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YOU WANT TO HEAR A LOVE STORY by Ashton Russell

He flirted with you at work. You were 16 and he was 23. He would hold his hands behind his back to mimic how you walked away from the server board in the kitchen. Because you were uncomfortable in your own body. Your ass felt too big, the way you walked too bouncy. Sitting at the bar at work eating before the doors opened, he sat down beside you and pushed his hand up your thigh not saying anything. He followed you out to the parking lot up the hill where staff parked. He asked if he could drive your Volkswagen. He had never been in one before. You felt like you might throw up if you said yes. But you did anyway.

You drove around together a few times after work, riding in the dark along old dirt roads outside of town. The lights from the dashboard illuminating both your faces. He invited you over to his parents’ house where he was staying temporarily but you couldn’t go inside. He told you he hated it. He was used to being on his own, but he had to figure some things out right now. He walked you to your car parked on the street out front after talking to each other for hours. And he kissed you. You didn’t know what to do with your hands, if you should close your eyes. 

Walking around the block at his parents’ house, hiding because a bug spray truck came by blasting fumes for mosquitoes. Sitting in the driveway on the back of a truck bed. He leaned in to kiss you and reached his hands up under your shirt. The first time his fingers grazed the outside of your underwear. You felt light, like floating. You noticed his shorts, how he was hard against his leg. You had never seen that before. 

The drives you would take together. Making out and listening to music. How you danced in the street in his parent’s neighborhood. Kissing and swinging in the backyard. Always together at night, always in secret. He didn’t want you telling people at work or friends that you knew him. He gave you a piece of art the size of a bookmark that he had made. He was moving soon. He wrote on the back, to my friend - July 2003 my mom's birthday

He left for grad school in the summer. The first time he called you and left a message, Hey it’s J—. My number is 9xx-xxx-xxxx. You missed it because you were out eating with your parents. You didn’t like the cell phone and kept forgetting to take it with you.  How he called randomly, every few weeks. Always leaving you excited and confused. He told you about school and about his work. You were so nervous on the phone, shaking from the excitement. But you never had anything interesting to say. You were still in high school, still a kid living in a sad small town.  He told you about how he used to love watching you walk away at the restaurant. The white skirt you wore was see through. The thong underneath drove him crazy. 

You took Polaroids when you were 17, posing in a mini skirt. Sitting on the counter at a laundromat eating a banana, your legs angled in a way to show off your underwear. Standing in front of a window in your friend’s apartment, topless, turning to look back at the camera with a smile. Mailing them to him as a gift. You knew he probably had other girls. But were they young with perfect tits like you? Getting into the bathtub when he would call, the sounds the water made as your naked body gently moved around. Innocent. 

He came home that Christmas and showed up at the restaurant. Sat down beside you but acted like he was talking to old coworkers. Got invited to a party that everyone was going to. He said he wouldn’t be able to come. Telling you the way you feel about me is the way I feel about someone else. Then showing up to the party and kissing you on Christmas Day. He said, damn girl you trying to kill me? How it took less than a week for him to call you again. But he kept playing, telling you that you were too young. That he has someone else.  But you still heard from him every few weeks. He still wanted you, he said. But it was time and space. It was age. 

Six months later you would be together. He came home and called you to meet up at a park. Sitting on a swing while he stood over you with his hands in his pockets, he asked you if you were still a virgin. He wasn’t mad but he said he wanted to be your first. He would take you camping in Virginia your first weekend of college and you would finally have sex with him in a tent in the woods. He made you banana and peanut butter sandwiches and sat at the picnic table playing his guitar. It was cool in the mornings, nothing like where you were from. And he wore a long sleeve thermal shirt over his t-shirt and shorts. 

The first year — “Bonnie ‘Prince’ Billy” playing as you drove down sunny streets in Chapel Hill in his green ford explorer. Shows at the Cat's Cradle. Eighteen and seeing Arcade Fire on their first tour. Parties where you were the only one under 21. How he didn’t want you telling people how old you were. Just say in college. Keep it simple. But one of his roommates didn’t like you. She knew you were young. 

The smell of his art studio. Like plaster and paint and a sweet fruit mixed together. The room had no windows, like a white cinderblock cage. The giant desktop computer in the lab all the grad students used. You standing in the background waiting while he checks his emails. He didn’t have a computer at home. The Fedora hat you bought him that he lost and wasn’t really sorry about. 

Telling you, don’t eat fast food. Don’t eat meat. You are going to leave me one day for a younger guy. The band he had, “Tennis”. How he sang “I only called you to hear myself talking to you”

The first trip to NYC. Hand jobs in a taxicab. Doing lines of coke in a bathroom at a bar you were too young to get into. Having sex, you on top, when your friend walked in on you both. You went to the MOMA but felt overwhelmed after six floors of art. The sound of the high school bands practicing for the Thanksgiving Day parade at 3 am. Right outside the window of the apartment you were both in. How small the kitchen was, how groceries could be delivered to you. 

He wrote you a letter and sent it in the mail saying, one day we can say the things we both know each other feel. Then shortly after he said I love you in person and for some reason it took you months to say it back. You wanted to but each time the moment seemed right your voice was gone. Coming down weekends from college to stay with him in his house in Carrboro that he shared with two other grad students. The perfectly rectangular window in the living room with no shades covering it, the green lawn and shady trees. They didn’t have a TV and they all acted like this was a statement. The one piece of art you remember, a photograph of a stack of towels pinned directly above the toilet in the shared bathroom. 

His bed was on the floor and he had no comforter. There were nights when you would wake to him rubbing up against you, your naked body moving with his, both of you half asleep and not speaking. Getting up in the morning wondering if that was a dream. The first few months those weekend visits would involve so much sex you would come back to school sore, moving stiffly while your friends all made fun of you. But you always faked it with him. And you started to think other girls lied about sex too. 

He made you dinners and you listened to “Iron and Wine” while he cooked. He liked to go to Weaver Street Market with the dog, get coffee and hang out on the lawn with the crowds. But you felt shy and uncomfortable. You had never seen a grocery store like this one, where milk was served in glass bottles that you had to bring back. Where food was from the farm in town and people were around outside playing music and making spontaneous art. He took you to art shows, sometimes he was in them and sometimes he wasn’t. But he always wanted you to have an opinion, to share your thoughts. But all you thought about was how could some of these things be called art? Pencil drawings on torn off pieces of paper. For sale for fifty dollars?  

His thesis show that spring before he graduated. His parents came up and it felt awkward. Everyone knew you were the young girl he hung out with. The one who was in high school. But his mother was cold when she gave you a distracted side hug. They bought him an Apple laptop - the solid white MacBook. But he still didn’t have a cell phone.

Living with him the summer after sophomore year. His duplex in Durham. When you came to stay — bags packed in the trunk of your bug — you walked in to see he had flowers on the counter and Hey Ash written in bright colored magnetic letters on the old white fridge. The overgrown backyard that you never went into. Standing on the side porch steps, watching his dog do his business. The perfectly sunny kitchen with the Formica round countertop. The walls painted white over so many years the paint was peeling off in thick layers. Taking a nap on a sunny afternoon and the buzzer for the dryer going off. He got up confused and turned off the bathroom light. How you laughed about it for days. The time he reached up to turn off the overhead light on the spinning ceiling fan and as the light went out the globe crashed around you.

Going to Baltimore for a week-long art festival. You helped sell the merch for his art collective. But it was hot, and you hated it. The city was dirty, and it scared you to see so many people living on the street. You had to sleep on the floor in a room full of other artists because everyone was broke, and no one could get a hotel. All people he called friends but many you had never met before.  He bought you a handmade wallet, it was a vintage green pattern with a few buttons sewn on it. Everyone went to dinner at a place that claimed to be a favorite of John Waters, it had a giant mural of constellations on the wall and you tried mussels for the first time.

Back in Durham you got a job serving ice cream at a Ben and Jerry’s next door to the Whole Foods. He made fun of the job but loved that you came home smelling like cake batter every night. You didn’t have friends and you spent a lot of time alone. He said, you watch too much TV, you don’t try to meet people. He took you to shows, CD release parties, Art exhibits and museums but you always felt like an imposter. You weren’t an artist; you weren’t in a band. You were just the cool guy's girlfriend.

He moved into a house with a guy who wasn’t an artist in Raleigh your junior and senior years. He liked baseball and was getting an MBA. He wore a top hat unironically. And you both laughed at him behind his back. Did he really need the top hot and the pipe to get laid? Did he think he was an intellectual? 

 Having an awkward conversation in the bedroom, his bedroom, the thin wall not much distance from the top hat roommate. Sitting on the chair in the corner of the room and him asking you if you ever got off during sex. You worried the roommate might hear you both speaking. You were a bad liar so you told him maybe you just couldn’t, maybe something was wrong with your body. But sometimes his mouth worked, just not always. 

The Christmas party they had, 2007. It was an ugly sweater party which you had never heard of before. The first-place prize was a VHS tape of Oprah. His band played from one of the rooms in the house. They used it as a workspace/studio/band room. It had brown paneled walls, the kind with random round black circles that from a distance looked like roaches. There was a new bass player, his name was Kyle and you couldn’t stop looking at him. Did he have to be so cute, so young and tall and lean? Shows with the band at The Cave, being uncomfortable around all the older people. Sitting at the merch table to help sell the album they recorded a few years before. The stickers he drew of two tennis rackets stuck together. 

Going to the beach for Spring Break senior year. It was cold and you didn’t like the town. It was lonesome and boring and nothing like the beaches you grew up around in Florida. He asked you to marry him after dinner in the hotel room. You were laying on your side, uncomfortable after the food. He said he was going to ask on the beach, but he was scared he would drop the ring. You didn’t wear it much; told him you weren’t crazy about jewelry and you didn’t want to lose it. He got mad that it took you a week to tell anyone about the engagement.

The time his roommate brought a girl home at two a.m., woke you up fucking her in the room next door. Her moans so loud and overdone. You imagined him naked but his top hat still on while he took her from behind. You had an early flight to NYC again. Your 21st birthday. The bedroom door opened, and a naked woman stood in silhouette. She was lost, she said. You had him get up and check the house, you were scared. The next morning, early showers and packing. There was a blood trail from the bedroom to the backdoor and out onto the brick stairs leading to the grass. She had cut her foot wandering around the house in the dark, but no one explained what it was cut on. The city didn’t feel the same the second time. The first step on the subway, trying to get to your hotel. A homeless guy was shouting about all the years he had been arrested, taking off one piece of clothing for each year he was locked up. You had a headache and just wanted to get to the room. But it was a disappointment, the window looked out to a brick wall and the bathroom was shared with everyone else on the floor. 

Your best friend bought a bottle of Dom Perignon and made you a dinner of gnocchi that she learned in culinary school the week before. You took polaroid’s of drinking and eating at her apartment. The one you still have; he’s bent over with you on his back. You’re laughing but looking away. And he is looking at the floor. 

Getting tattoos together. He drew both. One on his arm, an outline of the state you were both from. And yours on your wrist, the state with the state flower. Now you forever have his artwork on you. With you. 

Moving in finally after graduation but feeling like you were totally lost. Working at NC State for a Christmas tree genetics department. Watering, planting, and killing Christmas trees all summer long. The professor went somewhere in South Asia and brought you back an evil eye charm. It rests on your bookshelf today. Listening to the Bob Dylan song “I’ll Keep It with Mine”, the only thing that would calm the constant anxiety. How the sky looked too big, how it hurt to see the clouds. You would drive around with the visor down every day, just to hide the sky. You felt you might float away into it the way a balloon does when you let it go.

Feeling pressure from your parents to pick a dress, a place. Order invitations. Who will be the bridesmaids? But did you even want a wedding? Thinking of walking in front of all those people made your hands start to sweat.  

Moving to a small town closer to his community college job but somehow it was your fault. Because you were the one who was always scared of the city. But the apartment was too new, too white and you both didn’t seem to fit in it right. Getting let go from NC State and being unemployed. It was 2008 and no one was hiring. Drinking all the time but trying to hide it. 

Going to the college reunion in the fall and sleeping with an old professor in the back seat of your car. He told you were a great writer, he wanted to help you with your career, he said. He put his hand on your knee when he drove you to the store for cigarettes. Because you had too many white wines at the gala. The dress was an ugly yellow and black mini. The sex was drunk and clumsy. And he said he didn’t want to get you pregnant. The professor had a wife and kid already. 

You came home the next morning hungover and on your period. He was waiting in the living room with the apartment perfectly clean. He said he missed you and you ran into the bathroom. You said you didn’t feel good through the door. He wanted to help, and you wanted to throw up. You said, you don’t want to marry me. And it felt like a line someone else said. 

How he wrote fuck you in jelly on an orange peel one morning after you made breakfast. How he never laughed at any of your jokes but always laughed at his own. When you left, he cried, lying in bed calling you names as you packed your bag at 6 am. He was a nasty crier and it was the first time he had cried in almost ten years.

He emailed you to say he had your camera charger and how he had to take a one-time prescription for anxiety, that you represent a bad time in his life. You drove up to get the rest of your things on New Year’s. He wanted to get a few drinks and you did, but you ended up crying. He wanted to know who was texting you, why are you checking your phone so much, is it a guy? He said you would get married in a year, be pregnant with babies and living back at home. He wanted to sleep together one more time, but you said no. He said this would be the last time you would see each other. And he was right. 

But it wouldn’t be the last time you spoke, the last time he would reach out to you. Or you would reach out to him, desperate for his approval but never understanding why. And those times he would email or message, it would feel like he was standing right in the room. Even 13 years later – when he said he went to “Kill Devil Hills”, the last time I was there was with you. Him messaging you while vacationing with his wife and kid. You are driving to daycare to pick up your own two boys. States away, decades away.  

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ALBTRAUM by Corey Miller

I coax Mother’s wheelchair through Newark terminal to our United gate. I pray she knows where she is—where she is going.

I can’t understand her anymore; sensing death she no longer speaks in English. She dreams of her hometown, Essen, Germany. Unaccustomed mother tongue, I download Duolingo on my iPhone to learn Deutsche. To decipher her code.

Returning Mother to her homeland, I use all of my sick days from work, expecting to catch a bug at some point throughout the year. I’ve never traveled outside of America. My passport on the verge of expiring.

Mother’s lips are as tight as a treasure chest when it’s time for her medicine. The airport terminal eyes us foreign. Vacationers ready for a good time, not to witness the end of the line. I force her to consume healing capsules. The army of tablets are protection, so she won’t panic in public, believing she teleported there.

Duolingo is good at teaching single words and building up to sentences.

Good day. Guten Tag. Goodbye. Auf Wiedersehen.

I am a man. Ich bin ein Mann.

I am a strong man. Ich bin ein stark Mann.

Meine Mutter hasn’t been back to Deutschland since she was twenty, arriving in America with unborn me. She recalls stories of riding her Westphalian horse through the town center as a Mädchen.  She raised me by herself in America. She would always talk about how much of the world she experienced growing up, how much of the world I missed by tending her needs.

On the plane, meine Mutter doesn’t speak—she screams. Her body is a guitar string, wound tight and vibrating. The other passengers all look the same to me as I pan between them, restraining my final family member. The crew is bilingual. They say Mother cries of foals and mares. They watch me force the pills down her throat like I want her to throw up. An inflight map depicts a plane surrounded by water.

Growing up, Mother would tell me I was gifted when the other boys called me names at baseball practice. She would tell me I was strong and I’d accomplish greatness. What if that’s a mantra mothers are required to preach? A page from The Mother’s Playbook. I didn’t have time for friends when my mother required all of my love. Now I cook softer foods, my opinion of makeup turned into application, I accompany her up and down each step.

My mind is a freezer thawing. Memories sitting in ice trays, warming back into water and evaporating. Did meine Mutter dye these thoughts different colors? Grün, blau, und rot cubes containing the times we cantered the horses bareback through open fields of clover. Bits of purple memories kicked into my backside, the shape of a horseshoe.

We fly into Dusseldorf because the airport in Essen is classified as a minor unscheduled facility. “Essen” in Deutsche means “to eat.” A town made of food, I think. A whole gingerbread village where everyone can be a cookie-cutter friend. The little I know isn’t enough to save me here.

Pushing her wheelchair across cobblestones through the treeless Altstadt to the train station is like pushing against a wall. The resistance ist stark. Ich bin stark.

In Deutschland, you count starting with your thumb as if everything is A-OK. Four is spelled “vier” but is pronounced “fear.” Ich bin ein stark Mann.

Mutter peers at statues, mouth agape. I learn of a German word that doesn’t translate into English well: Gemütlichkeit. It’s a feeling of warmth usually associated with having close friends present.

The city smells like it’s been here since the start of time. Aromatic honey and barley overflow from the shops and the peddlers manage raw food with their bare hands. “Hell” means “bright.” The sun is hell, berating my doubt and casting shadows of those who stand tall.

I hesitate translating the train system. Lists and screens and platforms — I don’t want to go the wrong way.

The stories she told me always ended with how her Westphalian died of colic. Pferde can’t vomit because their esophagus contains muscles shoving in one direction, the inability to vomit can tangle their insides.

We board the train with assistance from the conductor; he lowers a bridge to mind the gap and wheel aboard. The towns come and go, divided by farmland large enough to home a cow for each resident. Shelter is necessary for livestock, but I wonder if, like humans, there’s such thing as too much. I ask Mother if she knows where she is. “Wo sind wir?” She smiles as she collapses out of her wheelchair, crumbling onto the floor. The doors slide open, the conductor announces Essen, next stop Bochum. I see banners hung in the station that I cannot read, yet, it feels like the vertebrae in my spine have realigned. Pictures of horses jumping obstacles and pulling plows for Equitana, one of the largest horse festivals. Meine Mutter smiles, not looking outside. She locks eyes with me and I can see the years she’s bartered for this final moment of clarity — for the pair of us.

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JUST A SHOT AWAY by Hannah Grieco

I can picture Mark’s face, the surprised V between his eyes as he watches the news. Or answers his phone at 2AM. Or opens the door to two police officers. Who knows how he first finds out?

But I know he’s shocked, absolutely floored, in full denial. This has to be a mistake, he insists. Nat would never, she barely even—

We have video footage, they tell him. We have a clip of your wife shooting a pretty blonde bank teller right in the face. And Mark says, my wife? Natalie? She couldn’t—

We have another one of her blowing up a gas station, my man. Spraying gas all over a young man’s brand-new pickup truck, the 30-day tags curling in the wet, the gun rack drip dripping, and her flicking a lit match at that truck like she didn’t care if she went up in flames, too. But don’t worry, she’s a fast little number, as you must know. She smiled at the security camera and took off in a neon green Suzuki Samurai. It was practically held together with duct tape, it was so old. That’s not your car, right? Not according to state records.

A Suzuki Samurai, Mark says, I didn’t know those were still street legal. Where did she get it?

He pauses, before asking almost hopefully: did she steal it?

No idea. We couldn’t make out the plates. But she drove off with these two other women. Hot young things, too. Has your wife ever mentioned an interest in women?

Women, Mark says, and a whole new world of possibilities opens up, as if he’s been blindfolded and now he can see. And right then Joey comes in, rubbing his own eyes. His pajama bottoms sagging in the back from his pull-up.

Mommy, he asks? Is Mommy back?

No, no, Mommy’s some kind of serial killer lesbian now, Mark says, and the words feel true, they feel good, they roll off his tongue with a buttery victimhood that settles his nerves, relaxes his tight neck and shoulders. All the arguments, the simmering shame—he knew all along the problem wasn’t him.

We’ll get you a nanny, he whispers into our son’s soft hair. Maybe Grannie and Gramps can come stay with us for a while. You’re safe, kiddo, don’t worry about Mommy.

I can picture his face, the V between his eyes smoothing out as he walks Joey back to his bedroom. 

I should feel more than a slight pang at the idea of never seeing my kid again, but all I feel is relief. A luxurious, deep-lung breath that I hold for a second and then let out.

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I LIKE PICKUP TRUCKS by Kayla Soyer-Stein

Here is what I am doing this summer:

1) Drinking.2) Riding around in the backs of pickup trucks.

There’s not much else to do on this island.

Tonight me and Kate think we are the drunkest we’ve ever been. We are outside the bowling alley and looking up at the sky at this one star, which is chasing us all over the place and about to fall on Kate’s head. LOOK OUT, I scream and Kate covers her face and falls all over me, knocking me down, and we both lie in the wet grass and laugh like witches. 

Hey what are you doing all the way over there, Riley yells, come back over here. So me and Kate fall to our feet and trip over there where everyone else—Sadie, Adam, Benjamin, Max, and Riley—is sitting outside this little house, I don’t know whose, across from the bowling alley, drinking the beer that Adam bought because he is twenty-eight. Sadie is getting really close to him, giving him a back massage. I look over at her to see if she is having fun because she found out a few weeks ago that her father has cancer and will probably die soon. Her little sisters are living on the mainland with her mother who is working an extra job there for the summer.  And her older sister Melody who is only seventeen is pregnant and living with the man who raped her two years before, only here they don’t call it rape. Don’t judge her, Sadie always says, they’re in love and besides, every girl on the island does the same things that Melody does, except Melody is the only one who gets caught.

You have to be careful what you say around Sadie because even though she hates living on this island, she gets very offended whenever anyone says anything bad about it. Like if I was the one who said that about every girl on the island doing those things, she might never speak to me again. We are practically sisters though, at least we have been every summer since we were eight and nine, when Sadie’s family moved out of the house next to ours and Sadie basically moved in with me and my mother.

They’re summer people, Sadie always explains about us, carefully pronouncing the R at the end of summer, and it’s true: we’re not really summer jerks or as islanders say summah jerks, because my family has been coming here since before most islanders were born, and our house is just a small old one walking distance from town, not one of those ones down a private road that leads to the ocean, and we don’t have boats or parties or really much of a social life, my mom just likes to come here and read and go on walks and pick blueberries and I don’t do anything unless it’s with Sadie. Still, it’s like she’s saying mentally handicapped instead of retarded.

Kate lately has been saying retarded all over the place—like that’s so retarded, or whoops! I’m retarded—and when my mom tries to get her to stop, she rolls her eyes as if we didn’t both attend the same hippie private school our whole lives until we graduated eighth grade last year and Kate went on to public school as if it were her own superior idea, as if it wasn’t just because she’d been rejected by all the private high schools she applied to. It was lucky though because at public school she learned how to drink and smoke and wear eyeliner, so I learned those things from her, and Sadie apparently was busy learning them here at the same time, so that this summer minus the eyeliner we can finally all do them together, which is such a relief and exciting, like finding out we all speak the same language.

It’s a relief especially because the last time Kate was here, three years ago, it was a problem because she and Sadie did not get along. Specifically, Sadie thought Kate was a snob, by which I think she meant show-off, because Kate rode a boys’ bike and taught us how to play Red Rose, the game of pinching each others’ forearms until they were covered in bruises, and in Truth or Dare her dares were always things like: run down to the end of the driveway naked and stand there until at least one car drives by, which she couldn’t understand why Sadie refused to do, especially since Sadie, unlike Kate, was still totally flat-chested. But the truth is that Sadie probably wouldn’t have liked any of my friends when we were that age, because I was still pretty much her only friend then, and in the summer, unless someone was visiting, she was mine. 

Now that Sadie has her own life on the island, though, she and Kate seem to have reached some new understanding. I’m not sure what it is exactly, but it’s like they have something in common, something that I might not have in common with either of them. For example: this morning we were riding our bikes to the quarry and right near the swamp that used to be the town ball field there was this green snake in the middle of the road. It was pretty big compared to most wild snakes I’ve seen, and instead of slithering head first the way most snakes do, it was working its way peacefully across the road sideways, like a big S rewriting and rewriting itself, so that it seemed like by the time it got to where it was going it wouldn’t even be the same snake, but a new, refreshed version. Usually I’m afraid of snakes, and I won’t even look at the ones my mom finds under the rotting boards in the yard, but for some reason I liked this one. The way it moved was so cool and strange.

Hey, I screamed to Sadie and Kate, who had both biked on ahead without noticing. HEY! DID YOU SEE THIS SNAKE?! And then, just as they stopped and put their feet on the ground and turned their heads, a car drove by right over the snake and cut it in half, and all of the different snakes it seemed to have been while it was alive disappeared back inside that one cut-in-half body, and suddenly instead of watching a snake doing its weird sideways thing, I was staring at its guts or whatever snakes have oozing out onto the pavement and feeling like I might throw up. 

Don’t just stand there looking at it, Sadie yelled back at me. Jesus fucking Christ! Get out of the road! Sadie has been saying Jesus fucking Christ a lot this summer, but she used to say Jeezum, a word I have never heard used anywhere except here.

And I knew, because I know Sadie, that what she meant was don’t just stand there looking like you have nothing better to do than notice a stupid snake that got cut in half, like you’ve never seen a snake before, and like no one has anything more important to do than swerve out of the way to avoid hitting you. Looking, in other words, like a summer jerk, the kind who thinks it’s okay to bike on the wrong side of the road, who thinks she can just walk down the middle of Main Street barefoot, who expects restaurants to serve breakfast until noon on weekdays, who pronounces frappe fra-PAY and laughs and asks what the difference is between it and a milkshake.

Kate didn’t say anything but I could tell by the way she turned and put her foot back on the pedal that she was on Sadie’s side, not for the same reasons as Sadie, exactly, which she couldn’t have understood, but for some reason of her own which amounted to the same thing.

 

A woman in a pink shirt leans out the window of the bowling alley. If you’re drinking alcohol, shame on you!, she shouts. And if you’re underage you’re going to have to take that beer somewhere else. I can’t have you kids drinking on my property. 

Can’t have you kids drinking on my property, Max repeats, except he’s not actually saying the words, just echoing the rhythm of the sentence in high-pitched woman noises. 

Well, we can’t be here anymore so we all get into pickup trucks. Adam and Benjamin have them. I like pickup trucks because you can sit in the back. I am the only one who thinks to do this, everyone else scrambles into the front and flips around with the radio. 

Yessss! I love this song, I hear Kate say, because she is like that, even though it’s a country station and she hates country music and I’m pretty sure she has never heard whatever song this is before in her life. She’s just saying it to impress Benjamin, Max, and/or Riley—I can hear them all talking through the little sliding window in the back of the extended cab. Adam’s truck does not have an extended cab, which is why nobody is in it with him except for Sadie.

Let’s go, I say. So then we are streaming through the night and the air is cold hitting my face and my hair is flying around crazily. I look up at the stars and I can’t even see the one that was following Kate earlier, and I want to tell her but she is sitting in front and can’t hear me, I’ve been screaming this whole time and no one can hear me OH MY GOD SLOW DOWN I’M GOING TO DIE SLOW DOWN SLOW DOWN! I think of this accident that happened a few weeks ago and of the boy in a coma in the hospital on the mainland and how something like that happens here at least once a year, and I know Benjamin is drunk and shouldn’t be driving but at the same time I think this is the most fun I’ve ever had. I think it in exactly those words, a complete, self-contained sentence, which layers itself on top of itself in my head until I stop screaming and Benjamin finally slows down because apparently we are in town, or the village as summer jerks call it, or downstreet as islanders do, all meaning Main Street, which if I had thought about it is probably where I would have guessed we were going. 

I can tell you everything on Main Street with my eyes closed, not just everything that’s here now but also everything that used to be here. There’s the tiny post office where Sadie’s mom used to work, with the eagles carved out of granite from the quarries in front. There’s the hardware store where two old men used to sit on stools by the door and smoke pipes and hand out brown paper bags to any kid who came in, and each bag had an orange inside and some perfectly stale ginger snaps, and the smell and texture of the orange peel and ginger snaps and paper bag all mixed together in this way where it was like those three things were meant to be together, always. There’s the IGA which is the island’s one supermarket, and next to that, the gift shop that used to be Gibson’s, which was sort of a general store that used to sell penny candy, with all the jars lined up on shelves that were built into the walls. There’s the bank and the store that rents videos and sells T-shirts, and the new fancy restaurant that I have never been to, and the art gallery, and two real estate offices, and the Pizza Cove where we sometimes go to play pool. 

The Pinching Claw, at the end of the street, is one thing that hasn’t changed yet, where me and Sadie used to get ice cream sundaes literally every day after swimming from Melody’s old friend Christine, who works there, who we all used to play with when we were little, but who has a baby now and is so fat that you can hardly tell her apart from her mother, who also works at the Pinching Claw. We stopped going there last year not because the new place that opened down by the ferry terminal was better, but because we felt awkward ordering from Christine, whose fatness not only made it hard to recognize her sometimes but also seemed to make it hard for her to recognize us, and she glared out at us through the takeout window in a dull, impersonal way, which we thought was the same way she glared at all the customers but then sometimes we were afraid it was a special glare, just for us.

Anyway, all that is lined up on one side of the street, and on the other side is the parking lot, which is probably the most beautiful parking lot in the world, or maybe the only parking lot that could ever be called beautiful. There are benches facing the harbor and you can sit on them and eat takeout from the Pinching Claw if you want to, and throw french fries to the seagulls and watch the ferries come in and out.

It’s one of those places where me and Sadie used to go but where my mother would tell us to stay away from after dark, because even she knew that, like the playground and the frog pond, it would be taken over by smoking, drinking, swearing teenagers, except now we are those teenagers and we’ve taken over not only the parking lot but also the upstairs room with the pine cone wallpaper in my mother’s house, and the front yard where we have pitched a tent which is where we prefer to sleep so that we can smoke and make noise and come and go as we please.

My mother knows we went bowling tonight but she has no idea where we are now or who we are hanging out with—she doesn’t even know who these people are. She’s probably asleep by now anyway but if she’s not and she asks us tomorrow what we did we can always tell her we ran into Matt, this boy from Boston we met at the quarry last summer who my mother likes and whose mother she knows. We can tell her we went night swimming, which is something we’ve done before with Matt. My mother used to take me and Sadie night swimming once or twice every year—she would park on the road side of the main quarry and stand shivering on the rocks with a flashlight, watching us take turns diving off the low ledge.

When we went with Matt, though, we decided to go to the other quarry, the one invisible from the road, where some granola-y summer jerks swim naked during the day and island boys sneak around in the bushes and spy on them. We’d never been there before, and we thought night would be a good time to see what it was like without having to look at a bunch of naked people or be naked ourselves. It was obviously much better than the regular quarry. You couldn’t see or hear any cars, for one thing, and the whole thing was completely surrounded by trees. The water was so still and black you could not tell it apart from the sky, and there was a high, flat rock jutting out into the middle of it which me and Sadie climbed up onto in the moonlight to undress, and when we climbed back down to dip our feet in the water Matt had already made the mistake of taking off all his clothes, and I saw his dick for a second before he noticed that we were not about to take off our bras and underwear and then he quickly pulled his shorts back up as if nothing had happened. 

 

Benjamin turns off the radio and stops the truck just in time for me to hear Riley yell: You faggot! I’m going to beat your ass! He is just joking around with Max but still, I’m shocked to hear him talk this way because the last time I saw him he was wearing a T-shirt with my favorite band’s name on it which made me think that he was different from the other island boys, sort of an outsider, more sensitive and aware of what was going on, and I thought maybe he dreamed of getting out of here and doing something, like maybe being some kind of artist or musician, and I imagined that it was similar to the way I feel about my high school, how different and superior I feel to everyone there, all the preppy girls who listen to the same shitty music and dress the same, and how I know there is something much better in store for me. And all of this sort of made me like Riley before, I mean sort of have a crush on him, even though his hair is long and greasy and he has terrible skin, but it occurs to me now that I know nothing about him, or any of these people besides Kate and Sadie, and this scares me and makes me feel suddenly homesick, not for my mom or our house the way it is now but for how it used to be here, the things me and Sadie and Melody used to do, like play poker with penny candy on the braided rug in the living room, and how the hairs from that rug would stick to the Sour Patch Kids and Swedish Fish, and the rug itself became sticky and dandruffed with sour sugar until finally my mom rolled it up and took it to the dump. It’s stupid because those things don’t even exist anymore but I still feel like I’m betraying them somehow, like the fact that they don’t exist anymore is my fault.

I jump down from the back of the truck and everyone else climbs out of the front and we all stand around under the giant seagull statue holding brown paper bags crumpled around cans of beer. What are we doing? I ask, because we all know it’s only a matter of time before the cop shows up and we have to go somewhere else. Kate starts telling me how Riley told her about a party he knows of at someone’s house not too far from here, and that lots of people there are going to be rolling, and if we get there soon enough we can probably roll too.

Rolling? I repeat.

She looks at me like I’m mentally handicapped. You know, like, taking ecstasy?

I know what rolling means, I say. I just think it’s stupid to call it that. 

Why? Riley asks, but Kate doesn’t ask why. That’s because she knows what I’m talking about, how she once told me all the words people at her new school have for smoking pot, like puff and blaze, and we agreed that we would rather never smoke again than talk that way. We never specifically discussed the term rolling since neither of us have ever done ecstasy before, but obviously it’s the same sort of thing. 

Never mind, I tell Riley. 

It’s not really a party, he says, just some people hanging out. Not the kind of party you girls are probably used to, anyway. But they said they have some extra pills if you want to buy some. 

I look at Kate like: What kind of party does he think we’re used to? But she looks so excited, it’s like she’s been waiting her whole life for this opportunity. So I go over to consult with Sadie about it, who is still sitting with Adam in his truck. I can see their faces turned towards each other in the dark, Sadie’s long hair hiding her expression like a curtain and the smoke from her cigarette drifting out the window.

I’m sorry about your dad, I hear Adam say when I get closer, and that’s when I remember that there is stuff going on in Sadie’s life that none of us have been talking about, stuff that has nothing to do with me or Kate or the fact that it is summer but that Sadie has obviously been thinking about this whole time. I hear her say awkwardly: Thank you, just as she sees me come up to the window and then I pretend that I didn’t hear anything they just said and I start telling her about the party Riley told us about and how people are going to do ecstasy at it. 

That sounds fun, Sadie says. You and Kate should go.

I give her this look, like: Really?

What, Sadie says.

I think maybe it’s the ecstasy she’s not excited about, and since I’m not even sure I want to do it myself, I say: Well, what are you guys going to do, then? Do you want to go swimming? 

We’re just going to stay here a while, Adam says. It’s the first time he’s said anything to me directly, and for the first time I really get a good look at him: shaggy dirty blond hair, small blue eyes, flannel shirt. I still don’t see what makes Sadie think he’s so cute, or how it’s even possible for someone that old to be cute.

You guys should go, she says again, this time like she’s actually trying to convince me. I’ll meet up with you later. Okay?

 

So now we’re standing in the kitchen with a bunch of people we don’t know, eating orange popcorn and gummy worms out of giant bags while we wait for the ecstasy to kick in. 

Where the hell is Sadie, anyway? someone asks, a big guy with a red face and his pants still tucked into rubber boots from the haul. 

Her and Adam are having sex, I say without really thinking about it.

Holy shit, they are? says a blond girl with glasses and a tattoo of a butterfly on her shoulder. She also has a black eye, but no one else seems to notice this and she is acting so normal I wonder if I could be hallucinating. 

No, I say, I just made that up. But... it is a possibility.

Hmmmmmm, we all say and widen our eyes at each other, and I like this new way of talking I seem to have developed, this way of just saying whatever comes into my head. I see my reflection in the dark window over the sink and its beauty is almost obscene. 

But oh my god I am so cold. My teeth are chattering.

My heart is beating really fast, I say. Is that normal? Does anyone else feel like their heart is beating really, really, really fast? 

She’s rolling, the same guy with the lobster boots says, and it occurs to me that if I am rolling, there is nothing I can do about it, nothing that can make me stop rolling or roll back the other way, and that even if something is wrong and my heart is not supposed to be beating like this, there is nothing I can do now to make it stop beating like this because whatever it is has happened, it’s happening, and you can’t make things unhappen.

She’s freaking out, the guy says. He looks like he might be starting to freak out, himself. I clench my teeth hard to make them stop chattering.

No she’s not, says the girl with the black eye, she’s fine. Come with me, she says, and I follow her down a hallway and through a door into the bathroom, where it is blindingly bright and there is a mirror so shiny it makes me nervous, like at any second our wild faces could leap out and kiss us. 

Close your eyes, the girl says, and give me your hand.

Our hands and arms are two icicles that melt as soon as they slide into each other and combine to form one slithery half-liquid creature that seems to have a whole life and feelings of its own.

Oh my god, I say, what are you doing, what is that?

She laughs and I open my eyes and see that she is holding a small pale green bottle of lotion in her other hand and that it is the kind that smells like cucumbers, and then I notice for the first time that our hands smell like cucumbers and I laugh too. 

Are you okay now? She says.

I nod, and it’s true: I am okay, I feel great. 

We go into the living room and I sit down next to Riley on the couch, I mean loveseat. Apparently I’ve forgiven him for the language he used in the parking lot. Are you rolling? I ask him. 

Riley nods like a maniac and falls into my shoulder. But I thought you hated that word, he says into my ear. It sounds like I love you, the way he says it, and I’m kind of flattered but at the same time I feel like things are maybe moving too fast, and by things I don’t just mean whatever with Riley but things in general, everything.

I do hate it, I say. I just said it because I’m rolling.

On the other side of the coffee table, Kate laughs very loudly. I almost forgot she was here, but now I’m so glad to see her that I get up and move over to her side of the coffee table and sit on the couch next to her and lie down and put my head in her lap. 

Kate thinks I’m funny, I announce. Kate, do you think I’m funny?

Sometimes, Kate says, looking down at me, yes.

Kate is looking very queenly and indulgent tonight, like a beautiful mother who thinks her daughter is even more beautiful than she is. I want to tell her this but I know it doesn’t make sense so instead I start telling her how happy I am that she is here, that we are both here, and how lucky we are, and how lucky it is that she and Sadie are friends this summer instead of hating each other, because I want them to like each other, because they are my two best friends and my two favorite people, and I’m so glad we’ve finally all reached this point together where it’s like we all speak the same language and it’s not just because I’m on ecstasy that I’m saying this, it’s really true, I’ve always thought it, I mean I thought it a long time ago before we took the ecstasy and nothing is going to change after it wears off.

Kate is smiling at me. 

What?

You’re talking really fast, she says.

Meanwhile, Riley’s eyes are practically bugging out of his head and he’s drumming a beat on his leg with his fingers like he’s been waiting and waiting for me to finish talking so that he can say what he wants to say, which is: Let’s dance.

No, say me and Kate.

Don’t you want to dance? He says.

No, we say louder.

Come on, he says, I have so much energy, and leaps up from the loveseat and starts blasting this terrible goth music or whatever and jumping and spinning around the room tossing his hair like a crazy person. Now I’m back to not liking him. I can’t make up my mind.

Let’s get out of here, yells Kate. She grabs my hand and pulls me up off the couch and we run outside into the backyard where it is quiet, and then we go around the other side of the house to the road and we walk slowly along it, still holding hands in the dark, until we come to a hill and I realize that it’s the hill that leads up to the playground so we go up there and sit in the swings. Kate picks a normal swing, low to the ground, but I choose the one that is shaped like a horse, where you sit in the saddle and pump by pressing your feet against a metal bar in the front. This horse swing is smudgy white with a blue mane in the daylight and I’m familiar with the way it is broken, like the horse is crippled and leaning onto one of its sides, and each time I pump my feet against the bar it makes a long, shrill, whining noise that you can hear from my house, which you would also be able to see from up here if it were light out. 

We should have a house here, Kate says. After college. You, me, and Sadie. We could just live like this for the rest of our lives.

You mean, like, on ecstasy?

Noooo. Just you know, like this. And we could grow blueberries in the backyard and sell them at the farmers’ market.

And blackberries, I say.

Yeah. And raspberries.

We could grow every kind of berry.

But what would we do in the winter?

In the winter we could make pies.

We’re holding hands again while we swing and we twist our fingers into a tight knot that feels like a promise, and we agree to tell Sadie about our plan when we get back to the tent. Then after a while we stop swinging and lie down in the grass, and Kate puts her head on my stomach and I play with her hair while she softly pinches my arm, over and over, and at first we keep talking about what our house will be like and how great it will be to do whatever we want in it, but then after that we’re just lying there, and that is fun too. We stay like that for what might be hours.

Then something happens. It’s like a change in the light, although the actual light hasn’t changed yet. I don’t know how else to describe it but it’s like instead of being up there on this thing where everything is beautiful and amazing and great, you’re down here again and that feeling is washing over you in waves—or else the opposite feeling, which is like a terrible sadness, is washing over you in waves, it’s hard to tell which one is washing over which. But waves, literally, you can feel them in your chest, you can practically see them rolling up in front of you, cold and salty and gray like you are at the beach, the beach here which is not flat and bright with sand like other beaches, but sharp and craggy with gray rocks covered in barnacles that cut your feet and fog so thick sometimes you can barely see the ocean, only hear it. Which is not to say the beach here isn’t beautiful because it is. It’s maybe even more beautiful, it’s just a different kind of beach.

Do you remember that snake? I say suddenly.

What snake? Kate says.

It got hit by a car.

Oh. Yeah.

The sideways one, I add, and she nods like she knows what I mean. I’m not actually sure why I just thought of that snake, and there’s nothing I want to say about it in particular, so we just sit there for a little while longer in silence. I feel like I’m swimming, like a combination of being weightless and trying hard to keep my head above the surface. 

Are you sad? Kate says finally, like she is reading my mind.

Kind of, I say. No. I just feel kind of weird.

Yeah, me too, she says. Let’s go back.

When we get back to the house where everyone was before, there are just a few people left smoking quietly on the porch. The girl with the black eye is there and it obviously really is a black eye. Riley is there too, and another guy and girl I don’t recognize. The guy mutters: What’s up. Everyone else just nods when they see us.

Sadie was here looking for you, Riley says. We told her you went home.

The sun is finally starting to come up now, but the fog is out too so it’s not like we can see the whole sunrise. The light, though, while we are walking back to our tent is pale and bright and more beautiful than any light I’ve ever seen. I can’t stop staring at it, as if the light itself is something special and specific to stare at, and not just something that is everywhere shining on other things. 

 

So what happened? Me and Kate look at Sadie expectantly. She settles into her sleeping bag and fusses with the pillow. What happened?

What do you think happened?

Everyone thought you and Adam were fucking, Kate says. We laugh a little.

Right, Sadie says and closes her eyes. There is silence for a moment as we try to decide if she is telling the truth.

Really?

Yeah. 

We digest this quietly. That’s weird, I say finally. Was it... fun?

Yeah, Sadie says, oh my god I am so tired.

I’m pretty sure I won’t sleep for the rest of my life, and I think of all the things I should ask Sadie, like did it hurt and is she going to see Adam again? But I can tell that Sadie is removed from us now, defensively wrapped in her sleeping bag. Me and Kate will go back to the city and our separate schools, and next year instead of coming here for the whole summer I’ll go to Spain with my dad and Sadie’s dad will be dead, and this night is something we will never speak of again.

What I finally ask is: Did you do it in the truck?

No, says Sadie, we went into a house. I can’t talk anymore, she says, I really need to get some sleep. And she closes her eyes and lies very still in her sleeping bag, but she’s still awake. I can tell by her face.

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JANICE LEE in conversation with VI KHI NAO

VI KHI NAO: I read the first half of your Imagine A Death during a flight into San Francisco. I am currently in Boulder—where I think the landscape ofthe high elevation may have altered my relationship with your work in the second half. Many of your sentences are long - like Bela Tarr long - and they require strong lung capacity to fully experience, inhale the depth and intensity of your gaze. 

Being near this mountain, I feel I could acclimate to your long, gorgeous, beautiful sentences that open one world into another world into another world. 

Has this long form (the long sentence) been a constant companion in your writing life—the one that you take long walks, long meandering with, the one whom you desire to stay faithful to or is it a decade obsession with an endpoint? 

JANICE LEE: First, I’m grateful for your use of the word “acclimate” here. In thinking about landscapes, which are really important to me, I’m really thinking about climate. And climate not just in terms of the weather, but in terms of everything that is and has been and will be, everything that constitutes the space and the world, everything that unites us. So for me, the sentences are an extension of that kind of immersion in the world, in the entanglement of space. There isn’t just a body in a space, this rigid category between background and foreground, or external and internal, but where does the climate end and the body begin? I’ve always loved slowness and long takes. Bela Tarr, yes. I read Pasolini’s essay “Observations on the Long Take” in college and it changed the way I watched films and saw the world. But the long sentence as a form for me. I haven’t always written this way, no. I’ve definitely had long sentences here and there, but for a while, I was drawn to fragments. Long sentences, like fragments, are still an extension of expressing what can’t be articulated or encompassed in traditional sentence structures. What I love about long sentences is the ability to get lost, and I think this is important. The opportunity to get lost once in a while.

 

VKN: Do you think pain—in the tradition of length—is a type of slowness? When I study your sentences—your long sentences—& I go through this metaexperience (this slow, extended moment) where at the beginning I am an innocent, possibly naive person, and by the end of your sentence, I feel I have lived five cat lives. I am old and senescent—maybe in the way you have depicted the senescence of the tomato—Do you think long sentences like a camera with the widest lens possible—in either film or photography—are more technically capable of capturing pain—psychological or physical—better? Or do you think the fragments are equally or even more capable of capturing?

JL: That’s such an interesting question! Maybe pain, rather than a type of slowness, is a type of presence. I think about how trauma reconstitutes and reasserts itself in the present constantly, and how the present moment might be tethered to a moment in the past, or, become capable of expanding outwards. I think too about the difference between pain and suffering, at least from a Buddhist point of view. How do we let the pain in, how do we let it manifest? How can we acknowledge pain but not allow ourselves to become attached to it? I think that long sentences do capture a wider lens, the roving camera, so to speak, but it’s about the meandering, the letting go of a defined and linear trajectory, the reminder that no matter the length and windiness of the path, one can still arrive home. The long sentence also can encompass changing vantage points, the multiplicity within a single gaze, or multiple gazes that can exist simultaneously. Any departure from the standard sentence, whether it’s moving into the territory of unending sentences, or fragmentation, I think is about reaching towards a kind of articulation that doesn’t yet exist.

 

VKN: Do you think trauma can operate in the antipodes—delay the presence? A little. Or a lot. When I read the way you captured “trauma” in your work—I felt like a car going through a car wash.  You are drawn to slowness and to length—n order to create and write Imagine A Death—did the interiority of your consciousness have to mimic your form? Or can you lead a fast and furious life and still produce work the opposite of your project’s vision?

JL: Ok, so I laughed out loud because The Fast and the Furious is one of my favorite film franchises. I’m interested in all the different kinds of inhabitation. I love being immersed, living in, sleeping in, dozing off in worlds like the films of Bela Tarr or Tsai Ming-Liang. I love to be reminded to slow down, to not treat time like a commodity. But I’m also a product of the ’90s and capitalism and action films and chaos cinema and I love the adrenaline rush that occurs inside the safety net of an action film like The Fast and the Furious where somehow, after all of the explosions, it’s still about family and returning home. But yes, trauma messes with time. It can delay, expand, protract, contract, blur, instigate. It’s a reminder that time isn’t linear or constant. I was thinking about what the long take does for me as a viewer, and how I experience the long sentences of Laszlo Krasznahorkai, but while writing, I also didn’t feel like I had a choice. It was as if the writing was almost channeled through me and poured out. The sentences didn’t want to end, couldn’t end, yet.

 

VKN: Yes, I read that in an interview of yours. Where Satantango and Fast and Furious co-exist in you—you quoted from Ufologist Jacques Vallee: “Mathematical theory often has to confront the fact that two contradictory theories can explain the same data. A solution is inevitably found not by choosing one of the contradictory theories, but by going to the next, third level.” Do you think Imagine A Death is your ontological or mathematical attempt at going to the third level? You were a pre-med major before pursuing biology and writing—had you continued in the medical life—do you think that Imagine A Death is a slow, frame by frame capture of you being a neurosurgeon placing trauma on the operating table, dissecting it second by second? Or is Imagine A Death a type of slow film or photograph in which you develop in the dark room of your imagination?

JL: In some ways Imagine a Death is a gesture of anti-colonialist sentimentality, in its narrative form and through the grammatical resistance of the long sentences, but it’s also about resisting colonial notions of the apocalypse and finality and redemption. This book felt like such a spiritual undertaking. In terms of the analogy with the medical life, Kerotakis and Daughter feel more like the neurosurgeon with a knife performing surgery. And Imagine a Death is more like the accidental but also utterly intentional slow film that was created because I left my camera on in my back pocket, or like those accidental iPhone pictures that capture more than you intend.

 

VKN: I mentioned pain in your work in relationship to the long sentences because of your compassionate, thorough, expansive consideration and contemplation in regards to apocalyptic suicide (your depiction of the suicidal pigeons) and apocalyptic rape (the pregnant goat that was gang-raped and eventually died). In your long sentences, you slowed down these moments—not just the moment where the writer was abused & revisiting that abuse (re-seeing a moment through a different, more acute lens, or replacing the camera/lens of that gaze with a broader, meta-lens,) and you process that grief (the loss of comprehension for inhumanity and brutality) for the readers. Do you think you can lend compassion to another who is lacking in compassion? Can writing/art/literature alter the empathic vernacular of a psychopath/an abusive person?

JL: Pain is a part of life, right, but how do we decide to exist in the world and in relation to other people despite or because of our pain? How do we desire to be free and imagine a kind of freedom beyond the causes and conditions of what currently bind us? The entanglement of grief and trauma and abuse and how our wounds shape our pasts and our futures—it’s all so complicated and difficult to look at, because it involves us having to look at the ways in which we have been complicit or complacent to or have perpetuated pain in the world, in response to the ways in which we have been harmed, or in the name of survival. Both of those incidents with the animals, and others in the book, I hated having to write them, but they are part of this world, and most importantly, they are part of us. When you ask about lending compassion to another, even if they’re lacking in compassion, I think the difficult answer is yes. We have to. We have to lend compassion to others (which, to clarify, isn’t the same as justification), and, we have to lend compassion for ourselves, which often is harder.

VKN: What are some of the challenges you face in writing a book of such a sophisticated caliber, Janice? And, were you able to resolve some of those challenges? Or are they life-long sorrows that you must revisit frequently by inducting a new birth/book into the world?

JL: Thanks for saying that, Vi. There are the constant challenges around articulation and the limitations of the structures in narrative and language. This book is especially important for me because it really does feel like it took a lifetime to write, the entirety of my being. I had to be open enough to be able to face all of my own demons in this way, and I had to write all of my other previous books to be able to understand myself in relation to language the way I do now. But it’s all ongoing. I feel very drained, but also relieved, after this book. It may be a while before I write another novel. There is some more breathing to do first.

 

VKN: What are some of your demons? 

JL: My own fears and expectations around success, my doubts and grievances around what it means to be a writer, my feelings of inadequacy and self-worth, my processing of childhood wounds and relationship to my parents, the abusive relationships I’ve been in and my own unconscious complicity in perpetuating toxicity or harm, my own struggles with depression and suicidal impulses.

 

VKN: What is your definition of success? Also, there are 46 chapters in your Imagine A Death—do you have a favorite chapter? One you return to frequently because it captured something you were unable to capture for so long? One of my favorite moments (Chapter 20) is about a framed photograph dropped in a dumpster “miraculously” finding itself re-hung again in the same spot on the wall. There was something very tender and meta about this moment. How often we discard things because we believe others don’t value them or care as much as we do—but we are often wrong. People do care. I often think about sentences you have written—ones which you may cut down or deleted completely—and how another person may find tremendous value in their existence. Are there sentences you have erased that you feel deep sorrow for? Which sentences of yours should we re-hang? Also, how long does it take for you to write one of those long sentences? Ten minutes? An hour? How does the passage of time operate in the production part of your writing? 

JL: I want to think of success, not as being about achievement or merit or legitimacy, but about desire and attempt and expression and existence. Rather than being tied to notions of good or bad, and rather than being seen in opposition to failure, why can’t success just be, not as a point of comparison or power over someone/something? Can’t failure be a kind of success? Can’t learning from a mistake be a kind of success? Can’t success be a gesture of reaching without turning into grasping, without becoming an attachment or way to measure us against each other?

I love that with the photograph moment as well, and it’s actually an example of a way that the novel started to influence the real world. That photograph is based on a real image (in real life, it’s a painting that my sister created when we were very young). She hates the painting but we had kept it because our mom loved it so much. The night after I wrote that scene in my manuscript, the actual painting fell off the wall and crashed onto the floor. It happened in the middle of the night; no one was around. We were all asleep and were awoken by the sound of breaking glass.

I don’t know if I have a favorite chapter in the book. Right now, I’m quite fond of “The Dream,” where everyone is burning alive, because it says something about death and intimacy for me.

I’ve deleted countless sentences, but I can’t remember them now. They will manifest again, I’m sure, in some other reincarnated form. 

In writing this book, some of the sentences came out very quickly, over maybe 20-30 minutes, and some took more time, hours, or several writing sessions. I only listened to Russian Circles while writing this book, so something about the tension and momentum of that music helped me with rhythm, and helped me keep going.

 

VKN: A lot of your work that has arrived in this world exists in the capacity of fiction, though you also have a book of essays, a poetry book, etc. You operate on so many different levels—aesthetical strata—from being a graphic designer, professor, editor—how do you desire others to view or is it even possible to categorize your Imagine A Death? Is it experimental documentarism? Autofiction dressed like a bouquet of suicidal pigeons? If such a thing were to exist, what is an ideal way to pigeonhole you?

JL: As I’ve learned to articulate better, especially after hearing/reading writers like Renee Gladman and Matthew Salesses, the category or genre as a construct is important in terms of the expectations it creates, or dismisses, subverts, haunts, resists. And I am operating within certain expectations, but I also want to draw attention to the inadequacy or limitations of those expectations. In that vein, I do very much think of this as a “novel,” but one that hopefully expands on what a novel is “supposed” to be or look like. I love “autofiction dressed like a bouquet of suicidal pigeons,” though I don’t think Amazon accepts that as a genre category

 

VKN: Also, what Korean film (to watch) and Korean dish—an appetizer perhaps or a gallimaufry of dishes—should be paired with your Imagine A Death? I love when wine is properly paired with food. And, I think of film as a type of wine.

JL: Oh my, such a difficult question because it’s so hard to choose. Okay. The Korean film would be Poetry directed by Lee Chang Dong.

And the Korean dish is one that I haven’t had yet before, but it’s appeared to me in my dreams and my ancestors are insisting that I need to eat it: Gwamaegi, which is a certain kind of dried fish.

 

VKN: Thank you for this beautiful pairing! I love dried fish and will have to try Gwamaegi when I re-read your book again with Poetry playing in the background. Many writers of Asian persuasion feel compelled to include Asian words or popular phrases or sentences or fragments or Asian language scripts in their work. Your Imagine A Death is mostly devoid of these ethnic gestures. I often feel that experimental writing allows one to be a devoted citizen of the weird, where experimentalism is a type of universal ethnicity. Do you feel at home in experimental writing? Where the textuality and materiality of the experience dominate the narrative mainframe of the literary?   

JL: Such a good question. So at least in this book, I didn’t want the identities of characters to be specified. So I avoid those kinds of identity markers. But in terms of thinking of experimental writing more broadly, my relationship to it has changed throughout my life. In my earlier work, especially after my MFA, I was very drawn to “experimental writing” as a space to resist conventional forms and the canon, as a site for resistance and transgression. This also coincided with my politics at the time, which was much more about disruption and dismantling. At this particular point though, I’m thinking about things a little bit differently. It’s not just about resisting the dominant paradigm, because this then just re-centers the dominant narrative over and over again. Instead, I want to think about this as another worldview that is equally valid, another way to see and be in the world. So how might stories and sentences not only resist formal conventions, but also work against the myth of resolution and redemption, open up our biases around narrative and plot and character? How are our beliefs and assumptions around narrative structures and language related to our fears and beliefs about the state or ongoing future of the world?

 

VKN: Intimacy & vulnerability seem to be compelling materials for your work. What is the most intimate thing you have experienced lately, and how has it changed you as a writer? 

JL: Okay, I was trying to think of something more sophisticated, but what’s popping into my head and is probably my most honest answer is doing psilocybin mushrooms with my boyfriend for the first time, when we literally melted into each other and became an amorphous blob. Doing mushrooms has also been a major portal for me, especially after the recent deaths of my dad and my dog Maggie, and has allowed me to speak with my ancestors and the dead, and the entire living world around me.

VKN: I am sorry to hear of your losses. Were you close to your dad? How han is your Imagine A Death? And, can you talk about your own visibility in the writing world? Outside of cinema and the camera lens, do you feel visible? If you have experienced a range of invisibility and now you are in the realm of visibility, what is an antidote to invisibility (in relation to politics and patriarchism?)

JL: Thank you so much, Vi. We were close in some ways, and so distant in others. He was living with me though, and he died at home in hospice. But the han, yes so much han, for sure. Probably in everything I write. There’s a point in the book where han is basically defined but not labeled as such. Also, your question about visibility is so important right, and so complex. As an Asian woman, how I’m perceived isn’t always up to me, but it affects how I’m seen, treated, valued, read. There is a kind of hyper-visibility or pre-judgment that erases much of who I really am, which isn’t as easy as just being invisible, and my own awareness or fears about how I’m perceived changes the way I operate in certain spaces. This is something I’m constantly struggling with, not being so attached to my identity or having to be seen in a certain way, letting go of aspects that I can’t control, and to try and just participate in more genuine encounters.

 

VKN: What is an example of a genuine encounter for you, Janice?

JL: Well, today I had a long and prolonged moment of eye contact with a squirrel who was eating the cucumbers in my garden.

 

VKN: That is so beautiful!  In two days, your book enters the world! How will you celebrate its birth? I don’t want to hurt your other books’ feelings, but is Imagine A Death—is it a favorite of yours?

JL: It’s definitely the book that feels like it required all of my other books to write. So maybe not “favorite,” but for me personally, it does feel like the most significant. On Wednesday, I hope to eat something delicious (I don’t know what yet), have some kind of small ceremony around gratitude, abundance, and letting go, and will probably walk to the 7-11 to buy some scratchers!

 

VKN: One of my favorite Korean idioms is this idiom:  눈코 없다 (nun-ko tteul seh eupt-da)—“I don’t have time to open my eyes and nose.” What don’t you have time for? And, do you have a favorite Korean mantra/phrase/axiom? If you were to invent a Korean idiom, what would you invent? Also, this is non-sequitur, but one of my favorite long sentences of yours is: “and also she had come to see the sentence itself as a colonialist structure, and thought that perhaps these long sentences might be something she could give the reader, something they didn’t need but would receive anyways, like a gift, like listening, or something like it, and even in all of that gesturing towards a productive contemplation that might finally lead away from the past, she wondered if it was too late for her, if in fact because of everything she had already done, everyone she had already hurt, was it perhaps too late for us all?”

JL: Ha! That is a good one! I love the curtness of that idiom, how relevant it is, but it also reminds me of how we don’t have time for each other, for ourselves. I want to have more time for everything, especially for opening my eyes and nose. A phrase that’s always fascinated me because of how ridiculous it sounds is 파이팅! (pronounced “Pa-i-ting!”) which is derived from the English word “Fighting!” It’s like a cheer or term to encourage people, and the strange grammatical incongruence is so funny to me. A new one I just learned about yesterday thanks to @fluentkorean’s Instagram is this: 방귀가 잦으면 똥이 나온다  / “If farting becomes frequent, then the need to poop is imminent.” 

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THE CROW CAME ONE MORNING AND WHAT’S LEFT TO WONDER? by Derek Maine

He takes his shoes off by the door. A solemn peek in the hotel mirror suggests pleated pants, starched shirt, taut tie, he’s running out of matching letters to describe his appearance which is always, and only, just that. To himself he appears as an apparition. Do others see him, he wonders often. The meetings today went well. He sold himself. Passed himself off as one of them. Someone they could trust. Someone they could have a beer with. At a baseball game. A hot dog too. He is not that someone. He hasn’t had a beer in some very long time. A hot dog would upset his stomach, surely. He calls his home. No one answers. Everything is being created or dying and he obsesses over which. The crow circled above his house this morning, before he left for his work trip, and that is another thing he has been considering. He steps forward toward the television then steps back. The room looks like all the other rooms. Describing it would kill it, surely. Has he used surely twice? He has. He wishes he hadn’t but it’s too late to change it, he sighs. Someone else is in the room, came in with him. It’s him the other way. There are always two, wherever he goes. He is an unwilling participant in an argument for argument’s sake which has raged on within him for 39 years. Whenever he picks up a new trick, or learns a new phrase, the other way does too. It bores him. He wishes there was another way, but he only contains enough energy to wish. He seeks nothing, he has done no serious investigation.  He avoids the television, walking further into the room, not wanting to stir up an anger. He pulls the curtain to reveal a view of the highway. What a stupid way to live, he says to no one. The phone rings. He picks it up and says something like, “hello.” It is not 1979, in case you were wondering. It is a year, but not that one. His wife is on the other end of the line. He can hear his children screaming in the background. They love him. They miss him. They say goodbye and he hangs up the phone. He wonders who they love. He considers who they miss. It is not him. It is their projection of him. He is too many things at once to miss. He is too many things at once to love, he thinks. He is listless, the other way suggests he could be lifeless, if he’d like. He doesn’t want to be listless or lifeless. His co-pay is too rich for any other state of being. He distrusts professionals of all varieties, preferring amateurs or, better yet, people and things to happen with no explanation whatsoever. Plus, what books have the therapists read? It only ever shows you, on the websites, which insurance they accept. It never digs into their relationship to literature, being the only thing that matters to him. Since he mentioned websites, he can delete the part about it not being 1979. He doesn’t want to. It is a nod to an earlier work. He is conscious of building an oeuvre, even if he still has to look up the word every time to spell it correctly. It’s the “e” after the “o” that always trips him up. His wife sends him a text. She is privy to his rhythms. Suggests he use the hotel treadmill to stave off the thing that doesn’t have to come. He’s missing cigarettes. He’s not missing beer, but he’s always missing cigarettes. He does not want to exercise. He does not know what, or how, to be. It disheartens him. It unsettles him. He will do nothing to improve his prospects of knowing, or being, or being any other way. It is the only way he knows. He is not going to leave the hotel room. He is not going to change clothes or shower or turn on the television or open his computer to write or go outside for a walk or eat any food or think about anything other than how he is feeling, which is an absence, and occurs to him to be the only thing happening in the entire world at the moment. He masturbates when it is time to masturbate. He takes a Tylenol PM when it is time to take a Tylenol PM. He lay on top of the sheets, naked, unable to sleep. He takes a second Tylenol PM when it is time to take a second Tylenol PM. The couple next door is having sex. Or the person next door is watching pornography, whatever the case may be. His wife is jealous of his work trips, his time away from home, his peace away from the kids. But she does not have to be him, he thinks. He does, he’s sure of it. He is in pain at how brief life is. And how poor of a showing he’s made thus far. His oeuvre is weak and wildly inconsistent. He would like to be different, but he does not know how. He wonders what he would write about if he could write anything at all, writing being all he’d like to do, though he’s never examined why, and he’s terribly aware that if he were to, he might find something else to dislike about himself, and so he does nothing. He tries to conjure an image but comes away, as usual, with nothing but formlessness. He is unable to imagine a red dot. Or tap into any visual. It is all, instead, a constant flow of language. He has a business degree and a loneliness he’s immediately thrust onto everyone he’s ever been intimate with, and an immediate regret. He’s lost the plot, control of the narrative, not a natural editor, too fat around the belly, bags under the eyes – the Tylenol PM never works, wondering what the crow wants with him, if anything, probably nothing, he’s made babies and has a life insurance policy and isn’t sure there’s much else left for him to do. He pulls into his driveway. It is the next day now, if that makes any kind of difference. His wife kisses him softly on the lips, she’s headed out to a yoga class. The kids are out playing with friends. He takes his shoes off by the door. A solemn peek in the bedroom mirror suggests pleated pants, starched shirt, taut tie, he’s running out of matching letters to describe his appearance which is always, and only, just that. To himself he appears as an apparition. Do others see him, he wonders often.

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OTTERS AT THE ZOO by Christopher Allen

My imaginary son is learning about otters in imaginary third grade. He has to write a report. I think he’s a bit young for reports, but his imaginary teacher, Mrs. Florida, thinks otherwise. Two hundred words. Due Monday.

So I plan a trip to the imaginary zoo though my imaginary son says the fastest way to learn about otters is the Internet. He spends all his internet time reading about sea otters. He’s an official member of the Otter Appreciation Society. 

Did you know, he says, that otters can talk? He whistles, growls, says he’s learning Otterish, says he doesn’t have time for a zoo when he’s got 42,689 search results to get through for “All Things Otter.”

But the fresh air, I say. The snake house. Churros. 

Nah, he says.

There’ll be imaginary sea otters, I say. Real ones.

He’s already in the car.

My imaginary son is just big enough to sit in the front without his imaginary car seat. He buckles up, smiles like that click is the most adult thing in the world. And maybe it is. He asks how far the imaginary zoo is, and I say it’s seven carrot sticks and that tuna fish sandwich in his imaginary backpack. He tucks into the sandwich.

My imaginary son’s obsession with sea otters is nothing new. Ever since he hatched from my thigh he’s been a little otter fellow. I allow it. A boy needs a hobby. I collected stamps.

Did you know, he munches, that ninety percent of sea otters live on the coast of Alaska? 

I didn’t, I say, and he says, We live in Delaware.

A shame, I say. Where do the other ten percent live?

Did you know, he says, they store food in their armpits?

That’s gross, I say.

Super gross, he says like super gross is the best thing ever.

The imaginary zoo is hopping today. It’s the birth of Wen, the imaginary panda. It’s been all over the news. We’re waiting to enter the imaginary panda pavilion when I spot the churros cart. I’m starving, and we’ve been waiting in the queue for what seems like a million carrot sticks, so I tell my imaginary son to hold our place while I grab us churros. I return with the most aromatic imaginary confection to the same queue, the same panda pavilion, but no imaginary son.

Have you seen a kid? Have you seen a kid? I say to the parents in the queue. 

This is a zoo, someone says. It’s an ocean of kids.

He’s eight, I say, looks like a miniature me. Like this, I say, and squish my cheeks up into my imaginary son’s goofy face.

You left your kid? someone says, For churros?

I run up and down the queue—Have you seen my kid?—getting only judgmental glares for taking my eyes off him for four seconds, but then I hear him beyond a cobblestone path. He’s jumping up and down squealing Otterish on a platform made for kids so they can traumatize the sea otters below.

He settles when he sees me, knows I’m not the kind of dad who’d haul off or why I oughta. He knows I’m just grateful for every moment he decides to stay. Did you know, he says, that otter mothers leave their babies floating on the water when they look for food? He takes a churro from the bag, and it may be the cinnamon and sugar dusting the air between us, but I feel a breeze of something real, something unfamiliar like, I don’t know, but that’s just it, isn’t it? I don’t know.

Why is that? I ask.

Their fur’s too thick, he says. They can’t swim under water. But they float great. He smiles and throws an imaginary fish to the otters below.

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COLLEGIATE GOTHIC by Daniel Felsenthal

Summer

I met Miles on move-in day after my advising troop finished doing icebreakers and trust falls. Actually, I met his dad first. 

“Herman Kahn,” said a man wearing a fleece embroidered with the mascot of our university on the breast, and beneath it, the words Class of ‘72. He extended his hand as though he were a freshman himself, but looked at his son, and their dance gave the impression of a family whose dynamics were more important than people outside of the family. 

“Miles! Care enough about someone other than yourself to meet your neighbor?” 

“I told you not to wear that stupid fleece, Dad. You’re embarrassing me.” Miles’ eyes hardly passed over mine, “Hi,” and then he turned back to Herman, “Please leave before I never talk to you again.” 

My parents would disown me if I acted so rude, but Herman obeyed. 

“Wanna go to a party?” Miles asked. 

He learned from his older sister, also an alumnus of our university, that freshmen usually go out in large, aimless-seeming packs, so we should assemble a group. 

“A group of girls,” he clarified. “More than one penis in a room is practically a gay club around here.”

Unlike Herman, Miles wore a yarmulke. I thought religiosity got squeezed out with each generation by America, sex, capitalism, and the same festering animosity that led Miles and his dad to scream at one another. Or at least this was the case in my family. The children of churchgoers mostly seemed to stop believing in God around the same time we stopped believing in Santa Claus. Still, we maintained a basic respect for our parents’ authority. Miles, on the other hand, became a religious Jew after his parents split up, when he got close to a youth group leader at his temple, and he despised his dad, blamed him for divorcing his mom and messing up his childhood, which was a doubly fraught perspective since he’d come to Herman’s alma mater. 

“I was shut out of the other Ivies,” Miles explained to me. 

I was accepted by a few, but went here because it was the only school that offered me enough financial aid.

Maybe Miles’ family legacy accounted for his self-confidence. He acted like a bro with other guys, but surprisingly, charmed the finer sex. Enough girls jammed into his room that a few people had to stand on his bed while we passed around a fifth of Belvedere his mom gave him as a present for being salutatorian of his high school class. Everyone smiled and wanted to be liked by everyone else, and people who would never have spoken to me in high school were so friendly that it felt as though going to the same school were a bigger commonality than being of the same race, or faith, or having the same amount of money.

“Miles acts this way because he is Jewish,” my mom would tell me, if she and my dad were here. But they left that morning, so I pushed her prejudices out of my brain.

Walking to the frats, we passed around an Ocean Spray bottle of orange juice we spiked with the rest of the liquor. Miles led us up the steps and past the scratched, peeling columns of the mansion where the brothers of Rho Beta Rho lived and drank. One yelled, “If you have less than four girls for every guy, you’re not going to get into our party.” 

“That’s insane,” Alicia told the bouncer, a bearded sophomore. 

Luckily, we got in before she vomited and Sarah took her home. 

The brothers invited us upstairs to smoke a joint, probably because they were trying to woo Miles. It was the second time I’d gotten high in my life, an opportunity that never arose until last summer.

My roommate, Rizwan, came and went all the next morning, chatting on the phone in Arabic, but apologized for waking me. The only furniture he brought was the rug he lay between his desk and bed. He wanted to hang out with Miles and me, and Miles was polite, yet cool—and sort of unfriendly.

The two of us got drunk on a few bottles of Petite Sirah he stole from his stepdad, who had a beach house in the Hamptons with a wine cellar. At a party thrown by Tau Tau Tau, we danced on every girl not surrounded by a protective shield of friends. Someone wearing a shot glass as a necklace kissed me, and when she backed my body across the dance floor and into a wood panel beneath the stuffed head of a moose, I slipped my hand under her waistband. She was wet, and pawed at my erection through my pants, but then she pulled away and would not dance with me anymore.

I met Anna Merriweather at the campus cantina, where I picked up a meat lover’s slice to sop up the liquor. While we dawdled back to the quad, I told her about Miles. 

“I’m not sure why he wants to be friends with me,” I said. “Because he seems to be kind of racist. But everyone makes jokes about people’s race and stuff here. I guess it’s OK now that we have a black president.” 

“It’s like that back in England, too,” she said skeptically. “Everyone going on about being English instead of being British, being Egyptian instead of being English, being Irish instead of being British.” 

I was shocked she liked me. After we kissed for a couple of minutes, Anna pulled away. “Oh my God, I’m pissed.”

She wanted to come back to my room, though, where we kissed some more, my hand underneath her bra for so long that my hand went numb. Rizwan opened the door, closed it again. 

“Sorry!” 

Later, I went to the bathroom and rested my head against the partition until I threw up. 

 

Fall

I got into college because of my art portfolio, which I thought was pretty good, and my high school teachers and college counselors and obviously some of the admissions people thought it was very good. Still, I was studying Economics, because my parents insisted I take practical classes. Most of them were three-hundred-person lectures, in amphitheaters, with professors who lectured from slides. My only seminar, Craft of Mesopotamia and the Mediterranean, fulfilled a distribution requirement. Our first day, we went in a circle and introduced ourselves by saying a little about our interests in the world of art history. I said that I liked Vincent van Gogh.

 “We won’t be studying Impressionism,” Dr. Villani said. She smiled at the rest of the students while they laughed.

“I know that,” I said, feeling my face redden.

My work study job was at the DVD rental library, and Miles sometimes did his homework with me behind the desk. There were two posters hanging there, one from Pulp Fiction and the same Shepard Fairey portrait of Obama I tacked to my wall when he got the nomination a couple of years ago. We ate at the Hillel dining hall after, where the food was kosher and relatively good, and Miles told me about his ex-girlfriend. She had split him into two people, one who stayed at home in a perennial act of lovemaking—he had burning, halcyon memories of crossing Central Park at night after their parents went to bed—and another who left Manhattan for his freshman year of college. Only her father was Jewish, Miles explained to me. That was one problem. But the reason they broke up before he arrived on campus and she left for Wash U. was because they decided that college was a time to meet new people, to grow and change. He and she got coffee together over fall break, and after crying, in a turn I did not expect, they had sex. 

“But what about her mom’s religion?” I almost asked.

“I’ve felt even worse since then.” 

He set a care package from his mom in the lounge mini-fridge. 

“Why?”

“Because now I’m more confused than I’ve ever been,” he shrugged. “I’ll probably just call Herman later.”

“Don’t you reject him and all that he represents?”

“Of course I do. Did I tell you he’s engaged again? To a twenty-eight year old. He promised my sister that he wouldn’t. But she proposed last week.”

Every several days, I met up with Anna. Sober, she seemed as unsure about making a move as I was. We spent a lot of time sitting on her bed, holding hands, and sometimes we just got together and talked, or made out a little bit before or after we studied. Other times, we ate and I listened while she complained about her classes. 

Anna and Miles liked to tease each other. She made fun of the books on his shelf, his love of Ernest Hemingway. He goaded her for being British. 

“English,” she corrected him. 

Her laugh was so loud that people knocked on the door and asked us to quiet down, and other times because Miles blasted music through his speakers. Around midnight, he kicked us out to give his girlfriend a goodnight call.

Our whole hall welcomed her with open arms when she stayed over for a long weekend. Everyone thought she and Miles were so cute, bringing a sunny, adult feeling to our dorm. She was morose, though, and I knew their relationship was not going to work out. She frowned a lot, stood with her arms crossed. Miles took her to dinner at restaurants downtown, stores, and an a-cappella show. She hardly looked at me, as though she had no idea that I was his best friend. They spent a lot of time on the couch in the common area beneath a blanket, her head on his chest while they watched Glee on his computer. 

Our hallmate, Krista, pulled back the corner of a lump of foil to show me a dollop of red and blue frosting. 

“Oh, fuck,” I said. “Can I have some?”

“I baked this cake for Miles, because he’s sad that his girlfriend left. We were all going to get dinner in the dining hall later. Then we’ll eat the cake after.”

“I have plans with Anna.”

“Who’s Anna?” 

“You know, the British girl who hangs around here sometimes.”

“Oh, her,” said Krista. “She seems full of herself. Miles is your best friend.” She touched my arm and her eyes widened. “He needs you.”

“What’s this I hear,” cried Shaad from down the hall. “You’re skipping out on hall dinner?”

A chorus of people echoed them—Chris, Pritam, Bonnie, Jessica. “Hall dinner,” they said.

Everyone went, besides Rizwan. He never hung out with us. It started in the beginning of the year when we partied at the frats. They rejected him at the door, along with a bunch of other guys. Too many sausages. Not enough women. And then, weirdly, he rejected them. Greek organizations hated personal freedom, he pontificated one morning, yet still they were such an American tradition. In the ponderous, pompous way he communicated everything, he pointed out how people in the U.S. secretly loved to give up their individuality to the collective. Then, they covered their tracks by claiming that individual rights mattered to them. The rest of us silently disengaged.

“Was there a hall dinner tonight?” he asked in our room. A book was open on his desk. 

“Just one for Kahn, because his girlfriend went back to her own school. We tried to find you, but you weren’t around,” I lied, and adopted a friendlier tone while Rizwan glanced at his phone. “You get up to anything wild, dude?”

“I went to Lush downtown with Suhel.”

“But you don’t drink.”

“No.”

Rizwan was always going to clubs with his Saudi friends. I didn’t really know what sober people did at clubs. I would probably never go to a bar until I was a senior because I couldn’t afford a fake ID, unless I stopped buying weed and never ate out again. Anyway, Rizwan was from a rich family.

The rest of his time was a mystery to me, although I imagine that he spent it studying, since he read constantly and was apparently really smart, at least according to Anna, who was in his Kierkegaard class. Usually, when I got back from hanging with her or Miles, Rizwan was asleep, sideways across the bed with his computer next to him or a book on his chest, a neon paper wristband on his hand. Around seven in the morning, he descended to the dining hall for breakfast, and returned to our room by eight, where he prayed in a whisper so quiet that it seldom woke me. All morning, he worked at his desk. I usually opened my eyes a few times, and peering from the protection of my covers to see Rizwan hunched over his papers, I knew that I could get several more hours of rest before my first class began at ten.

“Anna told me that the bouncers at Lush harass the underaged girls they let in.”

“Well,” he reasoned, “if they’re going to be doing illegal things, they can’t expect to be protected by the law.” 

“You’re doing an illegal thing. The drinking age is twenty-one in this country.”

“The owner is Saudi. He’s the one breaking the law.”

“Don’t be a misogynist.” 

Rizwan stared at me. I packed my pipe with weed and set up a fan by the window because he fussed about the smell. The book on his desk had a Latin title. In the beginning of the year, he planned to be a Physics major, but then he began double-majoring in Philosophy, announcing this development to our hall with great enthusiasm, as though we should care about a bunch of dead Germans.

I slid into bed. He asked, “Have you ever read any Ludwig Wittgenstein or Bertrand Russell?”

“No.”

“You haven’t?”

I shook my head. “What does Ludwig do, build pianos?”

Rizwan laughed. “He’s an Austrian philosopher. There are many homosexuals in Europe and America, aren’t there?”

“No more than there are anywhere else.”

“I don’t think homosexuality is immoral.”

“Thanks for sharing, Rizwan.”

“My professor told us that Wittgenstein and Russell are gay so easily it was like he was telling us they were roommates.”

“If I had a gay roommate,” I said. “I would have to put a rat trap in front of my butthole every night.”

Rizwan jolted, as though what I said was disturbing.

“It was a joke,” I explained.

“Do you like it here? I hate it here. I’ve had a cold since I arrived in this city.”

“Ew,” I said. “Stay on your side of the room. And for God’s sake, cover your mouth when you sneeze.” 

I switched off the clip lamp on my bed frame. 

“I want to go to California. Have you ever been? The weather here is so bad. I feel it’s contributing to my depression.”

I slapped my hand across my eyes. “Would you turn that down?”

Rizwan shut his light off and put on this stupid headlamp he had, which made it seem as though a worm was growing from his skull. When I suggested that he hang something on his side of the room, just to brighten things up and help me avoid my own sadness, he showed me a poster he found on the internet of Stephen Hawking and Albert Einstein. The famous men floated in an asteroid belt, staring at the cosmos. 

“They are unintimidated by the concerns of other people,” he said. “But I will never be that way.”

 

Winter

Anna and I had sex for the first time just when we got back from Christmas Break. After so much anxiety about losing my virginity, it was gone in an instant, but the second time, I was just as frightened as I had been the first. She blew me while I lay on my back and stared up at the picture of Audrey Hepburn that her roommate Victoire hung over her desk. Anna never told me that she wanted me to reciprocate. Putting the condom on, I felt like I was dialing a stranger on the phone, listening to it ring before the person on the other end picks up. Then she dozed off, and I felt both restless and like I was getting sick. I texted her after creeping out of her room in the middle of the night. 

“At the very least, you could have bloody woken me,” she replied. 

My cold mounted the day after she broke up with me, only to dissolve into a dry hack I wanted to lose. It was Spring Rush, and frat row crawled with freshmen, trampling each other to impress the brothers and sisters. In my seminar, Dr. Villani stopped lecturing to pass me a box of tissues, but when she handed back our term papers, I felt the familiar flutter of getting good grades. You communicate your ideas so clearly, she wrote in the margins, dotting my word choices with three plus marks. She called me over once class was done and asked about my health. 

“When I first went away to school, I had a cough that lasted two years.”

“I’m drinking ginger tea.”

“Eat Vitamin C,” she advised.

Art, a biology major from PR, and a few other brothers from Rho Beta Rho came to my dorm with a fancy, embossed envelope. I knew I had a chance there. One drunken night, a sophomore let slip that the fraternity’s charter required them to recruit members for diversity, plus Art, whose real name was Arturo, liked me. The Caucasian brothers flanking him carried a bid for Miles, who had not been to the fraternity all semester. 

“He was our top choice. Do you know where he is?”

“He’s always at Hillel now.”

“Shit,” said one brother. “They got him.”

“What?”

“I had a Bar Mitzvah just like everyone, but the Hassids, they're a cult,” he said, as though I had become a man within the Jewish faith, too. 

A fatter brother sniffed the air. “I hate this dorm. I have traumatic, smell-induced memories of my freshman year here, man. Curry and steamed cabbage. My roommate fucking emanated that shit.” 

For the next two months, I went on a run with the other pledges every morning at six. We played tackle football after, and I broke three fingers and sprained my wrist. We drank every night: liquor, beer, curdled milk, hot sauce, the collected spit of Rho Beta Rho. Each week, I did the calculus problem sets of a senior. I did a junior’s dry cleaning. 

“If any of us catch you hanging out with friends, or seeing girls, or even so much as taking a walk, you will no longer be a member of our brotherhood,” they told us on the one day we had off from pledging. 

Another evening, they hung us upside down and poured beer down our nostrils. They bound our feet and wrists, broke glasses in the basement, and turned the lights off, “Crawl around for an hour.”

I thought of withdrawing myself as a pledge, but Art told me to stay, insisting that stuff got better. The brothers were not half as racist as they sounded, he said, and unless I was gay or something—Art looked at me with suspicion—I had nothing to worry about. He invited me up to his room and cleaned my wounds after the glass crawl, “We talk about getting rid of pledging traditions like this every year.” I leaned back on his bed, not needing to try so hard around Art. I could be myself, or at least act the way that I had acted with him in the past. But I had always been trying too hard, and so I had to keep trying hard or else he might think I was not the freshman that he had originally championed in front of the brothers. After all, there were so many reasons that Rho Beta Rho wouldn’t want me, of course, the main reason being that I’m Korean.

 

Spring

For Spring Break, the brothers went to Cancún, and Anna got marooned on campus like me. “I told my parents that joining a frat was how you got the best jobs in America,” I said when we crossed paths in the quad, the first time we saw each other since we broke up. “But they’ll just act so disappointed in me if I go home, and I definitely can’t afford the airfare to Mexico.”

“You know you really hurt me.”

“I did?”

Back in my dorm, I waded through the clothing flung on the floor, the ketchup-smeared plate by the foot of my dresser, and the mug with the thick film to clear a path for Anna. We lay on the covers of my bed and chatted. 

“Rizwan’s been super passive-aggressive lately,” I said.

 She glanced at the floor. “I wonder why.” 

“I’ve spent the last week scrubbing gunk from the frat house basement. I literally cannot lift another finger until I’m a full brother next week.” 

Rizwan burst in after a couple minutes, grinning, but the moment he saw me his expression changed. 

“Would you pick this up?” He pointed at a T-shirt that lay crumpled by the leg of his chair. “It’s a basic matter of respect.”

“We’re in school. Respect doesn’t matter until we’re older.”

“Our lives mean less than other people’s?”

Rizwan annoyed me for being right, but Anna liked him. A few days later, the three of us hung out, with everyone else gone for their ski trips, beach parties, or families’ mansions. When I mentioned I hadn’t seen Miles in a while, Rizwan said he hated college. 

“Besides Suhel, I have no friends, and Suhel and I are not always so compatible. If I take a semester’s leave, though, I risk losing my visa.” 

“Everyone hates it here,” Anna shook her head.

“I don’t,” I said, but in truth I just never asked myself whether I liked college. 

We streamed Iron Man 2 under the covers in my bed. I woke up to see Rizwan’s sleep-calm face, inches away from my own, and when I reached for Anna, she was gone. I moved my hand, which was numb under Rizwan’s ribs, and closed my eyes again. 

Miles sent me an email before break ended:

I have to say i’ve been lying to you lately. First off, my girlfriend and I broke off all contact a couple of months ago, big surprise, which rocked me. I couldn’t focus on my homework. I just don’t care anymore. I didn’t want to tell you. Frankly, i dropped three of my classes as well, so I didn’t fail. Now my family is furious with me. They’re so wrapped up in these stupid American values that they dont know what’s actually important anymore. Anyway, this might be hard to understand, but im moving to Israel next week and joining an Orthodox community. 

I knocked on his door to find it open, the bed stripped bare, the bookshelves empty. 

Through the wall, I heard Rizwan jump up and down, overjoyed and full of future. 

“I’ve been accepted to Stanford as a transfer! I’m moving to California!” 

 

Summer

The summer has nothing to do with any other season. I spent most of it alone, staring at the plants in the garden and basking in the sun. I had begun to paint again, the first time since freshman year began.

I hadn’t left campus. Everyone else was gone, which made it a better place. I worked for Dr. Villani while she and her husband were on an archaeological dig. Most of my tasks involved house- and dog-sitting in their beautiful nineteenth-century redbrick, but she also asked me to conduct some research, for which I received a stipend, so my parents couldn’t complain that I was spoiled and lazy. “The block you live on is dangerous.” They read police blotters, sending me worried emails about crime. 

In August, Art took the train down from New Jersey. He stayed in the room that belonged to the Villanis’ daughter, who was college-bound next year, on vacation with her mom and dad. Her list of prospective schools was pinned on her bulletin board next to a reel of photobooth pictures she took at prom with her friends. Her dream acceptances were the same as mine. 

Art took me to a bar the first night of his visit, where he said I would get served as long as I looked confident and didn’t hesitate when asked for my drink order. (“Well rum and coke,” I practiced.) When we got home, because I told him not to do it in the backyard, he puked on the neighbor’s stoop. 

In the morning, after taking turns over the toilet, we agreed that we would never drink again. But at night, we opened a bottle of whiskey we found in the liquor cabinet, and I leaned over and kissed him. Art was reluctant at first, but soon we were in the teenager’s room, jerking each other off on top of her bedspread. Art knocked over one of her field hockey trophies. We laughed. I blew him, and he blew me, and when I woke again Art was still asleep, rays of light sluicing through the windows. 

He squirmed away when I touched him, making up some excuse about his sister’s birthday in West Orange, which meant he had to leave immediately. I sat in the living room and cried for a little while, and then I bleached the bathroom, threw the sheets in the wash, and did a few hours of work before I took Otis on a long walk, far from campus, in the townie parts where Obama signs grew sparser. 

Otis lifted his leg. He pooped. We both grew tired. We trudged on. Eventually, I happened upon a Methodist church with a Korean pastor. The sun set over a slight hill in the distance. Across the street, an old, stooped white man emerged from his house, approaching the giant flag pole that protruded like an erection from one of the front beams, and began to pull on the ropes. I watched him lower the flag, which he would hoist each morning to the tip of its pole again. It was a military tradition, I knew, that some veterans carried into civilian life. There was a twenty-something ex-marine like this in my hometown, a flag hitched to his porch’s banister. Every night, he hit the bars downtown. 

“Stay away from him,” my parents told me, “Army men are evil.” 

But I always thought he looked so harmless, drunk enough that he could hardly walk, much less fire a gun. And if he died from liver disease, he would be this age forever. An immortal hero, I thought when I was a child. Now that I’m older, I think he was just another character. Someone to remind us how much young men sacrifice in the name of youth.

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ALT TEXT FOR A CANDID AUDIENCE PHOTO by Taylor Alexandra Duffy

<img src=“201704WomanInAudience.png” alt=“This is one of several candid photos of me, gaze upturned and listening intently at a museum lecture, the sharp worry on my face readily apparent, though I laugh self-consciously at the thoughtfully placed jokes. It’s night, and we’re gathered in the formerly Koch-funded planetarium, and we’re here thanks to some shared sense of scientific inquiry or the open bar. On stage is a prominent researcher in her field, and her lecture is titled Stress and Human Evolution. She's patiently describing how our grandchildren’s genes will be irreversibly warped by our suffering, calmly listing the collective atrocities she knows we or our mothers have lived through, delicately acknowledging our own individual, personal horrors to which she’s not privy. She shows us the life expectancy by zip code of the city we’re all gathered in, lets the choked silence hang heavy as our eyes scan for our own particular block, white faces settling quickly on much more generous numbers. For years I’ve lived next to this natural history museum (a neighborhood, I have just learned, allotted approximately five more years than the one in which I was born), I’m a regular at these evening events, have the punch card to prove it, and I recognize the staffer who’s taking my photo. And I know she recognizes the look on my face because I see it on hers, though partially obscured by her camera. It says: I have irrevocably damaged what should have been a prenatal blank slate, and this is so beyond me that my own participation or autonomy in the situation is trivial if not irrelevant, news that only a qualified anthropologist could gently deliver to a slightly buzzed crowd. The epiphany that one day, possibly when I’m gone, fossilized in the DNA of a future generation is a paper trail of everything I’ve inadvertently buried far too deep, accidentally repressed down to the atomic level in an attempt to leave space for the next unwanted thing. It turns out we’re so maladapted that now even this tense moment of collective anxiety filling the room as we reflect on this troubling phenomenon can trigger our stress-response and permanently calcify tonight and the dull tightness in our chests into further intergenerational rewiring. When the lecture is over we disperse out through the empty, quiet museum, navigating the same exhibits I often pace to decompress, frequently wandering after work or on the weekends to still my pressing panic, alone and weaving my way through families gesturing at dead animals behind glass. For how long did conservation mean trophy hunting to stop time, and why did I convince myself that was no longer the case? In my many expeditions I have discovered that if you walk backwards through the Hall of Human Origins, you end up six million years in the past, at a sign that implores you to ‘Meet Your Relatives,’ and face-to-face with whatever Pliocene trauma I must have inherited, I’m afraid we’re already well-acquainted.”>

 

With thanks to Dr. Zaneta M. Thayer, biological anthropologist

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EXPERIENCERS by Emily Costa

Your girlfriend believes that at some point during the last year or so her father has been abducted by aliens and replaced with a human-like shell. She believes visits still happen, routinely and systematically, that they must pull him up there with that classic tractor beam, or else he meets them somewhere in the woods, and they do tests and probe him and check on his progress. Progress with what, you wonder, but she’s still talking. She says they return him dead-eyed. She’s got it all laid out. She keeps a little journal by her bed to jot down the nights, to keep track of his behavior. She says on Mondays and Thursdays he leaves in the middle of the night. The front light’s on motion detector and shines into her window. She hears his tires crunch driveway gravel. Then, he’s there again at cereal time, normal.

She’s telling you this because she trusts you, she says, finally she trusts you.

You wonder if this means you can move on from spending the night in her bed just making out, from jerking off in your room when you get home. You hate that you think that, especially considering what you’re doing now: driving down route 63 with her, tailing her dad’s BMW, trying to find what she’s calling an “entry point.” Your crappy Toyota is having some issue with acceleration—it’s stuttering, slow—but you need to maintain distance anyway. Your girlfriend is biting the sides of her fingernails. She is messing with the radio. She is telling you hang back and speed up.

Your girlfriend’s mom is at home, zonked on Valium. You’d left your own father similarly zonked, head back, on the couch. Something in his nightly regimen knocks him out but you’re not sure which pill. You make a mental note to ask the doctor. Maybe you could even ask the nurse at treatment while he dozes and you’re stuck in the sticky chair next to him, flipping through a book, unable to focus on the words. Maybe it’s the disease itself. But you try not to think about that, and your girlfriend is saying are you listening? and you are and you aren’t.

Because the thing is you know where her dad goes. It’s easy to infer, even though you’ve only met the guy once. The way he smiles, the over-cheer in his voice. Like he’s making up for something. But your girlfriend doesn’t see it. Or, she doesn’t want to see it. And you can’t just come out and tell her the warm thing her father’s enveloped in isn’t some human-sized test-tube filled with space goo. So you’re just waiting for the thing to happen. And it’ll happen tonight: you’ll follow the father all the way to the other woman’s house. There will be no object in the sky, no abduction, no jump in the clock. Just a split-level with its porch light on. The door will open. You’ll both catch a glimpse of her as she pulls him inside. Your girlfriend will look at you in a way you’ll never forget, and you won’t be sure how to make your face look, how to mirror surprise.

But before that, you’re driving, and you know, and she doesn’t, and you can’t tell her, and it’s all hanging there in the air, and you start to wonder if you’re a bad person—your most frequent thought—because you want the thing to happen already, to get it over with, to end up on the other side of it, but you don’t want to say the words. You can barely even think them.

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