Category: Uncategorized
-

Capstone
among the blue desks was a meageraudition for adulthood crumpledinto a mess of wooden shadows recitingbarbell lines on the film school secondfloor (stair steps closer to Orion) howI was dreaming young of the world’sgrand magnanimousness suffusedwith balloons that smelled of palm frondeverglades my school-sanctioned camerawould record the nightglow trees by lightsof Coe Lake where it snowed pine conesin the backyard of my mother’s housewhere acres stretch forever rugs of green grassand hunger the endless hunger for somewhereanywhere else -
Five Poems – Ace Boggess
Love Is the Journey
Days I’ve driven around the city
because I came too early to pick you up from work.
Sitting in an idling car, running in place,
waiting, didn’t seem an option.
I needed movement, action
on a small scale. I circled blocks,
listening to music, smoking out the open window,observing joggers, dog-walkers, drug dealers
leaning against parked cars to offer the sly handshake
or the sudden drop. How often
was I nearly blindsided by a bus?
How many times did I pass the same house—
cracked brick, one boarded window—&
wonder were there ghosts inside?Here is my love poem for you:
not the words I’ve written but the pause
between departure & arrival.
It’s then I’ve felt centered, certain.
Farther out I spiraled, the closer I came to you,
counting minutes, singing along
to a happy song about someone’s desperation.Unseasonable Warmth
Japonicas bloom as the temperature drops,
lipstick buds stretching toes into frigid water.Year after year, they do this too early,
race to flame at the first pre-spring blush before a chill returns.
Soon, they will lean forward in ice,their rosy faces peeking out
from a crystalline lattice of snow.We fear the worst as if for trapped koi
frozen in a pond. Yet they go on.Photos will be taken, snapshots
of contrast: rebirth, miscalculation.The hedge will blaze in embers
already wasting to ash—my god, the absence.Burning the Worm
Snuffing my cigarette. Didn’t see it
there in dark, in the rain-gray mirror.
Two halves arced in sync
like glow-stick dancers at a rave,
like a nighttime Landing Signal Officer
waving fighter jets around the deck.
Water put both pieces out,
each vanishing into an abyss.
I felt sick about it, despite that I’d done
much worse to worms, serving them
on a hook for sport to frenzied sunfish
in a river niche. I thought
I should be charged with Reckless
Endangerment by the arthropod police,
thrown in a dirt cell, dank & chthonic.
Lord, it was an accident,
but does that make me innocent?
How might one rescue the invisible?
It’s like the old riddle about
what I would save from a house on fire.
I know the correct response & know my heart.Goodbye, Julie Adams
Didn’t know you were still alive, & now you’re gone.
92—good age to die, as good as any.After so many years, how did you see your history,
your figure that inspired love from monsters,one Creature? He swam beneath you
in murky undercurrents of desire,a timid stranger drinking at the sludge bar,
followed you into the next film hoping you’d save him,except you weren’t there. I don’t recall
much of my childhood beyond late-night movies,Chiller Theatre with Bela, Boris, Lon, & you,
bathing suit bright like a fire shot in black & white.You went by Julia then, a role
you played within the role you played.Did you watch yourself on screen?
Did you own every format—Betamax, VHS, laser disc,DVD, digital? Did you mourn the Gill Man
as he would mourn you now,grieving, raging, & destroying? Or was that
a moment like a brief embarrassment in college,something that happened to you once
that you no longer found significant?As you please. The myth of you illuminates my screen
when I watch again, am watching,voyeur of melancholy, creature as well,
observing you since youth & loving still.What I Remember
Security guard more than private wing or the one
priceless painting it sheltered. Manet,
I think. Or was it Monet? Don’t recall the face,
flower, female form. There was blue,maybe—a lot of it. Cerulean. Could be.
We walked in & out, past the hired muscle
who looked like John Belushi in a herringbone suit.
He was art, standing out as intended;art that says something about human nature,
even if we fail to comprehend or pay attention.
In J-school photojournalism, my professor said,
If a picture doesn’t have a person in it,then it isn’t news. I remember that &
the guy in the suit: bas-relief against a sterile wall,
his earpiece coiled around the horns,
hands cupped as if a stone St. Francis shone in prayer. -
And I’ll Call You a Liar
I’ll look like a cunt if I take off now. So I have to stick it out. Keep my word. Hold this fat bastard’s pungent wheelchair underneath him while he stands on shaky legs. Grasping the escalator handrail so tight his knuckles whiten. Until we get to the top.
Or his knees give out and we both come to our end.
From over his shoulder he barks at me. You got that fucking thing ready ‘case I fall? I hear the worry in his gravel voice. But there’s something else. I recognize it. I’ve heard it before. But I can’t figure out where.
Because I lose my thoughts in a good-looking woman coming down as we go up. Her sweet face turns pure hate as she sees the dirty old lowlife I’m aiding. She leans towards him as they cross. Finger pointed in full rage. Vas te faire foutre! Conard!
I like her style.
A friend of yours? I ask as the escalator carries us away. But he chooses to ignore me. Everyday trifles or bigger worries I don’t care. Because the end of the ride is approaching fast. He snaps at me again asking if I’m ready. Unsure of who he chose to help.
I shout false confidence.
A cold sweat runs down my brow.
Fear of death in overdrive.
His back falls forward in slow motion. There’s still time to drop the chair. Sidestep the slob as he goes careening by. Disappear into the clamor. But I was raised better. So instead of giving up and facing murder charges I brace my arms and legs. Then whisper 1 more pep talk before I probably die.
You can do this you fucking pussy.
He hits the seat. Him the chair and I we all groan under the strain. But I manage to hold my ground. Every muscle in my body tight. My lower back about to burst. The last of what I think I have. A final shove up over the lip. The chair jumps. He starts yelling.
Take it easy man! What are you fucking stupid?
Aha! That’s it. Where I’ve heard his voice. Seen his greasy hair. Out front the corner store. The door to the metro. Harassing everyone. Especially the fine looking women. And I’m certain he fits the description of a man who called my wife a whore when she declined his offer to fuck her in the ass.
So without saying a word I start pushing. Faster and faster and faster. I veer our course towards the gate beside the turnstiles. A hip-level plexiglass door. The old creep is on to me and drops his feet like brakes because he can see his future coming. But we don’t even slow down. He yelps 1 final call for mercy.
Nothing can stop us now.
His knees hit with a bang. He groans like a dying beast. The gate opens like a gunshot. The latch breaking off and hitting the ground is the greatest joke I’ve ever heard. I’m laughing like a madman. Name a better time than revenge and I’ll call you a liar.
I give him another push with everything I’ve got. Let go. He rolls away at top speed yelling words I’ve been called 1000’s of times so they don’t hurt. People all around stare in shock. Never guessing I made a promise to the woman I love and all they witnessed was me keeping it.
-
Choosing Water
Choosing Water
The first time I went in a boat, I was about four years old. It was in Maine. I was in a tiny sunfish and I was terrified, afraid of falling out and drowning, but my aunt held my hand as the boat bobbed near the shore. With her touch I knew everything would be alright. At that time, the water was a source of fear, because even then I understood its tremendous power to take life. At home, there was a brook where I pretended to fish and watched the rushing water drag fallen leaves through its current, twisting them up in its own churn.
Years later, I attended college along the Connecticut River. We were required to take physical education classes, so I threw caution to the wind and enrolled in whitewater kayaking. I marvel at how unafraid I was of the rushing river and the rocks I could be dashed against, the sharp surfaces that could break my bones. I was keen to absorb the instructor’s directions about how to right the single-person kayak if it capsized, but instead of being scared that I’d be trapped under the boat, I was exhilarated that I could maneuver inside of it, shape its direction, change its path. The water was alive and so was I and together we could move objects.
Soon after, during my junior year abroad in Glasgow, Scotland, I eschewed an umbrella, leaning into the rain that fell every day, sometimes for an hour, sometimes for fifteen minutes, absorbing it like a refreshment even. Again, I felt the reminder of being alive as the drops of rain caught in my hair and fell into my eyes. The rain changed something, even if slightly, about how I moved through the streets, making things different than they would be if it never existed.
More than a decade later in NYC, I developed a habit of swimming laps at the local YMCA. In the water, like nowhere else, my mind could be soothed but invigorated: all the detritus clearing out, leaving nothing but taut, logical thoughts like the numbers I counted to myself as I went up and down the lanes, methodically, rhythmically, weightlessly. In the pool, it seemed I could swim forever without tiring. During the pandemic, the pool closed temporarily and I lost access to the liberating sensation of doing laps, the repetitive invitation of the movement.
Movement, and the freedom it offers, has always been important to me. As a toddler, I would spend time in a playpen. When my mother discovered I didn’t like to stay inside it, always asking to be taken out of it, she came up with an innovative solution: she cut a hole in it so I would know that I had the freedom to leave whenever I wanted. With this adaptation, she says, I was content to stay inside the playpen for hours.
When I stayed in the psychiatric hospital in my thirties, movement was tightly restricted. The unit was locked and, for the majority of our stay, we weren’t allowed to leave its confines. Visitors came to us at specified hours through the locked doors. Getting too close to the doors was a violation that would result in confiscation of your street clothes, which would be replaced with flimsy hospital apparel. One evening, I took all my roommate’s velvety dresses from the hangers where they were carefully arranged and piled them on the floor next to the window, in what I thought was preparation for tying them together to climb down the side of the building and escape. My efforts were interrupted – with no one to open the window to offer me the knowledge I could leave should I wish to, which, according to the logic of my early childhood, might itself have been enough to convince me to remain inside where I belonged.
Close to the end of my three months’ stay, we were allowed to take short, supervised walks outside. But on our journeys beyond locked doors, there were no bodies of water to promenade alongside and no rain fell overhead. Cold, immobile concrete surrounded us as we squinted in the sun, unaccustomed to its brightness. Inside the unit in art therapy, I painted a beach bucket, full of hermit crabs, set before a background of sand and waves.
Making choices has always been difficult for me, but like water, they are vehicles of power. My neighborhood in New York City is along the East River and, in 2020, I could visit the nearby riverside park. A fence separated me from the water itself, the life-giving source. Still, during those lonely pandemic days before the vaccine, visiting the waterfront helped give me a kind of peace I could not find elsewhere. Every choice that I made seemed full of the possibility of life or death. I could get sneezed on at the laundromat, so I started using drop-off service. Someone could cough on me at the deli or grocery store, so I began ordering my groceries online. Meeting men in person could result in a painful death, so I held phone and Zoom dates.
The pandemic took away my chance to go to the ocean in 2020, so when I returned there in 2021, I was ecstatic to bop up and down in the waves, letting my long hair drag through the water. At my favorite beach, I reminisced about my girlhood, spending hours in the tide pools, watching the paths in the sand that showed where snails had crawled.
Most of our bodies are made of water and perhaps that is why I feel so at home in it. Every summer since I was ten – thirty years now excluding the year the pandemic stole – I have visited my godmother in Maine and spent time at the ocean. It could be that this consistency is also what makes water feel like home, like a natural place to return to again and again.
Water is an instrumental part of the story of Jesus, from his baptism in the Jordan River to his turning water into wine to his preaching on the shores of the sea. And for me, water is the grandeur of God, the vast wonder of the universe, the amazing properties of a substance that is life-giving, the molecules that hold my body up.
But water can also take life – and that is perhaps what instills respect and fear. My father, nearly 75, almost drowned as a young man and for this reason he won’t jump off the diving board of the pool in his backyard, not even wearing a life vest. Every summer he says this is the year he will and every summer the life vest remains hanging in the pool room, unused.
While my mother may have given me the opportunity to make a decision when she cut the playpen during my toddler days, sometimes my parents have feared the choices I’ve made. During a study abroad program in Argentina, I planned to go to Patagonia with two friends over spring break. My parents were concerned about the safety of the planes we’d be flying in – imagining them crashing – and warned me that they did not approve of my decision. I remember being on the other side of the equator from them and hearing the anxiety in their voices, as they tried unsuccessfully to dissuade me from the adventure.
On that trip, we experienced amazing horse rides with legitimate gauchos and clear natural lakes on the Camino de Siete Lagos or Path of Seven Lakes. The water was bluer than anything I’d ever seen. It was as if my parents’ worries had sunk to the bottoms of the pristine lakes, forgotten, unheeded. What replaced them were vistas of clarity and beauty that I remember decades later.
As a child I believed I’d be a famous writer and live by the sea in Maine. That hasn’t come to be, not yet, but when I think of the dream, it’s mostly the ocean that I see, taste, and hear. Once I rode the Staten Island Ferry in my thirties for fun with a friend, there and back, not bothering to leave the ferry terminal when we arrived, simply turning around to board the boat. The ride, moving along the water, was the experience we were after.
Given the opportunity, I’ll always choose the water.
-
Five Poems – K. Eltinaé
fulani blues
I have a hard time telling mother
she should get out and exercise
so we talk about people she admires for hours.Fulan al fulani’s son married a girl
he saw on his uncle’s wedding dvd.
Took them three weeks to ask about the family,
will you come for the wedding?Fulan al fulani’s son has a son now,
named after his late father
too much sugar in our blood, the heat, mosquitos
take the best ones early
What keeps you there… when here is better?She calls me after work excited
has met a girl with dimples
ready to start a family with a modest man
willing to marry a stranger
who barely lives with himself.dowry
They do no milieu justice
the rapturous things we learn to be truehanging like jasmine
on a summer night.Resentful walls claim weight
of legacies we assume not becausetime unearthed them but from the shame we fear
the gossip of borders.We wait too long for dowries,
for the sweat of strangers,to remember our own perfume.
unconditional
I choose the seat closest to the door
in case someone steps off
I can follow out and start a new life with.Instead I meet couples who are travelling
who speak about ‘home’ and getting ‘back’
to places I cross off the map.What if I told her my first kiss was on a staircase
at school between classes, that I lost my balance
and that each time love has felt that way?What if I told them I still walk around
with imaginary djinns on my shouldersthat weigh like shame from childhood
that I bow my head to and offer things
I have never had without asking?What if I dream of being met by a stranger
who sees me in the way I cannot.suitor
After I.AYou sent her back
because she ate like fire and bore no children.Because the world you were raised in
taught you broken things were best returned.Do you think about how she is still moving through life
like a paperweight, medicated for the hunger of longingthirsty for a ‘love that came after’
you could never provide?She seldom talks about it.
Just carries on lovingin her broken way
unfinished things,because after three divorces
people think you are the problem.Not the society
that asks a girl to find love
where it can’t exist.madame
I will always remember you in a nightgown
moving in and out of marriages like an ebony ghost.My family lay out pictures from different years
to explain evolution and destruction all at once.I am suddenly at the funeral of your first husband
who died in his early twenties of an overdoseand left you with a fortune you put to good use
traveling the length of Europe with that moutha nest of pearls that made men drunk
the second disappeared so you started writing blank checksout of grief in his name until they caught you at the airport
so when you married the lawyer who later left you everythingyou were ready to love the Arab banker
who consoled you at his funeralwho bought the matching suitcases you left at a friends’
before his car went over a cliff almost a year later.In your cast, you signed for everything with your left hand
later you moved back to Khartouminto a house bigger than your loneliness
spent your last days a welcome guest at funeralsa smiling moon
that spun men into dust. -
Apartment Collage
All of the tenants woke up at once. The sun glided across the horizon like dawn or armageddon. Light pouring from each window, flooding through every gate. Lunging across the face, penetrating the eye slit. Something dense and loud shook the building. Colliding with the top floor, a meteor or a missile.
At its incipit, a collective of ambitious architects had organized the building into a maze of studio apartments. Rooms connected by disjointed hallways and corridors, rendering each space partially communal, where the path to the elevator or the lobby or the balcony was taken through neighboring apartments. The vocabulary of the collective drawing references from Deleuze and Borges. They liken their creation to the Library of Babel. Tenants are nourished by the processes of their habitat. Entering the homes of strangers becomes familiar / common. Neighbors become apparitions, distant and obfuscated bodies moving through doors and hallways.
Performance artists recreate their paths, writers and filmmakers document their encounters. The population shifts into a state of becoming. Simultaneously the subject and object of their fascination. Themselves the same strangers that they see at the ends of hallways and looking out windows. Tenants become suspicious of one another. Pursuing and avoiding. Each a part of the larger apparatus of the building. Because of this, when something loud and dense crashes into the building, into the top floor, there is no investigation.
Tenants assemble their theories about the loud crashing of the top floor, “It was without cause or purpose.” … “The installation of a new floor.” … “An extension of the landlord’s will.” … “We are without overseer.” … “There are no more consequences.” … “The visitation of a talented artist.” … “One that we have, as a group, defined as being consistent in their aesthetic and praxis.” … “The performance of their ritual.” … “Equating the building to a body.” … “Each of us a cell.” … “Every cluster of rooms an organ.” … “Each floor a system.” … “It is a break or malfunction in the veins connecting systems.” … “Blood cannot travel.” … “The collective has departed.” … “They have left us without an understanding of our environment.” … “Space is of a poetic nature, it cannot be understood haptically.” … “This is nonsense.” … “And yet it afflicts us.” … “Or we are afflicted with a hypochondriac perception of ourselves.” … “Or there is no difference.” … “Or there was no sound at all.” … “But this is not true.” … “Something has happened.”
Red light illuminates windowless hallways. Fragmented pathways connecting barren or cramped studios. Silhouettes pass one another, clinging to the edges of the wall. Circumnavigating other bodies. The floors creak at the hint of movement. Tampered wallpaper absorbs pockets of light. Someone says that they have been waking up in the middle of the night, seeing images of their mother. The void reconstructs vague memories of her complexion. It feels as if certain pathways have begun to disappear, they say, certain doors aren’t where I remember. Some hallways don’t lead to where they used to.
A tenant who pretends to associate with the collective of ambitious architects, lists the semiotic qualities of the hallway. Speculates why the lights are red, why people won’t talk to one another, why the floor creaks so much. The neighbor who saw their mother in the middle of the night says that symbols must be placed, they do not happen naturally, or as the byproduct of a degradation. If there is a signifier being signified, in this circumstance, it is the aesthetic elements of Buñuel’s Exterminating Angel, in which none of us can bear to leave, but there is no reason we should stay.
Someone says that Buñuel might live here, but it is not true. Another tenant says that this could not be true, it would be anachronistic. The layout of the floor changes. Since the sound of the initial impact, the building has felt much more lively. As if awoken. Landlines are severed by tectonic shifts. Wires stretch and unthread. Fires start between walls. Red light crawls into the connecting studios, engulfing the door frame and absorbing the natural fill.
One of the tenants takes on the facade of a performance artist. They perform the movements of the building. When they flex their leg, the floor shakes. When they extend their bicep, the walls bend. When they tense their neck, the ceiling explodes in noise and static.
Further hysterias begin to develop. Each tenant finding their own methods of converting paranoia into a tactile art. The collective of ambitious architects respond cryptically by writing a map of the text, in which each floor’s changing shape is dynamically rendered. But regardless of this, there are no departures and no changes to the migration of the tenants.
apt. no. 4006 – apt. no. 9096 – apt. no. 3619 – apt. no. 2299 – apt. no. 3584 – apt. no. 1345 – apt. no. 3436 – apt. no. 4370 – apt. no. 3813 – apt. no. 2786 – apt. no. 4735 – apt. no. 8562 – apt. no. 7263 – apt. no. 8253 – apt. no. 5782 – apt. no. 1702 – apt. no. 5257 – apt. no. 4474 – apt. no. 826 – apt. no. 4322 – apt. no. 1915 – apt. no. 1765 – apt. no. 8850 – apt. no. 1924 – apt. no. 7211 – apt. no. 1160 – apt. no. 197 – apt. no. 6382 – apt. no. 7860 – apt. no. 5286 – apt. no. 7792 – apt. no. 7394 – apt. no. 6277 – apt. no. 1158 – apt. no. 7493 – apt. no. 9853 – apt. no. 5196 – apt. no. 9277 – apt. no. 2524 – apt. no. 6494 – apt. no. 5820 – apt. no. 6129 – apt. no. 914 – apt. no. 7276 – apt. no. 2714
apt. no. 8858 – apt. no.2659 – apt. no. 4276 – apt. no. 2535 – apt. no. 2851 – apt. no. 2888 – apt. no. 828 – apt. no. 2031 – apt. no. 7303 – apt. no. 3046 – apt. no. 4210 – apt. no. 2325 – apt. no.5803 – apt. no. 9826 – apt. no. 3676 – apt. no. 2103 – apt. no. 2382 – apt. no. 3282 – apt. no. 2720 – apt. no. 1513 – apt. no. 3593 – apt. no. 8575 – apt. no. 8965 – apt. no.6969 – apt. no. 6867 – apt. no. 292 – apt. no. 108 – apt. no. 1408 – apt. no. 1631 – apt. no. 5327 – apt. no. 7254 – apt. no. 2643 – apt. no. 1188 – apt. no. 5182 – apt. no.4163 – apt. no. 9021 – apt. no. 6777 – apt. no. 8203 – apt. no. 2747 – apt. no. 9892 – apt. no. 1915 – apt. no. 1668 – apt. no. 3581 – apt. no. 7846 – apt. no. 4432
apt. no. 4006 – apt. no. 9096 – apt. no. 3619 – apt. no. 2299 – apt. no. 3584 – apt. no. 1345 – apt. no. 3436 – apt. no. 4370 – apt. no. 3813 – apt. no. 2786 – apt. no. 4735 – apt. no. 8562 – apt. no. 7263 – apt. no. 8253 – apt. no. 5782 – apt. no. 1702 – apt. no. 5257 – apt. no. 4474 – apt. no. 826 – apt. no. 4322 – apt. no. 1915 – apt. no. 1765 – apt. no. 8850 – apt. no. 1924 – apt. no. 7211 – apt. no. 1160 – apt. no. 197 – apt. no. 6382 – apt. no. 7860 – apt. no. 5286 – apt. no. 7792 – apt. no. 7394 – apt. no. 6277 – apt. no. 1158 – apt. no. 7493 – apt. no. 9853 – apt. no. 5196 – apt. no. 9277 – apt. no. 2524 – apt. no. 6494 – apt. no. 5820 – apt. no. 6129 – apt. no. 914 – apt. no. 7276 – apt. no. 2714
-

Crime Wave at Goose Rocks
Bayonne
By the time Ryan was born, the oldest of his five siblings was already in high school, and his ornery father’s terrible tantrums had more or less subsided. Metal ashtrays were tossed less frequently through the house, and bad afternoons at the track seldom led to threats of bodily harm. The old man even managed moments of quasi-affection—patting little Ryan on his head when he came home from school and surrendering the television to him on Thursday evenings when he got to be a teenager so he could watch Matlock and, his hero, Perry Mason.
By the time he had reached his forties, Ryan was the only member of his family in contact with the old man, calling every Sunday morning over to the squalid one-bedroom in Bayonne where his father moved after their mother had left him. Ryan let himself be taken out to lunch once a month at the VIP diner down the block for which his father would dress in one of his frayed leisure suits from the seventies and order desiccated roast chicken or London broil with glutinous gravy.
When no one picked up that Sunday, Ryan tried every twenty minutes until the middle of the day, pretending that the old man might have gone out though the bar didn’t open until noon and the dogs weren’t raced on weekends.
The drive to Bayonne took nearly an hour through church traffic, and the odor coming out through the humidity-warped door hit Ryan in the face before he even tried turning the knob. He paused and took a deep breath to steel himself for what lurked beyond the threshold. Neither defending the guilty at the public defender’s office nor living in the cramped home in Guttenberg with his wife and son calmed him particularly, but the thought of July in Maine at Goose Rocks Beach brought him some peace of mind: its cool sea air the perfect antidote to corrupt and crumbling Hudson County, New Jersey, where he’s had to refuse bribes and keep clear of questionable congressman. The place was too far from God, as he liked to say, and too close to New York City.
Imaginary surf sprayed his face, and sand tickled his toes as he easily broke through the flimsy door and walked down the creaky linoleum floor into the bathroom where his father lay on the floor covered in bloody glass shards. He’d toppled against the mirror when the stroke hit. The odor of the place is what Ryan can’t shake off, rotting cantaloupe on the kitchen table, decomposing father on the bathroom floor.
Goose Rocks
The fantastically New England Fourth of July parade doesn’t catch him in the throat like it should. He and Patty have dressed seven-year-old Peter in a Spiderman costume and wait with the hearty Maine crowd and occasional other summer renter just outside town for the parade to begin. Yesterday’s rain has disappeared overnight, leaving a cool bite in the air and perfectly blue sky, but Ryan can only concentrate on the ruddy local men and their sincere-looking wives and thank God he hadn’t persuaded Patty to move up north with him and put up a shingle. There is a stark absence of robbing and divorcing here, suing and defrauding.
The parade moves glacially down the main drag past the turreted Victorians on one side and the bike path along the rocky beach on the other.
Lying unlocked just off the path, Ryan spots a sexy Italian racing bike, and even more impressive, a Vespa with a key in its ignition. He remembers sipping a Bud Light in Patty’s parents’ kitchen after their first trip to Maine, praising the unlocked vehicles of New England and listening to Patty’s mother’s racist insinuations—Hudson County where there were too many blacks and Hispanics to leave anything unattended.
Turning his head away from the bikes, he looks across the street at the unlocked houses and remembers the imbecilic burglar he’d visited in Rahway the day after he discovered his father. Not smart enough to disarm a decent security system, Sal Starita had been captured speeding recklessly away from his crime. The smell of Rahway Prison returns to Ryan’s nostrils, and he hears the heavy prison gates clanging closed behind him.
He feels hemmed in, as big adults in baggy short pants, babies, and yapping dogs crowd them on all sides. His queerly sensitive nose picks up perfumes and deodorants, halitosis and diapers.
“I can’t take this anymore,” he whispers to Patty, who looks mutely back at him.
“Patty, sorry, my stomach,” he yells a moment later, clutching his belly and tearing off in the opposite direction of the parade.
Ten minutes later finds him panting for breath and trudging down the deserted section of the main drag past which the parade had already processed. He catches the eye of an attractive blond about his age sunning herself in front of a bed and breakfast and moves toward her like he has something to say, but nothing comes out and he beats a hasty retreat, picking up speed again down the path.
While ambling along, staring at the waves as they crash against the rocks, he feels his knee knock into a mountain bike leaning against the seawall.
“Fucking asshole,” he says, North Jersey resounding hollowly through the empty beachscape, “shit fucking dick.”
He shakes his leg out and appraises the bike, unlocked and brand new. He kicks it, then, then picks it up and holds it apologetically. Coolly, he checks out the empty beach, the path, the houses on the other side of the street.
Sal Starita’s beady eyes fix on him from Rahway, urging him on.
When Ryan mounts the bike, gently like he’s trying to seduce it, and takes it tentatively forward, neither the seagulls swooping down into the water nor the hermit crabs crawling over the sand seem particularly disturbed.
About a football field later, he dutifully twists it around and starts pedaling back, but when he gets to the spot where he found it and climbs off, his foot gets caught on the seat and he topples onto the concrete ground. A few seconds later the mountain bike tumbles down on top of him, blackening his eye.
He feels woozy when he gets back up, his bacon-and-egg breakfast tasting awful in his mouth. His back itches ferociously just where he can’t scratch it, and a deadening pain starts up in his brain.
A momentary lapse hadn’t been enough, and the moment he’s back on the bike, his body starts to reassemble, the pains lessening, the itching going away.
Fiercely, he surges forward as the cool breeze blows through his thinning hair and the distant sounds of the parade float up to his ears. Reaching the hill that marks the end of the beach, he continues on the road as it splits away from the sea up into the woodsy barrio right above town.
Panting and perspiring, he comes to a halt in front of a down-on-its-luck house with deteriorating aluminum siding and a sagging front porch. Its driveway has no vehicles, but its front yard is crammed with plastic toys.
The residents are likely at the parade, but he walks up to the door and rings the buzzer just in case. After the tinny bell echoes several times through the house, he grabs the knob and tries to turn it.
The knob won’t budge.
And without any warning, thatit happens again. A tremor snakes back up his spine, knocking him is body about. He wants toalmost vomits but can only dry-heaves.
Since discovering his rotting father, he’s developed this problem with thresholds—his mother’s on Bergenline Avenue, his brother’s in Staten Island. Foul tastes fill his mouth as he approaches them. HThey make his torso tremors, his shoulders shiver.
The knob is still stuck when he takes another crack at it, and relief washes over him. He just has to dispose of the bike somewhere, walk back into town, and return to his life.
But when he tries it one last time for good measure, the damn thing creaks open and he finds himself in a living room covered with more broken-down toys and reeking of cat piss and recently fried meat. He stops his nose up with his fingers and watches a bedraggled gray tabby yowl from her perch on the ripped-up couch across from a TV muted to a cartoon channel.
Everything looks dirt cheap, but he doesn’t need to take anything valuable. He picks up a broken action figure, flips through a People magazine from the stack on the floor, but the thought of taking something they won’t miss doesn’t sate the emptiness at the bottom of his throat, nor calm the hives in the pit of his spine.
Outside on the bike a moment later, he wraps the cord around his neck, the one that had connected their television to the cable box, then sails down the street toward home, giggling about the existential despair he’s inflicted.
Ryan’s heart beats calm and steady as he lugs the mountain bike through their rented apartment into the unfinished basement, which he and his family have hardly explored. While covering the bike and cord with an old yellow-stained sheet, he gets caught with the genuine runs.
After vacating his bowels in the bathroom upstairs, he sees on his watch that Patty and Peter (the Ps he calls them) should soon arrive at the community center where the parade concludes.
Peter’s face lights up when he sees him in the distance, and Patty looks relieved. But when she gets close enough to see the black eye, a look of distress falls across her face and she wants to know if he’s planning on telling her what happened.
“Not really,” says Ryan, resenting herthe way she used her prosecutor’s voice.
“I just tripped,” he revises when he sees she’s not letting it go.
Peter grunts impatiently, eager to get back to the fair, and Patty shrugs her shoulders and touches her husband on his arm. His eyes well up when he sees how sweet she’s being. She’s letting him the hook as he’s got a pretty good track record, but he’s got to start acting normal again. He knows from his father’s example that wives won’t stick around if you don’t.he’ll lose his wife if he can’t.
They eat hotdogs, drink soda, then huddle protectively around their only child as he rides a pony and sinks enough baskets to dunk the red-faced mayor in a pool of water.
Monday
The clouds roll in, and the family gets out the Monopoly set.
Enthusiastic but not very calculating, Peter spends too much on houses and hotels, and a mild run of bad luck (a go-to-jail card and a case of community chest) takes him to the bridge of bankruptcy.
The storm on his face reveals an approaching tantrum, so Patty notes that he’s bought seven hotels and asks with a kindly gleam if they happen to be playing “seven hotel” Monopoly. Then she elbows Ryan who allows that they are.
In this new version, the player with seven hotels gets half of everyone cash. Peter glances nervously at his father while accepting his new stash.
Ryan smiles kindly but burns inside as more and more corrupt Hudson County values get imported to Maine. He imagines a seven-hotel Monopoly set resting alongside the stolen bicycle and the cable cord.
Sunday
On the following morning, sunlight pours from the sky.
Ryan looks off at the ocean, listens to his wife reading softly to his son on the beach, then bolts to his feet.
If he pleads more stomach trouble, she’ll send him to a gastroenterologist. He doesn’t have to explain himself in any case. Years of being trustworthy have built him credit.
“Going for a stroll,” he says, tipping his the beach hat.
“Alrighty,” says Patty with the quizzical smile she saves for defense attorneys, “enjoy.”
Today will be trickier as there’s no parade to suck people away from their homes.
At the end of the beach, he climbs the hill, striding past the house he’d broken into two days before. An old Chevy is now in its driveway, and a man is cleaning a grill next to it with a hose and some steel wool.
An internal engine tilts Ryan toward the man. Another revving has him wishing the guy a “good day.”
“Morning,” says the man. Fortyish with hung-over eyes, he has a physique like a bear, and his dismal expression reminds Ryan of his father’s in his last years. Then Ryan tips his hat again ridiculously like a character from a thirties movie and pushes farther down the street in search of a house with no one home. The next one has an SUV in its driveway, the one after that some dirty, blond kids playing in a sandbox. Finally, at the end of the stretch just before the road disappears into the marsh, Ryan passes a house devoid of people or vehicles. It’s made of a chintzy rock unsuccessfully evoking medieval glamour and set back a bit from the street; its thick and weedy lawn can’t have been mowed in weeks.
He walks up to the front door and rings the bell, trying to think of what to say if someone turns out to be home. When there’s no answer, he knocks softly until his hand gets the better of him and the sound of banging reverberates through the air.
After another ring just for the hell of it and three more knocks, he grabs hold of the knob, having forgotten that he’d plan to wrap his hand in his shirtsleeve before touching anything.
To his surprise and considerable consternation, the knob refuses to budge. He wonders what sort of losers lock their door in Goose Rocks Beach.
After looking up and down the block, he smashes into the flimsy door with his right shoulder. Nothing happens so he tries again with the other side. His shoulders are achy and bruised by the third try, but the door seems to loosen, and a hard kick finishes the job.
His stomach stays steady as he storms into the cold, clammy inside, and he wonders if he might finally be recovering from his discovery that spring. Once his eyes adjust to the darkness, he sees he’s in an empty room with a water-logged linoleum floor. Rust streaks the walls, and everything looking foreclosed and forgotten. He slips carefully forward from the front room into an empty hallway, fearing a tumble through rotting floorboards and wondering what he can possibly find worth stealing. Toward the back of the house, he enters a room with a dusty red carpet and some actual furniture: an armchair, a VCR, and a pile of videos—Analyze That, The Gangs of New York—detritus, he decides, of some long-failed marriage, the abandoned beach house.
Taking a different route back to the front door, he slips into a mildewy kitchen with a rusty fridge. His heart bangs relentlessly, he smells the sharp reek of rot, and his mind conjures bodies left to decay—forgotten spinster aunts, drug-addled cousins. This was the danger of walking into strange houses.
He imagines himself back in Judge Dolan’s courtroom, this time representing himself on some heavily circumstantial murder rap, when the sun coming in through the foggy windows reflects on something plastic on the chipped Formica table—a credit card.
Not likely valid in this millennium, he thinks, as he grabs it and takes a closer look. But the Chase Visa actually doesn’t expire until the next day. The first name on it is Evan, the last Cohen.
Not so many Jews in these parts, thinks Ryan, as he strides back down the street with the card in his pocket, tipping his hat again to the man whose cable cord he’d stolen. Could a freckly, red-haired man such as himself get away with using it?
Thursday AM
The next morning presents him the problem of using Cohen’s card to buy something for the unfinished basement without asking for “alone time” with Patty, the word they’d used during the terrible summer Peter was conceived when they had nearly split.
So this is what he does.
While driving to the sea, another blissfully sunny day, he double-parks in front of the overpriced beach store. Known in his family for penny-pinching, Ryan can only hope what happens next won’t seem suspicious.
“Just a sec,” he murmurs while dashing into the store.
He has only a few minutes before Patty grabs Peter and darts inside to investigate. While appraising the racks of towels, T-shirts, and bottles of suntan lotion, Ryan chances across a large inflated blue whale, which may puzzle his family but will fit perfectly well into the unfinished basement with the rest of the loot.
Grabbing it, he dumps it unceremoniously on the counter along with Evan Cohen’s Visa card, valid for scarcely hours more.
The stumpy old cashier mumbles something Ryan can’t grasp, so he waves the card impatiently.
“Can’t a man just buy something?” he demands, hearing discordant North Jersey in his voice.
The woman explains that he’s got the store model. He has to find one that’s not inflated and blow it up when they get to the beach. He goes back to get one, leaving the card in her hand and raising all sorts of alarms in his head—that she knows Cohen, that he’s too Irish-looking to be Cohen, that she’s got some intuitive old Maine nose for thieves. Inarticulate explanations for why he has Cohen’s card sputtering through his head, he takes the receipt from the old lady, signs it, and stuffs the plus-size whale into the plastic bag she’d given him.
Puzzled at first, Patty succumbs to the charms of the whale when it gets unveiled at the beach and even starts to inflate it herself. While watching her blow up the plastic whale purchased with the stolen credit card, something peculiar overcomes him, and he has to turns over on his stomach to conceal the arousal in his swim trunks.
Thursday PM through Sunday AM
Since the whale isn’t exactly stolen, it doesn’t need to be stashed in the basement but can rest with the other beach materials in the garage. The elation, the slight high, the physical desire that its presence evokes in Ryan makes good work of both Thursday, and Friday and Saturday nights after Peter has gone to sleep. Ryan devours Patty on the queen-sized bed like he hasn’t in years. On Saturday night, as he begins to climax, Ryan imagines speeding through Goose Rocks on a stolen Vespa, squealing dramatically to a halt in front of an empty beach bungalow. The buoyant nights make them pleased with themselves all weekend, no longer looking at the younger, more sexually prodigious couples with quite the same envy. They may be falling into middle-age, but everything is not quite over in the area that both Ryan’s and Patty’s mothers referred to austerely as “down there.” Maybe it’s their explosive nights, their sun-flushed days, all the fresh lobster; in any case, the criminal itch subsides. Ryan cuts the credit card into small pieces and tosses them into the trash.
—
Monday
At the crack of dawn, it returns with a vengeance. Neither sunburn nor mosquitoes can explain the itch, a physical sensation sneaking deceitfully from his ankles to the backs of his knees, his fevered scratching bloodying his sheets. After he’s writhed miserably in bed for as long as he can stand, he puts on his bathrobe and sneaks out into the day.
The loud sound of the Suburban ignition rattles his nerves, so he takes the crappy bike that comes with the rental out of the garage. He nearly falls off when his bathrobe gets stuck in the chain, and he hears conversations about credit cards and cable cords. He leans the bike against a tree, and while approaching a Mini Cooper that might have a key in its ignition, the thought of jail catches him in the throat. There were other dangers—the inevitable divorce, the shame that Peter would carry with him. But it’s Rahway prison that makes the taste of last night’s meal rise back up his throat.
The most effective defense for the glaringly guilty would never hold as he wasn’t abused as a child though his mother did die of breast cancer when he was barely out of college, and no one can prove the priests hadn’t molested him during his altar-boy adolescence.
The Mini Cooper is locked, and the itch is worse than ever. He wriggles his ass against the back of the bike seat, then scuttles off in search of an emptier side street, knowing he must hit the first possible house then come right back home before Patty catches wind of his absence.
The only house on Gardner Lane with no car in its driveway looks impenetrably plywooded. His mood is plunging, stomach rumbling, when he sees an aluminum-sided prefab with no vehicle in the tiny driveway.
The greasy doorknob gives in easily to his touch, and the sickly sweet smell of aging hits him squarely in the face. The room is crammed with old blankets and quilts, the coffee table in its center full of crumbs and stains. Black-and-white photos that, which look European, fill the walls. The floor creaks as he steps inside, but no one seems to stir, and he gets the queasy feeling that the old foreign lady who lives here hasn’t made it through the night.
“Vinny,” a voice demands from the back of the house, “why you here so early, Vinny?”
He instinctually makes the sign of the cross, relieved that the lady is still alive, when her walker starts shuffling from the back. The old guinea will take a while to get to the living room, but she’s on her way.
Unfreezing himself, he grabs a photo lying face down on a coffee table and a dish of Paleolithic jelly beans and flies out of the house. There is no place for the plate, so he Frisbees it away, hearing it smash into pieces in someone else’s driveway.
After some furious pedaling, he makes it home to find both his Ps still asleep. He skulks into the basement and dumps the photo (of a youngish police officer with an eighties haircut who must be the old biddy’s son) onto a yellow-stained mattress. He considers scattering the jelly beans anarchically through the basement but crams them into his mouth instead. They, too, must be from the eighties but contain too many preservatives to rot in any old Italian lady’s lifetime.
Tuesday, Wednesday, Thursday
Sated, sickened by the insanity that has descended on him, Ryan’s body no longer itches, but his head feels heavily fogged.
That tight-lipped half smile has frozen onto Patty’s face. She doesn’t bother to ask what’s wrong, but it will all become clear when his crimes get exposed. She definitely won’t stick by him like the wives of the hooker-loving governor and the sexting congressman. Of course, no press conference will be required of him, just another Hudson County attorney caught up in something he shouldn’t be.
As the days of the vacation drone on, he slips occasionally away from his Ps, climbs down into the basement, and gazes uncomprehendingly at the bicycle, the cable cord, and the photograph.
Saturday
They plan to stop for a night in Jamaica Plains on their way back to New Jersey, as an old college chum is having a barbecue for them. Bright and early Sunday morning, they will drive back to New Jersey since they are both due in court on Monday.
While straightening up the house, climbing into the Suburban, and driving out of Goose Rocks Saturday morning, Ryan feels his heart pound worryingly, and his eyes blink in the hazy sun, but once they merge onto the southbound highway, the cloud starts to dissolve.
By the time they’ve crossed into Massachusetts, he feels deliriously happy as his ailment doesn’t seem to cross state lines. Uncharacteristically gregarious, he downs four beers at the barbecue and regales his hosts with tales of stupid criminals.
“If you catch them, you might as well keep them,” Patty wearily declares, “you know they’re going to go right back out there and get caught again.”
Sunday
Ryan wakes up with a start on the fold-out couch. He doesn’t see Jim and Julia’s messy living room but the contents of an unfinished basement two hours north, and a nosy landlady going through it after the season is over and asking questions across town. The story of the disappearing cable cord meets up with the story of the one appearing in his rented house.
He looks at his watch and sees it’s only two AM.
Not fifteen minutes later, he’s cruising at seventy, veering toward eighty, hoping against hope that he can get there and back without Patty noticing he’s gone. Once there, he bursts through the feeble screen door in back, striding calmly through the house and down into the basement.
But the minute he’s back on the road, he has real trouble convincing himself he doesn’t have anything more incriminating in back than a bicycle, a photograph, and a cable cord, that the rank odor emanating from the Suburban really only comes from the melon that Patty had briefly forgotten there the week before.
When Portland approaches, he takes a random exit and follows it with a series of random turns, landing him in a neighborhood of clapboard houses. He pulls into the driveway of a particularly tiny one and deposits the cable cord and the photograph on its dime-size front yard as a kind of offering. The mountain bike won’t stay up, so he lays it on the ground and strokes its back tire affectionately goodbye before scurrying back to his son, his wife, and his guilty clients, the corpseish smell of rotten melon still pervading the Suburban.
-
Five Poems – Olena Jennings
KNIFE
the knife to cut the beet
from the garden the red
dye against my skin
the shiny metal blade
your job is to wash
the knife your job
is to prevent me
from coming close
to the sharpnesswe took on certain roles
in the house
you cut the meat
while I cut the vegetables
the stains were varied
yours a thin scarlet
and mine bleeding green
I later pulled a needle
through clothrepeating colors
with thread
we hung the embroideries
on the walls
the colors fixed
we sat on the couch
as the colors watched
us move one of our hands
on top of the other’syour hand was usually on top
we played
our roles
you walked through our hallways
the loudest
I resented your footsteps
while I walked
on my tiptoes
towards the front doorin the thicket
outside the house
you had the idea
to chop wood with the knife
so that it would become
dull
so that we wouldn’t
be tempted
to place it against skinthen to reveal our scars
holding subway poles
the inside of our arms visible
showing off
the knife’s traces
red the knife
in your jean pocket
an unforgettable
shapeTHE POND OF HER
The cattails in Humboldt Park almost sway,
but they are too heavy in their longing.
I am wearing her cut-offs
and the angora sweater from the rummage.
She taught me to shave my legs.
I could only live
by her definition of beauty.She lives by matching accessories
purchased at Claire’s Boutique,
clear skin,
a C cup,
plucked eyebrows.
We’re nothing
alike.The pond is too shallow for suicide.
I would often go alone, but sometimes
with her to watch the way her fingers
stroked the top of the cattail.
She would come close
to pulling it out
from its green stalk.Close to the edge
of the park
we could hear tiny
voices from the swing sets.
The pond was near
a busy street
where not everyone avoidedthe ducks who had left
their element and we cried.
Maybe we were sad
because it was like our own
suicides
would have been:
a sudden end to love.CEMETERY COFFEE
Caffeine
sparks our imaginations.
Our thoughts rise
like we wanted our loved ones
to rise from the grave.
We are their children who walk barefoot,
leaving footprints in the brush.
Our hearts are their balloons.
They hold on by the strings
of arteries.Coffee in the cemetery.
They would have wanted some,
with an extra dollop
of milk like coffee that we drank
in the church hall
from Styrofoam cups
when we still prayed
and saving the environment
meant turning off the light
when we left a room.We drank coffee. The yellow
tablecloth was a pond
between us. My feet
were wet in our conversation.
She bought me gold jewelry, not realizing
that I would have preferred costume
even when I moved my hair
away to show off florescent pink earrings.
She didn’t know we were different.
But she was the one to drift away.COLOR
a cool piece of silk
the soft protein
dropped in dissolved
alum a bridge
the yellow weld, the pink madder
the bright osage orange, the purple lac
the insect constructs
its house and it dissolves into color
influenced by acid, alkaline, copper, or ironthe reaction in the beaker
fizzes towards her
she has wanted to experience
this connection in her own life
to see her desire
bubble up above her skin
to look in the mirror
and see herself changed
color in her cheeksswatches of silk
for her daughter’s high school science fair
the dyes were collected from the house
coffee grounds
rose petals
turmeric
their scents in the hot water
made her head spin
as her daughter waited for resultsshe pulled on her rubber gloves
to manipulate nature
the dye rinsed off like blood in water
when she cut her finger
chopping eggplant for your birthday
her hair all twisted up
and you open the box
with the silk scarf
lying quietly in colorPAPER DOLLS
I am sick and I cut the parts that hurt larger.
The heart throbs. The room is getting stuffy,
but mother is afraid of opening the window.
The paper dolls float like snowflakes.
Weather finds its way inside.
She watches me with the glistening blades
of the scissors. The down has traveled
to the bottom of the comforter.
It isn’t warm anymore. My pills
are lined up on the nightstand, full moons.
I cut dresses and two-piece suits, fold them
over the bodies of the dolls. In the mirror
I see my mother’s face behind me.
She is ready with the cold compress,
ready with the thermometer. I am ready
with my fever. -
Atmospheric Perspective
A sharp electric tone screeches from the alcove of the restaurant’s drive-thru window. The girl on duty for the night shoots past the counter in a blur, engaging her headset and going through her opening spiel for the customer in the blue Chevy around back. She bobs behind the shift manager as she darts toward her register.
He adjusts as she moves closer, straightening up a bit from the slouch he’d crumpled into while idly talking to a regular customer across the counter. He cranes his neck after her, after the shape of her buttocks pushing out the faded fabric of her slacks and the equine sway of the long rope of hair dangling out of her cap.
There is something like a smile on his lips as he turns back.
The customer stands at the counter like a wobbly, misshapen idol, all Buddha belly and unnatural posture. He sips from a half-gallon paper cup, occasionally dribbling on his short-sleeve pinstripe shirt and the navy shorts that stop above his rocky knees and albino-pink legs.
“It’s the comparison I’ve heard is closest,” the man says.
Reorienting on the other side of the counter, the restaurant’s shift manager leans his compact frame against the bulky register with a faint creak of stubborn plastic. He smiles a different type of grin with half his face and answers, “You know, I hear that a lot. Most people get this weird idea about the Roman Empire. You know what people are really admiring when they say this stuff? Their engineering. That’s about the only criteria you can use to say Rome’s the greatest empire in history. You’ve got Alexander’s, or the Khans–all bigger. Hell, China was bigger than Rome for a thousand years. Rome was a flash in the pan. So if people want to make that comparison, then that’s what they’re saying. They don’t even know what Rome was, or how it worked. It’s a confused understanding of history if you ask me.”
“I think that’s what that book I was talking about said, too.”
“What was the name of that one again?”
“Um, I can’t remember exactly. I’ll look it up and tell you tomorrow,” the man stammers.
“Sounds good,” the shift manager says absently, looking past the man to the dark hanging on the other side of the front windows. “Well, I better get back to work.”
“Yeah, yeah, I know, I know. I should go. I’m just gonna get a refill.”
“Sure.”
He takes the barrel from the customer’s pudgy fingers and loads it with soda before handing it back across. He gets a smile from the graying, pasty face as the older man turns and heads out with flopping steps.
“Dude, that guy is weird,” a voice booms from behind the heat lamps.
“Be nice,” the girl’s voice interjects from the drive-thru.
“He’s harmless,” the shift manager tells the cook without looking at him. Instead of turning, he punches in a sequence of commands on the front cash register, prompting it to spool out a long strip of printed tape.
“I don’t know how you talk to that guy, though. Whenever he comes in here you get talking about shit like that. It’s like you know everything.”
“Hardly everything.”
“But where you find all that out, man?”
“School, books.”
“So you’re all educated and shit,” the hefty fry cook continues while switching off the bun-toasting machine.
“Guess so,” he answers. “And don’t say ‘shit’ when there are customers around.”
The frycook cranes his neck to see around the wall of the dining room. “Oh shit, are there people here?” he asks over the sound of the machine winding down.
“Shhhh.”
“So where’d you go to school?”
“Um, I actually went to Harvard for a while, but I ended up back home here at Harvard on the border.”
“Harvard, huh?”
“Yeah, but I had to come back because of family problems.”
“Oh yeah? That’s cool. Hey, can I break down the toaster, man?”
“Way too early.”
“Come on, man. I’ll just run some buns through ahead to get us through the night.”
“Nope.”
“Dude, come on.”
“Hey,” he says, turning away from the register. “If it were my restaurant…well, if it were my restaurant then I’d be chained to it and that thought would probably drive me to suicide so then you’d be free to do whatever you wanted.”
“Huh?”
A little chirp of a laugh emanates from the drive-thru window.
“No, you can’t break down the toaster,” he says and steps over to the drive-thru girl’s register.
“That’s funny, huh?” he asks her.
“Little bit,” she tells him. The brim of the baseball cap shadows most of her face, but her lopsided smile pokes out. He hovers before her, and she cranes her neck up to see from under the hat. Her form is pretty much lost in the baggy uniform, but bits of her body push outward on the combo wardrobe of printed tee-shirt and on-the-cheap work pants: strong shoulders, breasts, and a little hip. For a moment her long face looks only doughy, but her smile widens when he looks down at her. The expression pulls up her cheeks and stretches her jowls back, giving her face some shape.
“Excuse me,” she says and steps around him.
She saunters off as he runs a report off her register too and pops the drawer open.
He calls her back up a minute later.
“The drawer.”
“What? Is it off?”
“How many twenties did you take?”
“I don’t remember.”
The frycook peers over his equipment to listen in and the other cashier wheels the sloshing mop bucket past them on her way to the lobby. He takes quick note of them and continues, “You’re ten dollars under.”
“Ten?”
“Exactly ten.”
“There was that rush earlier,” she says, peering off with her lips pinched up. “Maybe I made change for a twenty on one of those instead of a ten.”
He frowns and shoots a quick look at the others to set them back to their tasks.
“Maybe?”
“I don’t remember.”
“Any other possibility?”
“If it’s exactly ten, then that’s what it’s got to be. If it was a void I forgot then it wouldn’t be ten on the nose.”
“Alright, well, I’ve got to log it, you know that.”
“I haven’t had a drawer shortage since my first week. Sorry.”
“Just be more careful, okay?”
“Yeah, okay.”
The drive-thru pad picks up the weight of a pick-up truck with hungries in it and she turns from him to push the button on her hip and issue her standard greeting/suggestive sell combination into the mic dangling beside her chin.
A few more orders come and go, but the clock eventually creeps closer to the mark they’re waiting on. He watches her shape in the convex mirror as she sweeps the last stray fries left in the lobby during a lull between orders. He walks past the frycook.
“Now,” he tells him.
“‘Bout time!” and immediately starts pulling apart the machine.
He walks slowly out into the lobby, but she does not look up, does not slow in her task. “It looks fine,” he tells her.
“She shouldn’t have mopped so early,” she says, throwing her head over her shoulder to indicate an absent coworker.
“It looks fine,” he repeats. “Let’s get everything stocked. I’m looking to do a record close tonight.”
“Okay.”
Soon sharp clicks coincide with sections of the ceiling going dim. The crew members loitering against the front counter straighten up and start shuffling toward the door, waiting for him to come up and unlock it.
Outside, the street lamps leave rainbow smudges on the oil puddles in the parking lot.
“You need a ride?” one of them asks the young drive-thru girl as the other workers split up and disperse toward their cars.
“No, mine’s coming,” she says.
At the door, the shift manager is fumbling with the lock. “I’ll wait with her,” he volunteers.
“Okay,” the others sound off. “Bye.”
As the others’ cars roll away, the remaining two figures–standing apart–follow with their eyes the red glow of tail lights receding in both directions until the street is calm and empty. Then both converge on the remaining car and climb in together.
“I’m sorry about before,” he tells her as he rolls the engine over.
“What about?”
“When I got on you about the money.”
“Oh.”
“It’s just that…I mean I have to be fair.”
“It’s fine.”
“I can’t treat you differently, you know. They’d catch on. Hell, I’m surprised somebody hasn’t already.”
“It’s okay, I get it.”
“If anybody found out and it got around, especially up to the district manager–”
“Don’t worry about me. I get it. You’re doing your job.”
“Yeah, but according to my job, we shouldn’t even be together. Hell according to the law–”
“Please. The law in Texas is seventeen.”
“What?”
“Age of consent is seventeen. You’re not breaking any laws.”
“Oh.”
“Would you?”
“Would I what?”
“Did you really think you were breaking the law by being with me?”
“I guess not. I mean, I did know about it being seventeen and all.”
“Oh.”
“You don’t mind having a boyfriend who can’t admit he’s your boyfriend? Does your mom know about us?”
“So you’re my boyfriend?”
“Come on, I’m serious.”
“I don’t care what people think,” she shrugs without looking at him. “Those aren’t my rules.”
“What aren’t?”
“Everything you’re talking about. Those aren’t my rules,” she says again.
“So you don’t follow the rules.”
“Not if they’re wrong.”
“Why are these wrong?” he asks, a surprised lilt to his words.
“What does the district manager care if we’re sleeping together? We both do our jobs. It’s none of his business. That’s why I don’t care that you chewed me out for the drawer. It’s your job. It’d be wrong if you didn’t.”
“I didn’t chew you out, did I?”
“Not really.”
He opens his mouth once, stops himself, then begins again. “I’m interested in your morality here.”
“You’ve never cared about my morality before.”
“I’m putting some pieces together here. I’m just trying to figure you out is all. You told me once you don’t go out drinking with your friends.”
“I don’t.”
“Isn’t that someone else’s stupid rule.”
“No. That’s my rule.”
“Oh.”
“I promised myself something about that.”
“What?”
She just shakes her head.
“So, didn’t you make a promise to the company?”
“Did I?”
“You signed some agreement, right? Something about company policies and all that.”
“Maybe, but that’s not the same thing as a promise.”
“Why not? Seems like it.”
“No, a promise is specific or it’s meaningless. Look at marriage. Somebody gets up one day and promises vaguely to love and to honor, but you know that most men cheat on their wives anyway.”
“Is that right, though?”
“Depends on the person. I mean, it’s not right, but it’s not necessarily wrong.”
“No?”
“Promises don’t work like that. You promise one thing and you do it for your own reasons. You don’t get up there and make some promise that covers your entire life. That’s not a real promise. It’s different if a man loves a woman and he’s still in love with her and she expects him to only be with her or something, but those are extraordinary circumstances. That’s not what most marriage is about.”
“What’s marriage about then?”
“Need,” she answers, still gazing out ahead of them as the headlights catch pedestrians and bus-stop benches on the side of the road.
“When you get married, you won’t expect your husband not to sleep around?”
“I don’t know what I’ll expect. Relationships are individual, particular.”
“Are they all about need?”
“Sure.”
“Are we?”
“Sure.”
“So you’re not in love with me?”
“No, I’m not in love with you.”
“What if I’m in love with you?”
“You’re not in love with me,” she answers flatly. He stops watching her and keeps his eyes on the road. “It wouldn’t matter anyway,” she continues after a block or two pass by. “Love doesn’t really factor into morality.”
“I had no idea you thought this way about things.”
She keeps her arms crossed as they pull into his apartment complex.
They walk up the metal stairs toward his level.
He regards her from just behind with an unsteady expression, as if uncertain of how to speak to her, how to touch her. Finally, he decides on a gesture and reaches for her hand.
She accepts, wrapping her fingers around his wrist as she walks ahead.
At the door she stops and stares blankly at the thick coats of white paint.
“Are you okay?” he asks.
“Yeah, I’m just tired, I guess.”
“You want me to take you home.”
She squeezes his hand. “No, no. Let’s just get inside.”
The door creaks open to darkness. The hanging blinds that cover the sliding glass door to the eight square-foot balcony let in long slats of orange light from some cheap bulb out on the path between buildings. They act out an apparently familiar script. He passes her, crunching his knees together to navigate the narrow gap between the wide, squat coffee table and the couch against the wall with its distended cushions threatening to pour out like failed soufflé batter onto the course carpeting. She closes the door, cutting off the light behind them and leaving only those long orange lines from the other side of the room. He clicks on an old halogen lamp, the kind that used to populate college dorms a decade before, but which were responsible for enough house-fires that they’re not in stores anymore. The light’s enough to give form to the bulky shadows in front of her, the shapes of the furniture that define and overwhelm the space. Billowing brown folds of fabric hint that the sofa is stuffed to bursting with whole flights of fowl fluff, but when she swings her purse onto the side it drops stone-like into the fathoms of the cushions. He sighs and kicks off his shoes while she saunters by the stacks of books he has piled on the floor. She gives the untidy stacks an affectionate, good-to-see-you-old-friend smile and then settles into the couch herself, flipping on the TV and cycling through channels with one hand while pulling out the band from her ponytail with the other. “You want something to drink?” he calls back from the kitchen, though it’s close enough he doesn’t need to shout. She answers and in a second he is returning to her with a beer and a Sprite.
When he sits, he slides down along the length of her, settling in brick-mortar tight.
She lets the channel rest on the news and lowers her head to the crook of his neck, closing her eyes. He reaches around behind her with his free hand and begins kneading the soft triangle of flesh above her left hip. The edge of her shirt comes loose and he works his fingers down beneath the hem of her slacks. As he brushes the fine hairs below the plexus at the pit of her back, her eyes open and her back arches, bringing her head into recline.
He shifts his face to meet hers and they begin a weary disrobing. By the end they have shifted positions and he is settled back into the cushions, erect and waiting. She creeps around him on her knees, finding perch in his lap.
Her eyes close as she rocks atop him, silently.
When his grunting is finished he clutches hard at her buttocks and she becomes still, a single tear of perspiration tracing a line down the crease of her back.
They restore their undergarments but leave the rest of their clothing on the floor.
He picks up the remote and flips channels in her place.
“It’s getting late,” he says after half an hour.
“Hmm,” she purrs.
“Does your mother know about us?”
“Not sure.”
“You guys don’t talk.”
“It’s complicated, she and I. It must seem like she doesn’t care, but that’s not it.”
“What is it?”
“Complicated.”
“Does she worry?”
“Maybe some. She knows me, though.”
“Still, it’s late, I should get you home.”
“Wait,” she says, sitting up and swinging her eyes away from the flickering screen. “I wanted to ask you about Harvard.”
There’s a jerk in his neck, a start like he’s choked on something.
“What about it?”
“You never explained why you didn’t finish school there? Why you came back here?”
“Why do you think?”
“I guess I didn’t want to make any assumptions.”
“It’s not what you think.”
“I’m sorry, forget about it.”
“I got the grades. I didn’t flunk out, okay?”
“Okay, sorry.”
“I was drummed out.”
This time she doesn’t protest. Now she’s curious and she will let him tell it. Tell something he’s never told.
“When I got there–God, it was immediate. All the money. All those damn kids had it so easy. Here I was, scholarship kid from El Paso.”
“You don’t have to talk about this if you don’t want to. I just–”
“I worked hard,” he continues, ignoring her interjection and her offer. “I had to. If I didn’t I’d lose the scholarship or lose the biggest of them. Had to keep a 3.5. I did it. Worked my ass off because I’d signed up for too many hours. It was a bitch that first semester. Always in the library because my jack-ass roommate would never let me have any peace. We ended up in a real war by the end. I was always studying. Never worked harder in my life…”
His words trail off for a moment and she watches him carefully while he goes back, then returns to her with something to say.
“There was this girl. This skinny little white girl. White girl from money. I should’ve known better, but I couldn’t help it. I was…I had a thing for her. I got her attention a little bit but couldn’t seem to get anywhere, like there was something stopping her from wanting to be with me. Then one night we were both at this party at the dorm. She was already pretty drunk when I showed up.”
“God,” he exclaims, breaking his own rhythm. “I hadn’t been out with anyone, been with anyone the whole time I’d been up there. So she and I got together. Found us a room on the floor with nobody in it. It looked like a little kid’s room. All done up in cartoon posters. Don’t know whose room it was. But she and I did it and she just kind of passed out afterwards. That was it, end of semester.”
“I flew home. Had my Christmas break.”
He shakes his head and rubs the meaty hunks of flesh below his thumbs into his eye sockets, wiping away perspiration from his brow with his fingertips as he draws his hands back down.
“Then the day before I was going to fly back, I got a phone call. I was being suspended, pending an investigation. The university police talked to the El Paso police. I was never arrested, but they talked to me. Four hours they talked to me. In the end, my suspension just became terminated enrollment and I guess that was good enough for her. She dropped the charge if I just stayed away, stayed quiet. I did some Internet searches, thinking her dad probably had some sway at the school, some big donations or something. Never found anything, though.”
He checks her with a quick sideways cock of his eyes. She’s not looking. Her head’s down, pointed at her lap where she’s rubbing her palms together real slowly. Legs and palms clasped tight in her own shadow.
“But I mean, you know I didn’t rape her. She just regretted it and talked herself into believing she never wanted it. You know?”
His pleading tone catches her attention. Her long face is drawn downward because there’s no shape to her mouth now, it’s smaller like that. Just a slit with nothing showing, barely even any peach-colored lips. She nods to him faintly and moves her hand to rest one palm lightly on his knee.
“That was it. That was my whole life ruined right there.”
“You could’ve fought it, I guess.”
“Go back there? Go back there with all their eyes on me, thinking that about me? No way.”
“Another school. If you–”
“Nah. Nah, I learned my lesson. Besides, you should’ve heard my mother. ‘Told you,’ she’d say. ‘I told you not to go up there.’ Over and over again.”
“I’m sorry. I didn’t know.”
“How could you? I don’t talk to anyone about it. Even when I came back, I avoided everyone I used to know, everyone who knew I’d gone out there. I never wanted to explain it. That time I slipped and said, ‘Harvard,’ in front of you. God, that must’ve been the only time I’d said it in eight years.”
“You’ve mentioned it twice to me,” she corrected.
“I have?”
“Yeah.”
“Guess I mention it more than I realized.”
“It doesn’t matter,” she says. “I’m very sorry I brought it up. I didn’t know it would be this bad a memory for you.”
He reaches over for the drink he’d left on the table, takes a sip and then turns to her again. “Why did you want to know?”
“I was just curious about your experience there.”
“But why?”
“I was just considering it.”
“Considering what?”
“Harvard.”
“What?”
“I’m applying there.”
“What? Are you serious?”
“Yeah, I thought I’d try for it. I know one of my friends from last year who didn’t get in, even with the Gates scholarship, but my grades–”
He laughs out loud.
“What?” she balks. His face is twisted with the smile he’s wearing, but hers is going sharp.
“Harvard? Come on. Do you know what it takes to get in to Harvard?”
She leans away, giving herself a slightly improved vantage on him.
“I was just talking about that,” she answers in a husky, almost whispered rasp.
“I mean, come on,” he continues. “It’s not like they let just anyone go there.”
She nods to him, saying nothing.
She stands, the long lean lines of her body stretched tall at the edge of the sofa. She looks down. With a quick dip she collects her clothes from the floor in two handfuls.
“What?” he stammers. “Don’t…” She is dressing quickly, slipping on her shoes while yanking the shirt down over her head. “Listen, I’m sorry. I was just saying it’s really hard.”
“No,” she says, turning to him after already starting toward the door. “That’s not what you said. You said, it’s not like they let ‘just anyone’ in.”
“But–”
She finishes shoving her left heel into its shoe and opens the door. He is still undressed.
“Where are you going? You don’t have a car, you–”
“You don’t know me,” she says, and he doesn’t recognize the tone in her voice. “I’ll be fine on my own.” The door slams.
Out of pride or shock, he does not follow her. He sits dumbstruck on the sofa for a few minutes, then fetches the remote and turns on the television. His attention snaps to the door periodically when neighbors or the wind rustle past, but no meek knocking ever draws him up from his seat.
Finally, by two, he falls asleep on the couch.
In the morning he wakes with a start, flailing his arm so wildly that he knocks over the empty beer can on the table. Seemingly unable to collect himself, he wanders listlessly inside the tight confines of the apartment, even laying down in his bed for a few minutes before rolling right back out to dress himself. He splashes something from a green bottle through his hair and starts out the door.
It’s long before opening, but when he turns the key in the lock at the restaurant and cracks the door he hears voices in the kitchen. The head manager and the morning maintenance guy are hunched over the fryer, conferring on a diagnosis.
“Morning,” his boss chimes when he enters. The maintenance guy just cocks his head to say hello.
“I just need to get something,” he tells them.
His boss waves him toward the office and returns his attention to dredging the fryer.
Inside the cramped office, he has to squeeze between desk and trash can to reach the file cabinet. He rifles through the bottom drawer, not finding whatever it is he wants.
“What’cha need?” From the floor he looks up in surprise as his boss leans against the door jamb to the office with one hand, his coffee mug in the other.
“I’m just…” he begins but lets the sentence collapse as he lifts his head up in frustration.
“I already moved her to ‘inactive.’”
“What?”
“Your little friend. She called and quit this morning.”
“She did?”
“First thing.”
“But–”
“She was a good worker,” his manager says. “She said she’d work out her shifts if I really needed her to, but that she’d prefer not to come in anymore. I told her we’d manage.”
Stooped on his knees by the file drawer, he seems to realize something all at once. He starts to open his mouth, then stops.
“Shame. But fortunately she never did work that many hours. It won’t be that hard to fill her shifts. She’d only work those three closing shifts a week. Guess that’s what it takes.”
“Takes for what?”
“To be what she is.”
“What do you mean?”
“My son goes to her school, you know. They don’t know each other, but he knows about her. Top of her class.”
“Really?”
“No contest, he told me.”
“Really,” he replies absently.
“Didn’t know that, huh?”
“No,” he answers, eyes downcast.
The manager starts to turn. “I guess she’s gone now.”
He nods, staring at the red tab marking off the “inactive” folders.
“So we shouldn’t use those records to make any personal calls.” He looks up suddenly, with a jerk, and they lock eyes for a minute. “Whatever you didn’t know yesterday is what you don’t know today.”
“Alright…sorry.”
His boss says nothing else and leaves.
Alone in the office, he looks again at the red section and then slides the drawer closed, rises and crosses out of the office, past the counter and out of the lobby.
The mountains obscure through the white morning, he stands for a moment where he stood beside her the night before, then climbs into his car and returns home. -
Dale
Dale is in a cult. He is a cult member. Dale is seventeen. He is the fourth-youngest member of the cult.
Dale was born into the cult. It is all he’s ever known.
The cult is a religious cult. They worship their own god. The god that the cult worships is the 1984 film The Karate Kid, directed by John G. Avildsen.
The cult was started in 1986 by Dale’s uncle, Steve. Steve started the cult shortly after the film The Karate Kid became available on videocassette.
At first, Dale’s parents joined Steve’s cult because a few months earlier they had given Steve a large amount of money to get him back on his feet. They were worried Steve would do something stupid with the money.
But, eventually, Dale’s parents started to worship the film The Karate Kid, too, just like Steve.
Over the years, the cult grew and grew. Steve was a good cult leader, and the members of the cult were happy with the cult.
The cult met two nights a week. They watched The Karate Kid. They had pot-lucks and talked about The Karate Kid and prayed about The Karate Kid. They had Karate Kid costume parties. At the costume parties, everyone dressed up as a character from the Karate Kid, and the characters danced to music from the movie.
This part of the story has been the ground situation. The inciting incident follows.
In 2010, when Dale was seventeen years old, Steve got sick, and Steve later died. The cult got a new leader. The new leader was Steve’s oldest son, Harry.
Harry was a fanatic. He wore his facial hair in a way that made him look scary. Harry hadn’t liked the way that his father had run the cult. Harry thought that the cult should do more than just have parties.
Harry started to question whether or not the members of the cult really did worship the film The Karate Kid. Harry suspected that at least some of the members just liked the movie a lot, and liked going to the parties.
Harry declared that there would be trials. All cult members would take part in the trials. The first trial was answering trivia questions about The Karate Kid. Harry had found the trivia questions on the internet.
Most of the cult members did fine on the trivia questions. They had seen the movie a lot. Two members did poorly, and Harry asked them to leave the cult. The remaining cult members were fine with this. They hadn’t liked those two, anyway. Those two never brought anything good to the potlucks.
Later that year, the remake of The Karate Kid came out in theaters, and then on DVD.
Harry declared that the remake of The Karate Kid was a false god that should be destroyed. Harry bought a bunch of copies of the DVD and gave the cult members hammers and lighter fluid and matches with which to destroy the DVD’s.
Several of the cult members thought that this was a bit much. They thought the remake was alright. They had gotten together, without Harry knowing, to go see it.
Those several cult members thought that the cult wasn’t fun anymore like when Steve was around. So they decided to leave the cult.
Harry declared good riddance to the non-believers.
Next Harry declared that all cult members should get tattoos. Must get tattoos. Big ones. But several of the remaining cult members didn’t want big tattoos, so several more left the cult.
Good riddance, Harry declared again.
There were only about a half-dozen cult members left. Harry insisted that these half-dozen were the true believers. Harry was right: the half-dozen cult members that were still around really did worship the film The Karate Kid.
Except for Dale. Dale had a secret.
Dale no longer worshipped the film The Karate Kid. Over the years, while in the cult, Dale had come to worship the actress Elisabeth Shue, instead.
The actress Elisabeth Shue played the character Ali-with-an-i in the film The Karate Kid. Dale was in love with Elisabeth Shue. Madly. Head over heels.
So when the fanatic Harry declared, in his biggest, boldest declaration yet, that the cult would be kidnapping all of the directors and producers and crewmembers and actors (other than Pat Morita, who had played Mister Miyagi and who had since passed away) and actresses and extras and everyone—EVERYONE!—who had been involved in creating the cult’s one true god for a grand, ceremonial reenactment, and then, when, through a series of events, Dale discovered that Harry’s true intentions, Harry being a fanatic, were not to kidnap everyone for a grand, ceremonial reenactment but instead to kidnap everyone for a grand, ceremonial sacrifice—a human sacrifice to the one true god—Dale decided that he must flee the cult and must himself kidnap Elisabeth Shue before Harry could get to her.
But when Harry discovers that Dale has fled the cult and, through another series of events, also discovers that Dale has discovered Harry’s true intentions, Harry sends his cult members in pursuit of Dale. To stop Dale, at any cost.
The inciting incident having concluded, the story now has a protagonist (Dale) and a conflict (Dale wants to save Elisabeth Shue, whom he loves and worships, from Harry) and an antagonist (Harry the fanatic).
Dale found Elisabeth Shue before the cult members found him. It wasn’t hard; he knew where she lived. He worshipped her and all.
Dale didn’t break into Elisabeth Shue’s house, at first. He waited for her to come out of her house to go somewhere.
Because Dale loved her so much, he couldn’t help but be honest with Elisabeth Shue. He told her her life was in danger. She walked faster. He told her to come with him. That he could save her. She told him to eff off.
So Dale broke into Elisabeth Shue’s house.
When Elisabeth Shue found Dale in her house, she told him to go away. Then she said she’d call the police. The she said she’d shoot him.
Dale tried to explain the situation. The danger she was in. But Elisabeth Shue wouldn’t listen.
But then some of the cult members arrived. They knew where Elisabeth Shue lived, too. Harry had made a big list.
The cult members made a lot of noise and broke a lot of glass when they broke into Elisabeth Shue’s house. They scared Elisabeth Shue, so she went with Dale. She brought the gun she had threatened to shoot Dale with.
If a gun, etc.
Dale and Elisabeth Shue escaped in Elisabeth Shue’s car. Elisabeth Shue drove. Despite being seventeen, Dale did not have a driver’s license. He had grown up in a cult. Dale had gotten to Elisabeth Shue’s house by bus. Elisabeth Shue really didn’t live that far from where Dale lived.
Elisabeth Shue drove into the desert. Elisabeth Shue didn’t live that far from the desert, either.
She stopped the car. She and Dale got out. They were in the middle of nowhere. It had been nighttime when they had escaped from Elisabeth Shue’s house, but now it was daytime.
Elisabeth Shue pulled out the gun and pointed it at Dale. Dale hadn’t known that Elisabeth Shue had brought the gun. She demanded to know who the eff Dale was and what the eff was going on.
Dale told her everything.
He told her about the cult: his uncle, the potlucks, Harry, the tattoos. And he told her about Harry’s plan. The real plan. And he told her how much he loved her. And worshipped her. So much so that he just couldn’t let that happen to her.
In a long, dramatic scene, Elisabeth Shue points her pistol at Dale and demands that Dale tell her what he loves so much about her. Dale then launches into a dramatic monologue about three tiny moments in the film Karate Kid—little moments that no one ever probably noticed ever but that Dale had watched and rewatched over and over and over again that had made Dale fall in love with her. By the time Dale finished his monologue, Elisabeth Shue had lowered the pistol.
Elisabeth Shue had been twenty-one years old when she played the female lead in the 1984 film, The Karate Kid. In the desert, with Dale, she was fifty-four.
Despite the age difference between Dale and Elisabeth Shue, at the end of Dale’s monologue there was a moment where it was possible that they might have kissed.
But then they saw a line of cars coming quickly down the road. Dust flying.
This has been the Act One climax, which has ended on a positive charge in relation to Dale’s object of desire (to rescue Elisabeth Shue).
This has also been the Inciting Incident of Subplot A, a star-crossed love story starring Dale, 17, and Elisabeth Shue, 54.
Elisabeth Shue has a husband. She is married. When Elisabeth Shue’s husband got home from work and his wife was missing and there was broken glass on the floor, he called the police. This is the Inciting Incident of Subplot B.
The police came and did what they do, but it was all moving too slowly for Elisabeth Shue’s husband, who was frantic. He decided to take matters into his own hands. He got into his car and went looking for his wife.
Before leaving, though, Elisabeth Shue’s husband went around back to put food out for the dog. Outside one of the broken windows, he found a wallet. A cult member had dropped it.
Elisabeth Shue’s husband’s discovery of the cult member’s wallet, which contained the cult member’s driver’s license indicating the cult member’s home address, is Subplot B’s Act One climax (a positive charge).
Subplot A’s Act One climax occurs in the very next scene when, with the cult members in hot pursuit, Elisabeth Shue has the opportunity to escape on her own, without Dale. But she hesitates. And, in an action indicating feelings for Dale (the indication of those feelings further indicated by appropriate facial expression), she goes back for him (positive charge).
In Act Two of this story the Central Plot is complicated by seven scenes, Subplot A by five, and Subplot B by three, all culminating in the Act Two climax.
Act Two, therefore, consists of fifteen scenes, the three scenes complicating Subplot B nestled within the five scenes complicating Subplot A, those five scenes likewise nestled within the seven scenes complicating the central plot, the series of fifteen scenes ending on a one two three causal sequence of scenes from, in particular order, Subplot B, Subplot A, and Central Plot, those three scenes amounting to the Subplot B Act Two climax (Elisabeth Shue’s husband’s sleuthing leads him directly to Harry himself who then kidnaps Elisabeth Shue’s husband and ties him up [negative charge], the reader learning at that point that Harry has also kidnapped and tied up Dale’s parents) causing simultaneously the Subplot A and Central Plot climaxes (Elisabeth Shue learns that Harry has abducted her husband whom despite this new love for Dale she cares for very much so Elisabeth Shue abandons Dale to go save her husband [negative charge, Subplot A] sending Elisabeth Shue straight into the clutches of fanatic Harry [negative charge, likewise, Central Plot]), all setting up the subsequent Act III climax and resolution.
In the Act Three climax, in which all characters and all Subplots are brought together in a single scene in a single location, said scene in said location orchestrated in Bond-villain-fashion by the fanatic Harry, Harry forces Dale to choose between his Object of Desire, Elisabeth Shue, whom, as a result of her attempt to free her husband, Harry has also captured and tied up, or Dale’s own parents. Dale ultimately decides to release Elisabeth Shue back to her husband (positive charge: Central Plot and Subplot B; negative charge: Subplot A). Elisabeth Shue and husband depart, setting off a showdown between Dale and Harry resulting in Dale’s parents being saved and Harry being defeated.
Somewhere in all that, the gun introduced in Act One is fired.
BH James, 39, writing this story three-and-a-half weeks after he was told by his wife Liz that, despite his not remembering them as such, the first four months of the year preceding by four years this year had been the worst, most perilous months of his and her marriage, BH James, over the course of those three-and-a-half months, questions wife Liz about those earlier four months, Liz generously obliging and thereby, despite the bitterness for both parties of the revisitation, helps BH reconstruct/reorchestrate the story.
The Inciting Incident of the worst, most perilous months of BH’s marriage occurs in January, on moving day. His wife, Liz, tells him to be careful when mounting the TV. But he doesn’t listen. And he breaks it. And she cries, not about the TV, and she leaves and doesn’t come back for a long time. Negative charge.
BH writes this scene into a story titled Wiff and then swears to Liz that it’s not them.
The Act One Climax occurs in February. Liz, having put baby to bed, stations herself, as she does every night, alone in bedroom, where she will spend the next several hours, alone, while BH writes, Liz careful not to disturb BH, who frequently complains that he never has time to write anymore.
This night, though, BH comes and stands in the doorway. He has just learned that his first novel, Parnucklian for Chocolate, published one year earlier and having failed to meet any and all expectations, is a finalist for an award. A PEN award, he tells her, which is misleadingly vague but true.
Liz exclaims! emotes! attempts a hug that BH shies from. It’s not a big deal, he tells her. Don’t tell anyone.
He leaves, goes back to his desk, and she is again alone. Negative charge.
The Act Two Climax occurs in March, when BH insists to Liz—BH and Liz having just purchased a house after recently having a child and therefore having little expendable income—that he has to has to has to go to AWP in Seattle—that he’s a writer and he has to, BH however, in contrast to the previous year, in Boston, when he signed books at his publisher’s booth each of the three days he was there [his wife at home with their fever-sick six-month-old son], BH was participating in no signings, no readings, no offsite events, nothing at all in particular.
But he had to go, because he was a writer.
And when BH went (for four days) he hardly called home, barely spoke to his wife, to his son not at all.
Upon returning, BH, 36, finished the first draft of a long short story titled The Anti-Story and set at a fictional version of AWP Seattle. The protagonist of the story is a writer. Unmarried, with no kids.
Negative Charge.
BH James, 39, writing this story four years later with the help of his wife Liz, has read in a book about stories that scenes in a series should alternate in charge (positive, negative, positive, etc.). But that is not how this story goes.
The Act Three Climax occurs in April, when BH’s wife Liz makes an appointment for marriage counseling because her husband for months now has been a cold distant self-absorbed prick, clearly wishing at all times to be anywhere but in his own home, lamenting frequently that he’s not even a writer, anymore, not even a writer.
Liz tells BH about the appointment. BH, teacher, responds that he’s chaperoning a field trip in Sacramento that day. He’s doing it to help out another teacher. Liz stresses the importance of not going on the field trip. BH goes anyway, misses the appointment.
Liz makes plans to leave. Negative charge.
The Resolution occurs in June. BH, 36, teacher, is at a three-day training in Florida. On the first day, his cell phone breaks. It turns off and won’t turn back on, and it won’t charge. He tries calling from the hotel, several times. Leaves messages. Sends emails from a computer in the lobby. He walks to several stores to buy several devices that might make his phone turn on, but none of them work.
BH spends most of the three days alone in his room, reading. By the time BH arrives at the airport to fly home, he has not spoken to his wife or son for three days. He searches for the payphones, but can’t find any. People don’t really use them anymore, so they’d been removed. BH asks someone. He never asks. There is one payphone left.
When Liz answers, BH tells her the story of his three days without a phone. Then he tells her he loves her, and misses her. He asks to talk to his son. When Liz is back on, BH tells her he is coming home. BH intends BH’s statement that he is coming home to have both literal and figurative meaning.
BH tells Liz they should have another baby. By August she is pregnant, and the following April their second-born is born. Positive charge.
Four years later, Liz will tell BH, who is writing this story, that, as bad as it was, from that point on, it’s all been pretty good.
By the end of the Act III climax, Dale has achieved his external Object of Desire: Elisabeth Shue is safe. Harry is in jail. But Dale is not happy. Dale did not achieve his internal Object of Desire: the love of Elisabeth Shue.
But, in the end, Elisabeth Shue comes back to Dale (positive charge). She hugs her husband, pets her dogs, and leaves them. And in the story’s final scene, Dale comes home to find her standing, waiting, at the stairs.
At BH, 39’s, and Liz, 34’s son’s preschool graduation, as they wait for the ceremony to begin, BH and Liz have a lively debate about the location of the climax of Shakespeare’s Hamlet. BH contends that what they had written about the 5-act structure in the book they had co-authored (Method to the Madness: A Common Core Guide to Creating Critical Thinkers through the Study of English) was all wrong. That the whole play progresses toward the duel, after which there is only the unraveling. Liz, who knows the play better, retorts that the uncertainty is resolved in the closet scene, and the certainty is what matters.
BH cites Aristotle. Liz cites another author, who said that Aristotle got most of it wrong. BH tries to respond, but the ceremony begins.
BH tells the same anecdote in a blog post titled Rethinking Shakespeare’s 5-Act Structure, later published as an article in a magazine for teachers.
The next morning, BH James will finish this story. And the day after that, BH will be 40.
He picks up his pen, then puts it back down.
When he picks it up again, he writes…
THE END