The Skydivers

By Erin Pringle

A couple jumped out of an airplane and began to fall.  Below them, the world went on, and they could no more see the grief and joy of others than they could from their kitchen table where they sat together on quiet mornings, watching the blue jays steal the birdseed from the robins as the couple waited for the bluebird to return. 

They had only seen the bluebird once, many years before, and since then they had each, unknown to the other, begun looking for the bluebird's return.  The husband wished for the bluebird because of how his wife had smiled.  The wife wished for the bluebird because she knew others had not seen it, not knowing the bluebird had come more than once than the time they saw it. 

It had sat on the windowsill watching the two birds made by the couple holding hands over the table, their elbows on the placemats.  But when the two birds did not return one morning, the bluebird flew away. 

Did you see that? the wife said. 

What did you see? the husband said. 

I think a bluebird. 

Yes, I think I did, too. 

The husband saw the wife smile, and she kept looking out the window.  He waited.  Still she peered.  Eventually, he got up and went about his day.

The woman was the first object to fall from the sky.  As she hit the ground, her bones cracking, her rib impaling her heart, she woke up in bed.  She reached out to touch her husband's cheek where he lay sleeping beside her.  She waited, not knowing if she should kiss him awake or close her eyes and imagine herself just before he landed in death beside her. 

When he opened his eyes, she saw how very blue they were. 

Originally published in Emrys.


 

Digging

By Erin Pringle

Mother says to my brother, Go play outside.

My brother says, But there aren’t any children left.

Mother says, Stay out of the forest or you will get lost. My eyes can’t see far. Stay in the backyard.

My brother obeys, screen door banging behind him. I start to follow.

No, Mother says. Stay and help me bake a cake for your brother. My fingers are crooked from age and cannot grasp well.

Why are we baking a cake?

Tomorrow is his birthday. But he is not to eat sugar or his pancreas will die.

I am his mother. Tomorrow is his birthday. It will be a special day and so he can eat sugar. Crack those eggs. Add them to the mixture.

I do.

Check the oven to see if it is hot enough.

It is, Mother.

She slides the cake pan into the oven. She sits at the kitchen table and falls asleep because she is very old.

I run outside.

My brother calls my name.

I follow my name to him.

He stands at the edge of the forest. His face is blank, unblinking. Like one of my dolls. I do not like my dolls because they ask questions I have no answers for. Like, who carved our pretty wooden doll beds? Or, what is that booming in the distance?

He points.

A shovel leans against a tree. Beside the blade is earth and roots. The roots like Mother’s fingers. The earth is piled. Two holes. Very deep. I can’t see the bottoms.

My brother asks, What do you see?

Someone’s been digging.

Indeed, he says.  My brother says indeed instead of yes. He reads many books.

Have you been digging, Brother?

No. What is our mother doing?

She is napping. A cake is baking because tomorrow is your birthday.

Tomorrow is not my birthday, he says. I will surely die if I eat that cake.

Mother said tomorrow is special so sugar is allowed.

I look into the holes. What do you bury in holes so deep? I ask.

Bodies, my brother says. He walks into the forest. Bring the shovel, he says. I do. It is tall and heavy.

We walk deeper. My brother raises his hand. He takes the shovel. He digs. He wipes his forehead with his sleeve.

That is not good manners, I say.

He climbs into the hole. He climbs back out, a dress in his arms. Do you remember our sister? he asks.

Yes. She combed my hair one hundred strokes before bed. She left for school in the city.

My brother lays her on the ground. Her dress faded pink. He digs into the other pile.

Those are very fresh, he says.

He climbs in and out.

Do you remember our brother? he asks.

He carried me on his back like a horse. He left to open a business in the city.

My brother lays our brother next to our sister in the faded dress.

We walk further. My brother digs. Do you remember our other sister?

No.

She sewed your baby clothes. She told me fairy tales. Mother said she ran away.

My brother props her against a tree. She has two brown braids. Her eyes are large and dark.

My brother digs.

This must be Father, he says, peering into the hole. This hole is deeper than the others. He climbs in. He weeps. He hugs the bones. The bones crumble. He screams.

Why are you screaming? I ask.

Leave me, he says.

No. I ask my sister for her leg. A moth winks in her eye. Thank you, I say. Then I hold her leg over the hole.

Take this, I say to my brother.

I wave it around in case his eyes are getting bad like Mother’s. Take this and climb out, I say. He does. We give our sister back her leg.

Our mother calls our names.

My brother says, Our mother is old.

Her glasses are very thick, I say.

Tomorrow is not my birthday. She will tell you I am leaving for the city. This is not true. Do not tell her what we found.

Blankets are piled in the wheelbarrow so we drag our sister who left for school and our brother who left for business back to the house. They lose a few bones. Their hair drags. We are out of breath. We take them to our room and dress them in our clothes. They lean against each other in the closet as we sleep.

In the morning, Mother calls our names into the kitchen. We follow. Every counter is full of chocolate, gumdrops, small cakes. The biggest cake is yellow and on the table. Mother sings Happy Birthday.

Wish your brother a happy birthday, she says.

What if it isn’t his birthday?

Brother kicks me under the table.

Why would I bake a cake if today wasn’t? Mother says.

I shrug.

Mother slices two pieces onto our plates. Eat.

My brother says, I can’t have sugar.

This is your special day, our mother says. You have my permission.

We pretend to eat the cake. We hide each bite in our pockets.

My brother says, I wish our brother and sisters were here to celebrate. And Father.

Our mother’s shoulders shake. She says, I thought you’d forgotten. You never ask about them.

You told us where they went, my brother says. We believed you.

Our mother says, You are old enough to know now. And your sister is young enough to forget. You have heard me speak of the war.

My brother nods so I do too.

It came to the city. They died. They are buried in the forest.

But what about Father? my brother asks.

He died of sadness.

We are sleepy, Mother, my brother says. I must rest before I go to the war.

She follows us to our bedroom. She tucks us in. She shuts the door. Her footsteps go back to the kitchen. We roll out of bed and carry our brother and sister from the closet. We tuck them in. We kiss their foreheads. Then we hide in the closet. Our mother returns and leans over our bed. She clutches our wrists. She holds a mirror over our mouths. She leaves then wheels in the wheelbarrow. She picks us up. You are so light, she says. We follow her into the backyard. To the edge of the forest. She carries us into the holes with deep bottoms. Then she shovels earth over us. We do not protest. She sings Happy Birthday. We hear bombs. She apologizes for not singing a better song. She sits between us all through the night.

 

Originally appeared in Lake Effect, now in her collection The Floating Order (Two Ravens Press 2009)


 

Dura Mater

By RE Katz

In the fox dead there are rivalries:
around whose neck will we unfurl
& whose makings will we glove
& where we used to run
are there still runners
& if not are there mourners
& if not is there
at the very least
morning—a room
where bits of poured
sun cool17.

Crickets in the mint: what
it means or what is meant
woods over
to play a game of roulette
closed-eyed in the backseat
head on the door
sun red sun.

Stop: my mother has a heart attack
& doesn’t call me until three days
later when they let her out
of the hospital18.

In an operetta
a handgun
with the ability to feel pain
falls in love
with a human liver
in crisis. When the liver
finally speaks
all it says is
none of this is useable.

The king of the forest is both animal & fruit
& has two throats
of gunpowder & light.
If you bury your gun in the ground
it will grow into a cigarillo factory.

To the melonhearts in garnet mines
say at least there are birthdays.
Our birthdays are neighbors19
flatness is an axis.

Stop: my mother calls to report her blood
pressure & I eat three slices of cake
thinking about how on a family cruise I once saw
an ice sculpture of an endangered dolphin—
it was such a goner.

I touch myself
with a square
of trembling bent light20.

Stop: the ladder is lying on the floor
in the fetal position muttering
I am not
tall I am not tall I am
not tall.

Describe what it feels like
using only your shoulder
what taproot rapport
to go tail-up to work.
The nervous system will sell you a map
of its pitfalls in a sealed unpolished container:
the floating ribs
the little hips of the brass section
blameless
vertebrae and their inner stipends
the clavicle unchaperoned

poor head
hates itself
for not being able to get down.

It takes years to appreciate
the inside of a couch
glitter in a meat grinder
a fallaway promenade21.

I let it kiss
a full third of my face then
feetfoot away. Fool that elbow
crook. Leg of it
a low note. Yawn of it
very skied.

Hover here if need be
for a plum gradient22
a one-night raisin.
If you’re not staying famous
you can stay
in my basement.

Stop: mother bored23
Lullabies into my brain.

I’m not afraid of my own blood but of
parenting transparencies.
A mustard from my brain is leaking
painting a fake24
fence that levitates
a fence that can be chased
a face
a thin-lipped paste.

The tyranny of being interesting says take
the solo when the solo is offered
but nobody hurt each other
in the orange juice
out there.

So it’s Monday morning &
here I am doing
my donut-on-a-stick kind of thing
and there’s this guy
leaning against the water cooler
talking about how he used to be
a stage acrobat
and I say hey guy well I’ve never
seen someone do
a boring backflip
but anything is possible25—Stop: 

shiver-call your mother!
flock what she’s doing
just raft her now or
terminate her.

People used to be afraid of women
reading
so of course I am overwhelmed with love
for Sarah Connor
all three of her
how needles bow to her
every piece of the franchise.

Centuries ago the Fox sisters heard tapping
from the other side26
three shuffling heads
tsk-tsking at the great beyond.

Somewhere cockroaches are having
almost a block party
they collect around our feet
because we feed them & care
for them & step on their heads

& if each of us is the only exception
to every ugly thing forever27 then aren’t we also
a hard mother.

Originally published 4/22/15 within her Awst Collection. This piece is the second piece from her chapbook. The third piece, Toeing the Real, is an essay of annotations based on the first two pieces and was nominated for a 2016 Pushcart Prize. 


Parabolic Path

By David Olimpio

When I threw the stick at Jaime, I hadn't intended to hit him with it. But the moment it left my hand, I knew that's what was going to happen. I didn't yet know any calculus or geometry, but I was able to plot, with some degree of certainty, the trajectory of that stick. The initial velocity, the acceleration, the impact. The mathematical likelihood of Jaime's bloody cheek.

It had good weight and heft, that stick. It felt nice to throw. And it looked damn fine in the overcast sky, too, flying end-over-end, spinning like a heavy, two-pronged pinwheel and (finally, indifferently, like math) connecting with Jaime's face.

Jamie's older sister took me by the arm and she shook me. Why did you do that? What were you thinking? The anger I saw in her eyes. Heard in her voice. The kid I became to her then, who was not the kid I thought I was. The burdensome regret. I knew the word "accident" was wrong, but I used it anyway. If you throw a baseball at a wall and it goes through a window, that is an accident. If you throw a stick directly at your friend and it hits your friend in the face, that is something else.

My throw had been something of a lob and there had been a good distance between us. There had been ample time for Jaime to move, but he hadn’t moved. There had been time for him to lift a hand and protect his face from the stick, but he hadn’t done that either. He just stood impotent and watched it hit him. And it made me angry: That he hadn’t tried harder at a defense. That he hadn’t made any effort to protect himself from me.

What was I thinking? What was he thinking?

I am not a kid who throws sticks at his friends. But sometimes, that's who I've been. And when I've been that kid, it's like I'm watching myself act in a movie, reciting somebody else’s damaging lines.

Like this morning, over breakfast. Your eyes asking mine to forget last night’s exchange. You were holding your favorite tea mug. I don’t remember what we were fighting about. It doesn’t seem to matter any more. The words that came out of my mouth then, deliberate and measured, temporarily satisfying to throw at the bored space between us. The slow, beautiful arc. The spin and the calculated impact.

The downward turn of your face.

The heavy drop in my chest.

The word accident was wrong. I used it anyway.