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  • Issue 16: Home and Away

    INTRO: The best way to enjoy a summer in New York City is to leave as often as possible. The second best way is drinking at KGB.

    In Ross Barkan’s “Tad,” our protagonist wanders the United States, trying to escape himself, drawn along by the receding tide of the American century. Jesse Salvo’s pathetic David hopes to transfer to the Indian state of Goa so he can be closer to the casually cruel boss he has fallen in love with. And both Sophie Madeline Dess and Madeline McFarland take us on a trip to Madrid.

    Who are we when we’re away from home? these writers ask. If travel changes us, do the changes stick?

    Our poets, on the other hand, don’t want to stray too far from the nest.

    Ari Lisner’s “Summer,” Mormei Zanke’s “Eating a Sandwich in Tompkins Square” and Matt Proctor’s “Scenes From A Life” are all about city life, though you might not recognize the subject from one poem to the next. Lisner is romantic; Zanke is reflective; Proctor is positively chaotic. Even Aristilde Kirby’s “²d – Baetylus [Side A, Scoubidou Suite],” as much a wormhole as it is a poem, spits the reader out on DeKalb Ave. Sooraz Bylipudi’s “The Errand for Infinite Saturday” is about finding belonging within oneself, while in his poem “The Big E 2023,” Anthony Haden-Guest wonders about the future of the planet Earth, the home that we all share.

    – Carrigan Lewis Miller, July 19th, 2023


    Fiction:

    Tad – by Ross Barkin, journalist, author and contributor to the New York Times Magazine

    Goals for Growth – by Sophie Madeline Dess, writer and critic living in New York City

    In Session – by Madeline McFarland, writer and a professor of creative writing at New York University

    Honest Broker – by Jesse Salvo, writer and editor living in Santiago de Compostela, Spain

     

    Poetry:

    The Errand for Infinite Saturday – by Sooraz Bylipudi, poet and biotechnologist

    Rimes – by Anthony Haden-Guest, renowned poet, journalist, critic and cartoonist

    ²d – Baetylus [Side A, Scoubidou Suite] – by Aristilde Kirby, poet from the Bronx, NYC

    Summer – by Ari Lisner, poet, journalist and researcher

    Scenes From A Life – by Matt Proctor, poet and musician

    Eating a Sandwich in Tompkins Square – by Mormei Zanke, poet and journalist from Alberta, Canada
     

  • Goals for Growth

    Benji’s Goals For Growth – Poker Elementary – Mrs. Applebottom’s Class

    Mrs. Applebottom says that Timmy and Tommy and I need to write out longhand our Goals for Growth. She says we’ve been giving her grief and there’s been lots of misbehavior and we need to cut it out and tell her how we’re gonna go about growing the heck up. And you know that’s everyone’s greatest concern for me. Everyone’s so whispery about it – oh, he’s growing, he’s growing up so fast. But let me assure you, Mrs. Applebottom, I am not. I am not growing. I can tell you my goals, easy, because by the end of my life I will have stayed pretty much exactly the same.

    Right now at age nine I’m dating Bunny, she’s a seven. By the time I’m fifteen I’m gonna be dating a massive ten, and I’m gonna be saying extremely powerful things in conversation. They’re going to be amazing things that will stunt you. At a party I will talk with such power and clarity that everyone’s gonna be like “That’s what I’m talking about when I’m talking about talking about things!” I will be charming and admired with chic, niche interests. I will find out what Social Grace is. That it’s when you look at someone and you make them think: I am unforgettable. I will make everyone feel this way. Really it is I who will not be forgotten. And because I will not be forgotten, I owe it to the people who will never forget me to never change! If you’re starting to see what I’m saying.

    I know, of course, that all this current baby-boy horsing around with Timmy and Tommy will have to come to an end. But I know that they’ll stay with me as my buddies. And that in my mid-twenties they will come with me on this long trip to Spain because we’re gonna deserve it. We’re gonna leave our girlfriends – nines and tens – at home. And one night in Madrid I’m gonna get drunk at a disco. I’m gonna be dancing. I’m gonna be lifting my hands over my head and moving. And I’m going to see this beautiful Spanish man, he’s going to be moving in kind of the same way as me. With his hands over his head, and his neck kind of tilted back, and he’s going to look like he wants to dance with me. So I’m going to say… why not? And I’m going to move closer to him, and he’s gonna move closer to me, and I’m gonna keep thinking I guess I’m gonna do this. I guess I’m gonna dance with this man. This is life. He’s alive and I’m alive. My life can change now. And then, at the last moment, I’m gonna realize it’s a mirror, and I was only dancing toward myself. And so I’ll stop. I’ll laugh so hard I’ll fall down. It’ll all be so funny. I’ll fall down and Timmy and Tommy will come and lift me off the floor. We’ll all be laughing. But I’ll be irritable. Because I’ll feel I missed out on the man.

    But it won’t change me, and I’ll marry soon after that.

    GOD this marriage! Mrs. Applebottom, I’m gonna fall in love so good. Like how I did it at recess with Bunny. My future wife and I are going to be sitting in a field and the sun will be setting and I’ll be saying, don’t worry, all I see is your face, closing in on me. Then I’m gonna be fifty and by then my wife’s gonna be a smoker and she’s gonna be extremely absent and prestigious. I’ll be in the kitchen and she’s gonna be sitting out in the car, smoking, ashing out the window, really curly rusty hair, which quivers around her head with that proverbial mind of its own, which I much prefer to her mind, because of course by then I’m going to hate her as a reflection of my relationship with myself. And one day, nine years into our marriage, I’m going to come home and she’s going to ask me for a divorce.

    And I’m gonna say: “Why?”

    And she’s gonna say: “You just… you take me too seriously.”

    And I’m gonna say: “Well, how else should I be taking you?”

    And she’s gonna be like: “BY THE HIPS, Benji, BY THE FUCKING HIPS! Life’s too short. Just fucking fuck me hard or some shit. You bitch. Just make me quiver just like slam me or whatever.”

    Silence, then, will reign.

    I’m gonna look at my wife. I’m gonna sense how much she loved calling me a bitch. How she probably rehearsed it in her head. How all day she paced around our closet in her beautiful bare feet and thought: Tonight I’m gonna call him a bitch, I’m gonna say it out loud. I’m gonna do it.

    With her grand performance in mind, with her request for brutality, her clarion call for conquest, I’ll at last lay her down, and fuck her very, very softly. Gentle enough to kill. Slowly, softly, like we’re fucking nothing. As I thicken up inside her I will feel her drain away from me. All of her, gone. The last of not only her good will, but all of it.

    When I finish I will hold her by the hips and lick my spill off of her. In retrospect it will embarrass me that I’ve done this, but in the moment I’m going to hope it scratches some inner itch for feeling. As I taste the sticky I’ll think back to Bunny and how I love what they like to call her nervous ‘accidents.’ I’ll think back to the dancefloor, too, to the man I missed out on, who was only ever myself, anyway.

    But these thoughts will not change me. They will not even bat my eye.

    Which is what I’m trying to say to you, Mrs. Applebottom! Yes, I’m turning ten. Yes I’m aging. But no, no goals for growth, I don’t need them, do you see? I’m here already!

  • Three Poems – Jason Irwin

    Three Poems – Jason Irwin

    Poem for Gerry or, the Poet Goes Walking in His Backyard 

    The Jays & Wrens sing his legend.     

    The furry creatures call him saint, moonstruck 

    uncle. He Who Dresses like a Windy Day, 

    while the gnomes cast eyes of caution 

    whenever he moves through the tall grass, 

    murmuring his strange benedictions,  

    his elegies to ribwort & tree bark. 

    Each night they watch as he recedes  

    like the sun, behind the doors of his domicile. 

    Each morning they gather like soporific pilgrims  

    waiting for him to come forth. 

    Early Morning in the Old Town 

                         for August Kleinzahler 

     The 5am west-bound CSX rattles the loose-fitting panes.   

    The cries and giggles of three Puerto Rican girls   

    walking to school echo between apartment buildings   

    & Chestnut trees. On the corner of 6th & Main   

    Mr. Nasca croons All of me, why not take all of me,   

    as he sweeps the sidewalk in front of the convenience store   

    he’s owned since time began. The entire town — derelict & crumbling,   

    yawns beneath a smoke-gray sky, while the aroma  

    a fresh-brewed coffee wakes me & I rub my eyes  

    to find my mother, still in her nightgown, standing on the balcony,  

    staring out into the distance, as a shard of sunlight  

                                                               rests on the swollen knuckles  

    of her left hand like an injured bird.  

                 I’ve become a stranger here, just another vaguely familiar forehead  

    passing through, trying to recapture some lost part of himself –  

    an expression, or feeling trapped between tibula & funny bone, breath 

    on glass. Something I can call my own. 

    Sometimes We Wake Transformed  

    In the ancient courts, generations of Henrys  

    proclaimed: “We are the center of the universe.”  

    Yet the moon people have moved among us  

    since Noah’s time. Experts in camouflage,  

    their lunar citadels look like nothing more  

    than sky. And the sun,  

                          the sun is just a love-starved girl,  

    dancing among the clover and dandelion fields.  

                         Sometimes we wake transformed 

    into driftwood washed ashore. We wait for hours,   

    weeks even, for someone to rescue us – 

    a college professor, or old poet like Robert Bly, 

    someone to carry us home & polish us into walking sticks

    or eccentric sculptures to stand alongside 

    dusty tomes on Norse mythology & geometry, mint tins   

    from St Gallen & Tangier.

     

  • Vijay R. Nathan’s Breakdown Dancer Takes the Floor

    How many poetry books offer playlists to accompany your reading?  Breakdown Dancer by Vijay R. Nathan contains three “Anthems”, song sets ranging from Lady Gaga to Robert Palmer, that underscore a book of compelling generosity and experience.

    If “dystopia” and “end times” have become buzzwords of mid-Covid zeitgeist, Nathan enters the conversation with “breakdown”, a term that encompasses the macro crises going on out there in the world, but more particularly in his case, the personal journeys of his speaker.  The voyager in Nathan’s work is someone who brings philosophy, spirituality, identity, and romance to a life’s journey. He describes in these poems frayed religious and family heritage, mental crises, love, loss, and absurd moments of redeeming humor. From the title poem, “Breakdown dancer”:

    “It has long been understood that manic-depressives run
    in fancy panties.
     
    Back up dancers who have a clever retort
    to anxiety drive thoughts are more likely
    to develop the ‘Disquiet’…
     
    …An ambulance screams ‘Applesauce!
    Applesauce!’”  
     

    Nathan writes mostly in free verse, but he also deploys several poetic forms.  Check out the “Motel 6 Rendezvous”, a paradelle.  There are several sonnets, a couple of ekphrastic poems, and a humorous, slightly disturbing tangle of text messages that comprise “This is Not Not a Love Poem”, which begins with the enticing, “I want to axe-throw with you.”

    His language is sometimes straightforward; some poems, narrative.  But many poems are lyrical and absurdist.  They capture the tricks and traps of spiritual inquiry, longing for love, or just lived experience in a fractured age, that quest for wisdom balancing on the blade of a knife, with downfall and mirage waiting to either side.  Nathan takes us through these slips and insights with vivid, humorous imagery, as in “Everybody’s Got Something to Hide Except Me and Nietzsche”:

    “Now, a fleeing philosopher, as evasive
    as he is indirect, his moustache is coated
    with chocolate milk.
                            Neptune sends
    Mercury flying into retrograde Friedrich
    leans in, his eyes shut.”  

     

    Some poems trace his growing up on Staten Island.  “Pradakshina”, Hindu for ritual circumambulation, depicts his yearning in middle school for a girl who circles his block on her bike.   

    Several poems explore dimensions of Nathan’s identity as a first-generation Indian American moving through the world.  “Sacred Threads” describes a series of encounters, ranging from his students to his father, that probe his own sense of who he really is.

    “I place ‘Other’ as my ethnicity. I no longer assert I’m Hindu
    having laid claim as Western Buddhist, only to be commonly
    asked: “What’s really the difference?”
     
    My dad jokingly asserts that perhaps it was a waste to give me a
    sacred thread ceremony if it only took a decade for me to find a
    new path into Truth.
     
                Om, shante, shante, shante.”

     

    “An Indian-American Travels in Poland on a Night Train” bridges questions of identity—a stripper confuses the speaker for an African American—with one of the psycho-medical breakdowns that occur throughout this book.  Hospital experiences give rise to feverish perceptions like this one from “Above Us Only Sky”:

    “The mother coughs, momentarily turns blue
    Blue is the color of Lord Krishna’s skin…
    …The past leaves a wondrous rainbow of scars
    Professionals categorize the illness
    The illness is something he cannot control.” 

    Profound poems arise, too as revelations from a spiritual journey that moves beyond history, failed romantic love, and even the consolations of philosophy.  “The Place Where All Things Converge” begins with the solidity of Information Sciences (Nathan is a librarian by training) and leads to mysterious experience:

    “Sometimes, this cherry picking uncoils
    Kundalini,
    manifesting past apparitions, they appear
    everywhere.”   

     

    Global travels bring back such souvenirs as joining Buddhist monks on their daily alms-gathering (“Alms Rounds in Fang Valley”).  The book’s final poem, “Sphinx of Black Quartz, Judge My Vow” is a complex exploration of the uses and misuses of mindfulness as practiced and sold today.  This pilgrim travels with open eyes and a ready pen.

    Some poems jump off from familiar experiences: drinks at a rooftop bar, “#NoFilter”; overheard conversations, “Indoor Voices”; or flights of sci fi fantasy when cornered in a bookstore by an aggressive match maker, “The Anarchy Acrobats”.  These poems may start from an everyday urban encounter, but in Nathan’s hands, they can soar into visions of giddy silliness.  And silliness can redeem a lot of breakdown.

    Love poems abound: requited, unrequited, soulful and sweet.  “Friendship Exchanges, Or The Sun, the Moon and the Light” traces in seven pairs of contrasting lines and a central one, “It’s never about us when you’re with me”, the evolution and devolution of a close friendship.

    Spending time in the world of Vijay R. Nathan is entering into a kaleidoscope of information, insight and heart. (Full disclosure, he has published my work in Nine Cloud Journal, which he edits.)  Breakdown Dancer explores a questing, open, generous need to really know and love the world, for all its downfalls and dystopias.  These poems play the dating game without being too bitter; recall the past without being too regretful; portray illness and breakup without being too despairing; and seek a way forward with honesty, bravery, and humor.

    A companion like this can go a long way in times like these.

  • Viola Sororia

    Viola Sororia

    Grandmother loved the Latin names of the flowers she’d raise in her greenhouse and in her garden. She believed you should know everything about the things you love.

    She made the rounds in the afternoon from one area of the garden to the other: the rose patch, the dark ivy twisting around a metal arch leading to the left of the house, the white lotus flowers floating on the pond on the other side.

    She told us never to lean over the pond, even if the frogs called to us or the goldfish swam near the surface. It was deceptively deep. She also told us to never walk on the edge of the terrace, where the wild violets wilted over the side, ready to drop to the garden below.

    Her home was a castle surrounded by beds of flowers and grass with the Marmara Sea a few steps below.

    ***

    Grandmother’s childhood home had a long decorative pool in the center of the foyer lined with marble columns.

    Her father would place her between them for portraits in silk dresses and braided hair. She’d spend her days taking long walks with her nanny, along the coast or to her aunt’s house. She’d walk around the garden with the gardener or watch the laundress who would come once a week to wash the family’s clothing.

    Grandmother’s house had use of natural gas, running water, heating, and drinkable tap water. Her father, Ali Raif Bilek, was a major civil engineer in Turkey. He’d travel often for work; six months at a time, so Grandmother rarely saw him when she was growing up.

    In 1951, Ali Raif began construction on the Birecik Bridge which crossed the Euphrates River. It was completed in 1956. During that time, Ali Raif also purchased the first automatic washing machine available in Turkey. He was a man invested in the future.

    One of his ancestors was Sultan Bayezid II’s subaşı, a post similar to chief of security. The  subaşı was also in charge of setting up the Sultan’s tent when he traveled.

    Such men were described as hesabini bilen—“men who settled their accounts.”

    ***

    Growing up, grandmother came to depend on her mother. Her mother fixed all the misunderstandings between father and children and kept harmony in the house. Her father was often irritable. He flung a plate across the dining room once because he was displeased with dinner.

    He had softer sides, too, she said.

    He would sing arias in his room when he thought no one was listening. He took his wife to clinics all over Europe to find a cure for her migraines. He sent Grandmother a surprise ticket to Geneva as a high school graduation present. He had his money and his gestures.

    One night, Ali Raif invited a neighbor, Hüseyin, to dinner in return for fixing their new washing machine. Grandmother treated him with courtesy and served tea and coffee. After, Hüseyin begged his older brother to meet Grandmother and spoke of her with admiration.

    The brother, named Asim, put a hand on Hüseyin’s shoulder.

    He told him, Dear little brother, I can’t marry a rich girl. We’re just a modest family from Anatolia.

    But the brother’s aunt and mother also knew of Grandmother and insisted he meet her.

    They went to a waterfront cafe in Suadiye on the northern shore of the Marmara Sea. Then, to a pastry shop in Beyoglu and walked down Istiklal Avenue.

    After that, they would meet secretly to talk and drink coffee together.

    ***

    The day Asim went to Grandmother’s home to ask her father for her hand, Ali Raif said, This will not work.

    A family friend had advised Ali Raif against allowing Grandmother to marry Asim.

    He wouldn’t suit your family, the friend had said.

    Around the same time, Grandmother’s sister, Tina, was going through a divorce. Ali Raif could not allow another doomed marriage among his daughters.

    Devastated, Asim left the country on a business trip. Grandmother sent him a letter asking him to be patient. She wanted to marry him.

    ***

    Asim was living with his brother Kerim and his mother in the seaside town of Yeşilköy. He decided to rent an apartment in a wealthier district for his soon-to-be wife and himself before their wedding.

    Grandmother purchased the living room and bedroom furniture and Asim completed the dining room and kitchen. But he was worried. He was about to marry a girl who was used to more than he could offer.

    A close friend reminded Asim that Grandmother’s family wealth provided her with a good education and etiquette. She had traveled more, and as a result, she had seen more.

    Grandmother’s fluency in French and English would aid Asim during business trips and in deciphering manuals for machinery that would arrive for his factories from foreign companies.

    After a year in their new apartment, Asim asked Grandmother if they could move back to Yeşilköy.

    She said yes, and they moved into a two-floored house with Asim’s other brother, Kerim, and mother. They lived on separate floors but shared all their meals together.

    Asim’s mother would set the table for breakfast and dinner. She would never place glasses for water. Grandmother had to remind herself that in the village where Asim and his family came from, they rarely drank water because if you wanted any, you had to get it yourself from the well.

    Asim’s brother, Kerim, was paralyzed, having fallen from a tree in their garden when he was in seventh grade. He was climbing to the top in search of delicious figs. A thick branch broke his fall, but his hips caved in and he was left paralyzed from the lower chest down.

    Grandmother showed me the same fig trees that stand outside our house walls. The figs fall, forming red and green fleshy graves for stray dogs and cats to stride over.

    Grandmother played pinochle with Kerim and they gossiped about their neighbors.

    One morning, Kerim threw a Quran into the furnace and Grandmother had to convince Asim that his brother needed professional help. They couldn’t live like this.

    Asim took Kerim to various doctors in search of miracle cures. Kerim was sent to a psychiatric hospital in Vevey, Switzerland for a few years.

    The nuns soon demanded Kerim be taken back home after he’d set himself on fire by pressing a lit cigarette onto his mattress.

    Asim and Grandmother brought Kerim back home and he died a few years later.

    Grandmother cried. She still cries whenever someone mentions Kerim’s name.

    ***

    Grandmother had three children. She also became a board member of Asim’s company.

    She visited the factories and offices. She posed for photographs at openings, ceremonies, and celebrations. She kept her home clean and beautiful. She picked fresh flowers from her garden every day.

    During a check up, her doctor saw a shadow on her breastbone. Her doctor said if was cancer, he could remove the breast or just the cancerous portion.

    Remove the whole thing, Grandmother said.

    You did this to her, Asim told their three children.

    The day after surgery, a nurse walked in and told Grandmother to get up and take a shower.

    My Grandmother stared at the tubes coming out of her.

    What will I do with these?

    I’ll hold them, but you will wash yourself. She brought out shampoo and my grandmother offered her left hand, the side that still had a breast and lymph tissue, the side that from this point on, could not get infected or hurt.

    No, the other hand, the nurse said. Don’t be afraid to use it.

    Grandmother asked her doctors to lower the dosage of her painkillers because they made her tired.

    Look at the flowers everyone sent, she said. She got out of bed and began to check the water levels in the vases. She moved some of the flowers closer to the window, especially the wild violets.

    Wild violets are considered a weed by some, but she loved them. They adapted.

    ***

    I woke up on a Sunday morning and checked my phone.

    The women in the family have a group conversation that never stops. Grandmother reads the messages and saves the photos but never writes anything.

    There was a single message from my mother. She and my aunt were at the hospital.

    Grandmother fell from her terrace into the garden below as she was picking flowers. But her mind is sound. At this age, the body may break but the mind is important.

    I call and the rest of the information is told in parts. My mother says the stray kitten that hangs out on the terrace tripped Grandmother. Maybe she just got dizzy and stepped one step too far.

    I know every part of that terrace. The granite edge, the two columns on either end, covered in ivy, keeping the house up. The sun sets at a point blocked by the left column but sometimes jasmine will grow on it too, so the scent will make up for the view.

    A large magnolia tree rises up near the center of the terrace from the garden below it. Right at the edge of the house, the ground slants down and a few marble steps lead to an indoor pool. The tree has been there since I can remember, larger than the magnolia tree that my own room’s walls press against.

    Sometimes if a flower is close enough, I’ll reach out my window to snap a bloom off the tree and bring it down to my mother. I’ve slipped a few times and heaved myself back inside.

    Grandmother couldn’t have held onto anything. She probably saw the little black and white kitten watching her as she fell. She broke her hip and tailbone.

    But her mind is sound and she is aware, my mother and aunt repeat on the phone.

    I think about the damage of lying on a bed for four months, of walking again after having hip surgery, of the pain she will still feel as the weather changes and the winds pick up outside her seaside home. I think about how this wasn’t her first fall but reading the words “she fell from her terrace into the garden,” in my bed in New York, miles away from home, creates a new kind of horror.

    I want to go back home- to see her when she wakes up from surgery, but several relatives tell me there is nothing I can do. Nothing anyone can do but sit and wait, wait for her old bones to heal.

    Grandmother calls.

    They’ve raised my hospital bed so I can look out the window. There are flowers by the lake.

    You were the one who told us to stay away from the edge of that terrace, I say.

    She laughs. She says, I know. I was just trying to pick flowers

    Grandmother was trying to reach the wild violets.

  • Waiting for a Boat from Governor’s Island

    Waiting for a Boat from Governor’s Island

    Holding hands with a guardrail
    We dance watching moss and vines
    Tackle empty buildings in the distance.
    Vacancy helps me understand
    What was lost and what we’ve found.
    This space is a landmine of
    Silence no longer submerged.
    I grab some crab tacos
    While the boat arrives in five minutes.

    Where paths of eight million souls meet.
    They walk on forest green grass and past old military homes.
    They take selfies on the barge.
    Roll down hills with their children.
    Do we impose on nature? Or on the past?
    Scrape our names and faces
    Into brick, concrete, and tree bark.
    Do we love space? Or what we can make of it?
    Our boat floats from the city to the dock.

    I marvel at the pigeons and how they take space.
    Unflinching and confident.
    Reclaim the grounds for which you long.
    Only if it were that easy.

    The city sings its sad song.
    Telling me to come home.
    Trade fresh untethered air.
    For the smog we share.
    The boat arrives in the city.
    I am reluctant to return.

     

    Baby, It’s Plastic

    Ignorance sits too well on your lips.
    Your lips curve and you hide your pout.
    Your pout is the best part about you.
    Your mustache swims above your lips.
    I wish your words matched your mouth.
    Yet I’m here.
    drawn to your drawl.
    And hands large and consuming
    like my father.
    I could be bothered.
    I could be angry.
    But succumbing is as natural,
    As a body in quicksand.
    Entered with heart open,
    I leave with my stomach filled.
    Feeling empty as sweet nothings
    Whirl around my ear.
    It all makes sense,
    Until it doesn’t.

    I Hope All Is Well

    Remembering memories that lost my fingerprint. They want me to remember. I pretend to forget
    until I can’t remember. Dust off the appendage and reattach to me. I don’t apologize for dead
    situations. I pray over them. Let them fly away with embers. Dissipate into night sky. Be of rare
    sightings like California condors.

    And I’ll wake up like sunshine in the morning.

  • Watching “The Color Purple” During Quarantine

    To touch my sisters face
    Under an unrelenting sunlight
    In a field of trauma turned to delight
    I want to touch southern soil
    To feel the home I’ve never known
    Self-Isolation ain’t new
    Self-Isolation is grand
    Crowded dance halls left me empty
    Dark liquor kept me full
    Tight sidewalks push me out
    New York is choking me
    Celie and Nettie cry
    In each other hands
    Scratching anxiety off my neck
    Isolation is a deep sleep
    I’m floating
    My future is an aimless
    Thick miles of land with no plans
    To fill the space
    Set in stone. I hate when plans are
    cancelled.
    Or when they’re taken from me.
     
  • We Could Be Like Bonobos (an excerpt from The Enhancers)

    We Could Be Like Bonobos (an excerpt from The Enhancers)

    The Lumena Center didn’t do much for me ever, and on a Friday night especially, with all of its fluorescent lights illuminating the worst in the shoppers and supplement poppers and gamers and everyone moving within. Samsun was a habitué of the Center’s VR cage, where guys, mostly, would play games wearing headsets, each assigned to a different padded cubicle. This abutted a literal cage where people gamed together and one of the challenges was not running into one another. In the last cage, people threw axes at life-size outlines of bodies projected onto a wall.  This was justified as physical exercise, somehow, that helped sublimate aggressive tendencies or something like that. Samsun came here most Fridays, Celia had said. And we had vowed to help Celia avenge her sadness and what had become our mutual anger at his postfuck weirdness.

    The Center had dispensaries at both ends with moving walkways spanning the distance between them. Between, there were kiosks for magnetic resonance and mental reset techniques and sign-ups for electrostimulation rooms. There were dosing hubs and recharge stations. People came on Friday evenings after school, after the factory’s second shift, though I never understood why so many people were drawn to come here at the same time, as if being in a crowd were an experience they desired.

    I met Celia and Azzie on one end of the second-floor walkway. When together we became a we in a way that made us stronger, bolder, a blur. Celia had done her hair up in braids that circled her head. She wore plastic fangs and a billowy see-through dress. She wore all black and a fanny pack. She had this new hand tremor too. When I asked her about it she laughed, said the EMPTEZ had only made her cranky and shook her, literally. She’d been clawing walls ever since.

    Azzie wore a bomber jacket and combat boots. I went for a more discreet, undercover look: black turtleneck and pants, augmented clear plastic framed glasses that could record my path of vision. Celia passed her antler around and we each took turns sniffing its Insta_Pleasure and licking our fingers for luck.

    I queued the TrackHer®. It said Samsun was moving dynamically through the VR cage. We split up, turned our cameras to record, and took separate paths toward his location. I went zigzag between the walkways, checking the others’ locations frequently. Celia moved more fluidly from side to side almost as if in doing so she were delaying the inevitable encounter. Azzie beelined and found Samsun first. He was checking into the ax throwing side, waiting on gear. He stood captivated by his device and unaware of her encroachment, Azzie said.

    “Oh wait, eye contact made,” she noted. I couldn’t see the feed of what was happening, but I heard his mumble of a greeting and Azzie starting to rant: “Don’t hi me like we’re friends. You’re too busy throwing axes to respond to texts?” I paused to look at Celia’s stream. It looked like she was detouring.

    This wasn’t how we’d planned it, but I knew of no other way forward so I carried on. Azzie and Samsun were in a stalemate. Behind them was a desk and a behind that a man holding an axe. I saw Samsun’s confused face and Azzie up in it, looking like she was about to bite his head off.

    “You know, it’s pretty shitty that you won’t return Celia’s messages,” I told Samsun.

    He was like, “Chill guys, you definitely need to Re-set.”

    Azzie started in again, “Don’t ‘guy’ me. You fuck with Celia, you fuck with us.” She threw her chest up against his and stared him down.

    He took two steps back, threw up his arms, and was like, “What the fuck!?” And walked off.

    I grabbed Azzie and pulled her back. She panted at me, that she was just about to launch into him. I told her she was lucky I’d stepped in as I gazed at the guys in the cage just beyond us, wandering blindly in a realm that made sense only to them. They had headsets covering their eyes, devices in hand, cords tethering them to the mainframe like umbilical cords.

    “Abort, abort,” I shouted into my device. Where was Celia? She’d turned off her camera though she still had audio on. “Celia. Meet us in the second-floor women’s bathroom.”

    We took a moment and headed across the way, and entered the powder room, where we sat on the floor.

    “Azzie, I wouldn’t call that subtle…”

    “You didn’t see the look he gave me.”

     “You deviated.”

    “You think she’s pissed?”

     “I mean, she’s not responding.” I messaged Celia again: “Where are u? Not showing on the device. Come, come. A. says she’s sorry. “

     We decided to get on with the part deux. Next step was to hack into the local LED signage network and transmit Samsun’s Ihaznodick.gif across it. It wasn’t even a dick shot, just a series of images of him dressed head to foot in black, his slinky body fading into the dark corner, with a bright light above washing his sad, sad face. It made him look isolated. There might have been a tear in his eye.

    “She can always say she wasn’t involved or some shit.”

    “You think?”

    “I was just trying to empower her.”

     “You could’ve let her lead, you know? Let her slap his face, pull his hair, have a physical confrontation.” I sensed Azzie was really the one who’d wanted this. It was the male chimp who would show aggression, not the female, not the bonobo. Azzie had some real dick-related anger of late. Like she wanted to be the dominant male. I couldn’t help but think of her father, still missing after so many years and the weight that had on her. She wouldn’t talk about him, ever. I knew from Judy that he just got in his truck one day and never showed up to pick up his haul, never returned to Lumena Hills. His truck was found abandoned at a rest stop. No trace of him. No sign of foul play. Azzie changed the subject if it ever came up. But perhaps if we regressed, she’d be able to claim some form of dominance and heal.

    People came and went as we sat there in the powder room attempting to hack into the local network. We moved to two plush chairs with a table between, its smooth self-cleaning surface used for cutting powders, organizing doses. Some girls lingered, but most came and went, passing the mirror, pulling hair, licking teeth, applying rouge, sniffing vials, taking cases from their purses and placing pills in their cheeks.

    The fluorescent lights made my head scream.

    No word still from Celia. My attempt to hack the network wasn’t working. 

    Azzie said to let her try. I handed my device to her.

    I queued Celia’s camera feed. She’d turned it back on. It was static. All I saw were series of induction pots hanging.

    “Something’s wrong,” I told Azzie. “Looks like she’s in kitchenware.”

    “Sure, yeah this isn’t working. Let’s go find her.” Azzie dug her hand into her pack and pulled out a tiny plastic banana and split it in half. She tapped out a palmful of pink tablets, swallowed one, held her palm to me. “Edge Eraser?” she offered.

    I took one too and then we left. We walked through a side door into the store showroom, past a series of screens and speakers and signal amplifiers, accessories like earpieces, headsets, glasses, helmets. We followed a maze to and through women’s samples — formal dresses with elaborate brocades, others cut in modern shapes, boxlike and awful. Like, who would even wear these? We went on to lingerie, panties, and peek-a-boo nighties, we pushed through silks, pulled them through our fingers and held them to our faces, then headed to kitchenware.

    I looked again at the camera stream and Celia’s display. I saw two sets of legs, one from the feet up, and the other squatting, with knees pointed at the camera.

    In front of us, there were two guards, one standing over a counter and the other crouching under. I saw Celia’s phone on the floor.

    I asked the standing guard if he’d seen Celia. I described her black hair and blonde roots, her black billowy dress.

    “Fangs?” he said.

    “Yes.”

    He nodded and pointed toward the display of knives. They were shiny and sharp and strapped down. The other guard pointed to the door. “She went that way.” He said he’d walked up as she was attempting to break a knife from the case. She had dropped the knife and run away.

    “You just let her run?”

    “Look, I tried to see if she was okay.”

    I grabbed Celia’s phone from the floor and we took off, dodging perfume bots attempting sprays. The sky outside was dark with clouds and rain was pouring over the line of vehicles exiting

    We decided to split up and canvass the parking lot.

    “No flaking,” Azzie said.

    “Yeah, no kidding.”

    I walked past the loading docks on the backside. On the other side, I saw a tiny woman standing by the side entrance. With her tiny fingers she held a tiny kerchief over her head. She looked observant and very wet.

    I asked if she’d maybe seen Celia: “Blonde braids, black dress, perhaps a bit discombobulated?”

    She seemed to have trouble with her words. Her phrases came in spurts: “A particular…? I cannot tell…. Honestly …  you look,   nice girl …”

    She was no help. I walked back toward the loading dock.

    In the distance, I thought I made out Celia’s outline walking in the lot. She looked lost. Her hair was soaked. She was walking along a row of parked cars back toward the Center, toward me.      

    She tripped and stumbled and all of a sudden her body launched into the air, she flew forward, and into the path of a sports utility vehicle.

    The sports utility vehicle halted and I started running. I watched Celia fall so slowly–her shoulder hit its grill and then she crumpled, it seemed, into a heap the ground.  I ran over to her side and kneeled beside her. The sports utility vehicle’s lights made her look ghastly, her billow wilted, her pale skin damp. She looked like she was crying but it might’ve been the rain on her face.

    “What’s going on Cici? Tell me you’re okay…?” 

    This didn’t seem to register. She had a cut on her chin and her braids had fallen though that looked like the extent of her injuries.

    The SUV driver was still in her car. Her shocked O of a mouth made her look like she was hyperventilating, with two screaming kids beside her. Finally she popped her door and ran over, and was like, “Are you trying to give me a heart attack or what?”

    “Lady, look, I think she’s hurt.”

    She was no help. She just freaked. “Oh god it’s not my fault. She hit us. We had no velocity and now just look at her.” She took a capsule from her pocket and put it under her tongue. I had no time for her hysterics, to wait for it to kick in. I grabbed Celia’s hand and tried to help her up but she was dead weight. The cars were lining up. I sent a location pin to Azzie and told her to get out here and quick.

    “I’m calling an ambulance,” the SUV driver said.

    “No, no don’t do that…” I turned to Celia, wanting her to agree, but she lay there, her eyes wide and without expression.

    The woman was already talking to someone on her device. The children in the SUV started pressing their faces into the windshield, putting their mouths on the glass, and then turning the headlights on and off. The woman said paramedics were on their way, then went back to sedate her little monsters, or so I hoped. They were acting like little cretins whose behavior was so beyond. Judy would’ve had a field day with them.

    Azzie came running just as the ambulance pulled up. She and I stood to the side as the EMTs asked Celia a long list of questions. They asked her to hold up one finger for yes, two for no. She could do this. They pressed their gloved hands over her body. I wondered what shape it would’ve made if they’d been wearing my gloves. They pulled her dress down to rub her chest. They needled and masked her and then lifted her onto a stretcher.

    Azzie asked “What’s going on?”

    The tall one said, “I can’t conjecture. Nothing apparent. No contusions, no lacerations, no pupil dilation.” They needed to run tests. She said it was standard procedure and lifted the back end of the stretcher into the ambulance. I attempted to climb in after them but she blocked me.

    “Uh-uh! You can’t ride.”

    “Just me?” I pleaded.

    “No minors,” she barked. But she seemed to take pity. “Sorry, not my rules. We’re taking her to the Downtown Hospital. You can check on her there. Her guardians have been alerted.”

    The ambulance drove off, its lights rotating, the sound blaring, and the traffic again started moving. Azzie and I stood there watching, the rain running down our faces.  

    We walked back into the warm and dry of the Lumena Center feeling defeated. It was emptier near closing time, and we stood in the glare of its lights. I suggested we get a ride to the ER — though Azzie said it was pointless. They wouldn’t let us in without Celia’s mother’s permission. And besides, it takes so long for them to do anything there. She said Celia would be placed in a tiny room where she’d be poked and needled even more, and there’d be just enough room in that room for Celia and her mother. “I’ll call my mom,” she offered. “Ask her to keep an eye out for Celia, you know, keep us posted on what’s going on.”

    The Med Rx dispensary’s counter was still packed. Its walls were so clean and bright, and between those walls were so many bodies. The bodies on the other side of the counter wore form-fitting suits and swept pills across plates with long, blunt knives. They used scales to measure powders, tapped powders into capsules. They mixed herbs and emollients with long butter knives.

    The line was so long for made-to-order so we made a beeline for the machine. We tapped the screen for the round orange balls, SunKisses. Two grams of Insta_Pleasure, a focus enhancer, and a purple pellet relaxant.

    We took the Delixir, too. What was left. Two tablets. It was enough for the night. 

     

  • We Now Return to Regular Life

    Young Adult novelist Martin Wilson grew up in Tuscaloosa, Alabama, where much of his fiction takes place. His first YA novel, What They Always Tell Us, was the winner of an Alabama Author Award and was a Lambda Award nominee. His newest one, We Now Return to Regular Life, is a profoundly darker story, a look at what happens to a family and several communities when an eleven-year-old boy named Sam is kidnapped, held hostage for three years by a much-older man, then returned. The ensuing narrative plays out through the eyes of Sam’s sister Beth and Sam’s former friend Josh, and shows the very-current topic of being an “ally” in a fresh way. It has added immediacy when put into the context of recent, real-life, years-long abductions. 

    I spoke to Wilson last month about point of view in books, media spectacles, sex scenes in books about teenagers, and the state of YA in the South.  

    Gee Henry: So, why do you think you chose the two characters you did (Sam’s sister and his friend Josh) to narrate the book?

    Martin Wilson: Well, when I first conceived the idea, I thought I might want to have Sam’s POV. But then I realized I didn’t want to go there. Other writers had gone there already–to the “victim’s” POV, and they had done it quite well. In these stories, I realized you rarely heard from other people affected by the tragedy, besides the parents. And those viewpoints really were of more interest to me.

    Yes, not having Sam’s POV really increased the mystery of it for me.

    That was the intention, I guess–that mystery that can pull the reader along. Also, I do like shifting perspectives. When I get sick of one character, then I can switch toanother’s point of view. I wanted to explore what happens after the headlines fade away. So I did a lot of thinking and these characters eventually came to me. The friend who was with him the day of the vanishing, and the older sister who let him out of her sights.

    There’s a scene where the family, after Sam is returned, does an interview with a Diane Sawyer-like journalist. I know that, because of what you do for a living, you often watch human-interest interviews. Have you ever had to watch an interview of the sort that you write about in your novel?

    Well, not in person—just on TV, like most everyone else. I’ve seen a ton of them, though as I’ve aged I watch less of that stuff. In fact, I loosely based this story on a true case, and I know the family was interview by Oprah. But I didn’t watch it. I find them so awkward and awful, and I hope that comes through in my novel in that scene. 

    Same. Years ago, there was this family who had lost a loved one, and they were interviewed by Hannah Storm or somesuch, and I watched it. Her first question was, “How do you FEEL?” The dead guy’s brother said, “How do you THINK we feel?” After that, I’ve sort of changed the channel whenever I see that kind of laziness in journalism.

    It’s so true though. It’s so cringe-worthy, and I always wonder why people subject themselves to it. In this case, I wanted the family to be conflicted about the experience.

    There are so many ways to help families who’ve gone through such loss without having to see television interviewers try to milk tears out of them.

    Very true. I think, for the purposes of making a dramatic story, the TV interview was the way to go. 

    I know you live in NYC. Why do you return to the South for your fiction, do you think?

    I think because it’s the place I know best? I haven’t lived there in over 20 years or so, but I still consider Alabama “home.” My parents live there, my brother and his family. Also, I was in high school in Alabama, and since I write YA, I want my characters to inhabit a place I can write about with authority. I was miserable in high school—as so many people are—so this is the period of my life left such an impression on me. It’s true what they say—so many writers were outcasts in their youths. Hence that turn toward the interior—in my case, writing.

    You know that Carson McCullers quote where she said she visited the South every now and then to renew her sense of horror? Is there anything like that for you in writing about Alabama?

    Haha, that’s a great quote. But yes, I think there’s a little bit to that. Horror might be a strong word. Or maybe not. When I visit, I do live in a cocoon of sorts–just my family, who are all pretty progressive in comparison to everyone else. But you can’t entirely avoid the “real world” down there. It’s bracing to encounter people who see the world so differently. Maybe that’s good for me to see? One thing that has always kind of bugged me is the politeness, the manners, the niceness. In some ways, that’s great, refreshing. But often this is coming from people who hate gays, minorities, etc. So it’s kind of menacing. A fake niceness.

    I really like your fiction for the same reason you talked about just now. That it’s a story viewed through the prism of a family, a community. So the reader returns to a place of looking at the South through actual people, not just characters who are simplified on TV. Simplified, condescended towards…

    People always assume, when I say Alabama, that I grew up somewhere rural. That’s not the case at all. So in my work, I always want to show a different but real South, the one I know. I grew up in a city, not a town, not the country. Okay, it’s not NYC, but as far a southern high school goes, there was diversity too. Not just racial, but economic diversity.  

    Speaking of the South…I really love YA, but I feel like there’s very little LGBT YA literature set in the South. Is that your perception, too?

    I would say yes. But I think that’s changing. Overall, there’s a ton more LGBTQ YA literature than there was even 10 years ago. My friend Chris Shirley’s YA novel, Playing by the Book, and my friend Will Walton’s Anything Could Happen–these are two examples of southern LGBTQ YA that are really well done. I liked their honesty and tenderness. And Chris’s is maybe the first YA book I’ve read that really grapples seriously with Christianity and homosexuality. Which is a big thing in the south, especially. All your life they say you’re going to hell. It’s tough. Of course, these novels are set in rural environments. I would like to see more novels from the south that address a more urban setting.

    You handle the crush that Josh develops on Sam, and the brief, touching, sexual encounter they share, with such gentleness.

    Thank you! I was so nervous about that scene, but I knew something like it would be there from the beginning. Readers have taken away a lot of different takes on that scene, which I find fascinating.

    As a member of the YA community, do you face any blowback from people who don’t think there should be any sexual relationships at all in literature for young people?

    I really haven’t–not personally anyway. In fact, in my first book there were a few sex scenes that I thought might be censored, and they weren’t. And nor was this one. Of course there ARE people who believe this. But I think books that don’t grapple with sex honestly–I think teenagers won’t let those books pass the smell test. I mean, there has been sex in YA since Judy Blume’s Forever, and maybe earlier. Honest writers deal with it.

    And what of the recently infamous YA Twitter backlashes? Vulture (http://www.vulture.com/2017/08/the-toxic-drama-of-ya-twitter.html), among many sites and publications, have written about young adult authors being dragged and publicly shamed for books deemed to have insufficient diversity and inclusion. You’ve managed to escape being sucked into that world? [Note: Kirkus Reviews said of this novel that “Wilson also captures the diversity of one of Alabama’s larger urban centers…Beth’s friends are African-American and Latina, and the one friend that Sam made while abducted is African-American, to name a few.”]

    It’s so tricky to answer this. Diversity is important to me—both in my own books and in seeing other the perspectives of diverse voices published more and more in the YA world. It’s really heartening to see the successes of Angie Thomas, Jason Reynolds, Nic Stone, Matt de la Pena, Jenny Han, and many others. Books that get a lot of acclaim but also sell. I was a white boy, but I was also gay, and there were no books for me to turn to when I was a teen that I could relate to. And I think such books can make a huge difference to young people. 

    I guess what I find disheartening about some of the Twitter backlashes is that some of the fury seems misdirected.

    Right now, with all the awfulness swirling around us, I really think we need to keep our eyes on the real enemies, the real threats. Not that there aren’t genuine slights and grievances that should be addressed, but I find it dispiriting when people who are NOT the enemy are treated like they are the enemy. There’s got to be a better, more genuine way to educate people who might be clueless about issues–sexism, racism, etc.–than to just shout and label them something they’re not. I hope that makes sense 

    It does. Why do you think writers and readers like the “changeling” story so much? Like, the trope in literature about a child who is kidnapped and then returned, changed?

    I actually wasn’t really aware that this was such a trope. I do think “missing” stories have always had some lurid appeal to everyone. The mystery in these stories is irresistible. And I think there’s something compelling about exploring how such an experience would affect someone–and also affect people close to him or her.

    I really like the rollout of information in the book. Like, no one in the book ever fully knows the whole story. Sam’s mother, Sam’s sister, Josh–they all know pieces of the story. But no one, even at the end, knows what really happened to Sam. Maybe not even Sam!

    Yes, very true! I think that’s pretty true to life, but maybe not satisfying to SOME readers. I wanted that ambiguity there–the not knowing everything. I think that’s more realistic, and, in some ways, more satisfying. I want there to still be a mystery that the reader thinks about after she has closed the book.

    So do you ever think you might chuck YA out the window and write an adult mystery novel?

    I will probably not chuck YA anytime soon! That said, I do have a piece of “adult” fiction I’m working on (and no, not “adult as in porn!). Something very autobiographical that I may never want published, though writing it is therapeutic for me. But I love writing YA. I love writing about and for teenagers. I have more stories in that realm that I want to tell.

  • We were like two roots in soil…

    We were like two roots in soil                                    suspended blessings that would grow 

    on trees.

    Even when told their veins do grow                         and dates aplenty, vacant is our fruit.

    Spoiled was a root with the jealousy of time                what is it that keeps time from
    deteriorating?