TROY JAMES WEAVER DOES A LITTLE CHATTING WITH GRAHAM IRVIN

Troy James Weaver is the author of Wichita StoriesVisionsMarigoldTemporal, and Selected Stories. His work often centers around young and vulnerable characters from rural areas struggling to fit into the world. He writes with an unparalleled rawness in quick, powerful bursts. A Troy James Weaver novel is quick and slim, but will change the way you think about writing and people both.In a blurb for Temporal, Scott McClanahan wrote, "[Troy] is our Witold Gombrowicz." For Marigold, Michael Bible wrote, "[he] is the poet-laureate of Midwestern absurdity with a heart a mile wide." Dennis Cooper wrote, as a blurb for Selected Stories, Troy's collection out with Apocalypse Party, "There is something weirdly perfect about Troy James Weaver's stories. Perfect because they are, down to their syllables. Weird because what they do feels so broken it hurts."These statements drew me to Troy's work years ago when I first began wading into the indie lit waters. Last fall, through a groupchat of writers named the $illyBoy$, I became close friends with the man himself. Troy is an amazing writer and an honest, loving person. I am lucky to know him through his words and kindness.
Visions, Troy's first novel, was reprinted by Apocalypse Party in March of this year. We recently got drunk over Zoom and talked about the book. Below is the transcript:

G: In that scene in Visions when the narrator is at the graveyard with Jessup, trying to contact the dead, Jessup says, “He died by suicide,” but it’s a one-year-old baby. That seems to nullify the idea of ghosts or spirituality or whatever, but it’s working on these different levels. It’s an incredibly spooky situation, it’s insanely haunted that they’re doing this, that this person is trying to push energies onto the other person, that they’re in the graveyard, that they’re drinking, the age difference in general. That Jessup is trying to convince the narrator of something and the narrator is aware, and critical, of Jessup’s attempts, but also wants Jessup to like him. The narrator is aware of what Jessup wants to convey with his attempt at tricking him about the Ouija board, and lets him believe he is successful. It is a scene with a lot of spiritual energy and spiritual vibes, but it ends with a slapstick image of a baby hanging itself. T: I’m glad you found that. No one has ever asked me about that part. They gloss over it. I think it’s the funniest part and also it kind of has the entire thesis of the book all in that moment. Power trying to grab power, or understand power, or manipulate power. It’s a book almost entirely about manipulation, or grooming. From all angles of life. That’s why the bible and masturbating are almost inextricably combined. They’re symbols of two different things, but also the same thing, but also completely the opposite. You can get pleasure from both, and great dissatisfaction. You can be controlled by it. G: Like asceticism. Punishing yourself because of inherent sin. The gold chain wrapped around the narrator’s penis is a really interesting thing because when that comes up in the book I think of Wise Blood, the dude with the shoes filled with glass, but it’s only in the first instance when you describe the gold chain digging into the skin that you use negative language. Afterward it becomes pleasure. It made me question the purpose of the image, because it seemed like asceticism at first, but it’s about finding pleasure in pain, how close they’re tied. T: Yea, there is a lot with that symbol of that chain, unintentionally. Mostly, I was going for what we were talking about: pain and then pleasure out of the pain. But then when I started thinking about it more after Visions was published, reviews pointed things out, or had ideas about the meaning behind the images, which is awesome. A lot of times I’m like, “I didn’t intend that, but I think it’s great that it’s there.” The chain was Marilyn’s mom’s gift to her and then her mom died in a car wreck. He finds spirituality in it, but it’s also a desecration of a sacred object from someone he loves. There’s a duality throughout the whole thing with, I think, all the characters. Like Jessup is this horrible dude, really horrible, and you sympathize with the narrator when he experiences the horribleness. But by the end Jessup is almost sorry about what he’s done. Each character arc kind of inverts and crosses others. The arcs are making an X throughout the whole story. The whole story almost negates itself because it’s about a horrible person who realizes how horrible he’s been, kind of, toward the end, and the main character going down and becoming drawn to evil behavior. I don’t think any of it’s evil. I think it’s these conditions that are set for people. They do evil things. Or they choose not to anymore. That was my goal. I’m kind of bummed it’s tagged as a book about a David Koresh-like childhood because he was part of my research but I think he was murdered unjustly and those people were too. Honestly. I think he had bad intent, but I think there’s a better way of going about handling that than burning down a compound with seventy people in it. I had a lot of thoughts on that. I wanted to build around that. But it’s all fiction. It’s not based on his life at all. That shit didn’t happen. I was leery of the tag. But whatever.  G: It’s a coming-of-age story. In those intersecting arcs, the narrator becomes less innocent and knows his power. And it ends with him wanting a break. He understands he has a power, but he isn’t ready to use it yet. So, it still ends in this moment of hope. It doesn’t seem like things are going to be going well for anybody. Marilyn is going to be killed or have her baby killed or be a single mother. She’s fucked. She’s got this relationship with her uncle. That’s fucked. It ends on this moment of conflicting hope, but it is hopeful because the narrator realizes his ability to control energies and he doesn’t jump into it yet. When I think about David Koresh and the Branch Davidians, I don’t think about it ever in a hopeful way. That might be my problem with the tag. David Koresh as a name is such an end stop and this book is not an end stop. Leaving it where you ended it allows the reader to have hope or maybe rewrites the guy’s history. Things didn’t have to go that way. They could have gone differently. Just because someone has this ability doesn’t mean they’re going to use it for bad behavior. T: When I wrote it, I thought the visions were products of mental illness from being neglected and abused. That’s how I saw it. But when the narrator realizes his power is when he sees other people being neglected and abused and that’s where the power lies. Like, “this happens to all of us.” And he says, “I can do this too.” But he doesn’t understand. It’s not really a cycle of abuse story. That’s not what I mean. I was trying to comment on religion. I feel like there is good in religion, but at the time I wrote it I felt like when you’re taught this shit from birth you don’t have an option in what you believe. A lot of these people are trapped in religion. They can’t think outside of it because it’s what they’ve known since birth. So, if you did the same thing with abuse, the abused person would think it’s normal too. And accept it. Not to make it too simplistic or too general. I think certain people can love their nonfreedom. They can love being told what to do. And certain people have to break away from it, in whatever way that is. But some people accept religion and abuse as a part of their life because they don’t want to hurt the people they love. G: Related to cycles of abuse, maybe outside of the story, I had a thought. If you experience something when growing up, that becomes an option for experience. Even if it’s the most horrible thing in the world, it becomes an option for experience. So, to continue living you have to make an excuse for it. You had to have it happen, no matter how young you were, then continue onto the next moment until you got to a point where you were in a position to do it to someone else. You don’t think, “that person doesn’t have that experience, I shouldn’t give them that experience,” you just think, “that’s an option for an experience.” So, it’s easier to act that way because you might not have the empathy to know everyone is a blank slate and it’s best to not have that experience. The person, possibly, thinks the experience exists as an option. I experienced it, who’s to say it’s bad, I dealt with it, why can’t someone else?T: What I’m saying in the book is everything is a choice. And, at the end, I think you’re right. The reason why the last part is written in italics is because it doesn’t really happen. It’s hopeful because he walks out into the desert to contemplate everything that came before and sees this vision of the house on fire. I think he’s trying to fight it off. And I think he does do that at the end. I think you’re right. I think there is kind of a hope at the end. It’s also pretty fucked up. A lot of people were like, “This is a very uncomfortable, dark book.” I’ve never seen it as uncomfortable and dark, but that’s because I wrote it. It came from my mind. G: I don’t think it’s dark. I think there is hope and I think the narrator is a good person. T: Yea, I do too. That was the point, really. I think as it goes on, he gets ideas of control, but he also rejects it. Peggy tries to get him to preach and do his sermon and he says, “I’m not ready; I don’t want to do this.” G: He says, “I know this is my destiny, but at this moment I would like to not do it yet.” T: That was really important to be in there. I rewrote that last section the most. Everything else came pretty quick. At one point it was bad in the middle section. I rewrote that a couple times. Like where the narrator killed Ray. Then I took that out and rewrote it where Ray fell and hit something because he was drunk, and he was just dead. I thought that was really important because I didn’t want the character to seem like he was lashing out but, he was definitely fucked up. G: Covering up Ray’s death is an ethically grey area, but you build a world where he could be tied indefinitely to that moment, legally speaking, or he could be free from that moment. He alone could make that choice. He had the vision to see the two options. Even if Jessup wouldn’t have seen that, or no one else would have seen it, he—I think—understood that. I wanna get to a thought I had. I think it is difficult to talk about meaning and symbols in books. You go into it; you have your certain things, but they just give you the energy to continue the story. You don’t chart symbols and their meaning. Most people don’t write that way. Overall, what I take from the book, is this person is in a really fucked up place, but they’re able to find good in the world. I think the narrator and Marilyn are good. Their relationship is good. I think it’s beautiful that in such a small book the narrator calls her, “Mare.” Also, I think there is something about the narrator’s loyalty that is important. Even though Marilyn kind of loses interest in him and is drawn to Jessup. Almost by destiny. Jessup is going to be her destiny. Jessup is a fucked up dude and the narrator knows it and tells it to his face and still has the power to say, “I’m not going to give you what you need to feel better” but he doesn’t tell him to fuck off. T: It’s also how the narrator manipulated Jessup into moving the body. G: Oh yea, he knew he had done fucked up stuff. Maybe I’m a dumb ass for trying to find the good in this character. Hmm, why bring Jessup? I guess he has the car. You need the car. You see Jessup rape Marilyn and you still bring them together on this journey that is just for you. T: That is the complexity of my feelings about people. How you can love and understand them and know that they’ve done horrible things. And use that to understand yourself better. It’s complicated. I agree that there is good here. Not in the actions of the characters, but there’s hope, there’s delight in the darkness. It’s like the absence of light in some of those moments. And a voice comes through and gives them hope. I found it completely absurd, but understand it more now, when I asked Juliet Escoria and Brandon Hobson and Brian Allan Ellis to blurb it, they said it was beautiful. It kind of blew my mind. I was like, “Really?” Because it’s a fucked up and kind of strange and weird book. But really beyond religion and the abuse stuff, I was talking about a kid feeling how someone might feel in response to less dramatic things. Like when you’re bullied in school, or whatever. That feels way bigger in the moment than a couple years later. Those experiences stop mattering later. I was talking about bigger things, but those things are involved in the themes. It’s the only book I’ve ever written where I was really heavy on symbolism. I don’t know if it’s heavy, but it’s there. Like the fish, the Jesus symbol, and relating it to a cock molesting you. Trying to reconcile those two things. I don’t want to sound like I’m anti-religions. I’m not. My wife’s a Catholic school teacher. I don’t believe it myself, but I don’t discourage people from believing it. I have my own brain and it works a certain way and I grew up in a very oppressive religion. That’s probably where my aversion to being attached to a religion comes from, but mostly I want people to be happy. That’s really it. I don’t see my books as downers. I think they’re hopeful. There’s a lot of complexity in being human and I think a lot of people find that depressing. G: I think it would take a very cynical mind to say this book is a 100% negative view of religion. That would be a bitter, resentful, reading of this. I think as hard as this character’s life is, as dark as this book can be, a lot of hope does come from seeking something bigger. The bible is more of a representation of something larger than the self in the book. To go back to the graveyard scene, the Ouija board scene. That scene made me feel the way I feel when I have a shitty interaction. Even now, like when I text you about having to hang out with someone and it being bad. Later on, when I’m able to break down how they said something or did something shitty, I feel better. I can say, “it was weird they ate the pizza we ordered and didn’t offer to pay,” or “it was weird they made gin cocktails for themselves but didn’t offer Kaitlin or I any.” That moment in the graveyard in Visions feels like that. Because the narrator is thinking, “He’s trying to fucking trick me. He’s trying to do this to push a certain emotion on me, to make me endeared to his ideas. I’m immediately sensing it, and it doesn’t mean he’s evil, it just means that is how he is trying to endear me. I’m endeared to him for wanting to endear me, but I’m not tricked by the Ouija board.” I still want people to like me, I still want to be friends with these people even though bullshit happens. I’m not trying to compare my life to your book, I’m just saying that scene felt so real. T: I think those feelings in day-to-day life are what I write about. I just made it more fucked up in that book. But I don’t think it’s that fucked up to compare puberty and sexual awakening to coming up in religion. The character was interested in becoming religious because his dad was dead. He was just looking for something and what he found was a friend who basically molests him, convinces him to jerk him off because he says it’s in the bible, but the dude’s never read the bible. So, I compared the dick to the fish later on. I’m glad you picked up on the Mare pet name. A mare is a horse. It carries people. I thought that was a good choice of a nickname because the narrator is following her. At first, it seems like she’s following him, but it’s always been her dragging him. When they walk by Joe and his girlfriend perched in the tree like stooling owls, Marilyn says, “Do you think we’re like them?” Later they’re up in the tree doing the same thing. G: I think when Marilyn asks that, the narrator says, “No,” then later says, “Yea, probably.” We haven’t talked about Peggy at all. Peggy’s very interesting. T: Yea, I named her after the King of the Hill character. All the names are funny. Jessup’s named after the grip tape company. Ray is named after the book Ray by Barry Hannah. I kind of imagined him pre-narrator of Ray. But, he was kind of doing that same shit in Ray too. And Marilyn is named after Marilyn Monroe. That was an easy one. G: The mom is just Mom. She didn’t have a name. T: Yea, I didn’t give Mom a name. G: I think Peggy is great. She’s such an interesting character. She comes in late, but that works with the intersecting arcs of the story. T: At the start of the book, these horrible things happen to the main character, and you think it’s going to be this slope toward redemption, but what he starts doing, as a defense, is using the things he learned to help himself. In the opposite direction, Jessup, who had probably learned the same things, before you meet him in the book, is doing these horrible things. By the end of the book, he’s like, “I can’t bury a body.” He tells Marilyn to be proper in front of Peggy. He’s starting to gain a conscience. I don’t think the main character’s conscience is degrading over time, but where he was used and vulnerable at first, he’s not anymore. He’s learned from that shit. Sometimes it gets ugly, but he questions those things too. What’s interesting about Peggy is she’s the only person the kid had known who showed him love, but she’s abusing him too. He’s about it, though because she’s showing genuine care. He’s willing to accept it because there’s this element of actual belonging.G: She has more power than Marilyn. She might be offering something that looks like what Marilyn could offer, but she has more power. She understands that what she is offering means more, therefore it means more. Marilyn is just trying to fill a space for the narrator; Peggy knows what she’s giving him. T: What I realized happened is Peggy is giving him love. She’s still abusing him but she’s showing him love. So, there’s a divergence when they get to Peggy’s house because Marilyn’s drifting toward Jessup, who’s manipulating her, and the main character is drifting toward Peggy, who’s manipulating him. They’re both showing love in the ways the others couldn’t. At the very end, when Jessup leaves, that allows the main character to bring Marilyn into the fold. He invites her into Peggy’s bedroom. He shows them their family. G: That moment is so wild. It makes sense as a symbolic gesture, and it also makes sense for the narrator’s journey in learning how to bring people together. Also, it makes sense because he is an intensely loyal character and never gives up on anybody. Him recognizing that Marilyn and Jessup have a relationship and he’s not judging them. He’s not jealous. The moments they have together when he knows she’s pregnant and he knows it’s not his baby, it’s her uncle’s baby, are intense moments that make a lot of sense. I feel like you could pitch that scene in a way that is very slapstick. “There’s a threesome between a geriatric woman, a pregnant 13-year-old girl, and a 14-year-old boy. This book’s crazy. You have to check this shit out. It’s so cool!”T: The holy trinity, dude. G: Exactly. But it makes sense, and is a loving moment, while also being a moment of manipulation that shows he has an agency he hasn’t used before. T: I really wanted this fucked up ending where religion was intertwined with all of it. Marilyn trusts the narrator and he trusts Peggy because they’re the only people who have shown each other warmth and love. They’re the only ones who have cared for each other, but they also are fucked up and manipulate and abuse each other. That’s what I was going for with the ending. I wanted it to be three people and I wanted it to symbolize religion. Because it fucks people up. The amount of guilt people carry due to what they were taught when they were young is unbearable. I’ve witnessed too much of it. Nobody should be taught shame and guilt for doing next to nothing when they’re kids. You don’t teach morality; morality exists inherently in the world. All the friends I had who grew up with atheist parents, they were the most moral, forward-thinking, awesome people I’ve ever met. I can’t say that about atheists who became atheist when they were 30. They become moralistic and weird. When it becomes a doctrine that’s when I turn off. G: I think that’s why it’s such a hard thing to write about religion in a way that doesn’t paint it good or bad. There are obviously problems with religion, and it’s painted into this book, but it also seems like the bible for this character means a lot. It brings him pleasure in ways that is valuable. T: I didn’t want to condemn either side. That was the whole point. If you’re a human, you’re looking for something that gives you comfort whether it’s good for you or bad for you. Then you latch onto those things. I don’t think that’s bad. But, yea, It’s complicated for me. I know what I was thinking at the time, but I also don’t know exactly what it all means. G: When I first got your books, Visions and Marigold, but I read Visions and I thought you were doing something with fiction that I didn’t expect from a writer in the indie world. Then I read Marigold and even though I didn’t know you, I felt that Marigold came from a lived experience. And Wichita Stories is very lived, real experience. Visions seems, to me, a tone poem for the stuff that you’re interested in. It is autobiographical in another way. The way you lean toward symbols, the way you lean toward ideas in philosophy. There’s obviously philosophy in Wichita Stories but it feels like a collection of things you would talk about when you talk about where you’re from, whereas Visions is about your ideas on moods, tones, religion, good vs. bad. T: I think they’re complimentary. Wichita Stories is the surface stories, the emotion, and Visions is the brain component. I was filtering the traumas in my own life through other people. Visions is 100% fiction, at least I hope so for anyone in this world, but that’s how my brain was processing how I was writing about my own life in another book, because I was writing them at the same time. I think I even used the same line about my little friend with the rattail getting fucked up in a trailer park. G: The dirty shredded ribbon. T: I used that line in both books. It wasn’t because I was cannibalizing the writing, I was just writing both books at the same time. I do that in all my books. I look back on Visions and Marigold and everything and think I could have fixed certain parts, but I stand behind the work. They’re not all perfect sentences, but I think I’m getting better at that. Some of the best shit I think I’ve written is in Selected Stories that Ben DeVos put out. I think I come at the same things from different angles. Or try to. Sometimes I’m super annoyed with myself because I’m rewriting the same thing I wrote and published six years ago, but it’s different. G: I think that you write about similar things is good. Especially because I know you as a friend. The writing is information about your mind, a complex and interesting mind, capable of telling these different stories, and I am extremely privileged and happy to have read these things and know you and everything. T: Thank you, dude. G: I love you, man. T: Love you too, brother. 

Find Visions by Troy James Weaver here.

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PINCH FORWARD MOTION OF TUMBLING by Angelo Maneage

Now we are walking down the riverbank and we still hear a dryer. I am confused by this. My mom says you should never get wet clothes but there is a garage sale by the riverbank where they are cheap. My mom says do not buy the clothes because they will be wet. I hadn’t even bought anything yet before she told me that they will be better if they are already dry. There were barely any things to buy. My mom kept saying go on buy them then she ran the dryer and looked at me. 

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Standing idle near my mom she said can you do this three times. It was funny because she needs an assistant and I had told her this and it was funny now because now I was her assistant after I had told her.

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There was a dryer by the riverbank. I heard it talking to my mother. I looked over my right shoulder and saw her looking at me when I was buying clothes. I heard the dryer. She put her hand on her forehead and began to laugh. I looked over my left shoulder and saw a wall.

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It was hard to get the dryer home without it electrocuting us on account of it was raining acid too. And that hurt you could tell from our cries. My clothes were dry though. I kept looking over my shoulder seeing my mom in front of me. I was walking backwards because I thought it would be safer but I kept hearing the dryer and got afraid so I turned around while we walked forward. 

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Through the riverbank there is a swamp right after it. It was a riverbank but they had no money or river. I was helping I thought when I bought anything. But it was wet and full of poison. Whenever I asked my mom what it was she would say something that was not a joke but sounded like a joke and we did not laugh.

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I was afraid that after the amount of times we’d been electrocuted and burnt by the rain on our way home that we would not have bandages then be afraid to plug the dryer in to use. We didn’t really need a dryer but we were sick of our clothes crystalizing. Besides none of us were able to touch our head to our heel anyway.

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My father I have dreams about. My mother tells me not to but you can. I had a dream about watching a father. I had dry clothes and my mother had bandages like me. We were rolling around asking for fathers and we were helped by one who had a pager on his hip. It started to rain but we’d already washed our clothes. 

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My mom with the dryer over her shoulder starts to yell at me for being tired. We all sit down a few trees from our house to rest. It is not too warm. It is raining but it doesn’t burn anymore. The dryer has a person in it that we did not see before.

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I check all the coat pockets like the man of the house though I do not deal with bills or finances. I will put all of the found money into a black jar next to the stove. We will turn the stove on and forget about the jar. An open can of beans is there which is funny because it is next to money and it smells. We will forget the stove is on or off and check it several times.

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We have to make a fire to stay warm because it is colder than my mom thought when she made me get us two more jackets with harmonicas in the pockets. My mom me and the dryer all sat by the fire with harmonicas. 

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There are only a few more trees left to burn down but we are in the northeast so it is more difficult to stay on fire. We want dry clothes. My mom looked at me over my shoulder and shook her head when I held up a rain jacket. It was wet. I did not know what was okay because I once saw an umbrella with holes in it and showed her and she laughed but now she was not laughing. 

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I heard a dryer when I listened for one. I wondered how far into the river we had to have gone. I wondered how many dryers were at the bank. My mom was looking at me when I told her I will just drink a little bit of the creek water when she told me that it was swamp water then said do what you want. I drank just a little bit of the creek water from the bank and had diarrhea. She told me that she did not feel good either and laughed and that we were getting pneumonias and we were. I’d gotten excited because the pneumonias were always so beautiful by this river though I was never interested in flowers.

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There is a dryer we are using to burn things now because it gets too hot. I keep hearing my mom laugh at it and then it slams.

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My mom told me to hang up the clothes. I bought the rug she bought once. We did not need the rug but I knew she liked it and she was so happy. We hung it during a holiday. It covered the whole part of the outside it was near. We would beat it and dust would come out of it. One day after we had it for a while I threw it on the ground. It was way bigger than I thought. 

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I am dreaming of my grandfather in the basement. I am thinking of a river.

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There is a dryer in the background. I can hear it. Something like a claw and metal. I am in an onyx river. I do not know what onyx is. I am thinking of a river. I am thinking of my mother.

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I look over my right shoulder. My mom is holding a lead dryer over her shoulder and she is laughing with it. It is spitting fire. I am picking up all the fire that is on the ground while the dryer is making noise. I have burns on my index finger and thumb because I am not really doing anything with the fire. She is seeing me and trying to help move the fire and now we both have burns on our index fingers and thumbs.

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We are a few trees from our house when I can see the patterns. It is cold though it is warm right here. We are all together. This garden patch is where we slept.

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THE KRASNERS by Aaron Kreuter

When I think back to those days it is fear that I remember, fear that I keep returning to, fear that I cannot get away from. First there’s the free-floating, general fear of adolescence: the fear of fitting in, the fear of saying the right thing, the fear of a body under revolt. And, for the most part, it wasn’t on the school playground or the mall food court, but at Kol B’Seder, the Reform synagogue my parents joined when I was twelve, where the major battles against these fears were waged. I fell in love in those hallways, made friends during those Thursday evening and Saturday morning classes, tested boundaries, discovered limits, and, thanks to a liberal focus on the Holocaust, came face-to-face with the depravity that every human society is capable of. We read harrowing accounts of Jewish children from Germany, Poland, and Holland, had elderly survivors come speak to us every couple of months, and on Yom HaShoah, we watched the videos. All the kids would pile into the sanctuary—I would sit with Mitzy, Erin, and Stephanie, and sometimes Paul Cohen would leave his own friends and come join us—and we would watch archival footage of the camps, interviews with survivors, fictional retellings of the Wannsee conference, of the Warsaw Uprising, of the Nuremberg Trials. How many years of watching tractors organize hills of bodies does it take to give you lifelong nightmares (of course, the burn of the Holocaust was always immediately remedied with the balm of Israel: footage of the Declaration of Independence, grainy news briefs on the pioneering Israeli spirit, the wonders of the Kibbutz, the marvel of Tel Aviv, the Jewish city built in the desert)?

My shul life was separate, distinct, from my school one, a parallel narrative to my daily existence, a place where I could reinvent myself, learn from my social blunders, try new things. My parents found what they were looking for too, I suppose: having recently relocated from Montreal, and knowing nobody in Toronto, they managed to find friends, connection, community. We were invited in with open arms: Friday night potlucks, Saturday morning services that would end almost every week with a bagels-and-tuna Kiddush celebrating the most recent bar or bat mitzvah, the holidays strung through the Jewish year like an uneven necklace; there were retreats, clubs, brotherhoods, sisterhoods, youth groups, Torah study groups, lecture series, sports leagues, cooking classes, and it was all ours for the admission price of membership and the sacrifice of sitting through forty-five minutes of guitar-backed prayers most Friday nights.

But that’s not what I’m here to tell you about; I’m here to tell you about the Krasners. The Krasners were royalty at Kol B’Seder, one of the original six founding families. David Krasner was president-emeritus, head usher, and a major donor and philanthropist, his name appearing regularly in both the Jewish and city papers. He was a big man, with a deep, commanding voice, and we were all terrified of him (as head usher he especially picked on Erin, who happened to often be the loudest person in the room). Geri Krasner was president of the sisterhood, second soloist in the choir, and head of fundraising for the shul’s annual trip to Israel. Though unofficial, they had two seats reserved for them in the second row of the sanctuary, where, unless they were on one of their frequent family trips to New York City, they would be found every Friday night, Saturday morning, guest lecture, and holiday large or small. They had five children: Joanna, Neta, Yoni, Daniel, and Stephanie. Joanna and Neta were older than us and were both off in the States at small, expensive liberal arts colleges; Yoni and Daniel both played competitive hockey and were hardly ever around; Stephanie, who was a year older than I was, played guitar, wrote short stories about desperate people lost in grotesque urban environments, wore her sisters’ hand-me-downs, and was as confident as you would expect a beautiful, rich, creative, sheltered fourteen-year-old to be. She was the only Krasner child to spend time with us. Does it even need to be said that I was in love with her? I don’t know if I recall the first time we were invited to the Krasners’ mansion, or if all of those early nights are jumbled in my memory (how my parents managed to ingratiate themselves so quickly into Kol B’Seder’s inner circle I have no idea). What I do know is that in the fall of my thirteenth year, my bar mitzvah already receding into the past, we were there almost every Saturday night, along with five or six other families from the shul: the Brickmans, the Golds, the Cohens, the Mitzcovitzes, the Hoffmans, the Krasners, and us. They were raucous nights of food, arguments, unrequited teenage passion, discovery.

The Krasner estate was situated on two acres of forest off the Bridal Path, and still is, without a doubt, the biggest house I have ever been in. Though unbelievably large—not deep, but wide—it was old, unrenovated, and deeply lived in. The front door opened into a tiled foyer, the double-wide white-carpet staircase spiraling to the second floor. When the kitchen was built in the mid-eighties it must have been state-of-the-art, and had a separate eating area and breakfast nook; the dining room table could easily sit sixteen; and the living and family room walls were adorned with David and Geri’s various awards, commendations, and photos of trips to Israel and the family at their New York apartment. A door in the kitchen led into the mudroom, which was the size of our school gym, with big sliding doors leading out to the woods and ravine behind the house and three separate entrances to the three self-contained heated garages. Next to the mudroom was the indoor pool, next to the indoor pool was the old stables that Krasner had renovated into a floor hockey rink for the boys, complete with stands and a scoreboard. We never went upstairs.

The basement, accessible from an open staircase in the living room and a dark, enclosed one off the pool that used to lead to the servant quarters, was a long narrow hallway traversing the length of the house, with keypad-locked doors on either side. The only room in the basement we had access to was the entertainment room, which was where we spent most of our time. We could shut the door while we were down there, be as loud and silly as we wanted: mostly we would watch Arnold Schwarzenegger VHSes and listen to Adam Sandler albums, kill ourselves laughing at Paul Cohen’s jokes and dirty behaviour. Paul brimmed with sexual innuendo, Sandler-influenced voices, and what I guess I would call now teenage bravura; without his own friends around, Paul lavished us with attention. I would try to laugh just the right amount, be careful what I said, hope my absolute devotion to the seventeen-year-old Paul was not as obvious to everybody else as it was to me, try and not break out in sweat whenever Stephanie Krasner was on the same side of the room as me, strumming her guitar or reading one of her thrillingly dark stories. Regular nights in the life of a shy, sensitive boy.

 

There is one night in particular that I would continue to go back to again and again, as if to locate some sense of forewarning, of premonition. My uncle Menachem had joined the Montreal exodus, was staying with us for a few weeks before his visa came through and he could head to the coast, where he had some friends in a folk band that were going to take him on as guitar tech, and he had joined us at the Krasners for Saturday night dinner. It was after we had eaten and everybody under thirty-five had already gone to the basement, but I was still sitting at the table, next to my Mom. I was fascinated by my uncle, enthralled by the way he engaged with others. He just didn’t follow the same social conventions of the other adults in my life: he would argue, he would cut, he wouldn’t let hyperbole or hypocrisy or xenophobia pass him by. He wore his curly hair halfway between short and acceptably long, had shown up at our door with nothing but a worn banjo case and a suitcase full of old sweaters and threadbare slacks, and was vocally opposed to every single thing I was being taught to value: the Western world, the market economy, the eons-long persecution of the Jews. It was like nothing I had ever known, and to see him in the same room as David Krasner was worth missing out on whatever was going on downstairs.

As I knew they would, it was only a few minutes into their coffee before they got into it. They had been talking about the situation in Quebec, when Geri Krasner mentioned something about Israel. As I remember it now, I happened to be looking at my parents as a wave of worry passed over their faces.

“Israel? Israel?” Menachem said. “I don’t see what Israel has to do with any of this.” My mother and Menachem grew up in a strict religious household; their father, my grandfather, was a famous rabbi of some kind, he wrote a treatise on some arcane Talmudic matter that was still required reading to those who read treatises on arcane Talmudic matters. When he died everything religious in their household disappeared, which included my grandfather’s fervent Zionism. Joining Kol B’Seder was the first non-secular thing my mother had done since she was a teenager, and for the month he was with us Menachem never tired of making fun of her for it.

Geri looked personally hurt. “Israel has everything to do with it,” she said. “Israel is what keeps us safe.”

“Safe? Safe?! I can tell you, I don’t feel safe knowing that, as it turns out, when you give Jews an army and a nuclear bomb they mistreat it as readily as anybody else. The state of Israel was supposed to be a bastion of ethical power, a light unto the nations, and look what they’ve done with it! Oppression, occupation, racism, all backed—not to mention—by US money and warplanes!” Menachem was talking animatedly, using his hands for emphasis, his curls bouncing against his forehead.

“You’re a very strange man,” Geri said, barely controlling her anger. “How can you say these things, with the way the world is going right now? With what’s happening in our own country for Christ’s sake?!”

“I still feel safer here, knowing I’m not a part of the machinery of occupation. Sometimes it’s better to be the powerless one.”

At this, all eyes turned to Krasner. David, unlike my uncle and Geri, was calm, collected, loudly sipping his coffee. We all knew his story, he came once a year to religious school to remind anyone who could possibly forget: his parents were born over there, in Europe, were survivors. They had lost three children, David’s ghost siblings, as well as their entire extended families; the climax of David’s harrowing familial saga, which he would always build to with exquisite suspense, centered on his mother’s white gold engagement ring, which she had kept hidden, with great difficulty, until, in 1944, she traded it for the roast chicken and civilian clothes that ended up saving their lives. After spending two years as DPs in Europe they had come to Canada with absolutely nothing, spent the rest of their lives working and building a life for David. When Krasner Sr. died, the young Krasner took over his father’s small factory, and within ten years had turned it into the international company it was today. David’s talk to us would always end with him imploring us to not grow too complacent: “it could happen again, even here, even in Canada,” he would intone in his most stentorian voice. Imagine unloading that on a bunch of children. The last time he had spoken, Stephanie had raised her hand (is it any wonder Stephanie’s stories were so bleak?). “Daddy,” she asked, “what are you doing to fight against complacency? We seem pretty complacent to me.” As in love with her as I already was, now I was in awe of her—pushing back against the most feared man at shul, no matter that it was also her father. “Don’t underestimate your old man, Stephy,” Krasner had said, causing some cautious laughter from the audience, “I’m in a constant state of preparedness. Nothing is going to catch us off guard. Trust me.” But I’m getting away from the story. Back to the kitchen table: surely David wouldn’t let Menachem’s comment slide, and it looked like he was getting ready to speak, but Menachem beat him to it. The slight pause in conversation had pushed him into an even higher level of agitation.

“I can’t believe a smart woman like you would fall for their propaganda. Some Jews get some guns and we’re all supposed to bow down to them, let them do whatever they please in our name? That’s not how the world works. Wrong is wrong. The abuse of power is the abuse of power, no matter who’s committing it in whose name! We are not the only ones who can be victimized!”

“Now, Menachem,” my father said, attempting to neutralize the situation, “be reasonable.”

“I am being reasonable. It’s these sheeple that aren’t being reasonable!” Watching Menachem on the offensive I couldn’t help thinking about how that very afternoon I had walked into our family room to find him sobbing to the international news, his half-strung banjo forgotten in his lap.

My mother, who usually let Menachem go on without pushing back, got involved. “Do you think Israel has the right to exist?” she asked, softly, as if afraid of the answer.

Menachem grinned. “As much as any other nation state has the right to exist. So, not so much.”

Everyone started talking over each other at this point, until David cleared his throat. It was as if we were at shul and he told us to stop being so loud in the hallway during services: the adults, even Menachem, his hands frozen mid-gesticulation, stopped yelling and turned to him.

David took his time before speaking. “So what you’re saying, Menachem,” he said finally, “is that if, god forbid, our little project of western democracy cracks apart, and fascists—or only-god-knows-what-worse—come into power and start targeting Jews again, you wouldn’t accept Israel’s protection, be first in line to board one of their planes?”

Menachem looked like he had been hit in the gut. He sat for a minute, slumped in his chair, his face full of anguish. Unlike the right-to-exist question, he was apparently unprepared for this one: I don’t think the problem had ever been presented to him like that before. A different kind of person would have pretended to be unfazed, but not my uncle. He would never lie, even to people like David Krasner, whom he detested with the unique fervor of the anarchist, pacifist guitar tech he was.

“Oh, I would go, why not? I don’t have a death wish. But I’ll tell you one thing, Mr. Krasner. I wouldn’t sit idly over there in your ‘promised land.’ I would join the fight for social justice, for peace, for equal rights. One barbarity does not legitimate another.” He said the last sentence again, quietly, to himself.

David laughed softly, sipped his coffee. It was obvious that as far as he was concerned, he had won. “Did you hear the latest from the US congress?” Geri said, changing topics. “These are truly dark times.”

The room slipped back into its usual chatty noise and I went downstairs.

 

It must have been soon after that night that we broke into the Krasners’ house for the first time. Menachem had recently left, the whole family seeing him off at the airport, but what I remember far more vividly than what would end up being the last time any of us saw Menachem, what I still see when I wake up in the morning, is the look of surprised joy on Paul’s face when the window to the indoor hockey rink he had unlatched the night before swung open from the outside. Paul climbed through and opened the door for us, still grinning. The Krasners were in New York City for the week, so we knew the house would be empty. We walked through the dark hockey rink, the cavernous pool room, and took the back staircase into the long basement hallway. I was terrified, but not more terrified than when I had to play baseball during gym, or whenever I was talking to Stephanie Krasner, or any other number of social situations I found myself in on a weekly basis. With Paul’s infectious confidence it was hard to stay afraid.

Every door in the basement was shut, but Mitzy knew the code to the entertainment room. The first few times we broke in, we would just hang out, play video games, listen to CDs and watch movies. It was like a regular Saturday night there, except unsanctioned, except without any adults. Except without Stephanie. On our third time, with Paul’s urging, we ventured upstairs, and I got my first look at Stephanie’s bedroom. It was everything I imagined it to be: thick warm carpet, guitar cases neatly stacked by the window, camp photos, necklaces, a four-poster bed with a heavy white duvet, a white desk with a red typewriter centered perfectly on it. The door to the walk-in closet was slightly ajar, and there was a pair of red underwear caught on the lip of the wicker laundry basket next to her bed. I didn’t dare touch anything; this was sacred territory to my hormone-addled mind. I lagged behind for a few minutes before catching up to everybody in the master bedroom. We jumped on the bed, which must have been a triple-king; Erin had us all in stitches as she pretended to be Geri singing in the shower, turning on one of the three heads and soaking Mitzy; Paul pretended to stick various items into various holes.

Eventually we toweled the wet bathroom floor, smoothed the bed, and left the way we came, Paul carefully closing the hockey rink window behind us. That night we drove back to the suburbs and went for burgers and fries. Erin put the jawbreaker she had been working on all night on the table before picking up her burger. I was reveling in the intoxicating effects of belonging, of being with Paul as he grinned his way through his burger, but when I saw that Erin had a bracelet on her wrist that an hour ago was most definitely on Stephanie’s night table, the high I had somewhat diminished, though not enough to stop me from going back to the Krasners the night after, and the night after that.

 

The Saturday when the Krasners were back from NYC we were all there, as usual. After dinner, all the kids went down to the basement, but the door to our usual hang-out wouldn’t open.

“Daddy must have changed the code again,” Stephanie said. She went to the stairs and started calling for her father.

“Steph, Steph, it’s all right, I have a master,” Yoni, who had sprained his wrist and so had to miss practice that night, said. He pulled a tiny, shiny key from his pocket, and inserted it into the bottom of the keypad. The lock clicked open.

“How’d you get that?” Stephanie asked as we spilled into the room.

“Dad made a new one when he thought he lost this one; I found it at the bottom of the pool,” he said. “What? Don’t make that face! This is our house.”

“Why is your dad so obsessed with keeping all these doors locked?” I asked Stephanie after we sat down on the couch. Paul, Mitzy, and Yoni were loudly playing video games, shouting out insults and knocking controllers out of hands. I would never have been able to ask Stephanie such a complicated question even a week ago; breaking into the house had empowered me—I had a secret.

“Oh, daddy’s just weird like that.”

“What are in those other rooms, anyways?”

Stephanie smiled at me and my heart stoppered in my throat. “You don’t want to know,” she said.

“Maybe it’s bodies!” Erin said. I hadn’t even noticed that she had sat down next to us.

“Just like one of your stories,” I said, turning back to Stephanie.

She laughed, almost shyly, and my heart popped out of my throat and anchored in my stomach.

 

A few weeks later, a Wednesday night, the Krasner family back in NYC for some Jewish leaders gala, I got a text message from Paul: “come outside.” I grabbed my shoes and coat and went out to Paul’s idling car; Mitzy was riding shotgun, the latest Smith and Wesson catalogue in his lap, so I got into the back, next to Erin. “Show him Mitz!” Paul called as he pulled away from my house. With a flourish, Mitz produced something out of his pocket: the Krasner master key. I laughed uncomfortably.

“What are we going to do with that?” I asked.

“What’d you think we’re going to do, little buddy?” Paul asked. I looked out the window. We were leaving the suburbs.

I opened my mouth to protest—who knows what would have happened, what would have been different if I had said something?—but at that moment Erin grabbed my hand. I was so startled it was as though my life rebooted and started over again at that exact instant. After ten minutes of us holding hands I stole a glance at Erin. She smiled at me, her jawbreaker pushed into one cheek. I was so infatuated with Stephanie that I had never really given Erin much attention before, she had just always been there—how had I not noticed her mischievous eyes, her scrawniness, her cropped hair, her cheeks aglow in the swiping streetlights? I don’t think I took a breath on the thirty-minute drive to the Krasners’.

We parked at the end of the street, walked casually along the sidewalkless road before cutting across the lawn and sprinting into the back of their property. Paul scampered through the window and let us in. Five minutes later we were standing at the end of the basement hallway. All those doors; all those possibilities. “Fuck it, let’s eat,” Paul said, and we began.

We worked our way down the hall, each door opening with the click of the key in the lock. We discovered: a dark room, shelves of film, stations for the various washes, the intoxicating chemical stink; a workout room, benches and weights and a wall of mirrors; a wine cellar; a whiskey cellar; a room of VHSes organized and labelled on floor-to-ceiling shelves; a dusty library; and, behind the second last door on the right, a room full of gold.

How many people get to experience entering a room that is full of gold? Well, we did. It was the smallest room we had been in so far, grey carpet, bare white walls, and, piled neatly in the middle, was a pyramid of dull gold bricks, about as tall as I was. The looks on our faces must have been priceless; Mitzy looked like he had ascended to heaven. “Look at all that gold!” Paul shouted in his goofiest Sandler voice. We didn’t get any further than that room, but oh, did we celebrate, dancing around the gold, yelling with adrenaline, holding the bars above our heads, though they were heavy enough that I couldn’t keep one up for more than a minute.

Somewhere in the revelry Erin grabbed my hand. “Come with me,” she said. We went down the hall and into the entertainment room. I had never been in there with only one other person before and it seemed unnaturally large. Erin pushed me onto the couch. “Kiss me,” she said, her sugary-sour breath on my face. I kissed her, and we fell onto the floor.

The next day Paul was waiting in the parking lot of my elementary school, something he had never done before. I happened to be leaving at the same time as the vice principal, and I watched as she gave Paul, who was sitting on the hood of his car smoking a cigarette, a dirty look as she got into her car; I waited until she had pulled out of the lot before going over to him. I sensed right away that something about Paul had changed: he looked up at me with eyes that had been bent to a single purpose. “We’re going back tonight,” he said, as we drove the suburban streets, the newscaster on the radio talking about the emergency meeting just called at the UN. “Mitzy got his older bro to rent us a truck. And Erin had a great idea.”

This is always the hardest part of the story. Sure, I can tell you about my doubts, the debate I held in my head. But the end result will always be the same: I went along with it.

We stole eighty-five gold bricks from the Krasners’ basement that night. My arms were sore for almost a week (a few days later when we gave the first bars to the launderer Paul had somehow found, we learned that they were Good Delivery regulation bars, 12.4 kg, 400 troy ounces, exactly eleven inches long, each one worth about half a million US dollars). Paul had it all planned out: we took apart the pyramid, hauled it out to Mitzy who was waiting down the snow-dusted street in the van, and rebuilt it with regular house bricks Paul bought at the hardware store and spray-painted gold (this was Erin’s ‘great idea’: a sort-of extra fuck you to Krasner, I guess). We were so used to being in the Krasners’ when we weren’t supposed to, that there was no sense of urgency. We worked slowly, carefully. When we were almost finished building the fake pyramid, Erin took my hand, and I followed her down the hall, up the front stairs, across the kitchen, up the main stairs, and into Stephanie’s bedroom. She plopped down on Stephanie’s wide bed, popped the jawbreaker out of her mouth and dropped it onto Stephanie’s night table. “I bought some condoms,” she said, her eyes sparkling. “I think we can afford them now.” I hesitated, but she grabbed my arms and pulled me onto her. We melted into the downy whiteness of the bed. I was transgressing all over the place.

The next morning I woke up a multimillionaire, a criminal, and, seemingly most important of all, newly sexually active.

You can imagine what happened next, can’t you? Picture it: Paul was in grade eleven, Mitzy and Erin were in grade nine, I was in grade eight, not even in high school yet! But that didn’t stop us from burning through hundreds of thousands of dollars those first few weeks. We threw massive parties. Paul rented a three-bedroom penthouse apartment in the highrise near the mall where we could keep all of our purchases, had a vault installed in one of the bedrooms to store the gold, which we sold one at a time to various shady characters. At first, Erin and I continued our love-making.

What can I say? The gold changed me, it changed all of us. We spent with abandon, fuelled our wildest whims. We didn’t think of saving any of it. What did we know about long term GICs, safe investments, real estate? Mitzy started collecting high-end knives and guns, moved to LA before the borders closed and you could still bribe your way into the States. Erin got into rave promoting, always had a gaggle of glassy-eyed, spiky haired rave girls and boys surrounding her (they called her ‘mommy.’ It was weird). It hit Paul hardest of all. It wasn’t long before the money let his addictive side take over. As for myself, I wasn’t much better: without the aid of alcohol, drugs, or a warm body, I could no longer fall asleep; I stopped communicating with my parents; the halcyon days at Kol B’Seder receded into the past; everything I did, saw, or thought was filtered through the money. At the time, though, I barely noticed. We were kings and queens, riding high.

But I told you this was a story of fear, and it is. By the middle of high school I had bought my way to being among the coolest, most popular kids in school. I had slept with two thirds of the girls in my suburbs, one sixth of the guys, had everything I could ever want. But we were out of gold. Paul had let his addictions take him into some dark places, and we lost him to heroin and the teeming underground of criminals and drug dealers that had taken over most of downtown Toronto; the last time I saw him he begged me for a bar of gold, but I didn’t have any to give him, I didn’t save a single penny, and I’m not too sure I would have even if I could. I was a cold, calculating hedonist. Eventually, of course, I blew it with Erin, and then, like the conceited fool I had become, I blew it even more spectacularly with Stephanie. The second-last time I saw her, at the Skydome, during one of the first major registration events, she told me that something very valuable had been stolen from her father.

“I’m sure he’ll be fine,” I had said arrogantly. Stephanie was as vivacious as ever, and talking to her reminded me of my innocent childhood adoration. Shortly after we had stolen the gold from her father, Stephanie had transferred to a private school in New York; who knows what rumours about me had reached her, what she thought. I had heard that since she’d been back in Toronto she’d been working as a journalist for one of the last private newspapers—which, like all the others, had by then been shut down—and I was of course too self absorbed to ask what she was doing now.

“You don’t know anything about it, do you?” she asked.

“What? Of course not!”

She looked at me through narrow eyes. She sighed. “It’s really bad,” she said. “Really, really bad. Daddy had made certain—guarantees. And now he’s not going to be able to come through on them. And you heard he lost the business, right? We have to sell the house.”

“What? You’re kidding!” I was so delusional, I was still gauging my chances of hooking up with her.

Stephanie scoffed.

“Is it really so hard to believe? Look around you, things are not good.”

“It’s just like one of your stories,” I said.

She looked at me like I was sub-human. She spoke, slowly, sadly. “If you can’t see the difference between the two, you’re more lost than I thought.”

“I love you,” I said in a burst of recklessness that had become second nature to me. She looked stunned. A long moment passed. She studied me with her narrowed eyes. My mood soured.

“What happened to you, huh?” she said eventually. “You used to be such a nice, sweet boy.”

I had a quick retort for her, of course; those days, I had a quick retort for everything (though I would be lying if I didn’t say that this was the first time in four years that I started to doubt myself; a tiny little rip, but from then on there was nothing I could do from stopping the real world from seeping in, accumulating).

Unlike Stephanie, Krasner himself never confronted any of us—did he even suspect? In any case, what does it matter, the gold was gone; our fates were sealed. In the end Krasner had become more complacent than he thought, in his poorly protected mansion, in his brotherhood meetings, in his trust in the rule of law. In a padlocked room in his basement he didn’t bother to check on until it was too late. How angry at himself he must have been when it all came crashing down. A few short months after that conversation with Stephanie, the tanks would be rolling along Rideau, along Robson, along University, and the true terror would begin. But this, of course, is the part you already know, the part we all know all too well.

Let me just say this, then, in lieu of a proper ending. In the coming years, there would be survival. There would be horror. Horror stacked upon horror, humankind finally teetering too far over the very edge of the abyss. There would be compromise. There would be escape—though, of course, there ended up being no one to save us, no airplanes to lift us to freedom, and there never had been. For a very few, there would even be honour (I hope Menachem, wherever he is, managed to hold onto his ideals; for so many of us that was the first thing to go). But it was only after everything else, only after I heard what happened to the Krasners, what happened to Stephanie, that there would be guilt, terrible, body-slamming guilt. Guilt so stupendous, so unimaginably vast, that it drowns out everything else, becomes indistinguishable from the fear that follows me through all the days of my endangered life.

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A VIEW FROM THE CITY by Elliot Alpern

I see the backs of your shoulders—there you are, right there—on a bench by the harbor, where it’s windy, and where there’s a nice clear view of the monster ambling toward the city. 

“Hello,” I call out. You look each way, left and then right and then left again, but not behind, and so I jog lightly to your bench, take the seat beside you. 

“Hello,” I say again, this time a bit breathlessly. 

“Oh,” you say, “hey, I thought I heard your voice.” 

You look the same. And that’s with some years, a different haircut, a sort of quiet glow that didn’t use to be there. But all of that’s garnish—you look exactly, exactly the same. 

“It’s crazy,” I say, and then I look out at the water, so you can’t see yourself in my eyes. “They’re saying he’ll make landfall next month.” 

“I heard that too! Yeah. I guess we’ll see. How’s your parents?” 

“Fine.” 

I think you do genuinely want to know how my parents are holding up, or at least my mom; I know you’d been close. Maybe closer than we were, me and you, maybe even me and Mom. But, I’m sure you understand—I can’t give you everything here. 

“Good,” you say. 

Maybe two, maybe three miles out into the ocean, the monster attracts a looney-tune halo of seagulls, and he walks slowly—no more than a few steps per day—but he does not rest. His is a beeline path, an inevitability by all accounts, straight for the busy heart of the city. 

“I quit smoking weed,” I tell you, and immediately, I want to snatch the words back out of the air, stuff them right back down my stupid throat. 

“That’s great,” you say with a smile, nodding, “that’s fantastic.” 

“Did you—”

“I always hoped, you know. I just think that’s really, that’s just, great.” 

“Right,” I say. 

A helicopter buzzes out over the harbor, banking sharply out toward the big guy. There’s always so many on this side of the city, now—they like to keep tabs on him, I guess, or maybe they just don’t want him to get too lonely out there. 

“Did you and, uh, Mark, did you guys figure out what you’re doing?” I ask. This is the hot new question of the summer. Do you know what you’re gonna do? And, do you? Does anyone?  

“We’re leaving,” you say, only you say it with a weight, and an anchored rhythm, like you tried to say “I love him” and spoke the wrong language. 

“Why?” 

“Well we can’t stay,” you say, “obviously.” You look out at the monster in the harbor, and I look out at the monster in the harbor, and he keeps walking. He always keeps walking. 

“And Mark says he’s not worried about finding something, even if it’s just running, you know, IT somewhere.” 

“I’m sure.” 

I am. Mark was nice the one time we met, and unfortunately rather sharp, and I remember most that he possessed a deep interest in curling. I couldn’t point you to the nearest rink. 

“Do you think he’ll keep going?” I ask. 

“Where?” 

“Past the city. Through it, just, keep on walking. Right on through the heartlands.” 

You sigh. I’m sure you tell yourself, this is why, right here, this is it. This is what you couldn’t take any longer. 

“I don’t know,” you say. “Who knows. Maybe he’ll hang out on the beach.” 

“Yeah. Anyway I hope it goes well,” I say. “Moving sucks. But, on to better things, which is always good.”

“Mhmm.”

You look like you want to say something else, and you do, you open your mouth to tell me, but the monster makes that sound—that annoying, lonely yelp, pitching up after a short while, like some stupid question, always the same one, over and over again. The monster so absolutely, impossibly immense, that we can hear it all these miles away, here in the city. All of us, we can all hear it getting louder, every day. 

You and I could’ve left it there, on that note, in the unanswered silence. 

But. 

You can’t. 

“And I’m due in the fall,” you say, eyes glittering. Which, of course, you didn’t have to tell me. I could have found it out on Instagram, or Facebook, like people normally do now, or through my mom, obviously, or I could have lived my whole life not knowing, could have died not knowing. Just fine. 

“Whoa,” I say. “Congratulations—that’s amazing, I, uh, I’m sure. That’ll be wonderful.” 

A pause, the only time I remember wanting that monster to ask its dumb fucking question again, but it won’t, and so we have to sit in this quiet, and the breeze. Since I can’t possibly say more about that. 

Another helicopter buzzes past, this time inbound, a long fat day of monster-watching, I’m sure. There used to be birds in this park, quite a lot of them, but I don’t think they like the down-wash.  

“I’m gonna have to get going,” you say eventually. “Do you want to walk back, grab coffee on the way? Do you have anywhere to be?” 

“Nah, you go ahead,” I say. “Tell Mark I said hi. And, you know, hope the move is smooth. Hire movers.” 

“Oh we will,” you say. “Be well!” 

I’ll be well. She’ll be well. I don’t particularly think we’ll see each other again, and that’s alright. And she’ll have a nice full family at Christmas, now, and that’s alright. And the monster is going to walk right over this city, asking its question to bleeding ears, and I don’t think I have an answer for him, really, I don’t think anyone will. And that’s just alright by me. 

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SOMETHING IS KNOCKING by Sean Ennis

Grace and Gabe, after saying something very cutting—Grace, not Gabe—have gone to visit her parents and I am home with the dogs, in the shower, flooded with the memory of a woman I once slept with who kept demanding, “Look at me! Look at me!” It’s not, like, eudaemonic. 

Then the dogs are going crazy. Something is knocking. They get very protective of the house when I'm in the shower. I don’t hurry.

And let’s be real clear: the dogs we rescued from the shelter? Did not rescue us. We do the nice, expensive things, and they basically hang out with their small, furry demands.

And let’s be clearer still: what Grace said about the séance I hosted being “poorly attended”?  I was not alone. 

I decided to wear the Yves Saint Laurent La Nuit De L’homme. Recently, I’ve been favoring the John Varvatos Vintage, but the Saint Laurent is Grace’s favorite and I miss her. Her friend, Colleen, once told me, “You don’t talk much, but you always smell good.”

It’s Meredith at the door, the woman who tried to kill Gabe. That’s not fair. The accident was three weeks ago, and he has stopped complaining about his bruised spleen. The hood of her car is still dented, and she is holding a plate of cinnamon buns, my favorite. She says, “I knew you were home.”

In the living room, I’m rethinking her. She has the familiar, submissive demeanor of someone trying to get off drugs. The logo of her jeans is outlined in rhinestone, and good God, they are bootcut. She sits inexplicably in the chair possessed by Grace’s dead grandmother. 

“Did your family leave you?” she says.

“Permanently? No.” I say. “Or rather, none of your business.”

“You have pretty eyes,” she says. “Are they real?”

Notice, she does not apologize.

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LIZARD BLOOD by Alisha Wexler 

Tuesday I wake up damp with a clenched jaw. Dirty towels on the ground reeking of mildew. Why do people record their dreams? Dreams are trout in bare hands—let them slip free! Mine are so generic anyway. I pluck out my teeth one-by-one like daisy petals. He loves me, I say with blood pouring down my hand, he loves me not. I move on. I weasel out of New York lease. I get out of bed. I go into the bathroom. I put on the clammy moist bikini hanging over the shower rod. I lay by the kidney-shaped pool in the backyard.

I’m still in Arizona—the McMansion in the Sonoran Desert. It’s the house I grew up in that my dead mother left to me. I’ve been here a month. By now, I should have renovated the house. I should have listed it on the market. But for who to buy? The houses in the neighborhood are still boarded up and owned by banks. Occupied by squatters. No one’s moving in. I should have signed the deed over to my stepdad, Neil. But I’ve done nothing except lay by the pool.

My friend in New York texts me: WHAT is even in the Southwest suburbs?

I reply: Pools.

This pool is where I had my first kiss. It’s where the Mormon girls in my neighborhood baptized me by holding my head underwater until I felt the walls of my lungs vacuum seal together.

I lay across slabs of sandstone, basking in the sun. Lizards join me: geckos and horny-toads.

When my dead boyfriend was alive, he called me reptilian—an ongoing joke that I hated. He first mentioned it when he saw how freakishly long my tongue was, then in passive aggressive jest about my short attention span. Sometimes he mentioned it when he heard my croaky morning voice, and once when he noticed the yellowish green of my eyes. Mostly, he said it when I was cold. I resented this. Being called ectothermic—associated with cold-bloodedness.

In the Sonoran Desert, the children are playing in the cul-de-sac and the teenagers are overdosing on Fentanyl. I take a deep breath of air polluted with endocrine disruptors. Yesterday I parked behind the drug store and watched a malnourished coyote lap up roadkill. Today I see the sun glittering like chrome sparks off the pool’s little wakes. Everyday, I get up and drive twenty minutes to the nearest Starbucks just to hear someone tell me “good morning” and remind me I exist.

***

Wednesday I wake up, put on the damp bikini, lay by the pool.

At noon, Neil comes over to check the chlorine levels, filters, and pumps. He circles the perimeter, skimming out leaves and drowned moths. “The Little Guy is broken,” he tells me. The Little Guy is what he calls the suction scooter that scours the pool like a bottom-feeder.

The older he gets, the deeper his voice becomes. I now hear the Oklahoma drawl he suppressed for years. Though, he’s not “old” per se. He’s only sixteen years older than me. I run the numbers in my head. Married my mother when he was 24, she was 47, I was 8. Oddly, the older he gets, the younger he looks. Maybe it’s the relief of my nutcase mother being in the ground, maybe it’s his even tan, or just the glow of new sobriety. He’s got those angular lower abs that gesture toward his dick. Had he always had those? I can’t believe my mom made me call him Daddy.

I dog-paddle to the narrow part of the kidney and rest my elbows on the lip of the pool, letting water dribble out of my mouth.

“Neil,” I say, “the jackrabbits are committing suicide.”

“I don’t blame them.”

“I’ve run over several on the road underneath the arroyo. They hop out into the middle and just sit there. I swerve, they leap in the same direction. Splat!”

“Don’t swerve. Jackrabbits seek thrill. They play chicken. You just go straight at ‘em and they’ll jump out of the way.”

I think about games of chicken. Two fighters racing toward each other only to surrender at the exact same time, pull out in the exact same direction, collide anyway. Two cowards who die without dignity.

That night I wrote a letter to my dead boyfriend.

E,

Are you one of those people who see animal instincts as omens or warnings? You know, how in apocalypse/natural disaster movies the first sign of things taking a turn for the worst is always strange animal behavior? I’m one of those people.

This is why I left Arizona years ago. There were animals—animals everywhere. I’d walk out my front door and see roadrunners darting down the sidewalk. I saw coyotes sniffing through the garbage. Late at night, I’d pull into the driveway, headlights beaming onto cottontail families as they scurried out of the lawns. Their habitats: the sage, saguaros, and brier, were being torn out and scorched to the ground to lay down concrete. New roads paved. The foundation to build bigger but weaker houses; ugly houses with confused architectural styles. This isn’t to say that the animals “sensed” an economic crash, but it was a sign (more literal than symbolic) that something was about to change.

I wish you could smell my skin now: coconut and chlorine. Maybe I don’t shower enough. I am so tired and sun-drunk and regular drunk. I drank a lot of tequila. I ate a lot of Xanax. Perhaps I’ll see you in Hell very soon.

Until we meet again,

B

***

Thursday I wake up, put on the damp bikini, lay by the pool.

Another friend texts me: Damn the desert’s a VIBE

I reply hell yaaa and swat a wasp away from my thigh.

U working on anything out there?

No. Just vibing.

When the sun sets I drive to Starbucks and take the road under the arroyo. A jackrabbit is there, as always. I charge straight at it, as Neil advised. It doesn’t jump away. My heart swishes around my chest like a squid in a small net when I feel the crunch under my tire.

At night, Neil calls to tell me that my yard is infested with scorpions. It’s nice of him to help out as much as he does, I think, considering he’s a gold digger who didn’t get the inheritance he married for. I feel an odd responsibility to take care of my dead mom’s cowboy gigolo widower. I’ll give him money, but I’ll never give him this piece of shit house.

I go outside with a blacklight. He was right. I see scorpions glowing fluorescent blue—too many to count—they’re crawling on the ground and wriggling up the walls. People who don’t believe that there is pure horror in this world have never done this: gone into the desert night with a blacklight.

***

Friday I wake up, put on the damp bikini, lay by the pool.

The least serene day of the week: band practice. A death metal band plays in a garage up the street. There are guttural shrieks and heavy base. Boys squealing like injured pigs—various patterns of the words:

GUT

FUCK

CUM

SLUT

CUNT

PUNCH

It ends with them repeating:

INSIDIOUS

INSIDIOUS

INSIDIOUS

I roll over onto my stomach and untie my bikini. A lizard is back. He doesn’t flinch. He holds his head regally high toward the sun.

I jump into the pool and hold my breath. I wonder if I can stay down long enough to feel the walls of my lungs kiss like they did the time I was baptized.

I imagined New York, slinking into bed when my boyfriend’s body was still warm. I swung my leg over his leg, braided my knee under his knee, my ankle over his ankle. He said he felt the night’s chill soaked into my skin. His was burning feverishly. We lied there entwined, regulating each other’s body temperatures. Morphing into one another. Yin and yang. The next night an ambulance flashed lights over our unmade bed. Ripples of blanket and sheets looked like the waves of a red hot sea.

I emerge from the water’s surface and gasp. I climb out of the pool and offer myself to the sun. I turn toward it. I indulge in it. It warms my lizard blood, and when the wasps come buzzing, I’ll shoot my lizard tongue twice as far as my height and eat them. Later today, I’ll find a way to numb my lizard brain. And when I no longer like my lizard tail, I will chop it off and it will grow right back.

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“COVID VACCINATION #1” by Michael Seymour Blake

  
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TWO-IN-ONE by Genta Nishku

April 26, 2021  ·  Fiction

That summer, the water in that city ruined my hair. After every wash, the same refrain: clumping and matting. A whole bottle of hair conditioner later, and I was at the dim-lit bar. A man gestured something at me with his eyes, while outside, the awkward artist typed his number in my phone. We’ll meet for lunch, he promised. The warm air made disassociation easier, even if the drinks were weak and the conversation hard to follow. I’d get drunk at home, I decided. Then the traces of the day would fade, present and future melting together, like the sky and sea whenever we’d take the long road to get far away. There are too many nights and not enough conclusions. Nothing ever happens for me, I told him, but what I meant was, I don’t let anything happen. If you remember what I said about your eyes, I’d ask him, please don’t tell anyone. It would betray my reputation. Later, the complaint about the water would become an ice-breaker. Who hadn’t had an experience with unsatisfactory water? All the papers talk about conditions of possibility and I refuse to look up what it means. What’s the use? The conditioner detangled my hair. I kept it wrapped in a towel—color’s up to your imagination—and I stood by the window. A woman at a window makes the story worth reading. It recalls the folktales of our childhood. In one of them, the woman fashions a body, her body, out of rags and hay, with tree branches for limbs. A branch arm sticks out, waving goodbye forever.

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THE PRODIGAL DAUGHTER by Gabrielle McAree

April 22, 2021  ·  Fiction

Dad has the emotional range of a runt-sized peanut. He hates the internet, roundabouts, tap water, trash collection, anyone called “Jerry.” He doesn’t trust directions and believes the government is listening in on his conversations. Dad grows a four-inch beard as an act of defiance, because it looks nothing like his driver’s license picture, and swears off technology. His collection of gray hair disappoints him, so he buys an electric blue Camaro. 

***

When Dad turns 63, I pick up a cake from the store. Half chocolate, half vanilla to curb his untreated bipolar disorder. I remember to be vigilant, but Dad counts each wax candle with the tenacity of a bored mathematician. 

“You’re not good with numbers, Darby,” he says. 

He’s joking, but my face turns the color of ripe tomatoes. When I forget a candle, everyone laughs at my dereliction, my stupidity. “I studied theatre,” I object, my voice two sizes too small. But my claim is futile; my siblings have PhDs attached to their names. I don’t.

***

I screw my eyes shut as Dad slams cabinets and drawers, looking for his checkbook, his car keys, his wallet, his readers. We search behind potted plants, between freezer meat, amidst his collection of coffee mugs, below the kitchen sink. His things are nowhere and everywhere, scattered around the house like an expert game of Where’s Waldo

“I’d lose my head if it wasn’t attached,” he says. His self-hate is camouflaged by Dad Humor, the color of sunshine and imported silk. It is impossible not to love him. 

Dad finds his checkbook in his coat pocket. His keys in the cupholder. His wallet in the washer. His readers in the pantry next to the peanut shells. Everyone laughs the same choked, plaintive laugh, but we actively fail Dad as he sinks into an amnesiac-sponsored abyss.

Dad is a renowned surgeon. He’s been saving lives for thirty-plus years—one appendectomy at a time—but he forgets his cellphone on the charger and can’t remember to take the dogs out. Their hoarse barks cut through glass. Why can’t I remember? Dad asks, gluing his leathery hands to his eye sockets, rubbing his skin an unforgiving red. He gives the dogs extra treats to counterpose his laxness. All is forgiven. 

I bury myself in books I don’t understand. 

“Why can’t Dad remember?” I ask a cashier clerk, the expired tub of animal crackers, oblivion. Surely, there is an answer. 

“There’s an answer for everything,” Dad says. “It’s good you’re pretty, Darby.”

 I read and read and read.

***

I go local for college and save Dad money by commuting. On Sundays, we sit in matching gray, leather chairs by the fireplace. Dad tells me about his sister, Jenny, who joined the Peace Corps and changed her name to Loki; his favorite dog, Hamish; how he regrets: not joining the Army; not competing in triathlons; not taking Sami Gates to his senior prom. 

“Getting old sucks,” he says. “Your regrets look like a grocery list. Cheat age if you can, Darby.” But he doesn’t tell me how. 

Dad takes a party platter of vitamins—collagen, crocin, retinol, magnesium—and drinks a glass of red wine before bed, toasting to the vestige of his youth.

I look at myself in the mirror for traces of him and keep the water running so he can’t hear me cry. I am older every day and can’t afford to feel better about my relation to mortality. I don’t have money for distractions. 

***

My sister sends her wedding invitation in the mail. She’s marrying a guy from medical school, Mark Something. Mark Something believes Dad has early-onset Alzheimer’s. I’m not asked to be in the wedding party, but my other sister, the dentist, is maid of honor. My brothers, groomsmen. Dad asks why I don’t have a career. He says, “Maybe if you had a career, you’d be in your sister’s wedding.”

Dad pays the wedding tab with his American Express Black Card, but forgets his suit at home, so I drive back in rush-hour traffic to retrieve it. He can’t walk down the aisle in his Notre Dame jersey and orange board shorts. 

Dad’s collection of ex-wives sit in the last pew, in chronological order. Throughout the service, he turns around to look at them, the physical representations of his life, decade after decade, each a nod to his impermanence. Gloria, Dakota, Macie, Rebecca, Lorraine. They agree Dad is a good man, he just couldn’t remember things they wanted him to remember. They all signed prenups, so Dad keeps his cabin in the woods, his 13 acres, his Camaro. 

***

When I’m nine, I learn that everything dies. Humans, insects, rats, nature, inanimate objects. At first, I don’t accept this. I cry into Dad’s lap, staining his favorite corduroys. He strokes my hair while lecturing me on biology, science, The Lion King. We’re at my sister’s softball practice. Dad lets me sob, hysterically, without shushing me. 

He says, “Forever is boring, Darby. Imagine paying taxes forever.”

***

At 66, Dad is diagnosed with Alzheimer’s. Mark gloats. My siblings strategize at the kitchen table without me. Dad gets a catheter two months later. He wants to drink Irish whiskey and sleep. I listen to his stories. I am all his children, his wives, his friends. I cover him in thick blankets and empty his urine. When Dad dies, he leaves me the electric blue Camaro, the log cabin, everything. My siblings hire an attorney. A letter arrives, postmarked before Dad’s death. It reads: Darby, you were always my favorite.

The next morning, I lose my keys.

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