Hunger

By Lillian Kwok

We spend that sum­mer with our dad in Reykjavik. My sis­ter is nine and wants to spend
all her time with me, but I want to bike along the water alone, look for sea­glass and
dead sea ani­mals with­out her. So she cries and dad becomes cross. My sis­ter gets
Sat­ur­day candy but not me. To pun­ish him I refuse to eat lunch and din­ner. But my
father, the old­est of nine broth­ers and sis­ters, knows a thing or two about hunger and
is not afraid of me. When­ever I want to starve, he lets me starve.

Originally published in Mascara Review.


Little Boys

By Lillian Kwok

After all we are just little boys and girls. After all he hasn’t done something terrible, only something wrong. It’s almost not me there in a too-loose shirt and summer skirt, while another boy stands guard at the door. My hands aren’t even angry, my eyes are somewhere far away. He says something to me that I’m not listening to. My sister and I are still young enough to take baths together, but no one has to tell me that this isn’t the same thing. After he’s done I sit outside and wait for my mother. I wonder if now I know a little bit more about love.

 

Published by Zoo Cake Press 


 

The Complex

By Dan Bevacqua

After being wrong for months and months, and calling them all sorts of horrible names, Dad explained to me that the painters were Vietnamese.

“They’re not Chinese or Korean,” he said. “It’s racist to say they are if they’re not.”

“Why?” I said. We were eating in the kitchen. I stared at my spelling words out on the table. The list was super easy: HUMAN, BICYCLE, ACTION.

 “It’s just racist, Kevin.”

  “And we aren’t racist in this family,” I said, which is what he always says.

 “Exactly.”

When Dad has a late meeting—maybe with the school board or the PTA or the ladies from the Special Ed. Department—we eat pizza. Guillermo’s is in the same strip mall as the clothing store where Mom used to work, a place called Style. Because Dad says he can’t stand to look through the big picture window at the mannequins all dolled up like hookers, he parks the Contour on the left side of the building, and sends me in. He gives me twenty dollars, and says, “Tip appropriately.” Last month, there was a pregnant girl behind the register. She didn’t look old enough to be pregnant, but she was. When she saw me, she said, “Well, look at you, Mister.  Got a hot date?” I was wearing my red sport coat with the fake handkerchief in the breast pocket.

“No,” I told her.

She laughed and laughed, and then her hands jumped to her stomach. “This thing hates that,” she said.

“Hates what?”

“When I have a good time,” she said. She stuck her tongue out at her belly. “What’s the name on the order, hon?”

The girl got up on a stool and looked at the different pizzas. They keep them in boxes on top of the oven so that they’ll stay warm. I stared at her stomach and wondered if her being pregnant wasn’t some kind of class assignment, like when the high schoolers push each other around in wheelchairs for a week. Dad says that’s dumb because being paralyzed isn’t supposed to be fun. It’s the opposite of fun, whatever that is.

Pretty soon the girl found our pizza. She looked down at me from where she wobbled on the stool. Her neck was sweating. Her face looked like a lima bean. “The nausea comes and goes,” she said. “If this was a year ago, I’d be at cheer camp.” She asked me what grade I was in.

“Second.”

“Enjoy it while you can,” she said.

Back in the car, Dad asked for the change. I told him there wasn’t any.

“How much was the goddamn pizza?”

“Eleven dollars,” I said. I told him how the girl started crying, and how she seemed so sad, but was really pretty, and how I thought I could make her happy.

“You’re doomed,” he said. “And you owe me nine dollars.”

In the kitchen, Dad wiped the grease from his fingers on a blue dishtowel and picked up my spelling words. He likes to complain about the light. We use a table lamp now, after Billy, Mom’s friend, broke the overhead. There was a big party one afternoon when Dad was at school. I was there because I’d faked sick. Also, I’m good at making drinks. I keep everybody’s spirits up. At the party, Billy got so excited when a Prince song came on that he jumped into the air, and put his head through the light.

Dad tilted the lampshade and the room wasn’t quite as dark. He looked at my words. I was bored with FALLING, BLOOD, and LONELY, and I’d written some of my own at the bottom of the page.

“Rapier?” he said.

I explained to him that it was a fancy word for a sword.

“Yes, I know,” he said. “I went to college.” Dad read off the page. “Mace, brass knuckles, blowtorch. Enlighten me.”

“Weapons,” I said. “To use against the painters.”

Dad gave me the teacher face. It might mean that whatever I’m saying is a lie.

“I’m imagining,” I said. “Kids play pretend. How could I actually hurt them?”                    

I hate the painters. They come around to the complex every three months. Each of the men wears a white jumpsuit and a white painter’s cap, and the women wear the same thing minus the caps. In the morning the painters are quiet. They set up their buckets and tarps and get the brushes ready. Dad says some of the grownups around here still go to work, and when they walk to their cars the painters only nod at them or blurt out a word in their nutso language. Nobody but us kids are around in the afternoon when they get weird and attack us.

“They don’t attack you,” Dad said. “And the way you used ‘nutso’ is racist.”

“They do,” I said. “Yesterday they put Amber on top of a Volkswagen, tied her up, and drove around the parking lot.” 

Amber is eight, like me, and the daughter of Jim Costello, the super. We don’t like him, or anyone else in his family because they’re degenerates, even though Mom hangs out with Amber’s mom sometimes.

“They didn’t drive around with Amber on the roof,” Dad said.

He was right, they hadn’t. “But they tied her up,” I said. But that wasn’t true either.

Dad had his phone out on the table and it started to shimmy around. His phone is kind of broken, and it took a few seconds for Mom’s face to light up the screen. It was Thursday, and we hadn’t heard from her yet. I knew Dad was pissed about that, about her not calling, because he’d told me. “I’m pissed,” he’d said. He was angry too about the last time she called. All Mom did was scream at him and then, when I got on the phone, cry.

“I can’t do it tonight,” he said.

I’ve seen the common area at the hospital where Mom calls us from. I can picture what it looks like when she leaves Dad a message. She’s got on the robe we brought her last time we went, and her hair is getting long. She’s scratching at her scalp until it bleeds because I’m not there to stop her.

After Dad’s cell buzzed with the voicemail, our landline started to ring, and he said, “Don’t.”

I climbed down off the chair anyway.

“Seriously?” Dad sighed. Teaching fifth grade exhausts him, and then there are the meetings, and me, and Mom, and everything else. He looks young in the morning, and old by dark.

I put the receiver up to my ear, listened.

“Doomed,” Dad said.

*** 

At school, they keep Natalie, Ervin, and me away from the other kids. We have our own purple rug and a table that we share. All of our supplies are in the middle of the table, like glue, and calculators, and a map of the world that folds up into the shape of a telescope, and says EXPLORE! on it. The other kids don’t have maps, or calculators, and their scissors are duller than ours. While they guesstimate the number of beans in a jar, we do long division. During their story time, we read chapter books by ourselves where sometimes the characters don’t survive. There used to be another boy with us, Lance, but it turned out there was something wrong with him. He was the smartest kid in the world, I think, but he couldn’t look anybody in the eye, or be touched, otherwise he’d scream, “Get your dirty fucking hands off me!” He goes to a special school now.

Natalie’s skin is a dark gold, like the pre-historic goop that mosquitoes used to get trapped in. Ervin is Puerto Rican. “You’re white,” Natalie once said to me. It wasn’t mean or anything. It was like someone in her head asked her what color I was. It made Ervin laugh.

Last week, Mrs. Larson gave us an assignment where we had to write down all the capitals of all the countries in the world and then alphabetize them. Before she went back to the normal class, she said, “I’m sorry. I have no idea what to do with you people. It keeps me up at night.” The other kids were making dioramas. A girl named Therese loaded up a shoebox with glitter, spat into the box a bunch of times, and then dumped the whole mess on her head. The shiny gunk in her mouth and eyes made her cry.

“If Lance was here he’d tell her something,” Ervin said.

“Like what?”

“Like she got a butt for a brain,” Natalie said.

It turned out that all the capitals of all the countries in the world were already alphabetized on the back of the EXPLORE! map, and there was nothing for us to do. I waited to see what Natalie wanted. She didn’t look at me for a minute, so I wasn’t sure, but then she went to the chalkboard and took the block of wood with GIRLS written on it and left the classroom. I did the same with BOYS. When I got to the giant handicapped bathroom, the door was open a crack, and her eye was staring out at me. Once I was in, Natalie locked the door behind us. It smelled like pee in there.

“I like your pants,” Natalie said. I was wearing my blue pinstripes that Mom gave me. She’s always buying me clothes we can’t afford, and doesn’t tell Dad.

“Thanks,” I said to Natalie. “They were expensive.”

“You wanna kiss me?” she said.

Every time we go to the bathroom, Natalie says that, and then I kiss her.

Natalie went back to class first. I counted to thirty Mississippi in the bathroom, and then I left. It was strange to run into Dad in the hall. He was walking around with Miss Rodriguez. She teaches fifth grade like him. They were both being quiet, and their faces were serious, like they were trying to read each other’s minds, but were having a hard time.

“What’s that in your hand?” Dad said.

I showed him BOYS.

“Gotcha,” he said.

Miss Rodriguez was a student teacher last year, but now she’s a real teacher. I don’t get why she walks around in high heels everyday. None of the other teachers do that. Mom says she gets it—“Oh, I get it all right!”—but when she asks Dad to explain it to me, he just says, “How many cocktails is that, darling?”

“I like your pants,” Miss Rodriguez said to me. “I used to have a boyfriend who wore pants like that.”

“What happened to him?” I said. “Did he die?”

“No,” she said, surprised. “He moved back to Puerto Rico.”

“San Juan,” I said.

“Sorry?”

“That’s the capital,” I told her.

Miss Rodriguez said she had to be leaving now, but that she was looking forward to seeing Dad later. She was a very fast walker. You could hear her shoes clacking all the way down the hall.

“I have a meeting after school,” Dad said. “With Miss Rodriguez. About school stuff.”

That meant I had to take the bus. Dad started to walk back to the fifth grade wing, but then stopped, turned to me.

Did he die?” Dad said. “Really?”

“What?” I said. “It happens. That’s something everybody knows.”

 ***

I took the bus home. After it dropped me off, I saw Amber Costello crouched down by the mailbox with a cherry Popsicle in her mouth. Amber goes crazy for sugar. Her eyes were wet and shiny like pieces of fish.

“Hey, Einstein,” she said.

Amber’s T-shirt was long. It might’ve been the only thing she was wearing.

“Hey, Amber,” I said. “Why weren’t you at school?”

“Because it’s fuckin’ stupid and I fuckin’ hate it,” she said. “Those Chinks are back.”

The painters were in front of Building 6, eating a late lunch out of soup bowls. The women used chopsticks. The men tipped their heads back and slurped. When the painters spoke to each other, or laughed at a joke, noodles flew everywhere. The noodles landed in the grass that was just starting to grow. Amber and I stood ten feet away and stared.

“I think they see us,” she whispered.

 ***

Once, when Mom was sick and had to get well before Dad came home, Billy and his friend Darnell came over. I liked Darnell, but not as much as I liked Billy. Darnell was weird. He always called me Caspar, or Michael J. Fox, or Mick Jagger. Sometimes he just called me Tiny Little White Dude. I liked him anyway. Darnell was the saddest out of anybody when Billy died—maybe even more than Mom. He moved away after.

That afternoon, they were both still around. Mom called Billy, and somehow he understood what she was saying. I’d already gotten her into bed by the time they arrived. We stood in the bedroom, and looked down at her. I hadn’t seen a dead person yet, but that’s what she reminded me of. Billy pushed Mom’s hair back behind her ears. She opened her eyes real quick, and looked at him. “Heya, handsome,” she said. Then she closed her eyes again.

Darnell thought we should get some air. Holding hands, we took a walk through the complex.

“Kev’ in the middle,” Billy said.

They swung me up into the air as we walked. Billy’s laugh echoed off the buildings, and went down inside the swampy creek behind the parking lot before coming back to us. The buildings in the complex are brick, and two-story, and Dad says they were made for soldiers coming home from war. Not these wars, he says, or the ones before them, but the big war, the one his grandfather fought in and never talked about. 

When we rounded Building 4, we saw Jim Costello and his custodians. Mom calls Costello “the fat blob of the Earth” and says the men who work under him all hate him, but are either too dumb to notice, or too afraid to say anything. Dad says Costello is the reason why the rich hate the poor. “It makes sense to me,” I heard him tell Mom once. “I look at him, and I get it.”

Costello was wearing the same stained, holey green T-shirt he always does, and drinking from a paper bag. He looked like the fat blob of the Earth, but with a patchy beard. The three men in his crew stood around with their own bags, sipping. I’ve never seen a single one of them hold a tool, or a mop even. They look like sailors to me.

Costello took a drink from his bag, and said, “You three look like a fuckin’ Oreo.”

Billy and Darnell turned toward Costello, but they didn’t seem angry. It was more like they were getting back to something they had set aside for a while. Billy pulled his hand from mine, and placed it on my head. He looked down at me. “When you get older,” he said, “don’t be like that.”

Billy was big and strong then. This was before things got bad, before Mom and me saw him in front of the Cumberland Farms, asking strangers for gas money even though he didn’t have a car.

 ***

To the 5th grade play that night I wore a cashmere scarf Mom bought for me on credit. It was cold out. The Contour wouldn’t start. One of our Ecuadorian neighbors had to jump us. “Good people,” Dad said. By the time we got to school, Dorothy had already found out about the Wizard. We sat in the way back, listening to Miss Rodriguez shout out lines to her students.

Everybody was at the reception. All the kids under twelve, and their parents, the Scarecrow and the Lion, Principal Rivers. The punch was called the Ruby Slipper, and fizzled with Ginger Ale. Across the gym, near the basketball hoop, Dad talked with Miss Rodriguez, and her fiancé, Juan. Juan’s a fireman. He did a whole presentation on career day where he brought in the dog.

I saw Natalie. She stood on one leg near the punch bowl.

“Hi,” I said.

“Your scarf looks stupid,” she said.

“No it doesn’t.”

“I’m not your girlfriend anymore,” she said. “I’m Ervin’s girlfriend. My mom says it makes more sense.”

“How?”

“We come from two different worlds. Blame society. You can’t change history,” Natalie said.

“O.K.”

“She says she’s not crazy about Ervin either,” Natalie said, “but whatcha gonna do.”

Through the crowd, I watched Dad, Miss Rodriguez, and Juan walk out of the gym, down a hallway that led to the music room. Juan did all the talking. Dad and Miss Rodriguez stared at the floor. I started to say something to Natalie, but she was gone. There was nobody around. I mean, no one was speaking to me, or asking me questions, and I went alone to the front of the school.

Only half the florescent lights were on. I’d never seen the trophy cases like that before. Fake gold shined in the dark. They keep the second place plaques and the team pictures in the case too. The pictures go way back in time, back to when the players don’t smile, and there’s only one black kid.

School is K through 12, and, unless we move, I’ll keep going here. I’m skipping to 4th grade next year, and then there’s 5th and 6th. You could keep going. When I think about that it never seems real. It feels like a story somebody told me, and in the story everything’s perfect. I can drive, and maybe I’m a scientist. But if I dream about it for too long, the car slams into a tree or my lab explodes. It happens every time.

Deep inside the school, I heard the sound of a man coughing. I moved toward the edge of the main hallway, but it was too dark to see. I thought I heard some flyers being pulled from a bulletin board. There was the ripping sound, and then the wobble of posters falling through the air. The steps were heavy, and I knew they were Dad’s. Soon he was out of the hall. In the light, I saw that his nose and mouth were bleeding. His hands were at his sides. He let the blood flow. He didn’t even try to stop it.

 ***

When Mom took me to see Billy, she lied. She said he’d been in a car accident. I knew it wasn’t true, but I pretended along. Before we went to visit him, I listened to Mom and Dad talk about it behind their bedroom door. It wasn’t hard to figure out. Billy owed guys money.

The hospital is ginormous. Mom’s building is out back, on a separate plot of land with its own path, plus benches and hummingbird feeders. Billy’s room was on the first floor of the main building. It had a view of the parking lot. Billy never saw the view because his eyelids were taped shut. A tube ran down his throat, and worked his lungs for him. His face looked like purple cauliflower.

The day Mom and I went to visit Billy, Darnell sat in a chair next to his bed and cried. I have this problem where I stare at people who are crying. If we’re at the grocery store and some kid starts sobbing, I stop and look at them until Mom pulls me away. She doesn’t like when I do it, so I tried not to with Darnell, but it was hard. It meant I could only look at Mom, or at Billy, or at the room around me, which was boring and tan, the way hospitals are. I could have looked out the window, I guess, but there was nothing out there.

“What’s he know?” Darnell asked Mom.

A tube ran down Billy’s throat, and worked his lungs for him.

“He knows about Billy’s accident,” Mom said. “He knows about the car.”

“Oh, good,” Darnell said. “Billy loves him.”

“Loved,” I said. “Billy loved.”

“Loves honey,” Mom said. “You mean that Billy loves.”

“I don’t think so,” I said.

 ***

The morning before our Sunday visit, Dad tried out all kinds of makeup on his face, but none of Mom’s stuff helped.

“She’s too pretty,” Dad said. “If she were ugly, I could find something useful.”

I stood on the toilet seat, and together we looked at his face in the bathroom mirror. The swelling was down, but the skin around his eyes was green and black. His bottom lip cracked open every once in awhile. Dad tried a smile.

“How’s your war against the Vietcong going?”

In the mirror, I gave him my Kevin face. It might mean that whatever he’s saying is stupid.

“Your lip’s bleeding again,” I said.

We were late seeing her. Mom waited outside the entrance, near the automatic doors. Every time they closed, they would open again. When she hugged me it hurt my ribs. I’d worn the red sport coat. She told me I looked like a million bucks.

All Dad did was say Hi. Mom looked at his face.

We walked around the hospital until we found a bench. There was a hummingbird feeder next to it, and the birds were in the air around our heads. Mom made me tell her all about school.

“… Therese choked on some glitter,” I said. “That happened. We knew all the capitals, so—”

“Look at your goddamn face,” Mom said to Dad. “I’m supposed to sit here? This is my punishment? Some Latina?  At least I loved him. You hear me? I loved him.”

For a half-second, all I could hear were the dumb hummingbirds. Then Dad yanked me up by the hand, dragged me down the main path into the hospital. He sat me on the couch in the TV room, and told me not to move or to talk with anyone. Then he went back outside to where Mom was on the bench. Through the window, I saw them walking, but then the sidewalk curved.

There were guys in the TV room. Bob and Carlos introduced themselves, and asked if the History Channel was O.K.

“I like history,” I said. I sat between them on the big red couch.

“Me too,” Bob said. He was fat, and older than Dad. “I was in it. ‘Nam. You gotta know the past, man. You gotta wrap your head around it. Otherwise, what?”

“You’re doomed,” Carlos said. His teeth were rotted out. “Otherwise that.”

“Doomed,” I said, nodding yes.

“This kid gets it,” Bob said.

The show was called “Rest & Relaxation: Love and Lust in Wartime.” It was about the American Army in the 20th Century. An old soldier was talking about a girl he’d known. Bob said he thought he knew the guy. The soldier said, no, he hadn’t met the girl in a bar. He’d met her on a jungle road. She was carrying a bucket of water on her head. He followed her to where she lived.

“You couldn’t even call that thing a hut,” he told the camera. “I stood outside of it all day. I wouldn’t leave until she took a walk with me. Finally, she did. It was nice. I don’t know. We didn’t speak the same language. Somehow we talked. There wasn’t any war when we talked. It was like we were people.”

He didn’t go on, but you could tell there was more to the story than that.

Mom came in alone to the TV room. The mascara down her cheeks looked like streaks of oil. In my head, I made a tin man joke, but it wasn’t funny. Mom saw me with Bob and Carlos, and took me by the hand.

“I don’t want you hanging out with junkies,” she said, pulling me away.

“Too late for that!” Bob shouted.

Mom said Dad was waiting in the parking lot. We had a few minutes, just the two of us. She brought me to her room. There was nothing but two beds, and a poster on the wall of a prayer to God. We sat down beside each other on her bed.

“Do you hate me?” she said.

“No.”

“Do you love me?” she said. “Do you know I love you?”

“Yes, I know,” I said. “I love you too.”

We stared at the other bed across from us. The blankets moved around some, and then a lady popped her head out from beneath the covers. She was a black lady, and she seemed tired, and scared. She didn’t say anything, just looked at Mom and me.

“Denise, this is my son, Kevin,” Mom said. “Kevin, Denise.”

Denise said that it was nice to meet me, and then she went back under the blanket.

“Denise,” Mom said. “Are you still mad at me?”

“Damn right I am,” Denise said. It sounded like she was talking into her pillow. “You’ve got problems.”

“I’m sorry,” Mom said. “I’m sorry I accused you of stealing my toothbrush.”

“That was messed up,” Denise said. “That was messed up on many levels.”

“I said I was sorry,” Mom said.

Mom tried to stop me, but I hopped down off her bed, and walked over to where Denise was. The blanket felt like cardboard. I pulled it up, and stared into her face. She looked like Mom used to sometimes in the morning, when I’d get up and find her in the kitchen, crying and talking fast to herself. I told Denise not to worry about Mom, that we weren’t racist in this family. Then I climbed into bed with her, and pulled the blanket down over us. Our faces were an inch apart.

“My girlfriend broke up with me,” I said. “She says we come from different worlds.  Maybe I hate history. Maybe it means we’re doomed.”

“You’re crazy like your mother,” Denise said, but she was smiling.

Outside, Mom said she was going to count back from ten. The blanket was thin, and let the light through. The fabric made Denise look orange. We were warm under there, and laughing, and Denise took my hand and squeezed, and I squeezed hers, and then we waited for the countdown to hit zero, and for Mom to pull off the blanket, and for all of our fun to be over.


Originally published in Tweed's Magazine of Literature & Art.


 

Late Shift

By Dan Bevacqua

I steal home in the morning to find my younger brother on his knees. Pike’s fingers are jammed into something that looks like an engine. There’s newspaper covering the floor, and he wipes the grease off his hands before eyeballing me.

“Fuck you doing here?” he says. He’s got a plug in his mouth that makes his face look deformed. We possess a history, one where I used to lock him up inside things: old dryers, closets, the trunk of my car.

“Ya-know.”

“Help me with this.”

I grab one end of the machine—it’s heavy—and we put it on the coffee table. I look at my brother, and see a worm circling his eye, a tired old blackness, like he’s been up for days, and has yet to think of sleep. I guess we aren’t meant to talk about it. This happens around here. You run into some guy you used to play with as a kid and suddenly he’s thirty and he can’t string together more than two words in a row.

Pike walks to the front window, and yanks our mother’s curtains apart. Packed snow covers the road. There’s three feet of snow over everything, and seven-foot-high drifts piled up from the DPW plows. The town gets out here after a storm, but that takes half the day, and sometimes the plow gets stuck at the turn around, and they have to call in another truck with chains just to pull them back down the mountain. A full moon is still out and the stars remain close. Dawn edges over the tree line like poison gas, orange and seeping.

“Where’s Mom?” I say.

“Fuck you think she is?”

Mom’s in her workroom, guiding a strip of black latex under the needle of her sewing machine. There’s a black Lycra full-head mask with a zipper for a mouth next to her on the table.

“Son,” she says.

I walked in on her once trying on a mask, checking its fit, and every so often that image cracks into my brain like a door swung wide open. This is what the Internet is capable of. The business started last year, when some Florida bondage swingers emailed her out of nowhere, having found Mom’s seamstress blog. Could she work with leather? they wondered. How did she feel about dog collars? Seatless chaps?

Mom powers down her sewing.

“There must be something you can do,” she says. “But no. You never lay a hand. That’s the one thing.”

I say nothing.

“Did you talk with your brother?” Mom says.

“Just now,” I say.

“You should talk with your brother.”

“I did,” I say. “I just told you I did.”

“You two don’t talk enough,” she says.

Pike knocks on the doorframe. Turns out the engine is a generator. He whirs his truck in reverse back up the drive, and we walk the generator through the mudroom door. I stand on the steps banging my gloves together until Pike asks if I need an engraved invitation.

We head to Trumbull’s. His house is a half-mile down and sits back a quarter-mile into the woods. You drive past a dozen empty cages he keeps the dogs in until mid-November, after which he boards them in an old chicken coop he’s got rigged for electric. Twice a year, the main fuse blows. Soon as one dog hears the truck they all start going, piling out the low rubber door—labs, spaniels, setters, mutts you couldn’t determine without a DNA swab—all howling and barking and yipping at the truck until Pike bangs open his door and they get a whiff of him. Then they’re quiet, leaping up onto my brother, tails wagging, tongues out—though quite a few bare their teeth at me, snarl, and growl. Their wet breath fogs the air. Their noses steam.

“Bunch a dummies,” Trumbull says. He’s got a blue thermal on. A red wool cap lays slanted and loose on his head. It looks like he’s wearing his dead wife’s house shoes, but the light’s bad. The old man goes to a pile of planks in the drive. They’re from his own barn, and I wonder if Trumbull has taken to prying off those he needs, or if he just walks around it, scavenging what the wind’s blown off. Bending over is a real production.

“Heyt!” Pike shouts at a brown mutt set to squat near his tire.

We walk around the shit to bring the generator in. Pike primes it, yanks the cord, and puts a cage over it so the dogs won’t get burned. He goes in the main house to check the wood stove situation, and I’m alone. The coop is freezing, colder than outside even. There’s straw against the walls, and open carriers, and from out of one comes a whine I can hear over the generator. In the carrier curls a spaniel, and she’s got herself wrapped around three pups blue as ice, their eyelids frozen shut. When I stick my hand in for her to smell she snarls at me. By the door hangs a pair of fireman’s gloves, and I put those on over my own, even though it turns out for nothing. Once my hands are around her she stops moving, goes limp like a sleeping baby. She’s bled too much, and I can smell the rot. I grab her around the neck. There are things you feel like you should do as if someone were watching you, and then there is a thing like this, where you have to do it because you owe the world, and if you don’t do it some other judgment will come down upon you. And after it’s over you can’t speak of it, or that would mean to break the pact you’ve made.

I trek back the quarter-mile through the deep snow of the field to Trumbull’s door. Pike’s stacked the loose barn wood in a pile by the stove. The fire’s going, and I warm by it.

“Still down there at the school?” Trumbull asks.

I tell him sure, nights. I push a broom around. I wax some.

“That’s a good job,” he says, like there is such a thing.

He does have his wife’s shoes on. They’re green, and they’ve got little red dazzlers on them that are supposed to look like rubies, and—hell, maybe shine just like rubies would, I don’t know. Him and Pike drink from tin cups. Trumbull offers, but I see where the day would end up, and I don’t like the idea.

“I got work,” Pike says, and we go. A cloud mass has come through. It’s part two of the storm, and big, wet flakes arrive, pushed aside by the wiper blades. Back at the house, Mom’s got her door shut, Pike’s long gone, and I can only stand five minutes of the television before I’m off too, back down the mountain to town.


She’s kept her word. All their stuff’s gone from the rental. Most of the drawers were hers, and the whole closet, and for the first time since I put the money down the place feels big, and not like it’s about to cinch up all around me, cutting off the air. There’s just some toys in his room, packed in a box labeled DISHWARE. The box sits half open in the middle of the floor, as if at any moment he’ll crawl over, and pull himself up by the flap, clutching everything out until it’s empty, and then turn the damn thing over on himself to sit in the dark the way he likes, not wanting to be found.

He gets HIDE, but not SEEK. If you flip the bathroom light on him while he’s laid down in the clawfoot, he’ll shout, “No! No! No!” until the light’s back off and the door’s shut tight. I wonder if people truly grow up, or if they just get bigger, and crazier, and what the difference is? There’s always one parent who gets most of the blame, and I guess I’ll be that. All I did was grab him, and he fell, but I can’t quite recall, and she says otherwise—like she’s a saint. My father hit me with a bat once. I still cranked up the morphine when it was time. I still buried him.


I drive to her work in the late afternoon. The snow keeps coming, but the good of it is done. Rain mixes in now. If I don’t hit the fluid, the windshield ices, and I can’t see across the road to where she glides behind the window, desk to copier, copier to desk. That guy Gene talks with her more than I’d like. I’ve made a silent bargain with her. She needs more than I can give, and I let her think that I don’t know this about her, and that I’m a fool. She’s happiest this way, believing she has secrets.

It’s a hundred percent night when Gene steps out, always the first to leave, I know. He sees my car in the gas station lot, and gets some kind of Friday courage going to cross the road my way. He’s under a black umbrella, a tine or two ripped through, and halfway to me when I roll down the window, and shout, “Go home, Gene. Get in your car, and go.” Gene does what he is told.


Normally, I’ll have a drink before I head to work, but today I make it so I don’t have time. The truth is I’m early. From my car, I watch the school lot being plowed. I drink coffee from a giant polyurethane cup. The storm’s moved east, and in its wake the temperature has gone up so that you might not need a hat. Whoever it is that forgets and leaves the field lights on has done it again. Through the rearview, I watch it gleam. There’s a thin layer of ice, and beneath that the heavier snow. All lit up, you could walk across the field, hike over the embankment, and go along the river’s edge to nowhere.

The plow has done enough. A dark blue van pulls into the lot, and sits idling twenty yards across from me. I see kids, of course, if they’re doing afterschool stuff, sports, plays, whatever strange programs they keep the good ones busy with until it’s time for home and dinner, but these don’t normally say hello, which is just as well, since I wouldn’t have any idea what to talk with them about. What these particular children don’t know frightens me. I’m scared for them, and their whole long lives. I prefer the unluckiest, those kids who get loaded onto smaller buses last, hydraulic-lifts set down, their aides like day-mothers locking wheels into place. An earlier shift means we sometimes cross paths. I know a few of the aides, they’re women I graduated with, and maybe it’s the hellos they offer that gets the kids to notice me, but I think it’s something else. The kids aren’t sweet, or child-like, really. Their bodies twist. They’re pale, and have no words. But they see me. They have eyes, some, and the ones who do moan and shriek as I come near, not because they’re worried, or afraid, but just to say hello, and to be looked at by me, and be spoken to. They sense we come from the same place down inside the world, is the thing, and that I know that, and that I know we’re all human, too, if that makes any sense, and despite everything.

If I go back to those meetings like she wants, I’ll hear talk of gratitude, and sooner or later some idiot will stand up, and jabber on about how he’s happy he’s got legs, because he saw a girl on the news without any, and he’ll say how grateful to God he feels being able to walk from his car to the church and back, and all of that. But that isn’t being grateful. It’s nothing to do with what you have or haven’t got. It’s what you are.

Because of those kids, I know what this van’s all about. The automatic door slides open. The boy’s in his chair behind the grate and roll bar. His head lolls with anticipation as the machine unfolds, and lowers him to the ground. His father—I can just tell—comes around from the driver’s side, a tall, thin man whose hair is a premature gray. It’s just the two of them, and the father sets to work, toggling a knob so the lift sets the boy down even. There’s a problem though. The front gate of the boy’s rig won’t drawbridge, and he’s trapped for a moment on the platform. He looks caged. He starts to groan, and thrash his torso from side to side. The father puts a soft hand on him, and whispers, and just as suddenly as he began the boy goes quiet as the father bends down to check the gate.

As I walk by them, the father manuals a pin, and the boy wheels himself into the lot. He’s got the use of one finger taped to a joystick, I think, or he does it with the tube near his mouth. He can’t be more than eleven, which makes him a few grades shy of the kids at this school. I’ve never seen him before. The father stands up, and we look at one another through the security light. He’s got the kind, pinched eyes of a bookworm. His fleece looks pricey. I give the oversized key ring one big loop around my finger to let him know I belong.

“Heyt,” I say softly.

“Hello,” he says back.

We’re good.

The boy’s doing loops in the still snowy lot, carving out infinity.

“All right, all right,” the father says. “Hold your horses. Wheel that bad boy over here.” He goes to the back of the van, and opens up the door there, and the last thing I see before I head into work is a long red metal box he’s setting to the ground, and the boy zipping over like he’s on a string.

Inside, I do the bathrooms first, because it’s best to get the bad news before the good. There is a projectile mess on the wall of the second floor boys’ room that I don’t investigate too closely, only plug my nose against, and hose down. The girls’ rooms are even worse, only more contained, and they use five times the amount of toilet paper as the boys. It is a normal night, like any other. I dump the trash into my cart. I sweep the classrooms. I mop the hallways extra careful because it’s the weekend, and I have to buff the wax. It’s the usual—the only difference being that when I leave and go home there won’t be anyone waiting. It will only be me, alone with my choices. They’re fewer now thanks to him, but no less difficult to make, although maybe that’s a lie. It’s always the same question, really. Always has been. The same question again and again and forever: this life right here, or another?

Head down, I buff the sixth grade wing, and make my way across the glass bridge to the seventh. The bridge is fifty feet long, suspended above a courtyard where the kids gather in the morning before school. Except for the floor, it is completely transparent, made out of several hundred square-foot windows. It’s wide enough for eight children to walk through shoulder to shoulder. It’s as tall as two men. On sunny days, light makes the bridge seem like a greenhouse, and it gives off a humid scent. I’ve watched rain so heavy it covered the glass like a clear blanket, and poured off the sides in great lariats to whip the asphalt below. Tonight, like most nights, the fluorescents are dimmed, and give off a buggy pulse. The air outside brings the last flutter of the last dying bit of snow. It is not much brighter here inside than in the dark out, and there is the feeling, as I raise my head from the machine, that there isn’t a difference between the two.

I look from the bridge to the still-lit field, and I see them. On top of the embankment, piled a story high with snow. I follow their tracks from the lot through the field, and I notice the rope beside the father. He’s wearing skis, and the boy’s chair is equipped the same too. I notice his wheels in a pile by the van, and look back to the embankment. The boy is in front, and the father directly behind, his hands gripped onto the sides of the chair. I can see the boy’s face screaming with excitement and want. The father is nervous, but smiling, a child himself now. I click off the buffer as if to wish them well. The father says a word, and then they rock once, twice, and on the third time they’re off, slow at first, but picking up speed as they go, faster and faster, and quickly now, all their weight with them as they zoom down the last of the embankment and enter the flat shining field, the pair of them shining too, father and son, together, and even faster now, faster and faster, as they race across the gleam.


Published previously in New Orleans Review and Electric Literature's Recommended Reading. Follow the link to EL for an editor's note from Adam Wilson.


 

Portrait of the Writer, As

If you had been in the classroom with me last week, where I sat spotlighted by a harsh, bright bulb, you might have heard some version of the following sentences uttered by my friend Adam, who was leading the small workshop of six artists involved in the project of painting my portrait:

"I brought in Dave because he is so angular."

"You can use the point where his jawline meets his earlobe to find the plane where his nostril should go."

"Don't think of 'glasses' or 'hat' or 'nose.' Just think of his face as a giant jig-saw puzzle of shape and color."

"It may help to think of his eyeglass lenses as mini abstract-expressionist paintings."

The students, most of whom were high-school art instructors, stared at my brightly-lit visage and nodded at Adam's words or dabbed brushes onto their palettes and sighed heavily because maybe they weren't getting it, or maybe they were, but they couldn't turn it out on the canvas. 

"I'm not sure what I'm doing here," said one of the students, which made me a little self-conscious, like I was culpable in some way. Something about my face, perhaps. (The guilt complex in me is strong.) I wanted to say, "I'm sorry! Look, don't worry: it's not you, it's me. I've got uneven ears. They've been that way ever since I fell against a fireplace when I was two. Listen to me: it's not your fault." 

I'm used to being the one capturing my image. I'm used to finessing it and loading it onto a screen and tweaking it and making it become the image I want it to be. I'm used to my own objectification of myself through various digital-imaging means. But this business of being painted by others is entirely different. The level of objectification, much more strange and intense. 

And look, the truth is: I kind of liked it. I liked being closely observed. I liked being intensely examined. I liked people talking about my nostrils and Adam's apple. In some ways, I think I always want to be the object in somebody else's painting. I find it self-affirming. Either this, or I am an attention whore. Take your pick. I mean, I've always known I have an exhibitionist bent, but it's only matched by my annoyance at being sized up by strangers in public. So it's weird to me that I feel this way about the thing. 

We took breaks every 20 minutes during the two-hour session so I could move around and stretch. During these periods, I could have gone and looked at the paintings, but I was afraid my reaction would psyche out the artists. I don't like it when people look over my shoulder while I'm writing, so I figured they might feel the same way about painting. So for the entire two hours, I remained on my side of the room, looking only at the back of the six individual canvases and wondering who the guy was on the other side.

When I finally walked around and viewed the end products, I was surprised not only by how good they were, but also how remarkably different and unique each one was. That's one thing you get in painting that you don't get in photography. With photographs, you might capture different "moods." You might show personality through placement of lens and lighting and motion, but if six different photographers took six photographs of the same thing at the same time from six slightly different stations, they would essentially be the same object. Not so with the painted portraits. Each one was an entirely different person with his own personality and backstory. 

And I'm going to introduce you to those people now:

The Disciplined Dog Walker

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In high school, girls used to call this guy up all the time to talk about their goddamned boyfriends, which caused him to turn completely grey by the age of eighteen. They all signed his yearbook and said he was "Sweet." He was supremely disciplined. His brown Delta 88 Oldsmobile got him to 5 am (and 5 pm) swim practice on time. He ate dinner promptly at 7:45 so he could start his homework no later than 9 PM and be in bed by eleven. Today, he owns his own dog-walking and dog-boarding business and he makes sure all the dogs that stay with him maintain a proper schedule: Breakfast is at 7 am. Dinner at 7 pm. Walks at 11 am and 3pm. Ball game at noon. Even though he is now 39, he still looks eighteen and he gets carded whenever he "lets loose" and orders his weekly Amaretto Sour at his "local" on Friday nights. Being carded doesn't really make him mad or annoyed so much as confused because, what the fuck, people? Do you not see the grey in my goatee?

 

The Sketchy American (Wannabe French) Photographer

This dude hangs out in the Jardin du Luxembourg and asks women in a heavy American accent je prends tu photo?? He rolls his own cigarettes and he always exhales smoke through his nostrils. Either that, or he talks through an exhale so that you never actually see the smoke come out. He has an earthy smell to him that might be musky and alluring (and maybe even a little sexy) if it weren't completely disgusting. He's got a collection of fountain pens and old film cameras back in his flat that he would like to show you. 

 

 

 

 

The Coffee-Shop Coder and Cookie Taster

This guy hangs out in a coffee shop all day and pretends to build Web sites, but really he just talks to the baristas and gets them to give him free scones and muffins. He also has a crush on a bored, rich housewife named Carmella who comes in every morning at 9:30 after her yoga session. The most he has ever said to her is, "I like your iPhone case." By the time 3:30 rolls around he is so jacked-up on sugar and caffeine, he starts working on his erotic Sci-Fi novel that takes place in a coffee shop in 2105. The main character is a misunderstood programmer and his business partner, Carmellina, who has a proclivity for lesbian porn, six-inch heels, and low, v-cut sweaters. 

 

 

 

The Angry Alcoholic

This dude got roughly "escorted" out of an Irish bar two weeks ago when he told a bouncer to "fuck off." Instead of being ashamed for losing his temper, he's proud that it took a total of three of those bastards to get him to the parking lot. He still wishes he had busted the one guy's nose with the back of his head. He is a security contractor for a Federal government agency who can't fire him because they are afraid of what he knows and that they will be sued. Once, on a dreary Sunday afternoon, he passed out into a glass of Jameson and broke a tooth. He spit the tooth fragment into the sink and chopped it up in the disposal. Then he read Bukowski poems to his dog in his underwear.

 

 

 

The Protective Family Man

This guy saw Rocky eight times in the theater and now owns the box set on VHS, DVD, and he hopes he has managed to get a copy in the iCloud. He is married with three daughters. His two eldest will kill him with the boys they bring home. The punks. He always puts a bat by the door when they come in the house. About ten years ago, on Fourth of July, the neighbor's kid kept racing his vintage Trans Am up and down the street and so he got his shotgun and stood in the road and, as that car barreled down on him he lifted the gun's barrel at the windshield and the car screeched to a stop and the kid inside yelled out the window, "Dude, what the fuck  man? Are you crazy?" And the guy said, "My kids play on this street, motherfucker. Slow the fuck down." 

 

 

 

The Crunchy Pot Smoker 

This guy hasn't worn a pair of underwear since 2005. He usually listens to Lawn Boy in the early morning and Billy Breathes in the afternoon. He washes his wool socks in the sink each evening and dries them on the radiator overnight. He works in an REI and on his days off he and his buddy Scott get high and repel off the roof of Scott's parent's three-story house. He once spilled bong water on his couch, which was the same night he found a kitten in his backyard and named it Stoney, so he thinks it might have been a good omen.


Originally published on David's blog October 30th, 2013.


Three new pieces are available from David Olimpio via Awst Press's Author Collection!

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Send in the Clowns

by David Olimpio

Words are Stunt Doubles

I am always saying things I don't want to be saying. 

I mean, that's not really quite it. 

Let me try it another way:  The things I am saying always seem to be standing in for the actual things I want to be saying. Like stunt-doubles.

Stunt doubles? Really? What is wrong with me? 

Look, here's the thing: Even when I carefully think it out. (Especially when I carefully think it out.) Even when there is word efficiency and sentence economy. Even when I cut to the chase in 140 characters or less and just say it. As in: Here is the thing I want to be saying. 

Even when I do that, it doesn't quite nail it. 

And so, in a nutshell (left on the three-ring circus floor), this is why I like clowns. 

***

A Clown Room, By Any Other Name

Grandpa had a clown room. It was exactly as it sounds: A room full of clowns. And we called it The Clown Room. The bookshelves were covered with clown statuettes: Ceramic, bronze, gold, papier-mâché. Clowns in various states of clownery. Bashful clown. Sad clown. Clown holding balloons. Clown dancing. Clown kissing. They weren't just on the shelves, either. They hung from the ceiling on trapeze swings. They sat on the floor. In the chair. There was a clown embroidered pillow. There were clown portraits, framed and mounted on the wall. Famous clowns. Archetypal clowns. Bozo. Weary Willie.

The room had other names, too. One of the names given to it was David's Room, which referred to me. It received this designation shortly after I was born. And the name and event were commemorated with a plastic yellow nameplate that had an antique car on it. The nameplate said: David's Room.

The Clown Room became David's Room not because I was a clown or had clown-like tendencies. It's just where they put my crib when I would stay at my grandparent's house as a baby. The Clown Room had fewer clowns in it then, in 1973. The clown population of that room grew in direct relation to my hormones. And so, as you can imagine, by the time I was a teenager, The Clown Room had become entirely overrun with clowns. 

There were two clowns I especially liked as a toddler. One was a little toy: a skinny clown that hung from a high bar. You could press a button and the clown would flip over the bar like a gymnast. The other was just a big clown head, and it hung proudly (and loudly) on the front door of The Clown Room. When you pressed the nose, the nose lit up and a tune played. I desperately wish the tune had been "Send in the Clowns" but I'm pretty sure it wasn't. 

The Clown Room had one other name during my lifetime, which was, simply, "Inside." The TV was in The Clown Room, and when my grandparents were done with dinner and had made some after-dinner coffee and had some fruit, grandpa would say, "Do you want to go 'Inside' and watch some boob-tubes?" My grandparents were some of the most interesting users of language I know. Referring to a room as "Inside" when in fact the entire house was "Inside" seemed revolutionary to me. It required "inside knowledge." It was like a secret code. And I liked being part of it. 

Before "The Clown Room" was "David's Room" or "Inside," before it was even "The Clown Room," before there were hundreds and hundreds of clowns in there, before I slept there in a crib and made baby poop within its four walls—before all these things—the room belonged to my dad and his brother Benny. And so I guess then it would have been "The Boy's Bedroom." My dad in and his brother moved into the room when my grandparents bought the house, sometime in 1958, when my dad was eleven years old. He went through puberty in that room. He probably pined over girls in that room. He listened to hours of radio in that room. 

Today the room is somebody else's room. The house is somebody else's house. The room might have a name, or it might not. It might be a room where somebody sleeps at night. Or it might be a room where one man, who lives with his wife and two dogs, keeps a collection cicadas. Or trains. Today, it doesn't really matter what we call The Clown Room. After all, a Clown Room, by any other name is just as full of happiness. Just as full of woe. Just as full of life and dying. Just as full of memories. 

A Clown Room, by any other name, is still a Clown Room. 

It's just some words we're using in place of the thing we really want to be saying.

***

Good Clowns are Scary Clowns

There's an article out in the August Smithsonian magazine called "The History and Psychology of Clowns Being Scary" by Linda Rodriguez McRobbie and, in it, psychologist Dr. Brenda Wiederhold says, "[The fear of clowns] starts normally in children about the age of two, when they get anxiety about being around strangers, too. At that age, children's minds are still developing, there's a little bit of a blend and they're not always able to separate fantasy from reality." According to the article, people who go on to be fearful of clowns in adulthood "are unsettled by the clown’s face-paint and the inability to read genuine emotion on a clown’s face, as well as the perception that clowns are able to engage in manic behavior, often without consequences."

I never developed a fear of clowns the way some children do. Or maybe it's more accurate to say: They pretty much scared the shit out of me, but I liked it. I don't necessarily attribute this to spending my baby years in Grandpa's Clown Room, but it couldn't have hurt, right? 

I remember going to the circus once with Grandpa. He was very excited to introduce me to circus clowns. We watched them do the clown-car bit, where clowns just keep streaming out of an impossibly small car. The clowns then spread out among the crowd, and one actually came and engaged with us in our row. I remember how it was impossible to read that clowns face. How it seemed impenetrable. I could tell it belonged to a real person, but somehow the person didn't seem real. He seemed larger than life and threatening and ungovernable. It seemed entirely possible (and plausible) that he might do absolutely anything, like reach into his own throat and just yank out a screaming bunny or something. 

I don't think I shit myself. 

Clowns are unsettling because there is a real person under the make-up, a real person with real and complicated emotions and desires, and yet permanently painted on that person's face is either a smile or a frown or laughter or crying. The clown is, at the same time, himself and not himself. He is, on the one hand, a person directly engaging with us, speaking to us, possibly even touching us. And yet he is a person who is entirely removed from us and unknown. Not just unknown, but incapable of being known. There is scariness in that. It makes us feel vulnerable. Makes us distrust our own instincts. One impulse telling us to run, and another telling us it's okay: this is safe. Clowns make us fear what we do not know. About them. About ourselves.

But where there is danger, there is also remarkable beauty, if you care to look for it.  All good art is dangerous art. And all good clowns are scary clowns. Not because they necessarily set out to be scary clowns. But because clowns are, almost out of necessity, scary.

In the Smithsonian article, McRobbie writes: "So the question is, when did the clown, supposedly a jolly figure of innocuous, kid-friendly entertainment, become so weighed down by fear and sadness? When did clowns become so dark?" And then she answers that with this hypothesis: "Maybe they always have been.”

A friend recently reminded me of the clown scene in Dumbo. I hadn't remembered it, but when I played it, the scene came rushing back to me. I remember feeling kind of scared and sad at this part as a kid. It's scary humor, isn't it? Not because the clowns necessarily look scary, but it's in how they behave: erratic, with a sort of willful thoughtlessness. A sort of intentional disregard for safety bordering on cruelty, which is at odds with the fact they are playing firemen. The part where they're getting out of their clown costumes at the end only emphasizes how we feel a distance from them. We feel like, even without the clown outfits, they're still clowns. They're still unknown. 

I like when there are tensions between how a thing appears, and what the thing makes you feel or think. I like feeling unsettled by it. In a recent RadioLab episode called "Blood," Robert Krulwich remarks on how sometimes "The thing that scares you most is also so absurdly frightening that you laugh at the same time."

Clowns can make us laugh, even when we feel like screaming, in part because of the absurdity. The painted face in permanent smile or permanent frown, the make-up covering up the true mood and character of the person underneath. A sad face that shows no sadness, as the person wearing it sprays another clown with seltzer water. A smiling face that shows no smiles, as the person wearing it kicks another clown in the butt. 

Clowns are almost never saying the thing they want to be saying. And that's partly how they make us feel the way they do.

***

It's Always Hot in Dallas in June

When Grandpa was struggling with his last breathes in the hospital, one of the things on his mind was pizza. Specifically, the making of pizza. The making of pizza for me and for other family members—my dad, my brother—people who were coming to visit him in the hospital that weekend. 

He wanted to set up the room next to his with a table and, the way he figured it, it would be sort of like a party. He reminded my grandmother of the things she would need to buy at the store to make the pizzas. Which stores had the the best ingredients. Where she might be able to find the best price on mozzarella. 

Talking about pizza was probably one of Grandpa's favorite things to talk about. That and fruit. He liked describing the way a thing tasted or the way it felt. He'd often furrow his brow and rub his fingers together when describing something that tasted truly remarkable, but which he couldn't quite label with a word. Food was visceral. Food was everything. 

His enjoyment of food was only matched by his enjoyment of numbers. He could tell you that apples were $1.39 a pound at Giant and he knew whether or not that was a good price. He also probably knew that they were $1.19 at Kroger, cheaper sure, but not as good. He had a brain for all this stuff because he had been a produce man at Grand Union. He bought produce for a living. To him, food and prices were inseparable. 

I wrote these words, exactly like this, on some paper on June 7th, 2002, the day Grandpa died:

Grandpa died today. I flew into Washington at noon to find out that he had taken a turn for the worse and the doctors did not think he would make it through the night. He didn't.

When I first got to the room and saw him lying in the bed, I was a little shocked. He was struggling for each breath he took—breathing in this eerie, mechanical way, like you would imagine a machine to breath, if a machine could breath. Of course it's perfectly unnatural for a machine to breath. That's how this was. You could see his lungs and rib cage expand with each breath he took—and you could see his frail heart beating rapidly from underneath the sheets.

He was sleeping when I arrived, but woke up for about 30 minutes, during which time I got to say some things to him, and he tried to say some things to me, though it was very hard for him to talk without his dentures in. I think he asked me if it was hot in Dallas, a typical question for him to ask. I held his hand—told him I loved him. His face was caved in without his dentures. He had a few days stubble on his chin and cheeks—something I'd never seen on grandpa before. He already resembled a skeleton lying there—you could make out his bones beneath the blankets. His legs were as thin and bony as my forearms. 

It took every ounce of strength for him to speak.

But he did speak—and even spoke my name. I think it was meant to be that I would arrive here today—be able to share some last words with him. Hold him. 

My Grandpa's brain was always a couple of steps ahead of every situation, working out logistical problems. He was always thinking, always plotting about what to do next. Next in life. Next in the day. And the main subject that kept his brain occupied was his family. I imagine one of the reasons he found death so hard to do was that he wanted to be there to do things for them—for us. To welcome us as we came to visit him in the hospital. To bake some pizza pies for us. To ask us how we were doing. To just sit and be with us and eat some fruit.

To ask how the weather was in Dallas.

***

Send in the Rodeo Clowns

I had a step-brother who used to ride bulls in the rodeo. He got stepped on by a bull once. Stomped right on his chest. It actually left an imprint. Rodeo clowns are part of what saved him. Rodeo clowns save riders like him all the time from being mauled by bulls. They distract the bull. Like a stunt double. They offer it something on which it can focus its rage.

After Grandpa woke up briefly and said my name and asked me how the weather was in Dallas, he didn't wake up again. He just fell back into that weird mechanical breathing until a few hours later, he stopped. And when he stopped it wasn't terrible. It just happened. And it was peaceful. There was a final exhale, and there was a wrinkle of his forehead as his lungs failed to draw another breath, and a screwing up of his lips, sort of like, well shit, this sucks. And then the wrinkle went away and the lips softened and then that was it.

Maybe one of the things Grandpa liked about clowns was their ability to find lightness in heavy situations. To wear one expression while feeling another. I really don't think he saw the scary in them. I think he may have seen the opposite: something more akin to bravery. A sort of selflessness in making people feel good,even in terrible situations. Of distraction: of painting over the terrible and the tragic with the everyday and the hope and the good. The way they confronted fear and sadness and despair with levity, and, in this way, transcended it all. Maybe, for this reason, they actually comforted him. Maybe he longed to be like that. 

I've never felt more at peace with dying than when I watched my grandfather do it. For the first time, it didn't seem that bad to me. For the first time, it seemed good and natural. For the first time I felt comfortable with the idea that I would be doing that one day and when I did it, it would suck, yes, but then it would happen and life would keep doing the things life does and it would be exceptionally unremarkable and entirely okay. 

I can't quite get the feeling back today. It's hard for me to remember it. To bring it to mind. But I know I felt it, and I know I felt a sort of peace, and not sadness. Which is the final thing I owe him thanks for, because I know it was him that made me feel it. This sort of sense that, look this whole thing sucks and it's a real goddamn bitch, and shit I'm sorry I've got to go, but you know what? It's all okay in the end.

And anyway: Is it hot in Dallas?

When Grandpa died, somebody, somewhere was playing "Send in the Clowns." Somebody was buying apples at Giant at a pretty good price. And on June 7th, 2002 according to the Farmer's Almanac, it was sunny with a high of 91 degrees at Love Field, which really isn't that hot, for Dallas.


"Send in the Clowns" was previously published online August 20, 2013. 


Three new pieces are available from David Olimpio via Awst Press's Author Collection!

Click below to get it!

Songs about Trains

By David Olimpio

I: Magic

I've always had a deep, nagging sense that I missed my potential in one glaring aspect of my life, namely, that I could have been—no, that I should have been—somebody who knew more about trains. As I go about writing my memoir one day, as I no-doubt will, coffee-shop sitting, hopefully not in—but let's face it probably precisely in—Florida, wearing pants that are clean and freshly unsodden, my professorial visage spruced and dapper, and cleaved of impossible ear and nose hair, glancing over my laptop screen (and reading glasses) at women half my age who will be smiling at me with smiles not dangerous, the way the best smiles are, but sympathetic, the way smiles happen when they are directed at a kitten, or a baby, as I sit there putting the final touches on Chapter Seven: "The Day I Jumped into the Pool Without My Floaties" and before beginning Chapter Eight: "And Then God Gave Me Erections," I will take off my half-specs, slide my full-specs down off my head onto my nose, lean back in my chair, and reflect on the fact that I never became a great collector of, or expert in, things train-related.

Things started out good for me. My parents bought me an O-Scale train set at an early age. I remember the way the metal track joined together. The way the engine smelled and how surprisingly heavy it was in my hand. I remember the drops of oil you could put in the engine's smoke stack to make it puff real smoke. I remember my dad and I painting green one side of a giant, thin piece of wood to make the base of the layout. And I remember, after it was all put together, slowly moving the red throttle on the electric control, and feeling tremendous and powerful as the train began to move, the excitement of watching it snake around the train town, me the conductor. 

And here's the weird thing: Is there anything less exciting than watching a train move, really? Golf, maybe? Turtle staring contests? Ice cream drip races? And yet there's a sort of universal fascination kids have in seeing a train. Today, if I have to stop to wait for a train to cross the road, I wonder what I've done to deserve such injustice, I go through the five stages of grief, beginning with denial: There is no train crossing the road. (For the sake of the drivers around me, I leave off the two additional stages I've tacked on: Heroic Wailing and Unbridled Promiscuity.) But when I was a kid, I used to hope and pray for those black-and-white railroad crossing arms to drop. I used to love hearing the bells. The whistle. My favorite part was seeing the caboose.

Listen: Kids love trains. 

Before they are even aware of the romance surrounding trains. Or the metaphors they've come to represent in literature and movies. Or the influence they've had on art and life and culture. They see a train, and they are held breathless for a moment. They see a train, and they see something grand and magical and they know it is a thing to behold.

***

2: Passion

My sister's dad, Jim, takes photos of trains. Specifically, he takes photos of trains in the Pacific Northwest. He has done this for many years, and these days, in his retirement, he even earns  money off of this pursuit. He is known in train circles. He has  a book—one, even, that somebody else published for him. But for a long time, he just took photos of trains because he liked to do it. His government job afforded him three-month periods of time off, and while some people might spend that time golfing, or investing in rounds of drinks for friends, or shooting pool, he spent a good deal of it driving America's highways and photographing trains, mostly in the Pacific Northwest, even when he lived on the opposite side of the country. There might be a specific train or a specific location that he wanted to capture and so he would go there and capture it. 

jim-book-284.jpg

It takes a certain kind of resolve to do this. I mean, doesn't it? To set aside things in your life and take time out of your schedule to go and do something like photograph a train? On the one hand, it seems absolutely crazy. On the other hand, it seems so entirely purposeful and real and committed. There are so many things we do that have a clear-cut "why" in life. Why do we work jobs, even some jobs that we hate? So we can put food on our tables. Why do we invest in gym memberships and suffer miles plodding on treadmills? To have better health and to "look and feel better." Why does one person drive cross-country, again and again, sinking money into gas and hotel rooms, spending hours looking at asphalt and flat, boring countryside, to take photos of trains? I'm still not entirely sure, but one thing I do know: Fame and fortune ain't it. And I respect that.

I've always had a sort of fascination with my sister's dad for doing train photography, and have always felt a sort of admiration of him for it, even though I never knew him that well. He took on a sort of "mythic" status for me as a kid, not only because of the train photography, but also because Jim cuts a large and intimidating presence in the photos my sister has of him. In many of them, he had a thick, mysterious beard and a strong, quiet gaze. I knew he'd been to Vietnam and he always looked like he'd seen things that he didn't want to talk about. I ascribed certain characteristics upon him, of honor and loyalty and dedication, characteristics I had no idea if he had or not. But in my head, it's who he was, and in some weird way, who I wanted to be.

Lately, Jim's train photography has been a particular source of inspiration to me. It has reminded me of this thing I spend time doing: staring at a blank screen, filling it with words I find, then erasing them, then finding different ones, cutting and pasting them, stopping, starting over. Doing it despite the fact that nobody really cares if I do it. Despite the fact that nobody is paying me to do it. And writing isn't the only thing: The photos of my dogs (files and files of them now.) The photos of hydrants (growing in number and disorganization.) I mean, the only reason I probably continue to do any of these things is because they all require very little financial investment. If I felt compelled to drive cross-country to get a photo of a particular hydrant? To book hotel rooms and to stay for days away from my spouse? Well, for one thing, I would probably be divorced.  

There's certainly more credibility in documenting America's trains than there is in documenting America's fire hydrants. I don't mean to compare the two things. Besides which, what I do is not really documenting, so much. I am not all that preoccupied by the facts of fire hydrants. I'm more interested in them for how they look. But still, you get what I'm saying: WHY? WHY DO IT? And more important than that: How do you convince yourself it should be done when nobody is out there expecting it from you?

I don't know if Jim would necessarily see it this way, but for me, his photographing of trains has always been a metaphor for a self-made life and a self-made existence. It has represented a sort of heroic, dedication to art, and to the pursuit of passion. 

And, by God, if I do nothing else in this life, I want to be somebody who does the photographing of trains.

At our best, we can all be kids at a railroad crossing watching trains. At our worst, we can decide that watching trains is a useless activity. Because it is devoid of financial incentive. It is lacking in any higher purpose.

But look: nobody is paying us to watch TV. 

Nobody is paying us to read crap on the Internet.

There is nothing inherently better about participating in somebody else's worldview instead of your own.

***

III: The Big F'ing Story

Jim was married to my mom before my father and her got married. And, for this reason, he has wound up being, for me, a sort of "gateway" to my earlier mom. Because before Jim took great photos of trains and railroads in the Pacific Northwest, he took photos of her. This younger mom. This teen-aged mom. This mom that existed nearly twenty years before I was born. I am tremendously grateful to him for these photos of her, and I am so glad I have some of them today. 

scan0031_284.jpg

Recently, Jim drove a desk that belonged to my mom to his home in Virginia from my sister's house in Dallas, where it's been for the last few years since my mom's  death. He drove it in his van, a van often full of train photos and other train accoutrement, but which this time was empty and therefore capable of desk-smuggling. 

I drove down to his house a few weeks ago to pick up the desk, and while I was there, he gave me a tour of his basement, which is essentially a giant museum of brass model trains. They are on display behind glass cases that line nearly every wall. Train after train after train. And he knows the name of each one, the type of engine, when it ran, where it ran, on what railroad it ran, whether it was a passenger train or cargo train. Some of the trains he has on display are painted, and some of them are just shiny brass. But each one has a story and when all the stories are put together in one room, it is an impressive thing to see. 

There is an inherent sense of "quest" in collecting things, of chasing a thing you are wanting to find. Chasing a thing you are needing to find. Sometimes it's a thing you don't even know exists. Melville knew about this. It's the premise of Moby Dick. And another lesser known, but possibly more ambitious Pierre, or The Ambiguities. The key word with Melville was "inscrutable." (It's a fun game to see how many times you can spot that word in Pierre.) And his characters are often looking for something that is there, right there in front of them, and yet can't be seen. 

Here's a list of all the things I've collected at one point in my life, in approximate chronological order: 

  1. Stuffed animals 
  2. Keychains 
  3. Rabbit's feet
  4. Baseball cards
  5. Football cards
  6. Anything involving the Pittsburgh Steelers or Dallas Cowboys
  7. Matchbox cars
  8. Model Trains and model-train accoutrement
  9. Star Wars action figures
  10. Other types of action figures
  11. Tonka Trucks
  12. Plastic Military Men
  13. Garbage Pail Kids
  14. Paint Pens
  15. Role-Playing Games
  16. Lead Civil-War Figurines
  17. Mobile Phones
  18. Shot glasses
  19. Empty Beer Bottles
  20. Fire Hydrant Photos    

Michelangelo described sculpture as finding something that was already there. As both a literal and figurative "cutting away" of all the parts that didn't belong. Collecting is kind of like that, too. It is finding the stuff that was already there, but putting it with other stuff so that it takes on greater significance. 

Writing can be like that, too. A lot of the time, writing is piecing together the stuff that was already there, and doing it in such a way that it makes sense and forms a story. Sometimes that story is about a cat in a tree. Sometimes it's about losing a parent. 

And sometimes it's about trains.

There's something impressive about seeing all of Jim's trains in the same room together, but there's also something incredibly messy and chaotic and overwhelming about it. Which is the same way stories are. But it's powerful. And either way it tells the story that needs to be told. 

And look: that's what this thing is, this act of collecting. This act of acquiring. Or of taking photos. Or of organizing words. It can seem all messy while you're doing it. It can seem like maybe it isn't worth it. But then one day, there it is: all the things all together. And it makes a sort of sense to look at it. And if it's about trains, we can point to it and say, look! Look at all these things about trains! Do you see? And doesn't it  mean something? 

And the answer is: yes. The answer is: yes it does. It does mean something.

It has to. It has to mean something. Because we've spent hours, possibly even days, chasing the idea, reading about something, exploring how to turn it into words. Or images. Or photographs. Hoping the thing is there, in the end. It's an act of trust. You're hoping that the time you spend chasing the idea will lead to something fruitful. Because if it doesn't? Well shit, you just spent an afternoon writing words on a screen about nothing. When you could have been paying your bills. Or making money to pay your bills.

Sometimes it's a dead end. Sometimes, you spend days chasing a thing and you realize it has no place in the wider collection, the larger work, the broader essay. And if you let it, that can fucking defeat you. Truly. That can make you feel like you've wasted  a tremendous amount of time chasing something that was never there. But the fact is, you didn't know. You didn't know until you looked for it. You didn't know until you started cutting away the other shit. You didn't know until you chased the idea down and found out exactly what it was and how exactly it could fit into the overall Big F'ing Story

Listen to me: there is a Big F'ing Story about trains, just as there is a Big F'ing Story about everything. And it's made up of a bunch of little f'ing stories

The little boy seeing a a train for the first time at a railroad crossing and feeling its power in his bones. The little girl, whose father worked for the railroad inspecting tracks and who forgot to pick her up one evening at the train station where she was waiting for  him, and so she walked, sad, back to her grandparent's house. The boy and his father throttling a train around a train town in their second-story game room. The mother and her son riding a miniature train around a zoo in New Jersey. 

The ride we took on Japan's shinkansen from Tokyo to Kyoto in 2007.

The ride we took from York to Edinburgh in 2013. 

The train in Plano, TX that rumbled by the house where my mom spent the final years of her life.

The Mid-town Direct from The City to South Orange.

The "El" in Chicago town.  

The Northeast Corridor Acela from DC to New York.

The heavy, menacing cargo train that rolled directly behind a cockroached apartment above an art gallery in Northeast DC each morning. Scaring us awake the hot, humid summer of 1996. 

The many, many songs about trains, which I love and which I sometimes put on "Repeat 1." The sounds, the whistles, the bells and grumble—the onomatopoeia—in jazz and blues. The smoke and the metal, in art and literature and movies.

I wish I was somebody who knew more about trains. 

But I may know everything I need to know.

 


"Songs about Trains" was previously published online July 23, 2013. 


Three new pieces are available from David Olimpio via Awst Press's Author Collection!

Click below to get it!

Eating Sushi at Stoplights

By David Olimpio

I've been washing clothes for a woman that used to wash mine. And I've been helping her put them on right after she comes out of the bathroom all inside out. And it makes me remember one of her favorite stories to tell used to be about the time I put my rain boots on by myself at daycare. And how I came stomping out to the car all proud and smiling and with the boots on the wrong feet. And how when I got into the car, I said to her, Mom, I put my boots on by myself. And how she said, I see that.

She knew I fucked it up. But she never said anything. It probably wasn't the first time she did that. It definitely wasn't the last.

It's good to have people you can make mistakes in front of.

***

I tell her it's time for radiation. And she says, I've done this before, haven't I? And I say, Two weeks. And she says, Two weeks? I say, We have three more. And she shakes her head. She goes to the bathroom to get out of her nightgown and into her clothes. And when she comes out, her pants are on inside out. She isn't all proud and smiling. She is weary and disoriented. And she holds her hand to her head and she says, What's making me like this? And I say, You have a tumor in your brain. I say, It's the radiation. And she says, How long have I been like this? And I say, Two weeks. And she says, How much longer? And I say, Three more.

But I don't know if that's true.

I say, Mom, we need to put your pants on the right way. I say, Your pockets are on the outside. And she looks down and says, How did I do that? And it's not really embarrassment I hear in her voice. Just confusion. And so she sits on the bed and she takes off her pants. She takes them off in front of her son. And it should be painful for her to do that. In the past, it would have been. But now it isn't. Because now it doesn't matter. And she sits on the bed in nothing but her underwear and a bra. And she looks frail and her thin gray hair is uncombed. And her skin is loose on her bones. And I pull the pant legs into themselves so they are the right way out. And I hand her the pants. And she takes them and puts them on.

***

I've been bringing her things to make the place she's at feel more like home. A blanket. A picture. A clock. I'm bringing them from a home she really doesn't remember anymore. A home full of things she used to love and cherish and collect. It's a home she left over a month ago in a truck with the lights on top. And even though she can't remember it, she says she wants to go back there every day. And she asks me every day if she will. And I lie and I say yes. And I think how maybe that's not really a lie at all. Because we all return home, in the end, wherever that is. And I don't tell her I've been out all day looking for a different home she can stay in while we wait.

And me, I've come back to a city I used to call home. And I've been driving and driving. Because that's what you do here. And sometimes I even get in my truck and drive three hundred feet to a parking lot across the street. Like when I'm going from the gym to the smoothie store.

And everything is familiar here. Except me. I don't recognize my voice. And when I take calls from strangers, I think, whoever this guy is, he isn't so bad. He talks pretty. And I go about these one-act plays, rehearsing the scripts I've written in my head. Changing up my inflection. Practicing my smile. Now the nurse in the hallway. Now the hospital chaplain. Now the woman selling me a new home for mom. Now the girl at the beer store. Now the smoothie guy. Now the dude at Coffeeland. Now mom telling me she hears music.

But there is no music.

***

I've been eating sushi at stoplights. And grocery store parking lots. Not really in the moment, but not entirely out of it, either. Swallowing my thoughts and words before they form. Tasting things only briefly before erasing them with ginger. And I've been spitting butts out my truck window when the paper burns down. And dressing inappropriately for the weather, and cursing the cold rainand the bright sunin equal measure.

And yesterday, as I sat there waiting for the light to turn, I remembered Monica in that hotel room in Tennessee, and how she rolled over and cried after she came. And how I lay on my back and looked at the ceiling still feeling her wet on my skin. Still tasting her. And how I didn't speak for swallowing. And how I felt myself go soft for her, but I didn't touch her. Because I'm not interested in that kind of mistake. And we were there in the quiet room, as close and as far as we've ever been. And we fell asleep that way.

The next day we got dressed in silence. Outside in the cold, she said, I told him about you, and he's not coming back this time. She said, I think I fucked it up. And her brown eyes were hollow. And her brown eyes were wet. And before we got into our different cars on our way to our different lives, I put my hand to her neck and her neck was warm.

***

Behind my truck seat, are plastic bags I've sealed with a knot. Inside them are empty sushi trays. Only a lump of wasabi remains in each. And sometimes I'll collect two or three of these tied bags before I remember to deposit them in the trash. And it feels good that I can gather them no matter where I go. Because, in modern cities, there is always a place to buy sushi. And so there is always a place I can call home.

Until one day when I won't be able to remember home anymore. And I'll just have these broken memories of things I used to collect. Things I used to cherish. Things I used to do that I was proud of. Things I used to do that I wasn't. And I'll talk about them to strangers who bring me medicines. And I'll say, There was a time I ate sushi at stoplights. And I'll say, I listened to someone cry once and I didn't know what to do and so I did nothing. And I'll say, I'm not sure if I should have helped her live, or helped her die. And I'll say, I've made so many goddamned mistakes.

And it'll be just another thing that won't matter. Like putting my boots on the wrong feet.

I'll say the words until they become my stories. I'll keep stringing them together the way I've learned to do. And I'll repeat them over and over. Until finally there is nobody left to hear them. Until finally the words themselves will fade and become meaningless.

And it won't be so bad when that happens. It really won't.


Originally published in Crate Literary Journal (Issue 7, Spring 2011).


 ​

Good With Numbers

By David Olimpio

0 x

The zero. The nothing. Reciting the zeros is all about repetition.

Zero is persuasive. Zero is full of ego.

Throw in a goddamned zero, and the other number becomes a zero. Every time. I swear it to you. This is not bullshit.

No matter how old you are, you will eventually be zero.

It doesn’t matter what the other number is, how proud or how big or how small.

Go up against a zero and you become a zero. Every time. I swear it to you. This is not bullshit.

1 x

One times one is itself.

One does not project itself onto other numbers, like zero. It is egoless. It is non-persuasive.

Put one up against another number, and it becomes the other number.

One times myself is always myself. One times dad is always dad.

One is how we begin to be something other than zero. One is always longing to be something more than one.

We will continue becoming more than one until we hit zero.

2 x

Dad and me. Lying on the bed in a guest bedroom in my house, which is a house where he no longer lives. Staring at the ceiling and doing times tables while I think about dinosaurs.

Let’s do twos, he says.

Can we read the dinosaur book? I say.

Let’s do all of them through nines, he says. Then the dinosaur book.

Dinosaurs lived two hundred million years ago, I say.

Yes, he says.

Is that older than you? I say.

Yes, he says. That is older than me.

How old are you? I say.

I’m thirty-three years, he says.

 
 

New work from David Olimpio is available in an Author Collection.

 

3 x

The crowded three. My dad, my step-mom, and me. Summer vacations. Word games on road-trips in a minivan.

The triad: wrong. The flatted third. The minor chord.

I believe in threes. I believe in repetitions of three. A fun game would be to find three different uses for the word “van.”

We already have one. We just need two more.

4 x

My stepbrother made our three into four. He was born in 1984, which is divisible by four, and which is eleven years after the year I was born. 1984 is a year that makes me think of Van Halen and checkered bandanas and Vans sneakers.

Every four is made up of a two, but not every two is made up of a four. Fourteen is not made up of a four, even though there is a four in the number.

Four is nice and round and comfortable. Four doesn’t seem hungry, and four doesn’t want for friends. Among other things, four makes a good placement at a dinner table.

Four-day weekends at dad’s were way better than two. More catfish caught on chilly Dallas mornings at Lake Ray Hubbard. More Pac-Man at quarter arcades. More trips to the video store for VHS rentals. Day one of four seemed like such a long time.

5 x

When you recite the fives, you really only need to remember two numbers: five and zero.

Also: every other five is even and every other five is odd.

Aging is best observed in five-year increments. For instance: school reunions are best kept five years apart.

I am eight times five, which is also divisible by four and two. When I was one times five, Dad moved to a different city. Dad and Mom were married two-times-five years. The first five, which may have been the best, were without me.

The last five. The last five. The last five.

6 x

I used to count the days by six packs of 7.5-percent pale ale. If you buy two six packs at one time, then you have more ways to divide the days before you need to return to the beer store. One each day for twelve days is the hardest to maintain, but the most responsible. Two each day for six is… optimistic. Three gets you four days. And four gets you three. Six will get you two nights… passed out on the couch. Twelve only gets you one of those, but costs you an additional one in recovery, so it’s like a double wammy.

7 x

Reciting the sevens was easy because I knew about football scores. I knew the 14 and the 21 and the 35 and the 42. I’d seen a few 49s but not a 56 or a 63. The 70 and the 77 were virtually unheard of. And the 84 was just crazy talk.

Every other weekend, I flew in a 737 between Houston and Dallas. When Dad drove me to love field to fly home to mom, we’d listen to Sunday football. Sunday is the seventh day. My favorite player was John Elway, who wore seven. On January 11th, 1987—27 years ago—dad and I sat in the airport parking garage together listening as John Elway executed a series of plays known today as “The Drive.” We’d do that when a game was really exciting. Just sit in the car with the radio on listening to the score until we absolutely had to go inside.

I never wanted to go inside.

8 x

My dad says eighty is the age. It’s the age for all of us, he says. The men with our last name, we only go to eighty. Then we throw a zero. Eighty is eight times ten or sixteen times five. If you graduate high school at eighteen, eighty would get you roughly twelve five-year reunions.

Great-Grandpa Guilio was eighty and seven months.

Pop-Pop was eighty and five months, just like his brother, Frank.

Great-Uncle Joe, who was terrified by the eight-oh, actually saw eighty-one…for ten days, or two fives.

Dad, who is now sixty-six and good with numbers, has had cancer twice. Sixty-six is twice thirty-three and still not as old as the dinosaurs. It is about eight times a five-year high-school reunion. It is two touchdowns (and two point-afters) away from eighty.

Two months ago, I became halfway to eighty.

Go up against a zero, and you become a zero. I swear it to you. This is not bullshit.


Originally published at Rappahannock Review.

Trick of The Senses

By David Olimpio

It was Glenn who found the dead cat. Underneath a bush in Mr. Kensey’s front yard. He told Daniel about it, and then Daniel came over to my house and told me. I went across the street and told Jamie. And for a few hours one Saturday, it was the news on our block: this stiff, dead cat.

We had to crawl through some bushes to get to it. In the close Houston air, we sat on our knees, our skin damp with sweat and brown with summer, and we looked down at the cat lying there on its side, lips pulled back in a rigor mortis grin. Aside from being dead, there seemed to be nothing wrong with it. No wound. No visible trauma.

“I dare you to touch it,” said Daniel.

“If you touch it, you’re gonna die,” said Jamie.

“I’ll touch it,” I said, and I put my hand on the cat’s stiff shoulder.

A kind of trick of the senses happens when you touch a dead thing. The expectation of something familiar. Some reaction: fear, joy, love. Warmth. Comfort. My hand on this cat, which was no longer a cat at all, just a container that resembled a cat and held a mass of hardening cat biology, strange and heavy and full. My hand on this cat, and the nothing that followed.

And some time later, my mom, sitting next to me in my bed, her hand on my shoulder: “You’re not going to die, David.” She didn’t know about the cat. Still, things always seemed true when she said them.

I have always touched the dead things I’m near. Behind bushes or under sheds: canine casualties. A groundhog flat on its back near the hibiscus. A rabbit caught just short of the fence. Now things I pull into plastic grocery bags.

And in cold hospital rooms: the darkening fingertips of hands that had held mine, lips partly open that had once said, “I’m so happy,” when we danced at my wedding. My hand on her stiff shoulder, then on the belly that had belonged to her, now swollen and hard underneath white blankets. My hand on her belly, and the trick of the senses from the nothing that followed. It only lasted for a few minutes, that last touch. And of all the things to remember about the years I spent with her, that shouldn’t be it. But the echo of that touch, the weight of that nothing, continues to follow me.


Originally published by The Austin Review.

All Our Windows

by Susanna Childress

           That year when all we did was fight
and fuck, fuck and fight, I felt awful—we both did,
                        I know—for the guy who lived with us, who came home
            from the seminary to our shouts, one set sounding
astoundingly like the other. I never heard him

             arrive but always I heard him leave, which is when you
would turn, your neck strained as a horse’s
                        in parade, beautiful and frightened, listening for a mount
             on the stairs while I caught the pedals of his ancient bike
scraping toward a library of bibles, kids

              on the street playing Not-It and all our windows
flung up. Admit it: you didn’t know the difference—the sound of a door
                        opening, the sound it makes
            when shut. I kept thinking that year would end
with a quiet conference, that we’d sit him down

             in the breakfast nook, night’s clamped-shut-stink
still on his breath and begin, Look, Corey, we’re sorry. It’s just that
                        we’re having a baby. And then,
            everyone’s face blooming a stupid rose red, yours
the same as when you jog, low, a fiery swipe of color

            straddling your lips, he would forgive us
our ruckus, his eyes shining a little with what doesn’t spill, New
                        life, he’d say. And who knows. We each
            could’ve found a place inside to make sense of the snow
that started too early and would not, for anything, let up.


Originally published by New South, http://newsouthjournal.com.