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  • We Will Live Here Forever

    We Will Live Here Forever

    My brother is over, as always after his Tuesday night AA. I open my apartment door as soon as he buzzes, turn back to the salmon I’m poaching in a cheap saucepan on the stove. My brother doesn’t love salmon. He loves ice cream. We joke about this. “I smell salmon,” he says when he shuffles in the door, blue eyes smiling, backward Whole Foods baseball cap on his head. “Are you practicing your co-dependence on me again?”

    “Yes,” I say. “I’m trying to fix you until you’re a copy of me! Speaking of me, how does my…?”

    “It looks fine,” he says.

    “…hair look?” I finish.

    “But you’re too skinny. I bought us some ice cream.” He pulls the tub out of the Key Food bag, a generic Vanilla Chocolate Chip, which I know he bought us with his food stamps.

    “Just try the yogurt lemon sauce,” I say when we are seated on my Ikea sofa, facing my little TV. My brother and I have three TV shows every Tuesday, Law and Order, CSI and Lost, my brother’s favorite. After Lost, he has to rush to the subway to make his curfew at the three-quarter house in Flatbush. On Thursdays, we have The Office, and My Name is Earl.

    My brother obediently dips his fork into the sauce on his plate, flakes off a sliver of salmon. “Mm!” he says with surprise, and eats, even though I know he is mostly waiting for ice cream.

    “Look at these ingredients!” I say, peering at the carton when it’s time for dessert. “Guar gum! What’s guar gum?”

    I feel ashamed when he blushes. “At least it’s not vodka,” he points out.

    My brother has been in New York for seven years. I sent him a plane ticket when I could no longer understand a word he said, usually sobbing, over the pay phone outside the SRO where he was living then, in the same city as our father. When he wove toward me down the airport corridor from the airplane, led by his distended belly, I knew my brother was a hero. He had boarded the plane. From the airport, almost dead, it was to the hospital for emergency detox for a week, then to the fold-out couch I had waiting in my apartment, two days sober, the bar, three weeks sober, the bar, one month sober, the bar, rehab!, six weeks sober, the bar, another rehab, eight months sober!, the bar, kicked him out of my apartment on advice that letting him stay longer could enable him to drink but stayed his best friend, a half way house, three months sober, relapse and kicked out of half-way house, sleeping under the BQE for weeks, almost dead again, I took the subway to Brooklyn and said to him in a diner “tomorrow is still always a new day,” then nothing for weeks until I got his letter from a longer rehab, and now, here in my apartment, on his twice weekly pass from the three-quarter house in Flatbush, eating salmon on my sofa, just back from his favorite East Village AA.

    “This is for you,” my brother had said to me, the week before. And he’d handed me his “two year chip,” for that long sober in AA.

    “No,” I had said, dutifully remembering my AlAnon. “You earned it. It’s yours, not mine.”

    He looked hurt. “I can get another one when I announce it at my other meeting. I want you to have it.”

    “Well, okay then,” I said. And my eyes filled as I squeezed the smooth wood disk in my palm.

    Tonight I can’t stop my rant about guar gum, until finally I Google “guar gum,” to prove how bad it is. It turns out, though, according to numerous websites, that guar gum is a wholesome, non-harmful ingredient.

    “See?” is all my brother says. “See? Mm!” He eats another spoonful of ice cream while I blush.

    “Dad loves ice cream too,” my brother says. He fingers his mustache, an exact replica of our father’s, and I rotate my ankle in irritation.

    “See the new pictures I put up?” I wave my hand at my wall, the photos of me and my brother, as kids, tots, teenagers, some at our mom’s in California, some at our dad’s in the midwest, some as adults in New York.

    “Nice,” my brother says. “I’m a star!”

    “Do you ever think about it?” I ask. “How we would visit Dad and take all those pictures of all of them with my little Kodak Instamatic, and then the next visit none of the pictures of you or me would be on their wall, only the ones we took of them without us?”

    “Yeah,” my brother says. “I think about it. Just not as much as you do.” He scoops another bite of ice cream. “Dad loves us. It’s just that she…”

    “I know,” I say. I do. Our dad always cried, tears sliding into his mustache, when we hugged goodbye after our visits, which our mother always insisted be as short as possible.

    I used to think the missing pictures meant my brother and I had no place we belonged, no power. It took years to understand that it was the opposite. Our place had been first; it was that that she couldn’t stand.

    Our father is a writer who went to the famous writing school in Iowa. We lived together there as a family.  Then he had an affair with the wife of another writer. This wife-swapping was so common, almost mandatory, among the writers, that it was the subject of a well known short story by one of the father-writers of the era, about how the fathers didn’t live there anymore. After my mother divorced him, our father married the wife of his writer-friend, and when we visited, we found our father surrounded by a chorus of older children, calling him “Dad,” and two toddler girls. Once in a while a photo of us would pop up on their wall, but it rarely stayed there long, no matter how many pictures of ourselves my brother and I presented.

    There was an exception, the high school years when my brother and I had both moved there from our mom’s. Then our faces nested cozily in the frames with the others. Until some fight over my brother’s college tuition, when I sided with my mother, who, after all, did not live on a trust like our father. It was then that our photos disappeared again, never to return to their walls. It’s not that I want my brother to blame our father, exactly, since our stepmother controlled the home decorating as well as the finances. I just want him to stop idolizing our father quite so much, which I suspect annoys even our father, like a roving spotlight he can’t dodge.

    “It’s in the past,” my brother says. “We don’t live there anymore. We live here now.”

    He shuffles to the fridge, pauses at a photo under a magnet on the door, our half-sister’s daughters, two blond nieces, the card without a note she sends every Christmas.  “How is she?” he asks.

    “Who knows,” I say. “She never returns my calls. I always think we’re not in her life, then I get the annual card.”

    “Now now,” he says. “No need for a thesis.” He opens the freezer. “Ah,” he says. “More guar gum?”

     

    “How’s Whole Foods?” I ask my brother while we walk toward the subway he needs to catch to make his curfew.

    “This one guy is mean to me,” he confesses. “He keeps saying I’m not cleaning enough. And he’s not even in Prepared Foods! He’s in the Meats Department!”

    “Maybe you should mention it to the supervisor?”

    “No!” my brother barks. “That would make it worse.”

    “Aren’t they promoting you anyway?”

    “I’m not sure I want that.”

    “But…” I force myself to stop talking. This is a conversation for his sponsor, not me. My brother will only feel ashamed if I talk, the big sister with the multiple full-ride-scholarshipped ivy league degrees.

    “Sorry!” My brother waves a waft of his cigarette smoke away as we wait for the light. He always tries to walk downwind from me so I don’t breathe it. But sometimes the breeze shifts.

    I try not to sound rushed when we reach the Delancey station and my brother lingers. “Remember how Dad used to say ‘Later’ instead of Goodbye?” he asks.

    “Don’t miss your curfew,” I say, then I try not to, but I look away as slight hurt tugs downward on the corners of my brother’s eyes. He grins, imitation of our father, lifts his eyebrows, and attempts to meet my darting gaze.

    “Later!” I shout at the back of his baseball cap, sinking slowly down the station stairs. Then, though I tell myself I have it all in perspective as sport, I half-run home, to see if my latest spark, this ridiculous Boy, has emailed.

     

    I met The Boy in my Twelve Step Group, AlAnon, for people with alcoholics in their lives. When he slunk into our Sunday meeting wearing a hoody over a visor, a feather earring, and more tattoos than clothes, I recognized him from the East Village dance clubs, since I love to dance. He smiled sideways, and after the meeting asked for my number. Despite, or maybe because of, the red flags all over him, I found myself texting him. As is no doubt not surprising from the cagey outfit, there were immediate issues with The Boy. His denying the flirtation when I called him on it, then texting me all night long, in blatant contradiction of his own denial. There was the confession I made to him when we met for coffee (I arrived first and bought my own), that it was hard to let men buy me things, something to do with my father, only slipping family dollars to my brother or me behind my stepmother’s back. And how, despite this heartfelt confession, in our meeting the next Sunday, The Boy raised his hand and launched into a recital of seeing a beautiful seventeen year old at a diner, and taking the check for her lentil soup.

    “Please,” my funniest friend had said, over our usual coffee in the Ukranian diner after the meeting. “Lentil soup? Big spender! And seventeen? What’s he gonna do, take her to the prom?”

    The Boy started chatting me up after meetings, mentioned his gig last night at a nearby club. I danced near the stage while The Boy belted out suggestive lyrics I pretended not to hear were off-key, and took off his shirt to reveal a tattoo-covered chest for the crowd. After his set, while I was still dancing to the DJ, The Boy tapped me on the shoulder and invited me home.

     Although “invited” is too strong a word. The Boy told me he had to drive instruments somewhere, so he’d meet me at his place.  As I walked alone up Clinton toward The Boy’s apartment, came the first snow of winter, the soft white gauze spreading over the concrete, ironically warming the air. I unzipped my long down coat, turned on Third Street and passed my own apartment building, where I knew my brother would be the next night, as always after his Tuesday night AA.

    When I arrived at The Boy’s door, after a cursory, “How are you? Take your coat?” The Boy barked a command, “Get in there!” I had to force myself not to laugh. In our flirtations, I had confessed fantasies to The Boy, which apparently he was taking quite literally.

    I could hear the strain in The Boy’s voice, trying to force his tone low, because he thought I would like it, because, of course, The Boy was not as suave as I had pretended to believe, and as the plethora of tattoos advertised. “Get on the bed!” he yelled. I dived onto the mattress and he clumsily yanked up my skirt and started awkwardly, non-rhythmically, spanking me.

    Quickly it became clear that The Boy was afraid to show affection, to incorporate the fantasy into foreplay, letting just the hint of it enter, say by a barely whispered ambiguous command at the right moment. Apparently The Boy was not so gender-non-biased as his androgynous rock-star outfit promised, and he took the fantasy so literally, that he thought I did not, in fact, need normal affection. I tried to hide my lack of arousal. The Boy picked up on this and decided this meant he should whack me harder. “Let’s get rid of this skirt!” he barked, the loud bravado over the hesitation in his voice reminiscent of the visor usually obscuring his face.

    And recalling the scene did, bizarrely, arouse me the next day. I knew the Boy was a boy, but I just wanted it, the game, the temporary forgetting. So after leaving my brother at the Delancey station, I raced through the crowd on First Avenue, on my way home to see if the Boy had emailed.

     

    “Boys just like the conquest,” my brother says, during one of The Boy’s frequent breaks from me. He finishes the last of his ice cream (“mm…”), puts down his spoon, and leans back in my sofa.  My Name is Earl has ended, and we are waiting for The Office to begin. “Then they’re over it.  Why don’t you play with children your own age? Like my sponsor, for example…” My brother shoots me a sideways look, then sighs when I glance at my cell phone, to see if The Boy has sent a text.

    “He isn’t even a real musician,” my brother mumbles, trying to regain my attention while I scan my phone. “Just a poser.” My brother went to music college where he played guitar, real guitar, the notes so soulful people had to look away. He doesn’t have money for a guitar anymore right now. But he hopes to start again, when he can.

    “It’s like you’re in graduate school and The Boy is in nursery school,” says my savviest friend, over after-meeting coffee. “But you know that. Why do you act like you forget? Publish those stories, the ones about your brother, and find an equal.” There is a pause and she looks right at me. “WHY do you forget?” she says again. “Why?”

    “What I want to know,” says my funniest friend, clanking her cup down on the saucer. “Is when he is going to buy you some lentil soup.”

     

    The snow hides everything, then melts. And my brother is chewing a lot of minty gum. I try not to smell his breath underneath it when he shuffles through my door, try not to remember what he himself told me once, “People relapse months before they relapse.” He starts coming earlier on Tuesdays, saying he would have missed most of his meeting anyway, they made him stay late at Whole Foods.

    “And how is Whole Foods?” I finally ask, trying to keep the worry from my voice.

    “That big guy always comes into the cooler when I’m in there alone. He says I should clean better, why can’t I learn.”

    “But he’s not your boss!” My brother is five foot four inches. I’m trying not to yell. “Anyway,” I lower my voice. “That will be better when you’re promoted. When’s that review thing happening?”

    “I postponed it again,” he says. “I’m not ready yet. I don’t know if I want it, telling other people what to do. People hate people with power.”

    “But…”

    “Lost is starting,” he says. “And this is a really important episode.” He sits back on my sofa.

     

    My brother walks more slowly than usual to the subway that night, pauses outside the convenience store on my corner to light a cigarette, cups his hand around the plastic lighter to block the wind. Click click click until it catches and lights.

    He takes a long drag, then strokes his mustache, before he starts slowly shuffling down the sidewalk again.

    “Curfew get extended?” I ask, as casually as possible, when we approach the wide intersection at Houston.

    “The funding got cut and they let in these ex-cons. Some of them use there. One guy, Charlie, deals out the window at night. So no one’s really watching my curfew anymore.”

    My legs turn to spaghetti strands and my rain boot starts to slide on a patch of slush. My brother catches my arm. “You need to eat more,” he says. “I worry about you, you know.”

     

    When my brother doesn’t show up for TV that Thursday, and his cell phone goes to voicemail, and the next day Whole Foods says he’s not there, he called in sick, the person I call with my hysterics is The Boy. It’s not that I don’t remember nursery school verses graduate school, not that I don’t remember that I’ve had fifteen years of meetings to The Boy’s barely one. But I want to forget about graduate school right now, all those crisp-shirted people who didn’t know how to dance casting dirty looks in the library at the slightest giggle or cell phone peep.

    “I hope it’s okay I’m calling,” I say, overly demure, when The Boy answers.

    There’s a pause. “Of course,” he says. You’ve talked in the meetings about how it’s easier for you to do the Steps than ask for help.”

    I tell him how it’s always been just my brother and me, and how his skin is so thin I’ve always been able to see right through it to his trembling heart.

    The Boy says some supportive, although not particularly astute things, like, “that’s just an illusion, of course he has skin!”

    I pretend not to notice. The comfort I feel is not about The Boy’s words.

     

    That Monday, as I’m coming home from editing work at the library, approaching my corner, my brother’s backward baseball hat and mustache zoom into focus, and there he is, reeling. I stop.

    “What happened?” I say.

    “There’s no hope,” he spews. “I hab no place to go!” He catches his balance on the arm of the wooden bench outside the convenience store.

    “There are always options.” I force myself to remember the AlAnon advice not to take him in, since that could help him drink. “Your sponsor knows better than me. Here’s his number and a quarter. I love you. I have faith.”

    I walk quickly away before he can slur out an argument. Back in my apartment alone, I call The Boy. The sound of his bravado fills the empty space.

     

    That Sunday, I raise my hand and report on my brother and how terrified I am. Gasps vibrate through the room. Some of them go to both kinds of meetings and know my brother from AA, others know him from seeing us walking around the East Village together while my brother holds his cigarette downwind, and the rest have heard so much about my brother for years, it’s as if they know him too. “It’s hard for me, but I’m having to use the phone and call people. Especially one person.”

    Across the circle from me, The Boy’s tattooed chest inflates.

     

    All summer my brother is on the corner almost every time I walk by. He is sitting on the bench outside the convenience store in his backward baseball hat, holding a can in a paper bag. He is reeling near the garbage can. He is curled up on his side, just as he slept as a child, except now he is asleep in the lobby of my block’s Citibank ATM.

    “How do you still have money to drink?” I ask him.

    “Dad wires me. Hesshh only tryin to help.”

    I’m about to yell, but I stop. “That counselor from Whole Foods called,” I say. “You can have your job back after treatment if you call soon. Your house called. They’re saving your stuff in the basement in case you come back. Your sponsor called. He’ll go with you to detox, whenever you’re ready.”

    His pupils expand like lakes of blue fear at the words, “Whole Foods,” “your house,” “detox.”

    “I have faith in you,” I say, convincingly. “I love you.”

    “I love you too,” he always says, his voice rising at the end like a warning.

    I walk right home and email my father. I know he can’t help sending the money, anymore than my brother can help drinking with it. My brother’s drinking eases my father’s guilt, even as it increases it. Now the spotlight is on what my brother does, not what my father doesn’t. But more guilt from me would only add to the spiral.

    “Please Stop Sending My Brother Cash While He’s On The Street!” is all I say, capitalizing each word.

     

    It’s mid-August, humidity weighing on our heads like a drenched sponge, and my brother is no longer on the corner. I approach and see someone slumped on the bench, but as I near the slump it turns into a teenager in a different kind of hat, not my brother.

    A week, then another, passes, and no one hears from my brother or knows where he is.

    An AA guy from the neighborhood smiles at me sadly, with a closed mouth, when I pass him on Second Street.

    Another week.

    Guys glance up at me from their tables, then back down, like they think it’s their fault, when I pass the AA coffee hang-out on First and Third.

     

    I go to the gym to try to not think. As I leave, light-headed with endorphins, my cell phone vibrates, a new, unrecognized number. I push out of the air conditioning and stop on the sidewalk to answer.

    “I did it,” says my brother, his voice crisp and sober in my ear. “I got out of detox yesterday. I had to sit in the waiting room two days until they had a bed. But I did it and now I’m out! I just have to sleep in the chairs at all-night meetings until I get a spot in a shelter.”

    “Wow,” is all I can say. “Wow.”

     

    And now my brother is famous not only to me. He sleeps in chairs. He gets himself into a sober shelter in Williamsburg, lost his job at Whole Foods and has no money but volunteers to make coffee for AA. Even in my non-AA meeting people mention him. “If someone can almost die, then get sober and stay sober sleeping in a fuckin’ metal folding chair, then who am I to whine that my Nikes got splashed with rain water?”

    Now the leaves are falling, crisp and fun and easily crunched under sandals that make way for boots. My calls and texts to The Boy are joyous. “He was elected Chair of the biggest East Village AA!” I brag. “He just texted me that his old halfway house stole all his stuff…but he didn’t drink.”

    “Great news!” the Boy texts. “Tell me more when you call tonight.”

    The Boy goes to a wedding in L.A. He calls me when he lands. He calls me from the reception. He calls me when he gets back to New York.

    Then, I’m not sure who starts it, possibly me, because sometimes I can’t think of pretend things to need, and I don’t call for a few days, and The Boy and I are on another break.

     

    “Maybe he thinks I’m mad and I should send him an email about it and ask to have a talk,” I say to my brother.

    “No!” says my brother. “Believe me. Boys do not ever, I repeat ever, want to have A Talk.”

    My brother stands, stretches, slowly walks to my TV, and puts in the DVD he borrowed from his shelter. “These new antidepressants make me tired,” he says. Then he sits back on the sofa. My brother and I don’t watch TV twice a week anymore, since he has more meetings now and I don’t want to tempt him away from them, since I’m afraid he’ll relapse again, plus afraid I’ll be the big sister nagging, which certainly won’t help him not drink.

    But my brother is over tonight, and we still talk all the time.

    “You’re going to love this movie,” my brother says. “I knew as soon as they showed it, that I had to borrow it for you.”

    “Thanks,” I say. “I’m so glad you got a late pass.”

    “Yeah,” my brother says. “Me too.”

     

    The Boy has another gig, I dance in the crowd pretending not to look, and it all starts up again as before.

     

    Winter is thawing and I ask my father if he can please help with my brother’s monthly cell phone bill, twenty five dollars a month, so he can call his sponsor and hunt for a job.

    “No,” my father writes back. “Not unless we put it on your credit card. It wouldn’t wash with your stepmother if she sees it.”

    This infuriates me. I take the opportunity, my upset feeling and the girlish need it evokes, to call The Boy. “Is it okay to call?” I ask, so demure it annoys even me. I brace myself for a brush off.

    “You can always call me,” says The Boy. I can almost hear his tatooed chest puff out.

     

    The very next week, my father surprises me by buying my brother a guitar. My brother’s music is not “poser” music like The Boy’s. My brother’s music bursts with notes full of near-forgotten scenes so vivid, I can hardly look at him while he sits on my sofa, strumming. I try not to, but I look away. “Isn’t it time for the subway now?” I say, checking my phone for a text from The Boy. My brother puts his hand over the guitar bridge, silencing it. Now I look. Hurt I will see forever flashes in my brother’s eyes.

     

    It’s my birthday. I have lunch at our diner with savviest friend and funniest friend and then go home to take a nap, so I’ll be fresh for dancing that night. As I lie down, I think about calling my brother. The last time we spoke was a week before, when he canceled an appointment to work on his resume on my laptop. He had sounded anxious. “I’m too anxious,” he had said.

    I almost said, “Why?” and “Are you sure you don’t want help today?” But I stopped myself, remembering how bad things got before, how he relapsed even though we were watching TV twice a week, and then how much better he seemed afterward when I didn’t meddle, and, I am ashamed to admit, because I thought maybe The Boy would be calling that night.

    “Okay,” is all I said. “Let me know when you want to reschedule. I love you.”

    “I love you too,” my brother said, and hung up.

    On this day, my birthday, as I lie down, I realize that it’s been a week since my brother phoned and didn’t want to work on his resume. I think about calling him. And then I think no, I’ll do it when I wake up. I put my head on the pillow and the phone rings and it’s a Brooklyn number I don’t recognize. I hesitate, then pick up, and it’s the police.

    They tell me my brother is dead.

     

    Savviest Friend prints the flyer at her work. Photos of my brother and me appear all over the East Village, announcing the memorial.

    Funniest Friend comes over and sleeps on my sofa, for three days.

    I call The Boy and say, in my shock, something that, nevertheless, is true: “I’m lucky my brother died sober. I’m lucky it was always him and me.”

    The Boy says, “Don’t give me that stupid phony gratitude shit,” then hangs up quickly, as if frightened by his own words.

    My parents are in New York, my mother from LA, my father from his vacation home in Mexico, then my twin half-sisters and one of the stepsisters, the siblings in the pictures on the wall, all pulling me into restaurants, telling me that my brother would want me to eat. No sign of alcohol, the police had said, maybe his liver and antidepressants. My mother repeats this several times but all I hear is my brother, canceling our date to work on his resume, and my silence back. I follow them reluctantly, squint suspiciously at the strange sisters, dart away down side streets to cry. They hadn’t spoken to my brother in ten years. Our photos weren’t on the family wall. I wonder who they think they remember.

    My brother’s sponsor has arranged for the memorial to be in my brother’s favorite East Village meeting room, the one where he was elected Chair. I stand in front of the room, with my brother’s journal in my hand, and AA guys and shelter guys and my meeting friends, and my dancing/writing non-meeting friends, two hundred people, look at me, waiting.

    I read my favorite part of my brother’s journal, “Continue to love and respect my sister,” he orders himself. “Having realized she doesn’t know what the fuck she’s talking about a lot of the time.”

    Everyone laughs and cheers.

    “We’re the ones in the pictures now,” I say to my brother when I’m through. I’m shocked to see one of my half-sisters start crying then.

    But nothing matters. The memorial has failed to bring back my brother.

     

    I trail behind from restaurant to restaurant where everyone fails to make me eat. My mother cries, then keeps stopping to comfort me, telling me that will be her job now. My father blabbers, tries to say unkind things about my brother, but fails, and cries too.

    The half-sister who cried at the memorial keeps repeating something to me, about visiting her and her wife and my nieces in San Francisco. My father leaves when my stepmother calls and insists. My mother leaves a few days later. And everyone is gone.

    I pick up my brother’s ashes at the mortuary. I go to his shelter. My brother had earned his way up the shelter sober program to his own closet-sized room, even worked his breakfast shift the day he died, serving eggs and jokes. As I approach his room, big scruffy guys line up along the hall, shuffling feet and looking down. The shelter director hands me my brother’s life belongings, a single green trash bag.

     

    I find it on the inside cover of my brother’s journal. The words, “addiction,” “surrender,” “end this insanity,” and “decision,” are in same writing he always had, still talking to me, while I close my eyes and look away.  

    I can’t finish a whole banana. Then, even though I know I shouldn’t, I call The Boy.

    The Boy’s phone goes to voicemail. I tell him the memorial was wonderful, it’s fine that he missed it, and ask if maybe he could spend the night.

    I skip a day, call again. “Can we, um, maybe have a quick cup of tea?” I cringe as I hang up. I’m no longer in control of how demure I sound. The quest for distraction is no longer about entertainment. The Boy doesn’t call back.

     

    Everyone stops talking when I walk into the room that Sunday. Meeting starts, and then, in the middle of her share, someone stops, and gestures to me. “This is ridiculous. We are all thinking about her brother. Let’s just let her talk.”

    I talk. People cry, even some who already cried at the memorial.

    Then, after a few others, who all talk about my brother and me, The Boy raises his hand. He’ll say he’s sorry, I think, which will be good for him and for me.

    “Hi everyone,” The Boy says when it’s his turn. “I have to learn to not be such a doormat.”

    Savviest friend is trying hard to catch my eye across the room.

     

    After meeting, people line up to hug me. When I finally go outside, The Boy is walking away up the street with a young girl, who wears a sleeveless hoody and visor exactly like The Boy’s. I call his name. He stops and turns. “Oh, uh, hi.” He looks to the side of me. His unzipped hoody exposes his stomach and tattooed chest. His cut-offs barely cover his crotch, the empty white pockets ballooning below the frayed edges. 

    “Did you get my message?” I say.

    The girl hovers behind him. She can’t be older than seventeen.

    “Uh, yeah,” he says. “I couldn’t call back.”

    My friends behind me whisper a campaign to make me drink a milkshake.

    “Okay. Should I just not call you anymore?” I hear myself say.

    “That would be better,” The Boy says. “I’m not your source of support.”

    “Okay,” I say. But I have to drink the milkshake. Guar gum and all, that is what my brother would want for me. And for that I need at least a benign ending, so The Boy can linger in my mind like a TV rerun that drowns out everything else. So I offer the fitting cliche. “Thanks for letting me know,” I say. “Of course it isn’t me.”

    Now I can go with my meeting friends and drink the milkshake like I should.

    But The Boy doesn’t like this ending. “You know what?” he says. “It is you!” He stabs his finger at the air. “There’s nothing here!” He sweeps his hand across the space between us, empty like the hollow in my gut. The very space that I need to be filled with anything but my brother.

     

    “Did you see what he was wearing?” says my savviest friend, when we’re seated at the diner. “That should help, right? Just hold onto the image of that outfit. Can you do that for me?”

    “Maybe if he comes back to the meeting,” says my funniest friend. “We can pass the hat a second time…for some clothes.”

    My milkshake arrives. My friends nod encouragingly while I suck the thick cold cream up the straw. But when the liquid hits my tongue I hear my brother say “mm,” about my yoghurt lemon sauce when he sliced into the warm salmon.

    I push back my chair.

     

    When I get home, the hole in my stomach where the milkshake was supposed to go has hardened into a rock of anger. I write an email to The Boy about how fake he is, and how my brother, now there was someone real, and how dare The Boy ignore not so much me, but the sister of that brother. I rewrite the email so many times, taking things out, then putting them back, that by the time I push “send” I’ve lost track of what I’ve said.

     

    Summer is about to end, and I call my father. I tell him that I can’t eat in New York, and the doctor suggests I go away.  My mother is in LA, and my half-sister in San Francisco says she wants to see me too.

    I tell my father exactly how much I’ll need to get through this time, which I know is too much to hide from my stepmother. I tell him that asking for this is because I love him, and that my brother always insisted he loved us both.

    I brace myself for a no.

    “No,” my father says. Then he sobs. “Yes.”

     

    I go to California. My father texts me daily, sends me the money I need, and, as if going back to redo some of my childhood with me, he is my Facebook friend, as are many of the other divorced father-writers from my childhood. There are Facebook chats about a story I post about my brother, whom the fathers had forgotten, but now suddenly remember, from back when we all lived together in Iowa.

    The Boy lies low on Facebook, and though I try to remember not to, I can’t stop my imaginings. The Boy looks sad in photos; he must be sorry! The Boy is going to call! This is a long break but we are still in the game! Then one day in March The Boy loads a gigantic photo of himself in his visor and hoody and bare tattooed chest, sticking his tongue into the mouth of a young girl.

    I slam down the laptop screen and race to tell my mother.

    “Please, honey,” my mother says. “Not that ridiculous Boy again. Not Facebook. Is this what your ivy league degrees are for? You always knew he was a little boy. Don’t you remember?”

    “Oh yeah,” I say. I remember.  

    And then forget.

     

    That weekend, I fly to San Francisco to visit my half-sister. The day after the memorial, this sister had taken me out to breakfast. She looked down and grimaced when the plates of sunny bright eggs landed between us. “My grief isn’t so much for him,” she explained. “It’s for you. You lost your life partner.” She pierced a yolk and pushed back her plate. She said she wanted to help me through this time.

    So I’ve flown up from my mother’s in LA to visit my half-sister’s family in San Francisco every month that winter. I sit next to her in the SUV while she takes her daughters to school and play-dates. The California sun almost eclipses my nostalgia for grey New York snow, the whistle and whine of radiator steam, the metallic scent of trash cans on the sidewalk. And my friends. My sister buys me coffee and sandwiches and fattening muffins while I cry.

    On my first visit I gave my sister a copy of the flyer, the photo of my brother and me in East River Park. “I know he’d be so happy I’m here with you,” I said. She said she’d put it up. Gratefully, I confided how hard it was when my brother and I used to see no pictures of ourselves on our dad and stepmom’s wall. She looked puzzled, as if she didn’t remember that we’d lived there, or understand why I should be hurt, or maybe both. But then, a little guiltily, she admitted she might have an old photo of all of us, when my brother and I lived there in high school, and she said she’d put that up too. On her wall, like on our parents’, there were only pictures of the rest of them.

    During a later visit, I asked where the flyer and photo were, careful to sound casual and pretend to examine an organic peanut butter jar as I spoke.

    “I just have to rearrange some things,” she said.

     Another time I started crying in her SUV, said I couldn’t help wondering if our brother’s progression would have been altered if my stepmom (her mom) hadn’t forbidden our dad from helping with his college, and if our brother hadn’t believed it, that he was worthless.

    “But you guys had your mother,” she said. “You know it hurts me when you say bad things about my family!”

    I missed my brother more than ever then. But he was gone.

    And I visited my half-sister again the next month.

    On that weekend, I show my sister and her wife the Facebook picture of The Boy Frenching the young girl. “I’m so angry!” I say. “I’m going to write that stupid Boy an email!”

    One of the children yells “Mommy!” and she runs upstairs.

    My sister-in-law squints at the picture of The Boy. “You’ve probably heard this before,” she says. “But he’s a child in a Halloween costume. What about yourself, your dancing, your writing, your advanced degrees?!”

    I say good night and take my laptop down to the guest room.

    I try to concentrate on what my sister-in-law has said, my dancing, my writing. But when I do that, I flash on the terrified ghost in a disguise that The Boy really is, and then what happens is what is happening now, as I move the mouse away, and accidentally click on your resume, which we never did get to finish. I smell you, the smoke, the gum. I hear your voice, “I worry about you, you know.” Quickly I close your resume.

    It’s time to write The Boy a letter that will end his childish behavior once and for all! I write and write. I write an email so perfect, that even the stupid Boy will understand. Satisfied at last, I go to my outbox to find The Boy’s address and there it is, the email I wrote to The Boy, months ago. And, almost word for word, it is the same angry email I wrote to The Boy tonight. 

    I delete it.  And I let myself know.

    The Boy can’t look at me, because he let his moment pass. He stayed a poser, when it was time to be a star. It is not in the forgetting that we live on.

    Ian. Ian Moulding. Ian Stuart Moulding. We are sitting in your room looking at pictures of Dad’s. We are walking down the street in LA to take the best shots into the drugstore for reprints. We are going to make them the perfect collage. This time they’ll put it up and it will be there when we come. But they don’t. And you are weaving your way down the airport corridor to me, to where we live now, where we always have and where I know now, we always will.

    I will wake up in the morning and there, on our half-sister’s refrigerator, looming into view as I climb the stairs from the basement guest room, is a photo, eight by ten, and I gasp with joy as I approach. But then I’m standing at the refrigerator and what I’m staring at is not the flyer of us, but a recent picture, taken here on the grass in the back yard, of the rest of the siblings, minus me, and minus you, of course, sent to our father and stepmother for their anniversary last week, and signed by them all. I stare and stare, and finally I see it the way it must look to our half-sister, captured here grinning a little too widely at the edge of the frame. If you and I were there, even I alone, how would she and the others fit? She wants me with her some weekends, and wanted me with you, but she does not see me, or you, in this family frame. She doesn’t even see us missing. For that, everything she thinks she knows would have to be rearranged.

    I turn now and head back down to the guest room, my cell phone, already planning the itinerary in my head. My savviest friend, uncanny as always in her timing, texted me yesterday that even now, months later, they are still putting down daisies, old cassette tapes of music you liked, tattered cards with AA slogans, on the cracked cement of my building stoop, and that someone didn’t just tape up the photo of me and you, Ian, heads leaning together, smiling over our foodstamps picnic in East River Park, but wheat-pasted it so it’s still stuck there, on the outside wall of the corner deli, by that spot where you sat on the bench in your backwards hat, week after week, waiting for your sister to come home.

  • What Everyone Gets Wrong About ’70s New York

    What Everyone Gets Wrong About ’70s New York

    Lo! Yet another mucky wave of 1970s New York nostalgia is quick approaching, ready to dump its scummy self upon our stolidly sleek shores. The next few months will see the advent of Baz Luhrmann’s Empire prequel detailing the birth of hip-hop, along with the release of Garth Risk Hallberg’s 1,000-page, ‘70s-inspired novel, City on Fire. These celebrations of sleazological cool are cyclical, like the coming of winter and the banging of the pipes in my old apartment on St. Marks Place. Maybe it is perverse to yearn for the days when Daniel Rakowitz chopped up his Swiss girlfriend and made her into a stew that, like a demented Florence Nightingale, he fed to the homeless people camped out in Tompkins Square Park. But it makes for a better read than a half-dozen food blogs. The mean-street memory of the 1970s adheres to the collective big-city conscious like Proustian poo wedged in the waffle soles of your Chuck Taylors when they were still $19 at Vim’s; you didn’t even actually have to be present to be haunted by the time. And yet the nostalgists, even those of us who lived through it, have a habit of getting the decade wrong.

    The ‘70s are a Jekyll-and-Hyde of New York eras. On one hand we fear the terrors of the time, the junkies on the fire escape scheming to steal a $50 rabbit-ear TV, the return of jazz fusion. After the 2008 crash there were cries that the Bad Old Days were coming around again, as if the malfeasance of Wall Street ganefs would instantly cause armies of crum bums selling counterfeit Tuinals and Valiums — “Ts and Vs” was the hawker cry — to rise from the manicured shrubbery of Union Square Park. The onset of De Blasio Time has rewound the harbinger chorus. As the bullets fly in Staten Island, the mayor stays in his Park Slope gym squat-thrusting, the tabs scream. It is only a matter of time before Manhattan again falls off the edge of the earth at 96th Street (for white people, anyway) and Gerald Ford tells the city to drop dead.

    On the other hand, few times in recent New York history have been so longed for, so endlessly discussed. (“Blah Blah Blah New York in the Seventies” went a recent headline on the Awl.) The building of the Brooklyn Bridge, the bright lights of Broadway, Bird and Monk on 52nd Street — how could any of that dry-bone history hold a candle to the moment Afrika Bambaataa started those turntables spinning in the schoolyards of the burning Bronx? Was genius ever so accessible as when Dee Dee Ramone vomited on your pant leg on the Bowery sidewalk in front of CBGB? Sure, you could get killed on the LL, the EE, the RR, or some other mystery train, but at least the last thing you’d see would be a museum-quality Futura 2000 full-car graffiti, so where’s the bitch in that? The 1970s!  That was New York when it was real, when rents were cheap, the cabbies were white, and you didn’t really have to know how to play to be a star, or so the plotline goes. 

    Back in that particular day, punk friends made fun of hippies, hair down to their butts well into their 20s. That wouldn’t happen to them, the next generation of cool kids declared. Raised on ten hours of TV a day, they were hard-bitten realists from the “live fast, die young, leave a beautiful corpse” school; they would not live long enough to engage in phony nostalgia for the scruffiness of their youth. Yet here they are, nearly 40 years later, still in their leather jackets and pointy little boots, no different than doo-wop singers stuffed into iridescent jumpsuits doing that one number that makes everyone remember who they once were.

    A few weeks ago the Times ran a feature that rounded up a fair smattering of the official ‘70s suspects — Philip Glass, Lucas Samaras, David Johansen, DJ Kool Herc, Fran Lebowitz, etc. — for a waxworks group shot. “They Made New York” was the headline. Guess Nicky Barnes, David Berkowitz, Meade Esposito, and the rest canceled at the last moment. The piece ran in the fashion supplement T, which was more on the money. “Blank Generation” is a great song, but even back in 1975 the general consensus was Richard Hell’s nom de icon was a tad on the nose.

    This is not to say that no one who didn’t spear a rat with the business end of a police lock pole can really claim to have experienced New York in the 1970s. But the standard history leaves out a lot. The underground disco movement during the early part of the decade, vast hidden parties in the wasteland sections of town where blacks, whites, gays, and straights came together to dance to the magical segues of David Mancuso, Nicky Siano, Larry Levan, and the rest, is consistently written out of ‘70s mythmaking (though the moneyed glamour of Studio 54 makes it in). In retrospect, that sort of hothouse integrationism didn’t have a chance in hell against the steamrolling macho identity politics of the “disco sucks” white punkers, the hardening edge of rap, or wholly necessary feminism.

    Everyone chooses to remember what they want to remember. At this stage, however, attempts to crush New York in the 1970s into a few however-heroic art and politic tropes pretty much boils down to reductionist product-mongering. The picture is far bigger than that. The fact is what usually falls under the rubric of New York–in-the-1970s was really a multi-decade project that began in earnest during the 1964 Harlem riots, which put white flight into high gear. The period lasted until the Crown Heights riots in 1991, which led to the election of Rudolph Giuliani in 1993. In Roman centurion mode, Caesar Rudy sent his cop legions to vanquish the dark-hued Visigoths and reclaim territory for the throne. His success set the stage for the Bloomberg imperium, during which the magic of capital would extend the investment-safe realm to deep Brooklyn and even uncharted Queens, thereby creating the New York we find ourselves living in today. 

    Change is the genius of the city, what has always made New York what it is. But the whiplash rezoning of more than 40 percent of the five boroughs during Bloomberg’s tenure has produced a generational-based moral crisis. Longtime residents no longer feel the joy of the ever-altering landscape, the rapid clip of cosmopolitan turnover that creates continuity. They walk about gaslighted, as if suddenly set down in a drug dealer’s apartment, with everything new and shiny, bought at the same time.  

    I remember one time, back in the late 1970s, when I went to interview Carl Weisbrod, now chairman of the New York City Planning Commission and a key player in every mayoral administration back to John Lindsay. At the time Weisbrod was head of a committee to revamp Times Square, which, with its array of porn stores and sticky-floored movie houses, could rightly be called the capital of the New York 1970s. Weisbrod had an office in the Art Deco McGraw-Hill Building, then the tallest (and newest) in the area. As we stood looking out the 30th-story window, Weisbrod told me that no new structure had been built west of Sixth Avenue in decades. In the city of skyscrapers this was a shocking fact. “We will change that,” the future head of the Planning Commission told me. In 1979, for anyone walking past the Port Authority Bus Station it was impossible to imagine the extent to which Weisbrod would be right about that, and how fast it would happen once it began.

    In this, I am far from blameless. I’m not pulling rank when I say I lived on St. Marks Place from 1974 to 1992 (roughly the entire ‘70s) in a fifth-floor walk-up with no sink in the bathroom, which works out to 19 years of teeth-brushing in the kitchen sink. What could you expect for $168 a month? When it was time to go, we went. Someone else could brush their teeth in the kitchen sink. I had no idea the house I bought in Park Slope would increase in value several times over in the two and half decades I have owned it. It is one more double-edged sword; as our real-estate values go up, the neighborhood gets duller in direct proportion. 

    Therein lies the problem, the dilemma of the accidental gentry. It was comforting to know that my 5-year-old daughter would likely never again find a loaded .38 pistol in the bushes at Tompkins Square like she did while attending day care at Tenth Street Tots. By moving out of the neighborhood we were following a time-honored immigrant path, under the impression we were doing the right thing for our family. Now that same daughter, in her late 20s, resides in Chicago. She can’t afford to live a normal life in the city of her birth. My son moved to Denver for many of the same reasons. They like these places, the lake, the mountains, the legal pot, but they miss the city like we miss them.

    My kids are far from alone in this situation, of course. All the time you hear that same old saw — that New York is dead, that the last good times have been sucked out of the place by people like me. Me, Donald Trump, and who knows how many globalist rich people willing to plunk down $90 million for a pad they will never live in.

    It is said that in times of discontent, a society yearns for the last era of perceived sanity. ISIS desires the seventh century; New Yorkers dream of the ‘70s. My heart goes out to those who think they missed the last good time to be young in the place of their dreams. It is hard to begrudge longing for rent stabilization. But what are you going to do? If you want to see the Talking Heads at CBGB with four people in the audience (rather than at some suburban shed like you did) or get your car broken into while attending a Cold Crush show at Harlem World in 1981, that ship has sailed. Maybe Baz Luhrmann will successfully channel those evenings for the born-too-late, just as Clint Eastwood once got Forest Whitaker to impersonate Charlie Parker for those of us who missed sitting at the bar at the Three Deuces. But I doubt it. During the real 1970s the dumbest thing any would-be cool kid could do was sit around Kettle of Fish hoping some long-toothed beatnik like Kerouac and William Burroughs would stumble through the door to be venerated. No matter what it says in the New York Times, the chances of you imbibing the egalitarian synergy of high and low culture with Jean-Michel Basquiat at the Mudd Club were pretty slim to begin with. Plus, believe me, you didn’t really want to be walking down Pitt Street when that guy took the knife off his belt.   

    This doesn’t mean all is lost, that the current-era would-be New Yorker is consigned to a life of 12 hours of nonunion work in a cubicle and cramming into a $2,700 three-bedroom in a shit section of Bushwick with the M train right outside the window. There’s plenty of New York out there, even if someone doesn’t give you a $2 million advance to write City on Fire. The city is actually more interesting than ever out at the margins. 

    The other day I was in an old Italian social club on Stillwell Avenue waiting for my front end to be aligned by Louie at Hilna Tires. A woman from Tbilisi, Georgia, was instructing another employee, a lady from Tajikistan, how to make steamed milk the way the octogenarian Sicilians in the place like it. A Caribbean character in a rimmed-out Jeep was stopped in front, blasting some unknown dance-hall tune. The old guys covered their ears, but the women liked it and started dancing. When the light changed everything returned to normal. The people in the coffee shop, alerted to the scenario, shrugged. It was New York in 2015, nothing more or less. If you like that sort of thing, there’s plenty of it still around.

  • What Lies Above, Beneath, and Apart: Hemingway and Hemingway

    Let’s start with a thought experiment.

    Step One: Imagine two huge icebergs, one representing Ernest Hemingway’s writing and the other representing everything else in his life. Imagine that these two icebergs sometimes bump up against each other and sometimes drift apart. Imagine that these icebergs are like the one Hemingway uses to make an analogy with effective writing (especially his): its “dignity of movement . . . is due to only one-eighth of it being above the water” (Death in the Afternoon).

    Step Two: Imagine that you decide to sculpt a new, smaller iceberg by synthesizing core elements of the two huge ones. Imagine that you challenge yourself to make seven-eighths of this sculpture visible above the water even as it has its own dignity of movement. Imagine that you develop what you regard as a viable vision of this iceberg.

    Step Three: Imagine that you undertake the task of converting this vision into a 6-hour documentary about Hemingway’s life and work for PBS. Imagine how you will craft that conversion so that it both remains true to the sculpture in your mind’s eye and appeals to a contemporary PBS audience.

    I’ll pause to give you some time to conduct all three steps of the experiment.

    I start with this thought experiment for three reasons (1) It helps capture the ambitious and daunting task that Ken Burns and Lynn Novick took on in making Hemingway, their three-part documentary that recently aired on PBS (April 5, 6, and 7). (2) The experiment highlights the larger purpose of the documentary, its goal of replacing the myth of Hemingway with a far more accurate and layered view of the life and the writing. The myth constructs him as the epitome of machismo, a man with prodigious appetites and the will and means to satisfy them as well as a man with extraordinary talent who produced an enduring stream of what he liked to call true sentences. Burns and Novick retain the idea of the talent but complicate everything else in ways I’ll discuss below, and, in so doing, they reposition the writing within the life. (3) The experiment invites each of us to think about how we would have constructed the relations between the writing and the life in our own distinctive ways.

    These three reasons, in turn, underlie my reflections here. On the one hand, I want to celebrate Burns and Novick’s execution of their challenging project: in breaking through the myth, they construct a much more complex and interesting Hemingway, a strange blend of strengths and weaknesses, virtues and vices, who has had more than the usual allotments of good fortune and bad.   On the other hand, when I took Steps One and Two of the thought experiment, I gave more attention to the writing than Burns and Novick do, and this attention led me to a different vision of the sculpted iceberg than the one that emerges in their documentary. I want to discuss my sense of the writing iceberg not to find fault with the documentary but use it as a spur to move some of what’s submerged there above the water line of the synthetic one.   First, though, a little more on Burns and Novick’s Hemingway.

    In keeping with its myth-busting purposes, the documentary gives considerably more attention to the life than to the writing for two interrelated reasons. First, the myth about the life dominates Hemingway’s legacy in American culture. He is a figure that many people who have never read his writing know something about—and even have opinions about. Changing those views requires a new biography more than new analyses of the writing. Second, the genre of documentary lends itself to a greater focus on the life because it is a fundamentally narrative genre, and because Hemingway’s life is filled with tellable events. Giving pride of place to the writing—or even giving it equal prominence—would be extremely difficult because its narrative raw material would be the single event, repeated multiple times, of the writer sitting down to write. Hard to imagine that even the PBS audience would sit still for much of that.

    In keeping with the goal of humanizing Hemingway, Burns and Novick give the greatest attention to his intense and fraught relationships with his four wives, Hadley Richardson, Pauline Pfeiffer, Martha Gellhorn, and Mary Welsh. Using Geoffrey Ward’s script, voiced by Peter Coyote, to supply the baseline narrative, the filmmakers show the good, the bad, and the ugly in Hemingway’s behavior toward these women. Ward’s script includes testimony from the women themselves and Burns and Novick enlist accomplished actors to voice that testimony: Keri Russell (Hadley), Patricia Clarkson (Pauline); Meryl Streep (Martha); and Mary-Louise Parker (Mary). More generally, Burns and Novick’s skills as visual storytellers lead them to interweave these voices with Hemingway’s (ventriloquized through Jeff Daniels) and with a range of other materials—photographs, newspaper articles, and newsreel footage—that often bring in other events. Although Burns and Novick do not offer substantial new revelations about Hemingway’s life, they call attention to some things that have circulated more widely among scholars than among the general public. Especially noteworthy is their attention to his interest in bending and even blurring standard gender roles and the consequences of that blurring for sexual encounters. Above all Burns and Novick succeed in making visible what lies beneath Hemingway’s behavior throughout his adult life, identifying both distant and proximate causes of it. Among the distant causes are his mother’s increasing disapproval and his own disappointment in his father; his being jilted by his first love, Agnes von Kurowsky, the British nurse he met in Italy, while serving as an ambulance driver during World War I, and whom he thought he was going to marry; his witnessing of combat and his own wounding. The more proximate causes include his willingness to promote an image of himself that eventually he could not live up to; his multiple concussions; his alcoholism (called his “overdrinking” by Mary); and of course the complex personalities and histories of the women he loved. Burns and Novick also make judicious use of interviews with Hemingway’s son Patrick, with Hemingway scholars and biographers, and with the psychiatrist Andrew Farah as they round out their portrait of the artist as a fascinating and flawed, charming and repulsive, young, middle-aged, and aging man.

    Even as they give greater prominence to the life, Burns and Novick make a valiant effort to highlight the writing and to explicate its power. The first image they show is the typescript for the opening of A Farewell to Arms, and they continue to sprinkle images of manuscript pages throughout the documentary, including ones for all the novels, for the nonfiction books, and for multiple short stories (“Up in Michigan, “Indian Camp,” “Hills Like White Elephants,” “The Snows of Kilimanjaro” and more). In addition, they employ the actor Jeff Daniels to read numerous excerpts from the writing, and Daniels does an exemplary job of bringing out the tones and rhythms of Hemingway’s remarkable prose. Furthermore, as Daniels reads, Burns and Novick guide their audiences to engage more deeply with the writing by putting evocative images on the screen, ones that capture moods while opening up rather than closing down interpretations.   To pick just a few telling examples: a dock in the gloaming to illustrate the setting of “Up in Michigan”; an oar pulling through the still water of a lake for the ending of “Indian Camp”; the exterior of stone building with a substantial set of stairs leading to an empty street for A Farewell to Arms and its final sentence (about which more below), “After a while I went out and left the hospital and walked back to the hotel in the rain.”

    Having prompted this engagement with the writing, Burns and Novick then rely on the commentary of a wide range of thoughtful, well-informed experts to explain how and why it’s often so powerful (and sometimes not). These experts include Hemingway’s recent biographers, Mary Dearborn and Verna Kale; notable contemporary fiction writers, including Michael Katakis (executor of the Hemingway estate), Tobias Wolff, Edna O’Brien, Tim O’Brien, Mario Vargas Llosa, Paul Hendrickson, and Abraham Verghese; and first-rate literary critics, including Stephen Cushman, Miriam Mandel, Susan Beegel, Marc Dudley, and Amanda Vaill. They even bring in John McCain to discuss his life-long engagement with For Whom the Bell Tolls.

    All these commentators are smart, engaging, and insightful. Wolff, for example, characterizes Hemingway’s effect on the writers who came after him by saying that “he changed all the furniture in the [writers]’ room.” Edna O’Brien frequently pushes back against the common view that Hemingway was a thorough misogynist and goes so far as to suggest that parts of A Farewell to Arms, her choice for his best novel, could have been written by a woman. Other arresting comments include on-target descriptions mingled with praise: Hemingway remade the language (Vaill); he goes beyond previously accepted boundaries (Katakis); he works against the modernist grain of difficulty that characterizes the fiction of James Joyce and William Faulkner (Cushman); he articulates a view of war that no one had ever articulated as clearly and powerfully before (Wolff); he creates a male character in “Hills Like White Elephants” whose subtle but incessant pushing to get his own way women will readily recognize (Mandel). Furthermore, in keeping with the myth-busting purpose of the film, these commentators also discuss what they regard as ethical failures in the man (his seemingly gratuitous meanness to other writers, even those who had advanced his career) and aesthetic ones in the writer such as Across the River and into the Trees.

    Yes, yes, yes, I nod. And then I think back to my thought experiment and what I would want to do to make what lies beneath the writing more visible. If I were to convert my vision of the sculpted iceberg into a documentary film, I might well use the same commentators, especially Wolff, Edna O’Brien, Cushman, and Mandel, but I would ask them to comment more consistently on the interrelations of three aspects of the writing: (a) the material Hemingway works with, (b) his treatment of that material, and (c) how that treatment guides readers’ inferencing about the characters and events in ways that significantly influence readers affective, ethical, and aesthetic responses. I even think such commentary would appeal to the PBS audience. To illustrate what I have in mind, I’ll discuss two texts that figure prominently in the first episode of the documentary (entitled “The Writer”), “Indian Camp,” and A Farewell to Arms.

    In “Indian Camp,” as Geoffrey Ward’s summary efficiently indicates, Nick accompanies his doctor father on an early morning trip to the eponymous camp, where he watches his father perform a successful but extremely painful Caesarean section with a jackknife on an Indian woman who undergoes the procedure without anesthesia. Once the operation is over, Nick and his father discover that the woman’s husband, who has been lying in the bunk above his wife, has slit his throat. That discovery changes the direction and emphasis of the story; rather than being one about birth and new life (and Nick’s father’s horribly insensitive treatment of the Indian woman—he tells Nick that “her screams are not important”), it becomes one about suicide and death. The ending, which Daniels reads with his typical skill, brings the story to an affecting conclusion, as Nick first asks his father questions about suicide and about dying and then retreats into his own thoughts. Here are the story’s last lines:

    “Is dying hard, Daddy?”
    “No, I think it’s pretty easy, Nick. It all depends.”

    They were seated in the boat. Nick in the stern, his father rowing. The sun was coming up over the hills. A bass jumped, making a circle in the water. Nick trailed his hand in the water. It felt warm in the sharp chill of the morning.

    In the early morning on the lake sitting in the stern of the boat with his father rowing, he felt quite sure that he would never die.

    Burns and Novick bring in Wolff and Cushman for commentary. Wolff makes the astute observation that Hemingway is working with sensational material but handles it in an unsensational way. Cushman nicely underlines the paradox of the ending, the juxtaposition of Nick’s knowledge that he’s going to die with his denial of that knowledge. Good stuff, as far as it goes. But let’s go a little further beneath the surface.

    Hemingway makes the sensational unsensational by restricting his audience to Nick’s perspective and, thus, having us take in the events as Nick does and then follow his struggle to process them. Furthermore, Hemingway’s treatment of that struggle demonstrates his impressive ability to deploy both dialogue and the representation of consciousness to guide his audience’s inferencing. Hemingway uses the dialogue to show that, although Nick’s father answers Nick’s questions with genuine care for Nick, the answers themselves are not particularly helpful because his father is not able to adopt Nick’s perspective. When Nick’s father says that the difficulty of dying “all depends,” the natural follow up would be “it depends on what, Daddy?” but Nick’s silence signals that he has now stopped trying to get insight from his father.

    Cushman’s comment on the ending perceptively points to the way the details of the scene play into Nick’s denial or evasion. But digging deeper reveals how much Hemingway both trusts and subtly guides his audience. Hemingway reports Nick’s misguided conclusion without any narratorial comment because Hemingway knows that his audience knows that he knows that Nick is in denial here. (That’s a mouthful, I realize, but one I hope you’ll find worth chewing on.) What’s more, Hemingway affectively aligns his audience with Nick, despite his denial, in part by inviting us to see how nature seems to support Nick’s conclusion. The rising sun, the jumping bass, the warm lake water juxtaposed with the chilly air: as we follow Nick’s perception of these things, we also feel his connection with the ongoing stream of life. Feeling that connection leads us to empathize with Nick in denial, even as we find it poignant. More generally, Hemingway turns the genre of loss-of-innocence narratives on its head by making “Indian Camp” a story in which the protagonist denies that he has lost his innocence. Paradoxically, however, the inferencing that Hemingway guides us through makes us register Nick’s loss even more deeply. We come away empathizing with Nick and admiring the artistry of his creator.

    The beginning and the ending of A Farewell to Arms provide even greater opportunities to reveal what lies beneath the writing iceberg. Here’s the famous opening paragraph, which Burns and Novick reproduce via a nice variation of their usual pattern with Hemingway’s writing. Daniels reads the first sentence and then forms a duet with Edna O’Brien, who reads the middle sentences with him; Daniels then yields the floor to O’Brien who reads the last one. This strategy highlights the rhythms of Hemingway’s prose.

    In the late summer of that year we lived in a house in a village that looked across the river and plain to the mountains. In the bed of the river there were pebbles and boulders, dry and white in the sun, and the water was clear and swiftly moving, and blue in the channels. Troops went by the house and down the road and the dust they raised powdered the leaves of the trees. The trunks of the trees too were dusty and the leaves fell early that year and we saw the troops marching along the road and the dust rising and leaves, stirred by the breeze, falling and the soldiers marching and afterward the road bare and white except for the leaves.

    Cushman calls this passage a demonstration of “rhythmic mastery” that also “breaks all the rules” (no one before Hemingway would use “and” fifteen times in four sentences), and O’Brien suggests that Hemingway is applying what he learned about rhythm and repetition from Bach’s music to English prose. Again, good stuff, but let’s dig deeper by looking at material, treatment, and inferencing.

    Material: nature in the form of the river, the plain, the mountains, the blue water moving swiftly in the river channels, the leaves on the trees; humans whose presence disrupts that nature.

    Treatment: the first-person perspective of a soldier in the village, who, we learn later, is a young American called Frederic Henry.

    Inferencing: Hemingway guides his audience to see more about the scene than Frederic himself does. More specifically, Hemingway invites his readers to recognize that (a) the causal connections between the presence of the troops and the disruption of nature—”the dust they raised powdered the leaves of the trees . . . and the leaves fell early that year”—and thus the general destructiveness of the war; and that (b) Frederic does not register those connections, restricting himself to his faithful recording of one thing after another. All those “ands” are crucial to this inferencing.

    Similarly, later in the chapter Frederic does not seem to register Hemingway’s implicit association between the effect of the rain and the effect of the troops: “. . . in the fall when the rains came the leaves all fell from the chestnut trees and the branches were bare and the trunks black with rain.”  By guiding his audience to see Frederic’s situation more clearly than Frederic does, Hemingway constructs Frederic as an unreliable interpreter of his own situation.

    Hemingway then uses the last two sentences of the chapter to nail down this discrepancy between his audience’s inferencing and Frederic comprehension: “At the start of the winter came the permanent rain and with the rain came the cholera. But it was checked, and in the end only seven thousand died of it in the army.” Who says, “only seven thousand died”? Who confines the casualties of the cholera to those in the Allied army? A committed ironist, a military official trying to minimize casualties, or a callow young American volunteer in the ambulance division who has not thought much about war. Frederic does not qualify as an ironist, given the earnestness of his recording, and he is no military official.

    In sum, underneath that stylistically brilliant first chapter, Hemingway invites his readers to infer how much innocence and naivete Frederic has to lose and how much he needs to learn about the war and the world.

    In contrast to the Nick Adams of “Indian Camp,” Frederic not only loses his innocence and naivete but recognizes the loss. Indeed, he learns a lot about the war and the world from Catherine Barkley, who once tells him that she’s afraid of the rain because she sees herself dead in in it. (The issue of how Hemingway’s ideas about gender influence his construction of Catherine’s character is a complex one that I won’t get into here, except for a few comments below.) After Frederic makes his farewell to military arms, he and Catherine establish their own happy but fragile existence in Switzerland. That happiness is permanently shattered when Catherine dies in childbirth, along with their baby. Burns and Novick use their commentators to emphasize how much Hemingway struggled with how to end the novel after Catherine’s death—the ms. shows forty-seven different attempts! The documentary, however, does not address why the ending Hemingway chose works so well, and, thus, misses an especially ripe occasion to make visible more of what lies beneath the surface of his deceptively simple prose.  

    Material: what should the final part be? A philosophical reflection along the lines of the famous “If people bring so much courage to this world, the world has to kill them to break them” passage? Indeed, why not use that exact passage? Or should the narrative end with a line of dialogue? Or a report of Frederic’s actions in the immediate aftermath of Catherine’s death? Or something else?

    Treatment: Once that choice is made, what’s the optimal way handle it? Should Frederic explicitly express his grief and sorrow about losing Catherine? Or should the emotion be suppressed? If suppressed, how to invite his readers to recognize it?

    Hemingway opts for the report of a final action and treats it by returning to the style of the opening chapter: “Troops went by the house and down the road and . . .” becomes “I went out and left the hospital and walked. . . .”

    Inferencing: The style is similar, but Frederic’s voices are radically different. The first chapter is in the voice of Frederic the naïve ambulance driver. The last sentence is in the voice of the enlightened man who feels Catherine’s absence and the destructiveness of the world in every fiber of his being but who is not himself destroyed by those feelings. This man now understands rain as a synecdoche for that destructiveness but who carries on despite its presence. As Hemingway matches voice to action, he invites his readers to recognize that, in taking these small steps back into the world, Frederic is not yet strong at the broken places but is deliberately (in both senses) advancing toward such a condition. The final sentence, then, though suffused with Frederic’s grief, also indicates the completion of his transformation from the unreliable character narrator of Chapter 1 to a character narrator wholly aligned with the perspective and values of his creator. From this perspective, Hemingway chose well among the forty-seven options he considered for the ending. We may cry, as Edna O’Brien did, in reading this novel, but we also come away moved by its aesthetic power.  

    After such responses, we may also want to raise questions or objections. Here are just a few. Does Hemingway, despite initially giving her a perspective aligned with his—and showing that she is one who is strong at the broken places—treat her as a disposable woman, important primarily for her service to both Frederic and his own artistic ends? Even as he transforms his experience with Agnes in his construction of the Catherine-Frederic relationship, does Catherine’s fate include a tinge (or more) of vengeance against Agnes? Does Hemingway overdo it with the emphasis on the world’s destruction and on his use of the rain? (Riddle: What’s Hemingway’s answer to “why did the chicken cross the road?” Answer: “To die. In the rain.”) But I would suggest that these questions become more intriguing when put into dialogue with the answers that emerge from a focus on Hemingway’s handling of material, treatment, and inferencing.                                                                                                                                                                                                                                           

    There’s a lot more to say about that handling in Hemingway’s other work, but I hope this much indicates how I’d go about saying it. I turn now to why I think the sculpted iceberg needs to include several holes.

    The sculpture needs the holes to signal that the relations between the life and the writing can never be fully explained, and it needs more than one to signal that there are multiple gaps in those relations. The first, and perhaps largest gap, is between formative experiences and ultimate achievement. When Burns and Novick look to the life for experiences that help explain Hemingway’s famous style, they highlight such things as his extended childhood engagements with the music of Bach; his experience as a journalist for the Kansas City Star who insisted that their writers should: “Use short sentences. Use short first paragraphs. Use vigorous English”; and his reading of Gertrude Stein with an eye toward her experiments with repetition and syntax. Influences, yes. Explanations, no. How many others played Bach, wrote short sentences and paragraphs, and read Stein, and how many of them became accomplished writers?

    A second gap is between specific experiences and the transformation of those experiences into powerful fiction. A Farewell to Arms is based on Hemingway’s experiences in World War I, including his relationship with Agnes. But A Farewell to Arms is far from a roman á clef, and the departures from Hemingway’s personal experience are crucial to the success of the narrative, especially the different trajectory of the relationship between himself and Agnes and the one between Frederic and Catherine.  Where do those departures come from? Not from other direct experiences, but rather Hemingway’s own imagination in combination with his sense of what the narrative needs. In other words, the transformation of experience into powerful fiction depends not just on the experiences themselves but also on the writer’s ability to see beyond the experiences to their significance. This transformation also depends on the writer’s sense, often intuitive but sometimes deliberately conscious, of how introducing something that departs from the experience can have ripple effects on the rest of the narrative. A third gap arises because writing is itself its own activity in which one learns by doing and in which what one learns has an existence apart from whatever else is happening in one’s life. How does one get to Stockholm for the Nobel Prize in Literature? Practice, practice, practice—and, to adapt what Michael Katakis says at the beginning of the documentary, be like “so many other people, except [have] enormous talent.”

    In a sense, Burns and Novick devote six hours of filmmaking to unpacking Katakis’s description of Hemingway as such a man and to looking for connections between his fundamental similarities to so many others and that enormous talent. If I’m right about what stands apart between the life and the writing, it is inevitable that Hemingway succeeds more with the similarities than with their connections to that talent. Inevitable and perfectly fine because the life is captivating. Nevertheless, it’s the writing that fuels the interest in the life, and just how Hemingway was able to produce it will, I suspect, never be fully explained. What we can do, however, is continue to increase our understanding of what lies beneath its surfaces.

  • When I Hear the Song “Mi Viejo” by Piero

    As soon as I read Elizabeth Acevedo’s The Poet X, I knew there was a brilliant poetic voice illuminating the future. Acevedo is a performance poet whose beautiful free verse crosses over for both adult and teen readers. The Poet X is a verse novel with so much rhythm that it could be performed as musical theater. The story is both sensitive and energetic, emotionally complex and accessible. The Poet X asks quiet questions, but it asks them with a beat. The story explores immigration, relationships, and coming of age. Many of the poems are bilingual, written in confident Spanglish. The protagonist grows, loses some Dominican traditions, and learns to value others. Above all, she gains her individuality and freedom of expression, granting the reader a sense of hope. Elizabeth Acevedo offers a voice that young readers need.

    —Margarita Engle, author of The Surrender Tree: Poems of Cuba’s Struggle for Freedom and Poetry Foundation 2017–2019 Young People’s Poet Laureate


    today, miles and years from Papi’s record player,
    the night unrolls itself into blue linoleum,
    the guitar strings my extended hand in his direction.

    I killed him for almost half my childhood.
    We are taught many things by counting time, even this.

    If this was the only father I had to claim,
    I preferred him buried in memory.

    Now, his records drag like a long breath 
    between the pause of songs.

    He should have danced with me more often.

  • When the Staleys Came to Visit

    Where Harry and Helen Staley would sleep was obvious; Winnie would give up her full-sized bed and take the couch. She scrubbed the grimy black and white tile in the bathroom. She shopped for sophisticated snacks that would appeal to anyone: figs; a wedge of brie; a can of salted mixed nuts; two bottles of wine, one red, one white, each under six dollars, which would stretch her budget at that; and some sparkling water. New York had the best water, she heard people say, and had learned to repeat it. Harry wouldn’t mind drinking from the tap: he was originally from Brooklyn, and when he wanted to amuse the students in his James Joyce class in Albany, he spoke like he had marbles in his mouth, shaking his jowls, “Ahm from Brookluhn.” When he did that, Winnie, who sat on the left side of the first row, imagined him as a little boy in tweed knickers, knocking a ball out of a scrappy baseball field with a wad of age-inappropriate tobacco in his cheek. On the other hand, she wasn’t sure if Helen would drink tap water.

    It was Harry who had been her professor. Semester after semester she took every class of his that was on offer: The History of the English Language, its centuries of root words tugging at her; James Joyce, if only for the dirty Molly Bloom bits; Romantic Poetry, and how romantic it was when he read to them, Keats, of course; Shelley, of course.

    Thou wovest dreams of joy and fear,

    which makes thee terrible and dear–.

    Their visits began in his office. Winnie would drop in, enraptured by a line from a book or poem, and flop down on the spare chair in his office hoping to get him talking. He would slip back and forth between his Brooklyn rogue and his Irish brogue. He smiled first and twinkled second and welcomed her back anytime third. One time she went to visit him, and another student sat in that same chair to talk about an actual paper. She listened outside the door, searching for the same fondness in his voice, and was comforted that it was nowhere to be found. He was wearing her favorite sweater of his, a sea green stitched wool with a moth hole in the elbow. If she could, she would have borrowed it to wear down the second elbow. On his desk were pads written on with a slanted Palmer-trained handwriting in stubby pencil, not pen.

    Their visits continued at the Monday night open mic poetry readings at the QE2 bar on Central Avenue where he turned up to read poetry about his Irish heritage and Catholic upbringing.

    I attended children’s mass,

    lulled by Latin, carefully Young Father Smith revealed the host,

    omnipotent and bright,

    larger than a quarter.

     “But not a drop of the blood to pass my lips,” he said later, winking at her. She was sure he’d seen her outside earlier smoking, and she’d felt mortified, and stomped out the filter, aware of her stench. The feeling was a knotted mess: getting away with something, but craving approval. Maybe it was the poetry, maybe it was the moth hole, maybe it was the stubby pencils. Maybe she wanted to get too close.

    And finally, they met across his own threshold in a historical building on State Street, in his formal parlor, a baby Steinway with no sign of play and lots of upholstery and creaky wooden floors and mouldings and furniture. During her first visit, Helen buzzed about the background of their pre-war galley kitchen, making tea. Until she didn’t hang back. She was small, but her presence formidable. She drove a long white Chevy Impala, and at 4’11” her hands reached up to the steering wheel like a young child’s. It was impossible to see her little head behind the wheel unless she was wearing her formidable black fur hat.

    It didn’t take long for Winnie to understand herself to be witness to the strange dynamics of a marriage. Before her visits to State Street, marriage hovered in her mind like an abstract dollhouse that she’d never fit into, only with car payments and a shared bank account. Most often, marriage looked like divorce.

    With a cup of tea balanced on a saucer that was balanced on her knee, Winnie noticed that for every word that Harry uttered, Helen uttered twelve. At first, she finished his sentences. Soon, she covered them over before they could get a running start. He sat like a scolded child with his hands folded in his lap, sulking in a deep chair. This gathering morphed into a strange triangulation, a daydream where Harry struggled to push open a heavy mahogany door, only to have it slammed shut by Helen. Winnie wanted to push it back open and leave it that way. She wanted a skeleton key, so she could push Helen into a dark hallway and lock the door and listen to him finish his own sentences for eternity.

    *

    It had been a couple of years since Winnie packed up a U-Haul after graduation and moved to New York City. “Don’t put an ad in the Village Voice!” she’d said to a former classmate who was leaving her cheap apartment to move in with her boyfriend. It was now a couple of years since she’d sat in the Staley’s parlor, and they were coming to stay with her.

    It was dark by the time her doorbell buzzed. Winnie pressed the intercom and tried to keep her voice steady. “I’m gonna buzz you! Come on in! I’m on the 3rd floor.” Helen appeared first, emerging around the curve of the stairwell, the same black fur hat covering her fiery red hair that always covered her fiery red hair. Her black wool cape dragged on the floor as she climbed the stairs. Her winter boots were from another time altogether, also fur, with embroidery woven across the seams, not unlike the arts and crafts displayed at the annual Ukrainian street fair in Winnie’s neighborhood.

    She hugged them both and showed them to her room, apologizing about everything in no specific order (the size of her apartment; the box of cat litter in the corner; the narrow spiral staircase with hard metal edges that lead up to the bedroom—oh, be careful!—; and the firmness of her mattress). For herself, she made a nest on the couch with her black cat, Charlie.

    *

    When Winnie came home from work the next evening, Harry and Helen were out visiting friends. Helen made their friends sound so glamorous. A homosexual, in the theater. An artist who we met in Japan. Her bathroom was now a skyline of personal toiletries, including a canister of orange-flavored Metamucil. There was no turning back, she understood. The cracks that surfaced with intimacy would only spread from there.

    At 10:45, the buzzer buzzed, and they climbed the stairs, Helen chattering to Harry nonstop. “But they didn’t stay for long, did they? That was a bore. At least the borscht was homemade.”

    *

    The second time the Staleys came to visit, it was to attend an art opening on 25th Street, not for their friend the Japanese artist, Helen was careful to clarify, but for another wonderful friend, from Amsterdam. Would Winnie be able to break free from work to meet them for lunch at the gallery? “Yes, of course,” she said, wishing she could see Harry alone.

    On the appointed day, Winnie waited awkwardly for them to turn up. From a large picture window, she watched heavy, wet snow fall. A yellow taxi pulled up and she watched as Helen exited onto the slushy curb. Her black fur hat fell into the snow, and she bent like an accordion to pick it up. What was left of her hair was freshly dyed red, long and wild, and blew into her face. Harry emerged next, wearing sneakers with no socks. A thin, white anorak was the only thing protecting him from the sharp Hudson River wind. When they came inside, it seemed a wonderful shock at seeing her there, even though they’d made plans three days earlier. Winnie quickly surmised that they’d forgotten her. Lunch wasn’t going to happen. Oh dear, it’s snowing, and best if we don’t spend the night. Best if we turn around and catch an earlier train back upstate.

    When she left to return to work, hot tears spilled.

    On the floor of the small elevator in her office building, a brass stamp was engraved into the floor that read “Staley.” It might have been the elevator maker; it might have been an elevator distributor, if there was such a thing. Every time Winnie rode up or down, she meditated on the “S” which swooped with a lovely serif at each end. Sometimes it looked tarnished, barely noticeable under the scrum of shuffling feet. Other times, a fresh new shine drew her eyes towards it. Always, out of an odd respect for the randomness of its placement, she did her best to sidestep it altogether. If she were alone, she might articulate an S sound, connecting it to another word. Serendipity. Snake. Sunshine. Sadness.

    *

    The years ticked on and they fell out of touch. Occasionally, she spotted a book of poetry on her bookshelves by Harry called Lives of a Shell-shocked Chaplain. Winnie had perched it next to a book Helen had self-published, about a cat. She wondered if they were still alive, living in their grand, but down-at-the-heels apartment on State Street in Albany. The last time she’d been there, Helen was doing a furious “lightening up.” She came out of her kitchen holding a set of opaque, rose-colored aperetif glasses, and a sake set. “I carried these on my lap from Japan when we came home from our honeymoon. We would love for you to have them.” Harry sat upright in his faded green armchair, smiled, and nodded with approval. Winnie’s heart cracked open. They were like grandparents, but that wasn’t right. He was like an old love, but that wasn’t right, either.

    The last time she’d sat in his office, he’d tucked his chin in his palm, looked at her wistfully, and said, “Oh Winnie, if only I were younger.” Until that afternoon, Winnie had never asked Professor Staley for an extension on a paper. She knocked on his door and he gently pulled it open, surprised to see her on the other side. “Sit, sit!” In the warm glow of amber lamp light, his grin was crooked, his eyebrows two white caterpillars. He had no problem with her turning in her paper a day late, but asking him made her cheeks burn. She accepted that afternoon’s visit as a complex but beautiful inevitability, and it stayed with her for many years, like an extra button in a teacup.

    *

    Of all the places they ended up, the Catholic nursing home on New Scotland Avenue was not what Winnie imagined. A nurse explained that he and Helen had separate rooms. She asked for directions to Harry’s room. At the end of a long corridor, she found his empty bed made up with a mustard-colored shaggy comforter. On the bedside table, a hospital-issue plastic water pitcher, and a framed picture of he and Helen as young war lovers, she in crimson lipstick with that same unmistakable intensity in her gaze, and he jovial and goofy in his uniform. Winnie followed the musty smell of overly cooked vegetables to the cafeteria and found them sitting at the end of a group table. Both were in wheelchairs. Winnie leaned down to their height. Harry smiled, his remaining teeth protruding. Helen scoured, sending her painted left eyebrow into a sharp 90-degree angle. “I didn’t think we’d see you again,” she said.

    Harry offered her his tapioca cup and patted her shoulder. “I know you, I know you!” She could have been his student; she could have been his daughter. Had Helen not been there, she wasn’t sure which identity she would have claimed. Artist from Amsterdam. Borscht maker. Daughter.

    When she went back to work, she entered the elevator and looked downward at the brass stamp below her feet. Staley, with its two serifs.

  • Wikipoems

    Wikipoems

    Synchronicity

     

    a person was embedded in an orderly framework
    an “intervention of grace”
    appears to be inconceivable
    but rather an expression of a deeper order
    with an impeccably “geometrical” idea of reality.

     

    a phenomenon of energy, a governing dynamic
    which underlies the whole of human experience
    and history within the bounds of intelligibility
    it is impossible to examine all chance happenings
    meaningfully related in spite of efforts made on both sides—
    it breaks whenever they touch it.

     

    “That’s the effect of living backwards,
    conscious thinking to greater wholeness
    plum pudding on the menu and “acausal parallelism.”
    it was a fairly large flying insect that was knocking against the window-pane
    falling together in time without apparent cause,
    the cause can be internal.

     

    This experience punctured the desired hole in her,
    attempts to sweeten her rationalism with a somewhat
    more human understanding—a complicated apparatus.

     

    Identification of non-existent patterns
    confirms one’s preconceptions,
    and like the “man in the moon”, or faces in wood grain
    “nothing can happen without being caused”
    and probably never will be.

     

    Hypnagogia

     

    During this “threshold consciousness”
    “half-asleep” or “half-awake”, or “mind awake body asleep”
    or a doorbell ringing.

     

    the experience of the transitional state continues
    with increasing sophistication.

     

    Lucid thought, lucid dreaming, hallucinations, and sleep paralysis
    range from the vague and barely perceptible to vivid
    inspiration (artistic or divine).

     

    The phenomenon of seeing the chess board and pieces
    usually static and lacking in narrative content,
    representing movement through tunnels of light.
    Edgar Allan Poe, for example, wrote of the “fancies”

     

    people may drift in and out of sleep. The edges of sleep
    monochromatic or richly colored, still or moving,
    flat or three-dimensional (representational) images turning
    abstract ideas into a concrete explanation
    for at least some alien abduction experiences,

     

    intrude into wakefulness in to a decline
    in speckles, lines or geometrical patterns,
    including form constants, or as its corresponding neurology,
    (exploding head syndrome).

     

    It is not to be confused with daydreaming.

     

    Kansas

     

    in the Midwestern United States
    it is often said to mean “people of the (south)
    constructed homesteads
    when waves of immigrants turned the prairie into farmland.

     

    At the same time, they became known as Exodusters.

     

    in the 1850s, in the midst of political wars
    Tribes in the eastern part of the supercell thunderstorms;
    was first claimed as the evidence of a spiritual experience
    referred to as the baptism of the Holy Spirit in 1901.

     

    a hotbed of violence and chaos in its early days as these forces collided,

     

    in the summer and spring,
    Mount Sunflower is built on one of the world’s largest salt deposits
    “Queen of the Cowtowns.”  is prone to severe weather
    the “Cathedral of the Plains” is located as the home of Dorothy Gale,

     

    also home of the Westboro Baptist Church,

     

    in children’s literature,
    Wild Bill Hickok lying in the great central plain of the United States,
    indeed “flatter than a pancake”
    producing high yields of wheat, corn, sorghum, and soybeans.

     

    His application to that body for a fictional town of Manifest,

     

    in villages along the river valleys
    the Wild West-era commenced in a sequence of horizontal
    to gently westward dipping sedimentary rocks
    as sunny as California and Arizona.

     

    Wagon ruts from the trail are still visible in the prairie today.

  • Urinals

     

            U        
            URINALS
    I
    N
    A
    L
    S
    Vitreous, oft-white, wall-mounted, what runs
    flavid down each steep face collects in a font
    you’d never dip your fingers in. Public things,
    out of place in homes, their torso-like forms
    gleam in rows beneath bright humming tubes
    in windowless rooms behind doors that lack
    knobs.   Nearly half the first world knows all
    too irksomely the subtle variations of urinals,
    what vast differences can be made by height,
    style, proximity, number, partitions. (I write
    only in memory of feelings.) The greater half
    turns on heel, flees at the sight of them, fresh
    ly aghast at their peculiarity.   Like an algebra
    problem whose answer is a violin, the urinal’s
    fanciful shape is arrived into using a rationale
    of brutish functionality. This makes it lovely.
    Its glazed Art-Deco curves trace their origins
    to the propensity for male equipment to drip,
    drizzle, spray in a rake. Herein lies a urinal’s
    quiddity: At one, you must perform. At one,
    you can’t miss. You’re shooting into a barrel
    of fish. You can close eyes, can nod or rock
    back your head, stare at the ceiling, whatever
    you need to still your mind into the necessary
    zero from which a flow can begin. Flanked
    close by grown men, it is
    often not so
    easy
  • Will Over Reflex: Prose & Poetry

    Belief:  A Primer

    At her First 
    Communion
    she whirled 
    her head
    around 

    and mouthed
    the words
    Does anyone 
    believe this

    as crumbs
    of blood
    tickled
    the ends
    of her lips

     

    The Gallery: Disappearing Acts

     

    I’m not sure how it began, but soon my tongue started falling out of my face.
    At first it tingled, I pulled it lightly, then it kept unraveling until there it was, 
    looped in a single pile on the ground, what looked like miles of tongue tape.
    Red rope or fire hose or skin. A sculpture of tastebuds. And I wasn’t bleeding. 
    Just stood there, mouth emptied, tongueless.

     

    What did it feel like?

     

    I don’t remember any feeling, stood numb dumb mute, mouth open and empty. 
    Watching. And then the other bodies faces gathered to watch. It was a real show. 
    The Tongue Gallery. That’s what they called it.

     

    What happened then?

     

    After the show, after the clinking of glasses and the murmur of watching, a man 
    stepped forward. He stood next to me, before the pile, and pulled a Swiss Army 
    knife from his front pocket with the flourish of a magician beginning his act. All 
    became quiet.

    Everything blacked out, everything but the man, the pile, the knife – visibly dull 
    from too much whittling of wood or gutting of trout or carving off skins. Slowly 
    he circled and began to unravel the pile until it lay flat across the room, one 
    continuous track of tongue.

    He sliced cross-sections, slicing quickly down the line.

    A woman in a white suit assisted the man with the knife, delicately holding a tray, expertly collecting each slice. Slices lay atop the tray, layered in pinwheels the deep pink of medium rare, not bloody but far from the taste of live tongues flapping; pink slices fanned across the tray with catered delight. She offered them up as a delicacy and a souvenir, a reminder of the show that had been so sweet.

     

    And then?

     

    Each guest took a cocktail napkin and a slice, sniffing their morsel, then risking a small bite. Chewier than I expected, but such flavor shared a woman in ruffles and gold hoops. Best to take the whole slice in your mouth at once advised another woman in silver taffeta and knee-high boots. When the tray arrived before my eyes, I paused. Not wanting to be rude, but knowing I must refuse my slice, I held right hand over stomach and shook my head side to side. Must’ve eaten something strange for lunch whispered taffeta into white suit’s ear. And the tray moved on through the crowd, offering up its pinwheels of tongue, fanned delicately into infinity.

     

    And then?

     

    Grasp onto limbs
    hold onto the present-tense of bodies 
    slough off past and future pains 
    breathe in this room of shared skins

    tonight we fall asleep in calm tides of this lullaby.
    But sooner rather than later, we will awaken to a loud 
    cloud of smoke and tears, a towering pile
    of the nothing left behind.

     

    Seeing Them for the First Time 
    (For Cherie)

     

    i. 1989

    I took the day off
    from earth science
    and algebra and clay
    to drive over the
    George Washington Bridge
    and cry with people I didn’t know and some I did.
    We looked inside the casket thick red carpets muting
    a roomful of swallows and gulps the corners alive with whispers.

    Cousins twenty years older 
    are myths, a stolen whiff of 
    what you might someday be. 
    They kiss and drive
    and die before you, usually.

    He was young: electric eyes
    long lashes, a smile.
    My brother and I held
    each other saying nothing
    and later drove home across the river 
    in a quiet I can still hear 
    remembering Eddie.

     

    ii. 1963

    You know the sound 
    someone makes
    when they feel pain? 
    That’s what it sounded like 
    at my Cousin Joanne’s 
    open casket funeral
    as they lowered her into 
    wet Wisconsin ground.

    Everyone said we could be twins. 
    That afternoon I climbed 
    upstairs to her room
    and while I was running my
    hand over her hairbrush
    her sister walked past
    and screamed But you’re dead! 
    That day I was her ghost.

    Their house was on a farm
    at the top of a valley, their well 
    downhill from the pigpen.
    To make a long story short:
    as it flowed down, they drank
    the shit and she got cancer from it. 
    Dirty water gets you every time.

     

    iii. Outside Time: A Dream

     

    There were toilets on every floor. 
    Each overflowing, though not 
    how you’d expect.

    Each overflowing with 
    hard-boiled eggs.

    We worried but how to make it 
    stop? and when the worrying 
    became exhausting we stopped 
    and ate and dreamt and ate. 

     

    The Swallower’s Art

    The Sword Swallowers Association International – codename SSAI –
    is a non-profit organization home to a hundred or more amateur and pro 
    swallowers world round.

    Swallowers must learn the art of taming their gag reflex, a spasm of muscles 
    where throat meets esophagus: the esophageal sphincter, if you must know. 
    When you think about all the pills and spills we’re expected to swallow,
    our gag reflex is a throwback to another time and place and Life on Earth. 
    What began thousands of years ago as an act of divinity morphed into a bawdy 
    entertainment, then condemned as dark art in dark times of Inquisiting minds, 
    resurrected with circus sideshows carnival tents World’s Fair Coney Island 
    spectaculars by the shore.

    Swallowers train for years: the triumph of body over nature, will over reflex. 
    They begin with small household objects, spoons and knitting needles, before 
    moving onto wire hangers and knives. Then the solid steel swords begin,
    at least half-an-inch wide, fifteen inches long to pass snuff with the SSAI. 
    An oft-cited affliction of even the most skilled swallowers – other than death by 
    impaled aorta or burst stomach – is affectionately called “sword throat.”

    All fun and games until your left lung explodes from a 16-inch steel rod.

    Most celebrated swallowers are middle-aged men once-upon-a-time boys 
    catapulted into lifetimes on a late-night dare. Never as simple as: one day
    I stuck the blade in. For the burgeoning performer, there’s a first audience, 
    the clinch moment – to walk or stay, intoxicated by this little death so near.

    It all begins with that first swallow, the plunge.

  • Valravn (excerpt from a current work-in-progress)

    Valravn (excerpt from a current work-in-progress)

    A different wood; a different moon. This is the early moon, crescent as a fingernail, snagged in the silk of the still-pale sky. Barely dawn, when these sisters enter the wood with their snail buckets.

    I will gift them names: Ivy and Sweetbriar. Ivy is the prim, plain older sister, the keeper of wisdom. Sweetbriar is the fanciful, feral one, sheltered under her protection. Pairs of sisters in stories tend to be these types, I’ve noticed. One sense and one sensibility, as it were. One serious, law-abiding, scientific or religious – the other a madcap dreamer. Perhaps sisters naturally tend to arrive in sets of two, like seasoning shakers: paragon and renegade, preservative and spice. Complementary flavors, the two varieties of female success.

    “Sister,” whispers cherubic Sweetbriar, rosy-cheeked in the chill of the morning dew, still rubbing her eyes awake, “do you really think we can slay the Valravn?”

    Ivy consults her compass, checks the dagger on her belt. “I believe it is our duty,” she affirms. Solemn as a salt pillar beneath her hooded cloak, even as she refuses to look back.

    *

    The sisters live in a village at the edge of the wood. Their father is the milkman and their mother is the cheesemaker. They spend cool evenings by the fire in the big room of their simple stone cottage. Ivy steadily knits while Sweetbriar rolls yarn balls for their kitten, or tries to stand on her head, or clumsily plucks the lyre and sings, for many verses, songs she makes up on the spot all by herself. This is the first adventure they’ve gone on.

    It is out of the ordinary, the quest of two young girls to slay the Valravn. But sometimes a bold child must step up to address what the adults will not.

    *

    Since long before the sisters’ conceptions, the people of the village have made a yearly sacrifice to the Valravn. It used to be the heart of a stag. Then it was the heart of a horse. For the last three years, it has been the heart of a human being, selected by raffle at the festival. The Valravn craving ever more from their community’s lifeblood, a beloved soul hell-banished each time. They never went willingly, not when their number was called, not the blacksmith, nor the schoolmaster, nor the tavern’s proprietress. Every chosen villager cursed and screamed and begged for their lives. The Valravn, the community’s captor – but also, the elders maintain, their benefactor, bestowing riches not of this world, filling their wells with healing elixir, fecundifying their soil and their barnyards.

    Well. These two sisters have their own opinions about that. They work their chores. They fill their snail buckets. They know where the riches of these households come from.

    *

    The Valravn is half-wolf, half-raven. He stands on two vulpine legs like a human man and his pelt bristles with thick black feathers. He lives in a cave with all of human history painted on its walls in arcane symbols. His beak drips blood.

    He sears the hearts before he eats them, so the flesh cracks and blisters and the inside gleams back to life.

    *

    The girls walk through the cool of the morning into the heat of the day. By noon, Ivy carries Sweetbriar’s cloak and slippers as the latter wades in a babbling brook.

    “I’m hungry, Sister,” Sweetbriar says, outstretching her arms to balance on the wet stones.

    “We should not stop to eat, not till weakness claims us. We have just begun our journey.”

    “It’s hard to have adventures on an empty stomach.”

    “We eat none but what the Valravn gives us,” Ivy replies firmly. “Every mouthful we take before he lies slain, the deeper we sink into his debt.”

    “But Sister, you don’t believe what the elders say. The Valravn doesn’t give anything to anybody. He only takes.”

    “What the Valravn gives, consumes more than it provides. But nothing – we should wish it was nothing.”

    “Then how come you told me the Valravn never gave the village a single thing we needed?”

    “Because the Valravn doesn’t give the people what they need. He gives his acolytes what they want.” Ivy pauses to toss back the hood of her cloak and drink water from her leather flask. If Sweetbriar is unmistakably puppyish, Ivy is so slight and inscrutable, it would be hard for a stranger to guess her age. In her, youth is a kind of blankness. A stealth mode. “I didn’t tell you this, little one, but when I delivered cheese to the mayor’s house, the mayor’s wife – the chooser of hearts herself – invited me in out of the rain. I saw that she wore around her neck a curious new stone. Though the day was dark, it glimmered like a firefly. Like trapped magic.” Ivy refills her flask from the spring. “The Valravn gives presents to his favorites. That is why they do not keep him in check.”

    “But we don’t owe him anything. We would never take his bribes.”

    “Perhaps we would not. But our father has.”

    Sweetbriar stops splashing her feet in the current, looks up in disbelief. “No.”

    “Do you remember when Cow took ill past midnight? Lowed and lowed, and would not stand?”

    “I would remember, but I was sent back to bed.”

    “That night, when all other remedies had failed, Father pricked Cow with a silver spindle and Cow calmed enough to birth the stillborn calf feet first. The calf we ate in stew for a fortnight.” Ivy grows pensive, remembering. “It was not a spindle I had ever seen before.”

    “But it was a good thing, for Cow to live. We eat her cheese.”

    “Is it a good thing, if it’s gotten in an evil way?” Scolding: “Sweetbriar.”

    The child sighs and recites. “‘Nothing is good / that is not right. / What’s done in dark / will come to light.’”

     Ivy smiles, slightly. She may be the one driving this mission. But she knows she’d never be able to actually complete it without her little sister.

    *

    They won’t be missed for hours, not until dark. The forest is where they’re supposed to be. The forest, their parents like to say, is their education. The sisters spend most days combing the woods for snails, turning over every leaf. Some of the snails are food, and some of them are medicine, but the snails in this wood are not poisonous. Poisons do not grow in this forest. Not yet. The Valravn has arrived but there is still time before terror begins to bend the world around it.

    Innocence is still possible.

    *

    Ivy has obtained a map of the Valravn’s location, a map written in burn marks on hide. She will not tell Sweetbriar where she got it, and in truth, Sweetbriar does not wish to know. Ivy always finishes the worst tasks alone – it is the curse of the elder sister.

    A map like this does not come from a happy place. It smells of musk and ash that stains both girls’ fingers as they pour over it in a clearing, trying to find their way back to the path. The sky has turned overcast.

    “Perhaps we should have turned left, at Dubious Rock,” Ivy frets. “We may have to retrace our steps.”

    This is the sort of map that requires a legend to define its symbols – it bears scant resemblance to the wood in which they stand. Sweetbriar can make no sense of it at all. But she wants to seem grown-up enough to merit consultation. “Which way does the compass say?”

    Ivy takes the compass from her cloak and opens it for her sister. “Oh no.”

    Ivy sets it on a nearby tree stump, and together the girls watch the fine needle spin: first left, then right. Then in steady ticks, counterclockwise. Sweetbriar does not remember what this means. But Ivy does.

    “Aunt Hither-Thither,” she calls into the dark wood. “We know you’re near!”

    The spaces between the trees Escher into the trees themselves, grow dark as shadows on a velvet curtain. The air itself parts like a splitting cocoon.

    Their mother’s younger sister – though she looks far older – springs forth in frizzy braids with gaps in her smile, wearing the old, ragged skin of a cinnamon bear, leaning hard on her burl staff with its knob of riven quartz. Her hat Hygrocybe conica, a mushroom best left among the snail slime and rotten logs.

    “My babies!” she shrieks. Half cackle, half laying claim. “You scrumptious hunks of my sister’s heart!”

    *

    Aunt Hither-Thither, their mother’s sister, used to live in the village. She brewed elixirs in her cauldron, wore heavy lanyards of drying herb. She allowed skunklings to nest in her root cellar, and harvested their scent for bear deterrent she sold to the local foragers. Imagine that: a woman, unwed and unwashed, in her own filthy house, expressing the scent of a skunk for gold.

    Yet all of it was allowed. Aunt Hither-Thither was only expelled from the village because she began, covertly, to sell her potions in bulk to some of the housewives, to allow them to become home merchants of her goods – “sorceresses-in-training” was the expression that drew the most horror and ire – and, when exposed, refused to apologize for doing so. She would either have her coven, or she would make her way alone. The housewives stood, dead-eyed, by their husbands.

    She made her way alone.

    Sweetbriar was a babe-in-arms when Aunt Hither-Thither departed in disgrace. But Ivy remembers. She has thought about her aunt much over the years. Her aunt was powerful, yet she squandered that power to prove a point. She left the village, she did not steer it. She never faced the Valravn.

    *

    “We don’t need your help,” Ivy tells the old witch. “Sweetbriar, let’s go.”

    “Hogwash.” Aunt Hither-Thither is more amused than annoyed. “What brings you to my neck of the woods?”

    “It’s nobody’s neck,” Sweetbriar retorts. “We’re on a quest.”

    “A quest, huh? And maybe you thought you could swing by my place, pick up some enchanted gear? Some advice?”

    “We’re only here because we were lost. Fortunately I’ve found the way again.” Ivy rolls up the map but not before Aunt Hither-Thither catches a glimpse. She tries to snatch it but Ivy is too quick.

    “Kiddo.” Now serious as a heart attack: “Is that a page of the Dead Law Atlas?”

    “So what if it is?” Ivy lets her voice go cold and unbothered.

    “You’re in over your head, which isn’t screwed on properly, either.”

    “I know what I have to do. I know the prophecy.”

    The aunt’s expression grows stormier. “What do you know of the prophecy?”

    “I know only a child of the village can slay the Valravn.”

    “And what makes you think you’re that child?”

    “Maybe it’s me,” foreshadows plucky Sweetbriar. They both ignore her.

    “This isn’t make-believe,” Aunt Hither-Thither continues. “There won’t be a trail of breadcrumbs to lead you back. Are you really willing to do what’s necessary?”

    Ivy doesn’t flinch: “How do you think I got the map?”

    “There’s more to the prophecy than you know. Much more.” Aunt Hither-Thither scratches a chin bristle, thoughtfully. “The three of us ought to talk.”

    *

    Why did the other women join Aunt Hither-Thither’s coven in the first place, you might ask? Stooped even in youth, with her garb of rags and owlish unibrow, Aunt Hither-Thither was not a likely aspirational figure. And yet it was this very unlikelihood that did make her aspirational. It took a special certainty to commit so wholly to unholiness. To squat down in nature’s armpit and scrounge around for the secrets.

    The housewives wanted to know the things she knew, but they didn’t want to make the same sacrifices to know them. Ivy doesn’t care about sacrifices. She’s ready for this. She thinks of the old song, You’ll never see me cry. She takes her younger sister’s hand and leads her through the wood, toward the witch’s hut.

    *

    If the forest is their education, Aunt Hither-Thither’s part of it is a book with its leaves uncut. As they walk, the sisters don’t become more lost so much as more bewildered. Why are they on this path, rather than any other? How long have the trees been spiraling upwards, into these branching convolutions, gnarled as an old crone’s hands? If they, the girls, themselves grow old – a fate not guaranteed in light of their present task – what will they become?

    *

    The witch’s hut isn’t a hut at all. It’s part clapboard cottage, part covered bridge. The witch has built her home over a creek that runs through the wood, a little house rudely straddling a stream.

    “There’s a drain in the foundation that I use to discard waste,” she explains matter-of-factly. “Potions. Runoff from experimental fermentations. All manner of fluids. It gets in the water and the water gets in the dirt and everything that grows up out of the dirt. Soon this whole area will start to transform, no matter how the men of your village feel about it. Huh! Want to know how I know? Take a whiff on this side, where the water’s flowing in.”

    The girls smell the air before it passes beneath the shanty-truss. The water smells like… water.

    “Now over on this side.”

    They wouldn’t have noticed the difference, but when she points it out: pickle brine and varnish? With a just little hint of brimstone?

    “I’m not even home, and it’s extruding this much.” She slaps the building’s wall affectionately. “My house makes its own magic at this point. I’m that magical of a person. I feed the stream, and the stream feeds the river. And that’s why I’m well-equipped to advise you. Because I make almost as much good magic as the evil kind you’re going up against.”

    *

    The sisters don’t want to go inside the dripping house. You don’t either. I’m the first to admit it’s gross in there, in the lab of creation. Things writhing in jars. Roots with baby faces. Homemade glue. Menses. Even the good witches have to wrangle with what is. Any time you change what is, you produce a lot of waste. I’ll be the first to cop to that.

    *

    The aunt does what witches always do when they have children in their houses: she fires up her oven and puts her stew pot on to boil. Then she draws up a rocking chair at her hearth to tell them a story.

    It’s a story about the Valravn. But it’s not just about the Valravn.

    *

    “A new time is coming into the world. The future days will be the days of magic. The kind of magic we have now, it’s a magic of unbrokenness. If you ask me, we need to crack it a little. Shake a few pieces loose. Like I said, I’m a good witch, but this is one way Beaky von Beakerson and I are alike: we’re forerunners. Making the way for something new. Did your mother ever tell you that we met him?”

    “Mama met the Valravn?” Ivy, disbelieving: “Why didn’t she kill him?”

    “We were in the woods looking for snails and we found him curled up asleep in a nest on the ground. Blue black quills, shiny as wet ink. Pup paws that had never touched dirt. A hatchling. Your mother was just a kid, she took mercy on him. She’s had to live with that regret.”

    That explains a lot about their mother. The sisters have different theories as to exactly what.

    “Maybe you’re right,” Aunt Hither-Thither continues. “Maybe you are called to do this. Held accountable for her inaction. Doesn’t seem fair to me, but I don’t know how any of this is supposed to work. I do know, though, that the Valravn, he’s not the only seed that evil has sown. There are other monsters, like him and worse. Once he’s gone they’ll step up to replace him.”

    “Then we’ll replace them,” pipes up Sweetbriar. “Only, we’ll be the good monsters.”

     Aunt Hither-Thither laughs and laughs.

    *

    “Sweetbriar, I get the sense you’re a very young seven and a half,” Aunt Hither-Thither tells her niece. “So I’m giving you this amulet of protection. It’s a bezoar. You know what a bezoar is?”        

    “No.”

    “You don’t need to know.” She ties it around the child’s neck on its thick cord. “Ivy, I can tell you run headlong into danger. At least this way they won’t see you coming.” She strips off her cloak and flips it around for them to see its lining of invisibility before she hands it over.

    Aunt Hither-Thither packs the girls a basket before they go: tinctures and bandages and a canteen of vegetable stew that will never run cold or dry, whose flavor she describes as “nutritional.” Then she shows them the door. Before they know it, the girls are back where they started. It feels a little like the woods swallowed them up and spit them back out.

    * 

    Sisters walk in silence. Sweetbriar especially seems troubled. Her lower lip sticks out. The amulet hangs heavy around her neck.

    “What’s troubling you, little one?” asks Ivy after a time.

    Sweetbriar shoves her hands deep into the pockets of her dress. “If Aunt Hither-Thither’s magic is so great, how come we have to slay the Valravn alone?”

    “Perhaps her magic is not so great. Or perhaps…” Ivy shrugs, only slightly. But slightly is enough. “When Mama met the Valravn, Aunt Hither-Thither was there too.”

    “So?” Sweetbriar asks – but the clockwork in her head is starting to turn.

    “Aunt Hither-Thither didn’t slay him either. She told us that Mama has had to live with the guilt. But she didn’t mention anything about her own guilt.”

    Piecing it together: “Maybe Aunt let the Valravn live… and she isn’t even sorry about it?”

    “The mayor’s wife has no sorrow for what she’s done,” Ivy elaborates. “The well-compensated rarely do. Where do you think Aunt Hither-Thither got her great stores of magic?”

    “She said she made it all herself.”

    “That is what she said.”

    Sweetbriar hesitates.

    “But…”

    “But what, little one?”

    “Maybe Aunt’s not sorry because it’s not her fault. Mama is the big sister. She might have decided for both of them. She might have told Aunt what to do.”

    “Do you do everything I tell you to do?”

    Sweetbriar scowls on command. “No.”

    Ivy laughs merrily. “Oh Sweetie, you are incorrigible.”

    They walk a little farther, each lost in their own thoughts. The wood now once again conforms to the murky shapes on that map of soot and hide. Ivy can see them moving along its little line, like a cursor pulsing its way to a story’s inevitable conclusion. Sweetbriar has no notion of this at all. Her thoughts are on her mother and aunt, children themselves that long-ago day they stumbled upon a pitchy nest in the woods.

    What had happened when they spied the Valravn? Had it slept, and looked harmless, the way all babies do? Or did it open one yellow eye and promise them wishes – wishes with a condition only Aunt Hither-Thither was willing to accept? Suspicion gives a sick stomach to a child.

    “I don’t trust her,” Sweetbriar says out loud. She struggles to untie her amulet, desperately, as if it’s a millstone around her neck.

    “Sweetbriar, what are you doing?” Ivy shouts, but it’s too late. Sweetbriar chucks the bezoar as hard as she can, deep into the forest. It ricochets off a knotty tree trunk and disappears into the fallen leaves quite a ways away.

    “It was part of her plan,” Sweetbriar breathlessly announces. “Her plan to stop our quest. Maybe she enchanted it to make us fail, or get scared.”

    “Sweetbriar, how can you speak like that about your own aunt?” Ivy asks. But there’s something funny in the way she says it – something like pride. She’s taught her sibling well. “Go over there and look in the leaves. We need to examine it thoroughly before we jump to conclusions.”

    “Okay, but this’ll just prove me right. You’ll see.”

    Sweetbriar runs headlong into the forest, in the general direction of the bauble’s trajectory, her unkempt hair flying out behind her. The undergrowth is thick here, strewn with sticks and half-mulched deciduity. When her foot strikes the trap, she at first thinks it’s a branch snapping under her. Then the ground folds in – and the earth opens up – just like a room Redecorating itself.

    *

    What.

    *

    When Sweetbriar comes to, she sees her sister standing at the top of the hole, looking down at her. Silhouetted against the gloaming sky.

    “Can you move?” Ivy asks.

    Sweetbriar can’t even shake her head. She can feel the ooze from the crack in her skull.

    “Good.” Ivy throws in a rope and begins to climb down into the hole. Despite the difficulty of the task, she carries her empty snail bucket with her. “The Valravn prefers for the heart to be cut out while it still beats.”

    *

    This isn’t the story I thought I was telling.

    *

    When Ivy climbs back out, her blade is bloodied and her bucket is full. I gave her that dagger to protect herself, but it’s not just a dagger, is it? It got changed somehow. Into a hunting knife.

    Ivy doesn’t fill in the hole. She doesn’t need to. Even if you looked down there without falling in yourself – no small feat – you’d never see the child’s body under the invisibility cloak.

    *

    For some reason, Ivy walks through the forest with her little sister’s heart in a bucket.

    Fairy tales are full of female psychopaths. The witch with the spindle. The witch with the mirror. The witch with the gingerbread house. But it’s a strange thing, to witness that psychopathy in its beginnings. Psychopathy is too kind a word, in fact, because that suggests neurodivergence and the guiltlessness a diagnosis provides. This didn’t have to happen. This happening makes no sense.

    Ivy ties a red string to a bough. She’s just doing stuff at this point, as far as I’m concerned.

    *

    Why didn’t Aunt Hither-Thither go with the girls on their journey – Gandalf their hobbits, as it were? There’s no way she could have predicted this twist, but it was obvious enough they could use some adult supervision. Can we blame her? Should we blame her? Why is it that a woman always has to choose between her destiny, her creativity, her space – and watching the children? Even when the children aren’t her own?

    The amulet protected. The invisibility cloak hid. Aunt Hither-Thither told the truth: she made the magic all by herself. No good deed goes unpunished.

    *

    The Valravn is only able to hyperfocus late at night. He prowls the forest with every feather quivering like an antenna, drinking up the moonbeams, until the break of dawn. Then he returns to his cave nest, where he sleeps till afternoon in a bed of branch and bone. He understands human language, but his thoughts and emotions, if you can even say he has emotions, exist outside of language. That is what makes him supernatural. There will always be animals we haven’t discovered, but a beast like the Valravn isn’t an animal and he isn’t a person either. Even when we see him with our own eyes, he doesn’t fit the logic of our realm. He remains undiscoverable. That’s what makes him a monster.

    A human child has no such excuse.

    *

    Ivy is the villain of this piece. The villain, not the anti-hero. To make her an anti-hero, you’d have to remove every action that defines her. Strip Cruella of her furs.

    *

    Ivy arrives at the mouth of the Valravn’s lair, carefully sets the bucket on the stones. For crying out loud, does she plan to curtsy? When he emerges from the shadows, she mercifully does not. Maybe she’s too surprised. She has never seen a naked man before, but of course the Valravn is not a man, and perhaps not even naked. Plumage isn’t nudity, even when it covers a wolfish form.

    “I’ve brought something for you,” she says, and steps back from her offering. She watches as he stoops to feed. He didn’t eat the other hearts raw. None of them were this tender. Did Ivy’s red string foretell the sight of his raptorial maxilla tearing this muscle to bloody shreds? Whoever coined the expression “eats like a bird” clearly never saw a ravenous one.

    The Valravn rolls his neck and stretches back up to his full height, or at least the full height his cave will allow. He does not transform into a stygian knight, but the meal has affected some change in him, infused him with a brief magnanimity. A beastly courtesy. His yellow eyes are twin suns, suns from another galaxy, dead suns still flickering in the night sky. Wishing suns. It is time for Ivy to get her heart’s desire. What will it be? What could it be? I don’t dare to hazard a guess.

  • Women’s War

    Faruk Šehić was born in Bihać, Bosnia and Herzegovina, in 1970, just in time to experience the war (1992-95) as an officer in the Army of Bosnia and Herzegovina, leading a frontline combat unit. A poet forced to be a warrior, he strives in his work to recover the value of life and literature destroyed by violence. His sentences are sharp because he wants to stab us with them so we too can feel the pain. They are relentlessly beautiful because the world does not need us to exist. His first novel, Quiet Flows the Una, won the Meša Selimović prize for the best novel published in the former Yugoslavia in 2011, and the EU Prize for Literature in 2013. His novels, stories, and poetry have been translated in many languages, published in dozens of countries. He is a devout fisherman.
     

    —Aleksander Hemon, author of My Parents: An Introduction/This Does Not Belong to You (FSG) and professor of creative writing at Princeton University 


    Nađa is a kid. Greta is an elderly woman. Nađa goes to secondary school, she’s not quite a kid but that’s how I refer to her. From time to time, her friends visit our refugee home. One of them has a fair complexion, blue eyes. I sometimes think she eyes me furtively, but I pretend not to notice because I am a soldier, a grown man, although I am only about twenty. Then again, it’s not proper for kids to fall in love with young adults. I’ve no time for love; I’ve devoted myself to other things. Amongst them war, but I’ve mentioned that more times than one. Comradeship with other soldiers, friends, acquaintances, rakia and weed, but I’ve mentioned that, too. One might say it’s a case of fraternal love between young men, but that’s quite beside the point now.

    I soon forget about Nađa’s friend, for one must press on, one must be mature as long as there’s a war on; I’ve no time for by-the-ways like love. Love, at the moment, is a bit stand-offish towards abstractions such as homeland or nation. There is, however, such thing as true love for things quite concrete and tangible, like home, street or town. Here I mean the lost home, the lost street, the lost town. The town has lost us and we are alone in the universe. It’s not the town’s fault, and it isn’t ours, either.

    I don’t know what Nađa is thinking about and I don’t take her seriously. Nađa spends time with Greta. The two of them live in a world of their own. Greta raised Nađa, she is like a second mother to her. Greta is an elderly woman, very wise and knowledgeable. Nađa and Greta play patience and listen to Radio Rijeka on a set connected to a car battery. Greta is a passionate smoker, she loves crosswords but there aren’t any in wartime. Inside the radiobox Andrea Bocelli and Sarah Brightman sing “Time to Say Goodbye.”

    It’s as though Greta and Nađa were two dispossessed noblewomen. Greta, of course, is a countess, Nađa her right hand. They have now been expelled from their county. Nobody knows them; the faces in the street are strange. None treat them with due respect. In turn, the two of them don’t much care what people in their new town think about them. Greta and Nađa listen to the news, remembering the number of shells that have fallen on such and such town on a given day. They remember the number of dead and wounded, because we all do. It’s an informal sport of sorts, it may become an Olympic discipline someday, and it consists of a radio speaker informing us in a distraught voice that such and such number of howitzer, mortar and cannon shells were fired on town XY during an enemy attack on the very heart of the town. Greta and Nađa are able to tell howitzer and cannon shells from one another, because the former fly a lot longer than the latter and you have time to find cover. They learnt this from our father. At times, radio reports made mention of surface-to-air missiles, which are used – ironically enough – not to shoot down aeroplanes but to destroy our cities and towns. For nothing is the way it may at first seem in war.  The missiles have poetic names: Dvina, Neva, Volna. The surface-to-surface missile Luna has the prettiest name. One missile landed near our house, the blast lifted a few tiles off the roof. Dry snow seeped through the hole in the roof onto the concrete steps carpeted with varicoloured rag-rug. The cold falls into our home vertically.

    Greta & Nađa remember all that. Nađa goes to school. Greta stays at home with our mother. Father and I are on the frontline all the time. The radio-sport of remembering the body count and the destruction of towns and cities spreads to every house without exception, be it inhabited by locals, or by refugees. It goes without saying that we, being refugees, couldn’t have possibly brought our own houses along on our backs like snails can and do, so the houses we’ve moved into have become the way we are – homeless, with few possessions and many human desires.

    Suada, our mother, is the barycentre around which all things and living beings in our home orbit. Apart from Greta & Nađa, there is also a little tomcat, as well as a dog that has survived distemper and twitches a bit as he walks. His name is Humpy Horsey, after a character from a Russian fairy tale. Father and I are optional subjects in our refugee family portraits, as we are seldom home.

    Suada looks after our civilian lives. Every year she takes a horse cart to a remote village where she plants spuds. The yields range from 500 kg to 700 kg. This guarantees that we won’t starve, in case we also don’t die in some other way, and the ways to die are many, and they form part of life. 

    Once I was detailed to spade up a patch of the green behind our house. I was at it until Mother saw me toiling and moiling, my face flushed, pushing the blade into the hard soil with the sole of my boot. She snatched the spade from my hands and did the job herself. I was dismissed, and I could go out, where my mates were, were the alcohol was.

    Suada procured not only victuals but also articles of clothing to meet our modest needs. Thus I was issued a terry robe with an aitch emblazoned on the chest, and I called it Helmut. A kind-hearted Helmut donated his robe and helped me feel a bit like a human being. It’s not advisable to feel like too much of a human being though, lest your being assume an air of haughtiness, and you become toffee-nosed, as they say in the vernacular. A being could get all kinds of ideas into its head. It might lust after this or that, and there is neither this nor that to be got in the new town. Unless you have a lot of money. Still, even with money, many pleasures remain out of reach, and all they do is feed our fancy and lend us faith in a future better than counting shells and remembering body counts.

    That is the main sport in our County. It’s just about to go Olympic.

    Nađa grows and goes to school. Greta is always the same. Patience, news and Radio Rijeka playlists shape their time. They have a room of their own – they may have been expelled from their lands, but they’ve retained some trappings of nobility. Greta sends Nađa out to survey the prices of foodstuffs on the black market, things such as oranges, juice, chocolate. Nađa returns and briefs Greta, who decides what will be purchased. Sometimes Nađa fetches ingredients and Greta bakes a cake. This happens when Greta receives money from her relatives in Slovenia. The two of them have a special nook in the wardrobe where they stash their goodies. Inside the radio, the blind Andrea Bocelli and  Sarah Brightman sing “Time to Say Goodbye.”

    Suada looks after the house and all the living beings in and around it. The little tom is becoming less and less little. At some point I can no longer remember what happens to him, he vanishes into a mysterious feline land, far from the radio reports, far from the laundry soap with which we wash our hair, far from the bath tub mounted on four bricks, far from the cold tiles of the toilet in which I often see my face, distorted with weed and alcohol because it cannot be otherwise. It is the same bathtub in which Mum washed the shot-through blood-encrusted camo vest I strutted about in during nocturnal piss-ups, flaunting my spoils. I’d stripped a dead Autonomist, as if I was about to wash him and wrap him in a white shroud for funeral. But he remained lying on the melting crust of snow on a slope overgrown with stunted conifer. Almost naked, in his pants and boots with socks showing. He lay there for a few days before somebody thought we should bury him, then dig him up again to swap him for victuals.  For we were made by nature, and to nature we shall return, naked like the day we were born.

    Nađa goes to school, and school, like war, drags on forever. Greta plays patience, feeds Humpy Horsie, feeds the tom who pops down from the mysterious feline land every now and then because he misses us (at least I like to think so), and the birds, for Greta loves all living beings.

    Suada picks pigweed in the dales and meadows. She is a pigweed gatherer, in pigweed dwelleth iron, and iron we need to keep the blood red. Greta and Nađa may well be blue-blooded, what with that room of their own, whilst Mum, Dad and I sleep in the sitting room. The tom slept there, too, before he broke away to live a life of roaming and roving. When he was little he would stalk me, and when I blinked in my sleep he’d give me a brush with his paw. Humpy Horsie is growing up and twitches less and less. Prognoses are good for Humpy, even the end of war may be in sight, but we cannot afford to have such high hopes, we are not accustomed to such luxury. Therefore we cannot allow ourselves to entertain fancies and reveries about a better world that is to come. We are wholly accustomed to this one, like a lunatic is used to his straitjacket. Although all fighters are wont to declare that they would get killed on the frontline eventually, deep inside I believe I will survive, but I don’t say it because I don’t want to jinx myself.

    Smirna is a pal of mine. She works as a waitress, rumour has it she moonlights as prostitute, which is of no consequence to me as I’m not interested in rumours, even if they’re true. I’m interested in human beings as such, and Smirna is one, and so am I. Majority opinions don’t interest me, I don’t cave under peer pressure, I rely on what my heart tells me. The only difference between the two of us is that she isn’t a refugee. Smirna likes to read, I’ve lent her a copy of Mishima’s novel The Sailor Who Fell from Grace with the Sea. She’ll likely never return it, there’s a war on, who would remember to return a borrowed book in times like these? I remember the closing sentence: Glory, as anyone knows, is bitter stuff.

    Zuhra, known as Zu, is a friend of mine. We’ve known each other since before the war. When you say since before the war, it’s as though you remembered that you once used to live in a lost kingdom, the same one in which Greta & Nađa had been noblewomen. In the days of the Kingdom of Before-the-War, Zuhra worked at a video rental, I rented tapes at her shop. We listened to the same music, we patronised the same regal café. She once sent me a beer with a dedication note to the frontline. Zuhra is young and combative, she doesn’t lack optimism. We listen to grunge music, we drink beer and rakia. It makes us happy. Although we are young, we know full well that there’s something missing. Someone has taken something from us and refuses to give it back. We don’t know what that something is called, or what it looks like, but we do know it’s something very important for our young lives. Older adults feel the same way, they, too, have had something taken away from them, they, too, don’t know what it’s called or what it looks like. When someone takes something like that away from you, it’s too late for common sense. The only thing you know is that there’s a hole that’s getting larger and larger and there’s nothing you can fill it with.

    Zuhra is strong enough not to think about these things. That’s what we’re both like, that’s why we’re friends. We’ve known each other since the days of the Kingdom of Before-the-War. We like to spend time together because it makes us feel that the hole in and around us is shrinking, if only by a smidgen.

    Azra, too, is strong and upright. She is tall and beautiful in a special way. I was on a perilous line once, beech and hornbeam trees outside were crackling with cold, Azra phoned me via the brigade phone exchange. One flick of the switch on the switchboard, and we were transported to a realm of magic where nothing was impossible. She was at home, her civilian receiver in hand. I was in a dugout, holding the olive-green receiver of a military field phone. I keep it away from my ear; the phone is prone to tiny electrical surges that zap the ear-lobe. During my stint at that line on Padež Hill I wore Azra’s turquoise scarf. It held the smell of her skin and the swoosh of unknown seas, a memory of all the kingdoms we lost, and all the ones we might someday regain.

    I envy her for the fact that her family home is intact. All things inside are in the same place all the time: the photographs on the wall, the telly, the sofa, the armchairs, the tables, the doors, the shelves above the basin in the bathroom. Immobility is a virtue. When you get uprooted from your pot and forcefully transplanted into another one, all you want to do is strike root and stay put. Books gather dust as if the war never happened. Azra’s house keeps the memory of a bygone peace. It is peace.  When I come over and talk to her parents I feel like a phantom. As if I’m making things up when I say that we, too, had a house and a flat before the war, a family history of our own, that is now undocumented, since we no longer have any photos.

    Azra works at a café, I’m constantly on the frontline. Sometimes, on leave, I drink at her work and I don’t pay. With her wages she’s bought a pair of Adibax trainers, and we admire them, although the brand name betrays a counterfeit.  Matters not, the trainers are new, fashionably designed, worthy of admiration. Sometimes she buys a Milka chocolate and a can of proper coke for each of us, and we give our mates a slip. We hide behind the wooden huts where smuggled consumer goods are sold, and we greedily eat the chocolate and drink the coke. That is also how we make love, furtively, in places secret and dark. Azra keeps me alive by loving me. I have a higher purpose now, something loftier than bare life and the struggle for survival.

    Dina is a strong, brave young woman. She has a child with the same name as me. I used to see her around in the Kindom of Before-the-War. I was younger than her and we were never formally introduced, the great generational gaps that existed in that realm were difficult to close. Black-and-white was the kingdom, it was the eighties, films with happy endings, New Wave.

    Dina works in catering, like Azra and Smirna, due to the circumstances. We’re sitting in the garden of her refugee house. We’re drinking instant powder juice from jars: glasses are superfluous in war. All glasses are broken, all hands bloody. As Azra and I kiss feverishly, our bodies intertwined like in the sculpture Laocoön and His Sons, Dina’s son darts towards the road wanting to hug a car, but Dina catches him in the nick of time and my little namesake is safe. Azra and I were charged with keeping an eye on him, but our kisses took us far from reality. We drink Step Light instant juice from pickles jars, because we’ve been expelled from our empires, and now we can be barbarians if we jolly well please. We’re entitled to all kinds of behaviour, and getting a-rude and a-reckless is just our style. We all fight in our own way. Women’s war is invisible and silent, but it is of vast importance, though we men on the frontline selfishly think we matter the most. There are women medics and women fighters on the frontlines. I can never forget a young female fighter I once saw, and her firm, confident gait. From one of her shins, through a tear in her uniform trousers, jutted out the nickel-plated bars of a fixation device.

    Greta & Nađa play patience. Suada manages the planets of our household solar system. Azra, Dina and Smirna work at their cafés. Zuhra waits for her brother to return from the front. She also waits for us, her friends, to return so we can hang about. Somehow, all things grow and eventually collapse, like a great big wave when it finally reaches the shore. Someone in us plays patience, goes to school, does chores, washes up in a smoky boozer, goes to the front, digs spuds, someone in us laughs at us and our lives. We have an ancient life force inside, and it refuses to leave us. The blind Andrea Bocelli and Sara Brightman sing “Time to Say Goodybe.”


    Translated from the Bosnian by Mirza Purić.
    This story originally appeared in Under Pressure (Istros Books). Reprinted with permission from the publisher.