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THE GRANDE CALAMITY DIAMOND DESCENDS INTO THE MAELSTRÖM by Dolan Morgan

I needed a break. So when my brother gifted me the cruise ticket, it felt like he’d done something useful for once. But there was a catch.

“It sinks on purpose,” my brother said, laughing. “Like, while you’re on the thing. Straight into the ocean, down it goes. The whole big ship. And they don’t tell you when, it’s a surprise. One minute you’re over by the pool deck in margaritaville or whatever, and then—wham! The boat is sinking, just like that. You’re gonna love it.”

Byron worked in real estate and routinely ended up with promotional items that nobody could ever want outside the fever-dream of 30-year mortgages. Over the years, he’d given me a rubber ham you could heat in the oven to smell “authentic ham smells” and a golf club you can pee into discreetly, just like you’ve always wanted. Did I play golf? No. Did I love ham smell? No. But was I sure my brother loved me? Sort of. This season had been kind to him, which always meant his sort-of-love would be more pronounced, a trait he’d no doubt inherited from our father, another sleazeball if ever there was one, and he must have really fallen into some big commissions because he significantly upped his game and got me passage to this new cruise line experience where, apparently, the ship sinks while you’re on it and then you get heroically rescued. 

A cruise is nice, but after the past shitty year—or decade if I’m being honest—what I really wanted was a whole new life. Sort of like the cowardly lion, tinman, and scarecrow all wrapped up into one: a new personality, a new body, and a new brain would be great, thank you very much. But for now, this ridiculous cruise would have to do. In some respects, the trip itself wasn’t such a terrible idea, I had to admit; by transporting everything about me into entirely new surroundings, perhaps I’d feel different by mere dint of the juxtaposition. That’s probably why people travel in general, I thought: not to see new places, but to fool themselves into thinking they’re new too. The artist Josef Albers could make the exact same blue look completely different just by putting it next to different shades of pink. I wanted that to happen to me. Maybe this insane cruise could be the shade that rendered my life anew. Like Dorothy, suddenly in technicolor.

“You’re gonna love it,” he said again, taking a bite of tortellini. “It’s pathartic.”

Pathartic? I didn’t ask Byron to clarify if he meant “cathartic” or “pathetic” because, while either option seemed plausible, my inability to discern the difference seemed especially apt. “Thank you,” I said. “I really appreciate this.”  I might have meant it. 

The trip commenced in two weeks. I needed to prepare. 

*

I scheduled time off, packed “only the necessities,” a task that gave me no shortage of absurd anxiety—What are the necessities? What do I need? Do I really need a toothbrush? I think I do, but what does that say about me? Why can’t I rough-mouth it like a real man, like my ancestors?—and soon found myself standing on a crowded dock in a busy sunlit harbor, half-empty suitcase in hand, staring up at the gleaming white facade of the Grande Calamity Diamond, preparing to embark on “The Disaster of a Lifetime” and really wishing I had brought a goddamn toothbrush. What the hell. I’ll be the last person they rescue, I thought, if my screams emanate a week’s worth of theme-restaurant halitosis.

Maybe I could purchase one at some overpriced harbor store before departing? I scanned the seaport. Lines of people in cargo shorts, sandals, and floppy hats weaved around each other like thick ropes grinding into an ever-tightening knot of leisure and luggage. The glint of a newsstand kiosk reflected above the throng’s heads, but it might as well have been a hundred miles away. I’d have to get a toothbrush onboard at the Sink or Swim Souvenir Shop. Far out over the water, I saw clouds darkening the horizon, a storm headed north toward home. I was glad to be embarking on the cruise, headed south, away from all that grey into a bright new blue. 

The embarking process was long, but soon I was settled on the ship and into my private cabin. I had a single bed, a desk, a chair, cubbies to stash my belongings, and a few feet to stretch myself out. A diminutive porthole afforded a view of sweaty tourists en route to their own ships, but soon it would cast about over endless ocean waves. I was genuinely looking forward to it. A horn sounded, announcing our departure.

Back at home, I’d watched orientation videos breaking down the cruise’s itinerary. With R having only just moved out, I welcomed any distraction from my thoughts. The basic parameters of the sinking were outlined by a man with a bright smile and light blazer. At a designated hour, he said, alarm bells would ring and the ship-wide intercom system would inform passengers of a critical hull breach. The catalysts differ each outing, but past causes included icebergs, coral reefs, and mythical creatures like kraken and kaiju. 

In reality, a series of doors in the ship’s exterior are deliberately opened, allowing for the methodical intake of water followed by gradual descent into the ocean, a process monitored continuously by experts. Passengers can enjoy the excitement on deck, then gather on lifeboats, or float about with inflatable vests to watch the process unfold. VIP passengers can even stay aboard throughout, riding the boat deep beneath the surface in sealed rooms. A nearby contingent of medically-trained staff emerges on dinghies and helicopters after the spectacle is complete, ferrying passengers to a second luxury-class ship where the remainder of the itinerary can be enjoyed. 

Unpacking my bags, I recalled the candid online reviews I’d read while trying to avoid the pile of things R left behind on the table.  “It was amazing and life-altering,” wrote one woman in a 5-star review, “I honestly thought I was going to die.” 

I tried to understand what could possibly motivate these people, myself among them now, to want this. 

Tired from the sun, I dozed in and out of sleep as I recalled Edgar Allen Poe’s “A Descent into the Maelström,” wherein the characters feel drawn to a massive whirlpool near the edge of the world, desiring its depths despite the danger. Is this what I wanted? I recalled that as a child, I was obsessed by kidnappings. I thought about them often in grade school, their own maelstrom of strangers, hands, and cars. I carried impromptu weapons in my pocket: chains, pens, anything that could hurt someone if I was dragged into their vortex. 

After what seemed like seconds, I woke suddenly, jerked by some force. Unsure of how much time had passed, I looked out the porthole and saw only ocean, the harbor long gone. A safety bell rang out, followed by static. Was this it? Were we about to sink? An announcement did not declare a hull breach; rather, the ship had diverted course to avoid choppy waters from the storm to our north. Was this part of the act? Still half in dreams, I stared at the waves. They looked motionless to me. “Be sure to try the salmon croquettes at the Reef Bar,” the announcement added. “Complimentary today only.” 

The thought of eating reminded me: I needed that toothbrush. 

I stepped out of my cabin and into the hall. Rubbing my eyes and making my way toward the main deck, I passed families encumbered by endless bags, elderly couples trundling bravely arm in arm, twenty-somethings well on their way to inebriation, dumbstruck kids covered in sunscreen and chocolate, giggling teenagers headed for the pool. 

I didn’t realize kids were allowed on the cruise. I wondered if they’d appreciate the experience. Inspecting a “you are here” map, charting my route to the souvenir shop, I mulled the common conception that young people remain oblivious to existential concerns, a myth perpetuated by those who have forgotten the mystery and insanity of their own childhood. “Thin places” are locations where our world and other realms are supposedly closest together, where hauntings and strange traversals are most prevalent, and pretty much everything is a thin place to young people, I thought. I took a left at a large arcade, passed through an impressive casino, and ascended a chain of escalators. A frenzied crew member rushed past me as if pursued by an assailant, her blue polo shirt drenched in sweat. Two additional crew members, similarly harried, followed soon after, pushing me roughly aside as they passed. 

My sleazeball father pushed Byron once when he robbed our house after my mother kicked him out. I must have been six or seven at the time. I arrived home on the bus to see my dad surrounded by police, blood dripping down his shirt. He claimed he was only there to take “what was his,” which apparently included my brother’s bike and my television. What if, rather than just random objects, I wondered, he’d thought of me and Byron as rightfully “his” as well? 

For months I feared he would show up at school or while I was out playing. The fact that, at the time, I still loved him desperately—and could not comprehend his new absence—complicated these fears. Byron was home at the time of the robbery and absolutely terrified. He told the police he “couldn’t tell if it was really happening.” We never spoke of it. Afterward, he could only sleep with the closet door firmly closed. I think, more than anything, I was jealous of his proximity to that rip in reality, to that thin place. I wanted to be dragged through a hole in our universe, wanted the twister to pick me up and drop me in a new world, where I could become something else, too. 

But become what? A shitty real estate agent?

I arrived at the souvenir shop and was shocked to find it much bigger than anticipated. Three stories tall at least and the width of a city block. Organization was chaotic, encouraging passengers to browse longer and purchase more, so I roamed the aisles haphazardly in search of a toothbrush. The items were the kind of crap that Byron would love. Stupid, corny, impractical. Yet, like Byron as well: clearly profitable. What would happen to all of these goods when the ship sank? Did they have some method for protecting it all? I did not understand the underlying economics of this cruise. Should I get something for Byron? I realized it was quite possible I had never given him anything other than a card, let alone authentic ham smells. The thought made me want to disappear. What would it be like to go missing here? I recalled a safety video I’d seen when I was six or so, a video that provided instruction regarding exactly what a child should do if they were lost. 

I recalled, in fact, trying to orchestrate a scenario in which to enact those very instructions.

Browsing in a department store with my dad, who I did not yet understand to be a sleazeball, I waited for the right moment—and then fell quietly behind his stride. I slipped down an aisle when he wasn’t looking. Soon I could hear him calling for me through the shelves but did not answer. When I felt I was sufficiently “missing,” when I knew I had crossed over into that other realm, my own land of Oz where rules faded away, I took off as fast as possible toward the store’s information desk, where I could, as the safety video suggested, drag myself back to reality by requesting the woman behind the counter page my dad over the intercom. I recalled the thrill of that experience, of being gone from this world, and of the anguish in my father’s face—and my confusion at having caused it; I thought of R, too, and how I had fallen quietly out of step with her as well. How I wasn’t there when she looked for me. I thought of the anguish in her face, and my confusion at having caused it, as I pondered the cruise and its promise of disaster. 

Still no toothbrush.

Rack after spinning rack of postcards, keychains, shot glasses, snow globes, and pewter dolphins called out to me, but there were no personal hygiene stands. Nor did there seem to be anyone working here. Or even shopping for that matter. I was essentially alone in this knickknack wasteland. An old fear gripped me in that isolation, but only gently. For the first time, I noticed that seat belts were built at regular intervals into the floor. They looked surreal and out of place. Like an ear growing from a back. Maelstrom of people, cars, and hands. Maneuvering myself around one of the spinning racks of trinkets, my body rotated like the hand of a clock as I tried to get a better look at a pair of sunglasses, and I recalled the only time I probably could have been abducted—were it not for my use of a similar rotating maneuver. 

Eight or nine at the time, I wandered our quiet neighborhood alone, deep in summer, when a small red car began tailing me. Within, I could make out the face of a middle-aged man with greying hair. His car slowed to my walking pace. Anxious, I turned around and headed the other way, just in case. Moments later, I heard tires twisting in the loose gravel on the country road behind me. He had also turned around; I was the cause, or perhaps the prey. My suspicions affirmed, I ran ahead, around a corner, and into a tall stand of bushes near a field, slipping behind the leaves, only seconds before the car rounded the corner into view, trailing after me. The driver pulled up next to the bushes and drove forward to peer around them. I rotated along the tall shrub, staying just out of sight. He reversed to check the other side. I slid again in the opposite direction, always keeping the bush between us. We repeated this dance until he either came to the conclusion that I wasn’t there or tired of the steps. I ran home, terrified. The police confirmed that a man in a car of similar description had been beckoning young boys to ride away with him. What world awaited within the red car? Regardless of my fascinations, I cowered when faced with the actual prospect of abduction. I didn’t feel new. I didn’t feel changed. I felt awful.

I consulted a confusing store map, travelled up and down the floors, and eventually found the check-out register. The cashier, a small, bemused man of indeterminate age wearing sunglasses, was sorry to inform me that the Sink or Swim Souvenir Shop did not sell toothbrushes; however, he was delighted to share that a complimentary brush in the shape of a shark could be delivered to my cabin, free of charge. Armed with this assurance, I exited the knickknack wasteland. I emerged empty handed, yes, but also with relief, vowing never to return, and stepped into the late afternoon sun. 

Except it wasn’t the sun boring down on me now—no, it was rain. 

Heavy, hammering the deck in torrents. 

I took shelter under an awning, but cold gusts of wind sent sheets of water horizontal, pelting my legs, soaking my shorts. Across an expanse of chaise lounges, wooden tables, and poolside chairs, half-naked passengers ran for cover, holding pool floaties and towels over their heads, signalling that rain had only just arrived. Clearly, the distant storm I’d seen earlier had veered off course and intersected the Grande Calamity Diamond’s route. Feelings of futility washed over me, a sense of inescapable greyness. There was no outrunning the clouds I thought I’d left at home, no land of Oz, only a farm covered in dust. R was right about me. No wonder she left. The same with my father. Of course he didn’t kidnap me. Who would? Lightning shot down from the sky into the water and a clap of thunder rose up over the roar of rain. I cringed at the cliche of my own mind. I still didn’t even have a toothbrush. 

A brief sprint delivered me to the warmth and dryness of the Deep Dive Bar, a large room decorated in the style of an old dockworker’s pub, where I found a coterie of stunned passengers huddling in wet clothes. I leaned on a knotted table to catch my breath and turned back toward the open door, out of which we all could observe the downpour—in addition to a new phenomenon made plain in our stomachs: the tilting of the ship, its slow rise and lurching descent. I found the feeling worse when looking at the sea and so turned toward the bar’s interior. Heavy ropes, wooden barrels, and wide nets completed the ambience. Amid the small crowd, I spotted the same sweaty crew member who had hurried past me earlier. She looked terrified.

Over the intercom, a voice burst through static: “This is the ship’s captain. You may have noticed the inclement weather. Please avoid open-air common spaces until it passes. As well, out of an abundance of caution, we regret to inform you that this outing of the Grande Calamity Diamond will be unable to sink as planned, because the ship’s systems will require thorough post-storm maintenance before attempting any dive.” A wave of groans resounded among the sopping passengers. “Your safety is our first priority. Complimentary tote bags will be delivered to your cabin. Game rooms will be free for the remainder of the trip. Open-bar hours are hereby extended indefinitely.” 

Above the din of bitter murmurs, the bartender called out, “Well, anybody want a drink?”

 

*

With nowhere to go, we all got to know each other over beers, but it was the frenzied crew member, Julie, clearly at the end of her rope and ready to share company secrets, who set the tone for the evening. She divulged the real reason our sinking had been cancelled—not merely “out of an abundance of caution,” but something much worse: our sister ship had capsized in the storm. 

The one carrying our rescue team. 

A ship just like ours, caught off guard in the same rough waters, now wrecked in the sea.

Luckily, they were able to rescue themselves, but would be unable to do the same for us. 

That’s why she and her colleagues were running around so frantically earlier in the day—because they didn’t know what the hell was happening. And now look where we are, she said, waving toward the door. 

Her transparency, along with a little alcohol and shock, loosened everyone up, and soon folks were describing why they had hoped to sink into the ocean. I mean, these things weren’t shared directly, but were shared nonetheless.

For example, one woman, empathizing with Julie, vented at length about her job, about the incompetent assholes that lorded over her, and the need to let off some steam; only as an aside did she mention her mother’s recent passing, the painful year that had preceded it, and the sense of mystery that still hovered over mundane tasks, the ethereal veil draped across her days and through which she could only barely seem to reach, and the distance that stretched between her and her children, her husband, her siblings. In the book, The City and The City, two different metropolises occupy the same exact space, each folded into the other. The woman's story felt much the same.

Or there was the young couple who cited a love of adventure, listing off various daring climbs, jumps, and glides they’d undertaken together. One might easily have missed the jokes the man made throughout, gags about the adorability of not understanding one another, the amusement of never seeing each other completely, with punchlines that felt innocuous on their own but which, in their steady accumulation, betrayed a kind of shadow mirroring how the couple’s hands never touched. As the storm bellowed onward, I had the feeling that the only true “thin places” were other people. Apparitions and strange traversals. 

Even the older man who blathered on about his joyful desire to submit himself to the vast beauty of the natural world could not avoid referencing a quiet feeling of dissociation barely kept at bay by chasing some novel experience. 

I tried to imagine what I betrayed about myself, other than my terrible breath, when I asserted to everyone that I was really only here because the ticket was free, mostly to appease my brother, and that I just needed a break after a hard year, and that I hoped to feel different, or at least to not feel like this anymore. I mean, could they see my fear, could they see my father standing behind me, always reaching his sleazeball hand around my face in the dark to pull me backward through myself and away from my life, from R, from Byron, from anything I tried to love? Or, rather, could they see that my father had nothing to do with it and that it was always my own hands that wrestled me from what I wanted? Was this pathartic? There was no telling—because in a moment we learned the sinking was back on, but not for a reason any of us could have wanted.

The frenzied crew member’s walkie-talkie foreshadowed the news. It beeped three times before an authoritative voice on the other end inquired if she was with passengers, then stated flatly, “Julie, we need you to usher everyone to the VIP hold—now.” Julie’s eyes widened and everything about her demeanor changed. In seconds, she was out of her chair, back straight, keys in hand. The intercom clicked on and the captain informed us that circumstances had deteriorated, the surface conditions in the water had become life-threatening, and we would shortly attempt an emergency dive in the hopes of waiting out the storm below. 

Someone asked if this was really happening. Was it part of the cruise?

Julie assured us it was really happening. Then, after consulting her walkie, she outlined our emergency route to the VIP hold, a sealed space where we could ride safely into the deep. This VIP hold was apparently the one and only Sink or Swim Souvenir Shop, and reaching it involved a short sprint across the deck. The rain-soaked dash afforded a quick glance into the storm. Its scale resisted comprehension. 

Under a green sky, strong currents dragged our ship horizontally, amid a procession of smaller boats and debris, hundreds upon hundreds, some tipped or sinking, in what looked like an enormous gyre, spiraling all in a great arc.

Despite there being over a thousand passengers, the Souvenir Shop easily accommodated everyone. Once within, Julie directed us to an aisle where we could lie on our backs and make an L shape with our bodies, our feet propped in the air against a shelf of dumb t-shirts. The shelving unit would act as our seat, she said, once the ship tilted vertical for its descent. 

The ship will soon tilt vertically, she repeated. 

The aft deck would be in the air above us, with the foredeck leading the way into the depths below. Sink or Swim Souvenirs is pretty close to the back of the ship, she added, so we’ll end up pretty high in the air. You’re going to feel it. The floor, which would soon become a wall, contained those same surreal seat belts I’d spotted earlier, safety features intended to prevent passengers from tumbling down to the store’s distant edge—soon to be fifty feet below us. The sound of a motor echoed through the space, and thick metal doors descended along the perimeter, sealing us in with a vacuum hiss. 

The ship shuddered, and the shelves rattled flimsily. Staring straight at the ceiling, I fastened my seat belt and heard it click. My mouth tasted terrible. The seat belt was too tight. I felt for a moment like I was finally getting into that red car. 

Then the ship began to lift.

It happened quickly, much faster than I thought it would. We arced forward into the air, as if catapulted in slow motion, reaching a zenith and hovering there only for a moment. Dangling. Silence. Like the top of a rollercoaster. Then, with a lurch, the descent commenced. People screamed.

Seated to my left, the man from the couple at the bar turned to me and said, “I think this is all just part of the act. This is what we paid for.” He was crying and looked as if he wanted me to answer a question that went unasked. I didn’t know what to say and certainly didn’t mention what I’d seen of the storm as we ran across the deck—the long, dark arc of some enormous gyre in which we currently spun, headed who knows where.

The image immediately brought to mind again Poe’s “Descent Into the Maelström.” How did that story end? Curiously, I recalled that the plot revolved around two brothers, and that both of them ended up in the maelstrom, slowly dragged toward its center on a small, powerless boat. I couldn’t help but picture the two as Byron and me. Trying to escape the spinning waves, one of the brothers figures out that the maelstrom functions like a sorting machine, dragging heavier objects inward and spitting lighter objects back out, returning them to the world. They would need to abandon the safety of their heavy boat and take hold of something lighter to escape. One brother stubbornly rejects this theory and hangs tight to the security and familiarity of the vessel. The other escapes by letting go—but helplessly watches as their sibling, gripping tightly, falls into the dark center of the world.

But which brother was I? Was I holding on or letting go?

I thought of my empty apartment, Byron’s dumb job and big smile, and I could feel my stomach rising upward as the descent quickened. 

The man next to me grabbed my hand. I closed my eyes and squeezed back.

Five stars.

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Whose Presence Joined With Ours Will Create Something Novel; A Review of Adam Soldofsky’s TELEPAPHONE by Evan Williams

Take any version of the movie Freaky Friday. Now imagine it remade as a film noir. Now imagine it was written by Marshall McLuhan. Now imagine it isn’t afraid to lean into the philosophical implications a body swap has on the nature of selfhood. Congratulations, you’ve got Adam Soldofsky’s Telepaphone

My first impulse upon reading the title was to rummage through my shelves for Mag Gabbert’s MINML POEMS, a book taking the torch of condensed wordplay from Aram Saroyan. The word “telepaphone” feels like it might fit in among Gabbert’s poems, sandwiched somewhere between “anammal” and “implocean.” While reading MINML POEMS I made a game of dissecting Gabbert’s pieces into their possible constitutive parts, beginning with the obvious combinations and extending outwards. What becomes clear in this practice is not only that the meaning of the poem can drastically change depending on its compositional permutation, but that the meaning of its individual components can be inflected in one direction or another by its partner(s); as one piece changes, so do the rest, so does the whole. 

Motivational speaker Jim Rohn once argued that we are the average of the five people with whom we spend the most time. This idea supposes that our social surroundings construct us, though it elides, or, at minimum de-emphasizes our agency in the process. Our sense of self is not constructed for us, but by us, through and against those with whom we interact. Soldofsky approaches this idea, one of definition by inflection, and emphasizes not only the inflection itself, but its mode: the titular gadget, the telepaphone.

Described as “an amateur magician’s apparatus that, when worn by two individuals” might “facilitate telepathic communication,” the device is one that, on its face, allows for an intimate knowledge of another; it allows for a deeper, more genuine sort of inflective interaction. 

The novella’s plot quickens when Adam Soldofsky—a failing-if-not-already-failed artist in a marriage brought to its deathbed by his alcoholism—and Axel Wilhite—an internationally-renowned artist with whom Adam attended art school—test the telepaphone. The machine’s instructions require the pair to sit facing with headsets “snug but unrestrictive,” set “about the crown of the head with the skull carapace sitting atop the head like a ballcap.” It’s worth noting that by this point in the book, the friendship between Adam and Axel is withering, if not spoiled. The meeting which has brought them to this moment was predicated upon Adam’s emotional decline, Axel visiting in the hopes of helping, or at least assessing its severity; the precipitant for the ensuing inflection of Axel on Adam, Adam on Axel, is one of imbalance. And, ultimately, a further imbalance is achieved: the telepaphone overshoots the mark, catapulting them past mere telepathy into a full blown body swap. 

I won’t spoil the plot further but to say drama and dark hilarity ensues. 

At the heart of any good body swap plot is the idea that having learned what another’s life is like, one walks away not only with greater appreciation for their own, but with an enlightened understanding of the daily hardship of their peer, and this is certainly true of Telepaphone. What is not common in the body swap genre, and what makes Soldofsky’s work so gripping conceptually and in its execution is its exploration of the leftover self, which borders on an assertion of an essential self.  

What’s left of another person if your consciousness now resides within them? Their dreams, their muscle memory. Sporadically throughout the course of the story, Adam—in Axel’s body—falls asleep, launching into one of Axel’s dreams. When this happens, it’s not immediately clear in the text. Mostly, it is a seamless transition from Adam’s wakeful observations into his experience of Axel’s dreams, which he observes and comments upon as though he were outside of them. It’s in these moments that Telepaphone articulates most clearly the intimacy of a friendship—one brought on by despair, misfortune, and technological mishap. It’s tempting to argue that Soldofsky’s thesis is one aimed at touting the power of misery to bind. 

It isn’t just a binding, however, just as sewing together the bits of two or more words into a single, condensed poem isn’t just a binding, it’s a generative act; the bits, linked together, allow for a new and surprising form to come forth. 

As is established early on, Adam and Axel first found one another in art school, going on to achieve wildly different degrees of success. Adam painting in Adam’s body results in Adam’s work; Axel painting in Axel’s body results in Axel’s work; Adam painting in Axel’s body results in a fusion of taste, technique, and vision. It creates something not only wholly new, but something representative of the pair’s inflection of one another. 

This is the point from which the potency of Soldofksy’s novella stems. Snared in the logistics of the body swap is the surface-level but often obscured fact that a body swap is fundamentally the creation of two new lives. Further, if we construct ourselves against those around us, then not only does the body swap afford its participants the opportunity to construct a renewed sense of self against their swap-ee, but, disembodied, they might form it against themselves as well. Intimacy brings forth new form. It’s this that Soldofsky both fears and celebrates, the harrowing trials it may involve, and the selfishness we must break past to give over our whole being to another. 

I took it upon myself to dissect the word telepaphone as I dissected Gabbert’s poems. Yes, it is most likely that the word is simply a combination of telepathy and phone, evoking the sound of the word telephone as an added bonus. However, mirroring the definition of the self and the social network in which it operates, the book takes on new meaning as its constitutive parts change. Having spent far too much time considering the contributions of an assortment of possible words based on telepaphone’s syllabic makeup, and even testing out a few acronyms, I came finally to two alternative possibilities:

Telegenetic past phoneTeleological partner phone

I won’t decide between the two which is the right one, there is no wrong answer. If the first, Soldofsky has painted an elaborate portrait of our past—social, intellectual, emotional, etc—lives as being additives to not only our way of perceiving the world, but to our cellular composition. It is an articulation of the belief that that material is transmissible in a tangible fashion. If the second, then we need not worry. Body swap or not, there’s another we’re moving toward, another who will someday sit facing us, and whose presence joined with ours will create something novel.

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LAST-DITCH EFFORT: A FAMILY DRAMA TOLD IN NINE CHAPTERS by Torrey Kurtzner

Flip a Coin

Christmas morning, 1999.

My mother and father were seated on a couch in our living room. Neither seemed to acknowledge the other’s presence. Instead, they both stared lifelessly at a nearby wall. Holiday festivities be damned; it was just another day in matrimonial hell for my folks.

My father awkwardly turned to face my mother.

“Merry Christmas,” he said begrudgingly, holding out an envelope. “It’s an Applebee’s gift card.”

My mother glanced at the envelope and sighed.

“I don’t think I love you anymore,” she said.

“Oh?”

“Yes. You’re not surprised, are you?”

“No, not at all,” he assured her. “It’s just that… I never loved you, and I always thought you felt the same way about me.”

Relieved, my mother smiled.

“I do feel the same way!” she said.

“Well, why didn’t you say that?”

“I thought it would be insensitive.”

They both cackled like hyenas. In twelve years of marriage, this was the happiest they’d ever been.

“This is great!” my father exclaimed. “I’m gonna get packing; I can be out of your hair in forty-five minutes!”

Overjoyed, he bounced off the couch like a loose spring.

“Hold up,” my mother called after him. “Aren’t you forgetting something?”

“What, the house?” he said, his voice fading in the distance. “Keep it; it’s yours!”

My mother cleared her throat and motioned her eyes towards our Christmas tree, where I sat in a state of shock. Amid all the excitement, my parents must have forgotten that I, their six-year-old son and only child, was just inches away from them.

Upon looking me in the eyes, my father’s mood shifted from happy idiot to irritated scumbag. He turned back to face my mother, who was also visually bothered by their current predicament.

“Should we flip a coin?” he asked earnestly.

 

Growing Pains

As an adolescent, I would bounce back and forth between my mother and father. Despite not wanting anything to do with me, they randomly felt inclined to be parental in the most stereotypical ways possible.

“Do better in school,” my mother once told me while I was in the fifth grade.

“Why do you care about my grades?”

“I’m your mother,” she replied indifferently. “I’m supposed to care.”

Meanwhile, in a bizarre attempt to develop our non-existing relationship, my father would randomly visit me at school. I’ll never forget the day he dropped by my junior high school and pulled me out of math class.

“What are you doing here?” I asked.

My father was holding two baseball mitts.

“I figured we should play catch.”

“Why?”

My father shrugged.

“Because I’m your father, and you’re my son.”

“Look,” I sighed. “I don’t get out of here until three o’clock.”

My father glanced at his wristwatch. His brow furrowed.

“That’s not gonna work for me.”

Ditto, pops. Ditto.

 

A Voice of Reason

Even after they amicably separated, my parents remained cold towards me simply because I existed. At six years old, I felt like a hindrance to their happiness. To get over this guilt, I wholeheartedly embraced the concept of detachment.

In my early twenties, I would meet a girl while attending college. Although I cared about this girl, I had a hard time expressing my feelings to her. Thankfully, she was sympathetic when I explained my unconventional upbringing.

“Christ!” she yelled. “That’s fucked up.”

I nodded my head in agreement.

“Yeah, it’s crazy. I don’t mean to be distant, but that’s just how I deal with things.”

“Have you ever considered therapy?”

I shrugged.

“I think it would help you rediscover your emotions,” she said. “If not for yourself, do it for our relationship.”

Her arm wrapped around my shoulder was all it took for me to agree.

 

Texts from the Big Chair

“Do you ever talk to your parents?” my therapist asked.

“We text.”

“Care to share these exchanges with me?”

I pulled out my phone and complied.

 

Mom

How R you?

Me

Fine. Hbu?

Mom

I’m good. Thanks 4 asking.

 

“Is that it?” my therapist asked.

I nodded.

“I see…” he scribbled some text onto his notepad. “What about your father?”

 

Dad

Ever see Death Race?

Dad

Jason Statham flick.

Me

I don’t think so.

Dad

It was amazing.

 

“...And?” my therapist asked, practically on the edge of his seat.

“Oh, I thought that was an organic stopping point for the conversation,” I said, straight-faced.

“Okay,” my therapist sighed, leaning backward in his chair. “I’m giving you an assignment. I want you to have meaningful, face-to-face conversations with your mother and father.

“What should we talk about?”

“That’s entirely up to you. What are some things you’ve always wanted to ask them?”

 

Tough Conversations

Per my therapist’s request, I visited my parents during a three-day weekend. I dropped by my mother’s house first. Seated inside her kitchen, she puffed on a cigarette while we talked.

“Why did you and Dad get married?”

“It was customary at the time. I blame The Game of Life.”

I couldn’t tell if she was being metaphorical or simply referencing the popular board game. I didn’t bother asking; I had a much more consequential question on my mind.

“Mom… was I a mistake?”

My mother scoffed.

“Don’t be dense,” she told me through a thick cloud of secondhand smoke.

I asked my father the same question when visiting him later that evening. We stood outside his garage, basking in the moonlight.

“You weren’t an accident,” he said matter of factly. “You were a last-ditch effort to save our marriage.”

I took a moment to ponder my father’s words. Imagine being brought into this world to salvage a doomed marriage. Then, imagine growing up with the knowledge that you failed miserably. The psychological ramifications of coming to that realization would drive anyone insane.

For the first time since I was six, I felt pain inside my heart. But rather than free this pain, I pushed it down into the pit of my stomach.

“Guess I didn’t pay off, huh?” I uttered under my breath.

My father laughed while gazing into the black abyss of the night sky.

“No, son. You did not.”

 

Hammer Time

“Have I ever told you about the dream where I kill my parents with a hammer?”

My therapist nearly spat coffee across his desk. After a few seconds of coughing, he managed to recollect himself. I continued monotonously.

“I bash their brains in with a hammer, and the whole time, I’m waiting for them to say something, anything. But they just take it and die.”

“How does this dream make you feel?” my therapist asked.

I shrugged.

“Indifferent, I guess. Dreams are weird, right?”

My therapist looked me in the eyes with equal parts bewilderment and frustration. After several minutes of silence, he spoke up.

“Are you familiar with antidepressants?”

 

Uncomfortably Numb

My therapist was confident that antidepressants would help me relax and open up. If anything, they made me more withdrawn, like a comatose vegetable on life support.

“Why can’t you just open up to me?” my girlfriend tearfully asked.

“I’m trying,” I responded, albeit forty seconds later.

Shortly after this conversation, she would dump me. I couldn’t blame her. 

 

Tougher Conversations

Several years passed. I would graduate college and move back home to be closer to my folks, who were both dying from different forms of cancer. Since I was no longer dating my girlfriend from college, I decided to ditch my therapist and his antidepressants. He was surprisingly grateful.

I tried to have one last meaningful conversation with each of my parents before they died.

“Mom, did you ever love me?”

My mother rolled her eyes.

“I’m your mother,” she replied indifferently. “I’m supposed to love you.”

“But what if I wasn’t your son? What if I was a stranger?”

“Well, that’s a weird fucking question,” she answered sarcastically. “I don’t love strangers. I tolerate them.”

In her final moments, my mother inadvertently summarized our relationship perfectly.

Regarding my father, our final conversation was a bit more eventful.

“I once dreamed about killing you and Mom with a hammer,” I confessed.

My father’s face lit up like a Christmas tree. I hadn’t seen him this excited since the day he and my mother announced their mutual disdain for each other.

“I think Jason Statham kills someone with a hammer in Death Race!” he exclaimed. “I’ve got the DVD on my dresser. Could you put it on for me?”

“Sure,” I said, slightly taken aback.

We proceeded to watch the film together. I don’t believe Jason Statham’s character ever used a hammer to kill anyone. Regardless, my father was grinning from ear to ear the entire time. I couldn’t tell if he was happy because I was there with him or because of the movie. I assumed it was the latter.

 

Death and Rebirth

My parents would die just days apart from each other. At the cemetery, my ex-girlfriend consoled me by their gravesites.

“How do you feel?” she asked.

“You’re not gonna like it.”

“It’s okay,” she replied softly.

I shrugged my shoulders nonchalantly.

“I don’t feel a damn thing.”

I turned to face my ex-girlfriend. I could tell she knew I was lying. After a few moments, she nodded for me to keep searching for the right words. I sighed and continued.

“I feel… disappointed. I used to have fantasies about this day when I was a kid, shortly after they separated. I thought, ‘This will be the day that I’m finally free from their bullshit.’ I’ll be happy and relieved. Free of guilt. A different person.”

Despondent, I glanced down at my parent’s tombstones.

“But I don’t feel any of those things.”

Suddenly, a lump formed in my throat as hot tears began to roll down my cheeks. It was the first time I had expressed anything aside from apathy since the age of six.

“Dammit,” I sobbed. “Those bastards really did a number on me, huh?”

My ex-girlfriend wrapped her arm around my shoulder and held me as I wept.
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TELL ME YOU’RE A HOT MESS WITHOUT TELLING ME YOU’RE A HOT MESS by D.E. Hardy

I should have known it was a bad time to have a friend over. I was 15. My parents were divorcing, the house divided into a his/hers venn diagram, the kitchen being the overlapping space.

I should have foregone the offer of a snack, and led my friend straight to my room that was squarely situated on the her-side of the floorplan. Better, I could have suggested my friend and I walk to her house where we could have eaten whatever we wanted. Even in before-times, my family rarely had anything good in the fridge. 

I should have shut the fridge door when I saw our side of the fridge contained a half-eaten jar of pickles and a deflated bag of bread with two end pieces in it, while my dad’s side was fully stocked with grapes and mozzarella sticks, a pack of cinnamon buns and half a pie.

I should have lied and told my friend she could help herself, that there were no sides of the fridge, I should have pretended there would be no consequences for taking my dad’s food, that there wouldn’t be a scene, that he wouldn’t penalize my mom by deducting the cost of whatever my friend might take—some juice, a glass of milk—from my mom’s next support payment, that she wouldn’t yell at me for being selfish, for making things harder than they already were.

But I didn’t have any of that kind of sense, and so I just stood there, confused, in front of the fridge that hung open like a cracked rib cage, watching my friend’s expression evolve, her eyes widening then darkening, as she realized I thought my family was normal, how in watching her reaction, I was only now learning it wasn’t.

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DESPERATELY SEEKING ARISTOTLE’S FRIENDSHIP OF VIRTUE by Chris Kelso

Let’s argue that reality is plural: the solipsistic loneliness of individual perception becomes our first hurdle. We try to get over that by sharing some kind of rudimentary interior with others—where common goals and grammars can unite and define us as joint proprietors of a greater cognitive space. So how do you deal with people not liking you? What strategies can you call upon when you reach out for connection only to find an opposing electrical charge exerting its repulsive force against you? It seems strange to imagine that in the age of social-media anyone would reject this idea of a cognitive space of mutual connection, but it’s harder to attain than you might think. Well, it’s harder for me at least.

It sounds cynical but sometimes, no matter how many ways you attack this complex endeavour with reasoning there is simply no way in. Some people just don’t want to share an interior with you. In truth, most people don’t. Which means that even if reality is plural, our experience of it is doomed to be paradoxically solitary and singular. Knowing that truth doesn’t make the problem any easier to live with. So, is this just the end of friendship for Chris Kelso? The optimist in me says ‘no’. The other voices say ‘mmm, well…maybe’. 

When you write books about critter-states, child murderers and psychosexual trauma, it might seem like other people’s opinions aren’t all that important to you in the first place. But that’s not true. I write to exorcise my sadness and put some distance between my day-to-day self and those grim fascinations. Writing is to be a friend of wisdom. The books are rarely ever an expression of how I feel or what I enjoy. In fact, I have yearned after stable conventions since I was a young boy. Sure (at my lowest ebb, when I felt it had eluded me) I battled against conventional structures, but always in the secret hope that it would eventually come to me of its own accord. Like a jilted lover hell-bent on retribution. An arsenal of mind-games and denial at my disposal. But I want(ed) friendship. I always wanted a good job and the status that brought. I wanted a place in society. Self-fucking-actualisation. And Maslow was right when he outlined his tenets in the hierarchy of needs (although having critical ‘needs’ will make you inherently ‘needy’, and this is also unattractive). I want to believe in goodness and an afterlife. I want to believe in romance and meaningful connection. Alas, this is the loneliest I have ever felt. All these conventions continue to allude me and I need to make peace with another harsh truth: my own undesirable status as a fundamentally needy soul navigating the morgue of human indifference. Losing the optimist soul. Accepting the void. 

And that’s what this is, I suppose—this, right here. I’m trying to articulate something so I can connect with someone out there in the great collective abyss. Shine a light on it all. But dark matter only consumes; it neither reflects nor absorbs the light. Only eats it. 

Aristotle defined friendship as reciprocated goodwill. 

‘In poverty as well as in other misfortunes, people suppose that friends are their only refuge.’ 

Goodwill certainly seems to be in abundance on a superficial level, but does it have genuine truth or is it some kind of trivial social camouflage? If it did then surely connection would be simpler and would occur on a more regular basis. I’m also aware that the materiality of our reality conditions the connection of everything with everything else. I know we are cosmically bound, like the milling atoms of a crystal—interdependent particles oscillating together in the quest for structural integrity. And as I step into a new profession with demanding and stressful challenges, friendships become more important, yet somehow less accidental and more intentional, albeit still fate-pending. Friendship becomes about utility, survival. The kind where there is no real reciprocal affection. Two cold bodies clutching hold of each other in a superficial embrace as they spiral into apathy together. These are usually temporary relationships and these are where I find myself dwelling of late. And usually it’s me who needs more. I often try to break this shallow barrier with sincere acts and a giving nature. Because I need the friendship of virtue in my life. Unfortunately, no one has the patience required. My ‘needs’ appear ‘needy’. And my overtures of friendship deflect off chitinous eyes and ears. My gifts of connection pass through transparent hands and crash hopelessly to the floor. 

I am lucky to have love in my life. I have a fiancé who connects with me. She represents the world of reciprocity that I craved. But what of fraternity? That’s been a different story entirely. But so what? An optimist resides inside my heart, muted but present. I’ll just have to wrestle with undesirable status until the black soup of dark matter takes me beneath its well. B.R Yeager once told me that ‘humanity sees the void as a vacuum/an absence only because we aren’t tuned to perceive what resides there, and as conscious entities we put consciousness on a pedestal.’ So, this struggle to elevate consciousness through connection and shared experience is perhaps folly. Dying alone doesn’t frighten Yeager because, as he says, ‘I imagine my consciousness will just disappear, become other energy, scatter, etc. I won’t be aware of it or its ramifications, and that’s strangely comforting.’ 

Maybe there will be something beyond. In the dark matter we can’t see. A new world of simple connection and reciprocity. But that’s the optimist talking…

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THE DOCKMASTER MUST NEVER SEE THIS by Claire Hopple

Gretchen starts with ditching her cell phone. She connects a landline and absconds with an old friend’s answering machine. 

She receives a message from a wrong number telling her to meet at a houseboat by the river tomorrow at nine. The voice doesn’t specify whether that’s A.M. or P.M. She plays the message over and over, repulsed.

The following day, she settles on a bench beside the river. There’s only one boat. It’s docked directly in view of the casino. It’s not a houseboat. Not at all. Regardless, this must be the place.

Hampered by the stranger’s lack of specificity and not yet emboldened enough to track down her hunch, she decides that he meant nine at night, not nine in the morning like it is right now.

Gretchen doesn’t go home. She continues to sit on the bench. She stares at a patch of dormant grass and tries not to think very deeply about its symbolism.

A breeze kicks up from the water. She puts her fingers on her neck to warm them, which feels like being mean and nice to herself at the same time. Maybe she is canceling herself out.

There’s a doughnut cart over by the playground. She stands down from her station for reinforcements and fraternizes with the pigeons by feeding them crumbs.

Finally, it’s time. Gretchen enters what is meant to be the living room, bringing a wake of her own.

“The dockmaster must never see this,” a man says from the ground.

He stops blinking away the blood from a gash on his forehead.

“You’re still alive? I wasn’t sure,” Gretchen says.

“Tell it to the buoys.”

According to the vinyl beside him, he wasn't the only victim. A mangled ball python lies on torn cushions. 

“Can it be cured?” he asks, gesturing to the snake but not moving very much.

She wasn’t sure if by “cured” he meant made into meat or healed. She doesn’t answer.

There are so many ways to make it clear that a visitor doesn’t belong, she thinks, and one of them is not using customary specifics when requesting said visitor in the first place, even if the message was intended for someone else. She could have arrived before it was too late. Still, she almost wishes she could decipher the architecture of helpfulness.

He looks like one giant and triumphant recessive gene lying there on the floor like that. He probably studies escape routes of public buildings.

The man keeps shouting at her, “I keep shouting at you!”

But then he reaches a more suitable volume. He volunteers that he used to be a tightrope walker.

“How did you do it?” Gretchen asks.

“I could tell you, but it’s much more interesting to learn how you do it,” he says.

His small table holds what looks like a framed portrait of a slice of rhubarb pie.

“I used to think I wanted to be inconspicuous about my work. Like the daytime moon. Now I know I’ve always yearned to be caught. I can tell you’re the same way. And yet you’ve failed me,” he says, trying to get up.

Failing people. This is the sort of thing she can do.

“I know what you’re getting at,” she says.

The man seems to already know about her. She does want to be reprimanded, but the only people who notice her are the people who don’t seem to mind.

“Look, there’s a horde of angry civilians peering in the portholes and murmuring at us right now.”

There isn’t.

“Do you want...a bandaid?” she manages. “Or an MRI?” she tries again.

A woman joins them below deck and sets down her purse. Her name tag says: LUCKY.

“That student government your son is involved with, it’s really just a puppet regime,” Lucky says.

She sits down on the flayed cushions, right on top of the snake carcass, and unties her shoes.

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MEN WHO CAN’T HUNT by James Cato

Who but Leatra would sashay onto my lopsided porch late for a 6 PM appointment, her pink top with ribbons tied tight across the front. I didn’t correct her when she called me a masseuse but felt the beginnings of dislike before she lay naked with a towel slack at her hips on the table. Resisting the urge to yank her platinum braid, I ran grapeseed oil on her back in a drizzling loop. 

Who but Leatra would tighten at the mention of my brother Ely. I told her how this therapy studio had been his bedroom before he vanished, before we slid posters in windshield wipers, before he was no longer considered missing. We had found and buried something. But he was not found. My body moved with my hands over her bony landmarks. The lingering spoor of Ely clung in this room on hot days like today with no AC and damp towels and blackout curtains. 

Ely had been hellishly fixed on Leatra back in high school. She’d knocked him flat on his ass—in one long scroller text she stated he could not be with her, ever, he was unfit, too passive, too cockeyed, too short; he should get the notion permanently scrubbed out of his brain. I’ve often wondered if her cruel words helped punt him down his dark path. Even a big sister beer-run failed to console him. I wanted this patient of mine to make amends.

And who but Leatra would change the subject as I cleaved her spine with my hands in blades, her sweating shoulders soft as tomatoes in the oven. She described how she dated Ammon, Benny B, and Lela on and off and sometimes all at once, because, and this went unsaid, Leatra Feridun needed the affection of not one but three of the most attractive people in town. I chewed ice while I rubbed and she complained about its glacial creak against my teeth. I was attracted to her. I understood Ely’s sickness for her unflinching demands.

And she had talent as an open ear. I kneaded her trapezius which puts most patients in a trance yet she listened thoughtfully to my theory about how skin-walkers in the woods had taken Ely when he walked into the trees with dad’s gun, how once he’d disappeared box turtles started bobbling through my yard with smiley faces and stars drawn in mud on their carapaces. Even in pre-colonial times, stories of shapeshifting skin-walkers had haunted these hills and it was crazier to doubt centuries of indigenous accounts than to believe them. 

I wondered: what would Ely think of Leatra undressed here in his old bedroom, speculating about his fate? I shared how the graffiti on the wildlife wasn’t the only sign of Ely’s spirit while pulling her shoulders away from each other, believing her honey skin could disguise ill will as well as any deer skull beast screaming for help in the night. Ely’s online profiles also persisted as if linked to his soul. His cell phone gathered dust and voicemails of garbled wind. I even drove by roadkill mutilated, skinned and headless.

“That’s just the men who can’t hunt,” she butted in. “They drive around and steal the antlers and hides and heads and mount them in their garages. Ammon told me. He’s a real hunter; I know because he invites me sometimes to come along and watch. I don’t mind deer or the killing of deer, but I never go.” 

Just like Leatra Feridun, I thought, to not mind a thing and also not mind the killing of that thing. But there was excitement in her voice. Because maybe my brother Ely who never hurt an animal in his life really did stroll into the woods with a gun and had his essence eaten. Maybe he’d actually convinced his monster to feast on rumble strip corpses rather than stalking live victims. I noticed skin crumpled under Leatra’s ear, a scar from a bottle thrown by real hunter Ammon, gossip the whole town had heard but tuned out. I liked her more than when she first walked in. It was important to her to believe, even a little, with me.

When she left she took a fistful of mints from the bowl and I waved her croupy truck down the slithering road until it was eaten by trees in the dusk. Her face gave nothing away except a tilt toward the forest. Mosquito larvae flexed in the birdbath as if celebrating with me. I swept a flashlight across the creek-rippling reeds on the edge of the yard. The beam caught the eyes of a standing animal and I held the contact for a few seconds. Then I clicked it off, leaving the night darker than ever. 

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B.R. YEAGER on film with Rebecca Gransden

What film, or films, made the first deep impression on you?

The first films I truly loved were incredibly basic, because I was a kid. And I was a blockbuster kid. I was obsessed with Aliens, Terminator 2, Jurassic Park, etc. And I still love those movies, even though they’ve long been replaced as my favorites. But I think the biggest mark they left on me was a love of grandiose scope and spectacle. There’s plenty to critique about those films with regard to emotional or intellectual complexity, but in terms of presenting a spectacular, grandiose vision they’re pretty impeccable. So they’re still a big inspiration—I’m often trying to marry emotional complexity and realism to a grand, mythic scale.

What films first felt transgressive to you? Do you remember being secretive about any films you watched growing up?

I’m not sure about transgressive, but the first film I encountered where I realized I was watching something supremely different was probably Welcome to the Dollhouse, which I saw not too long after it came out. I think it triggered my initial understanding of independent film, that there was such a thing as independent film, and that independent film was substantially different from what I was used to seeing. I remember thinking why does it look like that? Both the film quality and the actors—why does everyone look so fucked up? (i.e. like real people). Like I said, at the time my favorite films were the big blockbusters, so this was incredibly jarring. I kind of reeled from it at first, but it was so well done, so well-written and funny, I warmed up to it, and it’s become one of my favorites since.

There’s this film that no one has heard of that was extremely formative for me, called Slaughter of the Innocents. I first saw it on TV, late at night, when I was nine or ten. I had seen commercials for it, and knew it was about child murder, and that fact alone was so upsetting to me, but also incredibly compelling. I couldn’t stop thinking about it. It felt so crazy that there was this film called Slaughter of the Innocents that revolved around child killing—I had to see what it was all about.

It centers on this FBI agent who specializes in child murders. But the twist is that he’s been training his eleven-year-old computer-whiz son to be a forensics investigator. So this eleven year old kid is helping his father solve these grisly child murders, and no one around him bats an eye—not his mother, not the other FBI agents, no one. It’s treated as though it’s the most normal thing in the world. So the whole thing feels like a goofy kids’ movie like The Goonies or Home Alone that’s been folded into this bleak film about child murder. It’s absolutely bonkers. But revisiting it now, I can see how that aspect spoke to me at such a young age. It had many of the trappings of what I loved as a child—these kid adventure movies—paired with this terrifying story that felt very real and immediate. This was 1993, so it was the tail end of the satanic panic, the height of stranger danger, and there are all these stories about child abduction and sexual abuse and murder on the news and on talk shows. Slaughter of the Innocents is full-on pulling from all these anxieties, and as a child it felt so real. Watching it now, it’s goofy and campy, but at the time it felt intensely relevant and powerful.

I’m also now able to appreciate it as an incredibly non-traditional first brush with dark and transgressive themes in art. Most people’s first exposure is something generally recognized as a classic—Silence of the Lambs or Twin Peaks or something like that. For me it was this bizarre D-list rip off of Silence of the Lambs and Twin Peaks. But unlike most D-list ‘90s films that no one has ever heard of, Slaughter of the Innocents still kind of slaps. The acting, writing and direction isn’t terrible. It has a beautiful and eerie vibe. The entire thing feels as though it exists within a world that’s ending but no one realizes it yet—and if there’s one through-line between all my books it’s my attempt at trying to capture that feeling. So despite its obscurity it had a pretty enormous impact.

Can you talk about the influence film has had on your writing?

I’m influenced by film in a fairly unique way. I’d love to know if this happens with anyone else. Essentially: I watch a lot of good stuff but I also watch a lot of garbage. Sometimes I just want sound and image in front of me, and I’m pretty easily entertained. And often I find so much inspiration in the dumbest shit. I’ll be watching something like Detective Pikachu, and there might be a little visual gag, or an offhand remark played as a joke—and I’ll think “What if we took that gag seriously, and played it out to its most logical conclusion?” That sometimes becomes the foundation for a scene, or a character, or an entire story.

Earlier this year when my wife and I were dealing with the side effects from our second vax dose, we threw on the Shrek movies. And no joke, a brief gag in Shrek 2 ended up inspiring the premise for my next novel. The novel will in no way read like something inspired by Shrek 2—it’s this quiet, mournful drama—but I’m almost completely certain that if I hadn’t been watching Shrek 2 I never would have gotten this idea.

I think the way this works is that “good” or “serious” films (however you want to qualify that) tend to be fully realized artistic visions. They’re already taking their premises seriously and playing them out to their most logical conclusions. At the same time, they’re also giving you less to build with. Like, there’s not really anything I would try to change or improve upon with something like The Piano Teacher. There could be structural elements I borrow from great art, but less so with regard to content.

But “bad” movies (or silly movies, or generally unserious movies, or lowest common denominator movies—however you want to define them) can be rich in unrealized potential. There are materials within that can be scavenged and improved upon and built into something radically different from how they were originally conceived and presented. I find that weed helps.

My friend John Trefry who runs Inside the Castle was talking about this too, that engaging with garbage forces you to bring more of yourself to the table in order to appreciate it than a classic piece of art does. It can require a more active engagement (again, weed helps). What you end up enjoying or being inspired by will inevitably be more personal, and have more to do with your own perspective rather than the creator’s.

What directors, film movements, or particular actors have been an influence?

I’m going to use John Carpenter not just because his films have had an enormous impact on me, but he also serves as a great counterexample to some stagnation I currently see within the horror genre. One thing that’s fascinating about Carpenter is that, ultimately, he wanted to make Westerns. But he didn’t have the necessary resources, so he adapted his vision into something completely new, while still holding onto that root inspiration. You can see traces of Westerns throughout his filmography, in the cinematic and narrative languages he uses, but you’d never mistake his work for John Ford’s. Most importantly, he didn’t just go and make a shoddy knock off of a John Ford film. He created something new.

Something I kind of loathe right now, specifically within the horror genre, is the overwhelming obsession with nostalgia. I see a lot of directors and writers content to ape what came before them. And I’m sure much of it is done out of genuine love (just as much of it is done as a cynical cash grab). But regardless of intention, strictly rehashing what came before leads only to stagnation. It signifies a misunderstanding of what made the films of the 70s/80s/90s/whenever special: they brought something new to the table, and reflected something about the time and culture in which they were created.

You can’t just photocopy magic and expect the outcome to be magical. You need to do something different with it; if not something new, then something personal and sincere, something beyond “I like this.” Like, I tried watching Fear Street 1994 and got maybe five minutes into it. “Oh, we’re doing Scream? We’re just going to do a bad version of Scream?” And I shut it off. I’m not interested in watching a bad version of something good that came before. 

So John Carpenter’s filmography is just a persistent lesson in how you can take something old and beloved and transform it into something completely unrecognizable, yet equally as powerful.

Have you ever made a film? If so, has the process of doing that had an influence on your writing?

The past couple years I’ve been collaborating with this filmmaker Nick Verdi.

I acted in his short film Angel of the Night, and co-wrote his debut feature Cockazoid. It’s really forced me to learn how to develop and communicate my ideas in a quick and concise fashion—something I’ve never been good at. Writing obviously tends to be a solitary endeavor—you’re communicating your ideas to yourself in your head and on the page, and then you refine those ideas over an extended period of time until they’re ready for someone else to take a look. And this can take years. But filmmaking needs to be quick—especially run-and-gun, beg-borrow-steal no-budget filmmaking—so if you have an idea, you need to be able to communicate it efficiently. You can’t just wait for inspiration to come, because there's a schedule you need to adhere to. You really have to get in there and problem-solve and make shit work. So that’s been a welcome challenge. It’s forced me to learn how to refine my ideas faster.

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’ve lived in Western Massachusetts my entire life, and maybe it’s just a bias but I’ve always found the area (and New England in general) to be extremely evocative and cinematic. Funny enough, the newest season of Dexter was just shot here (including a diner that’s a two minute drive from my apartment). But yeah, I think part of it is the juxtaposition—vast woodlands and hills abutting rotting factories and strip malls. Cities built on the sides of mountains. There are these insanely wealthy towns with tiny hidden nooks where they keep all the low-income housing, far from sight. Also the architecture—some of the buildings here are hundreds of years old. Same with the cemeteries. The past and the future seem to be constantly scraping up against each other. It’s a dynamic, conflicted landscape.

Are there films you regularly return to, and do you know why?

Hands down my favorite film is Francis Ford Coppola’s Bram Stoker’s Dracula. And here everything collides: it’s a wholly unique blockbuster on a grand scale, with astounding vision and spectacle, and it’s also a little trashy. There’s really no universe where Keanu Reeves should be in this movie, but I love that performance; he fits the character better than people give him credit for. There are also parts in the later acts that kind of fall apart and make no sense, but it doesn’t really matter. It becomes part of the film's overall character. It’s gorgeous and dark and silly and bloody and horny, and there’s this powerful romantic emotion running beneath it all. The ending knocks the wind out of me, always.

I just admire the hell out of it. And it consciously represents an end of something. Coppola made it specifically because he foresaw that big-budget films that rely on elaborate costumes, sets, and practical (in-camera!) effects were on their way out. As a result, he pulled techniques from the entire history of filmmaking. It’s a culmination of the form. He believed this would be the last opportunity to make a film at this scale the traditional way. And he was right! You couldn’t make Bram Stoker’s Dracula today. And that’s terrible. What a loss.

Which of your writings would adapt most successfully to film?

I’m going to go the opposite direction and give one that I think is pretty much unfilmable: Amygdalatropolis. Content aside, the vast majority of it takes place on online imageboards, and I can’t really think of anything less cinematic than that. I know some filmmakers have done desktop films, but as far as I can tell those still primarily rely on webcam footage, and I’m honestly a bit skeptical of how much life the form has.

I’d be very curious to see how someone would interpret Negative Space. I have a very distinct vision in my head of what that would look like, but the nature of literature is that every reader creates their own vision from the text. You can never know what your story looks like inside another person’s head, so a film adaptation would be the closest you could come to actually observing that.

Can you give some film recommendations for those who have liked your writing?

River’s EdgeThe GateThe Doom GenerationBenny’s VideoKairo

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TWO MICROS by Grace Q. Song

MAGICIAN’S HAT

You find an upside-down magician’s hat on a table. It’s made of velvet, smooth as moonlight between your fingers, and a stripe, broad and white, wraps around its base. No one’s around. The first thing you pull out is a wand. Next, a deck of fresh cards. Pigeons and rabbits who disappear into the dark corners of the room. These are ordinary things you’d expect to find in a magician’s hat, nothing too surprising. So, you keep pulling and pulling, magic trick after magic trick, until things finally begin. The twenty-fifth item is a red Starburst, followed by a hair tie, then a roll of peel-and-stick wallpaper, and a pack of tissues. The forty-third item is a grocery receipt, the one hundred ninety-ninth: a crumpled permission slip for an eighth-grade field trip, the five hundred seventy-sixth: a birthday card from Dave. Money comes pouring in: one-dollar bills, five-dollar bills, even a twenty-dollar bill (plus six dimes and thirty pennies). The table struggles under the weight of all these objects and you’re not even sure what number it is anymore, probably close to the thousands, but you continue. You pull postcards, letters, magazines, sheet music, instruction manuals, screws, AAA batteries, duct tape, mustard bottles, water bottles, water bottle caps, guitar picks, lottery tickets, shirt buttons, skirt buttons, friendship bracelets, hoop earrings, funky socks, plastic forks, recycled napkins, résumés, permits, credit cards, library cards, passwords, prayers, promotions, doctor appointments, apologies, manners at social gatherings, elevator conversations, sweet slices of peace—and finally, a picture of me and you. 

  

MAP FOR A MODERN LOVE STORY

Henry and I stuck to the facts: finding out our Myers-Briggs types (he was an ENFP, I was an INTP), reading Tumblr posts of dates gone wrong, and playing The New York Times’ “36 Questions That Lead to Love.” Afterwards, it was clear that romance was disorienting and startling: a boat accidentally floating out to sea or a tiny house with just one window, and we both had to sit down for ten minutes to reel in our breaths. That night, we unrolled a large 36 by 24 inch sheet of paper on the table. With No. 2 pencils we measured distances, drew forests to explore and rivers to cross. At one point, Henry added a brown bear and then lost him on the page, but we knew he’d be roaming somewhere in the Classical Music territory. Finally, with all the STOP, YIELD, and NO LEFT TURN signs colored-in, we rolled our new plan into motion. It wasn’t easy, of course. But with a map for our expedition, we no longer found ourselves adrift, bewildered. Soon, board games stacked on top of the living room table, and we lost Scrabble tiles to the underbelly of the couch. 1000-piece puzzles framed our walls: pictures of grazing horses and secret gardens. On Sundays, Mendelssohn’s Songs Without Words mused through the hallways as we completed our crossword puzzles. Our map kept growing, lengthening into a mural. We fell into a rhythm of yelling at the TV, sneezing from the dust particles, and sharing the cranky espresso machine. Just in case, we lay on a single, skinny bed. Our feet dangled over the edge, and it was a miracle our wrists didn’t brush, that our knees didn’t touch. We looked at each other in half-curiosity, half-wonder. His hair so dark, it almost seemed wet. We were happy, so one night, we ate our vitamins and danced like stupid people. It was almost a bad movie. We opened a bottle of champagne.

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THE EARTHWORM by Jennifer Ritenour

Earthworm unfurls from an egg. No siblings. Only this one worm of two sexes. E wiggles in fluid and then presses herms face against the soft wall of the cocoon. A beat comes from the other side. Aware of hermself, E is now alive. E thrusts and pushes until the wall tears. Darkness, slick cool mud. The cocoon is now deflated behind herm. The lub dub, lub dub, lub dub is the pulse of Mother Earth and also the beat of herms five hearts.

Earthworm slides through the dirt. Stomach pangs. E opens herms mouth. Soil flows in and through herm. Pebbles and stones grind the rot, dead leaves, old fruit, animal bones and fungus deep beneath the trees’ roots. Out comes the castings. Earthworm feels the life sprout somewhere above herm. 

E falls asleep and dreams of an Earthworm, just like herm, and there is a flash of light when they touch.

Earthworm wakes and notices a ring has formed. Inside the cocoon are nine empty eggs.

The other Earthworm, from the dream, slides up beside herm. They touch, skin to skin, and release their fluids. Their ten hearts pump in a rhythmic sway, lub dub lub dub lub dub. A shared warmth, a swirl of light, a ring. 

Can it be this way, like it is right now, forever? Earthworm thinks. 

I will see you again, The Other thinks, in the glow. 

The Other slips away.

As Earthworm pushes forward, the eggs inside herms ring bump against each other erupting herms incubating children into giggles. 

A knowing, an instinct, a flash. Earthworm could have done this with hermself. An exact copy. If E couldn’t find The Other to share the warmth, to make the light ring, then E could have given herms own fluid to herms own eggs and be born again.

But for now, herms children are not clones and they aren’t alone. They will hatch, be curious about the lub dub, the sparks of light and rushes of warmth. They will eat rocks and dead plants and help the grass grow. They will meet An Other and share fluids and leave each other or share the warmth only with themselves. 

The cocoon detaches from herms body. Slides right off herm and nestles in the dirt. Earthworm rises up. There is no time left. 

The breakthrough of this surface is cold and harsh. Rain droplets pelt on herms delicate skin, but the crisp air and  dead moss call herm to eat. Opening herms mouth, E never tasted such mulch without the dirt and the rocks to grind it and E became fuller than ever before. 

The shush of rain stops. Warmth breaks from above and beams on herms body. E stretches hermself up into the air where there is no mud or dirt. E has a strange feeling of having done this all before.

Earthworm, with herms tiny eyeless face, stares into the Sun, mouth open, and absorbs all the light, the glow.

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