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KERNEL PANIC by Rebecca Rubenstein

When his mind went blank, Benno walked to the water store. Smack-dab in the middle of a strip mall a block downhill from his apartment, it was the kind of place that didn’t pull punches. It sold water, and vessels with which to hold water, and that was it. 

Water cooler jugs lined the walls on one side, and empty aquariums formed a barricade on the other, and the floors teemed with pallets of imported bottled water—glacier runoff from Iceland and Switzerland and all the lands. Metallic shelving flanked each side of the store, and on those shelves sat sturdy, eco-friendly water bottles, rows and rows of them in bright, cloying colors. Shocking pink and neon-yellow and toxic-sludge-green and orange the shade of emergency road cones. No blue, though. 

“We used to sell blue,” Azazel, one of the two brothers who owned the store, told Benno once. “But they drew a bad element, so we stopped.” 

The store always seemed empty whenever Benno dropped by or passed it on his way to do laundry next door, so he asked Azazel would he please be more specific? As far as Benno could tell, there was a good chance he was the brothers’ only customer. Azazel dropped his voice to a whisper and put his hand to his chest, as though he’d been wearing a wire and wanted to convey he was sorry, he wasn’t really a snitch, this information would be for Benno’s ears only. 

“Techie scum,” Azazel said. “They’re fucking everywhere these days, ruining the neighborhood.”

A handful of odd jobs filled Benno’s time, and one day, while he was trying to create a series of crosswords for the local alt-weekly, his mind shut down completely. The puzzle was movie-themed, but he couldn’t remember which Bergman was the director and which was the actress, and before he knew it, a thick fog had settled in without intent to leave. This was happening with some frequency, and Benno thought maybe, if he had good health insurance, something other than what the state provided for low- to no-income people like him, this would be the kind of thing to get checked out by a specialist. But just the prospect was laughable; these were penny-pinching times and he could barely even afford a 10-for-$20 frozen pizza deal at Safeway after all his bills were paid up. Instead of just googling what he needed to know, Benno exited his crossword-making app, turned off his computer, and headed downhill.

Edgar, the other brother who owned the water store, was sitting behind the cash register when Benno arrived. The little bell on the rim of the door jangled, but Edgar didn’t look up from the detective novel he was reading. Even when Benno cleared his throat, the bushy-browed man kept his eyes on the paperback, sucking a slushy through a long red straw.

“Hey, Edge.” This was the nickname Azazel liked to use, and Benno thought it might snap his brother out of it. “Earth to Edge?” 

Edgar stuck his index finger in the air, a swift and sharp gesture that gave Benno pause. “If you’re going to interrupt me while I’m mid-paragraph,” the man sneered, “you can take your ass elsewhere.”

It was almost 2 p.m., the golden hour when the brothers usually traded shifts. Azazel was better to shoot the shit with. He kept current on the news and knew more about what was going on in the neighborhood. During their chats, he usually filled Benno in on who’d been cited for public urination the night before, or, more seriously, whose shop was being offered a buyout by the local real estate sharks dead-set on gentrifying their corner of the city. There were already condos going up on either end of the main thoroughfare, and there was chatter about a pilates studio taking over the space where a bookstore had sat for nearly thirty years, before it shuttered suddenly due to an egregious rent hike. 

Edgar, on the other hand, lived in an alternate universe: men wore trench coats, called women dames and broads, smoked cigarettes like they provided nutrients. In Edgar’s world, the organized criminals still walked around with feathered fedoras and tommy guns, not low-foam lattes and realtor business cards.

“Have you ever considered selling something other than water? Maybe get some tropical fish for these?” Benno tapped on the glass of one of the aquariums like there were already some beauties of the sea swimming inside. He had never been to Hawaii or Fiji or the Bahamas, but he’d seen photos of snorkelers in pristine pools, their faces surrounded by candy-striped fins and iridescent fins and gauzy green fins you might mistake for seaweed.

Edgar sighed. “Don’t you have somewhere better to be? Someone else you can bug today?” 

He still didn’t take his eyes off his book, and to Benno it looked like he was talking to it, like Edgar was scolding one of its characters instead of him. One of the lowlifes. One of the floozies.

“I could help you get some,” Benno offered. “I know a guy who knows a guy.”

Edgar snorted. “Benno, how long have you been coming in here? Two years? Three? You can’t pull one on me. The only fish you have access to are the ones that live in your freezer.”

It was true: Benno liked fish sticks a lot. They were affordable and filling. But in this moment, he regretted mentioning it to the brothers only to have the information used against him. It was the type of sabotage that reminded him of childhood. In the third grade, Benno made a terrible miscalculation about the secrecy of eight-year-olds. During a sleepover with his best friend—a wisp of a boy who called himself Jo-Jo, even though his name was Aleksandr—Benno revealed something deep and dark that had been plaguing him for months. Any night now, Benno warned Jo-Jo, ants were going to crawl into his eye sockets while he slept and create a worker colony in his brain. Benno couldn’t shake the thought. It was part of why he’d opted to stay home from sleep-away camp that summer, why he refused to visit his cousins in the Upper Peninsula. All it took was one fatal brush with the wrong log. The closer Benno was to nature, he reasoned, the more likely the ants would come. Jo-Jo listened with that glistening, rapturous stare of his, nodded when Benno said he was terrified. Then Jo-Jo hugged his friend and declared he would protect him, and they even spat into their palms and shook on it, Jo-Jo swearing on his parents’ antique rattan furniture that he would never, ever, ever tell. 

But the next week at school, when Benno accidentally ate his whole chocolate chip cookie at lunch, even though he’d promised to share it with his best friend, Jo-Jo went ballistic. On the playground at recess, he pushed Benno to the ground. He grabbed a fistful of Benno’s hair and pulled hard. He slapped Benno clean across the mouth and called him a liar. “You don’t know what a promise is!” Jo-Jo screamed. He slapped Benno again, and again, each hit harder, forcing Benno’s lips into the ridges of his teeth and drawing blood. 

And then Jo-Jo told everyone within earshot what Benno had told him. It didn’t matter that there were only a few kids around—by the end of the day, their entire class would know, maybe even the whole third grade. That’s how things worked. 

“You’re a big weirdo baby!” Jo-Jo cried. “I hope the ants crawl into your brain! I hope they eat you from the inside out!” Then Jo-Jo began chanting Antsy Nancy

At first, the other kids didn’t know what to do. They looked at one another inquisitively. Did Benno deserve this? What, truly, was his crime? But then another kid joined the chant. And another. Soon, it was all Benno could hear, a droning choral arrangement not unlike the ones that filled his ears on Sundays at church. Antsy Nancy. Antsy Nancy. The name stuck hard, like gum pressed against a stucco wall. Benno was Antsy Nancy for years, until junior high, when his parents got divorced and his mom moved them away from everything: that one-trick town, those unforgiving kids, that shitty excuse for a best friend.

That was probably when Benno should have figured he wasn’t cut out for the world, that he was doomed to be a weirdo forever. But he kept soldiering on, kept telling himself life was bound to get better once he became a grownup. 

And then he became a grownup and life did not get better, no sir. Benno just shifted into a more permanent state of hopelessness. Far as he could tell, the only things he had going for him were his rent-controlled studio and a loosely-defined friendship with two guys who ran a store that was, in all likelihood, a front for drugs or money laundering or both.

The overhead light in the water store flickered for a moment, and Benno wondered if the bulb was about to pop. 

“Where’s Azazel?” he said.

Edgar shifted in his chair. “He’s coming in later today. His laptop keeps crashing, so he’s getting it fixed.”

“What’s wrong with it?”

Edgar sighed, and for the first time since Benno had entered the store, the man looked up from his novel. “I don’t know,” he said slowly, enunciating every word. “Something called ‘canal panic,’ I think? You’ll have to ask Az when he shows. I don’t know shit about computers.”

Benno left. Edgar knew he wouldn’t buy anything, and it was only a matter of minutes before the man would really lose his mind. Benno had seen it happen. It wasn’t pretty. Sometimes the brothers got into it, and the screaming and insults would peak until Azazel threatened to enroll his brother in anger management classes and Edgar threatened to kick his brother’s ass until there was no more ass left to kick. Only once did a knife appear, and Benno remembered this moment often: the way Azazel put up his hands, saying, “Be cool, be cool,” and Edgar shouting, “Give me a fucking reason to be cool,” and the long, tense few minutes when it seemed like anything might happen, even murder. Benno had left that day thinking maybe he shouldn’t come back anymore, maybe the store would be a crime scene next time, where instead of water there’d be nothing but pools of blood. But he couldn’t stay away forever, not until the store became another real estate casualty and was gone for good.

At home, Benno’s fridge didn’t have much in it that wasn’t expired, so he opened the cabinet above the stove and took out a tin of baked beans. During those awful Antsy Nancy years, he’d developed a habit of coming home after school and eating Chef Boyardee straight from the can. He didn’t mind that the tomato sauce wasn’t heated through, or that the ground meat bits in the center of the ravioli were cold. He just wanted something that tasted familiar. He figured he might not have any friends, or any social consistency, but at least he could depend on the predictable comfort of processed pasta. Now, as an adult, Benno did the same with baked beans. Plunging his fork in, he stirred to unstick and loosen the beans, and the sweetness of the brown sugar in the sauce and the salty, nubbed texture of the bacon pleased him.

On the couch, Benno opened his laptop. Between mouthfuls of beans, he searched for “canal panic” and scrolled, but all he got was a plethora of articles about swans attacking tourists and buildings in Venice threatening to collapse. Then he noticed the prompt: did he mean to type “kernel panic”?

Kernel panic, he learned, was an unrecoverable system error. The heart of a computer’s operating system is called a “kernel” and when something goes wrong—say, the code of the operating system is subtly corrupted, or on a larger scale, the memory the operating system uses can’t be read from or written to—the computer shuts down. It feels random, Benno read, but the computer effectively jumps ship to protect itself from more damage. Almost as if to say: “I can’t trust myself to go on without further harming my most integral parts.”

Was the same thing happening to Benno? Was this why his memory kept shifting in and out? His fear of the ant colony had never subsided, not really—had they finally found their way in? Had they set up shop inside his brain and were they now busy chipping away at it? Ants can carry massive amounts of weight—were they rearranging his gray matter, carting pieces to and fro, reorganizing his pathways? Maybe, Benno thought, his memory issues were his brain’s way of fighting against the ants. It knew something was wrong, and by shutting off from time to time, the most critical part of him was defending itself from certain doom.

The fizziness in Benno’s mind had swelled, and his workday, he knew, was over. So he finished his beans, popped a CBD gummy, and let sleep overwhelm him.

Several hours passed, and when Benno finally woke, the sky had grown dark. His phone assured him it wasn’t as late as he thought, and he wondered if he could catch Azazel before the man closed up shop for the evening. It would be nice to see a friendly face. And maybe Azazel would know what to do about his worsening memory problem. Benno threw on a hoodie and his sneakers and walked back down the hill. 

 When he arrived at the water store, Azazel and Edgar were both behind the register. The two were eating a sub they’d split down the middle. Breadcrumbs dotted the counter, and Edgar had mayo splotched on his stubbled chin. It looked like something else, like he’d been doing a whole lot of something else, and for a hot minute Benno thought maybe he should keep walking, do a lap around the block, grab a $1 hot dog from 7-11, and head home. But Azazel saw him and waved, and it felt like a waste to not even say hi.

“Twice in one day. To what do we owe the pleasure?” Edgar smirked, and Benno almost turned right back around, but Azazel punched his brother in the shoulder and said, “Edge, don’t be an asshole. B, you know you can come in here whenever you want.”

Benno sucked his teeth, stifling a grin. “How’s your laptop?” he asked.

Azazel shook his head. “They’re keeping it overnight. Like it’s a sick animal.”

“They might have to put it down,” Edgar interjected, then pitched his voice up, “Did you have time to say goodbye, Az? Give it a good pet?” He nudged his brother, cackling, but Azazel didn’t take the bait. Edgar’s sense of humor was almost as out-of-touch as all those old books he loved to read.

“That’s a shame,” Benno said. “I hope they can fix it.”

“You and me both. Having to buy a new one would murder my finances.”

Azazel had the most remarkable way of phrasing his woes, and Benno was about to say as much when Edgar rammed his fist against the counter.

“What the hell, man?” Azazel looked at his brother like Edgar had just tried to pop him in the jaw. “What is wrong with you today?”

Edgar shrugged. “There was an ant.”

“You don’t need to crush it like it’s a goddamn cockroach. Do you want to break our fucking countertop again?”

A few months before, during one of their fights, Edgar had cracked the glass. In the midst of an outburst, he’d slammed his fist down with such force, the surface had splintered, webbing as though a bullet, not bone, had found its way through. The faintest of shards had embedded in his knuckles, causing the skin to glisten for days, until Azazel finally removed them with a pair of tweezers. Sometimes, Benno envisioned Edgar’s home and how it must have walls full of holes the size and shape of his fists. Benno couldn’t imagine living with that kind of anger—what it must do to the mind, eating the raw parts whole.

Azazel wiped up the bug’s body, smearing it with a napkin. Benno noticed a few more on the counter, idling near the register, and hoped Edgar wouldn’t see. But the man’s eyes weren’t downcast. Benno realized they were fixed on him.  

“What is that?” Edgar’s eyes had suddenly gone wide, the same way Benno’s had as a kid, when Jo-Jo had wailed on him on the playground and all their classmates had waited around nervously to see what would happen next. The terror in those eyes. The uncertainty.

“Sorry?” Benno looked behind him, and all around, but all he saw were the same pallets, the same jugs, the same empty aquariums that were always there.

“No, no.” Edgar shook his head and pointed. “That. What the hell just came out of your mouth?”

Benno pawed at his lips. Had he felt something before? A slight tingling, perhaps? But then his lips were often chapped, often buzzing with discomfort. At first Benno’s fingers looked like they always did: slightly pruned, the cuticles ragged from years of nail-biting. But then he saw what Edgar saw: small black ants crawling around, crossing his nail beds, punctuating his fingertips like errant commas.

Azazel had his hand on his chest, like that time he told Benno about the blue bottles. “What in the world? B, are you okay?”

Benno wanted to say yes, of course, there was absolutely nothing to worry about. He liked to steal sugar packets from the coffee shop down the street—maybe one had ripped open in his hoodie pocket and attracted a few of the critters. But when he looked down, Benno saw a swarm of ants marching down the front of his hoodie. There were maybe fifty of them, and they seemed to come out of nowhere. They certainly weren’t crawling out of his pockets. The lot of them crossed at a diagonal, an insect sash clean across his chest.

After that, it didn’t take long for an entire army to descend. It happened in what felt like seconds. At first Benno thought they were only emerging from his mouth, but then he felt a tickle in his nostrils and his ear canals, and he knew the ants were finding their way out of those holes, too. He had no idea what to do. He couldn’t keep them in. They just kept coming. 

And then he began to vomit. 

Wads of ants fell from his mouth. If Benno had seen it in a movie, he would not have been able to suspend his disbelief. They were rounded and gnarled—like hairballs but alive. 

It was around the time that Benno coughed up the fifth or sixth antball that Azazel called 911. There were ants everywhere. On the floor. On the pallets. Hugging the rims of the fancy glacier runoff water bottles. Benno could tell Edgar was screaming at him, because his mouth was moving and his face had morphed into the kind of red that skin takes on when you are either irate or asphyxiating. But Benno could barely hear him; the ants had blocked up his ears completely. 

Benno swung his arms around, as though it would help. He swung his hips and his ass and the brute stretch of his legs. As though making his body seismic would create a quake so severe, the rattle would rupture the ants’ hearts and they would just die on the spot. But they didn’t die. They kept coming. They kept coming and coming and clinging to every single part of him, and in his mounting panic, Benno wished his body would just shut itself down. Maybe that would end the nightmare: if his body jumped ship. But that’s the problem with the body—it does what it wants, when it wants. It’s animal like that. Benno understood full well you couldn’t will yourself into a coma, just like you couldn’t will people to be your friends, just like you couldn’t will friends to keep your secrets, just like you couldn’t will secrets back into the dark so your life would turn out differently. Would turn out better. Some things, Benno understood with clarity now, are beyond one’s control. 

And so the ants kept coming. They didn’t stop. They wouldn’t stop, Benno knew, they were as permanent as the parts of him he loved and the parts of him he despised. They would keep coming until, somehow, Benno burst, and all that remained would be piles and piles of ants, surrounded by water that could very well drown them.  

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TELOGEN EFFLUVIUM by Brooke Middlebrook

Is when your hair falls out from stress. Your hair’s heading for the exits but the name rolls off the tongue. 

Perhaps it’s because I take scalding showers, or I eat too much Annie’s Macaroni & Cheese. Sure, it’s organic, but nothing good for you comes as a powder. The best part is the bunny tail you press to open the box.

External forces cause follicles to enter a sleep cycle. Hair loss, when inherited, is called alopecia. The old nature vs. nurture question, like we’re not all tired of that debate. 

Someone I know is laying in an ICU bed tethered with oxygen, someone not quite family or friend but another vector that relates us to each other beyond these simple terms. Our lives act on each other’s in ways not easily catalogued, the forces underneath similar enough, moving in generally the same direction, but sometimes, like now, shearing against each other, and underneath my concern for this person is a selfish wish to know in which direction my arrow will point now. I don’t know how this works; I failed physics. 

Like hair, I go through phases. Sometimes I don’t listen to song lyrics, or I mishear them, and then many years pass and at the exact right moment I come to understand. Two decades after the song is released, while separating egg whites from yolks over the kitchen sink, I realize that her placenta falls to the floor. 

Thirty-eight and eleven-twelfths years of age doesn’t seem like a good enough fulcrum from which the rest of my life slides down, hairless. 

I failed physics because I spent the class wetting cotton balls and throwing them at the ceiling when the teacher’s back was turned. One might call it my rebellious phase. 

Someone was telling me there are seventeen-year cicadas about to emerge from the ground. I misheard and thought they said seventy, as if any length of time living in the dark is not an achievement.

One afternoon in my college dorm, I was alone in the girls’ bathroom, washing my hair in the last shower of the row. I heard a drunk boy enter and shuffle towards the sound of water, his can frisking along the tile. Then there was silence, until he tore my curtain open, and I was certain this is it, this is how it happens, in flip flops. But he stood there looking, and laughed. I must have misheard that particular lyric. 

At least once a day my elbow is tickled by what I’m sure is a bug but is only a fallen hair, stuck to the fabric of my sleeve. 

I was on a 6 train headed uptown at a time in my life when much was in flux, and the book I was reading asked, How much uncertainty are you willing to tolerate? and in that exact moment the question was comforting, like a warm bowl of noodles. 

At the nymph stage, young cicadas survive all those years underground by sipping root sap.

One night at a bar in Emmetsburg, Iowa, I was picking songs on the jukebox when a cellophane-wrapped chicken ’n cheese sandwich fell on my head. There could be no arc or trajectory, it simply dropped from the smooth ceiling. I have since lived my life secure in that moment’s reality and impossibility. 

But how do cicadas know it’s time to tunnel up to air in synchrony? Some phases begin without us realizing, not until later recognizing the border behind us, not until the nymphs are molting and walking on soft legs.

My friend Frank, a pediatric geneticist, was called to testify in the trial of a mother accused of poisoning her child with salt. The defense claimed Frank’s assessment failed to identify some rare metabolic disorder as the cause of her child’s ill health. I asked him what it was like to be part of such a sensational trial, a case of nature vs. (disordered) nurture. Can you believe it? he said. They made me sound like I was bad at my job. 

In physics, forces were always moving towards or away from each other with those arrows, confident, announcing their direction. I failed because I saw little use in naming forces if they could be canceled out. 

Losses can still tickle quite a long time after the fact.

Distinctions matter. All those cotton balls hanging over my head, bunny tails, speech bubbles containing the words, ‘I don’t know’. The slope I climbed up was fragile; the slope I’m rolling down is always changing. So many things have roots.

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HOW TO PRONOUNCE BON IVER by Holden Tyler Wright

The day after New Year’s, my neighbor—who strummed his guitar at 2 in the morning singing tone-deaf Beatles covers—asked me for a ride. My other neighbor, Isaac, kept the TV on 24/7, just loud enough to be heard in the corner I pressed my bed into, peppering my nights with laugh tracks. Beyond him, Ruth stayed up knitting. I knew this because she made me an endearingly hideous hat and a too-short scarf. We were all insomniacs. I was the only student among us, and saw my living situation as a stepping stone into something greater. I wondered how the other three got locked into crappy efficiency apartments in their middle age. “We look out for each other, here,” Ruth had told me with a wink, watching me pull on her lopsided beanie.

So, I gave my neighbor the ride. I couldn’t tell you his name, because he’d never told me, and at that point I was embarrassed to ask. “I got to pick up my car from the shop,” he deadpanned to the passenger window. “I ran someone over. That’s how I wrecked it. She died. The other guy was okay though.” 

I had no appropriate response. “That’s terrible,” I managed, “any way you slice it.”

“It was raining,” he excused himself. “I didn’t see them. Nobody’s pressing charges or anything.” He aimed a finger across the street. “Can we stop at CVS first? My stomach’s been hurting. Doctor’s don’t know why.”

I waited in the car listening to Bon Iver while my neighbor got his prescription. It was a gray day, the streets still glossy from an earlier shower. 

Bon Iver reminded me of my sister’s shitty ex-boyfriend, who scoffed at my mispronunciation: Bawn Eye-vur. The boyfriend played basketball but was too short to make the local community college team and became assistant manager instead. When my sister brought Muggsy—as he called himself—home, he talked sports with my father, complimented my mother’s cooking, distributed animal crackers to the kids, ran thin fingers through his coiffed blonde hair. Muggsy was white and Mormon, like us, which made him “safe” in my parents’ eyes. Though by the time they broke up, it was clear to each of us that he was anything but safe.

“It’s French,” Muggsy explained, unveiling his dentist’s-son teeth. “Bon hiver. It means ‘good winter.’” Now I say it wrong on purpose.

The sign at the car garage said, “Closed Weekends,” but my neighbor summoned someone by rattling the door. The guy wore basketball shorts and a scowl fierce enough to fend off the cold. After some conversation, my neighbor got back into the car. “They don’t have it here,” he told me. “I’m gonna have to figure this out.” He closed his eyes, sighed as if this were the thing that might do him in. Down the street stood a billboard for a funeral home that featured a leering young woman draped in white fur and holding a lap dog. “Happy Holidays!” it read.

My neighbor didn’t buckle up on the drive home, and every thirty seconds my car chimed a wordless warning. Each iteration felt louder and longer than the last.

He cleaned his glasses and nodded at the car stereo. “This Peter Gabriel?” he asked. 

“Bon Iver,” I told him.

I worried my neighbor might interpret the alarm as a serious problem, a precursor to the hood suddenly jackknifing open or the tires going ragged. Worse, he might think something was wrong with me for ignoring the noise. If my neighbor met another person who listened to Bon Iver, he might think I was an idiot for mispronouncing their name. Maybe he blamed me for the racket my car was making. Maybe he gripped his armrest, afraid I might go slicing through a red light and into oncoming traffic.

The alarm sounded again and again. Each slick intersection held its watery double. I didn’t know how to tell my neighbor it was his fault. 

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YOU WANT TO HEAR A LOVE STORY by Ashton Russell

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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ALBTRAUM by Corey Miller

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

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

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

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

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

Good day. Guten Tag. Goodbye. Auf Wiedersehen.

I am a man. Ich bin ein Mann.

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

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

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

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

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

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

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

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

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

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

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

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

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

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JUST A SHOT AWAY by Hannah Grieco

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

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

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

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

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

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

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

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

Mommy, he asks? Is Mommy back?

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

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

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

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

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I LIKE PICKUP TRUCKS by Kayla Soyer-Stein

Here is what I am doing this summer:

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

 

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

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

Rolling? I repeat.

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

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

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

Never mind, I tell Riley. 

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

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

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

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

I give her this look, like: Really?

What, Sadie says.

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Are you okay now? She says.

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

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

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

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

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

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

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

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

Kate is smiling at me. 

What?

You’re talking really fast, she says.

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

No, say me and Kate.

Don’t you want to dance? He says.

No, we say louder.

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

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

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

You mean, like, on ecstasy?

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

And blackberries, I say.

Yeah. And raspberries.

We could grow every kind of berry.

But what would we do in the winter?

In the winter we could make pies.

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

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

Do you remember that snake? I say suddenly.

What snake? Kate says.

It got hit by a car.

Oh. Yeah.

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

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

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

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

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

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

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

 

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

What do you think happened?

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

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

Really?

Yeah. 

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

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

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

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

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

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JANICE LEE in conversation with VI KHI NAO

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

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

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

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

 

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

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

 

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

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

 

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

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

 

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

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

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

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

 

VKN: What are some of your demons? 

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

 

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

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

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

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

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

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

 

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

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

 

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

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

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

 

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

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

 

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

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

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

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

 

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

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

 

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

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

 

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

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

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

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

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OTTERS AT THE ZOO by Christopher Allen

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

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

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

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

Nah, he says.

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

He’s already in the car.

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

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

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

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

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

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

That’s gross, I say.

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

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

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

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

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

You left your kid? someone says, For churros?

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

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

Why is that? I ask.

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

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