VIRGINS by K-Ming Chang

Sixth grade was the year I met Melanie. She’d transferred from private school, Catholic, and around her neck was a copper locket with the Virgin Mary’s portrait inside it. It was the first white person I’d ever seen, minus the wasian in our class who had freckles even in the crack of her ass. The first time Melanie showed me what was inside her locket, we were changing together in the concrete-walled locker room, right in front of the window spattered with flies that spanned the gym teacher’s office. Everyone knew those were the worst lockers to get, the ones in front of the window, because inside the office was our lesbian gym teacher with breath like bug spray and gray pubic hair at her temples. She never wore a bra under her gray T-shirt, and so her nipples pecked out at us like twin beaks, twitching as she chased us on the blacktop, blowing the whistle that meant run, bitch. While the lesbian gym teacher paced the length of the window, looking out at us, I was bent over, trying to cross my arms over my chest while simultaneously bucking off my teal terrycloth T-shirt. When I glanced beside me at Melanie, I saw that she could change from her pink baby-doll T-shirt into her gym shirt without undressing at all, and that she could do it with her shorts too, some kind of magic, the uniform descending over her like an eyelid, clean as the sky when it swaps its skin from morning to evening. Melanie saw me looking and said she’d teach me. It involved acrobatic choreography, yanking my original shirt out of the sleeve of my substitute, threading my head precisely. She was fleshy like a chicken breast, so I was impressed by the elegance of her undressing, and it was satisfying to be naked next to someone who wasn’t yet whittled into any shape. In comparison, I was a silver skewer, I was a preened wing, I had a few bones showing. Beside her, I glittered like the locket that swung from her neck when she bent, scabbing over her chest. When I asked her why Mary’s first name was Virgin, she said because Mary gave birth as one. That doesn’t make sense, I said, did they check to see it was really a baby and not just a really big shit? Melanie turned away from me, but I could still see the puckered purple line at the back of her neck where she carried the weight of that face. 

I didn’t master Melanie’s undressing method for another three weeks, but our skin solidarity strengthened—sometimes she’d hold up her baby-doll shirt as a curtain so that the lesbian gym teacher wouldn’t see me through the window while I fumbled with my sleeves—and I discovered several things about Melanie: first, that she wore that mare-haired woman around her neck by choice, which confused me because the woman wasn’t even pretty or a celebrity; second, that she lived two streets away from me, in an apartment building where a husband-wife murder-suicide had occurred in the past year; and third, that she didn’t know we had three holes. This was evident one day in the locker room when I chose to change in a bathroom stall—I made fun of the girls who did that, the ones who still looked like wishbones, who had no fat buttered to their chests at all—because my tampon leaked and I didn’t want to flash the stain at our lesbian gym teacher, who might interpret it as a mating call, the way birds grow bright feathers on their breasts to attract females. When I left the bathroom and joined Melanie at the exit of the locker room, she asked why I’d changed on my own, and I said I’d gotten it, and Melanie said, oh, I haven’t gotten mine yet, I thought I did last year, but actually I just peed blood because my brother threw me at the TV, he was playing Call of Duty, so how do you know if it’s blood you’re peeing or the actual thing, and I said, you idiot, it doesn’t come out of that hole, and she said what hole, and I had to explain there were three—I held my fingers up to her nose and furled them down one at a time—the pee one, the poop one, and the period one. Melanie said oh, like the five holes, the five wounds Jesus bore, and I said no, three. Three holes. And only one of them likes to bleed, Melanie said, I wonder why. She said she thought everything came out of one hole, kind of like the spout of a soft serve machine, where sometimes it’s a vanilla swirl, sometimes it comes out chocolate, and sometime it’s a chocolate-and-vanilla braided swirl, and I said what the hell are you talking about. Melanie didn’t like when I said hell, and always chained her voice to mine: O, she added abruptly. You can’t say what the hello, I told her, because no one says that. Then we were separated on the blacktop, split up and lined up along rows of spray-painted numbers, 1-60—Melanie was in the tens because her last name was An, and I was in the thirties because my last name was Hsiao. I watched her as we did our stretches, our gym teacher up in front, fiddling with the whistle in her mouth like a nipple, strands of her spit suspended in the air when she pulled it away from her lips, a cobweb that stickied all our hands. I watched the fabric of Melanie’s black jersey shorts strain itself sheer as she bent over to touch her left toe, her underwear showing through—My Melody print—and I was embarrassed that for all her sorcery with sleeves in the locker room, I could see the dark sweat stain rivering the crack of her ass, flooding its bed. She bent over further, her fingertips skimming the blacktop, and for a second before she yanked it back up, the hem of her skirt scrolled all the way down to her chin and I saw that she wasn’t wearing a bra, that she had nipples small and pink, like the ceiling of pimples I plucked off my buttocks, flicking the skin into the toilet, her belly button an outie, its shadow hanging like a berry, and I reached forward to pluck it with my tongue before looking away, looking somewhere that could not implicate me or my teeth. Something wet released between my legs, hot as a finger seaming my skin, and I thought I’d pissed myself before remembering it was my week. I ran from my number thirty-one into the locker room bathroom, looking down at the jellied blood, so much of it. Then it was Melanie standing outside the stall and knocking with her knees, asking what had happened, and I told her to go into the teacher’s office and look in the lost-and-found for some shorts. I turned away from her voice and looked down into the toilet, dropping my underwear into it, the water turning that color of beef blood in the trenches of a Styrofoam tray. Melanie paused outside the door, and I said hurry, hurry, and she said, did you know this is punishment for Eve’s sin? And I said, oh my god, now is not the time for you to be a Christian. Get pants. But Melanie lingered outside the door, and finally I sighed and said come in, look at what you’ve done to me, look at what I’ll have to live with if you don’t help me. In the stall, she bent over the toilet and stared at the wad of my underwear, rafting up like an organ, pulsing and winged, and said I bet this is what an abortion looks like, don’t you think it’s sad, and I said no, just help me flush it. I pressed on the handle with my toe and watched as it slithered down before getting snagged, the toilet hacking it back up, butchered water splashing our ankles and veining the floor. Shit, I said, shit, and reached in to tug it out. No, don’t get rid of it, she said, catching my wrist. We panted, flinching at the water that would ring our socks with permanent stains, and she moved my wrist up to her lips, latched her mouth to the center of my palm, the tip of her tongue plunging a hole there, circling its rim before threading through me, and between my legs was the wet again, bloodless and bearing her face.

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LINDSAY LERMAN on film with Rebecca Gransden

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

I saw Liquid Sky in high school, and although much of it was mostly just weird to me because of how young and clueless I was, the amazing blacklight monologue scene and its “cunt that kills” focus (and its 80s underground punk aesthetic in general) seemed transgressive to me in ways that were thrilling and subtle. Also, the first person I fell really, really in love with was older than me and loved Prince. Because of this person, Purple Rain was the sexiest thing I’d ever seen, and to teenaged me there was something especially intriguing and powerful and mysterious in Prince’s approach to sex and sexuality, like it lived in some dark and sacred erotic realm.

Are there any films that define your formative years?

Bertolucci’s Stealing Beauty got in deep, though I was pretty young when it came out and I was definitely younger than Liv Tyler’s protagonist. I think I was stunned to see a young woman on film who seemed complex and smart, quiet and searching. Up until then, I believe I had never, ever seen a girl or a woman on screen who might have a rich inner life.

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

I don’t. I generally don’t use any writing prompts. I write when I can, or when I need to, but I can’t make writing happen when it’s not happening (if that makes sense), and I also can’t treat writing as a job. I don’t clock in or log word counts. I’ve absolutely been inspired by film, though!

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

I think every place is a cinematic place in the right hands, but I spent many of my formative years wandering around the Sonoran desert and the pine forests in the high desert, so to me there is almost nowhere as cinematic. I think it’s the stark quality of life there — how everything that’s survived is almost exceptionally tough and wily. When I was writing I’m From Nowhere, I was lucky enough to live in the desert for a few years again, and since the book is set there, I found myself constructing the setting in a more cinematic way than I had planned to. The openness and the spaciousness and emptiness of the landscape made their way into even the structure of the story.

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

The past few years, I’ve rewatched a handful of films with some regularity. Peter Greenaway’s The Cook, The Thief, His Wife and Her Lover, Jane Campion’s Bright Star, Alejandro Jodorowsky’s Endless Poetry, Milos Forman’s Amadeus, Barry Jenkins’s Moonlight, and Claire Denis’s High Life. I’ve rewatched each of these for different reasons, but I’ve done so because it’s felt necessary to study them.

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

I catch myself saying “Fuck it dude, let’s go bowling” a lot. I’ve probably watched The Big Lebowski more than any other movie. I used to put it on in the background when I’d come home late, though to be honest, I really can’t remember why that movie and not some other.

Are there individual scenes that stay with you?

So many scenes. The slow motion shots of Maggie Cheung’s arms and shoulders and neck in Wong Kar-wai’s In the Mood for Love; Béatrice Dalle smearing herself with blood in Claire Denis’s Trouble Every Day; Adele Haenel crying in the final scene of Céline Sciamma’s Portrait of a Lady on Fire; little Mai climbing on top of Totoro and taming him in Miyazaki’s My Neighbor Totoro; the scenes in Liz Garbus’s What Happened, Miss Simone when Simone turns her electric and gloriously intense stare on her audience, interrogating everyone with her presence. It’s intensity and tenderness that stay with me longest, I think.

What films have roused a visceral reaction in you?

The answer to this has changed over the years, but since the birth of my daughter, I really can’t watch anything that features kids in peril. And it’s not just because I think “oh no, what if that were my child?” — it’s because when I hear babies or young children cry, I feel alarms going off inside me and I feel a strong physical compulsion to comfort and hold and soothe. In general I’m fascinated by how caring intensely for other vulnerable beings rewires entire dimensions of us — it’s definitely not just parenthood per se that does this.

Are there films that are reliable for inspiring your creativity?

I wish! There is almost nothing that’s really reliable for inspiring my creativity. It changes from book to book, phase of my life to phase of my life, obsession to obsession.

Which of your writings would adapt most successfully to film?

I am currently working on a screenplay. I’m adapting a short story I wrote, and it’s a really fun and intimidating challenge. I don’t know what will come of it yet, but I’m enjoying the entire process. (So far, ha.)

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Y by Thomas Thatcher

I picked up the BB gun. I carried it to the road over my shoulder. Then eventually I pointed it at an oncoming car. The driver didn’t see me. He was driving slowly and he didn’t see me with the BB gun. He was about to hear Tsshh Krr. Copper-coated premium BB’s. I thought it might have cracked the windshield but it hit and skipped off the windshield. Boom and the smoke of the incense, which came with the prayers of the saints, ascended up before God out of the angel's hand (Rev.8:4)

We needed bread and I didn’t have any bread. When I get some I’ll get us our own apartment. I went to the road because I was having trouble telling Yardane all of the truth. I was saying some of it but not all. So I pulled the trigger. The driver slammed his brakes. I jumped and made off like a coyote. Yardane closed the screen door, reluctantly. The driver and the car kept going. I stepped over branches and made my way back up the driveway. Dogs are barking. We all felt better. Love made perfect.

2

Yardane walks into Penn Station. She passes by a guy in uniform with his buddies in uniforms and they all have guns. Yardane doesn’t care. She just doesn’t want me to have a gun. She calls me when she finds her seat and talks delicately. I’m excited and I’m sitting on the front steps zooming in and out of the line that means “train tracks” on the maps application.

They have now compassed us in our steps: they have set their eyes bowing down to the earth; (Psalm17:11) So I looked down the driveway and saw all of its dirt and rocks. I ate the blackberries I had in my hand. I think, fuck I’m doing better. She sounds like herself. She sounds sweet. What an awesome combination; Yardane and blackberries.

I’ll cook lentil soup for us tonight. She will put her arms around me, then her leg around my leg, when I’m washing the bowls and spoons. We are so good. I went into the bathroom, put my head under the faucet, and swallowed an oxy. I went into my grandmother's guest room and looked around for a place to crawl into. I’ll leave in a couple of hours and pick up Yardane at the Providence Amtrak Station.

I’m curled up. I think about her and I in a city. I’ll buy a dirt-bike and we’ll fuck the city up. I saw the city and I saw no temple therein: for the Lord God Almighty and the Lamb are the temple of it. And the city had no need of the sun, neither of the moon, to shine in it: for the glory of God did lighten it, and the Lamb is the light thereof. (Rev.21:22-23) We are in the black Ford pick-up truck and we’re leaving the Providence Amtrak Station.

I say, “We’re going to Cape Cod. D’you want watch me hit 90,”

She is holding my leg. She is sitting in the middle seat next to me. I tell her to take the wheel and she says she hates taking the wheel. I kiss her forehead and she takes the wheel.

3

Vincent called me 2 times so I called him back. We made a plan to go to an NA meeting and then get food at Friendly’s. I tell him Yardane and I will pick him and his girlfriend up in an hour. The dog is barking. I thought about yelling but quietly said her name to myself.

Watermelons and kiwi’s are the same, possibly. I’m holding a small watermelon-kiwi. I bite into it and I feel the skin get stuck in between my teeth and I don’t care that much. This one is nice, it's sweet and drips on my shirt. Walking with Yardane up the handicap ramp is tiring. I think about her and I both looking at the handicap ramp when we got here and feeling retarded.

I found two seats in the back and pulled her wrist so we looked attached at the hip. We entered and exited the room 2 times before I found our spots. She said very softly, “Remedial NA” and I knew she meant her and I needed extra help. She made me laugh over the moment of silence for those still suffering. We are suffering. We are suffering and playing with debris. I stop thinking about where I’ll be when everyone who has not received the mark goes high, higher and I listen. Someone is sharing. I’m giving them my attention but Yardane is sitting next to me. I’m ready, I think. It might happen soon. Are you ready. Is Yardane ready. Yes, yes.

Later on we drove past a gate. It looked old. 4 of us sat in the big pick-up truck and it was quiet. Vincent’s girl needed a ride home so she was with us too. Vincent made some light-hearted jokes about her in front of her and then they kissed and she got out of the backseat and disappeared. I knew what was going on when we passed the gate and parked in this abandoned parking lot in a weird part of town. She had told us on the ride there that her new tent was nice and, if her stuff wasn’t all around, sleeps 4 people.

Vincent asked me if I was serious about getting into bull-riding. I told him yes I was. I asked him if he wanted a small tin of chewing tobacco I bought. I said the taste isn’t all bad. I said, “it’s actually minty,” I was staring at the woods in the headlights. And I saw a new heaven and a new earth: for the first heaven and the first earth were passed away; and there was no more sea. And I … saw the holy city, new Jerusalem, coming down from God out of heaven, prepared as a bride adorned for her husband (Rev.21:1-2).

4

Tornado warning. The truck will be gone. Tornado. It’ll get shot up to a black storm in the sky. My dirt bike will be gone too. The tornado is moving north-west, south-west, west, south, and north. Not the usual winds but powerful winds. It’s the end of Eastern Massachusetts. But of that day and hour knoweth no man, no, not the angels of heaven, but my Father only (Matt.24:36). I called my mom to tell her.

It’s finally going to be real. The life after this life. The life with Yardane after this life with Yardane. She will feel my emotions really hard in the after-life. For the first time she will have no doubts at all about how real everything is. I’ll be found, my body devastated and not resembling me, against a rock, maintaining the stoic face that I was never able to make in my time alive. For wheresoever the carcase is, there will the eagles be gathered together (Matt.24:28) Darkness, clouds, and more wind.

That night Yardane stepped over me and I grabbed her leg. I love her legs. I called her a doll and kissed her thigh. I lit another cigarette and handed it to her. Sitting on the front steps with Yardane makes my faith stronger. Everything is going to be alright in a couple of seconds. I heard it too. She heard a bang. You possibly heard it. And the stars of heaven fell unto the earth, even as a fig tree casteth her untimely figs, when she is shaken of a mighty wind (Rev.6:13).

And she picked up pieces of space and pieces of the moon. We picked up metal sharp objects and pointed them at each other, giggling. A meteor hit an airplane above us. We smile together. The town is going to be under water, maybe. There’s a small barn made for chickens that we crawl into and there she kissed my arm. She’s almost asleep. Her small body made a Z shape and then it made a G shape.

I can reach and touch her toes. I can touch her knees underneath white cloth. A frock that we agreed on was modest. I clad myself in XL black gym shorts and an XXL green T-shirt. She likes when my clothes are sometimes falling off like a shepherd who holds his robe up while herding. The pebbles on our driveway. Her leather shoes on the pebbles. There was something (Maybe a ribbon tied on her ponytail, or the pattern of her stockings) that reminded me of Sunday school.

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FIFTY-FIVE AND OLDER by Christopher Notarnicola

I’m about to be sick on the front porch. Granddad is at the back, beating his cane against the screen door to scare the Muscovy ducks. The neighbors understand—nobody wants duck mess on the walkway. We’ve split a buttered bagel and yesterday’s half pot. He’s probably finishing breakfast while my first bite slips from my tongue in a string of saliva, landing like egg yolk in the flowerbed. I gag. The neighbors have a hard time with my prolonged presence, though no one seems to have heard my heaving. Drum and bass in the front drive after midnight, and in come the questions via landline. Granddad could tell them nothing they would readily understand—the loss of a wife can only excuse so much noise. Two ducks have made their way around front, three puffy ducklings in tow. The adults are black and white with red growths around the eyes and bills. The little ones are yellow with brown over top, stumbling along, chittering through their perfect beaks. I find it hard to understand how a creature can bear such mutation. Granddad has stopped with his cane. And I am surprised to see that a butterfly casts a shadow. The coffee has gone lukewarm again, which seems to be better, and the sip goes down. More ducklings round the flowerbed, intrigued by my aborted breakfast. A gag sends them off. The older ducks are past the mailbox, crossing the neighbor’s front walk, leading the brood. The neighbor’s door opens a crack, and slivers of gold reach for the lawn. My stomach flips, pulling me to the mulch. The coffee comes up with a burn. Bile sinks in the shade of a peace lily. Out back, Granddad has started with his cane again.

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ALERT by Caelyn Cobb

We all regret downloading that crime reporting app. “I’ve learned that I’m always a few blocks from some guy swinging a chain,” our friend says at dinner. For us, it’s gunshots or fires. Gunshots reported, four hundred feet. One mile. Six hundred yards. People on the app give these alerts thousands of likes. That’s what you get, someone comments. “Probably just fireworks,” I say. Those distances don’t feel that close. One mile might as well be a different universe. They have a different congresswoman and everything.

When we’re getting ready for bed the app says there’s a fire at Food Universe. Their lemons are always moldy and they don’t even have goat cheese. Burn, motherfucker! the commenters cheer. A few weeks ago the worst pizzeria in the neighborhood burned down at three in the morning. That time everyone on the app was devastated. Where will I get my pizza now? Literally anywhere else, we both agreed. Now the pizzeria is almost done rebuilding. We walked by and the door was open: white tiles accented with green, all the chrome new and shining. 

“You know what my father would have called that?” you asked. I did, but I didn’t say it. Some things shouldn’t be said, even if it was someone else who said them.

A siren wails. A woman who lives across from the grocery store posts a video. We expect smoke, black and billowing, red-orange lights flashing, but it’s nothing. Y’all are fuckin dumbasses, a commenter says. Fuck you, someone else replies.  Laugh emoji. Thumbs up. Some people aren’t laughing. Some people have darker things to say. The siren is still going, farther away—who knows to where. Someone on the app will figure it out. Someone on the app is probably there already. 

The local paper tweets that a woman set herself on fire. She was trying to get bedbugs out of her car. “Can you even get bedbugs in your car?” you want to know. They could be anywhere, I remind you. When we had them in that first apartment I would see them in the hallway. If only someone would set fire to that place. Sometimes fire is the only option. Your grandma told us that’s what they did back in the forties: big bonfires of their beds and chairs and clothes, right on the sidewalk. Someone on the app is probably filming that burning car right now, getting thousands of fire emoji reactions. 366 yards away, the woman is probably already in the ambulance, a paramedic rubbing silver into her wounds, pushing medication to keep her calm.

Another siren. My phone buzzes. I turn it to silent and roll onto my side to sleep. You’re still sitting up, awake, the bright white square of your phone lighting up the hollows of your face, vigilant.

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PLEASE CONSIDER by Jeannetta Craigwell-Graham

There is a new woman in your apartment. What happened to the other woman? Tall like you. Blonde like you. I hope you haven’t broken up.  

But if you have: please consider, for a split second– Me.  

Me and you began the day you moved in. From the balcony of my illegal sixth floor walkup, I peered into your curtainless life. I was tired of onion peeler ads and videos of black men poked into hermit crab positions, playing Jesus in my daughter’s Mary Magdalene roleplay (her chest packed with hormonal mandarins) and my boyfriend’s “Aren’t you concerned about the pimple on the back of your neck?” 

I wanted to file myself thick somewhere in the W’s, X’s or Y’s of your life, uncertain if I would fit amongst the eggshell chairs and paper lanterns. I am darker and shorter than the blonde. Think Snow White with doe-colored skin, cornrows and a stopwatch frame. You would need to bend down to kiss me. It might be inconvenient. I winked at Orion’s belt and blew out birthday candles wishing this new brown-haired girl away until I decided love is diligence. 

Your self-care routines are just right. The blonde was naturally beautiful like a baby goat.  I see the brown-haired girl is more camouflaged. She hides fatigue with incandescent eyeshadows. I have an appropriate pop-level shame about my appearance, an Umbrella-remix you can dance to. Yesterday, I waited at a perfume counter with a steady fever tremble for the long-lashed attendant. Last time I visited the department store a cashier had a stroke. When I explained the incident to the EMT he stared at me and my pile of sixty-four pairs of control briefs and wrote in caps as the cause of incident: “UNIDENTIFIED AND UNREASONABLE EXERTION.” I will try my best not to startle if you come into the bathroom unannounced. 

“Boo! It’s just me,” I will say, “no need to be scared.”

You rarely ate dinner together. The blonde ate spelt and weeds from bowls standing up.  The brown-haired one is less digestively coy – she nibbles on kitchen paper. I can last on bitter coffee and water spoon-fed from my hand in the bathroom sink.  In university there was another brown girl who Zumba’ed the same time I did, the meat of her upper arms picked clean by Cosmo and Vogue. I saw a dog let go of a mournful howl as it went past her photo on the university’s welcome banner and I got the program. I made friends with the salad bar staff who had tattoos in unemployable places. They would ask me “More chicken shug?” 

“No,” I said, “on a program.” For which I would receive eyelids engraved with Fuck-blink-That

You were often headed somewhere. The blonde liked the tease of a black A-line skirt and turtleneck. I can see the brown-haired one prefers garments that resemble fitted sheets before you tuck them into bed corners. I like a bit of theater in my closet. I once skidded across shifty ice clad in intense reflective footwear to go to a melanoma fundraiser at the zoo.  The bouncer glanced me over with a no on his tongue but a greeting from my Indian friend changed the equation in his head and we were in. I am like a zero: when added with a larger, or small number, I make no difference. 

You were not big cleaners. The blonde protected wasp nests as if they were Charlotte’s Web. The brown-haired one is very sustainable - she reuses any butts or Hostess wrappers she sees on her way home. I view each spill as a new opportunity. I learned cleaning protocols from my grandmother who might have cleaned your mother’s-mother’s house or bagged your grandpa’s adult diapers without a flinch or peep. The Department of Homeland Security once held her for possession of solvents and flammables in her suitcase and for not obeying the flight attendants’ instructions to remain seated during takeoff and landing because she had been cleaning the toilet with abovementioned solvents and flammables. Sometimes you must clean as if a knife could appear at your throat. My heart would wallop against my breast but I would leave no trace and have a steady dusting hand. 

You used to kiss, neck each other. The blonde was full of barnyard romance – nudges like a colt and slicks against your cheeks. I can see the brown-haired woman seems satisfied if she brushes past you in the hallway. I believe that affection, love and even sex are very good for a relationship, but not an excessive afternoon’s worth. I have read enough Victorian romance novels pocketed in the brim of my jeans at Walgreens checkout lines to know how things are done. Each time I expected the The Duke Who Loved Me or some other title would bring forth the sharp rap of an alarm or a heavy frisk but no one suspected me of romance. Don’t worry, I’ve worried the buttons on my button-ups so they are easier to rip and can be wanton with just a raise of my eyebrows.  

Wait. My boyfriend just told me you are not you. Another couple moved in, quickly, in the twilight of afternoon. The brown-haired one is not a replacement but the original of someone else. But who I wait for. But who am I waiting for? No matter. Leave the window cracked. I will go via balcony.

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NAKED by Tim Lane

My boys are naked every chance they get and this morning is perfect for it. The light is clear and hot, unmuddled by rain or fog. And they have an excuse — they’ve just eaten ice cream and so made a mess of their clothes. I am here, but I am not seeing them, stupefied by the warmth that comes so rarely this far north. My mind wanders and trips down alleyways of my past, looking for trouble or regret. When my wife left for work this morning, she gave me a look. Truth be told, she’s getting a little tired of me. 

By the time I notice what they are doing, the older one, who is four, is already stripped. The younger one is only two and still unable to get his shirt over a head that is much larger than his body would seem to be able to support. He shrieks like he does any time he is met by a problem–from skinned knee to stubborn pistachio nut. The older one comes to help, a good big brother or a torturer, or both, pulling the shirt up in ruthless heave-hos. The younger one is lost inside it, crying all the harder, from pain or darkness, who can tell. Only he stops the very instant he is free. 

This did not used to be a problem, the nudity. In fact most of any day that was hot enough, and plenty that weren’t, my boys spent naked. However, the old backyard fence that was there when we moved in had come down in the winter months. Eight feet high at least, gray, rain-loved, and blooming moss and lichen. I noticed it listing to the side one morning as I brought out a bag of trash. I pressed upon it with my palms and it kissed off from the side of the garage, rusted nails letting go, and stooped over the yard. Then I kicked it, partly because I had a vision, sudden and clear, of what we might do with a more open space, and partly because I wanted to see what violence from the end of my foot might look like. The fence fell down and immediately our yard opened up like lungs which had been waiting to take a full breath. 

The line of where the fence had stood remained for a few weeks. A strip of thin, pale grass like the first skin after a wound. Soon, though, weeds took over. The thin, leggy kind with delicate, pink flowers.

Having no fence created a problem I hadn’t, in my rush, considered. Our yard, which abutted a narrow lane that led to the back parkinglot of an apartment complex, was now exposed to anyone from that building walking by. Dog walkers, couples, kids on bikes, a pale, young smoker with a collection of animal onesies she wore baggy and ironically. My wife was concerned that without the fence, thieves would relieve us of our tricycles and tomato starts. Perverts would haunt our back windows.

“The fence was rotten,” I told her. “If the perverts wanted to get in, it wasn’t stopping them.”

“The fence did more than we probably know,” she said. “Just the idea of it.”

“OK, but it came down,” I said. “So, what was I supposed to do?”

“Listen,” I told my boys now. “Those bodies aren’t for everyone.” 

Their bowed little legs, plump bellies, uncircumsized penises with the tiny, fleshy bit at the end. 

“It’s only OK for our family, so let's put on our undies at least.”

“Every day, all the time?” the older one said. “We used to be naked in our yard. It’s our bodies! It’s our choice if we want to be naked!”

“Yeah,” the younger one chimed, the sycophant, the pugilist. “If you don’t let us be naked, you’re outta here!”

His scrunched up face, eyelids half-closed, voice pitched downward but unable to hang onto lower registers — it was all, I knew, an imitation of me. And I found it incredibly endearing, fucking cute to be clear, though a little frightening, to think that my face screwed up like an ogre’s in moments of anger. In any event, I relented. One, because they were playing with each other without needing a thing from me, and so giving me a little peace; two because my wife had pointed out recently that I had become stricter the longer I stayed home with the boys; and three, because my mind had turned a corner in its wanderings and met with a thing from my past, fully formed and wriggle-wet. A memory I felt compelled to tangle with.

 

I had studied abroad in Chile the first half of my senior year of college. I wasn’t a leader, never in my life, but somehow, when I got there, the others looked to me. It was probably because I was the oldest one in the program. I felt the responsibility of it like balancing a broom upright on the tip of my finger. If I put in enough legwork, I could keep it afloat. I practiced the clench of appearing, always, to not care. I didn’t linger, I affected independence, I floated ideas about which bars to go to next, I sang karaoke. It was exhilarating, exhausting. I got better at it.

In any case, two weeks after arriving, my school went on a break. I was going to use the time to head up north, see the Atacama Desert, check off the first item on a list I planned to complete in my time there. My big study abroad. To my surprise, a small group of who I considered to be the coolest in the program rallied around my plan and came with me. Quite by accident, it took on the aura of exclusivity, with me at the center. One guy, Tom, even asked my permission, as if I had it to give, to invite along another student, Howard. Howard lived with a host family next to Tom’s and was brash and often ridiculous. Meaning drunk. Howard had already managed to turn off many in the program with his antics. Only Tom, universally liked, who attended his same college in Washington, still stood with him. I said of course Howard could come along, struck to be considered an authority, and I came off as being quite magnanimous. “You’re a good guy,” Tom said and I said nothing, only nodding, thrilled and protective over what I felt he’d given me. 

We spent a night in an apartment in a town I can’t remember now. Only that it looked more beautiful in the guide book than by our eyes. At Howard’s suggestion, we played something called the Elephant Game. Tom knew it. It involved clapping in a rhythm, each assigned an animal, and when your turn came, you had to make the sign of the animal in the space of a clap, and then the sign for someone else’s animal within the next. The lowest animal in the game was the naked mole rat. The sign you did as the mole rat was to grip yourself and shiver. I got to know the action very well as I was constantly stuck in the role. It seemed like a wire sparked and lost the information it carried whenever I tried to remember an animal other than the mole rat. So there I was, shivering the whole night through. 

But the game succeeded in getting us all very drunk; and in endearing Howard, to some extent, into the group, which seemed to thrill Tom.

 

A night later and we were staying in an apartment in a beautiful city by the sea. It had poems graffitied on the walls. If you knew where to look, you could eat a good meal for a few dollars and drink for a few more. We played the Elephant Game until the owner of the apartment pounded on the door and told us to stop; the clapping was too loud.

So we went for a walk. Through streets romantically lit, alongside a marina with boats we had seen earlier, each of us taking pictures in front of their colorful hulls. Now everything was gray and wet. But it was thrilling to be kicked out, to be drunk, to be so far away from our normal lives. This feeling, I believe, led Charlie, a woman with a narrow face and sleepy eyes, to decide that we should all strip down and swim in the water. The idea caught, and first Howard, with his goose-honk laugh, stripped down, and then everyone but me joined in. The group picked their way over large, angular boulders and down to the oily, black water. They screamed; they laughed. I stayed behind, and Charlie, covering her small breasts with her arm, asked me why. 

The truth was that I didn’t want to be naked. I was too skinny, I had a scar by my belly button, and moles, like they were an infestation of the animal, dug up all across my chest. And also, I was ashamed of how my penis would look. Uncircumsized, canted-to-the-left. Would it shrink in the cold?

“I just don’t feel comfortable,” I said.

“Oh,” she said, and in her eyes I saw the broom tumble, smack the floor. So I sat on the rocks for a while, uncomfortable with watching the others, a barrier between clothed and not. I walked home alone, counting how many of the streetlights were broken, bulbs gaping mouths with uneven fangs. 

 

Still later and we were in the desert and I had nosebleeds most nights. Howard was desperate to pick up a girl and somehow the entire group, even Charlie, became invested in his quest. But none of the local women were interested in him and finally he insisted that he didn’t care. 

“It’s their faces,” he said. “Being in the sun so much kind of fucks up their faces.”

“Jesus, are you an asshole,” Charlie said.

I didn’t agree with Howard. Or, probably, the me at that time knew enough not to admit that I agreed with Howard, but I could see what he was saying. It was an intense, constant glare in the Atacama and I was young. Too young to read codes. 

“Maybe he’s just saying what other people really think, deep down,” I said. “But he just doesn’t have a filter. Doesn’t dress it up in what he’s supposed to say.”

Charlie looked at me and shook her head. “It’s racist to say a whole group of people aren’t attractive.”

I stayed quiet, as did everyone else, even Howard, which was so rare as to be eerie. Tom clapped his hands and said we should all check out the Cueca; they were performing soon. 

We went to the town square and bought beers. Dancers shuffled around in a big tent waving handkerchiefs in the air. It was admirable and disciplined. My nose began bleeding and I raided the napkin dispenser to staunch the flow, trying to laugh it off, but nobody else seemed to be able to look at me and the mess of my face. It just kept coming. Howard plucked a fresh napkin and tried to join the dance. His arm in the air, fluttering the paper up and down, he approached the dancers who all stayed, tight-lipped, on their steps. My group laughed, even as they ignored me, even as they traded knowing looks of what a dumbass Howard was. Tom yelled in a hoarse voice for him to get the fuck back to the table. 

Howard is a kindergarten teacher now, I think. Tom might do something with insurance. Charlie writes for a magazine and lives in Denver.

 

The older son wants to know if I think it is hot enough for them to fill up the pool and I tell them, yes, sure, nodding my head, reminding myself to be present. Be present — too much is spent outside of this. When I got laid off, I decided to see it as a blessing, as a time to be present with my kids when they are so young. And yet, it’s a constant struggle. So much easier to slide backward into myself, looking for something, I don’t know what. A path out? A choice to a different future?

I go inside and I start to make lunch. Macaroni and cheese. Cut up apples. Peanut butter and celery sticks. My second cup of coffee, what I cling to for the later half of the day, instant. Cherish this, my wife often tells me. What you’re feeling is society’s pressure on you as a male. A breadwinner. You are doing the most important work. The. Most. I have made a mistake, I sometimes find myself thinking when my guard is down. I am stuck in a muddy mistake.

Then I hear the younger one talking in that adorable way he has. Half in this world, half in the other, imagining as he goes, sputtering sound effects, little clippings of phrases, sayings. He is happiest when he is inside his imagination. They are constantly demanding I join in, and I do, sometimes, when I can’t find a way out of it. To me, the practice is exhausting. Pretending to be a raccoon or a T-Rex. I joke with my wife about it. I call it my beautiful sacrifice. If it were up to my boys, we’d never stop pretending we were something else. 

I go out on the back porch and see Cal, the man who lives in the apartment complex and survives on god knows what and also cans. He collects them, a huffing, rotund machine with thick eyeglasses and a rubber grin. When he remembers me, he likes to talk to me. He tells me his theories on why the conservatives are having a moment, or how the homeless are lazy and that’s why he gets most of what he wants. His competition, he sneers, would rather sleep. Other times I’ve said hello as we passed, asked him how it was going, and he has looked at me as if frightened, and hustled on. 

Cal’s laughing now at something my older son is doing. I remember when they were even younger and we stripped them in parks, on benches, anywhere, to change their diapers. When you are so young, your body is public. It is unformed, unclaimed by even yourself, and so free. The child feels no shame. That changes somewhere along the way. My sons don’t have it yet. And I know I will have to give it to them. Which is also taking something away.  

I rush out, my hands still wet, they smell of garlic, and find that my boy is juggling his penis. He finds it hilarious, we all do in my house. Hand over hand, it really does look like juggling. But it shouldn’t be here, it shouldn’t be now.

“Hey,” I say. “You need to get over here and get dressed, both of you.”

“I will throw you in a tree!” the younger one says.

“I don’t like your serious voice,” the older says.

I smile at Cal. I don’t want this to be weird even though I know that later on I’ll fantasize about the terrible things he was trying to elicit from my boys and scheme ways I’d hurt him. An ugly purpose, but a purpose all the same. It’s in line with how sometimes, I’ll read horrible news stories about a recent shooting and imagine myself into the scene, charging the shooter, taking him down, being lauded the hero. For now, though, I don’t want to be rude. Because we see each other all the time and I do believe, deep down, he’s harmless. Maybe he has some kind of condition. On the spectrum. His big, threadbare t-shirts are mostly clean. His glasses are constantly fogging up. My wife gave him my old winter gloves last December. He was just talking, after all, laughing, it was funny, and there is no fence there anymore. What was he supposed to do? 

“You need clothes, I keep telling you,” I say once I get the boys inside.

“But we were in our own yard,” the older one says. “And you say it’s our body.”

“It is your body,” I say. “And it’s only for you.”

“But, Daddy.”

“No,” I say, definitely breaking through into Serious Voice territory, into something like yelling. “You put your clothes on or you don’t go outside, do you understand me? I’m trying to keep you safe.”

“You always ruin my day,” the older says. 

“You’re being disresponsible!” The younger says. 

Cal is striding off, his huge t-shirt tucked into basketball shorts, Ikea bags in each hand. 

 

I have never been in a fight. Not a real one. But there was once, back in Chile, near the end of my time abroad, when I was leaving a bar and two men plucked my hat from off my head. I asked for it back and they laughed at me. One of them pretended like he had a gun, reaching into his coat, so I turned and walked the other way. But they followed me, kicking me and punching me as I went. I was much taller than them, and sloshing drunk, so I hardly felt the blows. Still, they kept adding up inside of me until finally, in an instinct that was quicker than any thought, I reached back, grabbed a foot as it kicked me and pulled up. The man lost his feet, fell onto the sidewalk, the back of his head into the cement like a watermelon dropped in the supermarket. I ran as fast as I could, turning at random streets to lose these men who may or may not have been about to shoot me. When I came across a phone booth, I called Howard, who was dating Charlie by then. He’d often told me of the fights he’d gotten into in the small, spread-wide desert town he’d grown up in, how he didn’t mind them, in fact liked them, was good at them. He answered on the third ring and I told him where I was, what had happened, how I needed his help. I wanted to find those men and fight them. Get my hat back. Beat the shit out of them. But he was sleepy, this was very late, and he asked me if I was alone now. If I was safe. I was, the men were nowhere in sight.

“Then just go to bed,” he told me.

When I got home, I undressed in my bedroom and looked at my body in the mirror. I had purple and green bruises up and down my legs. They would be worse in the morning.

 

Maybe I will tell my wife about this later, when she is home from the real world, and maybe it will hold her attention better than my stories about the boys refusing to put on their clothes, or making a mess of things, or the tiny, fierce joy of taking a nap, my arm under each of their necks, heavy and breathing in the same rhythm.

But when she gets home, I don’t tell her any of it because by then, the story seems meaningless, just like most of these days. Instead, she has her life to tell me about, the one she enters daily, leaving us behind. A world of real push and pull. Boss and coworkers. Drama. And I tell her my opinions, strategies, thoughts on what she should do out there. 

 

A few weeks later, I go for a walk, leaving the boys practicing magic tricks with my wife. They are disappearing crayons, quarters, stuffed rabbits. They are pulling gauzy scarves from empty tubes, toothpicks from empty palms. I was having a hard time acting shocked by their antics. My wife said I should leave, take some time to myself.

It is a beautiful day again and I am trying to take my mind off the spinning, gentle haunt of a life lived any kind of way. I circle the block, and then the next. I know all of these places and yet, even after three years here, I notice new things just put up or invisible to me before. A slackline between two dying trees. A small fairy kingdom built in the hollow of an enormous oak that has released its pollen and bulged my eyes. A doll dressed half as a devil, half an angel, nailed onto the pillar of someone’s porch. 

On my way home, I see a man in the courtyard of the apartments, lying with his shirt off and his pants down, close to his knees. He is having a hard time breathing. Each intake whistles and stuffs. I am afraid, seeing this, and I look around, but there is nobody else here. Then I recognize him. It’s Cal, having some kind of emergency.

“Cal?” I say.

“Are you OK?” I edge nearer.

“Can you hear me?”

I call 911. I hear ambulances far off. I’ve checked his pulse, I’ve elevated his head. And then, though it is hard and takes all the grip I can manage in my fingers, I push his shorts back up, over his pale, pocked, yogurt-pour flesh. His crisp, white underpants. The shy stub of his penis almost lost in a wiry nest of hair.

“Let me just get you situated, man,” I say.

Cal is breathing, and maybe he sees me, and maybe he’s already gone. Soon there is a collection of busy men and women applying devices and counts and hands to his failing body. But then I see from the way the activities of the workers, paramedics and firepeople suddenly slacken, that he is dead now, and his body doesn’t matter one bit to him anymore. 

And I think, a small complete thing formed instantly in the front of my brain: I have a broken heart. 

I go home and hold this all within until the boys are in bed. Then I tell my wife. She doesn’t remember, at first, who Cal is. But after I describe him, his trundling walk, his cans, his cold, naked hands in the winter, the gloves she gave him, she remembers and is sad in a new way. She is crying.

I tell her of the time I was walking and the boys were ahead of me, tiny blurs on those three-wheel scooters, and he came out from his apartment and told them to stop, to wait for me. When I got to him, I apologized. 

“I have sons of my own,” he said. “The instinct never goes away, to protect them, just like the day they were born.”

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HALF-SISTERS by Kristen M. Ploetz

red + blue

Her birthstone is amethyst and she has his blue eyes. At the fair, he buys her a purple balloon; when it slips from her grip, he buys her another and ties it to her wrist, winks as he promises, this one will always stay. When he reads to her at night he points to the lupine in Miss Rumphius and tells her about the importance of family. On sunny days he holds her hand as they meander through rocky tide pools where they look for the purple arms of sea stars under shimmering water. She steps barefoot on an urchin and he wipes away her tears. When she is eight, he walks her from house to house on Halloween, a wizard dressed in purple and gold who still believes in magic and forever. A week later, in the wake of a November hurricane that gives birth to a lilac sky, he tells her he’s leaving and not coming back. Her veins purple with sorrow, her breath uneven and shallow as she waits and waits for things to go back to the way they were. Each night she dots lavender oil on her temples and wrists to coax slumber, to quiet the heartpound in her ears. Her mother buys her an orchid for the south-facing sill in her room and still tucks grape BubbleYum in her lunches, but everything remains irrevocable and broken. 

Years pass. She finally musters the nerve to visit on Christmas. Over runny pie and under the heavyweight safety of her hoodie she discovers devotion doesn’t come with a lifetime guarantee. She texts her mother from the bathroom: can u pick me up? total waste of time, wipes her eyes on her sleeve as she strides past the table.

He drives her to her first year at the university, an offer her mother forces her to accept because he has the truck and she can’t get the day off. They ride in silence except when he nods toward the hills and says, That’s where the grapes grow. It is the last time she’ll ever be within arm’s reach, confirms the magic of him withered on the vine too long ago. She tacks her course schedule to the cork board above her desk and sets a cup of pencils under the box store lamp, drops a sharpener in the top drawer. Her lavender bunny with the missing ear and folded belly leans against her pillow just like it has since she was a toddler. She vows to sketch out her own life from this new beginning, to study only beautiful things. In art class she discovers violet is a spectral color with its own wavelength, that purple is similar to the eye but a fundamental difference exists—just like him before and after. She is seduced by Claude’s violettomania and Vincent’s ear, doesn’t think either of them were mad but bruised somewhere deep inside like her. She draws on the warm backs of friends, plants iris and crocus between valleys of scapulae, and soon drops out to apprentice and hone her craft where a neon tube hangs in the dirty bay of a street level window, the periwinkle argon glow of Tattoo City a beacon for those who seek something that lasts. Her first client pays her in tears and a fistful of tens, bares her shoulder and talks about how heliotrope is a flower of devotion, once the permissible color of half-mourning after weeks of wearing black, talks about how she buried her sister five weeks ago. Dots of blood trail the needle. She thinks of the urchin that pierced the sole of her foot that one summer. Her attention breaks when the woman says, Do you have any sisters? She draws pale purple ink into her needle and thinks about how November is drawing near, how it will soon be time to buy another orchid for her window sill.

 

yellow + blue

Her birthstone is emerald and she has his blue eyes. On her first birthday, he ties a green balloon to the back of her high chair, watches it shrink and pucker over a few days before he tucks the cool flap of latex into a memory box at the back of the closet. He doesn’t want to forget this time. He reads her The Wizard of Oz, points to the Emerald City and alludes to the importance of home; her eyes are heavy with sleep when his lies of omission come easy. On sunny days, he holds her hand along the rocky tide pools where they look for sea lettuce under the shimmering water, where he guides her to pockets of soft sand and smooth, algae-coated stone so her flesh remains unbroken. He shields his eyes from the glare bouncing off the water, averts his gaze from a purple constellation of sea stars. On Halloween night he walks her from house to house; she is Tinkerbell and waves her wand as she says, I love you, Daddy, effortlessly beguiling him with her captive magic.

One Christmas—the one when she gets the parakeet she names Limey Lime—a teenage girl comes for dessert wearing an oversized hoodie in a clearance rack shade of purple. Her mother is silent when she sets down the festive green plates runny with apple filling and whipped cream, “Holly Jolly Christmas” bleating from the living room stereo. There is something familiar about the girl, something in her frowning profile. After two bites of pie, the girl spends a long time in the bathroom. Her father throws his napkin on his chair and knocks on the bathroom door, comes back a few minutes later with his lips pressed into a thin, angry line. The girl emerges while the plates are being cleared and a horn beeps out front. The girl doesn’t say goodbye, doesn’t ever come back. 

He shows her the world, gives her every spare moment: quetzals of Guatemala and grassy Irish coasts and malachite beads being strung onto necklaces by Kenyan women and the undulating green of the Northern Lights, every summer endless and carefree in that verdant filter of childhood. Hears about her first kiss near the back nine of the country club, helps heal the heartbreak with a week of mint chip double scoops he picks up on the way home from work. When he drops her off at college, he slides the edge of an American Express under the heirloom Emeralite lamp she plucked from his home office, says he’ll text her later that day. She studies botany, presses her cheeks against woodland mosses during field studies, mounts ferns onto large pages in the university herbarium late into the night, talks for hours with her father when he calls every Sunday. With a loan he never actually wants her to pay back, she opens a small flower shop in a trendy pocket of Knoxville, watches him hang the palm frond wallpaper and dig holes for young gingkos in the sidewalk planter and paint the potting bench Kermit green. Friday nights on her veranda she sips absinthe cocktails with friends in their own private l’heure verte where she tells them—every time—This was Van Gogh’s green muse before they talk about the virtue of being loved by so many, how it comes so easy. The business blooms and she can’t believe her luck at selling succulents and air plants to the Instagram masses, has a four-leaf clover etched onto her hip as Ink Street hums with a green krypton glow outside the picture window. She watches the needle drag across her skin and rests her hand above her still-taut belly as she watches, imagines the day her blue-eyed child will bounce on her father’s knee, wonders whatever happened to that girl that one Christmas, if she is happier now, happy like her.

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TEX GRESHAM on film with Rebecca Gransden

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

This might come as a shock, but I think watching E.T. as a kid rewired my brain, changed my DNA, shaped my life's path. I would rewind the ending over and over and just bawl my eyes out as the ship made a rainbow across the sky. I wasn't just sad—it was joy as well. And I didn't understand how I could have two feelings at the same time, and how this movie could do that to me. 

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

I remember my dad showing me Sling Blade when it first came out. I was like ten or so. But it blew my mind. Wasn't until I rewatched it earlier this year that I realized how much that movie affected me and shaped my human understanding. I'd never seen life like that, but it felt so familiar to where I grew up.

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

Gummo was one of the first films that felt really transgressive to me. I grew up watching movies like Freaked (1993), Stay Tuned (1992), UHF, Robin Hood: Men In Tights, etc.—which are commercial, but they're weird as hell and therefore transgressive to a young mind. It wasn't until high school that I got into Korine, Waters, Troma Films, Oldboy, Freddy Got Fingered things like that. I was very much into cinema trash when I was in high school.

In terms of being secretive about watching films growing up, I never really felt the need to be secretive because my family was very much into watching movies. I was pretty much allowed to watch anything—when I could. My dad introduced me to John Waters.

Are there any films that define your formative years?

Terminator 2, Bill and Ted's Bogus Journey, the Indiana Jones series, The Blob, Tremors, Jurassic Park. I grew up with the big blockbusters and those definitely shaped my love of entertainment and film. 

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

All my writing I see as scenes—the shots, people acting them out, the pacing. Without films, I don't think I could write. I see a story as a cinematic arc that ends unfinished. I try to have the same plot-based conceit of a film, but then make it less about the plot and more about the people shackled to the plot. I feel like I've noticed this in Don DeLillo's writing—a huge influence on me. He is cinematically driven and often shapes his novels around a plot conceit and then completely ignores that plot. I dunno... Maybe I'm just describing writing in general hahaha

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

Both. Sometimes I take scenes/ideas from movies and expand or adapt. Sometimes I put movies on and just let it play in the background and let the sounds and rhythms of the movie make waves in my brain.

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

Paul Thomas Anderson is easily my biggest influence. The Safdie Brothers a close second. Harmony Korine a not-so-far third. But they all present characters and situations—albiet in different constructions—that I think people aren't used to seeing. They gently force us to acknowledge existences we tend to shy away from in productive ways. 

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

I've made numerous short films—never a feature. I've only scripted maybe one of those shorts. It used to be spontaneous, improv, random things that were cobbled together in the edit. This ended up being how I write too—allow for spontaneity and then adapt it in the edit. Make it work, because if my mind wants me to do it, then there's clearly something I need to explore.

I, of course, have a micro-budget feature I'd love to film/direct—a nasty little one-location thing about a guy at a party where no one thinks he's funny and all he wants to do is make one person laugh. Awkward, anxiety-inducing nightmare kind of movie. I'd do it tomorrow if I had the money and people.

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

I watched Being There and Pee Wee's Big Adventure a lot while writing my screenplay, Fix Daddy. Inherent Vice and Gilliam's Brazil were on repeat while I wrote Sunflower. Paul Thomas Anderson films got me through a pretty bad emotional breakdown I had in my mid/late-twenties. I like to put on 90s action films while editing because they put me in a good mood and who the hell likes editing things?

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

California is infinitely cinematic. I used to work at a golf course and watch the sunrise every morning and that felt cinematic beyond anything. But I've never felt that anywhere I lived has been regularly depicted. I like to see places as anti-cinematic and show that aspect. Taking a place like Disneyland—constructed to be a magically cinematic place—and making it not at all like itself. More claustrophobic and grimey and unglamourous. Taking Hollywood and stripping it of the domestic tourism aspects. I probably answered this question totally wrong... Sorry.

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

Speed is something I rewatch pretty regularly—because it's probably the greatest action movie of all time (tied with Die Hard with a Vengeance). Unforgiven, because it's such a weird western. I've been watching Once Upon A Time In Hollywood a lot lately. I watch the Lone Wolf & Cub film series way too much. Frances Ha always puts me in a good mood. Saving Private Ryan is my most shameful guilty pleasure. I'm embarrassed to share it here, but... Oh well.

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

I saw a lot of random lines from the documentary American Movie—things either Mark Borchardt or Uncle Bill says. "I don't have any dreams anymore" and "That's senseless." 

Are there individual scenes that stay with you?

The "No Blinking/Processing" scene from The Master. One might say it's...masterful... sorry. The "give him the gun" jail scene in Unforgiven. The opening meta-scene of La Ronde is absolutely beautiful. But ask me this tomorrow and it'll change. My mind always runs through scenes I love nearly constantly—and there's a lot.

What films have roused a visceral reaction in you?

Uncut Gems—that was the last movie I saw in theaters. I never make audible noises in theaters, but so many times during that movie I found myself saying shit and oh god and stuff like that. And the ending had me jaw-dropped silent and I sat that way until the credits ended. A few other films are: Good Time, Umberto D., Naked Lunch, Kiarostami's Close-Up, Saint Maud (2019), The Killing of a Chinese Bookie, and The Tree of Life. I'm having more visceral reactions to films as I get older. I cry a lot more now and I really enjoy it.

Are there films that are reliable for inspiring your creativity?

Gummo (yes, again), Magnolia, A Scanner Darkly, Birdman, Adaptation—and the list goes on and on. But those are some main ones.

Which of your writings would adapt most successfully to film?

Either my forthcoming novel Sunflower or a couple of short stories—“Lovebird,” “Violent Candy,” and “Hollywood & Vine.” Apart from “Lovebird” which is published at X-R-A-Y, all of these are unreleased and will be in my collection from Tolsun Books in 2023.

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

Herzog's Stroszek is a masterpiece. Then there's The King of Marvin Gardens (1972), Safe (1995), He Got Game (1998), Buzzard (2014), Tangerine (2015), Possessor (2020), Eastern Promises (2007), Fallen Angels (1995), Network (1976), Zola (2021), Hard Eight (1996)—and have I mentioned Gummo?

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THREE SELECTIONS FROM MORE ANIMIST BABBLE (A WIP) by Bram Riddlebarger

The Hornworm and the Green Tomato

 

The hornworm had eaten the better part of the upper reaches of the tomato plant.

The green tomato was petrified. It was already late in the season and now this.

“YOU BETTER NOT EAT ME,” screamed the green tomato as the hornworm cast glances its way.

“I’m so fucking horny,” said the hornworm. Its rear horn rigid.

“I’ll BE RED IN A FEW DAYS,” negotiated/bargained/pleaded the green tomato with a faint blush.

“You’ll be red-y now,” leered the worm. It ashed a cigarette as tobacco worms did. The cherry burned.

The hornworm bit deeply. The sexual juices of the green tomato grew into flight.

   

Fern

 

“Nobody loves me,” said the fern.

The water of the pond reflected a gray sky.

“I hate this fucking job,” said the fern.

The wind blew across the cubicle of the earth.

“There’s no future,” said the fern. “No hope for a better life.”

The western fires had all died.

But they would return.

“It’s cold out here. I’m freezing to death!” said the fern.

The sun set on the ridgeline.

“Even Job was better off than me,” said the fern. Its fronds covered its face.

The fern swayed as the cold settled in from on high.

“Boy, you sure are a sensitive fella aren’t you?” asked the sedge grasses grown brown and brittle. “What kinda fern are you anyway?”

The fern’s nose cleared with the change in season.

“A sensitive fern,” said the fern.

The sedge fashioned a casket for the fern.

The first frost set in.

  

The Bumblebee and the Stink Bug

for Graham  

The bumblebee sat exhausted on the large green leaf of a delicata squash plant overtaking the beans. The bumblebee was covered head to toe in orange pollen. It had been up since 4am. It barely slept at all.

“Fucking shit,” the bumblebee cursed. It combed the pollen to fly.

A stink bug watched from the next row of beans.

“God, I’d murder someone to be carefree,” said the bumblebee taking longer than the regulated 15 minute break.

“That’s not pollen, baby,” said the stink bug. “It’s just my sexual juices.”

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