At two in the afternoon, she hears a bang like a gunshot. Eugenia peeks out her bedroom window. What’s visible to her: the Tangs’ barbecue pit, their garden shed, their kidney-shaped pool. She counts dead oval leaves trapped on the water.
Must be the Tang brothers lighting firecrackers behind the shed again, she thinks. They’re always plotting to give the birds a heart attack. Forefingers stuffed in her ears, she wonders why the brothers aren’t studying, and from where do they get their sadistic toys? But if the Gohs across the street managed to smuggle in flamingos to chain to a tree in their backyard, what’s a few firecrackers? What about the Xias down the road who somehow had the Deputy Prime Minister over for durians and macarons? Mummy has warned that she must never mention this to anyone.
Eugenia exits her room.
By right she isn’t supposed to come out until she’s confident of acing tomorrow’s English test, but how to concentrate when tonight Daddy’s appearing on live TV, all fake-tanned and dressed as Aladdin, kissing a poisonous cobra?
Never mind grammar; she’s going to pray.
She hops down the marble staircase. She strides over to the kitchen. She seeks out strawberries and blueberries and Hershey’s chocolate bars from the fridge. She loads up her plate and sock-slides into the living room where she taps Spotify’s icon on the iPad mounted on the wall.
The air-con hums alive and the lights dim. John Mayer, her one and only, starts plucking at his electric guitar, singing Slow Dancing in a Burning Room. Eugenia sighs. She plops on the sofa and closes her eyes and clenches her fists as if she’s in church.
Please don’t let anything bad happen to Daddy.
Eugenia takes in a deep breath.
Daddy’s a really beautiful human being. No thank you, is what Daddy always says when Mummy offers him a cigarette.
Eugenia knows she is lucky; she can’t recall the last time Daddy raised his voice at home. What’s more, Daddy invites grandma over for dinner on Sundays and prepares her favourite PuEr tea. So sweet! Eugenia pictures everyone sitting in her own living room in the future. Sitting crossed-legged on the carpet will be Johnny M, who should be an old man by then, and she’ll pay him handsomely to teach her music so she can sing for her parents. Because once Eugenia was rushing homework upstairs when she heard music downstairs: it was Daddy with grandpa’s old harmonica on his lips. Daddy was blowing softly, filling the house with sweet but melancholic tunes, making Grandma weep; he’d played it in a way you either caught all of its tenderness or none at all. It was more or less the most beautiful thing she’s ever witnessed.
Eugenia opens her eyes again, smiling.
She extracts a yellowed copy of Frankenstein from under Daddy’s Jodi Picoults and Danielle Steeles stacked on the round, heavy coffee-table.
She bites into a fat strawberry and a seed gets stuck between her teeth. She dislodges the seed with her tongue and spits it onto the carpet, which prompts the Roomba to dart out from under the sofa—suck-suck-suck. She squeezes the bookmark. She narrows her eyes. Soon the plot thickens, and things turn creepy; the icky-yucky monster with a bolt through his head feels hated and lonely; it didn’t ask to be born!
Eugenia looks away from the page.
Silent in the driveway is Daddy’s three-month-old Ford Focus. Has rehearsal ended early? she thinks. He’s back to say good-bye-I-love-you?
She touches wood and shuts her eyes again.
But still, she sees so vividly Daddy purpled with snake poison and gasping for air, and the teeth-gritting fanfare refuses to stop. Why can’t he just quit? she thinks. Year after year. Why the need for fear-factor? It used to be just singing and dancing. She remembers Mr. Tang next door, who runs the charity show, talking about star power on the TV news. First, they immersed Daddy in an ice-filled container, which took months and months of endurance training. Donations, the newspaper said, struck a new record. Talking about five point eight million Singapore dollars, that sort of record. All her schoolmates started calling Daddy a hero, and for a while, Eugenia got some precious attention.
But she knows that her Daddy has been taking glucosamine pills for his knees, and that last year he had a bypass done, and that same year they made him balance atop a five-storey pole for two hours! If only outsiders realise how tough it gets at home; Daddy always loses his sense of humour during training season. She recalls him sitting through four SpongeBob SquarePants episodes with her, and he didn’t even laugh once! All he did was nod. He nodded when Mummy said, “I love you?” Eugenia was spying on them from behind the fridge. She saw Daddy spill a little whiskey into his coffee.
Is nodding good or bad? she asks herself. Daddy said that nodding too much could sometimes annoy people, even if your intention is to preserve the peace. What was Daddy hinting at? Was it wrong of him to have nodded when Mummy woke up one fine August morning those many years ago and said she wanted a child but didn’t want to go through pregnancy and labour? That was how Eugenia came into the picture. Also, is it even humanly possible not to find SpongeBob funny? she thinks. It’s like sneezing with your eyes open!
Oh no.
Is Daddy back early because he’s found out that she’s been using his credit card to shop online? But only because it’s so boring at home. So quiet always. Jumping, jumping to see if she could touch the ceiling fan with her fingertips. Yesterday afternoon was spent like this, so lacking in definition, and she wonders why Mummy has to slave at KPMG, always coming home late, like twelve-midnight late, even when Daddy’s already famous and makes quite a bit. Nobody has time to take her to places of interest her classmates often advertise in class: Mandai Zoo, Jurong Bird Park, Sentosa Island, Botanic Gardens, Haw Par Villa. Eugenia wants to watch Disney on Ice. She wants to catch Lion King Live. But suppose word from the grapevine’s true that Daddy might earn a bit-part role in a new Hollywood film—which would make him the first local actor ever—then it’ll be a year of filming in the USA. That means he won’t have time to take her anywhere. And it all depends on whether he wins Best Male Actor at Star Awards this year. Daddy totally deserves the award, Eugenia thinks. Even the pundits agree with her. Because he recently played this anorexic with kidney failure battling demons, and it seemed so real! He’d worked so hard for it; he ate so little that his hair started falling out! So much so that Uncle Jerry—Daddy’s buddy and long-time agent—started booking hair transplant sessions for Daddy.
Eugenia wants to laugh: maybe Uncle Jerry doesn’t understand what Daddy was trying to do, but it’s called method acting. Like what Dustin Hoffman did for Rain Man. Eugenia Googled it. Gotta buck up, Uncle Jerry! She can’t always be the one coming up with fresh ideas. Like suggesting Mummy and herself go on a keto diet at home so Daddy won’t feel so alone. She doesn’t get why Daddy would say no, no, no—no keto diet, zone diet, vegan diet, and whatnot. He said it would give him more sleepless nights to think about his Queen and Princess not eating as they please. “Stop this nonsense,” he said. “Stop it right now. Damn it!” Look at the shadows under his eyes, darker than coffee stains, heavier than storm clouds. “Listen,” he said, “Listen. Something’s seriously wrong with this fucking industry. Let’s pack up and go. We’ll start anew. Yes?”
“No,” said Mummy.
“Is Uncle Jerry coming with us?” asked Eugenia.
The whole multi-purpose hall is wrapped in the smell of sweat. Out of all four corners boom Eye of the Tiger on repeat. Jerry is slouched, snacking on an Old Chang Kee curry puff and watching the Honourable Tang go up and down the hall, saying to one actor and then another, I admire you. I admire you and the goodness of your heart—Jerry imagines that is what Tang would say.
Jerry turns his gaze to Maximilian Hao, his buddy, who is whispering to an actor nursing rope burns, and both actors shoot glances at Tang, who is now saluting the portrait of the President and First Lady hanging high up on the wall. Tang then wiggles his finger at his PA, and the young, buck-toothed man hurries over, dropping his notebook, picking it up, and then dropping it again.
“Cancel golf and Jujitsu,” Tang’s voice echoes through the hall, over the music. “And my lunchtime auction. Get Fahmi to bring the car outside.”
Jerry studies his watch and mumbles to himself, Nap time. He stares at the PA’s lips as they move, and he thinks the PA might drop the notebook again.
“You young people,” Tang suddenly shouts, and the music stops. Everyone turns to stare. “Can’t you take one simple instruction without asking a thousand and one questions? You’re like my boys at home. When I tell them to stop posting pictures of expensive shit on Facebook, they have to first ask me why. Is it so difficult? To just listen? When I shot your grandmother to the top of my waiting list, did I ask any questions? Did I? Maybe now I should ask a few: Is she in possession of some regenerative superpower I should know about? Has she miraculously grown a new kidney? She no longer needs dialysis? If so, you must tell me. I have thousands waiting to replace her.”
Jerry gets onto his feet—but someone fear-farted—and Jerry sits down again. He scans the hall, looking for the culprit, who is none other than a pretty actress about to get shot in the back with blow darts.
The woman sinks to her knees and covers her face with her hands. Her PA hurries over with a cardigan and drapes it over her shaking shoulders.
“Mr. Tang,” the actress says. “Can you assign me to do something else? Please? I can talk. I’m good with the mic. Let me host the show. How much are you paying that Taiwan guy? I’ll pay you back exactly, and then I’ll host for free.”
“You’re telling me this at final rehearsal?” Tang says.
“Or how about one thousand jumping jacks? It’s funny. I swear. I read somewhere that humour can spur people to donate. No, actually I’ve seen it. In—in the UK. Red Nose Day? Two thousand jumping jacks?”
“We’ve gone through this, Jeen.”
“Please.”
“You and blow darts have to go together.”
“But why?”
Stop asking questions, Jerry thinks of shouting across the hall. He knows that Tang is about to take out her contract and tell the actress to suck a thumb. And she would have to suck her thumb. Because Tang would ask her to. Jerry shakes his head. Why can’t these people see that they’re the ones being done a favour? The more sickening the stunt, the higher their popularity rating shoots. By-product? Lucrative endorsement deals. It’s a no-brainer. There are young newbies willing to jerk Tang off under a table just to do pull-ups over a tank of swimming piranhas on Tang’s charity show. Next thing they know, they’re on prime-time serial drama. The newbies win Best Newcomer, and they come back again for more stunts and win Best Supporting Actor. Maxi had understood this early in his career. And these days Maxi appearing on screen alone guarantees a thousand calls, the show’s statistician had informed Tang, who then clued Jerry in. The moment Maxi’s lips touch the cobra’s head? Double the figure? Triple? Who knows?
Jerry wonders if the actors have heard: Tang is taking a hiatus. Someone else will have to come up with the bombastic innovations now. A claw-machine? Jerry can feel tears in his eyes: he was the one who tipped off Tang that an audit was coming, that The Straits Times smells something. Sure enough, Tang’s CCTVs captured journalist and cameramen snooping outside his home, where his wife and children eat and sleep. And Tang had to pay Jerry and Fahmi extra to muscle those pests away and drive all six cars out to some warehouse to hide them.
Hello, California.
Hello, brand-new start.
Jerry was at Tang’s family dinner when Tang announced to his boys the grand plan.
“Fuck O Level,” Tang said. “You’re taking SATs. And fuck your friends. You’re making new American friends. Pick up an accent, go ahead. Whatever. Play nice, learn to play baseball. Forget the ninth of August. We’re going to celebrate Fourth of July. As a family.”
Tang then flashed a pair of tickets to the Super Bowl and ComicCon, just in case. He promised the boys Mustangs when they hit sixteen. But the boys started cursing at their father. And Tang just sat there with an abalone in his mouth, unable to swallow, and Jerry excused himself to the bathroom where he sat on the toilet and listened to the shouting and screaming and shattering of plates.
Jerry spots Maximilian leaving his station and striding over to Tang.
“Maximilian Hao!” Tang screams, “If you leave your station without permission one more time…”
Shit. Shit. Shit.
Jerry puts away the curry puff and touches his hair. Maxi is going kamikaze! Jerry tries waving at his buddy but gets no response.
Maximilian removes Jeen’s cardigan.
“This is the reason,” Maximilian says, pointing to the scar on her back which looks like a decayed leaf. “Top Dog here wants the audience to think you got it from stunt training.”
“I got this at a playground when I was twelve.”
Maximilian smacks his forehead.
“All right, all right. Enough.” Tang pulls Maximilian aside. “Is this about the cobra? I gave you a choice, remember? Between that and—and—what’s the other thing?”
“Tongue and spinning fan,” Jerry whispers.
“Tongue and spinning fan,” Maximilian says.
“You trying to tell me something, Max? At least you had a choice. You think I didn’t see you kick the water cooler just now? Really think I didn’t see?”
“Was just trying to get it to work, Boss.”
“Oh, is it? Not trying to cause any trouble at all?”
“Why would I? We’re neighbours. Practically friends. Are we not?”
Now Jerry can hardly breathe. He looks out and sees Fahmi parking the car downstairs, next to the bonsai trees. So close, he thinks and hangs his head. He mumbles, Bastard. What good is it to burn bridges now? What about Hollywood? Jerry had fought hard for tongue-and-fan. And he can’t understand why Maxi wants to stick with the snake. Why don’t clients ever fucking listen? Is Maxi able to predict what the snake might do at the critical moment? What if the snake suddenly decides it’s sick of Maxi’s face, bites him on the lips? Lots of capillaries there. Sensory nerves. That’s why kisses feel so good on the lips. Maxi must have forgotten how it feels. Maybe Maxi should stop trying to play hero and pay more attention at home and shower his wife with honeyed words every once in a while. Maybe Maxi needs marriage counselling. Or are celebrities too high and mighty for it? Sometimes it’s easier not to take yourself too seriously, Jerry thinks. There’s no need to kick up a fuss every time Sammi compares him to a bowl of gloopy porridge in front of the therapist—all you need to do is nod. Look at how perfect things are now: he gets to kiss Sammi in the morning and actually enjoy it.
He knows that Sammi can’t wait to relocate to Malibu; she’s been yapping nonstop about waking up in a house by the sea. In the not-too-distant past, Jerry would have brought up Africa and its starving children, and, waving a hand, told her to get some perspective. But now, having seen her so brave, not collapsing like a rag doll when she found out she had breast cancer four days after her father’s funeral, Jerry tells himself he would lie on a bed of broken glass for her. Or—or samurai swords. He’d pull himself up twenty-three storeys using rope and pulley. But he can’t. He’s only an agent. Who, contrary to popular belief, despite his glamorous job title, couldn’t even afford his wife’s mastectomy, and so he had to work part-time jobs, and on top of that, borrow money from Tang. And now Tang expects to be kept in the loop about what Maxi has up his sleeves.
“Let him be,” Jerry told Maximilian. “Don’t poke the hornet’s nest.” Because if Tang looks over now and gives Jerry the signal, well, that’s it.
Over. Finito. Habis.
“I got your contract Xeroxed upstairs,” Tang says. “And you know what it spells? Let me clue you in. Word starts with O, ends with an N. Or you need me to get Jerry to bring it down here?”
“Why don’t we both go to your office?” Maximilian says. “I’ll get Jerry to buy us some bubble tea. We’ll sit down, and we’ll talk.”
“You want to talk to me?”
“Problem?”
“You have any idea what kind of operation I run? You know how many people I save each year?”
“Tang,” says Maximilian. “Get this straight. This—what I’m doing here—is a courtesy call.”
Jerry watches both the men staring at him. He receives the signal like an arrow to the heart, and he is scratching at his cheek, craving for a cigarette. Sweet, sweet cigarettes. He bites his knuckles and thinks hard about Sammi. What kind of asshole is he if he still can’t properly quit after what happened to his wife? Just one puff? Surely she’ll understand the amount of stress he’s under right at this very moment; the weight of the world was resting on his shoulders. He’d agreed, shook on it, to do what Tang wanted to be done when Tang wanted it to be done; he knows what The Signal means. This man you do not burn, Jerry thinks. This is a man who has put half the nation’s talents on annual suicide missions and received awards for it. Also, what Tang wanted to be done could be done to Sammi too. Tang has other lap dogs—that PA who walks around with two left feet?
Jerry chucks the curry puff and dusts his hands and puts on his shoes. He does nothing for a moment or two, except watch Tang and Maximilian march out the hall, heading upstairs to Tang’s office. Then he rummages inside Maximilian’s backpack. He pulls out the face towel, the change of clothes, the 100-Plus, the Ziploc containing plasters and lip balm and hypertension pills and inhaler, dumping them all on the floor.
He finds Maximilian’s keys, the whole gamut: locker, car, gate, letterbox.
Clouds block the sun. The street is empty and largely in shadow. The dogs neglect to bark as he drives past the gates. Are those flamingos? he thinks. What the hell?
He hears thunder rumbling in the sky.
Good.
He clears his throat before turning the key.
He pushes the door gently.
Eugenia is on the sofa with a book on her lap. She stares up at him with big Tweety Bird eyes. Chocolate smudge on her chin.
“Hullo, Uncle Jerry. Where’s Daddy?”
Jerry bends down to remove his shoes, but thinks, why the hell bother? What if he needs a quick escape? His hands are shaking. How quickly can he fix his laces? And if his laces aren’t done properly, how soon will he trip and crash and black the hell out? And when he wakes up, he’ll wake up in the hospital, and one of his wrists will be cuffed to the bed frame, Sammi will be staring at him, her lips trembling, waiting for answers, waiting for him to explain why as of now two police officers are standing in the room. Which can only happen if they caught him lifeless like a scarecrow and were able to remove the balaclava he was wearing—
Oh, fuck me.
“Your daddy’s still getting ready,” he looks up and says. “Tonight’s the big night, remember?”
“Is he going to be okay?”
“Yes of course,” Jerry lies. “Your daddy trained really, really hard.”
Why are her eyes closed, fists clenched? Oh my god. Is she praying?
“Oh, Eugenia,” he whispers, and adds an affectionate shake of his head.
He leaves her alone and hastens to comb the bedrooms, toilets. To play it safe, he checks under the beds, spaces that have been converted to graves for squeaky toys orphaned by the girl.
“Anybody else home?” he shouts from the pinkest bedroom in the house.
He goes downstairs. “Where’s your mummy?”
Eyes pinched, Eugenia shrugs.
“Seriously, tell me. Where is she?”
“I don’t know.”
“You need to think harder, Eugenia. Did she leave a note on the fridge or WhatsApp you? Can you find out for me?”
The girl opens her eyes. “I’m not allowed to call her unless it is really an emergency.”
“This is urgent.”
“But I’ll get a scolding,” Eugenia mewls. “Mummy already said she’s busy. Busy, busy, busy. Busy with some big audit. I don’t even know what that means.”
Jerry rests his burlap sack on the coffee table and sits next to the girl. He pats her head. “Nom, nom, nom. Looks like someone’s having a private party.”
Eugenia blushes and offers him strawberries.
“Is that John Mayer?” he asks.
“Yup.”
“He’s got some mad skills.”
“I know, right?”
“Did your daddy ever tell you that he and I met Mr. Mayer before? If I recall correctly, it was about two years ago. When he came to perform in Singapore. And your daddy got Mr. Mayer to autograph his guitar.”
Eugenia grabs her skirt. “Why he never tell me?”
Yes, why not?
Because it was the right thing to do.
Because Maxi always does the right thing, doesn’t he? Choosing to auction the guitar for charity instead of giving it to his daughter. Jerry stares at the poor girl biting her lip. Why the hell is he telling her this? What kind of monster does that? As if the physical harm he’s about to do isn’t enough, he has to amp it up with psychological ones. Now the poor lamb’s going to think her daddy doesn’t love her. Now—
Jerry’s phone beeps.
A message from Mr. Tang: Chop-chop.
Jerry, with a heavy heart, opens the burlap sack.
“What’s that?” Eugenia asks.
“Halloween costumes for us.”
“Halloween is still like months away.”
“Yes, yes. But you know how your daddy prepared for months and months for his acting the last time?”
“Until it was perfect.”
“Exactly.”
“So what we gonna be?”
“We’re gonna try hostage.”
“Okay, I’ll be Kidnapper. You be Hostage.”
“Unfortunately, I can’t be Hostage.” Jerry shows the girl his fists. “Look, they are big like rocks. The cable ties I brought are too small. Come, gimme your hand. Let me see if it fits.” And he fastens the cable around her wrists. “Perfect. Now your legs, please.”
Eugenia tips to the side like an egg. She giggles.
“Okay, now open your mouth.”
She opens her mouth.
“Bigger.”
She widens it until her jaws hurt.
“Some more.”
“Uh-uh.”
A bundle of firecrackers goes in.
Jerry pops his Zippo and strikes the wheel. He floats the flame as close as he can to the fuse without igniting it. “Say cheese!”
“Heeee.”
Jerry snaps a picture and sends it over to Tang.
Meanwhile, John Mayer is allowed to sing another song or two. But when the music stops, Jerry doesn’t refresh the playlist. He doesn’t like that Mayer fella, actually, who’s so smug. All Jerry wanted was a photograph together, but this snob would rather die than give. And Maxi gets to be on a first-name basis with him? Jerry squeezes an orange cushion shaped like a spaceship and rises from the sofa. Why is life so unfair?
“Don’t move, okay?” he tells Eugenia and helps himself to chilled cucumber water in the kitchen. He drinks in silence, reads the to-buy list pinned to the fridge. Steak, cheese, fish, ice-cream, scallop, chocolate, nougat, macadamia nut, cherry tomato, olive, strawberry. “Scallops,” he says to himself. He washes his own cup, for old times’ sake, while staring at the list—
Thud!
He hurries back to the living room.
Eugenia is on the carpet, wriggling, cheek flat on the carpet.
He flips her and holds her by the shoulders. “Are you okay?” he asks and heaves her back onto the sofa and watches her tiny chest rise and fall. Her calves and feet are cold. “You want a blanket?”
He tries to sound cheerful and easy-going. But the girl shakes her head, sniffling and clearing her throat. She must be so confused that her brain hurts, he thinks. The pain in her jaws must be insane.
She’s tearing up!
Jerry can’t quite make out what she’s trying to say to him. She’s making sick-puppy sounds! He considers turning the music back on. He looks for the time and tries to shut out the whimpering noise by focusing on the clock’s hard ticking.
At six sharp Jerry snaps the TV on.
The show’s fanfare gives a warm welcome, promising a feast. Everyone, please, do not try this at home. Camera pans over to the live audience, zooms in on a B-lister walking across beams placed sixty-six storeys high. There is a burst of applause, and the donation hotline blinks on the screen. Meanwhile, another actor readies himself over a container swarmed with honeybees. A couple video montages come up: stricken-faced patients, contorted with worry. What will their victory be? A couple more reminders to dial and dial and dial. Then blow darts are driven into Jeen’s bare back as she shivers, her toes curling. Paramedics are on stand-by. Donations pour in. Jerry bites his lips. Another household name chains herself in a glass tank that is slowly filling with water while her sweaty colleagues jump through fire hoops and scale a scaffolded structure to retrieve the keys before she runs out of air. But still, the amount hasn’t quite reached Tang’s target. Climb motherchook climb. A commercial break. And finally, Maxi comes on stage. His face paler than a cauliflower. The numbers spring up a little, but then stagnate.
Jerry strikes the wheel, and the flame comes on.
The girl’s eyes are red and goggling. By now she knows they’re not actually goofing around. She has intuited what to look out for on screen.
Come on, brother.
Maxi kneels on stage.
The cobra is taken out from its basket.
Come on, brother.
Maxi crawls towards the cobra. They are now only a couple of inches apart, facing each other like hunter and prey.
Come on, brother. Hollywood is waiting.
* * *
Maximilian’s hair is wet with rain. He is exhausted but still makes his way to pick his daughter up from school. He smiles to himself, thinking of Eugenia at the breakfast table this morning.
She’d asked him, somewhat nervously, “Daddy, what is an intransitive verb?”
And he’d said to her, “Princess, it’s okay if you don’t pass this time. No one will blame you.”
Eugenia had looked at him funny and said, “But an exam is an exam.”
He sees Eugenia coming out now, dragging her feet, and she confesses to him right away that she couldn’t answer several open-ended questions in her English paper.
“I think I’m going to fail,” she sighs and starts for home.
Maximilian follows his daughter but struggles to keep up. He struggles to understand why she’s upset over this, but not a word at all regarding yesterday’s assault. He stays two steps behind and thinks of how his daughter has yet to see lions and orangutans at Mandai Zoo, and how her friends must have teased her about this. And yet she has never complained.
His daughter is tough, he suddenly realises, and perhaps more so than he is. This makes him so, so happy.
Eugenia stops and turns around. “Don’t tell Mummy?”
Maximilian smiles and nods. He sees a guard stationed outside the school waving at him, giving him the thumbs-up, and it takes him a while to understand what it’s for. Maximilian stands motionless for a few minutes, breathing deeply through his nostrils. He rubs the raindrops off his cheeks. He looks up and sees a plane and his eyes trail it until they begin to ache. He takes out his phone, checks it, and puts it back in his pocket. Then he quickens his pace and catches up with Eugenia.
I’m in class reading Hamlet and contemplating suicide on a cliffside. Reciting poetic verses about family curses and hiding behind a curtain with a knife. My phone buzzes, and I lean forward to read something out of a Shakespearean tragedy. She killed someone. The words glow like the flame of a lit match and I spring from my desk chair, repelled by their heat. Faces swivel toward me, judgement radiating from their eyes. I’m an injured animal at the center of a swarm about to be mauled by my own pack. My heartbeat radiates in my ears: glove to a punching bag or knife to a chest. I ask, “Can I be excused?” But don’t wait for an answer. I grab my cell phone and stumble out the door. Knuckles white to match my ghostly face, I can’t help but imagine a skull in my palm instead.
I knew her.
In the privacy of a public bathroom, I perch with knees to my chest, balancing like an ape on the branch of a porcelain tree as I read. Police arrived at her room, responding to concerned calls about violent-sounding screams. She opened the door, bloodied hands shaking and outstretched in surrender. Behind her, a scene of crimson and rouge, organ and flesh. “I killed him,” she said. “Arrest me.”
Memories flood the folds of my brain. Every time I told her I loved her. How she tucked my hair behind my ear. Every time she mentioned church or raised her voice. Moments I should have known or couldn’t have known all circle me like vultures. Their screeching pierces like a blade. I can almost see her standing over me, electric with adrenaline pumping through her veins and a dagger clasped between her hands. Are my ears ringing or is that another text? I close my eyes and ask Shakespeare what comes next.
What film, or films, made the first deep impression on you?
My aunt and uncle on Long Island, for whatever reason, had a big-box VHS copy of I Spit on Your Grave in their collection, nestled somewhere between Stripes and Mr. Mom. I never asked about it, or even watched it, but it always kind of confused me. I thought it was a porno or something. I finally ended up watching I Spit on Your Grave as a teenager, which made me thankful that I didn’t watch it as a child, though I did accidentally catch A Clockwork Orange on Cinemax at a very young age and it completely freaked me the hell out.
Very often film is one of the ways we first come into contact with a world outside that of our direct experience. Which films introduced you to areas of life away from the familiar circumstances you grew up in?
The coming-of-age films of John Hughes showed me that rich people have problems also, I guess. And it took me years to realize it, but Revenge of the Nerds taught me that nerds too can be real shitty, problematic people.
What films first felt transgressive to you? Do you remember being secretive about any films you watched growing up?
As a child I became obsessed with this Swedish film called My Life as a Dog that I’d see on HBO. It’s about a poor, lonely kid whose mom gets put in a looney bin. Then his dog is placed in a kennel. He gets abused by relatives and teachers. He learns to read by reciting lingerie catalogs to some creepy old man. Then he befriends this girl who is kind of a tomboy and they box for fun and they beat the crap out of each other. Then there’s a scene where he takes a bath with the tomboy and it all seemed very sexual and scandalous to me. It felt very much like watching porn, this movie. It made me feel icky and sad and enthralled and I’d only watch it if nobody was home.
Are there any films that define your formative years?
The mid-1980s horror film The Gate showed me, at a very young age, that if you throw a dead dog (your untreated trauma and neurosis) into a demonic hellhole in your backyard (the void that exists within yourself) that bad shit will happen.
Can you talk about the influence film has had on your writing?
Plays, specifically movies based off of plays, probably influenced my writing quite a bit. Like Mike Nichols’s Who’s Afraid of Virginia Woolf?, or stuff like Comeback, Little Sheba. Splendor in the Grass. Tennessee Williams adaptations. I related to dialogue-heavy dramas about broken people. Experiencing Douglas Sirk films like Imitation of Life and Written on the Wind will really allow you to take your writing out of its comfort zone and just go bonkers with it.
Do you use film as a prompt or direct motivation for your writing?
I try going into each writing project with the same energy as an Ernest P. Worrell film, especially Ernest Scared Stupid.
What directors, film movements, or particular actors have been an influence?
I dig all the New Hollywood films of the 1970s. Hal Ashby, John Cassavetes, Peter Bogdanovich, etc. etc. That’s the best stuff, in a lot of ways. Great character stuff. Lots of hidden gems, too. Like Searching for Mr. Goodbar and Joe. Robert Altman’s Nashville is pretty much Brothers Karamazov, but better.
Have you ever made a film? If so, has the process of doing that had an influence on your writing?
I’ve acted in little short films that friends and I have made, but nothing too serious. I would be down to do something more substantial one day. Filmmaking is a lot of hard work, even doing just nonsense stuff.
Are there films you associate with a particular time in your life, or a specific writing project?
Ghostbusters will always remind me of childhood, especially because my mom sewed me a Ghostbusters jumpsuit for Halloween one year.
My buddy and I, as teenagers, snuck into a screening of Boogie Nights, but it was at the end where the drug deal goes bad and then Mark Wahlberg shows off his prosthetic penis. We obviously stayed for the next showing.
Donnie Darko was kind of the movie of my twenties. I first saw it while my band was on tour and we were crashing on someone’s floor in Chicago. I didn’t think it was very good at first, but everyone I spoke to loved it. It took several viewings with different people at different periods of my twenties to really appreciate it. It’s now a movie I revisit often.
My thirties were mostly spent in a majorly depressive stupor, though I do remember being very charmed by Frances Ha for quite some time.
Note: How any of this random bs relates to specific writing projects, well, I have no clue.
Thinking about the places you’ve lived, are there any environments that are cinematic? Have you lived anywhere that has been regularly depicted onscreen? If so, has this had an influence on your perception of the place, or how you’ve depicted it in any of your writings?
I grew up in a trailer park in south Florida, so maybe Gummo? I don’t think I put too much “place” in my writing, at least not intentionally. I guess I’m more into characters and situations than surroundings, I don’t know. There’s been a lot of films and TV shows made in Miami. The Larry Clark movie Bully was made in the neighborhood where I grew up. (The Florida Project also captures that empty, Florida outlet mall spirit pretty well.) I live in Gainesville, Florida, now, which is where that Paul Giamatti movie The Hawk is Dying (based off of a Harry Crews book) was filmed. That was 15 years ago, mind you, so the city has changed quite a bit since then. That’s one great thing about film—it captures a certain time and place to revisit, which is comforting.
Are there films you regularly return to, and do you know why?
I mostly watch films I’ve already seen several times and I do that more than checking out newer releases, which is probably a bad habit. I think it means I have anxiety and that I’m mostly depressed. I especially enjoy revisiting “light and crunchy” stuff. For example, I recently watched 10 Things I Hate About You again, and let me tell you, it still slaps.
Do you have any lines of film dialogue you regularly use in your daily life?
I regularly say “Dishes are done, man,” from Don’t Tell Mom the Babysitter’s Dead, even when there are no dishes involved. Also, I’m pretty sure I still quote Wayne’s World as much as I did as a teenager and people rarely know what the hell I’m even talking about. A sphincter says what?
Are there individual scenes that stay with you?
The super sad ending in Wayne’s World where Wayne’s hot girlfriend resents him and all his idiot friends perish in an electrical fire.
What films have roused a visceral reaction in you?
My mom took me to see that violent Stallone cop movie Cobra when I was a kid and the film opens with a gun pointing directly at the audience and I remember it giving me quite a jolt. I probably peed my pants. My mom was nuts, by the way.
Are there films that are reliable for inspiring your creativity?
Pretty much any John Waters movie gives me a creative charge, though the results are never as funny or brilliant. See also: the work of Rainer Werner Fassbinder.
Which of your writings would adapt most successfully to film?
Probably my book Something to Do with Self-Hate, which would make a sad tour de force about lost, damaged people further damaging themselves. A real “feel bad” flick. Lars von Trier could direct.
Can you give some film recommendations for those who have liked your writing?
I recommend Shakespeare’s Thrashin’ (1986), where the older brother from The Goonies falls for the leader of the rival skater gang’s sister at a Red Hot Chili Peppers show, which Shakespeare rewrote in 1993, replacing the skateboards with rollerblades and calling it Airborne.
She woke up in a classroom. Chalkboard at her head, corkboard at her feet. As she adjusted to the dusk light—was it 5 a.m. or 5 p.m.?—she discovered she wasn’t in the setting of a recurring dream she’d been having. The ‘I fell asleep at the desk and missed the most important test of a lifetime’ dream. No, she was in a hotel room. The Eaton. The card pinned to the corkboard wall held her personalized key to the rooftop gym.
As she pressed her body against the hotel room window, the humidity moved through the glass and brushed up over her skin. She was alone. She normally lived with two bulldogs and no humans. She remembered London. Cold, foggy, lonely London.
Hunger motivated her into the hallway. Brass elevator buttons reflected a Damien Hirst cow sculpture dissected with preserved butterflies and behind that a never-ending ticker tape scrolling the words: “A More Just World Where We Are All Liberated To Be Our Truest Selves” – Jenny Holzer, American, born 1950.
She remembered the mooncakes smashed into dirty water at the sidewalk’s edge and Tiger Balm in the storefront. She couldn’t remember how she got back in the hotel room. This is what jetlag will do, she thought to herself. She traveled all the time, her body in one place, her soul delayed four airports behind.
She stepped inside the glass elevator that was housed in a glass tower, the windows revealing rolling mountains of Kowloon beyond and red double-decker buses powering through the streets. Neon signs flashing Cantonese words stuck out from deteriorating buildings like brightly colored marshmallows at the end of burnt sticks. Hong Kong. She remembered Cha Chaan Teng, incense at the temple, “Shark Fin Soup Makes Your Penis Small” scratched into the wall as crude street art.
“Good evening, Miss Melinda.”
The hotel staff was gracious, their uniform hoodie sweatshirts and spiked hairstyles offering a unified vision of a curated and controlled counter-culture aesthetic. They knew her name. How long had she been here? She smiled as the porter held the door open for her but her concern at being unable to remember the details haunted her. Where was she headed? She didn’t even know and yet some memory beckoned her forward.
She stepped out onto Nathan Road, turning left at the intersection. She felt the stares of shopkeepers, taxi drivers, and street sweepers. The morning’s humidity made her arms sweat and her chest perspire. The store bell chimed as she stepped into a local pharmacy—one of those superstitious ones with jars of dried herbs and animal parts. She didn’t want anything endangered to rub on her skin. She just wanted a cold drink.
“You’re dressed in black.”
The shopkeeper’s judgmental tone made her stop and look down at what she’d put on to wear. A black boatneck shirt, black linen pants, and black trainers. It was what she always wore back home in London. She was colorblind. It took too long to coordinate an outfit.
“All the terrorists wear black.”
The way the shopkeeper was talking, she was starting to doubt she’d be able to buy a cold drink here.
“I’m not a terrorist.” She felt the need to clarify.
“That’s what they all say. They throw bricks and fire bombs and shut down our roads. All China wants to do is protect us. My family is Chinese. What’s wrong with the young people today?”
“I don’t know.” The little hairs on her neck spiked in worry. She didn’t want to have a political conversation. All she wanted was some cold jasmine tea bottled in a plastic bottle with an easy drink top.
“A cold drink?” She tried the direct route but the shopkeeper scowled and so she found herself trilling the store bell upon her urgent exit, walking down toward the water’s edge.
She passed the infamous Chungking Mansions. The streets were still empty. Where had she been last night? All she remembered was drinks at the Mandarin on the island side and then waking up in her hotel. How did she get back across the bay? She suddenly felt the need to smell her hair, pull at her clothes, sniffing them for anyone’s scent besides her own. A faint smell of smoke, though nothing else seemed out of the ordinary. They let people smoke in the Mandarin bar. It was all easy to explain.
She found herself leaning up against the edge of the Avenue of the Stars, looking out over Victoria Harbour. Wisps of smoke rose up in twisting curls above the HSBC building. The stillness around her made the unease she felt inside even more concerning. She turned and nearly crashed into a man bicycling past.
The flash of movement, his eyes obscured behind goggles, bombarded her. She fell to her knees. Gas masks, flames, bricks, running across crosswalks and through covered walkways. The heat, gunpowder, pepper spray all assaulting her senses. She’d been one of them. They’d called her a cockroach as they’d fired rubber bullets in her direction.
There had been many other freedom fighters around her. She suddenly thought back to the security cameras, to what she was wearing: all black, a gas mask, black cap. She’d been there too. It hadn’t been just a dream. She should have changed before heading out today. They’d be looking for her.
Her watch dinged. She pressed the text message even though it was from an unknown number. A picture of a cockroach appeared. The blankness of what she couldn’t remember made a tear roll down her cheek. If they questioned her, they’d think she was lying. Her mind struggled to find equal footing. What’s left to remember if the past is erased right in front of your eyes?
We were going to scrape that possum off the road because somebody had to do it. That’s what our Dads said, trucks rattling in neighboring driveways, complaining about the borough workers, asking nobody in particular where their taxes went, if not to cleaning up a dead possum right in the middle of the intersection. The Biology teacher had even joked about dissecting it for class, because it was the intersection right next to the high school and so every student and every teacher saw it, curled up and still in the mornings then somehow more freshly dead in the afternoons.
It was my idea, but I’d only thought of it because I was trying to impress Gina.
“No, no sorry. Maybe I wasn’t clear” Gina said.
A garden shovel dangled from the Walmart cashier’s limp wrist.
“We meant like, one of the orange ones. One for snow shoveling. Wide like.” I spread my hands out past my shoulders.
“In May? Okay well, I’ll go check the back, we might have some left over from last season.”
Behind us, the claw machine was a swirl of hot pinks and bubblegum blues. A carnival song crackled from its speaker.
Gina tore open a bag of peach rings and we yanked them apart with our back molars. I watched her lips suck on the pale yellow underbellies of the candies and wondered, again, how Duck could have ever dumped her for a mousy-looking, furniture modeling sophomore.
We still weren’t clear on the specifics of furniture modeling. Neither of us understood how placing a fifteen-year-old girl next to staged warehouse sectionals made them look any more appealing. When we talked about it, which was at least twice a day, Gina said it had to be the trashiest modeling job you could get around here, and that was saying something because there were lots of girls modeling bikinis for vape shops.
I reached for another peach ring but Gina rolled the bag up and shoved it in her back pocket.
“I think we’re good for now.” Her tiger-striped belly button ring glinted at me from between her cropped tank top and rolled-up Soffe shorts. She was always yanking food away and making me feel embarrassed for wanting it in the first place.
She’d done it when we were kids, best friends who got our ears pierced together at Claire’s and then shared Auntie Anne’s pretzel nuggets to celebrate. Yanked them to her side of the table and said I was eating too much too fast. And she was doing it now, since we’d reconnected two months ago.
We stopped being best friends in December of fifth grade. From their weather sealed deck, Gina’s family watched as my dad scaled a pine tree in our yard and sawed the top clean off. He said it was our Christmas tree for the year and he didn’t want to hear another word about it. Her dad laughed, gave a thumbs up. Her mom kept a French manicured hand to her mouth. The next day during indoor recess we played M.A.S.H. It was my turn and the game said I’d marry a plumber. The verdict was out on how many kids and whether we’d live in a mansion or a shack. Gina brought up the tree in front of everyone. It’s gaudy, she said, gaudy and trashy. I knew the words weren’t hers. They globbed on the desk like spilled oatmeal, stuck there and burned my cheeks up. What’s gaudy mean? A boy asked. Tacky, she said, proud of herself for remembering her mother’s synonym. And ugly, she added after a pause, that word all her own. I snagged the hall pass, sped walked to the bathroom. After that I was too ashamed to knock on her door anymore and she didn’t seem to miss playing with me.
Then last month, Gina was knocking on my door again, asking for rides to and from school since Duck dumped her. In exchange, she let me borrow Cosmo magazines, taught me about matte lipsticks and bikini waxes, told me my butt looked good in American Eagle jeans, and said I was too smart for any of the guys at school. I lived for those compliments.
Duck also happened to be in my Physics class. She would pry for information as I drove us home from school, taking the backroads so I could smoke half a Marlboro Gold and shove the other half back into the pack. I strained my ears during Physics and wrote everything Duck said about the furniture model in the margins of my notebook. They got sushi at the mall, they were going to the party at Kandace’s house, he’d found a tie to match her prom dress.
The cashier emerged from the storage room doors thrusting the snow shovel in the air like a splintery trophy.
It was a twenty-minute drive back to the possum. Cherry blossom petals fell onto my windshield like fat, pink snowflakes. Gina’s thighs were splayed out to the sides, the shovel propped on the passenger’s mat in between them. If I squinted and unfocused my eyes just right, it was winter, it was snowing, Gina and I were kids again going to make some money with our shovel. We didn’t know anything of heartbreak or the lengths you go to make it stop.
I’d never dated anyone for as long as Gina dated Duck. Eight months. But in ninth grade, I smoked weed for the first time with Chris and he fingered me so hard in the woods behind the park that it broke my hymen. When he dumped me for a more popular girl I wrote the lyrics to “Cut Here” by the Cure on my arms in Sharpie and hid them under my black long-sleeved shirts. So I did know something of heartbreak, even if it wasn’t as freshly snapped as Gina’s.
Gina passed me our plastic water bottle of Pinnacle Whipped. I gulped and felt her eyes on me and clenched my face muscles so they wouldn’t grimace then handed it back to her.
She took a medium-sized sip and screwed the cap on, paused, opened it again, and took another sip. I wiggled my hand and she handed it back.
She started to flick the window control lever with her index finger, making a thwack-thwack-thwack sound. I turned up the music.
“What the fuck even is this?”
I turned it back down and took another sip.
She kept flicking her finger against the lever. Thwack-thwack-thwack.
The edges of the road smeared like oily pastels. The mud into the spruce, magnolias into the last bit of orange at the base of the sky.
Thwack-thwack-thwack.
Gina was always attempting to rid herself of the pain in pathetic spurts like this.
I’d watched her furiously apply mascara to her top lids like she was trying to rip them off. Seen her accidentally breaking pencil tips, grinding them into stubs at the sharpener, conveniently located by the door, waiting for Duck and his new girlfriend to walk down the hall. Slam the passenger side door so hard like she could trap her pain in my Jetta if she just shut it fast enough.
There were easier ways, I knew. I could have told her about pressing a shaving razor into my thigh and how it had a much higher payoff than her minuscule leaks of rage. But I was worried she’d call me a freak so I kept my mouth shut.
I put it in park in the middle of the intersection and flipped the hazards on. We approached the possum in silence out of respect for the dead or fear of people peering out of their closed curtains, or both.
Eighteen-wheelers rattled past on the interstate, jostling what was left of the possum’s fur. Its guts were mostly flat now, organs indistinguishable, just one small sheet of deep pink. Mouth open with razor teeth lurched forward. I’d seen it only in quick glances from cars. Now, it started to transform into something more real and more dead than I’d previously imagined. Above us, the traffic light switched colors, green light splashed over Gina’s babydoll face. The vodka squirmed in my stomach.
I squatted on the ground, held the black trash bag open with both hands. Gina pushed at its body with the shovel, slowly peeling it from the road. One string of guts stuck to the asphalt. I had to bury my hands in the bag and break the cord while Gina held the shovel still.
The possum teetered on the edge of the bright orange shovel. I was floating over my body, the burning tendons in my calves from squatting the only thing tethering me to it.
“Shit, car,” Gina said, and flung the possum into the bag. It made a smooth, crinkle sound when it landed. I was suddenly all too aware of my arms, the weight of the blood pumping through them, the thickness of my skin held somehow together, keeping me from leaking out into the world.
I stared up at Gina, sandy brown hair wisped by trails of diesel fumes, perfect bare nails clenching the now brown blood-stained shovel. The light turned red. I bunched the top of the bag, tucked it down, made a loop, pulled it through, and stood up.
“Nevermind. Turning.” Gina didn’t look relieved, but she hadn’t looked stressed at the sight of the car to begin with. I hoped a car would come, that we’d have to toss the garbage bag to the side of the road and high tail it out of there. Maybe Gina hoped that too.
“I guess… the trunk?” I shrugged my shoulders a little to make the question seem more casual, like this was just another bag of clothes for Goodwill.
Gina was like I’d never seen her before. She folded her thumbs over and over each other in her lap. No thwacking now, just the slick sound of her skin rubbing against itself. The air in the car tasted flat, like all the bubbliness had leaked out while we were scooping up the possum.
She’d heard all about Duck and his new girlfriend from me, but she’d never actually seen them together. They had all different classes and lunch periods. I could tell she was thinking about how sick she might feel when she really saw the furniture model’s house.
“We should finish this bottle, yah know, in case we get pulled over or something.” I lit one of my half-smoked Marlboro Lights.
“Literally not gonna ever happen with how slow you drive but, okay.”
Gina sipped, then handed the bottle to me to finish off, her saliva glistening on the rim as I wrapped my lips around it.
It was supposed to be simple. Identify the furniture model’s house by her car: A white Nissan Maxima with a tye-dye girls volleyball sticker on the back windshield. Open the trunk. Grab the possum. Drop the possum on her front porch. Run.
Gina twisted her torso towards the window as we pulled into the development. This was it. She was going to rid my car of the possum and with it all of her anger and bitterness and heartache over Duck.
My foot hovered above the gas pedal. We circled through cul de sac after cul de sac of beige siding and gaudy fake stone houses.
Nearing the end of our first complete circle around the development, I rutsched around in my seat trying to squash the tingling in my bladder.
“Maybe she parks in the garage?” I offered. Gina’s iPhone glowed a pixelated blue as she made the rounds: Instagram, Facebook, Twitter.
“Nothing. Nothing from either of them all night.”
No posts meant they were holed up in Duck’s bedroom, wrestling around on his waterbed, or watching Fight Club and making out on his futon. It didn’t matter exactly what they were doing, just that it was precious and private enough to keep them off the internet on a Friday night.
Gina let her phone drop face down onto the grey floor mat.
I circled us around again, trying to manifest the Nissan into existence, trying to ignore my growing need to pee.
On the third go-round, a porch light whipped on. I steered us to the other end of the development and switched the headlights off. Blood thudded in my ears. Gina bit at her index finger for a few seconds until she realized she’d used that hand to touch the shovel that touched the possum and she rolled down the window to spit. The whole of my existence seemed reduced to the burning in my bladder.
“I have to piss”
“So do it” Gina kept her head turned away from me.
The grass covered my flip-flopped feet in sludge as I walked towards the trees. I squatted down and steadied my head as the sound of my car idling and my pee hitting the grass and crickets swelled all around. I watched Gina’s silhouette swat tears from her eyes. I knew we weren’t going to find her house and that after this Gina probably wouldn’t care all that much about hanging out with me and that I’d be stuck with the possum, left to dispose of it on my own.
“Let’s go around one more time?” Gina said when I got back to the car.
I drove us even slower this time, pretending to look closely at each house for any evidence that a furniture model might live there, trying not to think about Duck or Gina or the dead possum or having to go back into school on Monday or how embarrassed I felt that my plan failed and how bad I’d want to use my razor later or how now Gina was going to keep slamming my car door for the foreseeable future since she couldn’t get her revenge, trying to focus instead on the swing sets and Mercedes Benz’s and lifted trucks and well-manicured lawns and stop signs. I could tell Gina was trying not to think about things too because her right leg was bouncing up and down really fast.
I officially gave up on looking for the furniture model’s house. Her car wasn’t there. Everyone’s blinds were shut and lit from behind by the glow of flat-screen TVs. I wished we had brought more vodka. Gina’s leg suddenly stopped shaking and she held up a dainty wrist.
“Here is fine.”
I pulled the lever and the trunk popped. Gina slid out. In the rearview mirror, I watched her heave the bag up and hold it to her chest. Glossy black glinted under the street light. She walked up to the front porch and kneeled on the slate steps. She patted it once, like she’d reached some kind of truce with the possum. Gina knew, and I knew that it didn’t even matter whose house it was. Then she stood, pivoted on the heels of her mustard yellow flip-flops.
Back in the car, Gina switched on the overhead light, dug around for the peach rings.
“Yours if you want them,” she tossed the bag into my lap.
The ridged bottom landed on my thighs. I opened them, let the bag slip down just a little and then I squeezed together until it scraped me.
With The Daddy Chronicles (Whisk(e)y Tit Books, 2022), Jayne Martin returns to bruised memories. The book is driven to explore how recollection takes form, fragments made vivid, torn from deep wells and thrust into an attempt at order, a chronology, a way to make sense of an absent father. This absence dominates, and is bitterly ever-present. Martin strives to confront the irony in this, and with this collection of memory vignettes, reframes her past.
When did you first have the impulse to tackle this subject? Was the form of the book apparent from the start?
The book just erupted from within and took me completely by surprise. It was subject matter I had tackled once before in an essay form, but never followed through on it. This time it wouldn’t let go. Why now? I don’t know. I think as we get older we have the desire to make peace with the things that have haunted us. I was in a flash fiction workshop led by Meg Pokrass in November of 2020. It was based on her novella-in-flash, The Loss Detector, about a fatherless family, single mom, its main narrator the young daughter. Each day we’d write a flash piece based on one of the stories. In doing so, I discovered that the character in “The Other Woman” waiting for her married lover who never shows, and the infant in “First Love” whose father ignores her cries, were actually the same person—and that person was me. That’s when it morphed from fiction to memoir.
There is a fragmentary feel to the book, both structurally and narratively. How purposeful was this?
Memory is fragmentary. We, or at least I, write to make sense of things. While there are many threads that make up a tapestry of a life and often writers interweave them in order to tell a larger story, my focus was singular and specific. I had questions. How did the rejection of the very first love of my life, my father, lead me to seek out others like him—men who were charismatic and emotionally unavailable? It was like putting together a puzzle without the benefit of the picture on the box. As I wrote, pieces emerged that I hadn’t expected. There was no way to plan the book in any kind of cohesive manner. Without Meg’s workshop, I doubt I would have found the structure at all.
Did writing about real people, often in an unflattering way, lead to any conflicted feelings? Are there aspects you left out of the book, or wish you’d included?
Had I included every bad romance, this would have been a mini-series. After a while, readers would have justifiably said, “Oh, for God’s sake woman. Get it together.” The last thing I wanted this to be is a pity party. The fact is, things turned out very well for me. Granted, I forged my way alone, but whatever my father didn’t give me in life, he did pass on a gene pool that made me strong, resilient, accomplished, healthy and so much more. As did my mother. I regret that she may come off in an unflattering way when the truth is she gave up everything for me. My father was the love of her life. She entered into a second marriage that was unhappy for her in order to make a stable home for me, and then, divorced again, struggled to raise me as a single mom. She died at just 54. I was 23. After years of being a selfish, disrespectful, horrible teenager, I didn’t have the opportunity to convey to her how grateful I was. My mother’s story is a whole other book, but whenever I try to write about her I’m awash in guilt and tears.
For your previous book Tender Cuts you use flash fiction. Were you conscious of the influence of flash fiction on your non-fiction in this case?
Long before I wrote flash fiction, I wrote movies-for-television for 25 years. Different from their big-screen brethren, TV movies are written in seven acts to account for commercial breaks. The “two-hour movie” is a misnomer. You have approximately 93 minutes of actual screen time to tell the story and at the end of each act you need a “keep them guessing” story beat to lure your audience back after the commercials. Raymond Carver could have been talking about the TV movie when he said “Get in, get out. Don’t Linger. Move on.” As it was, he was talking about flash fiction. So I came to the form well-prepared and it felt very natural to continue with it in The Daddy Chronicles where each chapter is akin to a movie scene.
Some of the most vivid moments are the observations of small, seemingly inconsequential incidences that ultimately have great emotional weight. This juxtaposition has a startling effect. Is this a technique you planned to use, or did it evolve naturally from the material?
Details place the reader in the story and create emotional resonance. I will never forget a scene from Mary Gordon’s brilliant novel Final Payments, where she’s dealing with the grief of her father’s death and the unresolved emotional issues between them. She’s cleaning out his refrigerator and picks up a head of lettuce that dissolves into a mushy, moldy mess in her hands. I read that book 40 years ago and that moment still sends me to my knees. The use of visceral details is something that pervades all my work. It’s how I see the world.
How long did the book take to write? What is your recollection of the time spent writing it?
This book was one of those rare writing experiences where the story just poured out of me, like it had been hovering for years just waiting for a point of entry. In Meg’s workshop, we wrote a story a day for 30 days. At the end of that month I had a first draft. Of course, there was still a great deal of work to be done, but just a couple of months later, I was ready to send it out. It was crazy. It was like the book knew what it wanted to be. Everything about its creation was a surprise. Most surprising was the anger that came up for me. I thought I had dealt with my feelings toward my father. Intellectually, I had reasoned that one cannot give what one does not have. I had forgiven him. But there was still a very hurt child inside of me screaming, “Hey! Not so fast.”
The book perceptively deals with trauma, both its immediate impact and ongoing after-effects. There is a self-awareness that accompanies the events, a distance that enables a matter-of-fact retelling. While this creates an unsentimental tone, it also demonstrates one of the main consequences of trauma. Could you elaborate on your intentions for the book with regard to the representation of trauma?
You kind of nailed it here. Distance from one’s emotions as a consequence of trauma. There’s a scene in the book where a writing teacher suggests I see a therapist to get more in touch with my feelings and my response is “I don’t tell him I’ve been doing my best to stay out of touch with those things for most of my life.” As far as my intentions for the book, I guess it’s a book I wish I had read decades ago. Maybe I wouldn’t have spent so many years thinking I was the only one broken. During the writing, I read Denna Babul’s The Fatherless Daughter Project, where I learned that one in three women identify as fatherless. I saw myself on every page. Maybe others like me will see themselves in The Daddy Chronicles and not feel quite so alone.
Could you talk about the locations in the book? Are there places you’ve returned to since the scenarios featured took place? Are there places you’d be curious to go back to, or those you’d not want to revisit?
I grew up in the San Francisco Bay Area, my early life imprinted with the sights and sounds of San Francisco, the bay windows of the grand old Victorian “ladies” like eyes watching over me. Although I haven’t lived there in many years, it is still the place in my heart that I call home. At the age of about six, Mom and I moved to an older four-plex building in San Mateo where I started first grade. It was my first stable home and I often wonder if it is still there, but have never gone back to look. When my mother married my stepfather, we moved to the house on Cherry Street in San Carlos. While all the houses around it are exactly as I remember, ours is gone. Demolished. As if it never existed. Those years of my life wiped away. In its place, a new modern structure. Seeing it gone felt like a death.
What is your experience with catharsis?
Writing the book wasn’t so much a catharsis as a way to step out of my “strong woman” persona for a while to say, “This is who I am and this is why.” I’ve allowed few people to really know me in such a way and I’m honestly not sure if I’m ready for the response.
You mention a spiritual component to your life, and cite a particular incident as having significance in the process of moving on from feelings that had a grip on you. Could you expand on this aspect?
I was raised Catholic and, although I left the church while still very young, the concept of a higher power, an energy that some call “God,” never left me. There’s a reason such beliefs are called “faith” and not “fact.” My mother was a big believer in guardian angels. When I look back at, particularly, my adult life, I have to believe in a Divine energy. No one could have been so “lucky.” There has never been a time when, confused or depressed, I have asked for guidance that some type of opportunity did not appear for my highest good. Every single day, sometimes several times a day, I align myself with the creative force of the Universe by taking a quiet moment to simply say “I AM” and express gratitude. Again, faith not fact.
A central theme, especially in the earlier part of the book, is of a young person burdened too soon with adult issues. For many, this leads to a perpetual state of being ill-equipped to deal with vulnerability. What challenges or observations did you encounter when compiling examples of this for the book?
“Burdened too soon with adult issues.” Yes. That’s exactly it. From very early on I was acutely aware that the adults were not in charge. That I’d better take care of myself because they were likely going to drop the ball. As a result I became a total control freak. “I’ll do it myself,” my mantra. Vulnerability? I avoid that like Covid. The use of humor to sidestep my emotions is still my go-to coping tool. There’s a chapter in the book called “On My Own.” It was during a time in my life when I was no longer a child, but not yet an adult. I was engaging in very destructive behaviors involving sex and alcohol and I had this dream where I was in a room from my early childhood with my younger self and she says, “You were supposed to take care of me.” As an aside, it is very common for fatherless daughters to become promiscuous, to confuse sex with love, use one to try to get the other.
How would you describe the book to a potential reader? And does this differ from how you describe the book to yourself?
The story of a fatherless daughter, my journey from hurt to healing. There comes a time when we all start to take stock of our lives. The focus begins to shift from mourning all the things we didn’t get to gratitude for the things that gave our lives meaning and joy. Honestly, if I could change the past and have the father I wish I’d had I don’t think I would do it. I’ve known people who had wonderful fathers and their lives still turned out a mess. My life turned out pretty great.
What was your original intention for The Daddy Chronicles? Has this evolved or changed? Do you consider your intentions to be fulfilled?
My intention was to write the book and put it out into the world. I’ve accomplished that. Now it’s out of my hands. The search for and need for love is universal. When we learn to love ourselves first, we attract the love of others. My hope is that the book finds its way to those who need to hear that message the most.
The Daddy Chronicles is published by Whisk(e)y Tit Books and is available at https://whiskeytit.com/product/the-daddy-chronicles/