Category: Uncategorized

  • Five Poems – Lynne Sachs

    When filmmaker Lynne Sachs turned fifty, she dedicated herself to writing a poem for every year of her life, so far. Each of the fifty poems investigates the relationship between a singular event in Sachs’ life and the swirl of events beyond her domestic universe. Published by Tender Buttons Press, Year by Year Poems juxtaposes Sachs’ finished poems, which move from her birth in 1961 to her half-century marker in 2011, with her original handwritten first drafts. In this way, she reveals her process of navigating within and alongside historical events such as the Moon Landing, the assassination of Martin Luther King, Jr., streaking, the Anita Hill hearings, the Columbine shootings, and controversies around universal health care. In Year by Year Poems, Lynne Sachs realizes the long anticipated leap from her extraordinary career in filmmaking to this, her first book of poems.

    Here are five of the fifty poems:

     

    1969

    Our telephone rings.
    Neil Armstrong on the line. 
    He knows I stole the Earth’s only moon. 
    “Give it back,” he says.
    I watch him step across the lunar landscape. 
    I thought we could be friends.
    He turns to look at all of us
    (from the moon) 

    I am the only one who sees his sadness.

     

    1974

    I see him running naked
    on the university green
    streaking
    and then again, the same guy in a shopping mall parking lot
    his floppy folds
    the soft calluses on the bottoms of his feet.

    At night
    our slumber party
    becomes a midnight snack of truth or dare treats.
    We seven copycat girls throw off nightgowns
    and run into a suburban field of telephone poles and feral cats
    praying someone
    anyone
    will see us.

     

    1982 (for Ira, my brother)

    The gypsy women of Paris go by in groups of five
    while I am in worn jeans, a pair of pumps, and a paisley blouse.
    Each rain floods the sidewalk with a stream of green and brown,
    like a studio of an Impressionist painter,
    curious brush strokes,
    relics of the Jardin des Plantes.
    I’m a tired college student
    napping in an empty Sorbonne classroom
    late-to-class bus rides
    crumbs from my morning baguette ground between threads.  

    My evening phone booth call catches my brother
    as he prepares for school at home, 4359 miles away.
    His hello transforms this dirty glass box
    into four dynamic movie screens.
    I see him clearly
    at home with Mom 
    eating a bowl of cereal and drinking a small glass of juice.
    I see a new diamond stud in his left ear,
    Mom at the sink, a confused look on her face,
    wondering how to read the placement of his glistening gem.
    What we share and still continue to hide. 

    Raindrops slide down the fourth window pane,
    framing him with a man I can’t quite see.
    In a dark parking lot behind a downtown Memphis bar,
    a secret cameo of infatuation.
    I wipe away the condensation
    to get a better view
    as the screen goes dark on Boulevard Raspail.

     

    1999   

    In our front yard now, Columbine grows wild.               
    With each bloom, I think of her, a mother too. 

    She feeds her son, knows the fruit that makes his lips pucker, the sheet that pricks his stubbly cheek, the grade he received on his biology test, how often he hiccups drinking a Coke, which ride scares him at the amusement park, how he conjures an obscure spelling word, how long he takes to shit, the moment in a day when he is most likely to be kind. 

    I doubt he ever told her about the night his skin touched skin, or the day he skipped school, or how many guns he hid behind the broken sewing machine table that she refuses to throw away because one day she hopes to have the time to sew again.   

     

    2010                                                               

    In the eventuality that preparation for security advanced
    signatures obtained life jackets confirmed permanent medical
    records sealed pharmaceuticals delivered weather reported
    batteries checked tires filled expiration avoided warnings
    acknowledged wills signed if-and-only-ifs collected and still
    no one anticipated the return of my brother-in-law’s cancer.                                                                         

    A friend forgot to send her payment — a single check
    she never put in the envelope, hidden under
    a stack of receipts, appointment cards, and electricity bills.
    The check, never arrived.  Her policy, cancelled.                   

    She who had already given up her ovaries and come
    face-to-face in the ring with illness, won that round.            
    Now no rope to hold onto, no pillows to fall back on.           

    We two friends of more than twenty years sit at a table
    in a café talking of our homes, books we’ve read,    
    people almost forgotten, purses with zippers, jump
    ropes, kitchen counters, projects abandoned. 

    I ask her about her health. She’s crossing her fingers.
    That’s all she has until they pass that bill.

  • An Interview with Karina Longworth

    In November 2018, Karina Longworth released Seduction: Sex, Lies, and Stardom in Howard Hughes’ Hollywood, a biography of both the businessman himself and 10 of the Hollywood women who entered and eventually left his life. The Hughes decades of Hollywood are a vessel for Longworth’s snapshots of movie stars as well-remembered as Katharine Hepburn and as lost-to-history as Billie Dove. The bulk of the book covers Hughes’ bursting onto the movie scene in the ‘20s to his gradual retreat into seclusion in the ‘50s.

    The facts of Hughes’ Hollywood career remain stunning, 40-plus years after his death. Seduction investigates the Hughes publicity machine, one that exerted significant control over the press and was successful in positioning Hughes as America’s favorite rich aviator. Unknown to the public was Hughes’ incredible security network, the armada of drivers, associates, and spies he collected in large part to surveil the actresses he was constantly signing to contracts. Seduction tries to get to know a man who was known as both a wildly charismatic figure and an uncomfortable, unknowable personality.  

    Just weeks ago, Longworth announced that her podcast, You Must Remember This, will go on hiatus due to the expiration of her current contract to make the show. Since 2014, Longworth has taken on stories big and small, and dedicated seasons to matters as disparate as the Blacklist and echoes of the Manson murders in ‘60s Hollywood . More than 140 episodes in, You Must Remember This has taken on some of the 20th Century’s most enduring and misunderstood cultural legacies.

    The podcast’s form follows the abundant research Longworth pours into each season, as evidenced by the bibliographies she puts together for each episode. Synthesizing the conflicting accounts originally told by people who have long-since passed is a large part of a cultural historian’s work; with YMRT’s latest and perhaps final season, “Fake News: Fact-Checking Hollywood Babylon,” Longworth made that work the series’ subject, as she attempted to separate truth from fiction in the famous Kenneth Anger gossip collection.

    Each YMRT season has acted as a canvas for the smaller stories Longworth is so skilled at telling. In Charles Manson’s Hollywood, Dennis Wilson, Terry Melcher, Kenneth Anger, and Roman Polanski each get their own one-episode biography. The Dead Blondes series uses this style more explicitly, dedicating an episode to the life and times of 11 actresses. With Seduction, she has translated that style from audio to print, producing expansive, decades-long stories without sacrificing or overindulging in the details of the lives that helped sculpt Hollywood’s “Golden Age.”

    When I first encountered Longworth’s You Must Remember This, I was thrilled by the Hollywood story she unearthed on the peripheries of the Manson murders: the industry figures who were drawn in and the legacy Manson’s hoodwinking left in ‘70s moviemaking. The efforts to separate the cultural legacy of a Hollywood touchstone from the day-to-day reality of the people involved is why I’m a fan of the show and now Seduction.

    I spoke with Longworth over the phone, sitting at the same crowded desk where I had read Seduction, reconsidering the Golden Age as we know it.

    Jake Greenberg: Was there a star you found most unknowable in the book?

    Karina Longworth: I mean, Howard Hughes (laughs). But aside from him, Jean Peters [Hughes’ last wife] was never very forthcoming, certainly not in talking about her relationship with Hughes. Every interview with her that I came across read like it was written by a publicist, so trying to figure out who she actually was was pretty difficult. The closest thing I feel like I have to something that I didn’t have reason to doubt the veracity of were the depositions she gave during the long battle to figure out who was Howard Hughes’ legitimate heir and, probably more significantly, which state he would be taxed in. She seems to be speaking the most candidly there. But at the same time she’s looking back on this period that was many years before. She has the benefit of hindsight, but is also still holding grudges. So it was fascinating trying to figure out what she was actually thinking and feeling during the time period that most of the book is about.

    JG: Was there a star, and maybe it was Jean Peters, whose work you were most surprised by when you revisited it?

    KL: Well it wasn’t really a question of revisiting Jean Peters’ work because, besides for Pickup on South Street, I don’t think I’d ever seen a movie she’d been in. Same with Terry Moore — she was someone who was completely new to me. I don’t know that anyone else was that surprising, but I did have occasion to see a lot of films that I’d never seen before — Billie Dove was another person whose work I didn’t know until I wrote the book. And I watched certain Katharine Hepburn films that I don’t think are appreciated as classics, that maybe should be. I think that Christopher Strong is a lot better than its reputation led me to believe. I think Morning Glory is really, really good. It has this reputation of having a good performance but not being a good movie. But I actually do think it’s a very good movie.

    JG: One thing I noticed in the book is you kept interrupting these scenes where you’d be talking about Katharine Hepburn, for example, to flash to Jane Russell as a young girl watching Hepburn in a movie theater. You used the same device to show Marilyn Monroe watching Jean Harlow.

    KL: I always think about Hollywood as a continuum, and I think it was especially vivid in the 20th Century. I don’t really know how people who are entering the film industry look at film history now, but I know for me, being born in 1980, growing up watching movies you really felt this sense of there being echoes of things happening in the present day in the past, and so I’m always trying to understand events as being part of a continuum.

    JG: What was the relationship you were most interested in at the beginning, when you first started thinking about this as a book?

    KL: There wasn’t an individual relationship I was most interested in. I was interested in the scope, and of Hughes’ time in Hollywood basically being the exact same years as we consider to be this classical Hollywood era. Just how fascinating that was, and how he was so prolific as a man involved with women, or rumored to be involved with so many women, at the very least. So you could actually make this portrait of what it was like to be a woman in Hollywood, and what it was like to be written about and thought about as a woman in Hollywood, during the most important time in Hollywood’s history.

    JG: Are there movies you’re particularly excited that people might discover in reading Seduction?

    KL: Yeah, I think for a lot of readers most of these movies will be new. One thing that’s been cool is in promoting the book, I’ve done a number of events where we’ve done a screening of a movie, and two different venues, one in Toronto and one in Austin, requested to show Wait ‘Till The Sun Shines, Nellie, which is a movie I had never heard of before I started writing this book. I think it’s completely off the radar of even a lot of cinephiles, even people who are fans of the director Henry King. It is available on DVD, it’s just kind of a bad color transfer. So those events were really incredible because Fox has this pristine technicolor print of the film that nobody ever rents. It was just so great to be able to share that with audiences, so that would be the number one. But, of the dozens of movies I talked about in the book, I think there are only a couple that are widely revived or seen today.

    JG: There’s a passage from Seduction I keep coming back to: “By the end of Hughes’s life, when he was a codeine addict who spent his days and nights nodding in front of the TV, the former star aviator playboy would suddenly perk up when an actress he had once spent time with appeared on the screen. Hughes would allegedly call over one of his many aides, point, and say, ‘Remember her?’” There’s something extremely haunting about it.

    KL: I think he was most successful as a spectator. He did try to be a collector, but ultimately in the end, he lost all of these women. He didn’t have what it took to hold onto them in any meaningful way. And over the course of time, he didn’t really even want to be in the room with anybody.

    JG: How aware were you of the vastness and extent of his security operation before researching all this?

    KL: Oh I don’t think I knew anything about it, other than what you see in [Scorsese’s] The Aviator of Hughes buying up photographs and stuff like that.

    JG: It’s stunning to read about him hiring dozens and dozens of people to do this work, and people presumably not knowing that much about it at the time.

    KL: Yeah, I think that there were rumors, but from what I could tell, the women who became involved with him either didn’t believe the rumors, or they just thought, “Oh, well, of course, he’s a rich and powerful man. He needs to protect his interests.” And they didn’t think having all these bodyguards and drivers around could be used against them, which is really interesting.

    JG: By the end of your research, did you feel like you had a better understanding of what made him so charismatic?

    KL: Until his plane crash in 1946, he was super handsome. And I think that there was something in the culture through this whole time, and really until he kind of disappeared from public view, where women were supposed to try to find men like this. In Hollywood and throughout America there was this idea that if you were a young woman, your American Dream was supposed to be to find a rich husband. And he specifically was held up in the media as the most eligible bachelor in America. Terry Moore talks about this: she’s a teenager, alone in a room with this guy and she thinks he’s a creepy old man, but, you know, you weren’t supposed to say no to Howard Hughes. If he wanted to hang out with you, you were supposed to let him.

    JG: Transitioning to the You Must Remember This side of things, a uniting style of Seduction and You Must Remember This is the mini-biography. When you first started making the podcast, were you thinking that you wanted to tell larger stories through a series of biographies, or did that form just take hold because of the stories you wanted to tell?

    KL: I don’t think that’s ever been a conscious goal. When I started the podcast, I just was interested in this idea that cultural memory is very short, and that Hollywood history is full of things that people either think that they know – like they think that they know who Marlon Brando was, or Marilyn Monroe, or Judy Garland – but they don’t actually know the fullness of the whole life, or they don’t remember specific incidents accurately. And I was interested in whole careers that have just been lost to the cultural memory. Some of my favorite episodes are about people like Kay Francis, and about zero people remember who Kay Francis was. So the podcast was just about trying to bring to life some of these stories that have either been misrepresented or forgotten.

    JG: When did Hollywood Babylon the book come into your life?

    KL: I think I was about 20. I was in art school in San Francisco, and I don’t remember how I heard about it. But I remember buying a copy on Amazon, which is funny because now if I need to look up something about Hollywood Babylon and go to the Amazon page, it says, you bought this book on, like, April 5, 2000.

    JG: You touched on this earlier, but do you think of the accessibility of film history as a goal of the podcast?

    KL: Yeah, I definitely hope that people will watch some of these movies. I think that some people found the podcast because of different true crime stories I’ve told, so that kind of exposes people who may not think they’re interested in Old Hollywood to these Old Hollywood stories. But it doesn’t really matter to me if they don’t subscribe to FilmStruck, R.I.P., or start watching TCM, or start buying some of these really good biographies.

    JG: The Manson season [“Charles Manson’s Hollywood”] was my way into the show, and I just kept going from there. I knew the basics of the Manson story, but the Hollywood angle I certainly wasn’t familiar with.

    KL: Yeah. I kind of only did that season because I had stumbled across the fact that, initially, the police and the newspapers were spreading the notion that the Family had gone to Cielo Drive that night looking for Doris Day’s son. So I was just kind of fascinated with this idea that Doris Day and Charles Manson were part of the same story.

    JG: What feels to you like the biggest story you’ve told on You Must Remember This, or the most expansive?

    KL: I don’t know. The Hollywood Babylon season was really difficult, because it meant starting from scratch every week, which is the hardest way to do this kind of storytelling. It’s much easier to do something like “Jean and Jane,” [In 2017, Longworth released a You Must Remember This season about the contrasting careers and activisms of Jean Seberg and Jane Fonda.] where the scope is limited to just these two actresses, and just the period of time when they were active. With the Hollywood Babylon season, it was 19 episodes that ranged from the teens to the late sixties.

    JG: My next question was actually about “Jean and Jane.” I think it’s become my favorite season. Did it change the way you think of celebrity activism?

    KL: I don’t know that it changed anything for me. It was just more interesting to think about these two specific examples. You could say that Jane Fonda has recovered from the bad publicity she received; it doesn’t seem like it’s really holding her back any longer, though it is in the air, and maybe it’s in the air more than it had been 10 years ago because we have the alt-right now, who still hate her. Whereas, everything that happened with Jean Seberg is just not part of the public conversation anymore. And if she is part of any public conversation, I think it’s usually because of Breathless. So it was really interesting to see these two people doing similar kinds of things, and Jane Fonda is able to survive it – not untarnished, but survive it – and Jean Seberg really isn’t. It really destroys her.

    JG: What was interesting to me was the scope of both of their activism. I think that that’s very rare for celebrities, for at multiple points for both of them to abandon a lot of what they were doing in Hollywood to support the Black Panthers or go to North Vietnam.

    KL: Right. It’s interesting because Jane Fonda has this sort of career resurrection after she does a lot of this stuff. Whereas with Jean Seberg — I think what we don’t think about often with that period of Hollywood is that the things that liberal/leftist activists were supposedly fighting for were so against the grain of what Hollywood was doing as a business. So Jane Fonda was able to stand up for things she believed in, and to some extent to renounce the commercialism and consumerism of Hollywood, but she ultimately went pretty hard back into capitalism, kind of as hard as you could go. And with Jean Seberg, it was really a pure thing, of putting the activism first and not caring about how it would affect her financially or how it would affect her capital as a star. And ultimately, you can’t say that she made decisions that were good for her, even if she was following what she believed in.

    JG: On a personal taste level, who are the movie stars you find yourself returning to the most?

    KL: I think it varies. With the work that I do, I have to become newly obsessively-interested in whoever I’m researching this week or this month.

  • Capstone

    Capstone

    among the blue desks was a meager
    audition for adulthood crumpled
     
    into a mess of wooden shadows reciting
    barbell lines on the film school second
     
    floor (stair steps closer to Orion) how
    I was dreaming young of the world’s
     
    grand magnanimousness suffused
    with balloons that smelled of palm frond
     
    everglades my school-sanctioned camera
    would record the nightglow trees by lights  
     
    of Coe Lake where it snowed pine cones
    in the backyard of my mother’s house
     
    where acres stretch forever rugs of green grass
    and hunger the endless hunger for somewhere
     
    anywhere 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 true

    hanging like jasmine
    on a summer night.

    Resentful walls claim weight
    of legacies we assume not because

    time 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 shoulders

    that 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.A

    You 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 longing

    thirsty for a ‘love that came after’
    you could never provide?

    She seldom talks about it.
    Just carries on loving

    in 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 overdose

    and left you with a fortune you put to good use
    traveling the length of Europe with that mouth

    a nest of pearls that made men drunk
    the second disappeared so you started writing blank checks

    out of grief in his name until they caught you at the airport
    so when you married the lawyer who later left you everything

    you were ready to love the Arab banker
    who consoled you at his funeral

    who 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 Khartoum

    into a house bigger than your loneliness
    spent your last days a welcome guest at funerals

    a 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

    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 sharpness 

    we 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 cloth 

    repeating 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’s 

    your 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 door 

    in 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 skin

    then 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 
              shape

     

    THE 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 avoided 

    the 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 iron 

    the 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 cheeks 

    swatches 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 results 

    she 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 color

     

    PAPER 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.