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BODY AS CURSED OBJECT: An Interview with Christopher Zeischegg

June 4, 2024

How do you know when you’ve arrived? Christopher Zeischegg’s Creation: On Art and Becoming (Apocalypse Party, 2024) presents the many violences we can inflict and invite, breathing breakneck life into fathomless yearning. In a series of essays and auto-fictional psycho-sexual fevers, Zeischegg delivers an examination of hunger. Appetite for sex and death, sure, but the book’s title points the way. One day will be the day of our death, and on that day we will have arrived at—something. If the fates back down and give us more time, it will be a day of becoming, like all days, like today. Zeischegg stalks this place in-between: on art, on extremity, on grace, and on coming out the other side. I talked to Christopher about the book. Rebecca Gransden: Several of the pieces you've chosen to include in the collection address grievances of some kind. What is your relationship to revenge and atonement?Christopher Zeischegg: Regarding grievance...If I'm to poke fun at myself, I could say that most of the stories in the book have to do with me complaining. I mention in the preface that I wrote a piece of autofiction about my father. He ended up reading the story, which I hadn't considered a realistic possibility at the time.My father called me up to confront me about what this all meant, as I'd included some mean or condescending bits throughout.I tried to explain what I'd done in the context of autofiction (what that even meant), and in the context of other work I admired and was trying to reference – essentially a bunch of aesthetic jargon. At the end of our conversation, my father laughed and said that I just liked complaining. Maybe that's true.Regarding revenge...The more sincere reference comes in an essay about my last novel, The Magician. I'm not going to get into all of it here, but the beginning of the book has to do with a chaotic relationship I had with a woman during my transition out of the porn industry. Let's call her Andrea. Prior to moving in with me, Andrea lived in the guest house of an older man – essentially, her sugar daddy and drug dealer. The guy threatened to kill me on a number of occasions.In retrospect, this sounds very stupid. But I think there were some performative plans, realistic or not, to kill the guy, who I blamed so many of my problems on. Obviously, that didn't happen. And at the moment, I couldn't give less of a shit about him.The more contrived reference to revenge comes in the form of a love letter to Christopher Norris, the artist who designed my book cover. A while back, he'd asked me to write a short piece for the reissue of his experimental horror novel, Hunchback '88. I penned a short story that treated his novel as a cursed object. I thought it would be fun to expand the piece for my own collection; to be extra mean about it; make fun of him and the things we're both into but find embarrassing, like aging men who are into hardcore and graphic design or whatever.The whole story is a joke, and ends with a nameless first-person-narrator murdering Christopher Norris. He loved it, so I think the piece was a success. RG: The book's preface begins with a reference to your father. How does this presence impact the collection?CZ: I meant to draw attention to patterns in my work that no longer serve my life or relationships in the way I want. Plainly speaking, I wrote a story in a previous book that mentioned my father dying. A year later, he actually died of cancer.I don't necessarily regret the way I've incorporated friends, family, and other people from my life into autofiction, but it's often been a provocation. I'm not sure I want to keep dabbling in that world, where there's so much opportunity to hurt real people, or at least piss them off. RG: The body takes its part in the book in a multiplicity of ways, highly complex and difficult to decipher. One aspect I found interesting is that of the body as a signifier, that it becomes divorced from its material and physical meaning simply by bringing attention to itself in those terms. In this way, it takes on the quality of an indicator, always pointing away from itself even as it is engaged in the most intimate of human acts. For someone as versed in the body and what that means as you've found yourself, how do you reconcile your own body, that you very obviously live with every day, and what the body means for your writing?CZ: The more straight-forward reason I focus on the body in my writing is that my experience of life as a young adult was largely framed by sex work. I was a porn performer, cam boy, and to a lesser extent, hustler and so on. Most of how I related to people, in terms of how I learned to get what I want, or my conflicts with people, had to do with my body – how others perceive me and how I perceive myself.At the same time, my interests and aesthetics were heavily defined by aggressive music subculture, like underground metal, and things like horror movies and (what used to be called) 'transgressive' film and literature. A lot of the material that shaped my youth was wrapped up in the language of violence, emotional chaos, and Satanic myth, or whatever you might call the language of early black metal.Because of my youth, I understood how to parse emotional experience through violent metaphor. I also felt that the most interesting thing about me, for a long time, was that I fucked for a living. So, most everything I've written over the past fifteen years has started with those presumptions.RG: We all invent ourselves. Your work deals with the question of facade, veneers, and the creation of persona. How have you utilized invention? Do you think about authenticity and does that have a bearing on your art?CZ: I'm very self-involved, and up until recently, have had a difficult time writing outside my own experience.Beyond that, writing has often been an act of problem-solving for me.Again, I return to sex work as this monolithic experience of my twenties, which I have a difficulty describing in black and white terms. The fact that I was best known by my stage name, Danny Wylde, a moniker given to me by some gonzo porn company, that so much of my early sense of sexuality was shaped by other people's direction and other people's fantasy... I can't help but be interested in shifting identities or personas while I try to get to the root of my own bullshit, or how I 'authentically' feel about anything. RG: This is a necessarily reductive question, but who is Luka Fisher to you?CZ: Luka Fisher is a close friend of mine. She's also, in part, the subject of my new book, Creation: On Art and Unbecoming.We met on a porn set over a decade ago. She was an extra in a zombie parody. I was at the height of my career as a XXX performer.At the time, she was putting out a lot of collaborative zines, and she'd volunteered herself as an A&R rep for this indie label called Records Ad Nauseum. So, I think my interest in writing and music immediately overlapped with some of the projects she was involved with back then.Luka wanted to produce all of these underground films, records, and performances, but would talk about them through the lens of having idolized old Hollywood producers, people who would implement unorthodox techniques or come up with insane publicity stunts. In retrospect, we both probably had some delusions of grandeur. But it was nice to spend time with someone like Luka, who had all of these big dreams. Especially around the time I felt my life was falling apart.She and I began most of our work together on the heels of my porn career ending, which was one of the more chaotic times in my life. She was going through her own shit, and dealing with gender dysphoria and beginning to transition. I like to think that we offered each other support.I wanted to include a few essays about her in my new book, to honor her, and to explain how she shaped my life in important ways. RG: An idea that has lingered with me since reading the collection is that we choose to undertake relationships with those we can accept to receive hurt from. Even in the most functional relationships we will get burned at times, and when it comes to artistic partnerships, especially ones that endure, there will be incidences of wounding, whether intentional or not. Has your perspective on the connections you have to others shifted as you've matured, and if so, how is that represented in the collection?CZ: Well, the relationships in the book – aside from my real-world relationship to Luka – are mostly fantastical extensions of my transactional affairs. No one really gets what they want; the sex, for example, is a bummer, either explicitly violent or a letdown.In reality, I do feel I have the capacity for gratifying relationships, more so than at any other point in my life. At the same time, I'm less open to artistic collaboration. I simply don't have the patience to deal with other people's meanderings.I'm often hesitant to discuss my marriage in a public space, because I find my relationship to my wife sacred and don't want to exploit that as spectacle. But I think our dynamic is relevant here. My wife is probably the most ambitious visual artist I know. We both have immense respect for each other, artistically and otherwise. We also have a rule that we don't work on each other's projects, at least not in a creative capacity. If she has a technical question regarding compositing software, I'll help her out. Or she'll take my author photos. But our work is our own, and our visions are extremely specific. Any collaboration on that front would turn into a fight.More broadly, I'm getting older and have more of a sense of what I'm good at and where I'm lacking. And I've embraced a certain mentality in terms of interacting with other people in an artistic capacity. Meaning, I'm nearly 40 years old. Anyone I consider a peer, who I respect, who I think could add something to whatever I'm doing, has been working on their craft for at least a decade. If I want their help, I better be able to pay them or at least offer them something useful in return. Otherwise, I feel this will turn quickly toward resentment. RG: In 'On the Moral Imperative to Commodify Our Sexual Suffering,' you make sobering points regarding the adult entertainment industry. Here, it is suggested that the promotion and normalization of porn that has taken place at a cultural level has broken down the business model – when scarcity becomes plenty there is a downgrading of value. This has led to the situation where those who proselytize sex positivity have put sex workers out of business. Familiarity and overstimulation also create numbness and boredom for the sex act itself, where all novelty in sex is eradicated. It's a world that provokes ambivalent feelings. The issue is a wide one, but have you gleaned any lasting conclusions from your time spent immersed in the lifestyle?CZ: In full transparency, the piece is a bit dated. I think I first wrote that in 2015, prior to the popularity of platforms like OnlyFans, and prior to PornHub changing their business model to include revenue sharing with content creators.That said, my feelings haven't changed much, albeit they're less severe than what's portrayed in that story.Anyone who creates 'digital content' in 2024 probably operates with some cognitive dissonance. It's easier than ever to make stuff. But it's probably harder than ever to stand out or make any significant money from selling digital media, porn included.From my vantage point, porn as an artform is complete bullshit. It's not art. Of course, there are many examples of films that have attempted to imbue it with some kind of aesthetic or ideological significance. And every so often, I have a conversation with someone who wants to make elevated, artistic porn – as if this hasn't already been attempted a million times over. It never works.When your body is aroused, you're not interested in aesthetics, other than the aesthetics of the body (i.e. Am I attracted to the person in front of me?). Part of your brain becomes stupid. So, if you're thrust into an aesthetic environment, where you're interested in narrative, composition, lighting, etc... and then you're introduced to hardcore sex for more than a minute or so, you're either going to get turned on and forget about everything else. Or you're going to get bored.So, for me, the purpose of porn and sex work is explicitly financial.I've worked on so many 'feminist' porn sets or films where there's some progressive ideology attached to the production. It's often just as good or bad as working on any other movie. What's the actual difference in the experience? Maybe there's more progressive language used by the director. Or maybe there's more oat milk on set.Typically, the days are longer without any kind of pay bump. And I've been fucked over financially more often by directors who boast some kind of ideology, usually because their utopian vision knocks up against the reality of how few people actually give a shit.I don't have a strong grasp on how the market functions these days. I just remember having my porn career fall apart, being broke as fuck, and then going on PornHub to find a video of me having sex that racked up something like 17 million views. I realized I would never see a cent more from that scene than what I made from my day rate.I'm not special. Most people in most jobs are going to hit a point where they realize their complete and utter lack of value. You can either fall apart and get into socialist cosplay or whatever. Or you adapt.It took me about ten years to figure out a different path, and it's still a struggle. But I make more money now. And my clients aren't trying to fuck me, figuratively or otherwise. RG: The end of the collection allows for an element of self reflection, and at one point, in reference to themes to which you cycle back, you say you are repeatedly “writing myself as a piece-of-shit hooker who dies.” Looking back on the collection, the time it was inspired by, and the writing of it, what is your opinion on the repetition now?CZ: The essay at the end of the book is the most recent addition to the collection. I wrote it last year, during the summer of 2023, right before my friend, Luka, went into gender affirming facial feminization surgery. I'd talked to her about wanting to include some essays about her in the book. She suggested we take photos of her, bruised and bandaged, after surgery and use them for the cover. It's a bit hard to tell now because of the graphic element; she's separated into puzzle pieces. But her face is the main feature of the cover.This is relevant because I wanted the book to suggest a kind of transformation. Not that my experience has anything to do with issues around gender. But Luka was crucial to the book's narrative, so I found it appropriate to use her image in that context.Anyway, during my conversations with Luka, I told her that I considered it a failure on my part to write another book like this. I've published three novels, a sort of porn memoir, and now a short story collection. They're all more-or-less about the same thing. A porn guy or hustler, loosely based on me, is depressed and doesn't get much of what he's after. Then, he gets brutally maimed or dies. I mean, I hope they're a little bit more complex than that, but...It was probably important for me to write those books, to work through whatever I was feeling about those experiences. But I don't want to get stuck there, to spend the next 10 years, or the rest of my life, waking up most mornings to revisit that material, to recycle my own trauma, or even loop the stuff I look back on fondly.Ultimately, I can't escape the things I'm interested in, my thought patterns, etc... But I'm at least going to make a conscious effort NOT to write another book about a porn guy named Chris. Put him in the grave already.

GODSPEED by Reid Sharpless

June 3, 2024

Antioch looked good, good, good. Red crosses on white banners blazed over the citadel, framed by the smoke of smoldering pyres and the grapevines grown fat with dusty fruit on the hills outside the city—and all this on a cool summer afternoon. Sir Godfrey of Handover resolved to make note of this fine moment in his journal of gratitude as soon as the Lord’s work was accomplished.“It all looks so good, doesn’t it, Clive?”The skull Sir Godfrey held nodded half-heartedly, then turned southward toward Jerusalem. “I know, I know,” said the knight. “Patience, dear friend.” Clive, of course, was eager for the Resurrection, which required (of course) the coming of the Kingdom of Heaven, which undoubtedly required the return of Jerusalem to the hands of the Saints and the reunification of many-schismed Christendom—a goal which seemed, at present, to require a certain amount of marauding. “Soon enough, sweet one,” Sir Godfrey said, cradling Clive as he torched a fresh corner of the little Muslim village. People were screaming and hurrying about as the Kingdom stretched southward, fire licking at the fields of wheat. It would all be very interesting—the Resurrection—because Sir Godfrey and his serf Clive had parted on uncertain terms the previous year. Clive deserted the green hills of Handover to go reaving in the Holy Land with the other peasants, pitchfork in hand. Another lord might be furious, but Sir Godfrey waved him on; he would miss the old peasant, but who could argue with a summons from the Almighty? Besides, Godfrey and Clive shared a special bond. When Godfrey was young, Clive had led the little lord’s pony carefully around the woods, and when Godfrey grew older, Clive had polished his armor. The serf was almost family to Godfrey. Could a more intimate friendship exist between peasant and knight? But from the high road out of town, Clive had bellowed something back at Sir Godfrey, something to the tune of “the meek shall inherit the Earth,” as if revealing some long-held resentment toward his feudal lord. In the moment of Resurrection, Godfrey would say to his serf Here I am, Clive, I’ve brought thee back, having conquered the Holy Land. Did I not do right by thee? Was I not a good lord after all? And Clive, of course, would agree.The men were galloping this way and that, clanking in their polished heavy plate, singing songs of worship. Baldwin the Hermit led them, swinging his mighty mace.Refiner’s fire! Baldwin sang. My heart’s one desire…Is to be holy, the rest of the men joined in, set apart for Thee, Lord…Baldwin: I choose to be holy, set apart for Thee, my Master…All: Ready to do Thy will… It was yet another miracle! They had pillaged another little Muslim village in the hills outside Antioch. Sir Godfrey alone counted eight (eight!) unbelievers slain for Christ. One he had slain in the Old Testament fashion, and seven afterward had given their hearts to Christ of their own free will. He’d left them embracing each other in their little hut, shedding New Testament tears of fellowship. And just when all had grown quiet, several dozen sheep and goats burst from the burning stable and streamed toward the crusaders like the animals led by the Lord Himself onto Noah’s Ark! A miracle that, on this day of bloody victory, their hearts and bellies should be so full.Such miracles were occurring with great regularity as the noble crusaders approached Jerusalem. With each step deeper into the Holy Land, the scriptures became more undeniably real. What in gray Europe had existed as invisible movements and whispers of experience—a trembling heart, a pang of guilt, blind inner brushes with the Holy Spirit—had in Asia Minor become obvious enough for even the dim-witted to see. Angels (angels!) had been sighted as bright glints of light, stars exploding in the vision of knights like sparks of struck iron. An image of the Virgin Mary had been reported in the sand, and the faces of apostles were visible in the clouds during battle. The crusaders had marched twelve circles around the walls of Nicaea, blowing trumpets and singing songs of worship, and behold, the hearts of the Turks within had softened; the gates of the city were opened to them, even while the siege engines stood only half-erect outside. And earlier that very day, as they battled the Turks for Antioch, the Lord had brought a cool breeze over the mayhem to dry the sweat from their brows as they did His work. Miracles! It was all so bittersweet, knowing that once they raised their flags over Jerusalem, history would come to an end. Life was just beginning to feel right. The men had ridden their horses into thick lathers and sung their voices ragged. Baldwin the Hermit directed the knights to a fork in the southern road, where princes were taking seats, visors raised, with cool cups of watered wine in their hands as their squires doffed their armor and the camp followers butchered the pillaged livestock. “In the next life, Clive, I shall have thee serve as my squire,” said Godfrey. The skull stared off into the middle-distance.Godfrey dismounted and set out in search of his nephew, Edfred, that they might doff each other’s plate. Already, princes and knights were showing each other what baubles, relics, and bones of significance they had gained in the sack of the citadel. Sir Gnut had found a finger bone of John the Baptist. Baron Valclaw found a stained silken glove belonging to Paul of Tarsus. Duke Gedward found the ear of Malchus (severed by the Apostle Peter) perfectly preserved in a jar of pitch, as fresh as if it had been dismembered that very day. And Baldwin the Hermit found the iron tip of the lance that had pierced Christ’s side—this discovery had inflamed Christian hearts with such zeal that the men then rode out beyond the walls of Antioch and, in a righteous frenzy, smashed the Muslim counterattack. These relics were the most celebrated to-date, but surely Jerusalem held more. “What have ye there?” said Sir Gnut, eyeing Clive’s skull in the crook of Godfrey’s arm. “The skull of John the Baptist?”“Nay sir, ‘tis my dear serf, Clive, who came here on the Peasants’ Crusade. He met his end outside Nicaea, and now I ride to avenge—” But Sir Gnut had already left, searching out other pieces of the Baptist. Godfrey didn’t blame him: the relics were a godsend. Mere days ago, Godfrey’s heart had been baffled by doubt of his holy purpose. But hearing of this, Baldwin the Hermit came to him, and from his saddlebag he produced a sack of bones safekept for Godfrey—the bones of Clive. “Thy friend is with the Lord now,” Baldwin had said, handing over a femur, “but his bones cry out for justice!”Godfrey’s strength surged within him at the outcry of Clive’s bones. For the bones of Clive he’d fought valiantly in Antioch, and would now fight on to Jerusalem. If only Baldwin the Hermit could give some fortifying relic to Edfred, whose strength was waning.Sir Godfrey found his nephew sulking at the edge of camp, looking back over the smoldering city. Edfred, of course, had joined the Holy War to assure himself of his salvation. But the boy had not once bloodied his sword in combat. Instead he’d become enamored with a group of young Muslims—a girl who washed his feet with her hair and several young men who called him friend and toured him about the city as it was being pillaged. Only at lunchtime, as Edfred sampled the delicious foods of the market square, Sir Gnut slew his friends.“I’m sorry,” Sir Gnut had said to Edfred in the clamor of battle, “I didn’t know they were yours.” Edfred muttered forgiveness and turned away to shield his fragile heart. But around the wine barrels there still circulated boasts and rumors of Sir Gnut’s various conquests in the sacking of the city.“Come, nephew,” Godfrey said, placing his hand on the boy’s shoulder. “Thou knowest we kill only in kindness.”The boy shrugged off his uncle’s hand.“Would that I had never come here,” he said. “I have not lived a life of great sin requiring such terrible acts of atonement.”“Here,” Godfrey said, “hold Clive.”Godfrey gave Edfred the skull, twisted the boy around by his shoulders, and began unstrapping his gorget. “By the time thou art mine own age, thine heart wilt be so heavy laden with doubt that every night thou wilt lie awake in torment.”Edfred was quiet. A redness dappled his pale neck.“When our work here is done,” Godfrey said, “thou shalt never know a heavy heart.”“Is this even Clive?” Edfred asked, turning the skull over in his hands. Clive looked Edfred squarely in the eye, but feeling a great revulsion for the boy’s softness, quickly cast his gaze downward. Godfrey unbuckled the rest of the boy’s plate and wrested the skull from his hands. Edfred stood, wriggled himself out of his armor, and turned to doff his uncle’s plate.“Of course it is Clive,” Godfrey said. “See? Here, the place where his nose once was, the place where—”Trumpets sounded. Baldwin the Hermit was raising his banners around the barrels of wine. “Ye tired and ye weary,” he shouted, “we stand at a crossroads. We can press on to Tripoli…”The knights raised the tired huzzah of men who have taken what they wanted yet are met with new things worth wanting. “…or we may leave Tripoli to the laggards and instead fortify ourselves for the crown jewel, Jerusalem.” The men were silent in their consideration; surely they would have all the time they needed for relaxation once Eternity began.“Thy blades are sharp and armor gleaming, but hast thou taken the whetstone to thy Sword of the Spirit? Hast thou oiled thy Belt of Truth? Hast thou polished thy Shield of Faith, thy Breastplate of Righteousness, thine Helm of Salvation, and thy Sabatons of Peace?”Edfred ceased his fumbling with Godfrey’s leather straps to listen closer to the words of the Hermit.“I know a place that floweth with milk and honey,” Baldwin continued. “There we may purify our hearts, so that in the final moment of the broken world, Christ might say to each of us: today thou wilt join me in paradise.” At this, all the men raised a joyous Deus vult, and Edfred raised his boyish voice with them in cracking assent. Yet Godfrey could hear the bones of Clive protesting from his saddlebags. “Not south?” said Sir Gnut, lifting his gaze from his work on a nearby sycamore. He and his fellow northmen had grown fond of removing teeth from the infidel and driving them gently into trees with the flats of their blades and butts of their axes to mark their path southward. “South-southwest,” said Baldwin. “And only until Jerusalem is laid under siege.” “South-southwest is south enough for us,” said Sir Gnut. His northmen grunted amiably and returned to their decoration.Sir Godfrey thought to protest, to offer some counterpoint—he had stamina to spare and was eager to claim more lives for the Kingdom—but Edfred was now proclaiming desperately with the others that they should go at once to the place Baldwin spoke of, where they might shine their spiritual armor. Out of pity for the boy, Godfrey spoke not a word against it.“Patience, sweet one,” he said to Clive. “This delays thy Resurrection for but a little while. What is one short detour in the face of Eternity?”...Baldwin the Hermit led several hundred knights toward the sea. They climbed Mount Carmel’s gentle, chalky slopes—the northmen marking the occasional laurel, oak, and olive tree—and from there they began the descent to the glaucous coast. Baldwin pointed to a cairn. “There is the altar on which the prophet Elijah called down hungry flames from Heaven and shamed the priests of Baal,” he said. “And there,” he pointed, “is the cave where the prophet Elisha hid after summoning the bears from the wilderness to maul the forty-two young men who ridiculed his baldness.” The knights took stones from both places, and when they had filled their satchels and saddlebags the cairn was gone and the rocky hollow was picked clean, swept of all its precious dust. “And here we are,” said Baldwin, sweeping his hand toward the sea. A yellowed limestone keep stood in bright relief against the Mediterranean. Even to Godfrey’s eyes it was a relief. Men could be seen playing lawn games within the fortifications. A small harbor sheltered ships from Christian nations, and the beaches and dunes all around were festooned with palm trees and dotted with small wooden villas dedicated to spiritual replenishment. The knights dismounted and ran toward it as children might. ...Godfrey lounged on the beach with the bones of Clive, shaded by a large parasol made of palm fronds. The warhorses grazed just over the dunes, while Baldwin and the men frolicked in the waves, riding gentle swells on bits of flotsam. Friendless Edfred stood apart in ankle-deep water, gazing northward along the coastline. And Godfrey lounged there, perfectly content in the sand under that damned fine parasol. Antioch looked good, good, good, he wrote in his journal of gratitude. Thank you.“What would thy betrothed, the fair Lady Godwina, say if she could see thee now?” Clive asked, attempting to spur the knight on from his quiet repose. She’d say what she always said, Godfrey knew. Remember thy code of chivalry, keep the Beatitudes close to thine heart, turn always the other cheek, bear into perpetuity the Ten Commandments graven on thy mind, and every day write of three things for which thou art grateful. She’d said it even at the moment of farewell, as she tied her red ribbon around his arm. “Thou art a thorn in my side, Clive,” said the knight. But Clive awaited an earnest answer, and the silence weighed on Godfrey’s heart.“She’d remind me: thou shalt not murder.” Godfrey began. “To one who strikes thee on one cheek, turn to him the other also. Thou shalt not recoil before thine enemy. Blessed are the merciful, for they shall be shown mercy. Thou shalt make war upon the infidel without cessation and without mercy. Blessed are the peacemakers, for they shall be called children of God. Whosoever joins in Holy War shall receive absolution for his life of sin. And she’d remind me to be grateful.”The skull waited.“I am grateful for the ocean, for the palm trees, and for thee, Clive.” “To be a knight is to walk a very straight and narrow path, but thou dost make it look easy,” said Clive, impressed.Satisfied, Godfrey leaned back against his saddlebag until one of Clive’s bones snapped. The crusaders were still out there in the surf, a new excitement now about them. Sir Gnut had been caught in the undertow and swept out to sea, but the Lord had called forth leviathans of the deep, which found him, buoyed him up to the water’s surface, and spirited him back to the safety of the shallows, and now all the blessed beasts frolicked playfully with the knights. A glint to the north caught Godfrey’s eye. It was an angel. No, it was a new star. Edfred was stumbling in the surf beneath it. No, it was a sword, slicing through the firmament. Edfred had hurled his longsword into the sea.…Clive watched the men’s armor rusting in the salt breeze. Knicks and scrapes on the steel blossomed into crimson florets until the whole pile was awash in color. Then one morning, peasant women with children slung close to their breasts came and placed the armor in barrels with sand, and spent the day rolling them to and fro. When the armor came out it was mirror-bright, good as new.…On the road to Jerusalem, Baldwin the Hermit preached to the men who followed him. Before all this crusading business, everyone assumed the speed of God to be quite fast. Faster than a sprinting man, faster than birds, faster even than wind. But with each passing year—even one thousand years—the Lord did not reap His harvest from the world. But Baldwin had finally realized: the speed of God was actually quite slow. Slower than ants, earthworms, and tree roots, more patient than rocks. It was slow because the Lord’s plan required noble, Christian hearts to speed along the end of all this misery. Of course! Their fathers and fathers’ fathers had waited a thousand years for Christ’s return, when they could have marched over to the Holy Land and brought on the Second Coming in a mere five! Red is such a pleasing color, Godfrey decided, as he charged the city’s northern gate. It was miraculous what red could wash away, leaving behind only pure white. The red of Christ’s blood. The red of communion wine. The red that soaked the horses’ ankles in the market square. Godfrey felt his heart lighten with every swing of his sword. He had always been a selfish person. A self-centered, sinful wretch. Having a self at all was an excruciating torment to Godfrey, a stain upon his soul. But with every new vermillion gash, he felt a measure less selfish. By the time he stood panting on the Temple Mount overlooking the city, his heart was white as snow. Clive smiled from the crook of Godfrey’s arm, and the two of them stood there, waiting for the Lord to take His broken world and make it great again.Only once the men had raised their banners over Jerusalem, trashed its streets and slaughtered its people, nothing happened. They inspected their fallen foes. The Mark of the Beast did not appear on any of their foreheads, nor did the knights find signs or symbols of significance anywhere else; only the red-on-white crosses emblazoned on their own banners and clothes. They’d stormed the very capital of the Holy Land, yet Christ did not come down from His high seat to walk among them, to make the broken world new again.“And then what happened?” Clive asked. The way he posed it seemed unkind.Then the knights found themselves quietly wandering the scorched city, inspecting its walls and temples, drifting through places where all those Biblical people had lived and done things and died and risen again. Sir Gnut found the Garden of Gethsemane. Baron Valclaw stood in the Shadow of the Valley of Death. Duke Gedward found Golgotha, and nearby, Baldwin the Hermit laid for three hours within the Holy Sepulcher, where Christ had laid for three days.Godfrey and Clive climbed a bluff above the city, the deep red clay sucking at his boots. They found the potter’s field purchased with the thirty pieces of silver for which Judas betrayed Christ, where Judas was said to have either hung himself or burst explosively in regret. A solitary olive tree stood within it, a rotten rope hanging from its thickest branch.Godfrey sat beneath the tree. Edfred would have liked that part—sitting under the tree. From there, Jerusalem looked even better than Antioch had looked. But the boy was on a ship bound for Handover with neither sword nor relic to his name.“And then what happened?”“Then nothing,” Godfrey said. Nothing had happened. The bones of Clive did not knit themselves together with new sinew and muscle. All the dead saints remained in the ground. Fallen crusaders lay there purpled on the streets. The sky did not tear asunder. There was no clap of thunder, and hardly a trumpet was heard. The only thing that happened, really, was a collective remembering of the words of Christ: the Kingdom of God was within them, after all. From this the men forged new pieces of spiritual armor, something made of chainmail, surely, which covered all remaining chinks and vulnerabilities in the armor of God. All the armor had become quite heavy, however. Godfrey could not rise. He opened his journal of gratitude to write, but wept instead. The ground soaked up his noble tears. I’m grateful for the speed of sprinting men. I’m grateful for the speed of birds. I’m grateful for the speed of wind. He closed the book. “Tell me, Clive, am I a good person?”The skull nodded blankly, a mask. “So I am a good person? A good man? Answer me now.” “Of course,” a womanish voice said. The skull dropped to the ground.“Who art thou?” Godfrey whispered.But the headbone rolled to a stop, discharged of all magic. …The knight unslung his satchel and dumped a pile of bones under the tree. Above, the rope swung limply from the bough. Bark had grown over it, wood constricted and bulging where it had been fastened long ago. He wanted that rope. He hacked the sapless branch from the trunk and hefted it over his shoulder. Then he carried it back down to the city and paraded it in front of his friends, who congratulated him.

THE STUYVESANT BEE #216 by Mike Topp

June 2, 2024

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3 MICROS by [sarah] Cavar

May 31, 2024

Elephants think they are the size of dogs

Who can fault them, outwitting their great heft? And I am the size of Grammy’s voice at the burnt crack beneath her knife. Her grandmother, mème, would eat two toasts per day, no grease, between her prayers alone. Face against the floor. Grammy takes hers with coffee and a camel. An earlier version of this piece contained incriminating information on but I got rid of her. An earlier draft of this piece contained incriminating information on

Grammy once described clothing as forgiving and I imagined a wardrobe built only by resentment. She spoke between smokes of her deathdream: a forest, a fuck, a rainstorm, alone. I can’t breathe around you, granddaughter tells her fore. Now you are a featherbed. Now I am a rib. Who can fault me for outwitting my body.

^{____________________________________________________1} having gone the distance as it were from the scene

² of which dried up carbon, or perhaps the sound of scraping

³ hitherto unknown but as measure of license

⁴ and perhaps local to the knife or even the greed

***

Joan: A Eulogy Dear Joan,

The spaghetti went cold in my mother’s mouth. You stood there with your hand raised and ready to fire, like a petty tower.

I promise I will not be reasonable about this.

Dear Joan,

Your place has no toys. Four items under the television: a holey tennis ball, an old book, a pen, a key. The children’s place, you called it. You speak to my mother with your oblivious. Goodness is a series of good acts / I stab the ball with the nub of your pen.

Dear Joan,

Your fat old cat is afraid. My father tempts her with soft wet tuna. He wears gloves in the basement with you. With her. It is difficult to know who is when, this memory. You, aching and raging from the bed. Afraid is a dangerous animal.

She is upstairs these days, a dark trace at my mother’s feet. Frightful bastard. You are.

***

RUNNING

If I were the person I thought I once was this spring evening I’d walk miles in my mother’s old sweatshirt not out of hatred for my body but out of sheer sick cold. I would smell manure familiar to me and invented by the dairy midway between my home and the school where I learned I was fat. In that story, I become thin the way others grow up: gradually, adding with patience restraints, compunctions, ligatures, weights; steel where once was air. In my hometown is a correctional facility, another word for prison. When inmates escaped we kids hid in a dark corner of the classroom as in active shooter drills. Afterward we ate lunch. Today is any other March Wednesday. My arms with bumps or perhaps goosegrief I am feeling perhaps even grief for the girl whose few words concerned the grief I mean the geese of her sister: good geese, kind. At the correctional facility she wound mandalas into ink at her bed while I, adjoining, jogged in place. You see there is a point that you get to when you forget to be hungry and begin to run into traffic. Sometimes I grieve that feeling the way my mother has tacit-promised to grieve me, if At present the sun is melting and I am about to bike from this place to the the apartment in which I keep my sad food and sometimes food for strangers. When I reach the traffic light I will consider my bicycle, legs, white shirt, bare arms now thick with ink. Being disordered is a manner of being out of order, that is, insequential, that is, inconsequential. I think of my mother. I love you. Your sweatshirt is in my closet.

CREMATING A SNAKE by Dylan Cloud

May 30, 2024

It happened fast—a small wound opened in his side one day and soon his eyes were sunken, his mouth black. The doctors seemed to know even less than I did. He’d been so lively when they’d seen him, writhing as they placed him on the scale, lapping up the stale smells of the exam room. He tasted the air like a child in snow, curious, eager to devour the world. How could I make them understand? I had seen the sickness enter through his cut, the flicker of his being suffocated by pain. The pink infection crawling up his belly: too far, too fast. I couldn’t. He died. I found his body that night. It was never easy to tell whether he was sleeping; it was the empty limpness in my fingers, the stillness of the skin and the illness swimming in the pus beneath that told me he was dead. This was how we had always communicated: in slithered Ss and Cs spelling out a secret language. He never smiled. Sometimes I could read hunger in the anxious loops he drew around his tank, or intelligence in the considered script with which he scaled a bookshelf. I wondered if the disease had begun before the cut and I had simply failed to read the signs. Only now could I be certain of what he was saying: I am dead, I am dead, IIIIIIIIIIIII. But where to take him? The ground was hard and frozen, too cold a resting place for subtropical remains. The trash seemed unceremonious and sad, the rats greedy for a chance to turn the food chain on its head. The first few places I called laughed at me on the other end of the line: We do cats and dogs here, sir. Anything less domestic was too weird, too far-flung on the cladogram for funerary rites. Finally I found the number of a former veterinarian with four stars online who said that, for their feline rate, they would ‘process’ him—though when they mailed him back to me he would arrive in a little wooden box adorned with balls of yarn and mice and fish skeletons. That was fine, I said. He did like mice.I wrapped him in a garbage bag, and we took the train to the outskirts of town. Out the window I saw factories spewing smoke that slithered up the sky and dissolved into the gray clouds overhead. No one else had ridden this far out on the line; the only other people on the platform were disinterested ticket-takers, warm and drowsy behind the fogged glass of their climate-controlled tanks. Huge, faceless trucks rattled past me on the street, shining their headlights in my eyes. I kept my hands in my pockets, the garbage bag tucked under my arm, my lips turning rigid in the blistering wind. At the address I’d been given I found a small office with a man who was surprised to see me. Behind his desk hung a posterboard filled with faded polaroids of border collies, tabby cats, and corgis posing with teary-eyed humans in the entryway I’d just come in. He accepted the bag and offered his condolences; he seemed tickled to have something to burn beyond his regular kindling, and asked me questions about reptile care and cuddling. As I turned to leave I noticed that one of his ears was missing—mangled, as if bitten off.It was dark when I walked back onto the street. It had started to snow. One by one the streetlights flickered on; a pale shimmer appeared to glow upon the factory walls. Scales of silver spray paint under spray paint, shining with the names of those who’d vandalized this place before they left it. I looked up at the great smokestacks pouring chemicals into the atmosphere and the fat flakes falling down like ash and thought about the world. How all of this is a letter being written on a burning piece of paper. An empty skin, left behind.for Royal

OBJECT BIOGRAPHIES by Brittany Thomas

May 29, 2024

We drove to Dorset to be alone, not to hunt fossils. We drove south to sit in silence, to read books by bayed windows, to feed a tiny wood stove pieces of the year. We let ourselves be washed by the shoreline, our sore city spirits cleansed like frail Victorians suffering hysteria. What more can anyone ask of an English October? Here the Fossil Wardens beg your help: please take what you find. You see, our fossils make their way out of 66 million years of mud and clay to the Jurassic Coast only to fall on the beach and be re-claimed by the tide. Something calls them forward, calls them home to the sea. And here we interrupt them and call it hunting. Once called snakestones, now called souvenirs. I took home a palm-sized coiled ammonite, but not one I picked up on the beach. I bought this later, for myself, from the museum gift shop after failing my short stint as a fossil hunter. You were better; I complained that the sun was in my eyes at every turn. My ammonite is ribbed like a snail and curls deep into herself as though holding her secrets tightly in her core. She’s an ancient sculpture - geologically ancient - pulled out of deep time. And now she lives with me on my bookshelf, poor thing. I almost want to drive back to Dorset and set her free. She still smells like salt and sand, like the hundreds of shoals she swam through in her heyday. She was born in a tiny shell which she outgrew by stages, building her new rooms and sealing off old chambers as she went. How nice, to grow in one direction and never haunt your old life. Or how doomed – to carry it on your back forever. The mightiest ammonite laden and lordly as Zeus himself. Maybe I hoped there would be answers if we bent close to the sand and stones and spent the afternoon searching for petrified molluscs. Maybe we could exchange shame or sadness or loneliness for something as solid as rock. Part of the beach is taken up by the Victorian rubbish dump where you can find broken glass and buttons and bicycle spokes. The ghosts of other lives, just the suggestion of someone’s hedonism. I was good at collecting trash even if I was bad at collecting fossils. The woman in the gift shop was kind. The Fossil Wardens polish their ammonites before sale. The gift shop sign says which speaks to you and how do you want to be, later. Unpolished, erudite, chosen. We take these things home.

TRANSMISSIONS: Another Fucking Writing Podcast

May 28, 2024

Tyler Dempsey is the author of 4 books. He hosts Another Fucking Writing Podcast and lives in Utah with his dog. Another Fucking Writing Podcast can be found here and at Patreon.Rebecca Gransden: How would you describe the podcast to someone who is unfamiliar with what you do?Tyler Dempsey: It’s kind of a literary podcast. Kind of. I don’t know anything about writing. Don’t have the language to talk about craft or know what a Hermit Crabcake or Villanelle is. I just fell in love with books in college. And, when I’d finish a good one, always hunted information about the author. You’d probably think as a result I like biographies. But I don’t. I hate em. Cause they tell you what happened to a person but rarely anything about them. Their life. Personality. Whatnot. I’d find myself wishing we could have coffee and just talk about the ideas their book made me think about and learn what they felt like growing up and shit. So, that’s what I do. RG: Does the podcast have a mission or manifesto? TD: You know, that’s interesting. Not cause I have one. Not long ago, artists would find “their people.” Then make manifestos. It’s a funny word. Militant for what writing is capable of these days. Maybe I do need one? Shit. Okay. Here goes. I want writers to feel less alone. Like their books can come back to life after they thought they were dead. To be a doorjamb against the onslaught of reasons to give up.RG: How long has the podcast been in existence, and how have you seen it grow over that time?TD: The first episode came out January 15, 2023. Ten months ago. Course, there was research leading up. But not much. It’s kind of hard to track, in terms of “growth.” There isn’t the same sharing online as say, when a story comes out and everybody’s quote tweeting and it’s all right on display in front of you. And you watch the numbers climb as an artist gets bigger and bigger. Almost nobody shares podcasts. But they are listening. And I keep having surprises. Like when I reached out to Brian Allen Carr about an interview, and he was like, yeah, I’ve listened to a few episodes. We’d never spoken or interacted before. That was really cool. And recently I learned Scott McClanahan is a fan. Also, apparently, it’s getting discussed in graduate writing programs. Stuff like that. It’s growing through word-of-mouth or something. It’d probably help if I tried having a website or even creating an AFWP twitter profile instead of just posting from my stupid profile. For those curious about monetary gains, I have 12 Patreon supporters (shout out day ones!) who, before Patreon takes their slice, net me collectively $38 per month. Which, almost pays for the books I read to do the show. I think growth is more these experiences I get to have, and hopefully, you as a listener, have too. RG: Where did the idea for the podcast come from?TD: A new writer comes on Twitter/X. Sits in the pocket. Follows the shit outta writers and journals, trying to figure out who they want “to be.” Prodigiously sharing other people’s work in the mags they wish they could be in. Soon, they become those people. And there’s like a drug addict’s mentality, once you start getting pubbed, and other people are sharing your work, etc. Dopamine or not, it’s about as good a “community” feeling as they’ve ever had. Unless they’re a psychopath or independently wealthy and don’t have to work, there’s no WAY they’re going to keep in that game if they start writing books. Simply no time. In the couple years or whatever it takes to complete that novel that’s gonna rip indie lit a new asshole, the algorithm doesn’t remember them. And it’s really, really easy to be like, Why’m I doing this? It’s awesome people who’ve used social media to create community, but I feel as if that is an outlier. That’s where the idea for the podcast came from. I’m just trying something different. Hoping a real community springs from it. RG: How did you decide upon a title for the podcast?TD: Came up with a few and polled Twitter. This sweet baby was the winner.RG: Are there any podcasts that influenced or encouraged you to start the project?TD: I wouldn’t say influenced me to start, but WTF with Marc Maron is definitely an influence. All I’m doing is that, but with writers, not comedians. RG: What episode of the podcast would you recommend to someone who is new to what you do?TD: Maybe the Mike Nagel one? I think people just tapping in might expect more “literariness” to the show. And in that episode I’m pretty sure we don’t mention Mike’s book once. In my head, that conversation was even better without mentioning the book (which is amazing, if you haven’t read DUPLEX wtf are you even doing?) so yeah, that might give an indication what I’m aiming for.RG: If your podcast features guests, how do you go about finding them?TD: If you’re not a fan it makes for lazy interviews. So, that’s rule #1. Twitter’s my go-to for finding them. Seems the less “online” a writer is, the less chance they’re gonna talk to me. If I have to go hunting an author website or reach out to a publisher, I don’t have high hopes. If they have like four different publicist/agent emails as the route to contact them, unless you’re Brad fucking Listi, they aren’t getting back to you. Bout 1-in-3 authors refuse interviews for one reason or another or ghost me. So, it keeps you busy reaching out to people if you’re striving for an episode each week.RG: If you are a writer, has the podcast impacted your writing life? and conversely, has a writerly disposition influenced the podcast? TD: Michael Wheaton and I talked about this when he interviewed me on The Lives of Writers. Conversations stir up ideas, and those show up later in your writing. Or, in my case, monologues. The fact I meticulously prep for each conversation and strive for some semblance of an arc in the conversation as a whole, a kind of story or something, that’s writerly. I do a fair amount of editing to the audio, something else that sets my pod apart. Not only do “uhmms” and those little lip smacks get axed, also words/phrases I find myself cutting when I edit my writing. I’m considering the listener in a way that stems from being a writer. It all influences what ends up in the final cut.RG: Do you listen to podcasts?TD: Moreso now, then ever. I have a job that sees me alone/driving several hours a week.RG: What is the best podcast out there at the moment, the one you are excited for when each new episode drops?TD: May not be on radars, but The Martyrmade Podcast is hands down the best. Start with Episode # 8 on human sacrifice/cannibalism. If you aren’t hooked, you and I aren’t the same. RG: What do you dislike about podcasts?TD: When it’s three or four people and sounds like a bunch of dudes who are all wasting really good hairlines, holding Playstation/Xbox controllers, bro’ing out. Thinking of shows like The Dollop.RG: Who is your dream guest?TD: A.M. Homes, Brian Evenson, William T Vollmann, etc. RG: Is there a podcast that doesn’t exist, but you wish did?TD: I wish there was a SNL/Mystery Science/Drunk History kind of vibe podcast where dead writers, played by live ones, are interviewed and sort of drilled or riffed on.RG: Is there a podcast that exists, but you wish didn’t?TD: It’s the Era of the Podcast. So, no. I think even more should exist. RG: For techheads, which single item of kit do you consider essential for the production of the podcast, and what would you say are the basics needed for those new to podcasting?TD: Big fan of my Focusrite Scarlett Solo Interface. Also, I bought a new laptop with a lot of processing speed before I started. A huge investment. But, kind of cross pollinates to other things. I mean, I wrote my previous three books on a tablet, so now it feels like I’m in that giant world in Mario when I sit down to write. All I’d say to newbies is you can literally do this shit with your smartphone and an hour of YouTube videos, so don’t let the tech side turn you away from giving it a shot. RG: If someone would like to support independent podcasts, what are the best ways to do this?TD: Find the Patreon or Kofi or whatever and sign the fuck up. There’s usually a $5’ish option, which, let’s be honest, you won’t even notice. Even if produced haphazardly, it’s a shit ton of work getting episodes together and put out. If it seems like it’s professionally done, even a little bit, I promise that person is dedicating a huge chunk of their free time toward getting you something you can enjoy by barely lifting a finger. We tip our barista for steaming some damn milk for 30 seconds, I mean, come on.RG: Looking back on the podcast, are there favorite episodes, episodes that stand out to you, or episodes that didn’t go as you would’ve liked?TD: They’re all favorites. Always something memorable/unexpected when you go into an interview having never spoken and without rehearsing questions. Plus, it’s close to a miracle these days getting anyone to sit down at an agreed upon time to talk to you. I can’t even get my friends on the phone.RG: What are your plans for the future?TD: I can barely keep up as is. So, I guess, planning/hoping to sustain this drive and motivation as long as I can.RG: If you liked that, you may also like this. Are there any podcasts on a similar wavelength to your own that you would recommend to a listener who appreciates what you do?TD: The Lives of Writers, Otherppl, Beyond the Zero, WTF with Marc Maron, I’m a Writer, But. Another Fucking Writing Podcast can be found here and at Patreon.

CLARIBEL by Karen Laws

May 27, 2024

The woman I had become accustomed to thinking of as my future daughter-in-law has taken off her white satin shoes but still wears her wedding gown. My son left her at the altar. I don’t know why she’s surprised, why she even went to the church—she keeps saying everything was arranged. I suppose that’s part of it. I’m grateful she has chosen to come directly from the church to the apartment, to me. She paces and cries out in her rage, the dress billowing. The wedding’s off. It’s clear that the rest of the family, the couple’s many friends, the officiator, all the invited guests have gone. He’s gone, she wails. I can’t pretend to share Claribel’s grief. Procumbent on the floor, I continue watching mukbang on the 65-inch TV. The open-plan apartment, with its luxurious furnishings, was supposed to be my gift to the newlyweds. Turkish carpets, new lighting fixtures, sectional sofa. No one has ever fucked on that sofa. Not yet. From the side of the room where romantic dinners will one day be prepared comes the soft whistling of a tea kettle. From the TV, at very low volume even though I love the audio component of mukbang as much if not more than the visual, come the smacking and slurping sounds of someone enjoying her meal. Between bites the pretty girl onscreen describes what she is eating—dumplings—and how they taste. I know what she says thanks to the English subtitles. (I’m keeping the volume down for Claribel’s sake.)She goes on weeping and shouting. I understand her need to vent. Memories of her and my son engaging in public displays of affection compete for my attention with the mukbang. When the mukbang loses, I turn off the TV. I look up at Claribel. In her eyes I see a scintilla of awareness that it’s going to be just her and me now. I’ve won. For months, I’ve been calling my friends by her name. Like when we spent the weekend at Lisa’s beach house. Claribel, I’d say, is there any soy sauce? Claribel, I mean Lisa, I’d correct myself, are you ready for a Boulevardier? All weekend, I kept slipping up like that. You’re obsessed with this woman, said my friends, laughing as they pointed out such mistakes. I couldn’t resist talking about Claribel. Saying things well within the bounds of normalcy, such as: She’s got a good job in hospital administration. She’s plus-sized and body-positive, she loves her body the way it is. She likes me, I told my friends. We’ve gotten close, so close that we have pet names for each other. She calls me Ducky, I confided. She defends me against her parents and other detractors. She even scolded my son one time when he called me a virago to my face. There’s an erotic element to your obsession, my friends warned. I suspected they were right. I may have taken advantage of my son’s fiancée’s affectionate nature. All I know is that I wanted to give Claribel my attention, preferably over a sustained period of time, and that I acted on that desire. My friends would never believe I could do that to my son. My friends—they’ve known me for a long time. They think of me as a loving mother. I, too, once thought of maternal love as unaffected by the passage of time. But as my son grew from infant to child to adult, he needed me less and less. My love shrank accordingly. Imagine a funnel. My love started out big and gradually decreased in size until it became as short and narrow as the human throat. I faced the consequences of my transgression only today, when my son entered the apartment unexpectedly at 9 a.m. It was the morning of his wedding day. His bride-to-be was stretched out on an antique silk rug, under the chandelier. She had come here because she needed to be alone. With me, she can be alone. I know how to give her the mental space she requires, even when we’re close to one another physically. When my son walked in, my head was resting on Claribel’s capacious ass. I was naked, as was she. My son looked at us and we looked back at him. He slammed the door on his way out. Claribel told me not to worry. She seemed to have no doubt the wedding would take place exactly as planned. I said I hoped she was right, and after she left, I meditated on love as a funnel-shaped object. I imagined refilling a small bottle of olive oil from a large can and how a funnel would make the job easier. I used to love my son so lavishly—I was a good mother. I hope I was.Now, except for the softly whistling kettle, it’s quiet. Claribel is no longer sobbing. She has run out of things to express regret about. If I were you, I say, I’d change out of that dress and into my going-away outfit. Claribel shakes her head at me in a disbelieving sort of way, but she goes out of the room and returns wearing a short, sleeveless dress. The tattoos that looked silly on a bride are now an adornment. All in all, Claribel looks better. Calmer. The tea kettle is still whistling. I say, Do you want chamomile or mint?

THE STUYVESANT BEE #223 by Mike Topp

May 26, 2024

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LOSS, GRIEF, SADNESS, MAGIC: An Interview with Bradley Sides

May 22, 2024

In Crocodile Tears Don’t Cause the Flood (Montag Press, 2024), Bradley Sides folds heavy themes like grief and loss into lighter elements like magic, resulting in an experimental short-story collection that feels relatable even at its most uncanny. Set very firmly in the South, each of Sides’ stories hums with an inventive playfulness that always complements, never overwhelms, the narrative. Sides was kind enough to answer a few of my questions about his craft, his collection, and more. Elizabeth Crowder: What was your inspiration for Crocodile Tears Didn’t Cause the Flood?Bradley Sides: The book had kind of a weird, unplanned beginning. My first collection, Those Fantastic Lives, released in October 2021, and right when it dropped, a new story I’d been working on titled “Do You Remember?” came out at Ghost Parachute. I liked what the story did, with a shark boy trying to process loss, loneliness, and grief. It was a cathartic kind of work. The world was falling apart, and it seemed like there was a kind of collective experience of these particular experiences and feelings that I could explore further. With the publication of “Do You Remember?,” I knew I’d started my new full cycle, without a break at all. And that cycle had a focus. So I wrote and wrote and wrote. The collection was ready in less than two years.EC: Grief, loss, and longing seem to be major themes at play here. And yet, there’s almost a playfulness to the way you imbue these stories with magic realism; a playfulness that extends to the experimental forms you use to tell said stories. For example, “Claire & Hank” tackles subjects like paternal neglect and orphanhood but also there’s a Pteranodon named Claire who sleeps indoors and goes for walks on a leash. Or “Nancy R. Melson’s State ELA Exam, Section 1: The Dead-Dead Monster” which is essentially a horror story in the form of a completed and graded test. This juxtaposition of heavier topics mixed with lighter elements creates a welcome dissonance that is as comforting as it is discomfiting. Was this an intentional dichotomy? BS: I’m so glad you picked up on the playfulness! It was intentional. I feel like it had to be there. I mean, these themes you mentioned are heavy, and reading without some fun honestly probably wouldn’t be all that enjoyable. I found that the experimental form and odd situational happenings were a way to include some playfulness—some lightness. Both had to be there for me, as the creator, and also for future readers. We’ve all got to escape darkness somehow…EC: How did you choose which stories to include? BS: I treat my collections the same way I imagine a musician puts together a record. It’s a long, meticulous process. Lots of let me try this one. No, now let me switch to this story instead. Most are from a two-year period because I was writing about the same connectors so closely. Outside of this new set, I have lots of stories, and I went through my favorites. If a story feels out of place, even if I love it, I cut it from the manuscript. One example is that I had “Remembrance Day” in my first book for the longest time, but I wound up removing it near the last editing cycle because it just didn’t fit thematically as tightly as I wanted it to. It was a hard decision because I love this story. I actually read it at my first public reading when Crocodile Tears Didn’t Cause the Flood launched. But I’m so glad I cut it from Those Fantastic Lives because it’s absolutely perfectly placed in this new book. I also trust my gut. Hopefully that pays off. EC: If the tone of most of the other stories in this collection is Helvetica, “Dying at Allium Farm” is Comic Sans. There is a shift from sober to slapstick in this piece featuring a narrator who is a typical angsty teenager if that typical angsty teenager were also a vampire forced to work on their family’s garlic farm. Why do you think “Dying at Allium Farm” is such a good fit for the collection? BS: Haha! Perfect comparison there. So, I always had this story as a must in the book, and I never doubted the inclusion. It’s different, yeah, but it’s also fully engaged in the central themes of the book. I like to have one WILD story in my books—one that has been previously unpublished. It has to fit thematically, like I said of course, but I just love to hide a story inside that takes the expectation of what’s about to unfold and totally flips it. “Dying at Allium Farm,” while very much about grief and loss, makes me laugh, and I hope other readers find it to be a good, fun surprise, too. EC: I’m curious about your process for deciding how to structure this collection. How do you decide which pieces go in what order? BS: When I was getting my MFA, one of my writing mentors pointed out the space in which I end my stories. Many were either in the sky or at the edge of water. He suggested I give space between these stories with similar landings. I’d never thought about this kind of thing before, but I do now. I also think about tone and length. My ordering takes a long time, and it’s an exercise in balance. EC: “Nancy R. Melson’s State ELA Exam, Section 1: The Dead-Dead Monster” seems like it would be technically hard to create. You had to design a believable ELA exam and still stick the horror-story landing. I’ve never had a pie chart make me uneasy until now, so I’d say you did an excellent job. What was your thought process writing this story? Did you find it challenging?BS: Thank you! You know, Nancy’s story was one of the easiest ones to write. The draft came together without much trouble at all, and I just kind of went with my instincts. I wish I could’ve made it longer due to the amount of time I spent on the technical detailing, but it feels right with its length. I used to teach high school. For almost a decade, I dealt with constant state tests. Like many teachers, I struggled with the importance placed on them. I think I essentially personified my feelings of state test by creating the Dead-Dead Monster and the surrounding story. The grief! The grief!EC: Did you believe in monsters as a kid? How about now?BS: 100 percent to both! As a young person, I experienced sleep paralysis. That’s some scary stuff. For a while, there was a monster just out of my view, and I could hear it breathing. Or so I thought… I was also a kid with a big imagination. The dark offered possibilities for all kinds of creatures, and when you grow up on a farm like I did, there’s even more space in which to get carried away. To imagine possibilities. Now, well, I’m certain monsters exist. They might not be what I thought monsters were as a kid, but they are just as scary. Scarier even. Human monsters can be so much scarier than anything I could probably ever imagine. EC: What’s your favorite piece in the collection and why?BS: Gosh, it’s tough to say. If I’m honest, it depends on my mood, but right now I’m really into “The Guide to King George.” I like to read it aloud because I just love the voice of it. Ritchie is someone I still think about, and I rarely do that with characters in my work. Usually, once the stories are done, they are done. I also feel really proud of the story when I look at it from a technical perspective. The form is so cool. It had to be in a manual, I think, to work like it does. It’s also a very Bradley Sides kind of story. Loss, grief, sadness, magic, and a dash of hope, all put together in the South. For writers, it’s easy for us to be critical of our work. I’m trying to celebrate with this story—and this collection. I did something difficult, and I’m proud of the final product.