Category: Uncategorized

  • Four Poems – Elaine Equi

    “T” AS IN TAUT

        for Tom Clark

    To hold the line steady

    through countless
    poem-years.

    Not a slacker,
    he taught us that –

    as one who truly 
    stands by his word

    when words
    seldom mean what
    they’re meant to.

     

    JITTERMAGNET

    Chaos amulet.

    Nervous soda —

    sipped like static
    through a straw.

     

    BLANK BAG

    I dream of losing
    my purse again.

    Have gone out
    without my personhood.

    Am just a penniless
    ghost again,

    unable to buy
    a return-ticket.

    The sales counter
    is the border
    of this country.

     

    EVERY REVERIE

    Stuffs the ears
    with cotton candy –

    unheard of
    sweetness

    that liquifies
    the brain first,
    then the body.

    Life as an amoeba
    was good.

    After that, too many
    worries — lost
    in a complex forest.

  • Issue 08: Music & Transformation

    Writing about music is not, as the overused quote of undetermined origin goes, like “dancing about architecture.” It is, however, like writing about a different kind of language. This language exists parallel to, but just outside of, whatever other language(s) you speak, and can shape your identity just as much if you let it. In Issue 08 five writers explore different ways in which music and the things we build around it can inform and transform us.

     Table of Contents

    “Etude #31” (excerpt, A Reading from the Book of Kelst), by Tobias Carroll

    On Soft Rock, by Rob Roensch

    At the Gates of Hell: Montreal, April 3, 2009, by J.B. Staniforth

    A Slow Train Bound for Glory, by Scott D. Elingburg

    Hard Tyme: A Hair Metal Haiku Story, by Ian King

  • Four Poems – Lisa Simmons

    Four Poems – Lisa Simmons

    The Towers 
     
    I
     
    When had you seen stillness of that measure before?  
    The shadow of the leaves, so distinct,
    etched onto the wall by sun.  
    When had you seen skies so blue?
    You had drawn them with finger paint in class
    but not without a requisite cloud; cloud as clue
    to what you were looking at, as blue so uninterrupted
    might be confused with the sea.
     
    II
     
    I rode the elevators of a tower with my father once,
    counting the seconds it took to reach his office,
    swallowing hard all the way so my ears would not pop. 
    On the deck gazing at everything,
    water, sun, clouds, and sky, 
    our apartment’s windows, the park, my school –
    all laid out before us and small.
    My feet and stomach tingled.
    I pretended to be a leaf.
     
    III
     
    She was a cousin on my father’s side,
    one of countless cousins I had not met.
    On time for work at the Windows on the World for once,
    her father told us ruefully, she was trying to turn over a new leaf.
    My father ten years dead then, would have known her,
    her smile and face, and not just  
    from the pictures in an album,
    or from the paper, a flyer, TV.
     
    IV
     
    Dust hovers down these sidewalks, shifts in the corners,
    in the crevices, of which there are more now –
    dust, the consistency of sugar and flour, pollen, sand. 
    Downtown rescuers search your face, waiting for the smile,
    the only tender for their works. 
     
    V
     
    We sat by my father’s bed in the intensive care unit
    and held his hand. He could not speak.
    My cousin called her mother that morning,
    sobbing as there was thick black smoke.
    All of us then, the hand clutched at the deathbed,
    calling God’s name in unison, that oath, that prayer.
     
     
    Forgetting
     
    You’ll want some story – a small tale – ears ringing.
    But this is a forgotten room without a door.
    No. There is a door but it shuts on every sentence,
    opens on a new room.
    Will you recall? 
     
    The scrap of sky in the corner,
    an inch you liked best,
    you have fixed at the edge of your mind.
    You let it go (gloves left on a subway seat),
    and now it’s tough to judge when the puzzle is complete,
    how to view that picture.
     
    Orange peels, firecrackers, windmills, bamboo.
    Pine, smoke, brine, lace.
    Seed, flame, water, wind.
    Pages in books, frozen notes, wallets in cabs –
    half past, forlorn, alone.
     
    Whisper of a pot, pressure steaming
    or whistling from the side.  Just before.
     
    Leave the door open, the keys have walked.
    Barefoot on asphalt, sand, grass, and snow.
     
     
    Winter animals
     
    I am the fox, you are the hunter. I am the deer, you are the bear.
     
    Deer cross highways.
    No hunters yet.
    We wait for snow,
    summer barely gone.
    Mute animals stop then leave.
    When will hibernation be set?
     
    Their only shields–
    a beauty to stun,
    a stillness to startle,
    speed to help hide.
    Wild, yet meek. Raise mercy.
     
    I am the deer, you are the wolf. You are the fox, I am the hunter.
     
    How does the deer get lured?
    By appetite, like the bear?
    Reunions to come before hunger sated.
    We are the hunter, the bear, the deer, the wolf, the fox.
    Mournful patience and a lonesome departure.
    The hunter sometimes is hunted.
     
     
    Regrets only
     
    People gathered as tightly as lemons, limes, and oranges
    piled into supermarket pyramids.
    This party could have altered
    the currents of your life but you are absent.
    An orange trips to the floor, rolls over to the bar, orders Dewars neat.
     
    What is the word of the tall, tan man you did not meet who surveyed the edges
    of the gathering, plumbed the depths the hostess would go
    to ensure that talk of the guests
    stepped lightly, kindly, measuredly,
    over the heirloom rug that did not deaden the elephant’s heels?
     
    You missed your former rival,
    the long-forgotten quarrel,
    the widening of years in your faces.
    A potential rival pulled on an ear, fingered a nose, smoked a log,
    curls of white curlicuing a halo
    of spite and good nature alternately.
    .
    What did you do instead?
    Flipped the channel, ate an unsatisfying meal,
    sat in an emergency room with a friend who collided with a taxi.
     
    Accidents are invitations to unmapped roads.
    They vanish once you pass.
    You sent no regrets.
  • Issue 09: The Poetry Issue

    With work by Elaine Equi, Katie Degentesh, Youssef Rakha, K. Eltinaé, Paula Bernett, Leah Umansky, Ace Boggess, Lynne Sachs, Olena Jennings, and Alex Dimitrov.

    – Ben Shields


    Four Poems by Elaine Equi

    Three Poems by Katie Degentesh

    Three Poems by Youssef Rakha (translated by Robin Moger)

    Five Poems by K. Eltinaé

    Five Poems by Paula Bernett

    Two Poems by Leah Umansky

    Five Poems by Ace Boggess

    Five Poems by Lynne Sachs, from her collection Year By Year Poems (Tender Buttons Press)

    Five Poems by Olena Jennings

    “My Secret,” a poem by Alex Dimitrov

  • Four Prose Poems

    What If a Little Bone
     
    Say that god is out to lunch. What if a wasp settles on the fried chicken. What if god gets
    a little bone stuck in his throat and coughs up an alternate universe. We’re living in it,
    aren’t we? What if god forgets how he jury-rigged us in the first place. What if the spine
    is a ladder and the tongue a rope. Some days you climb the rungs, other days you make
    the noose. What if you could send a billion Forever stamps through the mail and get back
    an authenticated copy of god. You could set it on the shelf and it could watch you eating
    supper. Even so you’re quite alone. What if when you cry for your lost mother, the copy
    god mutters tick-tock. Where is the border between now and heaven and do you need
    identification to cross over and will your spit suffice. What if there’s a wall up there,
    higher than all the bone ladders on earth stacked end to end. What if the hole to hell is
    right here in the backyard, just as your kid’s friend said it was. What if children know
    everything that matters, until they forget. There is no salvation from that much ignorance.
    What if god says he’s sorry for laughing, but sweet jesus, how he needed a laugh. 
     
    Hunt
     
    Daily I hunt the silence that endures this city. It’s said to nest under sidewalks, ride the
    winter contrails. Many ordinary things are rumored to contain it: ball bearings, silverfish,
    the disowned shredder on the curb. But I can’t find a trace. This morning on Eighth Street
    I thought I felt it feathering the little wind, until the brick cleaner’s pressure washer
    growled and bucked its hose. Startled, I stepped on black ice and went ditch-sliding like
    that woman’s car in the weather app video. (To her rescuers she kept saying, tearfully, I
    was only trying to calm the baby. And when she stopped talking you could almost see
    it—silence opening its throat inside her heart.) Somehow I kept my footing. A passerby
    averted his eyes; who knows what he was hunting. Our skulls functioned perfectly as box
    blinds, obscuring whatever bided within. Then a mourning dove called Hey you, you, you,
    and my mind swung around like a telescope. I looked at myself through its wrong end. A
    fierce silence rose up inside me, scraping its beak on my spine. See? it said. It was silence
    that thought me up in the first place. And makes me still. 
     
    Casper
                                                    
    A milky moon was rising on the Fireman’s Fair when the shelter guy waved me into his
    booth—an old Mister Softee truck lined with wire cages. It was your typical story:
    somebody’s uncle had died, leaving a passel of cats. Take your time! the shelter guy said.
    But we were already in the time of breakdown. The workers were chasing off the snot-
    faces, reeling in the jiggy lights that festooned the fairgrounds. The shelter guy was a
    holdout. I could smell the sulfur of his righteousness. I passed over all the pretty ones and
    knelt before a black molly. She was flat-eared, dull as roadkill. The shelter guy said She’s
    a biter, that one, and I knew she was. But I felt my third eye roll up: Signs point to yes.
    I took her home and fed her the finest offal. For a year she never looked at me. If my
    hand hovered, she clicked her teeth. I named her Casper, after the Mayan king whose real
    name nobody knows.
     
    One day I said her ghost name and she remained visible. She yawned, and I saw that
    somewhere in the back-time she’d lost a fang. When she sank the other, it was for the
    miracle of blood. I understood that she wanted little from me, only fish heads and a
    change of dirt. Some nights as I lie in bed she comes to smother me. Her throat makes the
    sound of locusts. She licks my third eye until it sees a future. Hazy, with biting flies. How
    I love her mercy.

     

    Errata

    Rapture caused the sheet lightning behind p. 11.
    The women carrying rebar through the gutter spaces should be bull dykes.
    And is always singular.
    The narrator, I, has synesthesia, not amnesia. A lowercase i tastes like salt.
     
    P. 47: The letter e is not an earplug. (The letter Q can be so configured in a pinch.)
    The men hosing off the marginalia should be wearing pink camo.
    But is as naïve as a chicken.
    The narrator’s sequiturs will be ticketed for code violations.
     
    P.227: The flashback is marred by the static of yearning.
    The kids installing the commas should be orphans.
    Yet drags its chained foot.
    The narrator has been detained for lucid dreaming.
     
    Because twitches its trigger finger.
    The narrator regrets nothing.
     
  • Issue 10: Idols & Idolatry

    An Aztec emperor’s chambers and the dreary quarters of a worker made ancient by his windowless office: two poems and two universes by Marshall Mallicoat.

    At the outset of B.H. James’s “Dale,” we’re in a religious cult whose god is the original Karate Kid film. By the end, we’re in a memoir of marriage counseling, writing, and narrative structure.

    In Shani Eichler’s debut story, “The Ties That Bind Us,” a secular Jewish family goes through an identity crisis when their daughter announces her engagement to a non-Jewish young man.

    From his recent collections The Sailor and Turncoats of ParadiseJoobin Bekhrad’s six poems are written in a classical style steeped in Iranian mythology.

    Dana Schein’s four paintings span from the spontaneity of artistic creation to pressure and melancholic boredom. One image depicts a student excelling in a piano lesson; in another, a man looks on the verge of losing consciousness from lifting the same instrument.

    Frank strolls in a vanishing New York in Carl Watson’s novel excerpt, “A streetcorner in limbo.” Aware that nostalgia is just a scarecrow to ward off change, he can’t entirely resist it.

    In Mike Corrao’s imagined apartment complex, there’s no reason to stay: landlines are severing, fires igniting, potential meteors dropping—yet no one can bear to leave.

    Five poems by Josh Lipson locate his studies of Levantine language and culture as a passageway in which he may declare his allegiance to idle reverie.

    The speaker in two poems by Dante Fuoco, calloused by waiting and the wind, runs late and turns the ticking of time into song.

  • from After David (a novel)

    from After David (a novel)

    Logging on the site is like stepping into a candy store. Or walking into a party and waiting for someone to talk to you, some swaggering dude with a joint in one hand and a bottle of beer in the other. Except he is the only one you’re waiting for.

    All you have to do is leave your chat window open and the hot pink band will light up, and then they’ll rush in. One of the many amazing surprises of online dating in your sixties is to discover all the twenty-somethings and thirty-somethings who flock to you as the latest taboo to transgress. 

    Ethanb, 20 – You’re really attractive. It’s my fantasy to be with an older woman.

    BMW1976, 37 – I love French women

    Desire4Mature, 42 – The dynamic is unmatchable when it’s the right older woman and a younger man

    Eljefe86, 27 –I know I am a bit young but I think you should give me a chance…

    How could I resist clicking?

    ***

    The first time we met was in Tompkins Square Park, around noon, before he went to his day job at a nearby recording studio. He had contacted me on the dating site a couple of weeks earlier – Hi, I’m Jonah, you seem quite lovely. I liked that word lovely. Almost old school, anachronistic, even. So much more respectful and charming than the raunchy pick-up lines guys on the site tossed like so much hastily knotted baits in the dating river. A touch of old-fashioned gallantry that contrasted with the pictures of this cool guy – sexy as hell, with his scruffy beard, dark curly hair, beat-up Converse, and an electric guitar on his knees, in the heat of the action. 

    Still, when I saw how young he was – 37 – I hesitated. I was 62. A full generation older. He gently insisted. I gave him my phone number and he called me. His voice was smooth, just a little nasal, relaxed. Social ease. Not pushy. When you meet someone online, you make your decision to go ahead or not based on tiny clues. He worked two blocks away from my place. Why not get together for coffee? It was mid-September, a few days after my birthday (another birthday to ignore, forget, tread lightly over – because what else is there to do with the years that pass?).

    The weather was warm, with a trace of cool, the elm trees still glorious, their green just a bit dusty after the hot summer. I waited for him by the dog run and watched a pair of pit-bulls frolic. I had an envelope under my arm, with the bank statements proving that I could cover her rent in Brooklyn in case she came short. I had to have everything photocopied so that Louise could sign the lease. I was nervous about whether I had enough money in my relatively small investment account to qualify as a guarantor. New York landlords require solid cash in the bank. I was still getting royalties from the book I had written about the end of my marriage with David, but they were dwindling, so I was mainly living off my paychecks as a freelance commercial translator, and my teaching. Louise and Juliet were at home, Juliet visiting from Jacksonville with Vivian, her baby, who was now exactly one year old.

    I didn’t tell the girls I was going to meet him. I just said I was going to the copy place. I wasn’t dressed for a “date.” Skinny jeans, t-shirt, denim jacket, booties, casual. My usual look. He was a jazz guitarist. No point dressing up. He strolled up to me in his sneakers and bomber jacket, looking straight out of Brooklyn. Laid back. Cool in a kind of nerdy-sexy way. Jewish, I realized later, when I looked him up online (he had told me the name of his quartet). Dark hair curling in his neck and tumbling forward, dark stubble of a beard, sensual mouth, soulful look in his hazel eyes, strong – but not too strong – nose, tallish, but slight. Elegant. Sexy smile. Where had I seen that smile before? These warm, smoldering eyes? 

    Shall we have coffee? He asked. 

    I didn’t think of David at that moment, but as we walked side by side across the park, falling into step with each other, he felt familiar, as though we had been lovers in a previous life. But it was the same immediate chemistry that I’d felt  with David when he had sat down next to me that first of January at our mutual friends’ apartment, our bodies moving towards each other like magnets before we even said a word. I forgot the envelope under my arm, the financial responsibilities. There was a quality of silence around him that I found relaxing, a mute complicity, as if his presence released in me a long-forgotten insouciance. He was immensely appealing.

    We headed to the little coffee shop along the park. He asked me if I had told my daughters I had a date. I said that I hadn’t. Then he asked me if they were his age. I said, no, younger. And we laughed with relief. That was that, at least.  And then his smile, head a little to the side, almost shy — as he offered to pay, because I was taking out my own wallet, not sure. Was that even a date? 

    I told him I had to photocopy some paperwork and he offered to walk me all the way to the copy place (I’ll be a little late for work, but that’s okay). Later I thought he had arranged our date close to the time he had to start work, so that if it turned out we had no chemistry he would have a good excuse to cut the date short. We got out of the café, coffees in hand, and I spilled some on my feet. He squatted to clean up the stain with a napkin and said he liked my boots, and I handed him my cup while I went in. 

    It’s when I waited for the paperwork to be photocopied that I thought of David and of our move to the neighborhood more than twenty-five years ago – when everyone lived in the Lower East Side instead of Brooklyn. Writing the first short stories, sending them out, applying for grants, selling articles, writing all day long, giving readings and going to readings every night, scrambling for money, the excitement of belonging to a group of young, edgy, emerging writers. I could sense – or guess – that he was holding out for the same dreams. Did he see that in me, too? Or did he only see an older, attractive French woman, with whom he wanted to experience the thrill of the forbidden?

    I was surprised that he was dating online. He was in a band. He must have girls fawning all over him. 

    At this, he laughed. 

    Actually, the kind of music I play, it’s all guys. It’s not like pop music. I don’t get to meet girls that much. And people are so guarded in New York. If you talk to a girl in the street, they think you’re a creep.

    Why did you contact me? I am so much older than you.

    I thought you were cute.

    I hope it’s not because you’re into older women. I wouldn’t want to be a fetish.

    His face didn’t give anything away. He would be a good poker player, I thought.

    He had dated a German woman for three years, he said, going back and forth between Berlin and New York, when she finally moved back for good a few months ago, and he stayed in New York for his music. 

    I understand, I said. I told him I had been in a relationship for six years with a Russian guy who worked for the UN in Geneva. He had asked me to go and live with him. But I didn’t want to uproot my life and my daughter’s life. Besides, Geneva’s deadly. Berlin’s better.

    That’s when I asked him the name of his band. He was playing tonight, but way out in Bushwick, (I’m not going to ask you to go that far). Then he pointed to a metal door covered with graffiti in a still grimy block that gentrification hadn’t reached yet. 

    I work here. It’s a recording studio.

    I double-kissed him, French style, and on the way back home I sipped my cappuccino with the kind of lightness and excitement one has after the promise of a new love – or a promising encounter – such an unexpected surprise, tendrils of desire rising in a limpid sky, not a cumulus in sight, thinking no further than the moment, no further than that immediate mutual attraction, that ease we both felt, then joyfully tossed the cup in the trash can at the corner before walking up to my apartment. 

    He sent me a message two days later. I was in a taxi headed to JFK with Juliet and Vivian. Juliet lived in Jacksonville with her husband who was a jet pilot in the Navy and I was going to spend a few days with them while Scott was away on a detachment.

    I am on my way to Florida, I texted back. I glanced at the baby who was wailing while Juliet precipitously unbuttoned her top and pulled out a breast dripping with milk. The driver, who looked Afghan or Uzbek, stole a quick, possibly disapproving look in his rear-view mirror but said nothing. 

    I only mentioned that I was traveling with my daughter. I didn’t mention the baby. Her existence was off-limits, of course. Unmentionable. Unthinkable. 

    Let’s get together when you come back, he texted.

    ***

    It wasn’t my first experience with virtual encounters. One day, a couple of lonely years after my breakup with Vadik, Irishactor sent me a direct message on Facebook. On the thumbnail photo a sexy guy in his thirties, with pale blue eyes, cropped hair and a light beard, looked thoughtful. His page was filled with dreamy photos of a farmhouse by the ocean, and shots of a white mare peacefully grazing in the fields, the rocky Irish coast in the background, and of a stone fireplace in front of which a Persian cat slept, its paws folded under its bosom, next to an open laptop. 

    We started to message every evening – which, for him, being five hours ahead on the West Coast of Ireland – often meant 3 or 4 AM. But he was a night owl. I imagined him in the rugged farmhouse, within hearing distance of the tide, waves crashing menacingly on stormy nights. And me, flying to Dublin and showing up soaked from the diluvian rains while he greeted me, bathtub full of steamy water, fragrant Irish stew (he had given me the recipe) on the stove. The affair lasted two months. I was stunned to feel how powerful the letdown was afterwards, as if we’d literally spent all our nights together, flesh to flesh. I knew that imagination was the most powerful organ of desire, but here was the proof of its power. 

    After Irishactor, signing up on the dating app was a natural step, like shifting from smoking weed to shooting hard drugs. I had no expectation, really, just a bit of excitement: choosing the photos, writing the profile, and the trepidation of exposing myself publicly, as though I was about to stand half dressed in a skimpy outfit on a street corner, waiting for the first clients to show up. 

    Justpassingby, 42, Manhattan, PhD in literature from Brown, worked in advertising. No photo. But the picture he sent me on a bucket site was very cute – at least, what I could catch of it before it got swallowed up in cyberspace. Smart and fun and a good flirt. A girlfriend who traveled a lot for her job. Did I mind? I did not. We’d log on in the evenings and I’d take my computer to bed or chat on the app on my iPhone. What are you wearing? Usually a plaid pajama bottom and a tank top, or some evenings, just the tank top because it was May and it was getting warmer, and one thing led to another. We both watched Mad Men and debriefed afterwards from our respective beds. Did you see Megan tonight? I don’t like her. Too big a smile. Tonight it was really dark. Do you think he’ll end up killing himself, throw himself out the window? He was extra cautious. No photo and no personal details on the site, no mobile number, only instant message on the app, and he only gave me his first name. Matt. 

    One evening, a few weeks after our first contact, he jumped the gun.

    Do you want to meet tonight?

    He picked a bar in K-town, on the first floor of a hotel. The bar was deserted, with a “Lost in Translation” lounge vibe, a Korean barman wiping glasses behind the counter pretending not to pay attention. He was sitting at the bar, in the corner. I slipped on the stool next to him.

    He was good-looking, preppy-cool, short dark hair, blue eyes. Dark jeans. Blue canvas jacket. Would I have been attracted to him if I’d met him cold here in this deserted bar? We were already way past that. We sat on a couch. After a glass of Chardonnay he leaned towards me. Shall we kiss? Thirty minutes later we were breathlessly making out in the cab that was taking us back to my place. I didn’t invite him up. 

    A week later he booked a room in a hotel in Soho, one late Saturday afternoon in May, and waited for me, reading a novel by Ann Patchett. Bel Canto. Good choice, I said. The room was lovely, elegant, all shades of taupe and gray. I was wearing a long, black summer dress that I had just bought with a pair of flat sandals. He sat next to me on the bed and ran his hands up my naked legs. 

    Through the sheer curtains the late afternoon sun filtered a soft light. No noise came from the street. A big mirror on the dresser played our reflections, streaked with splashes of slanted sun. It did feel like New York, but a foreign New York we were both visiting for the first time, coming from other, far away countries, and we had just met and booked a room. 

    We were good together. The chemistry, the fluidity of our moves. A perfect bubble out of time and place. 

    It was a shock, afterwards, to be back in bustling Soho, warm, sunny. I floated back home, in sex afterglow. 

    We stayed in contact for a while. And then I didn’t hear from him for a couple of weeks. One night he messaged me and apologized for being out of touch. He wasn’t single anymore. I liked that he had been graceful enough to let me know. One day when I looked for him on the site, I saw that he had deactivated his profile. I knew it would just be a fling, since he had a girlfriend. But I was grateful for what he had given me: the reassurance that I was still desirable, still sexy, still vibrant.

    ***

    Four months later, Hey11211, 37, Brooklyn, jazz guitarist, appeared in the flesh between the Elm trees of Tompkins Square park, having magically slipped off the small window of the dating app, like the genie floating out of Aladdin’s lamp. 

    Hi, I’m Jonah, he said. 

    Almost instantly, it felt like love. 

    I couldn’t say why, exactly. Of course, all the red flags shot up simultaneously, wide age difference, casual online contact, jazz guitarist, laid back attitude, non-date coffee date creating a perfect storm of arousing danger, making my heart beat. But at the same time, this uncanny feeling of complicity, as though we had already slept together, and we could just seamlessly slip into bed without missing a beat or embark on a trip tonight – last-minute tickets to the Maldives, for instance. 

    I couldn’t remember when I had the dream, whether it was after the first or second time he had come to see me. But I’m pretty sure I hadn’t had it in Jacksonville at Juliet’s, although when I was there I woke up several nights in a row in a sweat, wondering whether I should pursue or not because he was so much younger than me. But when had I ever put the brakes on anything in my life, especially where men were concerned? All the men I had been with since David were younger than me, so what’s an extra few years? Thinking back, I must have had the dream after the first time we had sex, or maybe after he’d asked me about anal sex, online. The word anal blinking dangerously on the little window coiffed by a band of hot pink. I was being pursued by two black wolves, up the stairs of a house I shared with my mother. The wolves had cornered me against the wall. I woke up, drenched in sweat. 

    He texted me the afternoon I had flown back from Jacksonville. I was doing some errands in the neighborhood and my phone buzzed. I thought maybe it was Louise and fumbled to pull my phone out of my bag. When I saw his name, my breathing accelerated. 

    Hey Eve. So when are you going to invite me up to your place? 

    Me: Why don’t we have a drink tomorrow and talk about it?

    He: I think you’ve already made up your mind.

    I thought of that line from a song that had been a hit all summer: “I know you want it, I know you want it.” My heart beat a little faster. He was right. We had both made up our minds within a few seconds of seeing each other. 

    He continued: Considering our age difference, it would play out like an affair rather than a romance. 

    I was walking through the park, phone in hand, close to where we had first met, coming back from depositing a check at the bank (later he would show me how to deposit checks directly on my phone, and I downloaded the app), it was a sunny day, but the light seemed to darken, as though a cloud was passing in front of the sun. I shivered and sat on a bench. So that was his opening gambit. All risk and benefits calculated beforehand. I just want to fuck you. Let’s not waste our time in niceties like dates and candlelight. That’s the deal, take it or leave it. No room for negotiation. I swallowed hard.

    Fine I thought. He only wants sex? I can handle that. 

    I played it coy to hide my agitation: What about seduction? 

    He: Yes, seduction, of course. Always seduction.

    But my legs felt weak when I got up and started to walk back home, as if he had already backed me into a corner and taken control. I didn’t know whether I was disappointed or aroused – the two sensations blending together in an explosive mix.

    Later it occurred to me – how could I have not realized it at the moment, how could I have been so blind – that it was no coincidence that I had met Jonah just as Louise was about to move into her first apartment, and just as I was leaving behind the role of mother. That I would try to make him fill a void left by Louise’s moving out, Louise who, herself, had filled the void left by David’s absence. 

    After the breakup with David, I couldn’t wait to shed the role of wife, like a snake sloughing its skin. The truth was that I was shell-shocked. I couldn’t imagine embarking on a new relationship. With whom? How do you start again meshing your life so intimately with someone after a 22-year long marriage? My body was running way ahead of my emotions. The sudden freedom was intoxicating. All I wanted was lovers. Hot sex. Right away there were a few, in quick succession, fleeting, passing by. And then there was Vadik, who was living far away in Europe and travelled all the time for his UN job. The long-distance didn’t scare me. On the contrary, it allowed me to be a mom for Louise without bringing a man into our home on a daily basis and confuse her. In fact, when he asked me later on to live with him in Geneva, I panicked. I couldn’t see myself taking Louise and moving in with him, in that apartment complex on the outskirts of Geneva, which frighteningly resembled the Soviet-era apartment buildings in Moscow where he had grown up, and be a wife. 

    And now, just as Louise was about to leave home, I felt a new burst of sexual energy. It was a funny thing, and unexpected, that in my sixties I felt more self-confident than I had been at fifty, when David had left, or even at thirty, when we had met. I knew I looked way younger than my age, like my mother did, slender, toned body and a halo of blond hair, lucky genes, I guess. And I had in me that same fire she had. That fire that I hated, that I was jealous of, when I was a girl, when she lit up a room with her energy, her seduction, sucking up all the attention to herself. My own fire had just been smoldering all these years in the safety of the couple. And I believed that charm, seduction and vitality came from an inner radiance, not, or not only, from youth. 

    In La Maman et la Putain, (The Mother and the Whore), the Jean Eustache movie, Alexandre (played by Jean-Pierre Léaud) has a live-in girlfriend, Marie, but starts an affair with a hot Polish nurse which threatens his relationship with Marie. 

    I had grown up with that story, the constant swing between pure wife and naughty lover, the oldest story of romance as told by men in the Western world – and perhaps in the whole history of humanity. My family had embodied that split. In my grandparents’ home, where I grew up, my grandmother played the wife and mother: her role was to keep everyone fed, clothed, educated and controlled. Meanwhile my mother, defiant, pregnant by accident, was the bad girl with the platinum blond hair and the stiletto heels, cigarette dangling between her fingers, whose mysterious life played out off-stage. I navigated between them, the straight-A, straight-laced, good girl, secretly yearning to let my wild side loose as soon as I could.

    With men, I was always torn between the two, even way back when David and I had gone down to city hall for a shotgun wedding, one-month old Juliet in her little bassinette at our feet; and even years later, when Louise was born.

    ***

    He texted me the following Monday, mid-morning. I was getting out of the shower, thinking about him.

    When will you invite me over?

    An hour later he was running up the stairs, his guitar case slung over his shoulder. It was noon. The sun was pouring in. I made him espresso in my stovetop Italian moka pot. Dark, lanky, he watched me with a look of expectation and ironic detachment, perhaps not sure of what I was expecting of him. And I watched him watching me. While the coffee was brewing, he strolled to the baby-grand piano and opened the lid. 

    Better not, I said. It needs to be tuned. The wood got cracked when it was shipped from France. It was my grandparents’ piano, from the 30’s. I played on it for ten years.

    Afterwards, I regretted not having heard him play. I remembered my mother talking about a lover she had had – a Jewish concert pianist – as a “grand tenor,” which I imagined alluded to his male seduction, (or, who knows, perhaps even to his love-making), an expression that seemed appropriate for a musician. Jonah didn’t strike me as a “grand tenor.” Perhaps that was why I was attracted to him. 

    He leaned against the kitchen counter, sipping his coffee, smiling at me with that dazzling smile, all dark skin and dark beard, like a Middle-Eastern movie star, waiting for me to make the first move. Maybe he was intimidated. David, too, would lean against walls, against doorjambs, against bedposts, and look at me with a half-smile, offering himself to me. Do with me what you wish. Take me. I am yours. I had never wanted a man so much since David. It was that open invitation that was devastating.

    I came to him. He put the cup down.

    Shall we rip each other’s clothes off? He asked ironically, or rhetorically.

    I pressed my body against his. I could feel how big he was though the canvas of his cargo shorts.

    I’m hard.

    I know. 

    I took his hand and we went to my bedroom. There was a bookcase outside the door, with all my novels, in English and in translation, stacked on the shelves. He picked up the memoir I had written about the end of my marriage with David, twelve years earlier. It had a big, glamorous photo of me on the cover, black and white. It’s me, I said, although it was obvious. He studied the photo for a moment and read the blurbs, then put the book back without saying anything. His face blank. For a second I wondered if he compared my book cover photo – the one that my agent had qualified as “glamour-puss” – to me now, but I didn’t think I had changed that much, and I let that fleeting thought go. In my bedroom, he looked around, taking it all in, the mirrors, the antique dresser, all the windows. With an air of calm detachment. 

    The light was too bright for a first time.

    In full daylight, the first kiss. Without the help of darkness, soft lighting, conversation to soften the edges. Neat, like a shot of vodka.. His lips, deliciously pulpy. He was skinny, with a slightly hairy chest, narrow shoulders, a soft stomach, not a gym body – but that body felt like fire between my arms. 

    I collapsed on the bed under him, and he helped me out of my jeans. I was wearing black socks. He put his hand on mine as I was about to peel them off.

    No. Keep them.

    There was no foreplay, just him inside of me, filling me up so hard I wasn’t sure that I could take him all in, afraid that he would chafe the tender skin inside. And then, as he moved ever so slightly, as his eyes searched mine, something gave way in me, and I dissolved around him.

    You’re so wet, he whispered, and his face went soft, his breath came faster.

    We were not ripping each other’s clothes off. There was a slow deliberateness to his moves. A shyness, even, as though he was waiting for a signal from me to let loose. There was something elusive about him, withholding, as if he had been detached from his body – his mind floating above us, watching ironically. And the chemistry between us was so intense I could barely abandon myself, my body was trembling, holding back from fear of being consumed. One time, many years ago, I had smoked sinsemilla with David during a trip to the Keys in Florida, and while we drove on one of the bridges headed to Key West, I had hallucinated a higher power, a God watching me from the sky. This felt like a high too, but a high that was more emotional than purely sexual. I came in long, almost silent sighs, just before him. I leaned against his chest and touched him gently where his sex was resting on top of his thighs.

    I am not a good rebound guy, he apologized. Not like when I was 25. 

    I was touched that he worried about not living up to my expectations. I wanted to take him in my arms, to reassure him. Instead, I teased him.

    You aren’t so young anymore. 37 is practically middle-aged. 

    I had forgotten my own age, by then. I was just the right age. Or no age at all. I ran my fingers through the hair that curled on his chest. 

    Hmmm. So soft.

    I put lotion on it, he joked. L’Occitane.

    L’Occitane? That’s a French brand. How come you know about it?

    Men who live in New York can’t help being metrosexual, he said. 

    It was funny to be so attracted to a guy who labeled himself metrosexual. Also a jazz guitarist. When I was a teenager, my crushes had been musicians: Liszt, Chopin, Schubert, Beethoven. I played their music on the piano, the same one that was now in my living-room, and I listened to their albums on my little orange turntable. But they were all dead. A few days after Jonah’s visit, while doing research on a book I was working on, I randomly opened one of my earlier novels, and was astonished to discover that the heroine’s boyfriend was a guitarist and that her ex-husband and the father of her daughter was a musician. I had completely forgotten about it. I never re-read my books after they were published. It was as though I had hallucinated them. But these coincidences happened a lot in my life: I’d create a character, and then the real-life counterpart appeared, as if I had manifested them unconsciously years before.

    He got up. He couldn’t stay. He had to go to work. Men, always busy, always running from one activity to the next, all action. Buttoning his shirt over his t-shirt. Pulling on his shorts. I had lost all sense of time. I took him to the door and stood in front of him, naked except for the knee-high socks. 

    I watched him cross the landing, guitar case on his back, in shorts and flip-flops (it was a warm day). In a flash, I remembered David in his flannel shirts and ripped jeans – the very incarnation of the eternal American sexy boy. And then that other flash: David, just back from the red-eye, walking up these same stairs with the bag he had taken to LA to meet his lover. All night I had prepared myself to ask him to leave. All night I had repeated the words: It’s over. You need to leave. You need to leave now. NOW. Furious to have been caught red-handed, he had mashed his hat back on his head, the Fedora he had taken to wearing lately, and bolted for the door, didn’t even put the bag down. He only turned back on the landing for a final goodbye with these cryptic words – you and I are still us. The us of the past, presumably. Because the present us was dissolving at that very moment. 

    Jonah waved at me from the stairs with a smile that was a bit lopsided, tender, with a dash of smirk, a dollop of irony, erasing the last image of David.

    To be continued, he said.

  • Issue 11: Voice

    note from Buku Sarkar.

    In a new poem by Elizabeth Acevedo, a voice from the record player summons memories and unresolved feelings about the speaker’s father. Introduced by Margarita Engle.

    A duet by Andrea Boccelli and Sarah Brightman punctuates assorted events in the life of a refugee family in Faruk Šehić’s “Women’s War.” Introduced by Aleksander Hemon.

    Tope Folarin’s “The Goat” concerns a boy in a poverty-stricken family whose insatiable appetite threatens his household’s already precarious stability. Introduced by Helon Habila.

    Vamika Sinha’s three poems depict speakers taking in the sensual joys of an open city, breathing air into the open mouths of dolls, and using pens filled with syrup. Introduced by Tishani Doshi.

    Tiziano Colibazzi’s “Shoes” cover lots of territory: Italian footwear etiquette, Amsterdam’s Homomonument, and a Berlin pilgrimage. Introduced by Zia Jaffrey.

    In two poems by Quenton Baker, nightmares fragment into law, flesh becomes lexical, and the dirt a dialect. Introduced by Ada Limón.

    “The warmth that my lover left in my hands turns to ice as soon as they touch the first fish of the day”: unexpected transitions and sensations populate every paragraph of Birgül Oğuz’s “Revol.” Introduced by Victoria Holbrook.

  • An Interview With Colum McCann on his Novel, Apeirogon

    R: Apeirogon is a novel where you make the whole world complicit in the events of one story. We are collectively responsible for the moment when a bomb exploded and killed one daughter, when a gun was drawn and emptied into another. Were you aware of that inescapable complicity when you were writing this book?

    C: Complicity is at the heart of all story-telling, yes. I suppose I mean this in two very different senses – complicity in the darkness and then the complicity in the availability of light. My novel concerns two men – one Israeli, one Palestinian – who become friends despite the evidence and the odds. By the act of telling, they make us complicit in the stories of the loss of their daughters. In relation to Israel and Palestine, we are, yes, complicit in what is happening there. Or certainly I – as a taxpayer in the United States – am complicit.

    There are so many one-dimensional distortions of both the Palestinians and the Israelis. But nothing is one-dimensional. A writer needs to render as many aspects of the situation as he or she can. It is both more rewarding — and exceedingly more difficult —- to think kaleidoscopically about others and then maybe even engage with our so-called enemies. This is what Rami and Bassam do. I could talk forever about what this means politically but I’d like to leapfrog beyond the obvious and talk about what you frame as responsibility. You’re absolutely right when you talk about collective responsibility. And this is where the power of story-telling comes in. Let’s face it, the world is a messy place and I think we must acknowledge that. We cannot reduce it down to absolute simplicities. Simplicity is desired of course, but not easy simplicity.   I think it’s more important than ever to acknowledge that we are so much more than just one thing. We are multitudinous. We are complicated. And we’re certainly not as stupid as our political parties, or our corporations, or our TV stations, or our artists — mea culpa —- seem to want us to be.

    So, it becomes the job of the artist to celebrate the messiness and acknowledge how complicated it all happens to be. Maybe then we can help at least confront the problem.   If we keep making it simple, or falsely simple, we risk failure. And one of the things about confronting the problem is acknowledging our own complicity.

    R: Is it possible for a book to create a change, to shape a world where those two girls walk on into adulthood? 

    C: Humility is the key when talking about the power of literature. The writer can’t do all that much, but the reader can. The most important thing is to let a book work on others. It has to allow people to think differently. It cannot be didactic. It cannot propose a solution. But it can propose a solution that can arise from others. Make the stories heard. Make the messiness understood. Make the contradictions have their own form of sense. Rami and Bassam say it best: We need to know one another. And, yes, they reinvigorate the lives of their daughters through the art of storytelling. So, in a way, yes, they walk into adulthood.

    R: You combine things which are hard to even write well when separated: race in America and the peace process in Northern Ireland, tightrope walkers and youth radicals, etc. You are gifted at holding multiple narratives aloft — you never tire of it, and you manage to keep raising the bar. What keeps you playing in that enormously difficult space? 

    C: John Berger says it so beautifully: “Never again will a single story be told as if it were the only one.” What he’s getting at here is the need to see things from multiple angles and viewpoints. And I suppose I’m fascinated by what is difficult.

    Apeirogon was my most challenging book in terms of vaulting into unknown territory. I had to rely on instinct all the way along. And I really wanted to get it correct, but there’s not much “correct” when it comes to opinion or even facts when you’re talking about the Middle East. You have so many different truths that you want to access. I also wanted to fragment the story to reflect the contemporary mind and the leaps the consciousness makes, especially when it comes to the Internet. But we always come back to the important thing – the issue of the human heart in conflict with itself. In this case it is the hearts of Rami and Bassam.  

    R: Apeirogon feels like a book that belongs on every bookshelf, by topic, by taste (novel v. short stories), genre (prose v. poetry). Similarly, it fits organically in many different classrooms — math, history, biology etc. Was that intentional on your part? 

    C: I’m not very good on intent. I fly by the arse of my pants, mostly. Which is not quite as articulate as Samuel Beckett saying that it is the job of the artist to find a form that accommodates the mess. And that’s what I wanted to do: discover a form that reflects and accommodates the whole.  Also, I wanted to try to write a book that disrupted some of the accepted narratives around Israel and Palestine, and, I suppose, the accepted narrative form. I’d been thinking for a while about writing a novel that echoes some of the ways the Internet has shaped the way we think and feel and even breathe. I originally thought I would do it in fifty chapters and then maybe a hundred and then – about a year into the process – it struck me that Rami and Bassam were telling the stories of their daughters to keep them alive, a Scheherezade moment, if you will, and I thought, “Ah-ha, it has to be 1,001.”  

    As for intentionality, when I was writing it felt like music to me. I began to feel like the conductor of an orchestra. I hope that doesn’t sound too grandiose. I wanted to achieve a sound that would disrupt listeners and knock them off balance. To get them thinking differently about this area of the world. Tonal and atonal at the same time. To work contrapuntally. To put all the shards together in a musical mosaic. The great Irish musician Colm Mac Con Iomaire is now putting together some music based on his experience of the book. It’s incredible stuff. He came to the West Bank with my non-profit group Narrative 4 that I co-founded with Lisa Consiglio and several other artists. Colm got inspiration there. I can’t wait until the album comes out.

    R: Have you ever gone on a literary pilgrimage? Yearned to live and write in a specific place in the world? 

    C: I would love to go to Chile. One of my favourite authors, Ariel Dorfman, whom I consider a friend even though I have never even met him, has written so beautifully about his country. And I’ve never really explored South America, though I think part of my soul is there. I’d like to walk the length of the coastline. And I want to meet the farmers who harvest water from the clouds. They put up nets and capture the moisture in the air.

    R: What is your relationship to younger writers? How does it feel like now, as a seasoned writer, someone whose substantial talent is taken as a given, to look at them and know how long the road ahead is for them? Are there certain responsibilities you feel toward them? 

    C: I love working with younger writers. Nothing gives me greater pleasure than to see them emerge with a story or a book. And, yes, it’s difficult because I know how long the road is ahead of them – and increasingly so. Perhaps as a teacher I have been too enthusiastic at times— but, as a friend once said, I’d rather die with my heart on my sleeve than end up being the squinty-eyed cynic in the corner. I tell students that I can’t teach them much except the virtues of desire, stamina and perseverance. In other words, fire. But fire’s a dangerous thing. So many hold their hands out while really they’re just watching themselves burn.

    R: When you look at the books you’ve written, is there anything you might do differently? If you could edit something, what would it be? 

    C: I’d edit my novel Songdogs, my first novel, written in my late 20’s. I haven’t read it since I wrote it over thirty years ago but I’m certain I would cringe at certain parts. But that’s life. You do what you can do at the time. Apart from that, I tell myself when I write a novel that I should write the only possible thing that won’t embarrass me ten years from now.

    R: What does it feel like to bear witness to histories that will impact young people far more than it will impact us, as elders? 

    C: Whether we’re aware of it or not, George Floyd is going to be in every story written from here on in. Even the ones the elders write. But I must say I’m not really sure of that word, elders. Not because it makes me into an old fart, but because it suggests wisdom – and that’s something that’s been sorely lacking from so many of us, mea culpa.

    R: How do you define success when it comes to being a writer/artist today? 

    C: Disruption. A break in the conventional narrative. An embrace of what others have left outside or ignored. An ability to throw the world off balance so that, when it gets to its feet, it sees things a little differently. Your books have done this for me. On Sal Mal Lane disrupted the way I thought. It allowed me to think differently. Such is the beauty of good literature.

    R: Have you ever written anything where you began with a certain point of view about an event and wound up looking at it from its direct opposite?

    C: When I wrote about Frederick Douglass going to Ireland in my novel “TransAtlantic.” At first, I just thought it was an incredible story — and one we needed to hear, especially in Ireland.  Here was the story of a man, 27 years old, a visionary, an abolitionist, yet still a slave, arriving in Ireland just as the Famine began to unfold.  He had already published his memoir but there was an Irish edition forthcoming.  And he landed among the gentry of Ireland, largely the Anglo-Irish.  He toured around the country.  His few months in Ireland were among the happiest in his life.  “I breathe,” he said, “and lo! the chattel becomes a man.”  

    At first. I was surprised that he did not speak out about the Famine and the conditions that the Irish were forced to suffer under British rule.  He remained largely silent about it.  But gradually I began to understand why —he was in Ireland in order to further the cause of the three million of his people still enslaved in the United States.  I am quite sure he felt an enormous empathy for Irish suffering, but he was unable to be very vocal about it simply because he had to protect his own people.  Also, he was on his way to Britain to continue his abolitionist tour.  And let’s not forget: he was still technically a slave and could have been recaptured at any time. So, Douglass was carrying so much weight on his shoulders. 

    So, I went from the position of being startled by the story, to being a little ambivalent about it, to a point, I hope, of deep understanding— finally my admiration for Douglass was boundless.  But I also realise that, like all of us, he was a complicated human being.  He was far ahead of his times.  He carried a brokenness.  He dared to think in new ways.  But no history is neat and final.  And that’s what I wanted to write about and attempted to capture. 

    R: We live in a time when people are categorized as immigrants or natives and yet, by the very way we consume things for better (reading) or worse (fast fashion), we are not natives, really, of a single place. How do you locate yourself in the world?

    C: We’re living in the exponential age. It’s hard to locate ourselves. I’m a person of two countries at the very least— the U.S and Ireland —but I’m also a person of the country of literature, which makes so much available to me.

    R: You have wonderful and very straightforward advice to young people in your collection, Letters to a Young Writer. What’s the one piece of advice you would have given yourself, say, as a twenty-year-old? 

    C: Get out and do something that does not compute. Join the Peace Corps. Join the army. Join the ambulance crew. Whatever. Do something— at least for a couple of years — that the world does not expect you to do. Disrupt yourself. 

    R: What is a question you wish someone would ask you?

    C: What is Narrative 4?

    R: What is Narrative 4?

    C: Ha! It’s a global non-profit story exchange organization, fronted by artists and teachers and activists, that uses story-telling to change the world. I’d love if people could check it out … narrative4.com.

    R: What question would you ask of yourself? 

    C: Was it all worth it? And before you ask, the answer would be yes. What about you?  

    R: My answer would be the same. Has my life had heart? Yes. Therefore, it has been worth the price. There is a reason why Edith Piaf sings “Non, je ne regrette rien,” on repeat in my head.

  • Box

    i want to put you in a box
    i would tape around the box
    i would kick the box
    you’d rock and rock in the box
    i’d hold the box close to my chest
    i’d hear your whisper inside
    you do what you think is best,
    so i’d ship the box
    then i’d ask for it back
    you’d grow tired in the box
    but you know you cannot rest,
    penance, we’d call it
    you would laugh        
    and i would not,
    i’d think about your long limbs in the box
    how—if i ever pulled you out—your body
    would be tangled in itself
    like a befuddled cartoon,
    i rest my back to the box
    lean on the box        
    nod off on the box
    you’d get mad at me,
    me and the box,
    i’ll remind you why you’re in the box,
    remember when you assaulted a girl
    and you didn’t even know it?
    you will go quiet in the box,
    lean in the box,
    nod off in the box,
    and i will be mad by the box,
    for ever having been so in love with you.