for this trip. He said, after composing himself, We’ll see about that. Next exit. Stop off.

            I thought about which exits were next. Caneyville, then Leitchfield, which is where I grew up. I hadn’t gone back since I left, five years before. This one? I said, as we were two miles from Caneyville. Bryce had taken the knife off me, I noticed, maybe when he was laughing, and that alleviated my fear. No, Bryce said. Are you kidding? Not some podunk place. We need a place with an ATM. We’ll stop at the next one. He was right. Caneyville was scarce in the way of options for gas and shops and restaurants. This meant driving into Leitchfield, which lodged a pit in my stomach, my fear all over again, but a different fear, the fear of my past. I told myself it would be fine. We would go to a gas station ATM. I would show Bryce the twenty-five cash was all I had. And then what? A vague idea of trying to escape entered my mind, but what would I do? I didn’t have any ideas. If I tried something and it failed, I worried how Bryce would react. But I was also scared of what he would do to me the longer this continued. He was telling some story about how he and some friends wanted to start a band, mimicking an air guitar, singing some song he wrote without a melody. Silences unsettled him. He always had to fill the emptiness with something.

            When we came to the Leitchfield exit, he put the knife on me again. Get off here, he said. I never thought I would take this exit. I took solace knowing we weren’t going into town itself, just the strip of the gas stations next to the highway. He directed me to some Chevron or Shell, and we didn’t see the lit-up letters advertising an ATM. He told me to go to the next one, and I was grateful when I saw this station had an ATM, that we wouldn’t need to go into town to find a bank. I pulled up to the front. Bryce leaned over me, the green-red hawk of his neck tattoo swooping, his skin so delicate. I still noticed him, that desire for him present underneath the fear. He had leaned to take my keys from the ignition, cutting off the engine, and he dropped them on the ground, fumbling, the drugs in his head, and after he picked the keys up, he said, Stay here. He got out of the car and looped around to my driver’s side, opened my door for me like it was a courtesy. I got out, and from behind he tugged me into him, my back against his front. I could feel his hips securing me to him, and into my ear he said, We’re going in here. I still have the knife on you if you try anything. Act normal. Got it? His breath hot on my neck, like he was touching me without touching. He was holding me at knife point to rob me, and I was aroused. You’re going to open your account and withdraw all of your money.

            In the shop I came to the ATM and pulled up my account. He told me to check the balance, and I showed him the zero on the screen. Goddamn. Fuck, he said. I didn’t know what came next. He forced me back to the car, shoving me into the driver’s seat. He sat back in the passengers, slamming the door. He punched the dash, huffing. Then he breathed deeply and settled, placing his face in his cupped hands. His body next to me, that desire again I couldn’t help. Then it came out of me, surprising myself so much I didn’t know if I really said it or not. But here I was, saying it. I said, I could… hesitating briefly. But then. I could still come with you, I said. He turned to me suspiciously. What do you mean? Like he had forgotten when he asked me to come along with him. We still have the twenty-five, I said. We can still go wherever you’re going. I can still come with you, I said. My life was nothing, I had nothing holding me back. Following Bryce wherever he was going. I wanted someone to take me anywhere else from where I had been headed, and here he was.

            He squinted at me, examining me, and I felt exposed. You, he said, the knife waving at me, accusatory. I’ve seen you. The air conditioning was on full blast, blowing onto our bodies, and my face went hot. What? I said. What do you mean? Barely choking out the words. I’ve seen you, he said again. I’ve seen you looking at me. Watching me, he said. He un-squinted his eyes, opening them. I was caught, always my fear, looking at a man and desiring him, a man I shouldn’t. It was happening here with Bryce. My whole body was hot now, weak, heart pumping into my throat, not knowing how to respond. Yeah, I finally said. What else could I say?

            You’re like, Bryce said. You’re like, into me. He said this like he was trying it on, seeing how it felt, having to come to the realization by saying it aloud. He kept eyeing me, yet he seemed softened and still, his tear drop tattoo at the corner of his eye. Suddenly he put his arm around me, startling me at first, and he brought me into him closer, gradually like slow motion until our faces were so close I could feel his breath. He turned, exposing his neck, and what came naturally to me was to kiss, that neck. I placed my lips, seeing how he would react. He shuddered. He hadn’t been touched in a very long time. Then he settled, and I kissed more, his neck, the skin. He tasted briny and sweet, and he sighed with a quiet moan. I touched his stomach, emaciated, my hand riding his breaths. I stopped, pulled back to see what he was feeling, what he would do. I wanted his body, on me and in me.

            No, he said, changing his tone. No. Get the fuck off me. He switched from relaxed and calm at my touch to anger within a second. He gazed at the ground like he was confused. Get the fuck off me, he said again, even though I wasn’t touching him anymore. You, he said, pointing the knife. Don’t touch me. I can’t be touched. He slammed my face into the steering wheel, the horn going off, my nose bashed. I grabbed it in pain, my forehead aching. I had to comprehend what happened, couldn’t think. He punched me in the gut, winded me so I had a hard time breathing. Get out, he said. Get away from me. He opened my door and shoved me out. I was so disoriented. My body slumped to the ground of the parking lot. He walked around to my door, and he kicked me in the stomach. Get away, he shouted. Then he kicked my head. An echo in my ears, like the sensation of laying back into bathtub water. I heard a voice above us, an outsider. He was saying something like, That’s enough. Leave him alone. I could barely hear. Bryce said something, I couldn’t make out what it was. The other voice, louder, said something else, barking commands. I stood, hobbling. A ringing in my ears.

            I turned to my right, the car door opened. Where was Bryce? Sound came back, gradually, then I could hear fully again. I heard that same voice. Hey, are you okay? My head had been spinning and it stopped, and I could focus. Next to me was an older man, baggy jeans, thick set and stocky, an American flag t-shirt, gray beard on a rounded face. Looked like he clocked you pretty hard, he said. Why don’t you sit? He led me to the driver’s seat. I hunched over with my feet out the side. Here, he said. A water bottle appeared, and I drank. What? What happened? I asked. Where is he? This man, looking at me with worry and pity. Don’t know, he said. I pulled him off you. He was about to beat you more, so I pulled him off, told him to cool it, leave you alone. He yelled at me. Nonsense mostly. He was on some shit. You, he said. You fucked up, too? I shook my head. No, I’m not, I said. Okay, this man said, believing me. Anyway, I told him I would call the cops. Then he ran off. That way. This man was probably pointing in a direction, but I continued looking to the ground. My whole face hurt. Who was that guy? he asked me. Bryce, his body, his neck, skin, his smile when he talked, his leg bouncing. He was, I began. No one. He was no one. Okay, the man said. This man could’ve been my dad. My dad was here in town, only a few roads away. You want to call the cops? he asked. I pictured this scenario, and it would only add to how embarrassed I already felt. No, I said. I’ll be okay. All right then, the man said. If he comes back and gives you trouble. Or if you need anything, you let me know. I’m on a rest stop with some buddies, and we’re right over here. I said, Thanks, and sipped the water. I must’ve looked horrible. Take care now, he said, and he was gone.

            When I rested my head in my hands, my face felt enormous and swollen. I needed to clean up. I made my way into the store, tried not to streak any blood on the door handle, but some wiped off anyway. Onlookers waiting in the cash register line stared at me, some of them whispering to each other. I hurried to the restroom, luckily a private single I could lock. In the mirror, the image of my face, fissured, blood streaming out of my nose, which looked broken, my eye sockets lined with bruising. I hadn’t cried from physical pain since I was younger, but I was almost there at this point. I splashed water on my face carefully, because touching my face hurt badly, even worse when I tried to clean it with paper towels. My stomach felt like I needed to vomit, and I dry heaved. I went back to the car. I couldn’t find the keys, panicked that Bryce ran off with them, until I finally found them after searching for a good fifteen minutes, under the passenger’s. I sat back in the driver’s seat. I would call Debbie and tell her I was late. I would think of an excuse the rest of my way there. In my side view, sitting on the ground, the globe. I picked it up, upturned it, and through the hurt of my face I examined the snowy glitter falling down. Bryce. I had ignited something in him he was so scared of, that he saw in me. I half expected him to show back up, but no, he was gone. Drifting. And I was drifting, too, maybe not quite in the same way as he was, but drifting all the same. I would get on the road and drive to wherever I was headed next.

 

Share

On Sandy Beach

We drove the road to Sandy Beach every Saturday. First me and Grandma, and then me, Grandma, and Fetu, after he was introduced to the family and before he decided to leave it. In the morning, when the fog hung, we couldn’t tell what was land and what was ocean. If we could, we would have seen that the road was carved in sea cliffs that rose to the left and on the right fell straight down to the Pacific.

            My favorite part of the drive was when it was over, but Fetu loved the last turn. On early mornings we stopped at the lookout and watched the sunrise turn the night-black water purple and gold. Sometimes it didn’t look like water at all. It looked like a road we could run away on.

 

 

            In early summer, Grandma liked to make lei. She’d invite us over, and we came, laden with the bounty of our gardens. Though he was always welcome, my mother’s brother, Uncle Alema, rarely joined, excusing himself with his work at the police station. But that June he came, and with him he brought Fetu.

            As we parked in front of Grandma’s, I got Mom’s first attempt at an explanation.

            “Today we’re going to meet your cousin,” she said.

            I was five and not sure what she meant. “Who?” I asked.

            We stood in front of grandma’s locked wooden gate, nestled between two bay rums. Mom knocked, impatient.

            “Uncle Alema has a son,” she told me. “He’s been living with his mother.”

            I snatched a handful of the bay rum’s leaves just as Alema answered the gate.

            “Mom’s on the deck with her friends,” he said.

            The glossy leaves crushed in my fist as I followed Mom in.

            I had always disliked my uncle, even before what happened with Fetu. Dad left when I was two, and I wasn’t used to being around men. It didn’t help that everything that came out of Alema’s mouth was double-edged. I never wanted to be alone with him, and though I hadn’t told this to Mom, she knew it. She pulled me in front of her, and I dropped the bruised leaves. The air with their spicy scent as Alema shut the gate behind us.

            Grandma’s deck wasn’t actually a deck, but the converted roof of her garage. To get up there, we had to climb a wooden ladder. Worn by years of use, its wooden rungs were smooth. My hands and feet slid, rushed by Mom’s hands on my ankles.

            “My favorite girls!” Grandma said when we got to the top. She was already garlanded. “Give me a kiss.”

            We did, and Mom complimented Grandma’s mango tree, heavy with humpbacked Haydens that were just beginning to ripen. I dumped our bag of soaked flowers over the toweled table and smoothed the blossoms with my hands. Then, with Mom distracted, I escaped to my corner.

            At these lei parties, I sat at the edge of the deck. There, wedged between pots of orchids, I could avoid the questions of Grandma’s friends. But that night, a boy sat in my corner. He saw me just as I saw him.

            “I’m Fetu,” he said. He was seven years old then.

            He twisted the ribbed scythe of a mango leaf in his hands. At this gesture, I found my own nerves relax.

            “Can I sit with you?” I asked.

            He pushed the pot beside him so I could fit. A flock of parrots roosted in the tree above us. Our legs swung in time.

            “My mom says they’re escaped house pets,” I told him.

            “Do you think we would make it if we jumped?” Fetu asked.

            I looked down at the mondo grass below. “Definitely not,” I said.

            The air of early evening was steamy with summer. Half-lost in the neighbors’ trees, the sun’s compromised light made everything soft. Beads of sweat strung the skin above my upper lip. Fetu held up an immature, green mango.

            “Should I throw it?” he asked.

            “At what?”

            Just then, Alema walked out of the house, wiping his hands on his pants. Fetu pointed at my uncle, and I said no, but he was already cocking his arm back. The mango flew, spiraling through the air, imbalanced. It clocked Alema on the side of the head.

            “Fuck!”

            Alema reached up to where the mango had hit him. Behind us, the party quieted. I glanced back to see Grandma in a haku, Mom’s hand frozen mid-pour above Grandma’s wine glass. Alema’s gaze hardened when it landed on us.

            “Which one of you threw that?” he asked.

            “I did,” Fetu said.

            “Down here. Now.” Alema’s voice was clipped with anger.

            Fetu walked across the deck, and I stood to watch him. My heart pounded in time with the hollow sound of his feet on the ladder’s rungs. Mom stood beside me, and I leaned in to press my head against her bony hip.

            “What the fuck did you think you were doing?” Alema demanded. He picked the mango up and held it in his hand. “Are you an idiot?”

            Fetu didn’t answer. It was then, as he stood across from Alema, that I realized it. The long profile of their noses were shaped by the same hand. Alema tapped Fetu on the forehead with the mango. I flinched.

            “I said,” Alema tapped him again, harder, “are you an idiot?”

            “No,” Fetu said.

            I was surprised by the stability of his voice, that he was not crying as I would have. Then Alema slapped Fetu across the face with his empty hand.

            Mom gasped. “Alema!” she said.

            Alema looked up and dropped the mango. Mom was across the deck, down the ladder; she ran to them. Kneeling in front of Fetu, she held his face in her hands. A red handprint spread its five-petaled stamp on Fetu’s cheek. Behind me, someone whispered.

            Mom took Fetu into the house, and I retreated to sit next to Grandma. The gate slammed, and Alema’s truck roared outside. Grandma squeezed my hand.

            “Why don’t you start,” she said, and passed me a lei needle.

            The party thawed as everyone returned to what they’d been doing. One of Grandma’s friends strummed an ukulele. I threaded the needle like Mom had taught me, licking the tip of the string and passing it through the eye. Grabbing plumeria after plumeria, I repeatedly stabbed blossoms, thinking of the heavy sound of Alema’s hand on Fetu’s face. As the needle filled, I pushed the flowers down to hang loosely on the thread.

            By the time Mom and Fetu came back, everyone was singing again.

            Mom sat Fetu down beside me. The tips of his hair were wet, and his eyes were red. Mom sat across from us. I handed Fetu my half-strung lei.

            “Do you want to finish mine?” I asked. “I don’t like the color.”

            He took it. I grabbed another needle.

            “Here, I’ll show you,” I said.

            Mom watched as the two of us thread lei, sorted through the flowers for the best. We alternated colors. We tore petals. We pricked our fingers every now and then. Our blood mixed with the flowers’ sap. When we finished the lei, we hung them around each other’s necks.

            Later, after we’d left Fetu with Grandma, I thought of how scared Fetu must be, having been taken from his mom to live with a strange man.

            “I’m proud of you. You did good today,” Mom said.

            That was five years before the kiss.

 

 

            Sandy’s was the type of beach where necks got broken. Most dangerous were the shallows. There, where Fetu and I played, the sea floor inclined without a buffer between the break of the wave and hard-packed sand.

            Though there were dozens of safer beaches we could have gone to, Grandma couldn’t boogie board there, or stop by Costco after. She probably shouldn’t have taken us to Sandy’s, and she definitely shouldn’t have left us alone to bodysurf, but she did, and she wasn’t the only grandparent to do it.

            I stood on the shore. Goliath waves broke in front of me. I was eleven, and Fetu and I had been going to Sandy’s for six years. Feet from me, he played in the whitewater as a wave built behind him. I wanted to warn him, but didn’t, knowing he’d laugh. When the wave broke, he dove under it.

            Whitewash bubbled around my ankles. Sand covered my toes, chunky bits of coral, shell and bone that had been smoothed in the constant rhythm of the ocean. It sucked at my feet, pulling me in.

            Fetu’s head floated in the bubbles. “You’re wet.” He splashed me. “Come in.”

            He stood, water dripping from him, shining as I wished I could. Every drop of water glistened, catching the sun. It wasn’t just the water I was scared of. Sometimes I was also scared of him. He was fast, forever springing into motion, and with him I often found myself on edge. It’s not that I didn’t trust him, it’s that I was scared of most things then. And part of me was unsure about how I felt, about the weird pull I got in my gut when I thought about him.

            The next wave’s foam swirled around my knees. My fair skin burned in the sun. I longed for the relief of water surrounding me, suspending every hair on my body, but could not dive into the ocean like Fetu. I turned to run up the sand berms, to where Grandma had set up our umbrella, but before I could, Fetu was on me. He tackled me into the sand.

            When we fell, it was harder than I expected.

            At the edge of the shorebreak, we wrestled. Waves shot water up our suits, in our ears and eyes, splaying my hair around my head. Fetu laughed. Out of the ocean, his brown hair was spiky. His lashes were blond-tipped. He pinned me down, rubbing sand into my suit and face, a handful into my hair. At first, I laughed too, but soon the sand became rough. Its grains dug into my scalp, grew hard against my skin. They slipped in my mouth and when I bit down, the grains crunched. I elbowed him, and then suddenly, he was pulled off.

            A lifeguard stood over us, face shaded by a red cap.

            “You okay?” he asked.

            Instead of answering, I glanced at Fetu, who sat five feet from me, behind the lifeguard. His hand clenched around a fistful of sand. A strand of my blonde hair curled between his fingers.

            Grandma slipped up the beach, still in her fins. “I’m so sorry,” she apologized.

            The lifeguard ignored her, handing me a bottle of water. “Rinse your mouth,” he said.

            I took a sip and swished. Fetu leaned forward onto his knees as he watched me, brows pinching with nerves. The freshwater was sweet in my mouth. Spitting, I found no blood or teeth, only saliva and broken fragments of sand. The next wave whisked what I’d spit back to the depths.

            “I’m okay,” I said, and Fetu let out a long breath.

            “You shouldn’t leave them unsupervised,” the lifeguard said to Grandma. “The beach is busy, and I don’t see everything.”

            She was quiet, and he sighed.

            “Take care of yourself,” he told me. Then he walked back down the beach to his tower, raising his radio to say something I couldn’t hear as Fetu crawled across the sand to sit back next to me.

            “What were you thinking?” Grandma asked Fetu.

            He took my hand without saying anything.

            “You know what,” Grandma said. “I don’t want to know. We’re leaving.”

            Fetu and I held hands as she corralled us over the hot sand, only dropping them to help Grandma pick up the towels. It was earlier than we usually left, but we both knew not to argue. We both knew that with Grandma, like Alema, it was best not to say anything.

            Barefoot, we tip-toed across the pokie-filled grass to the beach park showers which even then were rusted and covered in algae. Smooth bars of soap and crusted shampoo bottles were shoved between pipes, left by the unhoused and beach regulars. Grandma squeezed a bit on each of our heads before disappearing into the bathroom.

            “I’m sorry about tackling you,” Fetu said.

            I massaged the shampoo. It was quiet besides the sound of suds popping.

            “It’s okay,” I said.

            Fetu took a handful of bubbles from my head and patted it to his face, shaping a beard.

            “Let’s play a game,” he said.

            I looked to see if Grandma was still in the bathroom.

            “What kind of game?” I asked.

            “Tag,” he said, and reached for me.

            Under my feet, the cement was mossy and slick. I stepped back, and fell before he could touch me. The ground was hard against my bottom. The sting of hurt and shampoo mixed. I began to cry.

            “I’m sorry.” Fetu was on his knees.

            He wiped the suds from my forehead. If Grandma saw me crying again, she would tell Alema, and we both know what that would mean for Fetu. I let Fetu wash the moss from my elbows and back. He rubbed gently, until I was no longer slimy. Something inside me warmed. I looked up at him.

            “It hurts,” I said.

            Fetu helped me up and we looked at my elbows. There were no scratches or blood, but a warm flesh had crept to the surface.

            “It’s going to bruise,” Fetu told me.

            Over our heads, kites flew, dotting the sky in green and red. My chest rose and fell in shallow breaths. Fetu poked my cheek and stuck out his tongue. I laughed. Just then, Grandma came out of the bathroom. Fetu ducked under the shower to wash the bubbles from his cheeks. At the car, we changed into clothes and from across the backseat, I watched as Fetu stripped off his suit. Outside the window, Grandma held up a towel, hiding us from the eyes of the people who passed. Fetu watched me back.

 

 

            At Costco, I helped Grandma shop. Fetu skated through the aisles, sneaking free samples and playing hide n’ seek with himself. Each item Grandma and I crossed off the grocery list was a little victory, and we barely noticed Fetu was gone until he met us at the exit. Leaving the cool of the warehouse, we unloaded the shopping cart into Grandma’s car, and when we were done, we got in.

            From Costco to Grandma’s was another half hour. I was hungry and tired from the sun. Fetu and I leaned against the locked car doors and faced each other. He pressed his feet against mine. Behind him, shower trees passed through the glass of the car window in a kaleidoscope of color. We spent the whole ride like that.

            Back at Grandma’s house, we helped bring the food in, the dogs following us as we did. Grandma made us turkey and cheese sandwiches while Fetu and I sat at the kitchen counter. I was more tired than hungry, and after half a sandwich, I was in pain, the overly toasted sourdough cutting the top of my mouth. I set the sandwich down and took a long sip of water.

            “Finish your food,” Grandma said.

            Fetu was already done and had left me alone at the counter as he played with Grandma’s shells, driving cones across the floor like cars. I forced bites down like pills, swallowing each with a gulp of water. When my plate was finally empty, Grandma took it.

            “It’s time for a nap,” she said.

            In the bedroom, we changed into pajamas as Grandma set up our mattress. She left, and I lay down, the fresh sheets crisp and cool beneath my sun-warmed skin. Fetu dozed beside me.

            Everything in that room was green. In fact, everything in the house was, from the forest of Grandma’ towels to the mint of her walls. Even the light, cracking the blinds, was filtered green through leaves. In all that green, I thought of growing. I thought of the tree outside, the grass, the garden. I thought of how Fetu had looked when I first met him, in the fading summer light. I fell into a shallow state of dreaming.

            I woke to the ceiling fan spinning. It felt like I had not slept at all. The mattress moved, rustling the sheets. When I turned, Fetu was so close I could see the sand in his scalp. Under his left eye, I noticed a triangle of freckles I’d never seen before.

            “Hey,” he whispered.

            His breath smelled of turkey. I began to sweat. Tendrils of breeze tugged at my leg hair. Outside, Grandma talked to the dogs as she fed them. Hard pellets rattled as she poured food into their metal bowls, a shot of water in each so it was soft enough to chew.

            My mouth was dry. My lips were chapped. Fetu kissed me, and I let him do it.

            His tongue explored me with a certainty I had not anticipated. He tasted sour. When he pulled away, I counted the spins of the fan, tried to make faces out of the cracks in the ceiling. I fell back to sleep with Fetu’s warm hand on my chest, but when I woke he was gone.

 

 

            A year later Amy entered our lives. She started off as a clerk at the police station where Alema worked, and then before we knew it, she had moved into Alema’s house. She brought with her a host of problems, most noticeably her dislike of me, Fetu, and my mom. But while Mom and I had it easy, had our own apartment we could escape to, Fetu was stuck there, in the house with her. I was too busy growing up then to realize how hard that was on him.

            Years passed and Fetu and I went to different schools. We made different friends. I took up volleyball. He became the starting quarterback. As we got older, I retreated into my shyness, and Fetu began practicing manhood the only way he knew how, mimicking his father’s anger and accumulating a string of girlfriends. Because of all this, I barely saw him.

            And then, Amy got pregnant. I was sixteen, Fetu seventeen then. We had stopped going to Sandy’s, and only saw each other on holidays, when my mom and I drove over the Pali to Kailua, where Alema, Amy, and Fetu lived. Their house was a single-story. Fetu slept in a room behind the kitchen. The few times I sat on his bed, it didn’t smell like him. It smelled of burnt pasta, dry chicken, the plastic of Lean Cuisine dinners Amy ate, post-pregnancy. He never complained about it.

            When Harrison was born, Amy said he’d sleep with her and Alema for the first few months, and after that he’d move to the back room with Fetu. I remember how Fetu looked when Amy said that, how he speared the turkey on his plate, how the hand in his lap clenched.

            I wasn’t there a few months after that conversation, when Fetu got arrested. It was just Amy and Harrison. But I’ve heard the story so many times that I can reconstruct it.

            It starts in the kitchen. Amy stands, reaching. She is trying to open the microwave oven. Her belly hangs over her skirt, a reminder of the body she had before Harrison. She’ll never have that body again.

            Alema is sleeping at a cot in the police station. Fetu is in his room, the door to the kitchen open. In the living room, Harrison cries. Amy leans against the counter and blows on her leftovers.

            “Go check on him,” she says.

            When Harrison sees Fetu, he stops crying. He smiles with his gums and kicks his chubby legs so hard he rocks the high chair. On the ground lies a bowl of spilt Cheerios.

            Amy stands in the doorway.

            “Pick them up,” she says.

            Fetu sweeps the Cheerios into a dustbin. He thinks he has them all and turns to empty them out. Amy stops him. She points at the corner of the room that has not been swept for months. There is a tangle of human hair, feathers, dust. There is a single Cheerio.

            “Sweep it up,” she says.

            He sweeps it up.

            In the kitchen he empties the dustbin into the trash. He puts the broom and bin away and opens the fridge. Grabbing peanut butter and jelly for a sandwich, he puts them on the counter. The fridge door is left open.

            “You’re letting the cold air out,” Amy says.

            “It wasn’t open long,” he says.

            She stomps over to the fridge and grabs the loaf of bread. “Look,” she says. “Let me show you how easy it is.” She closes the door and puts the bread on the counter, walks back to the fridge and opens it again. “See. Simple. You do it.”

            Fetu doesn’t move.

            “Do it,” she says.

            “I don’t want to,” he says.

            “Just fucking do it, Fetu.”

            She grabs his shirt. He tries to shrug her off, but her fingers are hooked into his armpit. So he pushes her. He throws her across the room. Hitting the counter, she falls to the floor.

            Fetu takes a step towards her, and she flinches. Her right wrist hangs from her arm like a bracelet should. It doesn’t look like part of her.

            “I’m sorry,” he says.

            She elbows him away with her good arm and stands, cradling her wrist.

            “I’m calling your father. I’m calling the cops,” she says.

            This is where we come in. This is when Fetu called my mother. She and I were sitting, taking a break from dancing to Frank Sinatra. We had just finished dinner and our sides were in stitches after spinning around the apartment.

            “Can you come get me?” he asked over speakerphone.

            I turned the music off. He was crying, his voice thick through the static.

            “I need your help,” he said.

            He tried to explain what had happened. It was a story Amy would retell and contradict.

            “I don’t know what to do,” he said.

            I grabbed the keys.

            “We’re coming,” Mom told him, and then we were driving to him.

            The cops were at the house when we got there. Their lights flashed down the quiet dead end. Fetu sat in one of the cop cars, and when he saw us, he raised his hands to the window. He was handcuffed and crying. Amy stood in front of the house, yelling at the police. Mom tried to talk to the officers, but they wouldn’t listen to her. They told her to get Alema to call. They told her to find Fetu’s mother. When the cops drove off, their sirens pierced through the rolled-up car windows, and we sat there and listened, long after they’d left.

 

 

            We were only there when Fetu got sacked because Mom had promised Fetu we’d go to his game. I was usually playing volleyball, so we rarely got the chance. The game had already started by the time we got there. The bleachers were full, but Grandma had saved us seat beside her in the third row. When she saw us looking for her, she stood and waved, a white hibiscus pinned behind her ear.

            By then, Fetu had been living with Grandma for a few months. Amy hadn’t pressed charges, but Alema had kicked Fetu out. From what Fetu told me, life with Grandma was boring but safe. In the mornings they blended smoothies, and Grandma took him to school. She did chores and saw friends until it was time for him to be picked up. Sometimes she’d watch from the parking lot while he played football. They’d go home for dinner, then take the dogs out. Each night ended in the living room, where Fetu did schoolwork and Grandma read.

            The only time Fetu said he was happy was when we picked him up to surf. Out on the water, he said he felt free. While Mom and I caught waves, he’d paddle out past the lineup to sit and look at the horizon. Sometimes he’d lie back and stare at the sky. I’d try to imagine what he was feeling, but I felt so far away from him then, like I was somewhere below the ocean while he floated in light.

            On the bleachers, Mom and I sat next to Grandma. Fetu stood on the sidelines, looking trapped.

            “How’s he playing?” Mom asked.

            “It’s been a hard game,” Grandma said. “His left tackle got hurt.”

            The opposing team’s offense was on third down. A whistle blew, and the quarterback handed the ball to runningback, who didn’t make the conversion. The ball was punted, and bodies sprinted, pivoted, cleats ripped chunks of grass.

            Fetu walked on the field, his offense following him. At the twenty yard line, he and ten other boys huddled. His hands fluttered as he called the play. They disbanded onto the line of scrimmage. A whistle blew again and the center snapped the ball. Fetu chucked it to a tight end.

            They were in the red zone when Fetu got hit. He was in the pocket, eyes on his wide receiver. He didn’t see the linebacker running around the right, but I did. I stood. I screamed, trying to warn him.

            He threw just as he was hit. The ball spun in the air, wobbly, like the mango all those years before.

            I ran down the steps and onto the field, pushing past security and coaches. Kneeling over Fetu, I pulled his helmet off, and found blood covering his forehead. He stirred. “You smell like dirt,” he said.

            Mom’s hand knelt beside me. “I know you’re trying to help, but you’ve got to give him space,” she said.

            She pulled me up and back, her fingers tight around my elbow as we stood beside Grandma. Trainers knelt in the spot I’d been, velcroing Fetu’s head into a brace. I felt my own throat constricting as they strapped him to a gurney, and we followed them over the field, and down the ramp to the training room.

            “What happened?” Fetu asked.

            One of the trainers got out a penlight to check Fetu’s eyes.

            “The ambulance is ready,” the trainer said.

            Fetu tried to sit up. “I don’t need an ambulance.” The plastic brace cut into his neck.

            “Don’t move.” I pushed myself in front of the trainer so Fetu could see me. “You’re bleeding.” My own voice rang in my ears as the training room lights washed the color from his face. I took his hand and squeezed, and he stopped struggling. When he was wheeled out to the ambulance, Grandma got in with him. Mom and I followed them in our Acura to the hospital. There, the emergency room doctor said Fetu was severely concussed.

            “According to the trainer’s notes, this is his third one this year,” she said. “He needs to take off the rest of the season.”

            “It’s my senior year,” he said.

            She clicked her pen. “You just suffered a traumatic brain injury, and if you keep playing, it could lead to permanent damage. You won’t be able to move, to speak. You might not even be able to think.”

            The waxy paper on the exam table crinkled. I started to cry. His jaw clenched.

            He didn’t speak again for the rest of the night. Not at the hospital, or the car ride home. Not as we helped him into the house or put him to bed. When he looked at me, it was like something had locked behind his eyes, like a room had shut on me. It was like the boy I’d grown up with wasn’t even there.

 

 

            Fetu spent the next week in bed. Mom was working night shifts as a waitress back then, so I was often alone in our apartment. When I didn’t have volleyball practice, I visited Fetu at Grandma’s. I thought I could distract him. I brought him gifts—pretty leaves I found on the hood of my car, candy from my school’s cafeteria, flowers I picked at lunch. We played cards. We attempted to watercolor. We baked, and on the nights Grandma left we snuck out, taking turns around the oleander-lined blocks.

            Sometimes Grandma had her friends over, and I’d stay with Fetu in the back room, listening to Grandma’s laughter through the wall. It was on one of those nights that Fetu told me about his mother. We sat in his room—me on a chair, him on the bed. The shoyu chicken Grandma had made was too hot for me, so I’d left it to cool on the dresser. Fetu ate, mouth open to let the heat out as he chewed. I whistled Blackbird to the shama thrush warbling out the window.

            “My mom used to sing that song,” Fetu said.

            “Do you ever talk to her?” I asked.

            He stopped eating. “When I was a kid, I burnt all the skin off my hands,” he said. “I was hungry, and my mom was in the bedroom with her boyfriend. I’d asked her for something to eat, but she told me to take care of it myself, so I went into the kitchen. She’d forgotten she’d left the stove on. It was one of those electric ones that you can’t tell is hot, and I put both my hands on the burner. My skin just melted.”

            He turned the steaming rice in his bowl with his fork. The bird chirped the notes I’d sung back.

            “She took me to the hospital, and at the hospital they called CPS. Before that, my dad didn’t know he had a son. She was only two months pregnant when they got divorced. Her boyfriend thought I was his,” Fetu said. He looked out the window and I looked with him, but we couldn’t see the bird. “After I burnt my hands, she told them about my dad so I wouldn’t go into the foster system. They called him and he didn’t believe it. He made them do a paternity test.”

            I stared at Fetu’s hands, noticing for the first time the scars between his fingers, remembering the leathery feel of his palms when we had walked through the beach park hand-in-hand. He began eating again. On the other side of the wall, in the living room, someone dropped a glass.

 

 

            That night I woke to moonlight stretching in rectangles across my bedroom wall. Mom was crying. When I walked into the kitchen, I found her sitting on the floor, our landline phone to her ear.

            “There must be some way to know where he’s gone,” she said.

            “What happened?” I asked. I was still sleep-dazed, everything a little round.

            “I have to go.” She stood. “Let me know if you find anything.” She hung up. “Honey, go back to bed.”

            I shook my head. “Tell me.”

            “Fetu’s gone.”

            “What do you mean?”

            “Grandma went to check on him, and he wasn’t in bed,” she said.

            “Did he leave a note?”

            She said no. I was wide awake then.

            “We have to go out,” I said. “We have to find him.”

            “Honey, it’s two in the morning.”

            I sat on a barstool. I picked up my phone, which I’d left on the kitchen counter, but there were no calls, no texts.

            “Where would he even go?” I asked her. I wanted to run out onto the street, to scream. “Why wouldn’t he tell me?”

            Mom came close. She hugged me, and I slid off the barstool and into her arms, letting her hold me up, just as she had when I was five and had fallen in the playground, skinning my knees.

            “I don’t understand,” I said.

            But a part of me must have, because I knew what Fetu had been trying to say in the last conversation we’d had. He wasn’t telling a story about his mom. He was telling a story about Alema. A story I should have known, but was too selfish to piece together. Because I had never felt the way he had. Because growing up my mom and I had days where we would not speak, days she grew frustrated with my timidness, days where I shut up like a clam after too much of her prodding. We still have days like that. But I know that she is mine and I am hers and there is no one in the world I love like her. There is no one in the world she loves like me. Fetu never had that.

            A week later we found out Fetu had run away to his mom. To Hilo, where she’d moved after Alema got custody. I’ve tried, many times, to picture what Fetu must have done, must have said, to convince his mom to let him come back. Unlike what happened with Amy, this story’s never been told to me.

            In the years since Fetu’s left, I’ve thought often of our kiss. Though it only happened once, I’ve wished, many times, that it happened again. I never told anyone about it. Sometimes I wonder if it happened at all, or if it was a dream I had, brought on by the heat of Grandma’s bedroom, by my own longing. When I’m alone I return to it, again and again.

 

 

            The beach at Sandy’s gets cold around 4 p.m. Then, with the sun blocked by Koko Head, the heat fades and the wind brings sandstorms. The naupaka, once green, turns gray. The waves break in black and white. Everything loses color.

            The last time I went to Sandy’s, I went alone. I was home from New York for the holidays. On my first night back, Mom asked me to come to a friend’s dinner party, but I was jetlagged. I wanted to relax, but when I tried I couldn’t. So I left the house. I planned to drive to Makapu`u, to look at the Mokuluas. Instead I stopped at Sandy’s.

            The parking lot was a box full of beer cans and sand. It was early evening, and the families had left, their broken boogie boards shoved into trash cans, their sandcastles crumbling in the breeze. In their place, young people sipped beer, smoked weed, laughed.

            Sitting on the curb, I ate my sushi, my bottom cold from the cement. The sand was lower than I’d ever seen, tides and storms having stolen the beach. The berms Fetu and I had wrestled on were gone.

            I didn’t see Grandma until she walked up. It was a Wednesday, so I didn’t expect her. If I’d checked the parking lot, I might have seen her car. I might have been able to avoid her. Instead I was forced to say hello, something neither of us wanted.

            Her hug smelled of sandalwood and sunscreen. She had a white hibiscus pinned in her hair, just like all those years before. I hadn’t spoken to her since I graduated from high school and moved to the East Coast.

            I told her about my apartment in Brooklyn, the freelance work I did. Grandma told me about the retirement community she’d moved into and the salsa classes she took. The conversation came to a pause too soon, and I found myself asking about Fetu.

            “Not since he left,” she said. “Well, he called once. Asked for his social security card. And his birth certificate. Said he wanted to go to college.”

            For a shining moment, I pictured Fetu at university, somewhere far away from Alema and Amy. He was walking across a green lawn, surrounded by people who loved him as I did.

            “I don’t think he made it,” Grandma said. “Last thing I heard he’d knocked up his girlfriend.”

            And with that, my dream was replaced with a small house in Hilo, with peeling walls and a screaming baby at the foot of the bed.

            “Do you have his number?” I asked.

            She shook her head.

            “His address?”

            “I sent a Christmas card, but they sent it back,” Grandma said.

            In front of us, waves pummeled the shore. Their crashing mixed with the laughter of the last beachgoers. It filled the space between us. When we said goodbye, it was without hugging. Grandma walked down the beach and climbed up to the parking lot, where I watched her dust off her feet with a towel before getting into her Prius.

            I left my food on the curb and walked to the water. Taking off my shirt, I let the foam tickle my feet. The next wave broke and I was running, up to my knees, to my hips, diving beneath. I skimmed the sandy bottom as the water massaged my back and ran through my hair, tugging at my bikini. I let it flatten me out. I let it crush me.

            When I got out, my hair was full of sand. I gathered my clothes and walked up the beach. It was even emptier than when I’d arrived—the lifeguard tower closed, just three cars left. Sitting back on the curb, I finished my sushi. Tradewinds dried my skin to goosebumps. Clouds hung on the horizon, the tops of them catching light. Through the rising fog, Moloka`i was barely visible.

            Above me, `Iwa birds flew in figure eights. I knew that beyond Moloka`i lay Maui and Lana`i. I knew that past them sat Kaho`olawe. I knew that somewhere, far to the East, miles of ocean away, was the Big Island. I couldn’t see it. I thought of Fetu in Hilo, and wondered if I would ever see him again. The swell died down. The ocean was black. I got up and when I did, I was the last person to leave Sandy Beach.

 

 

Share

Three Poems

Aftertaste

The aftertaste of beauty is anxiety.
The foretaste of history is prediction
as if the tongues had been written on.
I had been doing the ironies
till they were flat and unwrinkled,
the cuffs standing sharp and the pleats
and the blastula beginning with a dimple.
The background of Longinus was time.
The preface on paper was illusion.
In this the figures of the fixed wings
took on the pressed faces of threats and promises,
Peregrinus naming the poles of a loadstone,
the brass of the locks bitter but secure.

 

Observations

There is no coincidence
even quirks that become tradition
are rain practicing rivers on the glass
History is all antecedents
Showing how once upon a time persists
is a pleasant fiction with variations
chorus as footnotes coconuts
starting new islands on plain paper
folded to a boat and set adrift

 

Content

If you’d just change the accented syllable
to the second we’d all feel better
Blood in its lessened pressure included
It would bring back the creek
where we’d ride past the plaster pig
in a suit to see the gathering tadpoles
redstarts starting red into the underbrush
and stingrays would come to the divers
entangled in drift nets and rusted hooks
to be blissfully relieved

 

Share

Maze

Still in my high school punk rock phase, so when I showed up Ralph said I already looked scary. Every October, I worked at a haunted Halloween corn maze on the outskirts of town because I had to pay for my car insurance. There were folding tables with tons of makeup on them. It was here where everyone came to get ready for the night. Cardboard boxes sat waiting with every child’s nightmares: Ghostface, Jason, Freddie, and other freaky but untrademarked faces. I opted for the makeup, since these boxes were God-knows how old and were stored in God-knows what condition and smelled like weed, vomit, sweat, and cornfield.

            My friend Liz brought over black and white face paint to transform me. She was an artsy tomboy, forever in dark eyeliner with lots of jangly bracelets and black jeans. She bustled around and did everyone’s makeup except for the jocks, who squeezed fake blood on their hands and then played some form of slapsies until they were covered in red handprints. Stupid, but pretty effective. While she did my makeup, Ralph, who owned the farm, gave us our nightly pep talk. This one consisted of some red-faced yelling about not smoking weed or leaving beer cans around.

            “It ruins the illusion,” he said, stalking off, but not before one of the jocks gave him a friendly pat on the back, leaving a red palm on his jacket.

            “How is the usual first day of the season madness?” I asked Liz. She went to the high school across town, West. I went to East.

            “Sheer chaos. They didn’t take any of my suggestions like labeling the boxes or getting plastic Tupperware. Pretty sure there’s a family of mice living in, like, all of the coffins, so don’t get stuck jumping out of one.”

            “I’m going for the chainsaw this year.”

            “You always say that. And then you can’t start the chainsaw. And then the guests laugh at you, and then you get all insecure.” She had finished covering my face in lotion and started painting it corpse white.

            “Last year I was lulling them with a false sense of safety. They were more scared of the next monster after I fumbled my scare,” I said. The truth was I just didn’t have the upper body strength to start the chainsaw.

            “Uh huh. Psychological warfare. I get it. It’s like when I’m nice to my stepmother on Thursdays and then I’m a total cunt the entire weekend. Close your eyes.”

            I kept my eyes closed as she switched to black, which had a heavier texture than the corpse white. She hollowed out my cheeks and painted all around my eyes. She was a pro at turning out corpses at this point.

            “So itchy,” I said.

            “Would you rather stick your face in one of those masks?”

            “Fuck no.”

            “Okay then, time for the lips. Open your eyes.”

            When I opened them, I saw Katie, who I knew through Liz, sitting at our table with a guy I did not recognize, but kids from all over the area came to work here. He was around my age. Katie had a round face painted to look like there was blood coming out of her eyes and her mouth. She growled at Liz and made a hungry-snapping noise at me.

            “Are you scared?” she croaked out.

            “I did your makeup, Katie, so no,” Liz said. “You should bring that energy to the school play.” Katie was a drama kid, like Liz.

            “The Crucible but zombies,” the guy said. He had this big nose that dominated his face. Kind of a girly voice. His hair was buzzed short and he had two little stud earrings in each ear. He looked like a stoner, like one of those kids who blazed up in the back of the auditorium and said “cool” a lot.

            “Oh, that’d be awesome. Try to eat John Proctor,” I said. “I’m Mike.”

            “Sorry, I forgot you and Anthony don’t know each other.” Liz said, now using a Q-tip to brush black lipstick onto me. “Mike works here every year. Anthony goes to West with Katie and me. He does behind the scenes with me in the plays.”

            “But like not makeup,” Anthony said. “Like sets and sound and stuff.”

            Katie nodded and gestured at the two of them. “The dream team, Liz does my makeup and Anthony does my mic.” She squeezed his arm, obviously crushing. I stood to the side, the sole member of the group who went to East.

            I nodded. “Nice. So you didn’t work here last year, right?”

            “No,” Anthony said. “Liz told me about it.”

            “Where in the fields are you all?”

            Katie growled again. “I’m with Liz, sort of by the front, with the vampire cultists. As always, shotgun cult leader.”

            “Sounds about right,” I said. “I’m with the serial killers and the chainsaws over by the haunted shack and apple cider.”

            Anthony was over there too. I told him once he got his makeup on we could walk over together. I’d show him the best hiding spots to really freak people out.

            “No makeup for me. I’ll wear a mask.”

            The girls started to walk over with us and then we parted ways, deeper into the fields. Anthony told me he needed this job to pay for his car. He spent the evenings that weren’t weekends delivering pizza. He lived in the Kings Grant apartments and his mother was a flight attendant so was never home. Dad was gone. If he wanted spending money, he’d sure as shit earn it himself.

            It was still daylight out, so it was easy to weave in and out of the maze, just following the arrows to our spot. Without the arrows, we would have gotten lost. The maze seemed endless. Anthony and I had an isolated little area toward the end, festively decorated with a small scaffold and a two of dummies hanging from nooses, meant to look like our victims. The two of us grabbed the extra ropes and whipped the dummies, watched them sway. He left his mask off, saying he’d put it on when the first few people came through. In the dimming light, while I was pretending to strangle him, I noticed he had very nice lips.

            “So you do theater tech?”

            He looked at me for a long minute. “What are you trying to say?”

            “I’m not trying to say anything. I’m asking if you do it. Like, could you build a scaffold like this?”

            He grinned. “Probably better. It should really have a trap door that pulls out. So yeah. If you got me the right wood, I could build.”

            “Cool. I mean, I don’t need one. But that’s cool.”

            He laughed and held out his hand. I gave him a high five. He shook his head. “No. Like feel my hand. Feel how calloused. That’s your proof I could build a scaffold since you don’t want one.”

            “Oh, oh yeah,” I said. “I feel.” It occurred to me that we were sort of holding hands. Is that what he wanted? Or was I walking a thin line to getting my ass kicked?

            “Yours feel soft.” He poked where my fingers met my hand. He caught my eye for a second and then looked away. “Now that it’s darker you look kinda creepy. I’m not sure I’d recognize you with your makeup off.”

            “I’ll say hi, then you’ll know,” I said.

            “I’m just kidding. I can tell what you look like.” He caught my eye again.

            “Anyway, the makeup is better than that mask. They store them like, in the same dank shed on the farm somewhere. Next time you should just do the makeup.”

            He shook his head. “I don’t want anyone to see me.”

            “Why not?”

            “Well,” Anthony bit his lip and turned the lights on over our swaying victims. It was darker now. “When I started delivering pizzas, a few kids noticed and started, you know, being shitty about it at school. So I started like, wearing a hoodie and a hat and stuff so no one can see me. This job it’s even easier to hide.”

            I grinned stupidly. “I see you.”

            “You’re like, mad cheesy.” He bumped me with his shoulder. Ralph drove by on a little green Gator to tell us guests would be coming by soon. The front had opened; the sun had gone down. It was early in the season though, so it wouldn’t be too crowded. That didn’t mean we should get lazy, though. He got off the Gator and looked around the scaffold for any empty beer cans and thanked us for being the only sober ones this deep into the field. Then he drove off, leaving the smell of car fumes in the otherwise clear and sweet corn.

            “So speaking of sober, do you wanna smoke? Just a little. Like I don’t wanna freak out at the corn maze. Imagine if we were more scared than the customers. That would be so—” He snapped his fingers and paused.

            “Ironic?”

            “Yeah! Ironic. That would be ironic. Smoke?”

            We walked a few feet into the corn maze, but not so far that we’d get lost. It was so tight that we were pressed close to each other, face to face. I could smell Anthony’s cologne, one of those body sprays people keep in their cars if they can’t shower. We passed the joint back and forth.

            “So you’re smart? You do well in school?” He said, exhaling over my shoulder.

            “I don’t know. I do okay.”

            “I mean, you knew about ironic.”

            We finished the joint, but we still stood there, the corn swayed and pressed against us, as if nudging us closer.

            “We should head back. I think I hear—” I said.

            “Do you mind if I pee first?”

            “Sure.”

            “I don’t wanna walk back alone. Can you wait?”

            “Okay. I have to pee too.”

            We unzipped, and peed. I caught him looking down and watching me, and then he caught me watching, too. He pressed his lips together.

            “Sorry. Weed always does this to me. You?” He sounded shaky.

            Weed didn’t do that to me, but the sight of Anthony’s mouth and his dick out in the dim corn maze did. I didn’t say that though. “Yeah. Me too.”

            He looked side to side and slid closer to me. The corn caressed against us, and I swallowed nervously but extended my hand. We pulled at each other for the first time that night. A few customers were walking by and couldn’t see us in the dark corn, but I could overhear them wondering if someone was going to jump out and scare them.

            Anthony finally gasped, wet and sappy in my hands. “I think I hear something out there,” one of the girls said, and that made us laugh so hard, which freaked them out, and they ran off. My hands were sticky with him the rest of the night while we scared other teenagers, although I’d wiped them on the sharp edge of a corn’s bladed leaf.

            We exchanged numbers and started texting each other all week. Stupid stuff, like what we were doing and how boring class was. A few times, I told him about all the trouble I was getting into at home for not going to church. He’d tell me about being alone all the time, eating cereal for dinner. He called me his new best friend.

            But being friends didn’t stop us. We touched in the cornfields again and again, a few times a night most of October. He sucked me behind the scaffolding. The two dummies watched with bulging eyes, as if they were shocked. I tried to kiss him after the last customer came through and we were alone out there, but I’d barely leaned in before Ralph’s Gator puttered up.

            Anthony invited me to come over his house the next day after work to watch a scary movie. He asked if I could bring something to eat so I picked up a pizza, with his favorite toppings, and a two liter of coke. It felt like a date. I squeezed into a small shirt I almost never wore and shaved the peach fuzz off my chin. It looked more angular now, a new face.

            He lived in a horseshoe apartment on the second floor that got no light. He had this mattress in the living room and a pile of dirty clothes in the bedroom. He did his homework on the little patio but always forgot to bring the notebooks and crap inside, so it was perpetually damp and moldy. He had a TV but it wasn’t up on a stand or anything—it just sat on the ground. There were bowls full of dry cat food, no cat in sight.

            “I can’t fall asleep without the TV, but mom gets mad if she comes home and the TV is in my room. So I just bring my mattress out here.”

            That seemed like a classic example of what my mother called, “teenager logic.” He lived without any adult supervision. I was jealous, and at the same time, I couldn’t imagine being so alone, waking up on the mattress in the blue light of the TV.

            We chilled there for a bit and tried to watch the movie. Anthony started feeling me up and we pretty quickly shifted activities. Instead of going right for the touching, I leaned in and he let me kiss him. His lips felt as nice as they looked. We stripped down, and I marveled at being naked with another person. He produced a condom in a golden wrapper and handed it to me. In theory, I knew what to do with one of these. But in practice, not so much. My ex and I had a hurried relationship, quick handjobs in the front seats of his car.

            “Do you want to? “Anthony said, turning over onto his stomach.

            From what I’d seen on the internet, this was my cue to hold Anthony down, roll on the condom, and start savagely thrashing like a WWE wrestler. Somehow, though, that didn’t seem correct. I had no idea what I was doing. My palms were sweating so much I couldn’t get the condom wrapper open.

            “Yeah—” I said, finally getting the condom and rolling it on. I pushed myself against Anthony and he yelped. I pushed a little harder and he crawled away, shoving me off him.

            “I’m sorry,” he said. His body disappeared as he pulled his pants back up. His face was bright red. “”I can’t do it.”

            “You don’t have to be sorry,” I said. “I’ll go slow. You tell me what to do.” I hadn’t gotten to do much, but I decided I definitely wanted to do more.

            He held his head in his hands. “I can’t. No way. I’m not—I’m not like that.”

            “What?”

            “I—I don’t know. Just forget this ever happened.”

            “Okay.” I said, not wanting to, but I could see he would start crying any second. I yanked the condom off and slipped my pants back on. He turned away from me and hit play on the movie. Every time I tried to catch his eye, he looked away. He didn’t invite me to crash, so I got to my car and imagined him, falling asleep to the credits, the opened condom wrapper gleaming golden on the floor. What had I done wrong?

            When the weekend finally ended it was like he disappeared. I only knew he was still coming in to work because Liz told me.

            “Why?” she texted.

            “What do you mean, why?” I wrote back.

            “Like, why are you asking if he’s coming in today? You want me to give him a message or something? We have gym together later.”

            I told her no. No message. Why bother? He hadn’t responded to any of the texts I’d sent.

            Before work on Friday, I drove past his place. I’d say it was on the way, but it wasn’t. I went past the third light and turned off Route 73 and into his development. He wasn’t home, but I peeked up through the open curtains when I parked my car. The mattress was still on the floor. His cat had finally come out, and was staring back at me like a gargoyle. Only other thing I could see was the empty pizza box and the TV.

            I drove off. He’d have to talk to me at work.

            I got there just in time for the sun to be that autumn orange just before it sets. When you walked onto the farm from the side entrance, it looked beautiful. The corn swayed and you couldn’t see any Halloween decorations at all. It was just quiet and breezy and bright.

            Of course, not far down the path the jocks were, once again, squirting themselves with blood. Liz, in some heavy corpse makeup, was at her usual station. Katie was talking her ear off, all set to be a vampire cultist again. I spotted Anthony digging though the dirty pile of masks. I thought he was stupid for wanting to wear one, now I think I missed the point.

            “Hey everyone. Ready for another night of it?” I said.

            “Scaring people is our passion,” Liz said, and I couldn’t tell whether she meant it or not.

            Anthony must have found his mask because he started trotting over to sit with us. He put his arm around Katie and seemed intent on staring at the lobe of her ear or the jocks just over my shoulder.

            “Hey,” I said.

            “Yeah, hey,” he said.

            Katie smiled a stupid big smile and the two of them kissed. On the lips. I made eye contact with Liz and she shrugged.

            “I’m gonna be with you tonight so the lovebirds can be together,” she said.

            “But Anthony’s not dressed like a vampire cultist,” I said, gesturing at his dark jeans and mask. He didn’t tell me he and Katie were dating. Dating. After literally spending half of the month touching each other, and the other half of the month texting about touching each other.

            “Mike’s right. We should get you in character, babe,” Katie said. “Wouldn’t want to break the illusion,” she lowered her voice and did her best Ralph imitation.

            “Needs blood, fangs—not sure why you went and grabbed a mask. That doesn’t scream vampire cultist, like, at all,” I said, grabbing his monster mask and pulling it over my head.

            “Chill,” Anthony said, yanking it off me. “No one is putting makeup on me. I’m wearing a mask. I’ll be a vampire who wears masks. It could happen.”

            Liz frowned thoughtfully. “Maybe.”

            “No,” I said. “That’s idiocy. How’s he gonna suck blood through his mask?”

            “I’ll suck blood before I put my mask on,” he said, putting his arms around Katie and nibbling at her neck. She squealed appropriately.

            I could feel myself getting hot. I rolled my eyes. “Gross,” I said, glaring at Katie, who did not seem to care about the daggers I was sending. Liz squinted at me when I looked at her for commiseration. Anthony, who one week ago had handed me a condom and offered me his ass was now nibbling at my friend’s ear lobe. And all I could do was stare.

            “Really nice,” I said, louder. I’d get so loud I’d scare the crows if I wanted to. “Tried to have sex with me a week ago, then disappear back into some hole in the ground, then make me watch you make out with someone else. Fuck this.”

            Apparently I’d gotten the attention of the jocks, who stopped squirting each other with blood to oooooh and ahhhh at Katie. They assumed I meant her. She looked confused. Then, in unison, she and Liz both understood. I had been talking to Anthony.

            Anthony, who threw on his mask and bolted into the corn maze. The jocks, still thinking I had meant Katie, called after him. Don’t worry about that whore! Plenty of other biters around here! That’s tough my booooy!

            Only the four of us knew what I’d really meant. Katie sprang up, stoic in the face of all the cat calls, to go after Anthony.

            Liz sucked her teeth at me, her skeleton makeup only underscoring the severity of her expression. “That was a shit thing to do.”

            “What? Me? What about him?”

            She just shook her head and walked away, not saying anything.

            Weeks passed. The maze still seemed endless. Katie held Anthony’s hand in a gentle, performative way, though I could tell they weren’t dating. Anthony wore his mask all the time around me now, and its long eyes looked more sad than frightening. Even Liz painted my face in frowning silence. For the rest of that season, none of my friends would talk to me. It wasn’t until years later that I understood why.

 

Share

What Comes in the Night

When I saw the bat, I didn’t think. I screamed. I picked up Frida, my 10-pound, bat-like dog, and ran into the bathroom, pulling the door closed with something akin to maternal instinct. Then my brain turned on and I thought, oh, fuck.

            It was almost midnight. I had been in bed, sitting cross-legged in boxers, a glass of white wine to my right as I talked aimless shit on the phone to my best friend. Peripherally, I had seen the unmistakable yet graceful flapping of wings. A shadowy body darting across the white of my ceiling. It was quick, nearly silent, making its way around my lofted apartment with an urgency I assume was fueled by fear.

            I ducked out of the bathroom with a towel draped over my head. After trying but failing to open a window, I fled the apartment, grabbing Frida, her leash, and a pair of black jeans that I yanked on while rushing out the door. I ran to the nearby apartment of my partner Aaron’s graduate-school friends, who I had only met a handful of times. They had kindly set up a bed in their office, complete with a lit candle.

            The bat was scared, as was I. Yet, I left and therefore trapped it, running from my own fear and probably escalating the bat’s. When I locked the door, I left the bat stuck to fly loops in my little apartment.

            Let me be honest; I was afraid before the bat. When my eyes made out the spider web-y shape of its wings, I was alone. Aaron was out of town and I was battling the recurring fear that at some point during the night, I wouldn’t be alone anymore. I double checked the locks, even assembled a small cardboard obstacle in front of the door to quell my anxiety, to warn me should someone come in. Three nights before the bat, I had an interaction with a man on the street that wound me up so tightly that I laid awake until four in the morning, waiting — to hear steps on the stairs, or the sound of my doorknob turning. Despite swallowing the white ovals of anti-anxiety medication at midnight, I didn’t drift off until almost sunrise. That night, I shone the flashlight of my phone into the living room more times than I’d like to admit, crept downstairs silently to look at the locks yet again, knew my behavior was illogical but couldn’t truly could not stop.

            The interaction with that man, in which nothing even really happened, had compromised my fragile sense of safety. Or rather, had reminded me that safety is largely illusory. My body, regardless of what I clothe it in, will be seen. My locks, regardless of how many times I double check them, could be picked. My windows, regardless of how shut I thought they were, were cracked. Or perhaps they weren’t. It doesn’t really matter because something in my apartment was open enough to let something else in.

            From the home office, I called what Google told me was the highest-rated local bat specialist. I was greeted by the gruff and irritated voice of a man I assumed to be The Bat Specialist. I can come, he told me, but it’ll be $200 whether I find something or not. I wanted to know when he could come, what he would do. He said he could be there in forty-five minutes and would look for the bat itself in addition to investigating the outside of the building to determine how it might have gotten in. By that point, it was almost 1 AM and I figured I should wait until morning to avoid disturbing my neighbors. Instead of asking him to come, I said I’d call back. I then sent my landlord an email with the subject line: URGENT – bat, help. Finally I curled up around Frida and slept briefly in the safety of a bat-less home.

            I called the bat specialist again the next morning around six (uh, hi, I have a bat— I uttered, before he cut me off. Yeah, I know. You called last night) and was told he couldn’t come anymore, that his day was now full. He gave the number of a wildlife specialist who might be able to help. When I called her, she calmly informed me that nothing could be done until the bat woke up. Is there a way to… wake it up? I asked in disbelief. No, she said curtly. Bats are nocturnal. They’re able to make their bodies so tiny that no one will be able to find it during the day. Call back when it’s flapping around. She hung up.

            Around 8 AM, my Tesla-driving landlord called me. I understand how frightening that must have been, but we cannot kill bats. They’re an endangered species. I emphasized that I didn’t want to kill any bats; I just didn’t want to cohabitate with one. She continued, In the past, we have even built bat houses, so they have somewhere to go. I’m sending someone over with a big net. The call ended and I waited for Someone with a Big Net.

            Intellectually, I knew the bat posed no existential danger. Yet, I felt a sense of primal fear spurred on by what ifs. What if it emerged while I was taking a shower and I hit my head on the bathtub because I was so startled? What if my dog ate its shit and got sick? What if it bit me and somehow I didn’t know and it evolved into rabies? I knew this wasn’t rational, yet I couldn’t stop thinking of all of the ways this encounter would turn into something Bad.

            When Someone with a Big Net arrived, I was typing out an email in the living room. I didn’t know when to expect someone and was wearing jeans and a white tank top, sans bra. I heard a key slide into the lock of my door. I heard the twist of the knob, the unmistakable creak of my wooden door opening up its hinged jaws. Then, a short, bearded man was in my kitchen holding a large fishing net. My dog bleated an urgent warning in her shrill soprano. My heart rapidly thrummed somewhere underneath my visible tits. Where is it, he asked me, his eyes wandering the ceiling, my furniture, not me, maybe me; I tried not to look. I replied in earnest, I don’t know. Again, my dog went into the bathroom. This time, I stayed out, watching him search behind furniture, in the closets. He said I’ll be back and left.

            Thirteen years ago, I stood at the edge of a bridge on South Congress in Austin waiting with a crowd of people to watch the famous bats emerge at dusk. What first looked like errant freckles scattered across a watercolor sunset in South Texas evolved into a sky in motion, made up of thousands of flapping wings and tiny black snouts. A few years later, in that same city, close to that very bridge, something happened to me in the dead of the night that forever changed my relationship to both sleep and my body. The next morning, I thought it was nothing. A few days later, something. Years later, I finally called it something other than a bad night. When I saw that storm of bats, I still thought that sleeping was safe, that he was a friend, that Austin was fun, that Texas was home.

            When Someone with a Big Net arrived the second time, he knocked. By then, I had put on a bra and an oversized denim shirt over my tank top; my tattooed arms covered. Where is it? He asked me again and I felt irritated by his incompetence. He brought a ladder upstairs and I listened to heavy boots amble up the rungs. I watched as the man stood on the ledge of my loft, watched his eyes scan my books, my bed, the haphazardly flung sports bra that I peeled off the previous night after a workout. We can’t do anything, he said, when he came back downstairs, eyes boring into me. You have too much stuff.

            A close friend, Sam, had recently moved to New Haven. I hadn’t seen her in years yet when I texted want to come help me get a bat out of my apartment? I have tequila. My phone immediately pinged lol sure. Gratefully, I waited the four hours until dusk. My landlord emailed me that the man had left the Big Net. I opened the door to find five feet of silver pole and a lime-green net leaning against the wall like it was confidently picking me up for prom. I grasped the cold metal in my hands. I was the Person with the Big Net now.

            Sam arrived around 6:30. I hugged her on the street and loved that her shape felt familiar, her curls consistent, a tattoo I remembered peeking out from the hem of her shorts. The sun was supposed to set at 7:03, which was when we needed to be ready. I poured two glasses of wine and we caught up. She had just gone through a breakup with an ornithology enthusiast who didn’t not look like Zac Efron; I thought New Haven was fine but missed Brooklyn; a bat had flown into her apartment once and she screamed until someone got it out with a towel; my dad died; her dad sucked.

            When shadows appeared in my kitchen, it was time. I kept all of the lights off and slid open a living room window. I turned on a single lamp directly in the center of the window to guide the bat out. The lamp cast a romantic glow on the green leaves of a Bird of Paradise on the other side of the window. The scene was set.

            A few days before the bat came into my apartment, I took Frida on a walk around the neighborhood. I had been working from home all day in a pair of black bike shorts and a baggy T-shirt, my hair a messy knot on top of my head. I was rounding the corner to turn towards my apartment when I could’ve sworn I heard my name called. I turned my head and saw a man staring at me so intensely that I held his gaze, my brain trying to place him: surely I must know him.

            I spent most of my twenties in Brooklyn and preferred walking to public transportation. I wasn’t a stranger to cat-calling, yet it didn’t happen nearly as often in New Haven. Younger, in Brooklyn, I felt armed with my anger. If a man said something disgusting to me, I yelled back at him to eat shit. Once, while on the phone with my mother, a man in Prospect Heights lunged towards me in a deep squat, his soft, wet tongue protruding out of his mouth and moving in gross, lapping gestures. I immediately felt my blood run hot and demanded that he get the fuck out of my way. He laughed at me, the melody of it etched into my head like a perverted iteration of the braille in a music box. I actively miss the version of myself that got angry instead of scared.

            Sometimes, the catcalls were funny. When I walked by a group of men while wearing large silver hoops, one yelled Jenny from the block!. Once, I was chased six blocks in Chicago by a man who wanted my number. I like your leather jacket, I want to take you out, he panted. I could see the particles of his breath suspended in the January air. It’s my girlfriend’s, I replied and turned to walk away, leaving him slack jawed. Sometimes it came in the form of do you need help carrying that? Let me help you carry that, that looks heavy. Other times, it was more sinister: being followed home from the subway, someone pressing their hips against my ass on the crowded morning commute. Once, on a weekday afternoon, I looked up from the couch where I had been pathetically flopped all day with period cramps to see the postman blatantly staring into my window from where he stood on the ledge. I quickly wrapped a blanket around my naked thighs and ran barefoot to the back of my apartment. When I came back out, he was gone and I never again sat on the couch in my underwear. Despite living on the second floor. Despite the fact that the mailbox was on the first.

            This isn’t unique. Women experience street harassment; water is wet. Yet, I was still surprised when this man stepped towards me on the street in New Haven, asked to get to know me. Aaron was out of town visiting family. I barely knew anyone in New Haven. I was a block from my apartment; what if this man followed me home? I didn’t want to bring my drama into the nearby liquor store that was run by a sweet family. I didn’t want to bring this stranger into the little grocery store I lived above, run by a woman whose Border Collie sniffed Frida nearly every day, as we said hi baby to each other’s dogs. In New Haven, I didn’t have the orientation I had in Brooklyn – where I knew which bars were open, which friends were nearby, where the closest train was. I felt entirely, vulnerably alone.

            Perhaps what I’m trying to get at is that none of these experiences are situated in a vacuum. One experience compounds upon another, like tile, like brick, to build a house. A man taking a step towards me on an empty street became an echo of another man telling me he wanted to taste me as I walked by became an echo of a boy who tried to forcefully pull my shirt over my arms when I was thirteen became any of the other moments when I’ve been forced to witness a man see me as less, see me as a body, see me as a mouth, a hole, an experience; see me as something that exists to please, to fuck, to watch. It echoes all of the times I’ve been forced to watch men watch me.

            People are afraid of bats because they come out at night. Bats spread their wings when the sun is down and can’t be disturbed until they deem it dark enough to be safe. During the daytime, they crunch and tuck and curl their bodies up so tiny that they can’t be found. Their slumber can’t, won’t, be disturbed. I wanted the bat out that morning, but that wasn’t possible and so the bat had the power in our dynamic. The bat had the power over me, had power over the man that came into my apartment, even had power over the landlord I pay every month for a temporary home in a brick building on the corner of an almost-busy street.

            I envied the bat. I wished I could contort my body to be so small that it couldn’t be found, that I could tuck my elbows into my knees, drape my head against my chest and wrap myself up in a blanket made of my own body. I wanted to be able to get so tiny that no one could find me, no matter how many men were scheduled to come and look, no matter how big the net was. I yearned to be able to emerge in my own time, to only be visible when I flew under a street light, for people to associate glimpses of me with an eerie magic, stay spellbound by my shadow.

            When the sun disappeared, I crept into my living room to see if the bat had woken up. I screamed when I saw it doing asymmetric loops. It’s here, I mouthed to Sam. I took a video of it with my phone, angling the camera towards the ceiling to capture flashes of movement, mostly to show myself later that I didn’t make this up: There was a bat; it came into my apartment. I have learned to document, to capture hard proof. A snapshot, a video. Evidence.

            The net was comically useless. I thought I could guide the bat out, usher it to the safety of the night. In the video, I hear myself urgently whisper I just want to help it! Eleven chaotic minutes passed: net swoops, screams, fits of laughter, silence. And then the bat left. Flew out on its own accord, slipped right over my window ledge into the void of the sky. It was over in two seconds, and if I looked the other way I would’ve missed it, would’ve spent the whole night wondering where it had gone, if it was still with me.

            I popped champagne and we clinked our glasses. Then I taped all my windows shut. I taped the heater vents shut, taped the tiny gap under my window-unit air conditioner shut, sealed everything with a manic ripping of tape, knowing still that tape can be ripped, clawed through, cut. It’s the illusion of safety that lulled me to sleep.

            Bats use echoes to navigate. They emit a high-pitched sound that humans can’t hear, see how it bounces back to evaluate distance, danger, prey. It’s with echoes that bats stay alive, that they are able to gauge what’s safe to move towards, and what should be dodged. The reverberations from past experiences are still rattling around my rib cage, emitting different frequencies. Walk faster. Go inside. Run. I feel it physically and instinctually, braille-like goosebumps rising on my skin, my blood suddenly running cold. Like a bat, I find safety through echoes, clarity through the feeling refracted back to me. The echoes that guide me through the dark.

Share

Blues for King Kong

the soul tends to hide deep beneath the blues • & pain has chosen to call blues beautiful • & pain could not have seen things differently • when someone owns a thing we call it their possession • & yet what do we call it when some sinister spirit has entered them?  • of curtains that are mostly drawn • of a blues felt more intimately with the eyes closed • slow song for a masochist • a gentle tapping of feet •  bassist under collagen of bones • bassist of a chest-deep beating  • & some no longer look their friends in the eyes • others have not noticed themselves becoming islands • sunlight as a clarity reflected by water • moonlight as uncertainty reflected by water • drown under sounds of a profound saxophone sorrow • soak in softening passages of pain moving through the body • a falsetto waters the seeds of anguish  • protruding from the mouth • the roots of a soul reaching for light

Share

Mythogenesis

1. My mother leans in to tell me that ghosts are harmless but unequivocally real. Insignificant mysteries add up to a more systemic experience of haunting: family photographs turned on their faces, a mess of shoes rearranged in the shut-up closet, the occasional slammed door. We aren’t old-house people, and the place hasn’t existed for long enough to accumulate a logic for the eeriness that I feel in the bursting back garden, in its aggressive, bright peonies and hydrangeas. Still, someone has a message for us and at times we joke about its contents, our heads bobbing cheerfully, until one day to me it isn’t funny anymore. Then I am no longer five years old. Then my mother retreats to her bedroom, where she clacks away at the loom as though pursuing a kind of domestic exorcism. I pick at the borders of my fingernails, bite gently at my upper lip. The shuttle glides toward home and back again, moving as gracefully over the blue yarn as the boats it’s been shaped to resemble. Otherwise the house is noiseless and I want to sit again in the belly of the fireplace at the front of the minute approximation of a parlor, like I did before it was ours.

 

2. The woods around Mashamoquet are full of excuses for feeling spooked. Drive the thickly forested roads, which are narrow and curve and dip and open out to brief scraps of lake before plunging again into pine shade, and you begin to understand the narratives of disappeared hikers and eerie bridges and consumptive girls converted by death to ghostly flânerie. It is a gorgeous and a thieved place, this land. Stealing it required fabricated stories of wildness and peril. The mills and factories and fields are where the real history of danger is, the legacy of coveting and stripping bare and building back up in grotesque forms.

 

3. My first published poem is about a laughing phantom child and is written in 1994, during a year when my mother keeps me away from the small elementary school. I write each line on a clunky desktop computer as an exercise, the keys clicking awkwardly, and save the file to a floppy disk. Submitting the poem to a children’s magazine means printing it out on paper whose perforated edges have to be ripped from the single sheet by hand. Separating the sheet from a piece of itself proves as darkly satisfying as composing the poem in the first place. It ends with a girl my own age falling to the ground in the night, the phantom child close behind her.

 

4. Homespun ghosts don’t turn out to be at odds with quaint family ritual. My mother hauls me into the yawning box pew, whose panels are dusty in the unfinished light. There seems to be no heat in the bare room, and next time she outfits her one child in a plaid flannel dress with an economical ruffle. The dress is unusual, having been purchased from a store or catalog and not made at home. The size tag reads 6X or 7 or 8. Later we switch to the white Congregational church with a sprawling graveyard, which we attend only sporadically. My mother recalls the denunciations and massacres that propelled our ascetic relations into their two mountain towns. She reminds me that her father’s fifth great-grandfather was a minister. I read and reread Canadian novels about children who recline in pinafores on gravestones and throw stones between them, who unapologetically trample the long uncut weeds, their braids swinging through the warm air. Across the street, someone’s misplaced idea of a cottage looms. Its pink paint is due for a refresh, but even now the colored frontispiece belies what’s inside: the thick, dust-tinted carpets and papered walls. They take preteen students once a year to see it all, pretending for a moment that we’re only tourists and can leave at any time.

 

5. The Puritans who ran the first homes along the town green refused the prospect of communion with their ancestral spirits. Now Halloween in the stolen colonial village is a singularly fantastic exercise. Like all events that take place at night at the old school, this one requires a trip through unlit and bumpy terrain, the spaced-out houses blinking yellow in the mostly uninterrupted dark. Unlike the other events it calls for a shivering, coatless exit from the warm interior and down the short walk to the little car, the thin excuse for a disguise stretched across your shoulder blades. You are an angel or a witch or a gnome; maybe you are wearing slippers and feel each individual stone in the gravel turnaround beneath the balls of your feet. You hug another child in the shadow of the school doorway, squealing, and your excitement echoes against the trees. You feel charmed, regal – delighted to be somebody else.

 

6. Our cassette deck is melting hot and plays Nova Scotian folk songs about women submerged in ocean weeds and reborn as spirits in seaside towns. Their daughters run away or choose the wrong lover and see him killed at the hands of a male relative with a penchant for violence. We fall asleep listening to the ballads, which wind and unwind their way through the motionless rooms of the house. That July amid the beach blossoms and the tides my mother becomes nearly childless, my unsuspecting body swept under too large a wave. I am half a ghost in the stale heat of the car on the hour’s drive back from the coast. My mother remembers the sensation of digging her own small belly into the sand. The songs become a sad-sweet refrain on days’ ends that never cool down despite the window thrown open and the fan it swallows up, its cheap plastic still rattling when the sun reappears.

 

7. I am living in New York City during my mother’s first attempt at suicide. I speak sharply into the phone from underneath the scaffolding that prefaces the door of the donut shop. The street’s exuberant noises compete with the unsubstantial voice of my mother as she describes to me a god who desires that she remain alive. I am not on the next train or the next train or the next. I sit balled in the cramped ceramic tub, lean my kneecaps into the too-warm flow of the tap. In the living room after my mother dies, the evening lights flicker without explanation.

 

8. The doors in this tiny canal-side apartment are always creaking open and shut. I have already discovered that I am writing about hauntings when it emerges that my three-year-old’s animated television program is also about ghosts. Het is een spook! the voiceover artist shrieks in Dutch as an army of emergency responder vehicles tears down the cartoon street through an exaggerated twilight. I find my sandals carefully stacked, one sitting atop the other, as though waiting for me to notice. My son sits placid, unflappable in the face of our shared myths. The difference between us is that I need them.

Share

Cool Side of the Pillow

Have you ever heard the sound of a screen door

closing old-timer slow?—Inching madness to the edge

of its seat?— Think of shoes on the wrong feet.

And how fingernails scratch the chalkboard

to test your impulses.  When the dog shits

in the house, and the house isn’t yours.

Lost keys. Bad haircut. Bad ink. Bad poem.

Broken tooth. Ulcer. Speeding ticket.

Bad job. Foreclosure. Your ovaries tied.

Boyfriend sexting someone else.

Your kid hates you. Your dying friend has

no insurance policy. You’re addicted to soap.

Boss screaming down your throat.

You burnt the turkey. Is it worth mentioning,

that moss has no roots?— We know something

has been tampered with, when the seal

is broken.  Only one thing to do, don’t surrender,

turn over your armor, dream a little dream.

 

Share

Ad meliora

Ad meliora, or “towards better things” combines hundreds of separate images that create a deep meditation on being, creativity and nature; a mandala of forms that becomes highly symbolic of life, death, yesterday, now, and the next moment. Flowers, plants and textures were photographed in places such as nature conservatories, cultivated gardens, vacant properties and parking lots. The familiar landscape appears molten, luminous and renewed. Ad meliora is suggestive of adaptation, resilience and transformation.

Share

Murphy’s Law

30 rabies shots, my uncle got
when, after cornering a rat for fun,
and drunk, it lept and bit his bare chest.

Play stupid games, win stupid prizes, they
say—what can happen, will—Which is what
my dad was thinking when he passed the pub

so aptly named on the day they sawed
through my skull. This is the perversity
of the universe. You go outside

to catch your breath and butcher’s knives wink
in every window. Miles’ trumpet intones
So What while atom bombs dream of flouting

their dormancy. The night before surgery,
I lay on the plush hotel bed, staring
at a room service form. When I was

little, I was obsessed with opulence.
I wanted filet mignon, lobster
delivered to my imagined penthouse

as I watched cartoons: a toddler bobbing
along the steel girders of a nascent
skyscraper, pianos crashing down, turning teeth

into sonatas. Sometimes you have
to confront the world’s malice like a mouse
who’s been burned too many times by spring-

loaded-cheese. I remember assuming
the hospital’s food would be suspect.
Juice with plastic peel-off top, overly-

salted soup, but, I thought: that’s only
if they don’t slice into my temporal
lobe. If they don’t accidentally

give me a lobotomy, or cut my
head clean off. I’ll be lucky to gag
on pot pie while mom scrolls WebMD.
Share

Two Poems

On Our Date I Forget the “Birds of Prey” Exhibit is Closed Sunday

Grace is just life
caught in the throat. Imprinted
and broken winged.
Crow hit by my Toyota, muddy.
Peace and rehab three-syllable words

when slurred. Grace of certainty
in the sun’s smallness—small enough

to set behind your hand,
yet still lift like a hand
on her waist while facing a dark nerve.

 

Her to touch, a crow
not very much a crow, wingless
who must hop from branch to branch

as crippled form of grace,
as chapel wind is pious, bows
in gospel like fletching
post-launch, inalterable flight.
Who dares claim the feathers
of such a fucked-up bird for

violence?

 

Rhetorical questions claim
power from the empty, ellipses
lit like street lamps, spacing
regular pools through dark.
Anyways you forgot
your walking boots. Leave
like the cut that gliding scissors
pass. You came into this life
like chains deliver the flightless.
Like silence delivers a stillborn grace.

 

Touchpoints

The wanting child breaks a bowl
before he loses his first tooth. Research says

 

we regress before moving forward

 

the way white tides marshal themselves

before they break. A circle

 

opens into a spiral and the trauma

 

opens into an echo. But I don’t wanna

echo. But despite the begging

 

watch the hitting segue into bars

 

and showers full of right heat. The way

washing becomes a sloughing

 

or a person becomes a lesson.

 

 

Share

The Other Side of Now

 

 

“It is easier to imagine the end of the world than – this” The opening line of the poem touches on words by Fredric Jameson that it is easier to imagine the end of the world than the end of capitalism.

 

The 16mm film evokes the everyday-ness of life in the abandoned public spaces of the present-day city, colonised by nature and wakening to new possibilities after the long period of pandemic. Erased by the ebb and flow of urban regeneration, these repurposed sites are resonant with the city’s histories, rewilded by visions from past and possible futures.

Poem spoken by Ruth Mitchell.

 

A Creative Associates project for the Sustainable Earth Institute, University of Plymouth.

Share

The Murder Hornet

can fly sixty miles in a day

& decapitate its prey

quicker than licking

honey off a thumb.

Size has its advantages.
& its costs. My mom
told me early I’d pay

for the size of my heart.

You feel too much, she said.
You want too much.

In the Love Addicts Anonymous

meeting, a white man in a gold ascot

said, I need to be devoured by love.

Devastated, I added, swallowed whole.

Murder hornets are efficient killers,

but is any torture more elegant

than chasing what you’ll never catch?

There was one time in my life

my heart felt right-sized,

quiet, & I was so at peace

I was invisible. The robin

thought I was a chair or tree

the easy way she cleaned

her feathers near my feet.

More often my feelings swarm,

a storm surge, how water alone

can warp metal, level a village.

When I keep feelings at bay

I appear okay, recalling

how Gulliver’s giant size

made him too dangerous

to keep.

Share

Tomorrowland & Man’s Dominion

Tomorrowland

I think it is equal in importance to that moment in evolution when aquatic life came crawling up on land.

—Wernher von Braun on humanity entering space, Los Angeles, 1955–1957

 

Some days after work, I’d rent a speedboat

from Long Beach and hop it out to Catalina

for an evening dive. What a thrill every

time, the chill of sliding through blue skin,

descending down the long teal folds of fulgid

kelp. A bright humming brain of gold baubles

lifting braids to the sky like a praising willow

swaying in the sugared light. I was almost lost,

weightless and wondering through the ocean

with no one following me but the moon as it

rose to look upon its navel. Omphaloskepsis: to

consider the divine inside the belly. When Jonah

was ankle-sunk in stomach acid, he was learning

the volcano’s wrath that gave birth to land. I could

spend hours floating in the whale constellation,

that dark, starry sea of seas. The umbilicus of space

that ties us to the womb of ocean. I wanted a rocket

to break through the egg with its tooth, dislocating

heaven and earth’s denotations. When we first

fumble around in the moon’s cratered belly, what will

we call our new lexis? How will we learn to be in

the universe but not of it once we leave behind our

world? The mystical isn’t in the ecstasy of floating

through space, our fragile bones eroding, but in

bearing the burden of our attachment toward a

center. Peter met Christ on the water because

he wanted to be like him. I designed Lunetta to churn

out gravity for the future to meet the cosmic Christ.

 

 

Man’s Dominion

And don’t tell me that man doesn’t belong out there  [space]. Man belongs wherever he wants to go—and

he’ll  do plenty well when he gets there.

―Wernher von Braun, 1958

 

Standing at the edge of the Yucatan

jungle, I felt an urge to just run

blindly into it. The adrenaline was like a

timpani drum roll, paving the entrance

for the brass. I hired a guide, and as we

pushed through curling palms, ferns, and

snagging vines, I swear I could smell the jaguar’s

urine on the trees it had sprayed, hear

echoes of the animals that had fled before it.

I could hear a mosquito filled with a pyramid

of blood. When we saw the jaguar,

I became quiet as space, holding every

sound against the butt of my rifle.

Like when I held the liturgy candle,

planning each step so I wouldn’t spill the wax,

trying to pretend no one was watching.

His fur was glistening jet oil, his gaping mouth

a range of snowcapped teeth. The God who

framed his symmetry pitch-dark dared to

lock my limbs into their grooves

as well. He meandered through the lushness as a black

hole against a canopy of stars, his gold eyes

moving like jumpy flying saucers

in a child’s sloppy flipbook. I aligned

the crosshairs half a meter ahead of him

and pulled the trigger like a prophet

releasing a message before the people were ready.

My throat felt as if I had swallowed too

much water. I strode through the mist

toward my trophy, the graceful carcass already

hazy with flies. I had my guide put it in the jeep

and drive me into town to have it skinned.

 

Share

To the Elk

They were hanging it against the barn wall. The head limp to the side. With a snowmobile they had dragged the dead elk from wherever in the mountains the pile lay where it had been gutted. For this bloody spectacle.

 

“That’s a big fucking animal.”

 

The porch of the main cabin: Wyatt was there with her, and so was this man Dale from Seattle plus the three highballs in his veins. That’s a big fucking thing, Dale kept saying. This was at the ranch that was in Wyatt’s family. The Smith River was nearby. It was Thanksgiving night.

 

“They got one last year too,” said Wyatt.

 

“It’s bigger than a buffalo.”

 

Savannah was thinking of her father and brother and this same performance. They would return home to the triplex by the refinery, north-side Great Falls, with a carcass in the truck bed and blood dripping from the tailgate. And she was saying to herself, for this….

 

Up the porch steps came the hunters. They had been out all day and were covered in mud, and Savannah thought they smelled. Wyatt congratulated them and asked about the hunt. An uncle said they’d been lucky to shoot it from fifty yards. It ran a hundred and died, and a young cousin took the killing shot.

 

Wyatt’s uncles and cousins started applauding. They shook hands all around. Even in daytime she didn’t remember their names, and it was not daytime. The dark was long past gathering; it had mustered.

 

“Last year they got a bigger one,” Wyatt said.

 

By now the hunters had gone off to their different cabins to clean up.

 

“Bigger?” said Dale. “Bigger than that?”

 

“It’s missing half its rack.”

 

Savannah looked at the head again and saw only one antler.

 

“Do they spar?” asked Dale.

 

“I think they grind them against the trees,” said Wyatt.

 

“Not as impressive.”

 

“True.”

 

Speaking to her now, Dale said, “Let me ask. As a Western woman, does this arouse you? These men returning from the hunt?”

 

“I hope not,” said Wyatt. “I’m related to them.”

 

“I don’t mean the men. I mean the blood. I mean the sight of this big, beautiful dead thing.”

 

Savannah said, “I’m used to it.”

 

In fact by now—being from this region and educated in a different one (the opportunity belonging to so few from that refinery neighborhood)—she had a rule for herself: no dead animals or fresh-caught fish, not in real life and not in any photographs in any public medium, app or profile, or anything else. None of that spectacle would be permitted with regard to whatever partner or friend she kept. Wyatt’s pictures were full of other things: the neoclassical façade of the apartment building where he used to live in Missoula, an Old Fashioned in a bar in Chicago where his roommate from college played jazz guitar, a portrait in graduation robes and the sandstone arcade columns flanking him, that one now six years old and his hair (shorter back then) tousled from doffing the cap, the PBK cord helpfully around his neck in the foreground….

 

“Does it arouse you, Dale?” Wyatt asked.

 

“No, I’m so boring. No kinks for me. For me it’s all dollars and cents.”

 

“You’ve seen more blood than any of us.”

 

Seattle Dale was a political communications consultant. Fundraising was his higher function.

 

“Violence to me is writing a strongly worded email. But—I mean—you look at this, and you know these men can provide. I mean, this is vacation—it’s fun—for us. But—I mean—it’s something, something more.”

 

His tumbler was down to the ice melt.

 

“It doesn’t arouse me,” Savannah said.

 

A cone of light and warmth and festivity spiraled out like a dust devil when the door opened. A terrier called Sonny with long distinguished whiskers came out and trotted down the steps and went to piss on the snowy lawn. Inside, Wyatt’s aunts and mother, and his father also, were preparing the table. His father specialized in sweet potatoes.

When the little dog came back Dale went in for another drink and called the dog in using baby sounds. At last they were alone.

 

She watched Wyatt’s face. There was nothing there but anticipation for dinner and for his wine. She had looked at him before and had seen whole worlds where they would go together and more from which he’d come. A lick of dark hair came down out of the front of his cap. He put himself together well and tried to dress of his time, but it did not subsume him. Not too clean with the effort, his good shirt just a little too big. He liked big clothes. To have something fit perfectly—was that another of the things that would make him feel ashamed of his upbringing?

 

The glass against Wyatt’s lips now. Rare content passed through his eyes as he swallowed, the fire weeping in them. He made his deep voice go high and feminine. “Does it arouse you?”

 

“Ask me again,” Savannah said.

 

“As a Western woman?”

 

She moved to hit him, and his arm was around her.

 

“It’s cold.”

 

“I’ll get a fire going in our cabin.”

 

“That sounds nice.”

 

“Thank you for doing this,” he said. “I know it’s unbearable.”

 

“It’s not. It’s really not. I love them.”

 

There were many people she didn’t know. But at length you would know them. It was not being away from home, that wasn’t the difficult thing. Anyway you only had to get through dinner and then go to the little cabin and go to sleep. The drive had been beautiful, and they hadn’t argued.

 

She stood on toes to kiss the bottom of his neck.

 

“Do you really?” he asked.

 

Tears were in that question. Tears were good. And her rule was a good rule, a necessary rule to have for men. Education in history and politics had made her question whether it was for the better passage of life not to have relationships with men. That was a resounding theory up until graduation. Anyway, at minimum you had to have a rule you stuck with.

 

He went to wash his hands before dinner. When he was gone she admired for a while the dark mountain on the horizon above the ranch gate. The cold clean air touching her eyes, inflaming the veins. She didn’t look at the dead elk on the side of the barn. Then she went in for dinner.

 

 

The table was so crowded with people that her shoulders never relaxed. Her shirt went too low, she thought.

 

The food was very good. The green beans were perfectly seasoned. There were two turkeys; one was local and lean and the other was a butterball. They filled their glasses with red wine out of towering decanters. She was at the end of the table beside Wyatt. His father was at the head. She was across from his mother. It was a good meal. Everyone talked to each other.

 

“How come you didn’t want to hike,” the mother was saying.

 

“I thought I’d stay around and get something done,” said the father.

 

“Get what done?”

 

“Work. Caught up on emails.”

 

She watched Wyatt. He was drinking fast. She touched his knee under the table. His leg was vibrating under her hand. You could duck under these little breakers of talk like a child playing in the surf, but Wyatt was not possessed of that lightness. Later they would have to talk at length about it—whatever thing was said at the table that stood out to him as particularly abhorrent.

 

Things got formally quiet as everyone took turns saying gratefuls. The woodstove atmosphere and the gray iron of the gun barrels on the walls and the smell of the old rugs and leather furniture gave the quiet an oppressive quality like overwhelming heat, inescapable intimacy, absorbing silence into it.

 

From the other head of the table, “To the elk.”

 

“To the elk.”

 

“Beautiful. Just beautiful.”

 

“It’s special.”

 

“There are times you’re facing an animal and you’re not ready to take a life. It’s not an easy thing. To the elk. And to Harrison. He took the shot.”

 

She drank a little faster after the toast. When her turn finally came, she said, “Thank you for welcoming me. It’s a wonderful place.”

 

“To the ranch.”

 

“The ranch.”

 

They drank. All agreed—the ranch and the dead elk held all that was beautiful and dear. She didn’t look at any particular face; from having run meetings she understood how to look between people when addressing a table. She went on, “It’s been a good year. Better than I expected.”

 

Wyatt mugged for the crowd, and everyone laughed.

 

“Really, thank you for having me.”

 

Later they stood around the long kitchen island and ate the pie she had baked. She explained again to one of the aunts the decision they’d made to move in and what went into it. The uncle who had toasted the elk asked what she was doing for work and followed her answer with, “Do you work together?”

 

“No,” said Wyatt. “She works for a Dean. I work in Admissions. The worst office to be in right now.”

 

“It’s a good place to work,” she said. “I can do four tens in the summer when I want. The benefits are good. Campus jobs are nice.”

 

“When you add your union dues to the premiums you’re losing half a paycheck,” said Wyatt.

 

“But you can’t have one without the other,” she said.

 

“It’s beautiful how that works.”

 

“Can you run this up the flagpole?” the uncle went on. He had not listened. “Why the cuts to English? You can’t cut English. What’s the point of having a public college if you’re going to get rid of English?”

 

“English isn’t going anywhere,” she promised, wearily. Because she thought there was more than just the appreciation of literature in his concern for the survival of English.

 

“Well, run it up the pole if you can. It’s terrible what’s happening over there with the cuts. And Will Tunt retiring is a big loss.”

 

“It’ll get better,” she said.

 

“Enrollment always goes up when there’s a recession,” said Wyatt. “Folks would rather be in grad school.”

 

The uncle had taken several big bites of her pie. He told her how delicious it was and asked if she had made it herself, yes. After a long while the grown-ups were too drunk to stay awake and the teenage boy cousins had grown too weary for the world outside their heads and the girl cousins were sleeping in the corners cuddling with the dogs and it was over, she had survived it, and Wyatt was not saying anything else about the college where they worked and how it was a poor school serving poor students who were going to stay poor, and they were on their way out.

 

“Take Sonny with you,” said his father. Handed the terrier’s leash to his son. “Don’t worry, he’ll be good.”

 

Together they walked the little dog from the big cabin to the small cabin where they were staying.

 

While Sonny sniffed around at the base of the cabin steps, they sat on the porch, on top of a bench covered with a buffalo hide, and they looked across the lawn at the barn where the dead elk was hanging. Savannah wondered if it was going to start smelling.

 

“I wish I’d been out there to see,” said Wyatt.

 

“I don’t.”

 

“I mean to see it when it was alive.”

 

“I’m glad you weren’t there to see it get killed.”

 

They were holding each other. The wind moved over their faces, and they squeezed closer.

 

“Not that I want to hunt,” Wyatt was saying. “But you sort of wish that you knew what it was like.”

 

“I don’t. I don’t want you to be like,” she raised her voice and imitated Seattle Dale, “Harrison.”

 

“Me neither. I just wish I knew.”

 

“It was fun walking to the cliff,” she said.

 

The hike they’d done in the afternoon took them across the western expanse of the family’s great tract, past a tipi erected for ambience, to the edge of the river gorge. Fathoms down, you could see the frozen banks. In summertime you could swing from a hammock between two ponderosas with a cocktail in hand, maybe a book in your lap. This was how she imagined him.

 

Then she thought that the dead elk had moved, swung a little.

 

“It’s—” he started. “My dad didn’t know how to field dress an animal. His dad never taught him how to hunt. I’m not any better because I don’t do it.”

 

“It’s not about being better.”

 

“One feels somehow emasculated,” he said.

 

“Because you don’t know how to hunt?”

 

“Not exactly. I don’t think you’d get it. You remember Chuck asking what I do?”

 

“He didn’t ask you. He asked me.”

 

“But then he asked if we work together.”

 

“So.”

 

“I always have to prove my worth. That’s what I mean: I don’t think hunting is impressive. But doing something impressive is impressive. Knowing how to do things.”

 

“I don’t think that’s what Chuck meant.”

 

“I know my family.”

 

She didn’t want to argue. She said something about how it would be cold and unpleasant to have to go pee in the middle of the night, since the nearest outhouse was across the lawn, behind the barn with the dead elk. After that they went inside and got changed for bed; or, she did, and he started trying to make the fire.

 

The plush duvet cover was cold on her bare legs. The hairs stood up, and while she waited for the fire to start she was self-conscious of having prickly legs. Sonny was on the ground, sitting obediently and anxiously, watching her in bed. Wyatt was kneeling and using a hatchet to make kindling. Erratic banging shook the door when he wedged the blade into a crack and slammed a log against the stone base of the fireplace to split off flakes of pine. He built a pyre in the iron woodstove with newspaper and tinder and tried to get the flames started and took a long time to do it and tried opening and closing the flue and could not get it right.

 

“It’s so cold,” she said.

 

“Almost got it. I smothered it last time.”

 

“Maybe you could just get in with me.”

 

“No, I have to do this.”

 

She could fall asleep even when she was freezing, especially after enduring something. Enduring did make you tired, but it was alright to be tired because you could sleep easily. Her father had said to her once, do you sleep easy because you’re a princess?

 

She was almost in a dream and Wyatt was still working on the fire, and she felt Sonny climb up onto the bed and lay down on top of her feet, and her legs got warmer, and then she was all the way in the dream and almost asleep but still heard the newspaper flare up quickly and burn out each time he tried and tried, Wyatt still in the waking world.

 

 

Much later in the night she woke up because she had to pee. It was hot in the cabin. The fire was going, she did not know for how long, and the twin bed beside the queen was unmade but empty.

 

She pulled sweatpants on and went to the door and had to push it very hard till it flew open and slammed against the wall. No other noise out there. She saw the moonlight, bright on the snowy lawn, and the big cabin like an embalmed giant. She saw the elk, its fur matted and dark, and the tongue spilling out of its cracked mouth. Its open eye was black.

 

And Wyatt was sitting on the bench next to the cabin door. He was all in his winter gear, which he had formerly peeled off when he labored to make the fire, and his elbows were on his knees and his cheeks were in his hands, and he was undoubtedly facing to look at the elk.

 

“It’s cold,” she said.

 

“It’s not too bad.”

 

“Do you want to talk?”

 

“About what?”

 

He wasn’t wearing shoes. His bare feet were on the ground, his toes a few inches from the pastry-thin ice. He had taken off his thick wool socks and left them between his feet, inside out.

 

“What are you doing? Come to bed.”

 

“I can’t,” he said.

 

“Come on. Don’t do this.”

 

“I’ll be in later. I’m sorry.”

 

Savannah recalled that she had to pee. Without answering the apology she went down the cabin steps. The sudden reminder, the pressure in her stomach returning to the front of her conscience, was as heat coming back into a room after a door is shut against winter.

 

She walked out over the snow. The dead elk grew larger and larger in sight the closer she came to the barn. The texture of its fur was nauseating, more than the smell of the outhouse.

 

Sitting down, she hated herself for the lapse. It wasn’t useful to be bitter about anything, but it had gotten to you anyway. The transference: you’d caught it just as it was done.

 

When she returned he had already gone back in. The socks remained. She picked them up and shook a little ice from them. In the cabin he was lying flat on the twin mattress, with hands folded on his chest. She got on the queen and pushed all the bad air from her lungs.

 

“Come on up.”

 

“Just calming down.”

 

It was the same thing. Civilized men would kill something, civilized men would watch. In his pictures the elk was there. Strung up between the arcade columns, its outline and ghost.

 

“Get in with me.”

 

After a minute he said, “Alright.”

 

There was love too, that was true. He was the product of a rule, an algorithm that had narrowed so many variables to her preference. They resisted the same things. Like the logs and pine flakes and newspaper it would keep the fire going, but also they would be consumed and used up. There was no rule concerning what to feel.

 

Share

Interview: John Sibley Williams

John Sibley Williams is the author of As One Fire Consumes Another (Orison Poetry Prize, 2019), Skin Memory (Backwaters Prize, University of Nebraska Press, 2019), Disinheritance, and Controlled Hallucinations. A nineteen-time Pushcart nominee, John is the winner of numerous awards, including the Wabash Prize for Poetry, Philip Booth Award, American Literary Review Poetry Contest, Phyllis Smart-Young Prize, Nancy D. Hargrove Editors’ Prize, Confrontation Poetry Prize, and Laux/Millar Prize. He serves as editor of The Inflectionist Review and works as a literary agent. Previous publishing credits include: The Yale Review, Midwest Quarterly, Southern Review, Sycamore Review, Prairie Schooner, The Massachusetts Review, Poet Lore, Saranac Review, Atlanta Review, TriQuarterly, Columbia Poetry Review, Mid-American Review, Poetry Northwest, Third Coast, and various anthologies.

 

Daniel Lassell corresponded with Williams last year, near the release of Skin Memory.

 

Daniel Lassell for The Florida Review:

Your newest book, Skin Memory, has a lot of subjects and themes that emerge throughout the reader’s journey. I found many poems touching upon topics of family, parenting, loss, home, violence, privilege, and societal and ecological concerns—all of which seem to buoy, contrast, and converse with each other. Which was the subject/theme that compelled your poetry most when writing, versus which emerged most clearly when editing the collection for publication?

 

John Sibley Williams:

What an interesting question. It’s certainly true that during the editing process, while sifting through a hundred or more poems in search of common themes and structures, unexpected threads emerge that weave seemingly disparate explorations together into a single tapestry. Of course, each poem tends to incorporate more than one theme, using the overt to subtly imply a more foundational concern. For example, when discussing parenting, societal gender expectations or our destruction of natural landscapes may be seething beneath all that talk of cradles and lullabies. When I mention the freedom of youthful play, say swinging from a tire trying to toe the clouds, that same tree will likely be shown in an ugly historical context. No poem can be boiled down to a singular theme. So, in this regard, editing isn’t so much trying to force pieces together as it is recognizing the varied themes in each poem and seeing which, both overt and implied, belong together. A collection should read like a river, not a puzzle. In a way, it’s an act of witness. And, at least for me, this isn’t dissimilar to my writing process. I never set out to write a particular kind of poem or to explore a specific theme. They emerge naturally, as if the connections were already there waiting for me to see them. All we can do is write about what haunts us and to do so as authentically and with as much vulnerability as possible. Every theme you mention was equally important, was equally a driving force, behind both my writing and editing.

 

TFR:

“A collection should read like a river, not a puzzle”—I love that. And Skin Memory certainly does read like a river too, easing readers between poems as if on a raft, encountering rapids and wet clothing along the way. Poetry acting as witness is a beautiful thought as well. It makes me think more specifically of your poem, “Death Is a Work in Progress”—a heart-wrenching portrayal of a mother, the decline of the human body. It harkens back to your earlier collection, Disinheritance, which explores this subject of mortality in great detail. Can you speak a little more to this relationship between parent and child, life and death, in your poems? It seems to be a theme in your work that you return to often.

 

JSW:

I’m thrilled that you recognized these overarching themes across multiple books. In the end, we write about what haunts us, what keeps us up at night, what stalks our mind’s periphery, just out of sight, emerging from the darkness to remind us how fragile we really are. A bit like wolves, perhaps. And what better way to explore fragility than through discussions of the body and our intimate relationships? I’m terrified of no longer existing. Like everyone else, I’ve lost and know that the more I love, the more I have to lose. There’s this double-edged sword, this balancing act, between wanting to open my heart to the world and fearing such an act’s consequences. And I fear my own body, how it will naturally react to age and disease. But it’s exactly this impermanence that makes each breath, each embrace, each poem meaningful. So, I suppose, most of my poems to varying degrees try to walk that tightrope. Skin Memory includes poems about my children, specifically the traits I may be passing down to them, that were passed down to me. It speaks of my father, whose father was a rough man, and how all that tumbles down to my own young son. And, with “Death is a World in Progress” and many of the poems in Disinheritance, I witness the steady mental and physical deterioration of my mother. These are simply different lenses through which I consider the same central question. I just can’t tell if I’m not loving enough, or loving too much, and what the full consequences to either are.

 

TFR:

Indeed, Skin Memory does resonate in all of these areas. As a father myself, I am increasingly drawn to poems that hold the subject of parenthood in conversation. Having spent time with your earlier books and reading up to your most recent collection, it seems that since becoming a parent, you might have undergone a personal shift. Of course, any artist should evolve in their art; but I also recognize a palpable difference between Disinheritance and As One Fire Consumes Another, which published in Spring 2019. Not to digress too much, but was Disinheritance written before or after you became a parent? As One Fire Consumes Another seems to drive more of a political message than your earlier work does (at least more overtly). No doubt it has much to do with our political moment, but Skin Memory also seems to act as a continuation in this focus. How would you characterize your poetic growth over time?

 

JSW:

I agree with you that, as writers, we should try to push ourselves into new, often uncomfortable themes. Growth is probably inherent to writing for a long period of time, but I still worry about stagnation, by which I mean writing about the same themes in the same tone using the same structures. It’s easy to fall into the trap of writing what about what we’re already comfortable with. As One Fire Consumes Another was an attempt to break out of my comfort zone by focusing, to a degree, on our current cultural and political climate. But, more importantly, I meant to explore my own place in that culture, which includes culpability, guilt, privilege, and family history. Skin Memory continues on those themes, though less directly, incorporating my my children and mother, with a greater degree of intimacy.  I feel Skin Memory exists somewhere between Fire and Disinheritance. Structurally also, as my earlier work was predominantly free verse, Fire… was newspaper column-like prose poems, and Skin Memory incorporates both, with the addition of more standard prose poem structures. So, in terms of growth, I feel experimentation is key. Sure, plenty of poems end up on the cutting room floor. Not all structures I’ve played with ended up feeling authentic to my voice. But we have to keep pushing, testing, and rethinking our preconceptions about our own work.

 

As it pertains to parenting, I’m not really sure how my work has changed. I write less, sleep less, can concentrate less. Raising twin toddlers is even more exhausting than I could have imagined. But within the stress and anxiety, I have expanded my definition of love to such a degree that I can no longer say I’d experienced it before my kids. My heart is more troubled but fuller.

 

TFR:

I think “more troubled but fuller” is a profound way of describing the interconnectedness of parenthood and love. And I hadn’t considered Skin Memory as a balance between Fire and Disinheritance until just now, but it sort of is. It’s the wave that settles after the body enters a bathtub. If we can, I’d like to explore your thoughts on the prose poem, since you mentioned form. My first poetry teacher was David Shumate, known for his prose poems, so my introduction to poetry is inextricably tied to this form—I’ve come to feel at home in it. But for others, the prose poem might represent or conjure apprehension, confusion, distain, etc. In Skin Memory, there are several poetic forms other than the prose poem, but I’m interested in why—when selecting the right vehicle to meaning—the prose poem felt like the best fit.

 

JSW:

Well, apart from the poems in Fire and Disinheritance, which were a set structure, I don’t begin a poem knowing in advance what it will look like on the page. I often experiment with various arrangements before, for whatever intuitive reason, something clicks and the poem screams, “This is my form; this has always been my form!” So, the simplest answer to your question about knowing when a prose poem is the best vehicle for a particular piece is, well, intuition. But, to be more precise, a lot of it, for me, has to do with three things: flow, the tension created by line breaks, and the sound of the poem when real aloud. Poems that are more fragmented or dense with metaphorical imagery may require more white space to allow a reader to digest each line, place it in its larger context, then move on to the next line. Other poems, especially narrative ones rich with connected imagery that doesn’t take as many huge leaps in logic, may thrive more with longer lines. But even this simple answer isn’t really accurate. Sometimes abstractions can be squeezed together, running one into the next with no room to breathe, to create the desired flow. Sometimes a straightforward narrative can be shattered and reassembled into something visually unrecognizable. Perhaps the easiest way to describe it is that: flow. How do I want the poem to read? Should it drive, propel? Should it strike with short staccato knives? Should it slowly, steadily paint a massive portrait out of smaller components? All this leads me back to intuition. Our ears know how a poem should be read. Our eyes know what the poem wants to look like. Listening closely and equally to both seems to strike the right balance, at least for me.

 

TFR:

You certainly do seem to have an intuition for what works on the page. This attention to flow, or cadence, seems to drive a lot of the poems of Skin Memory. Is there ever a disagreement between these two realms of the page and the tongue? In developing your intuition, does this mean finding a comfortable balance between your voice and poetic style? How does one develop their intuition?

 

JSW:

I think creative intuition simply comes from writing and studying others’ writing for so long that that various elements (and organs) learn to listen to each other. Over the years and decades, you learn to step away from yourself and trust the page. The poem begins to speak to you before it’s even written. Of course, all of this is an internal process, but it begins to feel as if your poetic decisions are born of an outside force. I wonder if that’s what some people call “the muse.” But it’s really just muscle memory. It’s having failed and failed and occasionally succeeded for long enough to unconsciously recognize when a poem is working and when it’s not. It’s the ear and eye thriving in a symbiotic relationship. Less and less of our creative decisions become conscious ones. We just know. And, sure, given the subjectivity of any artistic work, we still fail plenty. But I have found most of my newer poems that don’t quite work fail because I inserted myself into them; I didn’t shut up and listen to what the poem wanted to say.

 

Perhaps because of this “trained intuition,” I rarely find discord between the appearance and sound of poem. They both come pretty naturally, without me having to force it much. Admittedly, in trying to push myself, I do experiment with structures I end up abandoning because they don’t look or flow right, but I usually recognize this incongruity early on and find a more fitting structure before poem’s end. For sound, part of my composition process involves reading aloud every line over and over to ensure the lines that follow match the auditory tone and rhythm. Our ears know what sounds awkward.

 

TFR:

That makes sense. Somewhat relatedly, what are your thoughts on the accessibility of poetry?

 

JSW:

That’s a great question, and one on which opinions vary greatly. I suppose the subjectivity of “accessible” can be cause for this divide. For example, many have argued that down-to-earth poetry that paint personal narratives with clear, everyday language is the cornerstone of “accessible” work. By that definition, I suppose I prefer more challenging literature. That’s not to cast judgment, as such work is indeed valuable and is many people’s introduction to poetry. It’s all a matter of personal resonance. But I feel this common description limits the definition of the word. There’s also emotional accessibility. Even if a poem is fairly abstract, surreal, or bursting with what Robert Bly called “leaps” in logic, that emotional core that unites the disparate elements can be accessible. That heartache, grief, turmoil, doubt, celebration. That bit of light that filters through and puts into perspective darkest night. Even without a followable narrative or commonplace language. To me, that is the kind of accessibility I enjoy reading and tend to write toward. It’s that honest, vulnerable, universal core question, around which the other poetic elements whirl, that makes all poetry, regardless of its structures and rhythms and themes, inherently accessible.

 

TFR:

I like that way of looking at it, and indeed there are several opinions out there. For me, I tend to go back and forth. I agree that challenging literature can be fun, and doesn’t have to be the first form of poetry someone encounters. On the other hand, word choice is one of the things that separates poetry from other written art forms, and therefore, word choice is what makes and closes off meaning. In this vein, when a poet intentionally closes off meaning, it becomes a question of whom is getting closed off from that meaning and why. In this realm, I guess a discussion of accessibility can’t go without acknowledging privilege too, as we are both white males. In this modern age, how should a white, male writer compose poetry? It seems like there’s a duty to explore and dismantle our own privilege in art—and in living in this world more generally. The poems of Skin Memory do their part to confront difficult realities, privilege being one of them. For example, “On Being Told: White Is a Color Without Hue,” “We Can Make a Home of It Still,” “On Being Told: You Must Learn to Love the Violence,” and “Inviting Fire in Northern Michigan in December” all seem to interrogate privilege in some form. Even the book’s title encourages an exploration of racial and societal disparities. How and when does it make sense for a poet to rail against their own privilege in writing?

 

JSW:

This could not be a more crucial question. Privilege comes in so many forms, most invisible until you shine a light on them and see their hazy edges. Gender, sexuality, race, religion, socio-economic status, family status, and even these have gradations. They all combine to give us a cultural advantage or disadvantage, and exploring my own advantages and how they contrast against those born or raised without them is a central theme of my work. Even when it’s not overtly discussed, as it is in the poems you referenced, that recognition of privilege and what it means as an individual and a member of a larger community hums beneath all my poems. In the end, it all comes down to a mixture of self-awareness and empathy. It’s a balancing act between witness and action. All of us whose privilege allows us the space to write freely, who aren’t judged by superficial qualities, who needn’t fear police or politicians or bosses who could withhold that one paycheck that makes our children go hungry, we need to investigate how we got where we are and what we can do to expose such inequities. The question is how. How does one explore privilege from the inside out? Often met by controversy, some privileged poets have chosen to adopt another’s voice, to attempt the persona poem. I feel confident that these attempts are well-intentioned. However, I don’t feel that’s my place. If I have not suffered as so many others have, who am I to speak in their voice? Instead, I write about privilege in two ways, by discussing my own safe white lineage and by writing about others (instead of writing from another’s point of view). And when writing about others, I don’t hide the fact that my perspective is inherently tinged by privilege. That’s what I mean by combining self-awareness and empathy. So, in short, I passionately agree with you about the necessity for poets to consider their own privileged status in their work. However, all this said, I don’t believe in shoulds. Who am I to demand every poet write about these themes? If a privileged poet writes exlusively about gardens and alders or the grief of a loved one’s passing, that is their choice. We write what we need to write. And not all of us need to write about our privilege. But I do. It’s one of the ghosts that haunts me. The only way I’ve found to deal with it is by looking it square in the eye and admitting my role in its creation.

 

TFR:

Thank you for your thoughts in this area. “A balancing between self-awareness and empathy” describes well, I think, what poets of privilege can do in their work. And I know the topic of privilege can be a difficult one to broach, since it’s one that touches every aspect of people’s lives (and indeed, we as white males do bear a shitload of culpability for the wrongs of this world). For this reason, I do think it’s a conversation worth having. As more underrepresented voices continue to enter the literary firmament, how best could writers of privilege welcome them? What new voices have you read recently that you’re super excited about?

 

JSW:

The literary establishment has been making great strides but still has much more to do before underrepresented voices become as mainstream as those voices that have dominated our landscape. I don’t work within that establishment so cannot speak to the steps they are taking. I have read articles critical of how major journals and organizations still approach underrepresented poets, and I continue to hear such stories from peers who have attended national poetry conferences and felt tokenized. Luckily, it seems many presses and organizations are opening their doors wider than ever before in terms of offering awards, open reading periods, specific book series and issues, and other avenues open exclusively to underrepresented poets. In terms of what you and I can do, I have spent the past few years reading almost exclusively books by contemporary poets who do not fit the traditional white, male, CIS, able-bodied model. And these are the authors I teach in workshops and classes in hopes of opening students’ eyes and hearts to new perspectives on culture, identity, and politics.

 

I don’t even know where to begin a list of my favorites, but here are a few I feel everyone should become intimately familiar with: Ada Limon, Tracy K. Smith, Jericho Brown, Fatimah Asghar, Tarfia Faizullah, Jenny Xie, Ocean Vuong, Craig Santos Perez, Safia Elhillo, Joan Kane, Abby Chabitnoy, and Marcelo Hernandez Castillo, whose book Cenzontle (BOA Editions, 2018) is one of my all-time favorite collections.

 

TFR:

I agree that expanding one’s knowledge of the world through reading is a great place for anyone to start—and for those in teaching roles, assigning a wide array of literature that both includes diverse populations and challenges traditional norms is an equally important approach. And what an amazing list of poets you’ve shared, too. We truly are living in a golden age of poetry right now, Skin Memory included. Before we close, are there a few lines from Skin Memory that you’d like to share for readers new to your work?

 

JSW:

Well, in keeping with the themes of our conversation, I’d like to choose two selections that deal with privilege, history, and my responses to them.

 

The first is from the collection’s titular poem, “Skin Memory,” in which I address the incredible Inupiaq poet Joan Kane and wonder about the effects of my race’s privilege as compared to how her culture has been treated.

 

Because you are what song breaks open your throat and because

the same century burns a different mark into me. For now I can just

listen. To how choreographed our forgetting. To the dark little

narratives of this is mine / yours, in that order. Can you sing this

country its name?

 

The second is from “There is Still,” in which I investigate Mark Strand’s celebrated closing lines from “Keeping Things Whole”:

 

We all have reasons

for moving.

I move

to keep things whole.

 

In response, my poem explores time and privilege in recognizing how, while swaying in a tire swing, the speaker realizes that same tree may have been used for different kinds of…rope. And it changes the way he approaches the tree…and himself. The final lines of “There is Still” read:

 

We / all have reasons, Mark. I hope I am / swinging to remember.

 

Share