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NOT TO BE by Mars Girolimon

I’m in class reading Hamlet and contemplating suicide on a cliffside. Reciting poetic verses about family curses and hiding behind a curtain with a knife. My phone buzzes, and I lean forward to read something out of a Shakespearean tragedy. She killed someone. The words glow like the flame of a lit match and I spring from my desk chair, repelled by their heat. Faces swivel toward me, judgement radiating from their eyes. I’m an injured animal at the center of a swarm about to be mauled by my own pack. My heartbeat radiates in my ears: glove to a punching bag or knife to a chest. I ask, “Can I be excused?” But don’t wait for an answer. I grab my cell phone and stumble out the door. Knuckles white to match my ghostly face, I can’t help but imagine a skull in my palm instead. 

I knew her.

In the privacy of a public bathroom, I perch with knees to my chest, balancing like an ape on the branch of a porcelain tree as I read. Police arrived at her room, responding to concerned calls about violent-sounding screams. She opened the door, bloodied hands shaking and outstretched in surrender. Behind her, a scene of crimson and rouge, organ and flesh. “I killed him,” she said. “Arrest me.”

Memories flood the folds of my brain. Every time I told her I loved her. How she tucked my hair behind my ear. Every time she mentioned church or raised her voice. Moments I should have known or couldn’t have known all circle me like vultures. Their screeching pierces like a blade. I can almost see her standing over me, electric with adrenaline pumping through her veins and a dagger clasped between her hands. Are my ears ringing or is that another text? I close my eyes and ask Shakespeare what comes next.

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BRIAN ALAN ELLIS on film with Rebecca Gransden

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

My aunt and uncle on Long Island, for whatever reason, had a big-box VHS copy of I Spit on Your Grave in their collection, nestled somewhere between Stripes and Mr. Mom. I never asked about it, or even watched it, but it always kind of confused me. I thought it was a porno or something. I finally ended up watching I Spit on Your Grave as a teenager, which made me thankful that I didn’t watch it as a child, though I did accidentally catch A Clockwork Orange on Cinemax at a very young age and it completely freaked me the hell out. 

Very often film is one of the ways we first come into contact with a world outside that of our direct experience. Which films introduced you to areas of life away from the familiar circumstances you grew up in? 

The coming-of-age films of John Hughes showed me that rich people have problems also, I guess. And it took me years to realize it, but Revenge of the Nerds taught me that nerds too can be real shitty, problematic people.

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

As a child I became obsessed with this Swedish film called My Life as a Dog that I’d see on HBO. It’s about a poor, lonely kid whose mom gets put in a looney bin. Then his dog is placed in a kennel. He gets abused by relatives and teachers. He learns to read by reciting lingerie catalogs to some creepy old man. Then he befriends this girl who is kind of a tomboy and they box for fun and they beat the crap out of each other. Then there’s a scene where he takes a bath with the tomboy and it all seemed very sexual and scandalous to me. It felt very much like watching porn, this movie. It made me feel icky and sad and enthralled and I’d only watch it if nobody was home. 

Are there any films that define your formative years?

The mid-1980s horror film The Gate showed me, at a very young age, that if you throw a dead dog (your untreated trauma and neurosis) into a demonic hellhole in your backyard (the void that exists within yourself) that bad shit will happen.

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

Plays, specifically movies based off of plays, probably influenced my writing quite a bit. Like Mike Nichols’s Who’s Afraid of Virginia Woolf?, or stuff like Comeback, Little Sheba. Splendor in the Grass. Tennessee Williams adaptations. I related to dialogue-heavy dramas about broken people. Experiencing Douglas Sirk films like Imitation of Life and Written on the Wind will really allow you to take your writing out of its comfort zone and just go bonkers with it. 

Do you use film as a prompt or direct motivation for your writing?

I try going into each writing project with the same energy as an Ernest P. Worrell film, especially Ernest Scared Stupid. 

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

I dig all the New Hollywood films of the 1970s. Hal Ashby, John Cassavetes, Peter Bogdanovich, etc. etc. That’s the best stuff, in a lot of ways. Great character stuff. Lots of hidden gems, too. Like Searching for Mr. Goodbar and Joe. Robert Altman’s Nashville is pretty much Brothers Karamazov, but better. 

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

I’ve acted in little short films that friends and I have made, but nothing too serious. I would be down to do something more substantial one day. Filmmaking is a lot of hard work, even doing just nonsense stuff. 

Are there films you associate with a particular time in your life, or a specific writing project?

Ghostbusters will always remind me of childhood, especially because my mom sewed me a Ghostbusters jumpsuit for Halloween one year. 

My buddy and I, as teenagers, snuck into a screening of Boogie Nights, but it was at the end where the drug deal goes bad and then Mark Wahlberg shows off his prosthetic penis. We obviously stayed for the next showing.

Donnie Darko was kind of the movie of my twenties. I first saw it while my band was on tour and we were crashing on someone’s floor in Chicago. I didn’t think it was very good at first, but everyone I spoke to loved it. It took several viewings with different people at different periods of my twenties to really appreciate it. It’s now a movie I revisit often. 

My thirties were mostly spent in a majorly depressive stupor, though I do remember being very charmed by Frances Ha for quite some time. 

Note: How any of this random bs relates to specific writing projects, well, I have no clue. 

Thinking about the places you’ve lived, are there any environments that are cinematic? Have you lived anywhere that has been regularly depicted onscreen? If so, has this had an influence on your perception of the place, or how you’ve depicted it in any of your writings?

I grew up in a trailer park in south Florida, so maybe Gummo? I don’t think I put too much “place” in my writing, at least not intentionally. I guess I’m more into characters and situations than surroundings, I don’t know. There’s been a lot of films and TV shows made in Miami. The Larry Clark movie Bully was made in the neighborhood where I grew up. (The Florida Project also captures that empty, Florida outlet mall spirit pretty well.) I live in Gainesville, Florida, now, which is where that Paul Giamatti movie The Hawk is Dying (based off of a Harry Crews book) was filmed. That was 15 years ago, mind you, so the city has changed quite a bit since then. That’s one great thing about film—it captures a certain time and place to revisit, which is comforting. 

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

I mostly watch films I’ve already seen several times and I do that more than checking out newer releases, which is probably a bad habit. I think it means I have anxiety and that I’m mostly depressed. I especially enjoy revisiting “light and crunchy” stuff. For example, I recently watched 10 Things I Hate About You again, and let me tell you, it still slaps. 

Do you have any lines of film dialogue you regularly use in your daily life?

I regularly say “Dishes are done, man,” from Don’t Tell Mom the Babysitter’s Dead, even when there are no dishes involved. Also, I’m pretty sure I still quote Wayne’s World as much as I did as a teenager and people rarely know what the hell I’m even talking about. A sphincter says what?

Are there individual scenes that stay with you?

The super sad ending in Wayne’s World where Wayne’s hot girlfriend resents him and all his idiot friends perish in an electrical fire.

What films have roused a visceral reaction in you? 

My mom took me to see that violent Stallone cop movie Cobra when I was a kid and the film opens with a gun pointing directly at the audience and I remember it giving me quite a jolt. I probably peed my pants. My mom was nuts, by the way. 

Are there films that are reliable for inspiring your creativity?

Pretty much any John Waters movie gives me a creative charge, though the results are never as funny or brilliant. See also: the work of Rainer Werner Fassbinder. 

Which of your writings would adapt most successfully to film?

Probably my book Something to Do with Self-Hate, which would make a sad tour de force about lost, damaged people further damaging themselves. A real “feel bad” flick. Lars von Trier could direct. 

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

I recommend Shakespeare’s Thrashin’ (1986), where the older brother from The Goonies falls for the leader of the rival skater gang’s sister at a Red Hot Chili Peppers show, which Shakespeare rewrote in 1993, replacing the skateboards with rollerblades and calling it Airborne.


 Brian Alan Ellis' yearlong Internet novel, HOBBIES YOU ENJOY, is being updated daily on Instagram.
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THE COCKROACH by Christine Arroyo

She woke up in a classroom. Chalkboard at her head, corkboard at her feet. As she adjusted to the dusk light—was it 5 a.m. or 5 p.m.?—she discovered she wasn’t in the setting of a recurring dream she’d been having. The ‘I fell asleep at the desk and missed the most important test of a lifetime’ dream. No, she was in a hotel room. The Eaton. The card pinned to the corkboard wall held her personalized key to the rooftop gym. 

As she pressed her body against the hotel room window, the humidity moved through the glass and brushed up over her skin. She was alone. She normally lived with two bulldogs and no humans. She remembered London. Cold, foggy, lonely London.

Hunger motivated her into the hallway. Brass elevator buttons reflected a Damien Hirst cow sculpture dissected with preserved butterflies and behind that a never-ending ticker tape scrolling the words: “A More Just World Where We Are All Liberated To Be Our Truest Selves” – Jenny Holzer, American, born 1950.

She remembered the mooncakes smashed into dirty water at the sidewalk’s edge and Tiger Balm in the storefront. She couldn’t remember how she got back in the hotel room. This is what jetlag will do, she thought to herself. She traveled all the time, her body in one place, her soul delayed four airports behind. 

She stepped inside the glass elevator that was housed in a glass tower, the windows revealing rolling mountains of Kowloon beyond and red double-decker buses powering through the streets. Neon signs flashing Cantonese words stuck out from deteriorating buildings like brightly colored marshmallows at the end of burnt sticks. Hong Kong. She remembered Cha Chaan Teng, incense at the temple, “Shark Fin Soup Makes Your Penis Small” scratched into the wall as crude street art.

“Good evening, Miss Melinda.” 

The hotel staff was gracious, their uniform hoodie sweatshirts and spiked hairstyles offering a unified vision of a curated and controlled counter-culture aesthetic. They knew her name. How long had she been here? She smiled as the porter held the door open for her but her concern at being unable to remember the details haunted her. Where was she headed? She didn’t even know and yet some memory beckoned her forward.  

She stepped out onto Nathan Road, turning left at the intersection. She felt the stares of shopkeepers, taxi drivers, and street sweepers. The morning’s humidity made her arms sweat and her chest perspire. The store bell chimed as she stepped into a local pharmacy—one of those superstitious ones with jars of dried herbs and animal parts. She didn’t want anything endangered to rub on her skin. She just wanted a cold drink.

“You’re dressed in black.”

The shopkeeper’s judgmental tone made her stop and look down at what she’d put on to wear. A black boatneck shirt, black linen pants, and black trainers. It was what she always wore back home in London. She was colorblind. It took too long to coordinate an outfit. 

“All the terrorists wear black.”

The way the shopkeeper was talking, she was starting to doubt she’d be able to buy a cold drink here.

“I’m not a terrorist.” She felt the need to clarify. 

“That’s what they all say. They throw bricks and fire bombs and shut down our roads. All China wants to do is protect us. My family is Chinese. What’s wrong with the young people today?”

“I don’t know.” The little hairs on her neck spiked in worry. She didn’t want to have a political conversation. All she wanted was some cold jasmine tea bottled in a plastic bottle with an easy drink top.

“A cold drink?” She tried the direct route but the shopkeeper scowled and so she found herself trilling the store bell upon her urgent exit, walking down toward the water’s edge. 

She passed the infamous Chungking Mansions. The streets were still empty. Where had she been last night? All she remembered was drinks at the Mandarin on the island side and then waking up in her hotel. How did she get back across the bay? She suddenly felt the need to smell her hair, pull at her clothes, sniffing them for anyone’s scent besides her own. A faint smell of smoke, though nothing else seemed out of the ordinary. They let people smoke in the Mandarin bar. It was all easy to explain. 

She found herself leaning up against the edge of the Avenue of the Stars, looking out over Victoria Harbour. Wisps of smoke rose up in twisting curls above the HSBC building. The stillness around her made the unease she felt inside even more concerning. She turned and nearly crashed into a man bicycling past. 

The flash of movement, his eyes obscured behind goggles, bombarded her. She fell to her knees. Gas masks, flames, bricks, running across crosswalks and through covered walkways. The heat, gunpowder, pepper spray all assaulting her senses. She’d been one of them. They’d called her a cockroach as they’d fired rubber bullets in her direction. 

There had been many other freedom fighters around her. She suddenly thought back to the security cameras, to what she was wearing: all black, a gas mask, black cap. She’d been there too. It hadn’t been just a dream. She should have changed before heading out today. They’d be looking for her. 

Her watch dinged. She pressed the text message even though it was from an unknown number. A picture of a cockroach appeared. The blankness of what she couldn’t remember made a tear roll down her cheek. If they questioned her, they’d think she was lying. Her mind struggled to find equal footing. What’s left to remember if the past is erased right in front of your eyes?

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POSSUM STORY by Kayla Jean

We were going to scrape that possum off the road because somebody had to do it. That’s what our Dads said, trucks rattling in neighboring driveways, complaining about the borough workers, asking nobody in particular where their taxes went, if not to cleaning up a dead possum right in the middle of the intersection. The Biology teacher had even joked about dissecting it for class, because it was the intersection right next to the high school and so every student and every teacher saw it, curled up and still in the mornings then somehow more freshly dead in the afternoons.

It was my idea, but I’d only thought of it because I was trying to impress Gina.

“No, no sorry. Maybe I wasn’t clear” Gina said.

A garden shovel dangled from the Walmart cashier’s limp wrist.

“We meant like, one of the orange ones. One for snow shoveling. Wide like.” I spread my hands out past my shoulders.

“In May? Okay well, I’ll go check the back, we might have some left over from last season.”

Behind us, the claw machine was a swirl of hot pinks and bubblegum blues. A carnival song crackled from its speaker.

Gina tore open a bag of peach rings and we yanked them apart with our back molars. I watched her lips suck on the pale yellow underbellies of the candies and wondered, again, how Duck could have ever dumped her for a mousy-looking, furniture modeling sophomore.

We still weren’t clear on the specifics of furniture modeling. Neither of us understood how placing a fifteen-year-old girl next to staged warehouse sectionals made them look any more appealing.  When we talked about it, which was at least twice a day, Gina said it had to be the trashiest modeling job you could get around here, and that was saying something because there were lots of girls modeling bikinis for vape shops.

I reached for another peach ring but Gina rolled the bag up and shoved it in her back pocket.

“I think we’re good for now.” Her tiger-striped belly button ring glinted at me from between her cropped tank top and rolled-up Soffe shorts. She was always yanking food away and making me feel embarrassed for wanting it in the first place.

She’d done it when we were kids, best friends who got our ears pierced together at Claire’s and then shared Auntie Anne’s pretzel nuggets to celebrate. Yanked them to her side of the table and said I was eating too much too fast. And she was doing it now, since we’d reconnected two months ago.

We stopped being best friends in December of fifth grade. From their weather sealed deck, Gina’s family watched as my dad scaled a pine tree in our yard and sawed the top clean off. He said it was our Christmas tree for the year and he didn’t want to hear another word about it. Her dad laughed, gave a thumbs up. Her mom kept a French manicured hand to her mouth. The next day during indoor recess we played M.A.S.H. It was my turn and the game said I’d marry a plumber. The verdict was out on how many kids and whether we’d live in a mansion or a shack. Gina brought up the tree in front of everyone. It’s gaudy, she said, gaudy and trashy. I knew the words weren’t hers. They globbed on the desk like spilled oatmeal, stuck there and burned my cheeks up. What’s gaudy mean? A boy asked. Tacky, she said, proud of herself for remembering her mother’s synonym. And ugly, she added after a pause, that word all her own. I snagged the hall pass, sped walked to the bathroom. After that I was too ashamed to knock on her door anymore and she didn’t seem to miss playing with me.

Then last month, Gina was knocking on my door again, asking for rides to and from school since Duck dumped her. In exchange, she let me borrow Cosmo magazines, taught me about matte lipsticks and bikini waxes, told me my butt looked good in American Eagle jeans, and said I was too smart for any of the guys at school. I lived for those compliments.

 Duck also happened to be in my Physics class. She would pry for information as I drove us home from school, taking the backroads so I could smoke half a Marlboro Gold and shove the other half back into the pack. I strained my ears during Physics and wrote everything Duck said about the furniture model in the margins of my notebook. They got sushi at the mall, they were going to the party at Kandace’s house, he’d found a tie to match her prom dress.

The cashier emerged from the storage room doors thrusting the snow shovel in the air like a splintery trophy.

It was a twenty-minute drive back to the possum. Cherry blossom petals fell onto my windshield like fat, pink snowflakes. Gina’s thighs were splayed out to the sides, the shovel propped on the passenger’s mat in between them. If I squinted and unfocused my eyes just right, it was winter, it was snowing, Gina and I were kids again going to make some money with our shovel. We didn’t know anything of heartbreak or the lengths you go to make it stop.

I’d never dated anyone for as long as Gina dated Duck. Eight months. But in ninth grade, I smoked weed for the first time with Chris and he fingered me so hard in the woods behind the park that it broke my hymen. When he dumped me for a more popular girl I wrote the lyrics to “Cut Here” by the Cure on my arms in Sharpie and hid them under my black long-sleeved shirts. So I did know something of heartbreak, even if it wasn’t as freshly snapped as Gina’s.

Gina passed me our plastic water bottle of Pinnacle Whipped. I gulped and felt her eyes on me and clenched my face muscles so they wouldn’t grimace then handed it back to her.

She took a medium-sized sip and screwed the cap on, paused, opened it again, and took another sip. I wiggled my hand and she handed it back.

She started to flick the window control lever with her index finger, making a thwack-thwack-thwack sound. I turned up the music.

“What the fuck even is this?”

I turned it back down and took another sip.

She kept flicking her finger against the lever. Thwack-thwack-thwack.

The edges of the road smeared like oily pastels. The mud into the spruce, magnolias into the last bit of orange at the base of the sky.

Thwack-thwack-thwack.

Gina was always attempting to rid herself of the pain in pathetic spurts like this.

I’d watched her furiously apply mascara to her top lids like she was trying to rip them off. Seen her accidentally breaking pencil tips, grinding them into stubs at the sharpener, conveniently located by the door, waiting for Duck and his new girlfriend to walk down the hall. Slam the passenger side door so hard like she could trap her pain in my Jetta if she just shut it fast enough.

There were easier ways, I knew. I could have told her about pressing a shaving razor into my thigh and how it had a much higher payoff than her minuscule leaks of rage. But I was worried she’d call me a freak so I kept my mouth shut.

 

I put it in park in the middle of the intersection and flipped the hazards on. We approached the possum in silence out of respect for the dead or fear of people peering out of their closed curtains, or both.

Eighteen-wheelers rattled past on the interstate, jostling what was left of the possum’s fur. Its guts were mostly flat now, organs indistinguishable, just one small sheet of deep pink. Mouth open with razor teeth lurched forward. I’d seen it only in quick glances from cars. Now, it started to transform into something more real and more dead than I’d previously imagined. Above us, the traffic light switched colors, green light splashed over Gina’s babydoll face. The vodka squirmed in my stomach.

I squatted on the ground, held the black trash bag open with both hands. Gina pushed at its body with the shovel, slowly peeling it from the road. One string of guts stuck to the asphalt. I had to bury my hands in the bag and break the cord while Gina held the shovel still.

 The possum teetered on the edge of the bright orange shovel. I was floating over my body, the burning tendons in my calves from squatting the only thing tethering me to it.

“Shit, car,” Gina said, and flung the possum into the bag. It made a smooth, crinkle sound when it landed. I was suddenly all too aware of my arms, the weight of the blood pumping through them, the thickness of my skin held somehow together, keeping me from leaking out into the world.

I stared up at Gina, sandy brown hair wisped by trails of diesel fumes, perfect bare nails clenching the now brown blood-stained shovel. The light turned red. I bunched the top of the bag, tucked it down, made a loop, pulled it through, and stood up.

“Nevermind. Turning.” Gina didn’t look relieved, but she hadn’t looked stressed at the sight of the car to begin with. I hoped a car would come, that we’d have to toss the garbage bag to the side of the road and high tail it out of there. Maybe Gina hoped that too.

“I guess… the trunk?” I shrugged my shoulders a little to make the question seem more casual, like this was just another bag of clothes for Goodwill.

Gina was like I’d never seen her before. She folded her thumbs over and over each other in her lap. No thwacking now, just the slick sound of her skin rubbing against itself. The air in the car tasted flat, like all the bubbliness had leaked out while we were scooping up the possum.

She’d heard all about Duck and his new girlfriend from me, but she’d never actually seen them together. They had all different classes and lunch periods. I could tell she was thinking about how sick she might feel when she really saw the furniture model’s house.

“We should finish this bottle, yah know, in case we get pulled over or something.” I lit one of my half-smoked Marlboro Lights.

“Literally not gonna ever happen with how slow you drive but, okay.”

Gina sipped, then handed the bottle to me to finish off, her saliva glistening on the rim as I wrapped my lips around it.

It was supposed to be simple. Identify the furniture model’s house by her car: A white Nissan Maxima with a tye-dye girls volleyball sticker on the back windshield. Open the trunk. Grab the possum. Drop the possum on her front porch. Run.

Gina twisted her torso towards the window as we pulled into the development. This was it. She was going to rid my car of the possum and with it all of her anger and bitterness and heartache over Duck.

My foot hovered above the gas pedal. We circled through cul de sac after cul de sac of beige siding and gaudy fake stone houses.

Nearing the end of our first complete circle around the development, I rutsched around in my seat trying to squash the tingling in my bladder.

“Maybe she parks in the garage?” I offered. Gina’s iPhone glowed a pixelated blue as she made the rounds: Instagram, Facebook, Twitter.

“Nothing. Nothing from either of them all night.”

No posts meant they were holed up in Duck’s bedroom, wrestling around on his waterbed, or watching Fight Club and making out on his futon. It didn’t matter exactly what they were doing, just that it was precious and private enough to keep them off the internet on a Friday night.

Gina let her phone drop face down onto the grey floor mat.

I circled us around again, trying to manifest the Nissan into existence, trying to ignore my growing need to pee.

On the third go-round, a porch light whipped on. I steered us to the other end of the development and switched the headlights off. Blood thudded in my ears. Gina bit at her index finger for a few seconds until she realized she’d used that hand to touch the shovel that touched the possum and she rolled down the window to spit. The whole of my existence seemed reduced to the burning in my bladder.

“I have to piss”

“So do it” Gina kept her head turned away from me.

The grass covered my flip-flopped feet in sludge as I walked towards the trees. I squatted down and steadied my head as the sound of my car idling and my pee hitting the grass and crickets swelled all around. I watched Gina’s silhouette swat tears from her eyes. I knew we weren’t going to find her house and that after this Gina probably wouldn’t care all that much about hanging out with me and that I’d be stuck with the possum, left to dispose of it on my own.

“Let’s go around one more time?” Gina said when I got back to the car.

I drove us even slower this time, pretending to look closely at each house for any evidence that a furniture model might live there, trying not to think about Duck or Gina or the dead possum or having to go back into school on Monday or how embarrassed I felt that my plan failed and how bad I’d want to use my razor later or how now Gina was going to keep slamming my car door for the foreseeable future since she couldn’t get her revenge, trying to focus instead on the swing sets and Mercedes Benz’s and lifted trucks and well-manicured lawns and stop signs. I could tell Gina was trying not to think about things too because her right leg was bouncing up and down really fast.

I officially gave up on looking for the furniture model’s house. Her car wasn’t there. Everyone’s blinds were shut and lit from behind by the glow of flat-screen TVs. I wished we had brought more vodka. Gina’s leg suddenly stopped shaking and she held up a dainty wrist.

“Here is fine.”

I pulled the lever and the trunk popped. Gina slid out. In the rearview mirror, I watched her heave the bag up and hold it to her chest. Glossy black glinted under the street light. She walked up to the front porch and kneeled on the slate steps. She patted it once, like she’d reached some kind of truce with the possum.  Gina knew, and I knew that it didn’t even matter whose house it was. Then she stood, pivoted on the heels of her mustard yellow flip-flops.

Back in the car, Gina switched on the overhead light, dug around for the peach rings.

“Yours if you want them,” she tossed the bag into my lap.

The ridged bottom landed on my thighs. I opened them, let the bag slip down just a little and then I squeezed together until it scraped me.

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JAYNE MARTIN ON ADULT ISSUES with Rebecca Gransden

With The Daddy Chronicles (Whisk(e)y Tit Books, 2022), Jayne Martin returns to bruised memories. The book is driven to explore how recollection takes form, fragments made vivid, torn from deep wells and thrust into an attempt at order, a chronology, a way to make sense of an absent father. This absence dominates, and is bitterly ever-present. Martin strives to confront the irony in this, and with this collection of memory vignettes, reframes her past. 

When did you first have the impulse to tackle this subject? Was the form of the book apparent from the start?

The book just erupted from within and took me completely by surprise. It was subject matter I had tackled once before in an essay form, but never followed through on it. This time it wouldn’t let go. Why now? I don’t know. I think as we get older we have the desire to make peace with the things that have haunted us. I was in a flash fiction workshop led by Meg Pokrass in November of 2020. It was based on her novella-in-flash, The Loss Detector, about a fatherless family, single mom, its main narrator the young daughter. Each day we’d write a flash piece based on one of the stories. In doing so, I discovered that the character in “The Other Woman” waiting for her married lover who never shows, and the infant in “First Love” whose father ignores her cries, were actually the same person—and that person was me. That’s when it morphed from fiction to memoir. 

There is a fragmentary feel to the book, both structurally and narratively. How purposeful was this? 

Memory is fragmentary. We, or at least I, write to make sense of things. While there are many threads that make up a tapestry of a life and often writers interweave them in order to tell a larger story, my focus was singular and specific. I had questions. How did the rejection of the very first love of my life, my father, lead me to seek out others like him—men who were charismatic and emotionally unavailable? It was like putting together a puzzle without the benefit of the picture on the box. As I wrote, pieces emerged that I hadn’t expected. There was no way to plan the book in any kind of cohesive manner. Without Meg’s workshop, I doubt I would have found the structure at all. 

Did writing about real people, often in an unflattering way, lead to any conflicted feelings? Are there aspects you left out of the book, or wish you’d included?

Had I included every bad romance, this would have been a mini-series. After a while, readers would have justifiably said, “Oh, for God’s sake woman. Get it together.” The last thing I wanted this to be is a pity party. The fact is, things turned out very well for me. Granted, I forged my way alone, but whatever my father didn’t give me in life, he did pass on a gene pool that made me strong, resilient, accomplished, healthy and so much more. As did my mother. I regret that she may come off in an unflattering way when the truth is she gave up everything for me. My father was the love of her life. She entered into a second marriage that was unhappy for her in order to make a stable home for me, and then, divorced again, struggled to raise me as a single mom. She died at just 54. I was 23. After years of being a selfish, disrespectful, horrible teenager, I didn’t have the opportunity to convey to her how grateful I was. My mother’s story is a whole other book, but whenever I try to write about her I’m awash in guilt and tears.

For your previous book Tender Cuts you use flash fiction. Were you conscious of the influence of flash fiction on your non-fiction in this case?

Long before I wrote flash fiction, I wrote movies-for-television for 25 years. Different from their big-screen brethren, TV movies are written in seven acts to account for commercial breaks. The “two-hour movie” is a misnomer. You have approximately 93 minutes of actual screen time to tell the story and at the end of each act you need a “keep them guessing” story beat to lure your audience back after the commercials. Raymond Carver could have been talking about the TV movie when he said “Get in, get out. Don’t Linger. Move on.” As it was, he was talking about flash fiction. So I came to the form well-prepared and it felt very natural to continue with it in The Daddy Chronicles where each chapter is akin to a movie scene. 

Some of the most vivid moments are the observations of small, seemingly inconsequential incidences that ultimately have great emotional weight. This juxtaposition has a startling effect. Is this a technique you planned to use, or did it evolve naturally from the material?

Details place the reader in the story and create emotional resonance. I will never forget a scene from Mary Gordon’s brilliant novel Final Payments, where she’s dealing with the grief of her father’s death and the unresolved emotional issues between them. She’s cleaning out his refrigerator and picks up a head of lettuce that dissolves into a mushy, moldy mess in her hands. I read that book 40 years ago and that moment still sends me to my knees. The use of visceral details is something that pervades all my work. It’s how I see the world. 

How long did the book take to write? What is your recollection of the time spent writing it?

This book was one of those rare writing experiences where the story just poured out of me, like it had been hovering for years just waiting for a point of entry. In Meg’s workshop, we wrote a story a day for 30 days. At the end of that month I had a first draft. Of course, there was still a great deal of work to be done, but just a couple of months later, I was ready to send it out. It was crazy. It was like the book knew what it wanted to be. Everything about its creation was a surprise. Most surprising was the anger that came up for me. I thought I had dealt with my feelings toward my father. Intellectually, I had reasoned that one cannot give what one does not have. I had forgiven him. But there was still a very hurt child inside of me screaming, “Hey! Not so fast.” 

The book perceptively deals with trauma, both its immediate impact and ongoing after-effects. There is a self-awareness that accompanies the events, a distance that enables a matter-of-fact retelling. While this creates an unsentimental tone, it also demonstrates one of the main consequences of trauma. Could you elaborate on your intentions for the book with regard to the representation of trauma?  

You kind of nailed it here. Distance from one’s emotions as a consequence of trauma. There’s a scene in the book where a writing teacher suggests I see a therapist to get more in touch with my feelings and my response is “I don’t tell him I’ve been doing my best to stay out of touch with those things for most of my life.” As far as my intentions for the book, I guess it’s a book I wish I had read decades ago. Maybe I wouldn’t have spent so many years thinking I was the only one broken. During the writing, I read Denna Babul’s The Fatherless Daughter Project, where I learned that one in three women identify as fatherless. I saw myself on every page. Maybe others like me will see themselves in The Daddy Chronicles and not feel quite so alone.  

Could you talk about the locations in the book? Are there places you’ve returned to since the scenarios featured took place? Are there places you’d be curious to go back to, or those you’d not want to revisit?

I grew up in the San Francisco Bay Area, my early life imprinted with the sights and sounds of San Francisco, the bay windows of the grand old Victorian “ladies” like eyes watching over me. Although I haven’t lived there in many years, it is still the place in my heart that I call home. At the age of about six, Mom and I moved to an older four-plex building in San Mateo where I started first grade. It was my first stable home and I often wonder if it is still there, but have never gone back to look. When my mother married my stepfather, we moved to the house on Cherry Street in San Carlos. While all the houses around it are exactly as I remember, ours is gone. Demolished. As if it never existed. Those years of my life wiped away. In its place, a new modern structure. Seeing it gone felt like a death. 

What is your experience with catharsis?  

Writing the book wasn’t so much a catharsis as a way to step out of my “strong woman” persona for a while to say, “This is who I am and this is why.” I’ve allowed few people to really know me in such a way and I’m honestly not sure if I’m ready for the response. 

You mention a spiritual component to your life, and cite a particular incident as having significance in the process of moving on from feelings that had a grip on you. Could you expand on this aspect?

I was raised Catholic and, although I left the church while still very young, the concept of a higher power, an energy that some call “God,” never left me. There’s a reason such beliefs are called “faith” and not “fact.” My mother was a big believer in guardian angels. When I look back at, particularly, my adult life, I have to believe in a Divine energy. No one could have been so “lucky.” There has never been a time when, confused or depressed, I have asked for guidance that some type of opportunity did not appear for my highest good. Every single day, sometimes several times a day, I align myself with the creative force of the Universe by taking a quiet moment to simply say “I AM” and express gratitude. Again, faith not fact. 

A central theme, especially in the earlier part of the book, is of a young person burdened too soon with adult issues. For many, this leads to a perpetual state of being ill-equipped to deal with vulnerability. What challenges or observations did you encounter when compiling examples of this for the book?

“Burdened too soon with adult issues.” Yes. That’s exactly it. From very early on I was acutely aware that the adults were not in charge. That I’d better take care of myself because they were likely going to drop the ball. As a result I became a total control freak. “I’ll do it myself,” my mantra. Vulnerability? I avoid that like Covid. The use of humor to sidestep my emotions is still my go-to coping tool. There’s a chapter in the book called “On My Own.” It was during a time in my life when I was no longer a child, but not yet an adult. I was engaging in very destructive behaviors involving sex and alcohol and I had this dream where I was in a room from my early childhood with my younger self and she says, “You were supposed to take care of me.” As an aside, it is very common for fatherless daughters to become promiscuous, to confuse sex with love, use one to try to get the other. 

How would you describe the book to a potential reader? And does this differ from how you describe the book to yourself?

The story of a fatherless daughter, my journey from hurt to healing. There comes a time when we all start to take stock of our lives. The focus begins to shift from mourning all the things we didn’t get to gratitude for the things that gave our lives meaning and joy. Honestly, if I could change the past and have the father I wish I’d had I don’t think I would do it. I’ve known people who had wonderful fathers and their lives still turned out a mess. My life turned out pretty great. 

What was your original intention for The Daddy Chronicles? Has this evolved or changed? Do you consider your intentions to be fulfilled?

My intention was to write the book and put it out into the world. I’ve accomplished that. Now it’s out of my hands. The search for and need for love is universal. When we learn to love ourselves first, we attract the love of others. My hope is that the book finds its way to those who need to hear that message the most. 

 

The Daddy Chronicles is published by Whisk(e)y Tit Books and is available at https://whiskeytit.com/product/the-daddy-chronicles/

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PASSION by Melissa Ostrom

Passion turned thirteen in the middle of July, and when the first light of this day, this special day, woke her and sweetened the darkness like milk stirred into coffee, Passion divided like a cell, turned into two Passions, a watching Passion, a watched Passion. Passion sensed Passion, keenly and with great interest. Herself. Her self. 

Passion thought, Here curls Passion on her side, under a worn sheet, her gaze turned to the paling window. The curve of her hip is slight. The arm hugging the pillow is slim. And there rises the sun. Pay attention, Passion, Passion ordered. Smell the world through the screen, the sour of the mowed grass, the wild candy of Mom’s lilies. This is your day. 

Passion, so seeable. Passion, worth seeing. Thirteen, thirteen, Passion rejoiced, and threw off the sheet and raced downstairs. 

All day, she enjoyed this significant otherness, this double-selfness. She sat at the kitchen table and ate the strawberries, everbearing berries her mother had gathered from the garden for her, just for her, and Passion thought, this is how Passion appears relishing small berries, this is how Passion looks with fingers reddened with juice. 

When she burst outside, the wind caught her nightgown and whipped it around her. She ran under the clothesline, let a billowing skirt sweep her face, fragrantly, coolly, and marveled, Passion is thirteen. Does she look it, do I look it?

When she swam in the pond with her brother and sister, she decided, Passion swims with fierce strokes. Tadpoles, dragonflies, watch out, beware. When she heard the report of a rifle, the boom, boom from the woods, she treaded the murky water and saw herself as the sad star in a movie about a hunter who shoots too close to a clearing, the bullet that reaches a swimmer, the Passion who dies at thirteen. She made herself cry a little, moved by this movie. Then she pictured herself crying and wished she had a mirror, so she could study how she looked. 

Later, she sat at the picnic table in her damp suit, her white towel wrapped around her like a wet dress, while her family sang the birthday song. Happy birthday, dear Passion, happy birthday to me! She ate her marble cake with chocolate frosting and acknowledged, Passion loves chocolate. She glanced over her shoulder toward the woods. She wondered if the hunter was still in there, hidden by the trees. Was he watching? 

Not once did she relate to the hunter. Not once did she think, perhaps, Passion is a hunter, hunting herself. Not once did she suspect Passion could betray Passion and become the enemy under her skin, biding her time, armed with self-loathing, accompanied by the miserable dogs of uncertainty and shame.  

Not until she was much older would she remember the time before this time, the freedom before the snare of self, the cruel captivity of consciousness. Oh, that easy before, when she didn’t think of herself as somebody out there but simply was a self, a self who simply was. When Passion didn’t care who cared, when Passion didn’t see who saw. When Passion was a cool flame in the world.

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THEY CAN LIVE WITHOUT FLIES by Michael Seymour Blake

She lay huddled and naked in bed, her skin a grayish black. Her brittle hair broke off at the slightest touch. I rested my head on her rigid body, hearing nothing. I inhaled—a dull, mossy smell. I called Dad.

 

He came over right away. He tapped Mom a few times, then knocked on her like he was knocking on a door. He placed his ear against her open lips.

“Get me a flashlight.”

I brought him one. He shined light into her mouth.

“What do you see?”

He grabbed a cigarette from the pack in his back pocket. He lit it and took a drag.

 

She stopped eating last month. Wouldn’t leave the bedroom. Dark, bark-like patches grew over her skin. I rubbed lotion on her arms and hands and it was like running my fingers across cement. I called the doctor.

“Give it some time. Things have a way of working themselves out.”

 

“We will have to bury her,” Dad said.

“Where?”

“Backyard.”

“What?”

“Backyard.”

“We’re going to bury Mom in the backyard?”

Thick amber tears oozed down Dad’s cheeks and landed in my hair. He lifted Mom from the bed and we went to the backyard. We found two shovels in the shed and plunged them into the earth and the sun was hot on our shoulders. I could feel the syrupy tears melting on my scalp. We worked in silence until the hole grew seven feet deep.

Dad placed Mom in the hole. I stood there watching with dirt in my shoes. A flower had sprouted from the blackness of her mouth, a little thing with dewy white petals surrounding a soft, yellow head.

“Ain’t that something,” Dad said.

 

Two nights ago, Mom had asked me to lay next to her. I stood in the doorway. I said, “You’re stronger than this,” which I really wanted to be true. ”I’ll bring you some tea, then I’m going out.”

Mom blinked like a lazy cat. I went out and walked around until I got tired.

I stared at the flower and thought about how I never brought Mom that tea. I expected to sink into the earth. I tried to think of someone to call. No one came to mind.

“Did Mom have any friends?” I asked.

Dad said, “I think so, a while ago.”

He seemed taller somehow. He lit another cigarette and rested on his shovel. His swollen knuckles looked like brown lichen. A thin golden film shimmered on his cheeks. He started to speak but a voice came from above.

“What happened?”

It was the next door neighbor leaning out her window.

“Mom died sometime during the night,” I said.

The neighbor looked at the sky and squinted. “What a sin.”

She closed the window.

 

Years ago, Dad gave me a Venus flytrap. A green so bright I thought it glowed. He told me to leave it near my window.

“Doesn’t it eat bugs?” Mom asked.

“Flies,” Dad said.

“What if there aren’t any flies?”

“They can live without flies.”

After two months, the plant shriveled up. I’d never seen its mouth close while it lived, and it hung open still in death. I touched its withered lobe with my pinky and the lobe cracked off.

Mom asked if I’d been watering it.

“Once a week,” I said.

She stuck her finger in the dusty soil and turned back to me, eyebrows raised.

I began to cry.

“Come here,” she said, arms open wide for a hug.

Dad found the plant in the garbage that night. “Guess it needed flies after all,” he said.

 

I climbed out of the hole while Dad knelt down to admire the flower, his massive frame like a smoking meteorite resting in an impact crater. I went inside and filled a kettle with water from the sink. I ran my fingers over the old apron Mom hung in the kitchen, but never wore. It belonged to her mother and the cotton felt soft and smelled like a home should smell. I grabbed a tea bag from the tin and tossed it in a mug. I watched Dad through the widow. He swatted at some gnats. I wanted to call out to him, but what would I say? “Hello Dad! I see you standing there in the backyard, swatting at gnats. Hello!”

The teapot whistled.

I grabbed a second tea bag and mug.

I returned to the backyard with the steaming mugs and found a tree where our hole had been. A thick green vine spiraled around its mammoth trunk. Those same white flowers grew from the vine. I did not see Dad. I walked to the front yard. His car was still in the driveway. I circled round it, expecting him to magically appear inside. I looked at Mom’s house with its stained eggshell siding and asphalt shingles. “Hello house,” I said. “I see you standing there.”

I went back and stood under the tree. A white flower fell into one of the mugs. I placed that mug down and sat in the shade and sipped tea.

After my last mouthful, I poured Dad’s tea in the dry dirt and watched the ground drink it up. It felt good to nourish something. The neighbor appeared at the window again. She regarded the tree from behind the glass, mouthed something, and was gone.

I looked back at the tree. It had doubled in size. Some white flowers were lying in a rapidly-rotting pile a few feet away. There was a faint smell of cigarettes and sulfur.

 

I sat there for a few hours as the festering pile of flowers grew. It felt like there was a heap of sopping towels inside my chest.

When it was dark I walked to the moonlit mound of organic rot and dug a tunnel into the middle where it was warm. The mustiness and dull smell of bad eggs comforted me. I think I slept for a long time. When I awoke, I opened my mouth. I tasted the decaying matter surrounding me and it was good. I feasted and went back to sleep.

My eyes opened. I climbed through what remained of the moldering heap until I felt the sun on my face. I stretched the translucent wings which had sprouted from my back. I groomed myself, licking the coarse hairs covering my arms and rubbing them over my bulbous body. I flapped my wings, a new and beautiful feeling. I rose up past the house. I rose until the house was the size of a heart below me. I passed through the clouds, higher and higher.

I reached the top of the tree, where the twisting green vine merged with the trunk to create vast open lobes surrounded with long green cilia. I circled above the glistening, red mouth. It looked vaguely like some strange and hungry organ. My bloated body, full with partially digested plant matter, made me feel like a giant, bristly grape. Scattered around the distant landscape were more of these strange growths. Some open, some closed.

I descended, landing on a sticky lobe. There was a throbbing power beneath my feet that could crush a house into dust. Trigger-hairs gently swayed in the wind. I knew how they worked—you touch one of these and the whole thing snaps shut faster than you could think. The hairs were scattered all around. A nursery of saplings. “Hello,” I said. “I see you.”

I reached out.

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POTATO NECK by Genevieve Jagger

She isn’t the most beautiful woman I have ever seen but I haven’t seen a woman in eight months or more and am turning, quickly, to dust. By haven’t seen a woman I mean haven’t seen Leanne, though either way it’s hot sand, glass and friction. It’s a wonder my cabin doesn’t go up in flames, everything made of wood as it is, working on myself at night as I do. It would only take one spark.

She is sitting out on a small mound of grass that I think of as the stoop, her back turned to me. It faces a dirty strip of road that leads to a potholed road that leads to a regular road that leads to the motorway. Here there are the caravan cabins, as I have come to think of them, given their oblong shape, their tendency to live where the caravans pitch. It’s autumn now. Gales of leaves, holidays over, wind a growing penetration. Almost all the cabins are empty. Caravans all dragged out of sight. 

She’s wearing a dress that looks like a potato sack, but I realise it’s supposed to be that way. Despite its form, stiff and consuming, it has an honesty of colour which tells me it is brand new. Simple haircut. No shorts. Goosebumps surely. I squint.

The wind disguises the click of the door, so she doesn’t hear me coming. She is focussed on the maple tree in the grove just in front of her. It spits seeds to the ground like helicopters crashing. She watches their blades as they twirl. I am focussed on the back of her head, her short hair – mousy brown turning peroxide dead at the ends. Another helicopter bombs to the ground, only to be blown up to the sky again. Disaster here is bright. It plays constantly, on loop. 

‘Ahoy’ I call, unsocialised. There is an owl who spends the nights screaming in my chimney. The blunt confusion of the sound has obliterated many things. 

Potato Neck turns. ‘You,’ she says, and I get a proper look.

Freckly skin. Short eyelashes. Her features gnarled and dented. Intense. Almost troll-like, honestly. Her nose is a language I don’t understand. It has a mole. Not necessarily on it, but beside it. Around it. An ominous darkness, in the crevice of her nose and cheek. It pulls at my pupils like a black hole. 

‘Me?’ I ask.  

She nods, playing with the fringe of her sack. ‘I was just about to come over and ask you something.’ She points to the cabin beside mine. ‘We’re neighbours.’

‘Right.’

‘But I can’t really think of how to say it.’ 

‘Okay.’

‘I think I’m going to put it bluntly. You seem like maybe you wouldn’t mind.’

‘Alright.’

‘It’s just that I have a bit of a habit…’

I accidentally tune her out. She turns and bends in the middle, reaches down to the stoop and returns with a new look in her eye. Her irises are a heinous pale blue; the skin beneath them yellowed; her hands are lavender; the bold bones of her knuckles, harsh pink; her palms are open and somehow… green. 

Potato Neck is covered in goosebumps. I look down and realise she is holding the biggest jar of weed I have seen in my life.

‘… so, please don’t think I want to tell you this, I promise you, I hate this, but I just have to know – Do you have any tobacco? And does your stove have a light?’ 

The air waits and hangs. Prematurely begins to slow. I nod. 

‘Yeah. Follow me.’ 

 

*

 

I set the jar down on the coffee table. It’s the only table I have, and the only thing that differs my cabin from the others. Sitting low on the floorboards, in front of the two-seater sofa, and the fireplace I’ve never lit. It’s oval shaped, made of strong mahogany and embellished round the edges. Bright little birdies painted in gold. It was Leanne’s and I took it when I left. 

‘Oh my fucking god,’ Potato Neck says, staring at the jars, standing on my rug. 

‘I know.’ 

‘They look good.’ 

They look weird because they look like siblings. Glass-eyed. Gleaming. Matching orange lids on their heads. Identical, in size, shape and amour, perfectly opposite in every other way. Her jar, sweaty, reeking and ripe. It taints the air. Mine, weathered, old, and brown – dry like everything else. 

‘Why do you keep it like that?’ she asks. 

‘I buy it in bulk, and I hate the plastic packet. The pictures of lungs. The guy with the throat.’ 

‘Is yours a Rossini’s jar?’ 

‘Sorry?’ 

She’s pointing.

‘The lid. Pasta sauce. Rossini’s, no?’

‘No.’  

Potato Neck is slumped into my sofa and I am standing in front of her. 

‘What then?’

I start: ‘I used to work in a sweet shop, part time. I took home some bonbons,’ but she speaks over my final word.

‘Ash, I think we need to roll a spliff.’  

I ask her, ‘Sorry, how do you know my name?’ 

But she’s gone. Already moved on. To the jars, to pinching and mixing. A pack of papers appearing from seemingly nowhere. Her sack has no pockets. No bra straps, so no way for her to hold things like Leanne. It isn’t until later when I am lying in my single bed and my head feels like the concept of a plum and my hands like two spiders who love me in turns, that I realise actually, they were probably mine. 

 

*

 

One of us has one thing, and the other has the other, and neither of us has both. We live in holiday homes in Scotland, where summer is irregular, near a loch that is not Loch Lomond. October when it rains can be lonely. Circumstance makes life feel miraculous.

It has been ten months, ten, not eight, since I have seen anyone without pork breath and an Adam’s apple. My friend, Barry, lives next to a big supermarket, about forty minutes away. He brings me goods on a three-week rotation because I don’t know how to drive a car. Groceries, tobacco, a hell of a lot of soup. When Leanne’s heart froze and I went away, Barry offered to do the drops – because Barry is a good friend that way. 

I do not know why Potato Neck is here. I ask and she doesn’t tell me. 

The green tint sets in. The cherry glow at the end of a joint, the harsh vibrance of my burning throat – these things come, and they never leave. Everything that we do is either pre-smoke, post-smoke or during. My memory works without beginnings or ends. 

The world falls out of its tight and inscrutable order. 

 

*

 

The door slams open. Potato Neck tramps out from the bathroom, aghast. That distance, from the tiled square of shower, toilet, sink, to the part outside the door, dubbed ‘hallway’, is tiny. Still, she makes it look like a stride. 

‘What?’ I say. I have a banana in my upturned palms, and I am impressed by its skin, velveteen, and stunned by the strange weight of it. You are a fruit, I think, and giggle. Potato Neck is wearing pyjama shorts patterned with watermelon seeds and my t-shirt, but I don’t know how. She doesn’t like to stay over. It has a bat on it. I ask her, ‘Did you take that?’ 

‘There’s a spot on my tit.’ 

‘Wha-at?’ 

‘A spot on my tit. A pimple on my breast.’

‘You’re telling me about your breast?’ 

She swipes me over the back of the head as she walks back into the living room, crossing the wires on the ground. I don’t know why I brought it with me, but I have a Gamecube here. A bunch of games. Even two controllers. We’re playing right now. I forgot that’s what we’re doing. She asked me – can we play your Gamecube?

Ash.’ 

‘I’m sorry.’ 

‘Can you not be a weird fucking man for a moment.’

But I’m not distracted about her breasts. I’m distracted about the whole world. This is all new to me. This flavour in my mouth. Not unfriendly. Like spoons and bitter leaves. I didn’t realise how fucking huge a thought could be. I didn’t realise how much space there is between any two things. I am walking down a long hall of mirrors, shooting myself the finger guns and there’s one million of me, finger-gunning back. Potato Neck is still talking about her breast. 

‘What’s wrong with your breast?’ 

She huffs. I’m leaning a little far to the left. 

‘It has a spot.’ 

‘So?’ 

‘It’s a boob. I’ve never had a spot on my boob before.’ 

‘You can get spots everywhere. No one ever told you you can get spots everywhere?’ 

‘No. No one ever gave me the tit spot talk. I thought it was cancer. Then I popped it.’ 

‘That’s ridiculous.’ 

‘Oh, sure.’ 

Potato Neck crushes me at Mario Kart, whizzing around corners, dropping bananas as Toad. I thought she would have chosen someone more like Bowser, on account of her eyebrows, but what is that supposed to mean? I was right at least that she doesn’t play Peach.  I’m Luigi but I’m not doing well. I’m finally catching up to the conversation we’ve just had. There is no outfit in which Potato Neck has breasts and so I think of them like a washing board. One single raspberry smooshed through slanted sides. She’s lapped me now, whizzing round the track without needing to control. She’s waiting. Has been waiting for a while.   

 

*

 

Blood flows down my face. From the wound on my head to the corner of my mouth, as if I am both drink and straw. Potato Neck is touching the sweat on my back.

‘I think you’ve cut your spine.’

‘And my head?’ 

‘Obviously your head.’

We were sitting down on the stoop having our morning first when I said: We sit down here every day. Why don’t we go and sit up there? And Potato Neck grinned like I’d finally managed to be interesting. She stood up in her gummy sandals, put the joint to hold in her mouth. ‘You’re right,’ she said and climbed up the maple like a monkey. 

I stayed sat for a moment, trying to look up her limp purple skirt. I thought I saw stripes, exactly like this pair of boxers I own, but I checked and I’m wearing those.

‘You hit every branch.’ 

‘I know.’  

Potato Neck helps me back to the stoop. Her hands are stained green from moss.

‘It’s funny because I had a dream like this as well.’ 

‘I’m not interested in your dreams.’

‘Except it wasn’t me. It was you that fell, and I had to carry you. I had goat legs.’  

The stoop rises up beneath us. Potato Neck puts the cardboard roach back into my mouth. It’s made from a jaffa cake box. Blood pools, ruins my clothes. She sets fire to the ashy end. I feel like a cowboy. I tell her. 

Potato Neck doesn’t respond. 

I push the bitter end into the dirt of the ground and discover that I am woozy – but like two kinds of woozy that rub on each other. My thumb reaches out to hold the hem of her sack. I recover but it leaves a rusty stain. 

 

*

 

‘What have you got? I’d kill for pizza.’ 

Potato Neck’s hands in my cereal box. 

‘I don’t know. I don’t really use the fridge.’ 

‘Let me have a look.’ 

I’m zoned out on the sofa, legs dangling over the side. I’m having a waking nap. I haven’t had one in a long time which is weird because I used to have them always. Lying on Leanne’s loft bed, where the light had to bend to meet the ceiling. It was so nice up there, with all her stuffed animals, lined up like a marching band. My favourite was the elephant with the knob shaped nose – his name was Brian. Leanne herself could be gone for hours.

Potato Neck stomps into the kitchen, cupboard bang, bang, banging as she roots through each one thrice. 

‘You don’t have basil?’ 

‘I don’t have fucking pepper.’

‘Fair point.’

Sometimes Brian would stare at me when I wanked in Leanne’s bed. He looked like he understood. The rest I’d have to pluck by their scrawny necks and turn to face the wall. Leanne had this duck with mean little eyes, like he always had something to think. I was fond of Brian though.  

‘I keep finding bruises all over my body,’ Potato Neck says. It’s true. I’ve been spotting them too. Rotten blooms all over her toothpick legs. 

‘Are you clumsy?’ 

‘I don’t think so.’ 

She is. 

She is clearing the table around me, bringing plates, knives, forks, water in a tumbler because I don’t own a jug. She takes our bonbon and Rossini’s jars and puts them on the windowsill. They look redundant and therefore purposeful. Like old lady potpourri. 

‘Sit up.’ 

Dinner is presented, made broadly of tortillas, found in the back of the cupboard; half a tube of tomato puree spread across the top. And what would be a pizza without grated cheese? It oozes slowly. A tranquilising vision. Potato Neck sets down a bowl of scabs. 

‘For toppings. You don’t have any vegetables and I figure scratchings are still pork. I thought they should be optional.’ 

‘Thank you,’ I say.

She is wearing a bright red turtleneck and some ratty jogging bottoms. We sprinkle our pizzas liberally with scabs. I fold my first slice and put it whole into my mouth. 

‘Uh fuh-hin luh fooh.’

‘You love me?’ she nips, sparkling. 

‘Uh luh FOOH! FOOH!’ 

Potato Neck leans over and pokes the big bulge in my cheek. She tilts her slice above her head and the toppings go sliding into her mouth. 

‘When did you buy cheese?’ 

She shakes her head. 

‘It was in that fridge you don’t use.’ 

My jaw stops.

‘This is my cheese?’ 

‘Well, yeah. I mean, I didn’t think you’d care.’ 

My stomach and my mouth separate. I can taste so much fat and suddenly the foulness of the pork. It’s in my teeth. Coated like sand on the inside of my cheeks. That cheese has been there longer than I have, wrapped in cellophane, condensation growing, lit up by the fridge bulb. Behind a thin veil of plastic, I have been watching the mould. It blooms and then it sweats. I gag. 

Potato Neck watches me. ‘What’s your fucking problem?’ 

‘I can’t eat that.’ 

‘It’s cheese. It ages. I cut the mould off.’ 

‘Jesus Christ.’ 

I stand and the cabin is a boat. Stumble drunkenly from dining room to hall.

‘Pussy,’ she mutters, as I shut the bathroom door.

 

*

 

When the smoke is inside of my body, nausea becomes an abstract thing. A thing that is held by my body but not is my body, not anymore. It’s stronger, more competent at ripping down my defences – but it can be spoken to. Persuaded. I wet my face and the excess drips onto my jeans. Yank them down and then fold in the middle. My asshole puckers and puckers and cannot shit. In front of the toilet there is a mirror. Desire has darkened my eyes. 

The most beautiful thing I’ve ever eaten is Leanne’s custard tart. Her own warped recipe. It tasted only of nutmeg and eggs. The feeble hope of an erection helps to lever the ache of my bowels. 

‘You’re fucking disgusting,’ I murmur, and wipe. 

 

*

 

When she does stay, she’s awake before I am. Hands dipping from jar to paper to jar.

‘That owl is a fucking cunt.’ 

 

*

 

One night we listen to the same album three times in a row because it is very good. Potato Neck makes us go top to tail because she wants to lie on the bed. She lights up and gets ash all over my blankets. 

‘Are you a lesbian?’ I ask her. 

‘Excuse me?’ 

‘I’m just wondering.’

‘Why?’ 

‘I don’t know. I thought maybe I was getting a… vibe.’ 

‘Do you hate women?’ 

‘Whoa.’ 

‘You’d fucking love it if I was a lesbian.’ 

‘I didn’t mean to ask.’ 

Potato Neck sits up. She’s sitting on my pillow. A song is playing now that an hour ago we almost cried at. 

‘Ash, you know I’m not even remotely attracted to you, don’t you?’

I don’t know why she feels the need to say that. I turn my head in disgust. 

‘What is it?’ she asks.

‘Your feet.’ 

 

*

 

We’re walking back to the cabin from the stoop and all of life is flashes and frames, strung out like the film of a film. Dirt road. Shaking tree. My shoes. The memory of Leanne’s ass, like a heart with a hole. A helicopter lands safely on my shoulder. I am looking into the night shadow of Potato Neck’s mole and at none of the space around it. 

She grabs onto my wrist. 

‘Don’t grab me. I might throw up.’ 

She grabs anyway. Drops. 

I ask, ‘Are you okay?’ 

She’s crouching on the floor. On the slidey wooden step before the door of my cabin. She’s clinging to my leg. 

‘Are you okay? I’m gonna fall.’  

She doesn’t listen. Soles skidding.

‘No, seriously.’ 

Is she crying? I yelp, ‘Potato Neck, stand up.’ 

She looks up. Eyes tearless except for laughter. 

‘Potato Neck?!’ she shrieks. 

I don’t understand what’s funny. I shove through the unlocked door.  

‘I need to lie on the floorboards.’

My knees collapse to the floor. Body flopping. Potato Neck crawls over and hangs directly above my head while I try to look up at the ceiling. 

‘Potato Neck? What does that even mean? Poh-tay-toe Neck.’

Her hazy pupils have turned her eyes into eight balls. 

I ignore her. ‘What were you laughing at?’ I whine.  

‘Every time you smoke – you shit, or you puke. I think you’ve got IBS. Are you crying?’

‘No!’ I am. I’m crying. 

‘Do you have chocolate?’ she asks.

‘No. I don’t know how to breathe.’ 

‘Stay on the floor.’ 

And then she abandons me. Sprints away, leaving the front door open. I rip my socks off, sobbing now, and the cool air soothes the soles of my feet – but something about that comfort is devastating to me. My body is confused and hard again. Leanne, Leanne, Leanne. Drinking vodka ginger, heavy on the ginger. Kneading me when I needed her. Now I can’t get anything out. Now I’m stuffed up and rancid. And when I try to think of her voice, I think wub, wub, wub and when I want to cum, I can’t. Was I so terrible? Potato Neck reappears with something purple in her freakishly small hand. Shining, crackling wrapper stripped easily to reveal the treat. Chocolate. Dairy milk. She kneels and drops a piece into my mouth.

I ask her, indistinctly ‘Will you sleep on the sofa?’ 

Potato Neck shakes her head no, but says, ‘fine.’ 

 

*

 

It’s late. I wake halfway, disoriented, inside a cloud that is not soft like hamster fur, but nauseating like smoke. They’re thick in the haze together. The heavy rub of a man’s voice reveals the needling crack of Potato Neck’s. 

‘But why do you do that? Why pay for him like that? You could rent the place out and do anything. I don’t get it.’ 

It makes sense to me that she is saying these words.

‘I know – but it’s Ash. I’d do anything for that man. We’re like brothers.’ 

‘There’s no one I’d do that for.’ 

‘What about Francis?’

The sound of her sack, mid-shuffle. ‘Hmph.’

‘He’d do it for me,’ he says, ‘You have to be that person if you ever want someone to give you good back. That’s how that shit goes, you know?’

‘Still.’

‘You don’t understand Ash. I don’t care how long you’ve spent with him. Around me he’s open, but he’s a little wimp around women.’ 

‘Maybe that’s the problem.’ 

‘Well, how about this? One time, I got my drink spiked at this weird disco night we went to. I was on the light-up dance floor when this wave hit me. I couldn’t breathe. All this shit was coming up through my nose. I had a panic attack that felt like a stroke. But Ash was on it. Holding me up. He saw it before I did. Didn’t miss a beat.’

Sounds of smoking, passing, smoking. 

‘Then – right as we’re about to leave, his neck swivels and he turns like some fucking hawk to this table by the door. There’s a man with his fingers in a drink. Same drink as mine: pink lady cocktail. I think – makes sense. Who the fuck is trying to spike me? The cunt was having his second try.’

He takes a deep and shuddering breath. ‘You know what Ash did?’ 

‘What?’

‘Ash punched him in the face. Lights out. Goodnight. Bye bye. So, if it wasn’t for him then me and that girl could have died. That’s who Ash is at his centre.’

He reaches down and fondly pats my foot. 

‘But, Barry…’ she says. The words wince with frustration. I never get to know what that thought was going to be. Instead, she tells a story of her own, about the day I fell out a tree, about blood and smoke and how I looked something like a cowboy.  

She says, ‘You know. That didn’t really touch the sides for me. All the tobacco, I think. Shall I just roll a straight blunt?’

And without questioning her reasoning I fall back asleep. In the morning, she, and the weed, are gone. She does not leave me a note. 

 

*

 

Alright, in fairness, it isn’t like I haven’t noticed her. Of course, I have – as disturbing as she is. I put my hand on her leg. 

We were sitting in her cabin at the time, the only time I went. Waiting to smell this candle she had. The wax was the pale morning blue of her sack. It was scented A Calm & Quiet Place. 

‘Where did you get the dress that looks like that?’ 

Her sofa was the same as mine, but she fit more easily into it. Her hands a little pile in her lap. Fingers heaped indelicately. Scraps. 

Potato Neck watched the wick of the candle. 

‘Do you mean the colour?’ 

‘I do.’ 

‘I don’t remember.’

I nodded. The air wanted us to stay so still, and we did. Shoulders pressed together.

‘You must have gotten it from somewhere. It looks new.’ 

‘Maybe it was my sister’s. She gives me clothes all the time.’ 

‘You have a sister?’ 

‘I have three.’ 

‘Oh. I’m an only child.’

‘That makes sense.’

What else? She didn’t keep her clothes on the floor, so nothing for me to see there. She didn’t have a TV. There were some books, but no titles I recognised. I didn’t use her bathroom because I couldn’t work out how to say I wanted to. She didn’t care about stuffed animals. Her bed sheets were cream. There was a candle and a constant creak. 

‘If I knew how to fix pipes, I would help you with that.’ 

‘My pipes are fine.’ 

‘They don’t whine like that if they’re fine.’

Potato Neck smiled, but with scrutiny. She considered me for a moment. 

‘I’ll show you.’ 

She stood and led me round the sofa, up the hall and into the nook that was the bedroom. Beside the bed she had shoved a little table, dingy and covered in stickers peeled off. Atop the table, a bright red tray... white grate, spinning wheel. Hamster cage. 

I gasped like a small boy, sat down and then stood up from her bed.

‘Can I sit?’

‘You can.’

She knelt and ran a nail along the grate. The hamster came running. His fur was the softest grey, not like smoke, but like a cloud. His ears, brown and speckled, were made of a skin so thin so you could see the veins within like tiny purple rivers. She opened the door. He climbed into her palms. 

‘He has petal ears,’ I said. 

‘His name is Tomahawk.’ 

‘Tomahawk!’  

Tomahawk traversed Potato Neck’s fingers as if they were rungs on a ladder. He had bean paws and they clung to her wrist. His nose twitched and it made his whiskers vibrate. Before I could ask to, I was holding him.

‘He has the biggest balls I’ve ever seen! His fur!’ 

‘Now smell him.’ 

I cupped Tomahawk tentatively under the bum, lifted him up to my nose. I inhaled. Like printer paper and corn. I inhaled again. Tomahawk walked into my sleeve. 

'You’ve kept him a secret,’ I grinned.

‘He’s mine,’ Potato Neck said – and she didn’t look pretty, but she looked something else instead. Can a girl be handsome? I had something of an urge to touch her, since we started smoking all the time, but I also had urges to touch everything. We faced each other. Cross legged on a military-style single bed. Tomahawk emerged from the hem of my jumper. 

‘That’s my crotch, Little Tommo. Come here.’ 

I put my open hand on Potato Neck’s thigh, then left it there, upturned.  Tomahawk crawled off. I left it there longer. Potato Neck gazed at her son. Beneath the sagging neck of her jumper, she was wearing my t-shirt again. 

‘Ash,’ she said. 

I moved my hand. 

‘How do you afford to be here?’

I sniffed, ‘I used to work really hard.’ 

But it didn’t feel like the end of the question. 

We stayed there with Tomahawk for a long time, passing him back and forth. Eventually the scent of peace had warmed to the air. Eventually we were tired of each other. We turned the lights on to destroy the flickering darkness. I walked back to my cabin alone. 

 

*

 

All at once we’re running low on marijuana. 

The tobacco levels are steady, but the weed is just powder. She’s crying. There’s a bloody tampon floating high in my toilet, too. When Leanne’s monthly came around, she would sob until I brought her chips and cheese. Earlier, I accidentally stubbed my toe and had to spend an hour in bed. I understand. 

I go outside and ring up Barry, climbing up onto my roof for signal. I haven’t spoken to him in a while. I tell him only what I need to.

‘I’ve got you. I’ve got you. Dude, that’s so cool you’re making friends. I saw Leanne with her girlfriend the other day. I was like, oh what the fuck – dyke from hell! They were buying lottery tickets.’ 

‘That’s cool. Listen, I also need something else. Do you still know that guy, Dean?’

‘Man. Dean’s in the fucking Emirates. I know Kyle now. He’s alright. Good man. We play Warcraft sometimes. I place my orders on there. Right in the middle of Thunderbluff!’ 

Barry laughs at himself and it widens the phone line. A throaty friendly sound. I look inside my chimney and find a nest with three eggs. 

I tell him my order. I tell him exactly how much.

Barry whistles in awe. His cheek and his stubble are close in my ear.

‘Fuck, Ash. Man, you’re living in the woods.’ 

 

*

 

Potato Neck emerges with me when Barry arrives in his big red van. He parks, making dust on the drive, outside of her cabin instead of mine.  He drags open the door and my groceries appear, along with two stacks of flat boxes. They smell strongly of barbecue sauce.  

Potato Neck leaps on them. ‘Oh my god, I love you.’ 

Her eyes are red from the J’s of the day. She’s wearing her potato sack – rusty thumbprint slightly darker on the hem. Her neck looks just as inhuman as it did when we first met. I’m proud, but then she looks up.  

‘Barry!’ 

‘Phoebe!’ 

They’re hugging. 

‘How’s Arthur? How’s Katie?’ 

‘They’re great. They’re living with Arthur’s dad. He’s a mountaineer. He helps with their business. Katie started taking her t-shirt thing seriously.’ 

‘Good for her!’

I am standing with two grocery bags, one in each hand. They’re filled with soup cans and again he has only chosen tomato. 

‘You two know each other,’ I say. 

Potato Neck shrugs, body floppy and happy. She explains, ‘Out of touch friends.’ 

Barry wraps her up in bear hug number two. She seems perfectly contented in his sweat. 

 

*

 

Leanne’s table is moved so the pizza boxes can be laid like a tapestry. For some reason, I didn’t think that Barry would stay for dinner. He’s raking through my cupboards now and the wood sounds ugly and thin. 

‘Where’s the spirits?’ he asks. 

‘Don’t have any.’

‘Shit. Not even beer? Not even poof juice?’

Potato Neck emerges from the bathroom, grins momentarily at the pizza on the floor. ‘No alcohol. Only weed. And don’t call it ‘poof juice’. She collects the jars from the windowsill. ‘Do you want me to roll? It’s tight for three but I can manage.’ 

I stare at Barry hard until he catches my drift, and his eyes light up. 

‘Actually, Phoebe… me and Ash got you a gift.’

He points drastically to one unpacked bag.  I can see the orange lid. Potato Neck shrieks. 

Barry’s jar is poorly washed, still scummed with smears of tomato – but it is packed. Full to the fucking brim. Barry knows what Rossini’s is. Barry knows Kyle.

 

*

 

We eat pizza in three sessions across the course of the night. We each smoke our own massive blunt, and then another, and maybe another. Barry says don’t worry, I won’t drive, I’ll sleep on your floor, I’ll borrow a pair of your underpants. I want to say, ‘you wouldn’t fit them’, but I can’t because she’ll think I’m a leaching cunt. She probably already does – she knows by now that this cabin isn’t mine. I barely even rent it because Barry is a philanthropist. I didn’t tell her as such, but it makes sense that she’d figure it out.   

I don’t know why but I’m not in the mood tonight for some big, fun thing like this. I feel frigid, uncomfortable, covered in goosebumps. None of my tokes seem to go all the way through. Barry and Potato Neck talk sporadically about the people that both of them know and I deduce, through listening, that they once worked in some Mexican place together – and that means Barry has probably once spoken about her to me. Potato Neck nudges for a story but I don’t have one. I tell her that he never mentioned a Phoebe and Barry says, ‘I definitely did.’ I have been sitting in one position on the floor for a very long time and I realise I’m scared to move from it. I’m cold and my organs ache. Conversation is wandering probably towards Leanne. My eyes are closed and my head is by the leg of her table. 

I make a decision to give up and pass out. 

Most days I wish it was tomorrow. 

 

*

 

I have IBS. The jars are still nearly full. Somehow the first comes last. Potato Neck demands a walk. 

She dons my trousers, my jumper and my second pair of boots, pausing at the door to take my good coat. We press out across the turning dirt. Down to the forest and the spitting maple tree. It’s a helicopter elephant graveyard. 

I point. 

‘It’s a helicopter elephant graveyard.’

She snorts at me. ‘Feeling good?’ 

I nod a lot.

She says, ‘I’m glad.’

‘Woods are kind of spooky though.’ 

I look up and the sky is only an inch away from black and that means it is still blue. The night air is sweet down my stained throat. The moon is gripped by the trees, empty-handed. Wet leaves have been falling for weeks. They’re wadding under my shoes. Potato Neck’s hands look almost like the bare trees, but softer. Less spindly. Not spiderlike. 

‘Little arms,’ I say.

‘Are you alright?’ 

‘I’m dizzy.’ 

She puts her hands on me. Steers me to the ground.

‘Sit in the mulch,’ she orders.  

‘If I needed to vomit, would you judge me?’ 

‘No.’ 

‘Weed makes you sick too?’ 

‘No.’ But she says it kindly. 

I keel over, getting mud up my wrists, gripping sopping handfuls of leaves for their coldness. My body heaves but I don’t let it puke. Instead, a negotiation. I’m in the foetal position. Here. In this random patch of land, somewhere nowhere. Previously inconsiderable. Who knew that could happen? The nausea passes and I grin up at the moon, grin up at the whole sky and at all the tall trunks that occupy it, but especially the moon. 

I’m so stoned.

Above me, Potato Neck laughs. ‘You’ll get over it.’

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I DON’T GET HOW ANYTHING WORKS ANYMORE: a conversation between Tyler Dempsey and KKUURRTT

TYLER DEMPSEY: Going to a music festival ten years after you didn't like going to them in the first place. And, just not being able to get that feeling you could back then. Understanding from now on it's a memory unreachable. I've never read a book that used this location/theme combination. Did you come up with that, you bastard?

KKUURRTT: Hahaha I mean I wrote like three versions of this location before I found the theme of chasing a memory unreachable and they were all just pure fucking trash. 10K word false starts that will never see the light of day. Like, look at how fun this thing is wow. But don’t people already kind of know what is fun for them? One day something just clicked, the first line of the book really, the idea of a character being over this thing he claims to still treasure and it all just worked from there.

So, the location was there the whole time, but the theme came later.  I don’t know if that’s the most effective way to write, but I always just start with an inkling and then let it develop on its own. When you write, do you outline, do you plan? Is theme x location a concern?

I’m more in love with this idea of ‘having fun,’ than having my chain yanked tight in anticipation of anything providing it.

Easier said than done but I love the ethos. I hate when I forget this kind of shit and settle into some caveman brain kind of shit, existing on survival mode that doesn’t even apply to this situation I find myself in.

An older friend (97) said the trick to not blowing his head off was being sincerely interested seeing what his brain might think next. I would blow my book’s head off if it didn’t offer results I didn’t anticipate. Heard common burnout, in nonfiction, comes after the research stage. Like, your brain worked through whatever made it interesting.

Bye.

But if you don’t take notes. Just let it swirl around. It’ll remain interesting and sustain the marathon of book writing.

The biggest points will stick. The others, the brain’s ass will shit out.

I’ve never gotten past the research part of a research-heavy project.  Collapse under the weight of more and more and did I do enough? The only research I let myself do now is in-the-moment kind of stuff. Even then sometimes I just use a [placeholder] and come back on the rewrite. Maybe I’m a fuck research except for that of a life lived kind of guy. I guess that’s what they mean by writing what you know. Not like in any “this is the only way” sort of way. More like, why not use the tools you already have?

I never know what’s about to happen in front of the blinking vertical-line on my screen. A character worth chasing presents a melody to me. The longer I mine it–see where the particular combination of tones leads them–the more image chips out of the marble. A novel I wrote last winter was an exception. Dreamt it. Then had a sense of urgency to get it down. A crime novel set in a fictional, Midwestern town. Realized once I started I needed a map/character outlines/other shit I hate.

Power for you to be able to pull this off. Glad there was benefit in map/character/outline. Some people only write that way and I wish I could. My brain just gets bored by this process and starts acting out against itself.  Self-sabotage my entire life any time someone told me what to do—and that includes me. It’s fucked.

Hope I never do it again. Was it scary writing a book that spans only a few days? Or did it allow you to settle in on the line-level. I gotta be honest—I don't read a lot of Twitter-writers engaging a reader like this—you're actually funny.

The schedule kept grounding me. Always pulled me back to a timetable, even if of my own creation. Otherwise I have the nature to get lost in my diatribes, rather than being in the moment. Time isn’t real when you’re on drugs, so it’s like all really fast or really slow and it didn’t have to be 10 pages = an hour or some shit. Just as much as I wanted to hyperfocus or not. But time kept pulling me out of musings or philosophy or high-speak and into narrative. And even though there’s not much of a narrative, days passing became a sort of replacement narrative. The original version was five days instead of four, but I worked with an editor who helped me pull back slightly. There’s something infinitely relatable about just a weekend. Who hasn’t had one of some comparative nature? I don’t want to call it a bender, but yeah… eventually there is a return to normalcy.

Thanks for the compliment on being funny. I feel like such an asshole when people on twitter are like “are there any actual funny books,” and I’m like ahem… Are there any other books that make you laugh?  Are we supposed to laugh while reading fiction?

Agree. The weekend works on many levels. It’s juuuuust long enough. But not too.

Wasn’t wired for drugs. Even in my 20’s. After 3/4 days I needed 48-hours to grind my teeth in soft lighting. Felt strung out toward the end of your book. Seriously, I wouldn’t say it’s a ‘difficult’ book, but it’s not as easy as railing coke.

It’s just not sustainable. I feel like people think “I’m just a drug guy,” and sure I’ll advocate for experimentation all day, but the book is also very clearly trying to come to terms with the notion that maybe this isn’t the best. Feeling strung out by the end of the book was by design. I got strung out writing it. Too much of a good thing…

Being stuck in a cosmically-unpleasant situation like your narrator hits different. Like watching, Seinfeld, or something.

Funny’s hard. Which is why your book’s refreshing. Zac Smith tickles me in an intellectual way. I see his ‘flex,’ if you could say he has one, as subversive. Very: don’t look at me, but please, please look. He’s phenomenal. Stuart Buck’s recent novel, Hypnopony, made me laugh.

Lots of writers seem to be doing similar, highly-cerebral comedy. Aimed at a writerly-audience—Cavin, Sam Pink, et al.

LOL on Zac. His writing definitely has a flex. I see the look at me/don’t look at me kind of thing, but I also think it transcends even beyond that. I can’t wait to see what Zac is writing in thirty years. Cavin and Sam, I’ll ride or die on both of their writings. Haven’t read a page I haven’t loved. I need to read Hypnopony, fuck.

We love seeing people get what they deserve. As the situation becomes more a mockery of itself, tension builds, almost in the way horror operates—even minor situations are imbued with oh-shit-what’s-gonna-happen feels. Being one step away from a k-hole…

Just putting people in worse and worse situations. And drugs make that even easier. Like I knew a k-hole and a bad trip were incoming, but I had to save them for the right moment. Tension and release. I love horror movies, but can’t really fuck with horror fiction. Guess I’m more inclined to let comedy be my horror. Same kind of visceral reaction… just horrible shit happening to people. Except here, it’s funny.

Roland’s musings act like an adjacent narrative, then SNAP back into the flow of what's going on at the festival. And, because the paces (like, how they say people in different cities walk different speeds) aren't aligned with one another in each narrative, there's a pleasing warble when the reader gets to pull off that merge. Like nailing a simple trick. An ollie. You still feel good.

The musings to narrative snap IS exactly what I was going for, something that could balance interiority and presence in physical space simultaneously. I really appreciate you comparing it to an ollie. There’s an excitement to it, even if it’s simple. The author who inspired this stylistic effort most is probably Henry Miller. But his obsessions are more fucking-influenced than mine.

It’s just the way my brain works and I couldn’t do anything else if I wanted. How do you translate your thoughts to the page? Do you silence some and let others through? I’m sure everybody’s process is different, but mine is 100% apparent on the page.

Agree, everything’s on the page. Henry Miller, haven’t read him. What book/s operate/s similarly?

Sexus, Plexus, and Nexus and Tropic of Cancer/Capricorn are all too long and the magic trick wears off well before you’re done. The books of his that get it most right in my opinion are Quiet Days in Clichy and Big Sur and the Oranges of Hieronymus Bosch, but I like to read Miller more for tone and style than narrative anyway. Can pick it up, read 50 pages, and put it down for six months. I haven’t read everything, nor do I really intend to.

I translate my thoughts to the page in a murderous sprint. Most of what’s left, after editing, is propelling plot.

I DO try to reward in craft-y ways. Another reason I’m drawn to your work, I’m sure. My novel, Consumption, switches narrators each chapter, so it has that ollie-reward. Readers get to know narrators/voices, and don’t need fancy bells and whistles, like me saying who’s talking, to know who’s talking. Writers who pull this off, I see as magicians.

I had a screenwriting teacher when I was 18/19 tell me—as nice as she could—that all my characters sounded exactly alike—like me. Probably why I just tend to write in first person present. I have a lot of ideas that need close narrative distance to multiple people, and I always feel incapable.

Do you write on drugs?

Write high, edit sober…? No, write sober, make stranger/sillier high, edit sober.

It’s occasional. Like a pass or a paragraph. Moreso I let music guide me. Obviously I was listening to a lot of house music when I was writing this. Just 2 hour set after 2 hour set, putting me in that forward momentum. Though, music depends on the project. I write a lot to the Grateful Dead and Kanye. Right now the thing I’m working on is Aphex Twin. We’ve been talking music in the DMs. Do you use music to write? Does it change?

Music’s huge. It’s a daily necessity. I struggle with mental health and can only get by off the music in my head a few days before I need a massive aural-assault from the outside to set me straight. I use music to check whether what I’m writing/reading is good. If it can’t compete with mid-volume background noise for my attention, it probably isn’t.

I’m going to start using that as a litmus test for both things I’m writing myself and also reading. Nothing worse than reading the same sentence over and over. Can music focus me away from my phone? Here’s hoping. If not, trash it.

What were your favorite tropes to riff?  Aurora? The druggies/dealers? So many prepackaged images, you could really go crazy there and I found myself able to catch up, even if I got lost for a second. Kind of BLE-URBG'ing myself back into the scene.

There’s this total visual overload at a festival, and I did my best to capture it, but I don’t know if that is even possible through prose—especially as someone who largely lays off of description.

I think my favorite tropes were describing one or two people in passing: the viking men or the guy in a suit or the couple out of basic raver monthly. Find a way to cut them down to size with a half a phrase rather than a full description. So much going on that it always felt like a flash of this and a twist of that would work. I feel zen in a situation of overstimulation, but it’s impossible to catch all of the details.

Had a poetry professor say we write about our obsessions, and I definitely got some out with this book. Might try to avoid drugs in the future. Try and come at it from a different angle. Do you have obsessions that refuse to leave your writing?

I had fun writing Crime. The one I enjoyed most, though, was the Californian. Already Dead was the first book I read that made me want to write that trope. Lived in the Bay Area for a few years. Made me realize these unique cultures—the Bostonian, Californian, New Orleanian, the Southerner, the Appalachian–naturally brought so much to the fiction table. That book has such real characters. Have you read it? One of Denis Johnson’s lesser-knowns.

There’s something so cool about California lit. It has the ability to be a million different things to a million different people. Such thematic differences between say Good at Drugs and Body High, which are the only recent California drug novels of my recent memory. I’ve only read Jesus’ Son and Largesse of the Sea Maiden, but Johnson is a king, so I can’t see why this wouldn’t be as well.

Read the plot summary and it was an instantaneous cop:

Can’t wait.

Awesome. Body High floored me.

Obsession is an obsession. I riff origins, often. Surreal seems pervasive. Thinking of Brian Evenson, Stephen Graham Jones, etc., here.

Hell yeah. You ever watch any De Palma movies? I feel like he nails this.

I haven’t. Sounds like something I should pirate.

I imagine if anything my career throughline will be music more-so than drugs. This is my rockstar shit… fictionalizing rock star shit.  Honestly, the only thing Dave Chappelle has ever said that was of any interest to me was in his Block Party movie directed by Michel Gondry: “Every comic wants to be a musician. Every musician thinks they're funny. It's a very strange relationship that we have. Some musicians are funny. Some comedians can play.”

I’m neither, but writing both.

Good at Drugs is about belonging. Or not. Didn't realize how whored-out-for-community every facet of festivals sadly broadcasts itself being—sunglasses/face-paint/glowsticks, groupthink, I-knew-about-this-band, yoga. The only similar trying-this-hard-but-failing-sortacommunity I can think of is the Writing one. Do you mind talking some on your own sense of alienation? What, if anything, have you gotten from the writing community in making this book? How’d you come by the Anwyll blurb?

Welfare is so so good, so I just shot him an email and he dug it. Felt really quite fortunate. I still feel like I owe him, but I don't know how or what…? The communities can be very similar, except doing drugs with people is definitely this bonding experience and I’m pretty sure I was the only person at AWP on acid that year. I got my MFA and felt like an outsider because I didn’t write in literary or genre stylings. In fact, all of the people I bonded with (aside from the wonderful Tex Gresham) were poets. People that were obsessed with language more than plot. God, the first piece I wrote for that program was about an open-mic comic who goes on stage and melts as performance art. In retrospect, it felt like out of the gate I was like “fuck your workshop.” When I found this literary community I felt that I belonged. A bunch of weirdos who took writing seriously and sometimes even let themselves have fun with it. I think with time I started to see the false trappings here just like the festival-community, but I’ve made good friends in both.  You’ve just got to weed through the bullshit.

Or slide into the DMs. I read Newspaper Drumsticks when you posted it as a pdf months back and I liked it but I didn’t say anything. I’m glad you reached out to me and started talking rap music.

But maybe the bullshit is just the timeline and we all really need to get to know each other in person better. Maybe there is value in things like AWP or writing retreats. I don’t know. I’ve been at this too short of a time to be jaded. I’m glad we met. The internet itself is alienating, even though it has this great power of bringing people together. Maybe it’s all about finding your niche and being satisfied with it? From the phrasing “trying-this-hard-but-failing-sortacommunity” it seems like you’re feeling alienated. Is that the case?

The Timeline’s a big table. Everything’s picked over. Or, like, the apples and shit laid around deflate if you bite em. I’m too new to be jaded, too. But, you're right. Everything requires bullshit-combing. Hearing you say you liked my book is awesome. It’s nice hearing anything. Most of what I read hits the way it sounds a lot of the stuff in your MFA did. Like, a completely different sport, or something.

I don’t know why sometimes telling another person that I liked what they did feels like the hardest thing in the world. We really are fucking weird creatures.

For sure. Still haven’t found a ‘community.’ X-R-A-Y is the closest thing. Reading there has been huge. A few individuals respond to my thing. And, you know, I see writerly groups on Twitter connecting, and I’m happy for them.

Don’t know what people think about my circle on their timeline.

I used to wish people would understand me. But, that didn’t work.

What we’re circling—maybe—is work? Like, you can’t expect community to come on, like you crushed it up, loaded it in a bong, and sprinkled DMT on top. Your efforts usually end with the message never answered.

But, that isn’t the point.

Or is it the point entirely? Are we having a conversation (partially) to embolden other writers who feel without community to start talking? Two Writers Talking—a new series on [wherever this ends up getting published].

I hope.

Good at Drugs feels like it needed to be written. For you. To set down a thing that once buzzed and felt special. A book literally millions of seemingly 'normal' people, who flashback every time they sip orange juice, would love. Do you get a sense it's reaching readers? Can you envision a way writers might hustle in the future to reach niche-but-adjacent audiences?

Yes yes. The people that are reading it are feeling a connection even if they don’t have that direct experience and that’s definitely exciting to me. A solid amount of people have bought it, but I believe it’s just sitting there on most people’s shelves. I appreciate everyone who tweets about books they love. Obviously indie literature lives or dies by buzz. I don’t think this book has connected with ravers quite yet. Like there are hundreds of thousands of people who do drugs and go see live dance music, but getting this book into their hands has proven to be a challenge. I believe the right DJ gets their hands on it and posts about it and it’s like, game on. I didn’t write this for a niche, but I wish that niche would have the desire to support it. There aren’t many novels about the rave. I figured I could be at least one of the ones that matters. But maybe I was barking up the wrong niche and it’s only those adjacent that will come out with the hell yeahs and the high fives.

I think the answer about hustling to a niche is just authenticity. Write about what you love and it’ll show. I’d love to read your rap writing. Do you have any? If someone were really into watching twitch streamers, I’m sure they could write a really great book about watching twitch streams. I think readers are fundamentally interested in what other people are interested in. How do you get non-readers to read? Fuck if I know.

Like, have you read Convenience Store Woman? Literally shut off my phone every night to read about convenience stores.

No, but this is exactly what I’m talking about. I think we all have those interests, even if we struggle to see them through the fog.

Interesting, you think it’s sitting on shelves unread.

You mentioned Tex, and I thought of him while reading. Yours doesn’t match his epic, page-number-wise. But, mentioned yours requires work. I see that requirement being antithetical to what (most) indie publishers are pushing and people are reading these days—the bite-sized novel. There will always be readers for harder works, but maybe the breed is thinning?

Tex was really important in validating this book for me. He read an earlier draft and gave me the confidence that readers—and not just ravers—would like it. That it had a universality in its fiber. But then again, I think the people that are coming to it are appreciating that it’s got some heft to it. That it feels like a traditional novel in many ways, and is not just bite-sized (even though I like the bite-sized as much as the next guy). I know that the heft and sprawling epicness is definitely part of what I appreciate about Sunflower. Like, oh, wow, yeah, okay. That book might not get the love it deserves in Tex’s lifetime, but it is a masterpiece, and I hope some future society is able to look back on it as the postmodern classic it is.

Recently, I had a rapper cosign Newspaper Drumsticks. While my Amazon rank soared, I was like—wow, the rap community is a niche for prison-writing. How a writer domino-effects into several large, otherwise unattainable audiences is something I’m very interested in.

For fucking sure. Doesn’t it all feel like a goddamn fucking mystery sometimes? Like I don’t think I get how anything works anymore.

Thanks for saying you’d love to read some rap-writing. Pretty sure the last thing Rap needs is a white guy named Tyler. I’ll keep sounding the whistle about what I think needs more ears, and flooding DMs with playlists.

We started here by the way:

Tyler’s got the ear that’s for sure. Maybe you just write about being a white guy named Tyler who likes Rap. A playlist creation obsession…

I could slay that book. Hear you're writing now. Can you talk about it?

I’m doing this thing where I write three to four microfictions a week. I’m going to keep at this for the entire year of 2022. From there, see what my obsessions are and try to find a collection within that. Other than my collaborative novel with Tex Gresham, Easy Rider II: Sleazy Driver, coming out this Spring, I might hold off on publishing for a while. It feels like a three year cycle is healthy. I want people to want me. This book still has buzz to build. I have some other bigger projects in the pipeline that I want to keep close to the vest, but I will tell you that I’m terrified of writing a second novel. It already feels like I forgot how to do that thing I just did. Humbling as hell.

What have you got coming? Tell us about Tyler’s ’22.

I’m writing a novel. About halfway done. Still no clue what it will look like. But, want to experiment with self-publishing? See what it feels like to have control? What difference, if any, I feel with sales?

We’re putting out the co-written book ourselves. Through an imprint, but ultimately the same steps as self-publishing. We can compare notes when it’s all said and done.

That’d be awesome. Thanks. Keeping close tabs on what rappers are doing to push numbers…might try getting weird, start some writing feuds.

Let’s go you fuckin piece of shit motherfucker.

I’m a dawg and you a pussy you eat cat food.

Definitely finishing the novel I mentioned. Who knows? Might finish a second poetry collection by year’s end. Want to write a pulp novel. Maybe under a pseudonym.

Uhhhh.

More of these? I like this. Feels genuine. Unlike reviews/blurbs, which can feel like having a stranger’s dick/cat in your mouth. You can’t even see their face. IF this gets published. Maybe someone will skrrt in my DMs? Maybe, I’ll start interviewing rappers?

I think we’re onto something. 

Consuming nothing but interactions, right? I’m hungry. Thanks for talking. Making me feel less alone.

You too, my man. Love a situation like this. To break down the borders we have in our heads and talk it out with someone we might not have otherwise. Can’t be beat.  Peace.

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FACTS OF LIFE by Laetitia Keok

Male emperor penguins protect their eggs from the harsh Antarctic elements by balancing them on their feet.

When I tell you this, you lift me up and balance me on your feet. I am four and weigh nothing. You are a mountain of a man. With my tiny feet stacked atop your larger feet, you hold my hands and start taking wide, steady steps. We pass the balcony, and I feel the warmth of sunlight as it filters through the glass door to fall onto our bodies. Our shadows dance on the floor tiles like puppets. Then, I am flying. Past my mother’s old room that is now my aunt’s. Woosh. Past the cot that my baby sister is sleeping in. Woosh. And I am not afraid of falling—it doesn’t even cross my mind. We waddle across the living room, my cousins cheering softly in the background. Soon I am yelling directions, “停!左!等!右!” and we are zigzagging around the sofa and the stool and the bright red toy car that I have long outgrown, but that you’d fixed anyway. I keep my eyes on the floor—I am your guide, telling you to swerve to avoid the cracks in the floor, to turn at the right corners. When I look up, there is light everywhere—the room melts away and we are in Antarctica, inventing our own little penguin waltz. It is a long time before I am willing to walk on my own again, and I tell everyone this is how I learnt to do it: safe in your arms, fearless. 

Only I am not fearless yet. I am six and it is my first day of primary school. You walk me to the gate, but I refuse to go in. I am afraid of the sickly cream-coloured walls and the pillars thicker than the width of both our bodies. But mostly I am afraid for you to leave. “Let’s walk for a bit more before I go in,” I say. “One more round, before you have to go.” You shake your head, but let me lead you to the zebra crossing and then back to the bus stop across the school compound. We circle the bush with the small white flowers once, then twice. You say “最后一次”, but we circle it another time. I cling onto your shirt sleeve. When you finally get me to step through the school gates, the walls and the pillars meld into a blur in my eyes. I am crying. I am reaching for your hand and grabbing air. I am begging for one more round, and always one more round. 

Even as a child I knew to ask for more time. 

 

There’s a line in Terese Marie Mailhot’s heart berries that says “Time seems measured by grief and anticipatory grief”.

The summer I spent chasing all 311 episodes of 《天下父母心》 with you was also the summer I realised you were not invincible. A light in the house had blown a fuse, and you were going to change it. I helped you get a ladder from the storeroom, and as I watched you climb it, I was terrified. I could not shake off an image of you falling. I imagined all the bones you could break, and all the hard edges that could break you. In my mind, I heard the dull crack of your spine, your neck, your hips. I let you get to the third rung, then made you get off. As I scaled the ladder in your place, you smiled and said, “Qi, see? Isn’t this easy? It’s good to learn now, I won’t be here forever to do it, you know.” I knew. I knew before you said it and it made me afraid. 

At night, fifteen minutes into episode 201, you dozed off. As I watched the glow of the television tint your skin a ghostly purple, I traced the rise and fall of your chest and braced for the hitch in your breath, but there was none.  

In so many ways, I have already grieved you.

 

In Parkinson's disease, certain nerve cells in the brain gradually break down or die. Early signs may be mild and go unnoticed.

At first, we do not notice the tremors. Then, they are all we see—you, earthquaking into yourself. 

Here is how a body forgets itself: everything you can no longer bite into, the stiff of your feet, the hunch of your back, the tremble of your arms. You have always been quiet, but you no longer talk during meals because you’d choke if you did. You blink less. Your stride narrows. 

Once, when I asked you how you’d lost half of your middle finger on your right hand, you told me you had been peeling an apple, when you’d accidentally sliced it off. I was fascinated. I thumbed the almost smooth ridge of skin that pulled itself over your remaining knuckle. “Did it make things frustrating?” I asked. “Like you suddenly couldn’t do so many things?” You ruffled my hair, chuckled, and said no, you’d just decided you didn’t need that finger.

But you will need your body, and you will not have it. It will no longer feel like yours. You will have trouble swallowing, talking, walking. You will need a wheelchair. I cannot imagine it, but you will grow unsteady. This time, there will be things you can no longer do. 

 

There is no known cure for Parkinson’s. It is a disease that is chronic and worsens over time.

The day you are admitted, I see my mother cry for the first time in years. I learn we are all afraid—there is no such thing as fearless. She had woken me up in the morning before going to you. After she left, I sat in bed, and time swelled all around me. I had slept through it. You were in pain and I had slept through it. You were in pain and I should have felt it, somehow. Except I hadn’t. And I had slept through it all. 

When I was younger, to correct my posture, my mother made me stand up straight against the kitchen wall. “Hold it for sixty seconds”, she would say. You laughed and counted the seconds with me. 

Now, I count with you as you relearn your hands, finger first. One, thumb to index finger. Two, thumb to (half a) middle finger. Three, thumb to ring finger. Four, thumb to pinkie. I show you how to make a fist and unfurl it. Now, you memorise the motions to stand up safely, and I watch as it takes you multiple tries. I watch you learn to move sideways to navigate space, “like a crab”, you say. We waddle across the living room—I am your guide. I remind you to not look down, to take larger strides—“往前看,大步一点”. When I feel the ridges of the anti-slip mat in the bathroom dig into the soles of my feet, I know it must hurt for you, too, and learn you are a patient man.

Your body forgets, but mine remembers. I remember it all. Your feet, warm under mine. Your hands, always gentle. I remember that day, from years ago, when we walked eleven blocks and two traffic lights to pick my cousin up from kindergarten. I had slipped my hand into yours and thought, how I will miss you when you are gone.

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