Open post

Friends Forever | Jane Won

Friends Forever

“What’s the big deal? Just go knock on her door and ask her to be your friend!” instructed my mom, as if it was as simple as ordering at a drive-thru.

Susie was the only other Korean girl around my age living in our Southern Californian apartment complex. She also lived on the third floor and we went to the same elementary school, but that was the extent of our similarities. She had smooth, straight black hair that cascaded down her back, while I had coarse, frizzy black hair pulled back into a bushy ponytail. She was tan and tall, while I was pale and short. I was even shorter with my habit of hunching like a turtle with its head poked back in its shell. She had friends of all different ethnicities like she was the almond-eyed Claudia Kishi of The Baby-Sitters Club, while I had none. The greatest difference of all was that she was a fifth grader while I was a fourth grader. What could I possibly have to talk about with such an all-knowing, sophisticated creature?

But I was young enough to do as my mom ordered me to, even though the probability of rejection seemed to grow with each step I took in the long hallway. By the time I reached Susan’s corner apartment, I was covered in shadows. My right index finger went up to ring the doorbell, but hovered over it, trembling. Then, a reassuring thought popped into my mind, maybe she won’t be home. Praying for her absence, I pressed down on the hard, nubby doorbell.

A small chime sounded. Silence. I was about to turn around when the door cracked open.

“Oh, hey,” said Susan, looking both surprised yet bored.

“Hi,” I croaked.

She stood chewing gum, her hand still on the door, as I squirmed with my hands stuffed in my jeans shorts pockets. She had on an aquamarine t-shirt and breezy, white shorts that made her tan skin glow bronze. I noticed something sparkling from her neck. Half of a golden heart shone, inscribed with:

Be

Frie

Staring at the half jagged heart, I stammered.

“My mom wanted me to come over because...”

“Um, your fly’s open,” she interrupted.

My head snapped down and saw my zipper gaping wide open. Time stretched as I looked up to see her lurch back in slow motion as if unzippered pants were contagious. My tongue swelled in my mouth, thick and heavy as a slug. The heat spreading through my body and face felt like I was being boiled alive. I stood there silent and wide-eyed for what felt like an eternity. Then, as if a fast forward button had been pressed, I spun around and bolted as quickly as my legs would allow.

I ran down the hallway, pounded on the door, swung past my mom when she opened it with a scowl, and rushed into the bedroom. I collapsed onto the floor, covered my eyes with my right arm, and felt my heart thud into the carpet. Thunk, thunk, thunk, my heart clanged like a muffled alarm bell.

The next day, even though I told my mom that I was feeling sick, she checked my temperature, and sent me off to school. Cursing my good health, I trudged to school only to find that Susie didn’t taunt me or point me out while laughing with her friends during recess. I played by myself in my usual corner of the playground by the small maple tree. When the bell rang and Susie breezed past me without even throwing a glance my way, I had a strange urge to wave my arm and yell out, “Hey! Remember me? I’m the one whose zipper was down yesterday!” Instead, I kept quiet like I always did.

After I got home and did my homework on the kitchen table, I decided to finish making cascarones, Mexican Easter eggs. A couple days ago, I had cracked holes in three eggs, emptied the gooey contents into a bowl, and put the shells by the windowsill to dry. Now came the fun part! I ripped different colored construction paper and stuffed it into the eggshells. When the shells were full, I carried them out to the exposed concrete stairwell next to our apartment.

I stood on the landing and gingerly grabbed one cascarón.

“Hi-yah!” I shouted as if I was doing a karate chop.

I smashed the cascarón against my forehead. It was what I wanted to do ever since I learned about them, but instead of confetti twirling down like snow, the heavy construction paper scraps dropped like rocks onto my shirt and the ground. I rubbed my forehead where a red mark was forming. Determined, I smashed the second cascarón to the left side of my head. The clunky confetti plummeted. I completed my ritual and smashed the final one to the right side of my head.

This solo fiesta had fallen flat. I left the mess of eggshells and colorful scraps on the stairwell, as if three best friends had a raucous good time there.

That night, the shadows cast a different light on things—the TV emitted a sinister glow that illuminated tired bags underneath my mom’s eyes and deep lines around her mouth as we watched the nightly Korean news. At eight p.m. sharp, I slunk away from the living room to the room my mom and I shared, cordless phone in hand.

I called my dad. The phone rang once. Then twice. By the third ring, I could feel my eyes smarting with tears. What if he doesn’t pick up? What if he doesn’t want to talk to me ever again? I hated that I was acting like such a baby, but I needed to talk to him. I needed to talk to him every night. Our phone calls were the only time I was truly safe.

“Hello,” he answered.

“Hi appa!” I exhaled after gulping down my relief.

“How are you tonight?”

“Good,” I lied. “Appa, how did you make friends when you were my age?”

“Hm,” he paused. “When I was a kid, I liked to play cowboys and robbers, and so did other little boys, so we just played it together.”

“Right,” I said, certain that he never made the deadly mistake of having an open zipper.

“Do you wish you had friends?”

“Not really. I like being at home and reading.”

“You’ll make friends in no time. It’s because I moved away that you’re having these… difficulties.”

“I’m sorry.”

I was apologizing for taking his recent move far worse than my fourteen-year-old sister whose phone time with her gaggle of friends was interrupted for my daily nighttime calls with him. I was apologizing for not sleeping at night, and feeling more zombie than human at school. Mostly, I was apologizing for being afraid—afraid of the night, afraid of my mom, and afraid that nothing would fill the nighttime void in my chest ever since he left.

“Children shouldn’t apologize to their parents,” he hushed. “It’s me who should apologize to you.”

I fell quiet, the string of apologies tangled inside of me.

“You’re going to be ok,” he soothed. “I just know it.”

That evening, I brushed my teeth and changed into my Little Mermaid nightgown. I climbed on the queen bed my mom used to share with my dad. I crawled to the left side and she took her usual spot on the right side. I closed my eyes, waiting for drowsiness to magically appear. Instead, I could hear my heartbeat quickening in my ears. I had read that a mouse’s heart rate is ten times faster than a human’s. I was a human with the heart of a mouse. I felt certain I was going to die any minute with my heart pounding at this rate. My mom started softly snoring next to me.

Then I heard a faint rustling sound coming from the living room. What was that? I thought. It has to be a burglar! I pictured a masked face and gloved hands prying our front door open. I gulped as I imagined the weapon he would use to kill me—would it be a long, sharp knife or a gleaming black pistol? I shifted to my right side as my mom let out a small, irritated groan.

I laid rigid with my eyes wide open, waiting to hear our bedroom door creak open and padded footsteps lunge towards us. But, nothing. Of course there was no burglar. I was simply losing my mind. I would go crazy like my mom’s friend, an unremarkable ajumma with two kids, who had been institutionalized for hearing voices. She was released after a few months, but once back home, she stopped taking her medication and ended up hanging herself from the ceiling fan. I wheezed, feeling my fate wrap around my throat, and cried into my pillow.

That’s when my mom yowled awake, tearing the blanket off her body.

“Again!” she shrieked. “You’re waking me up for that man again! If you miss him so much, why don’t you just go live with him? I can’t stand this anymore!”

“I’m sorry,” I sobbed.

She stormed off into the living room where I heard the TV roar back to life, and I wailed into my sodden pillow. Stupid, I’m so stupid, I thought. This is why Dad’s never asked me to live with him.

The next two years followed this routine.

On the first day of middle school, I stood in the cavernous cafeteria with my lunch tray in front of me. The clamor of five hundred kids was deafening. Everywhere I looked, I saw a blur of unfamiliar faces. I tasted metallic panic rising up. Suddenly, two smiling girls appeared.

“Oh my gosh, you’re so cute. Isn’t she too cute, Sunny?” one crooned.

I looked around to make sure they were talking to me. The one who spoke was my height, but her crown of clear plastic mini hair claws made her seem taller and regal. Sunny had high cheekbones that made her eyes look wild and feline. They both sported sticky, pink lip balm that made their mouths shine like dewy orchids.

I was wearing a brand new outfit—a white Calvin Klein t-shirt and light blue bell bottom jeans—that had the desired effect of making me blend in with other kids and not stand out. Also, my mom convinced me to cut my hair into a bob for this new, mature chapter of my life, so my head had the silhouette of a mushroom. Yet, their eyes scanned me up and down in approval.

“Aw, she’s adorable. You look Korean. Are you Korean?” asked Sunny.

I nodded, wriggling from the attention, while wishing they would never stop admiring me.

“We’re Korean too! My name is Yoo-bin. What’s your name?”

“Jane. Jane Won,” I emphasized as if proving my Koreanness.

“You have to come eat lunch with us and our friends!”

I followed them as if I were floating in a dream. They led me to a table of all Korean girls, half of them clearly eighth graders with their relaxed familiarity with one another, and the other half, dazed seventh graders like me. Sunny sidled next to me and explained that they had a self-initiated unni, older sister, program where the eighth graders each chose a dongsaeng, younger sister.

“We’ll tell you all about the teachers, give you tips or advice, and just be there for you. We all had unnis last year, but now we’re the unnis,” she boasted. “Would you like to be my dongsaeng?”

“Hey!” interrupted Yoo-bin. “I want Jane to be my dongsaeng, too!”

“What if we share and we’re both her unnis? What do you think, Jane?”

I was speechless. These two goddesses were arguing over me. I somehow managed a nod. They squealed and hugged me simultaneously, enveloping me in a double bouquet of flower-scented shampoo.

Overnight, I made friends. Middle schoolers are pack animals, and we had organized ourselves neatly based on our ethnicities. All this time, I thought there was some special friendship skill that I had yet to unlock but it was simply a numbers game. There were too few of us Korean Americans scattered throughout different elementary schools, but when we were funneled into the same middle school, we hit a critical mass. Suddenly, we were a tribe some thirty members strong, and made our affiliation known by tagging Korean Pride or K.P. across our backpacks and binders with sharpies and wite-out.

All I had to be was Korean, which meant that I just had to be myself. All of us dongsaengs bonded over our love of K- pop bands like H.O.T., and even came to school dressed up like them in fuzzy, colorful oversized overalls, mittens, and hats. No one else knew why we had come dressed for a Siberian winter in the middle of the Southern Californian heat, but we felt smug as we sweated in our itchy, cheap knock offs.

I was undergoing a transformation that surprised everyone, including myself. At school, I was still the quiet, shy student, but after school, a different side came out.

“Hey, let’s all practice the choreography to Candy,” I suggested. I pitched this idea daily. When Hannah, Jessica, Janet, and Liz groaned, I shouted, “C’mon, the talent show’s coming up and we need to nail this routine. I’ll be Hee-joon!”

“You always get to be Hee-joon,” complained Liz.

“We already claimed our favorites and you picked Tony,” I reasoned.

“He’s my favorite, but his dance solo is the lamest.”

“Fine, I’ll swap for today, but tomorrow, Hee-joon’s mine again!”

It turned out that I was loud and bossy. I drove us to practice dance routines repeatedly until it met my expectations. I led us outdoors to the playground where our gangly bodies would make the swings groan tiredly. I suggested that we play handball, ride our rollerblades, and other outdoor activities that my friends had long grown out of. It was as if I was making up for my elementary school years spent alone.

“I knew you’d get better, but I couldn’t have imagined what a social butterfly you’d turn out to be!” my dad rejoiced. We now had our phone calls every other week.

My insomnia was a thing of the past. I collapsed onto the bed at night, grateful for rest after a day of talking with my friends at recess, after school, and on the phone when I got back home.

Our parents delighted in our Korean friend group, perhaps from seeing us follow in their footsteps of seeking refuge amongst other Koreans after they immigrated here. My mom seemed to see a bit of her in me for the first time.

“When I was your age, I had many friends too,” she reminisced. “It was all so simple back then.”

She was right. It could all be so simple.

Jane Won

Jane Won is a Korean American writer and lifelong bookworm originally from Los Angeles. She is currently in a graduate counseling psychology program and believes creative writing to be a powerful tool for healing. Her passions include fermenting her own kimchi and hiking all over the Bay Area where she currently lives. Connect with her on Instagram at @byjanewon.

Open post

Memories of Padma | Sayantani Roy

Memories of Padma

The summer grandfather lies on his deathbed, my uncle takes me in to live with his family in Jangipur. Grandfather has cancer and this is kept from me. I am thirteen and have never been away from my small-town life. Jangipur is also small, but what adds to the thrill is my uncle’s bungalow—a crumbling colonial building replete with exposed-beam ceilings and cavernous rooms. Right outside the bungalow, flows Bhagirathi—the distributary of the Ganga that traverses the lower half of our state of West Bengal to meet the sea.

My feisty cousin had taught herself to swim in these waters. That summer, I become her shadow. We traipse across town in a rickety tonga pulled by a scrawny horse, whose master is an elderly Muslim man we call Chacha. We while away our days eating kulfi from roadside vendors and watching Hindi films in unlicensed video parlors. Films that our parents have deemed off-limits.

Midsummer, the heat keeps us in. One afternoon, as we sweat under the laborious whirring of a ceiling fan, my eyes fall on a map fluttering on the wall. I trace a finger over the prominent blue flow of Ganga’s main distributary, Padma, which is another name for the lotus-eyed goddess, Laxmi. Bhagirathi is a mere trickle in comparison, a thin blue line.

After parting ways with Ganga, Padma enters Bangladesh, the land my grandparents had left behind just before the Partition. My grandfather had been forewarned by a friend about the changing skies. My grandmother and her children left the only home they knew and never went back. They crossed the river into West Bengal, India, and later, my grandfather joined them. They managed to avoid the physical violence that ensued, yet their displacement was rooted in tacit violence. Forced to start over, my grandparents always carried the pent-up sorrow of being outsiders.

These details I will learn later. For now, all I know is that Bangladesh is where they came from. An unnamed emotion burgeons, but I don’t recognize it as ancestral pull. I focus on the map and how the great Padma is within reach. Jangipur is a border town, and this river is the physical boundary that separates India and Bangladesh. Along some stretches, however, the border zigzags right through the river, and this seems mildly farcical to me. Where do the waters of both nations mingle? How can something fluid like water be demarcated? Who gets to decide?

At this moment though, all I want to do is catch a glimpse of our ancestral land, and I figure that this is our only chance, for now at least. I’ve merely to allude to it when my cousin pulls me outside onto the dusty streets that lay hushed in the blazing sun. She finds Chacha in a stupor of siesta and shakes him awake. She talks the old man into following her whims, and after a bumpy ride across meandering lanes and backroads, we are at the banks of the vast river. I had never seen the sea and decide that it must look like this. Islands of sandbars have begun to rise, but the water still stretches to the horizon.

The Padma we face is no lotus-eyed beauty. This Padma is earthy. Her pull is the raw pull of blood. The far shore is a hazy outline—foreign and mysterious. Are those rounded tops of trees, plantain orchards, and mud huts? We aren’t sure. Yet, the names we had overheard from our elders lilt tenderly off our tongues—Rajshahi, Natore, Satkhira. We have now seen the land of our forefathers. Where my grandmother lost her girlhood at fourteen when she was married off into an enormous household. Where two of my uncles remained boys forever. Where my aunt became a woman. Where my grandfather made the grave decision of moving his family into unfamiliar territory on the other side of the great river.  Where the mango orchards bloom every spring just like they do on this side of the river. Where moonlit fields are just as ethereal, and the jui blossoms just as fragrant.

The dying sun shimmers on the undulating waters that carry the fables of an ancestral home and the scars of a bifurcated history. Behind us, Chacha breaks out into a half-forgotten song—O waves of Padma / carry with you my empty lotus-heart.

Sayantani Roy

Sayantani Roy grew up in small-town India and writes from the Seattle area. She has placed work in Contemporary Haibun Online, Ekphrastic Review, Gone Lawn, Heavy Feather Review, Panoplyzine, TIMBER, and elsewhere. This season, she is participating as a mentee in the AWP mentorship program. Say hello on Instagram @sayan_tani_r.

Open post

Bad Boundaries | Suzanne Clores

Bad Boundaries

When I was younger, I hunted men who yearned for deep bar conversations. My habit: find a topic, probe, then sink together into the underworld, both of us a burning mess. “People drink each other like medicine but don’t stop after one sip,” I once said to an open faced man across the table. His amber eyebrows furrowed, I twirled my hair with a sigh, eyeing his throat. When he asked what I meant I startled him with a troubling story (my older, alcoholic roommate’s demand for late night eggs when he stumbled into my room ravenous, and my compliance). When he voiced concern for my safety I dangled karma over his head. He could be us. Who will make us eggs when we’re old and sad and lonely? The light in his eyes grew dark with uncertainty. With practice, dragging them under became second nature. “You bring out the lost soul in me,” one young man quaked, dim light and Kalamata olives between us. We established no safe words. Capturing credulous men built my confidence. Their perplexed faces satisfied my impulse to disrupt instead of soothe.

I experienced a type of hangover after these underworld journeys: a constant queasiness from too much intimacy too fast. I liked it, the junkie’s thrill that resembled the bends. It was easy to ignore their trace resistance, my imperceptible shift away from passion, towards sport.

But once I almost drowned a new acquaintance, crossed a line we both noticed when I mentioned I had convinced a date he was deathly ill because, “he wanted to believe it.” He called me a name I won’t repeat. I resisted the urge to capture earnest company after, despite their complicity. I tried to imagine the feeling, wondering if vampires drew the life out of people like this. Later, I learned my behavior was more like an etheric possession. Not merely a blood draw but a full abduction.

I learned when a colleague tried the same on me. He bought me a drink or two, insisting. I agreed because it was late, and because the bar’s dim mahogany glow surrounded us. I sipped while he monologued about childhood abandonment and romantic rejection, linking the two and throwing them at me like an anchor overboard. I knew the game, how to resist, how to feign growing closer. He was an amateur, unstable and flailing in choppy water.

Then, in a terrible shift, he began to cry and I lost track, got pulled under by his sadness. To restabilize I tried to meet him in the depths by admitting some limitation—that my outer membrane was a sponge, more permeable than most —and like an oil spill, he oozed over me until I couldn’t move. Stuck in my seat, I saw something akin to a hand—clear and yellow— reach between our barstools with long fingers and pass through my skin into my viscera. I caught his eye, mid-ramble, to let him know I could feel his violation. Coldness invaded the juncture between my lumbar and thoracic vertebrae, a steel hook into a fish. He did not blink.

Get your phantom hand out of my solar plexus, I said without words. He didn’t pause or bristle. Indifferent, he continued to implant himself. Is this what I had been doing to others? What good could come of this type of transgression? Like a host organism recognizing a parasite, I panicked and pushed the hand out, bearing down until I could see its fingers withdraw and curl. I finished the drink, and declined his offer to buy me another. Someone brought hot bagels into the bar. He ate happily while I hydrated, aghast. I told him I felt the hand, and he acted confused. But a flicker beneath his expression, a lifted lip and breath of a smile, confirmed excitement. He had intended to make contact, to disturb. I let it go. I knew he would deny it. He might even flip the conflict, say that I set the trap or dreamed of some ghostly clutch.

Years later, I read online public letters by distraught students who complained of his bizarre demand for emotional vulnerability in his classes. Each recalled feeling threatened when expressing themselves around him, a trace fear of entrapment they couldn’t explain. Only after the dean asked him to leave his post did I understand others could feel this type of violation. An attack that had no name. We have invisible barriers for a reason. I saved myself when I learned to stop these casual abductions but I shudder at how long I spent confusing them with love.

Suzanne Clores

Suzanne Clores’s work has appeared in The New York Times, Elle, Salon, The Rumpus, Hypertext, and has aired on NPR. She is the author of Memoirs of a Spiritual Outsider, the creator of The Extraordinary Project Podcast, and the recipient of grants from the Illinois Arts Council. She lives in Chicago.

Open post

Shadowboxing | Kirsti MacKenzie

Shadowboxing

Weigh-in

When I started I was romantic about it. Everyone here is a fighter, kind of thing. But romance in boxing is artifice. Big fucking hero til you drop to the mats for pushups. Arms shaking between rounds. Try not to puke. Come up covered in sweat and skin flakes and pubes. Fifty heaving bodies crammed into a basement. The stench.

The idea is beautiful, maybe. Not the doing.

Real fighters—not moonlighters, like me—focus on the doing. Head down. Feet moving. Count the blows like: One. One Two. One Two Three. One Two Three Four.

I wanted to see myself in them. But I’m amateur as they come, in love with the idea. If I’m honest, I’m mostly a fighter in how I keep people at arm’s length. I trust boxers for this reason. They get it. You weave and dodge and slip. When someone comes too close, you swing.

Problem is, I also have to swing to know someone’s still there.

_______________

Physical exam

While I wrap my hands I imagine him pinning me. His sweat and mine. Boxers on one side of the gym, BJJ fighters on the other. His hair sweeps into his eyes while he rolls and wrestles. Blue-eyed, bearded even in the August heat. Nods at me between rounds.

First class back after the world ground to a halt. Bad health makes me cautious. This year I’ve been sick more weeks than not. But I got divorced in April. New to the city, working from home. I’m lonely. Best way to make friends now is at the end of my fist.

The BJJ fighter smiles at me. Catches my eye while he does push ups, which is how I know he imagines pinning me, too. I skip rope in my sports bra and his grin grows dopey. When he finally says hi, my reflexes kick in. Weave, dodge, slip. Too stubborn, too scared to open up.

After a couple weeks of classes, my lungs get swampy again. Doctor tells me I should stay home for a while.

How long? I ask.

Long enough, she says. Get a boxing bag.

________________

Round One

Tell my friend about being sick, about being lonely. Physical risks versus mental ones. Somehow we start sparring about masks. About bad ethics when I leave the house. About bad health being my fault. Neither of us is right. None of it is simple.

This is about others, she says. Not just about you.

I’ve had four vaccines, three years masked, two bouts with the virus. She is my closest friend in the new city. She lives blocks away, but never comes by. Look around my empty apartment and wonder what others.

I’m all I have left, I say. If being sick doesn’t kill me, being alone might.

I’m only trying to explain; she doesn’t want to hear it. She tells me not to make it her problem. Furious, I come out of my corner and swing. She stops responding for good.

On my hospital forms, I strike her name from the emergency contact.

________________

Round Two

Join dating apps. If I can’t meet people at the end of my fist, I’ll meet them at the end of my fingertips. All the men I swipe right on look the same. Like the BJJ fighter, like someone I’m trying to forget. They want to go on dates. But they’re never quite right, or I’m never quite ready.

It’s not you, I explain. It’s me.

Bitch, one says, kys.

Have to look it up to know what it means. Voice in my head says, not for the first time, yeah maybe you should.

Glass jaws, every last one of them. They can’t bear hearing no. Too tired to fight back, I block and block and block.

________________

Round Three

Start seeing a therapist. I’ve kept people at arms’ length my whole life. He makes a face when I count the reasons and says he understands why. He asks about the last person to get close. Tell him about a man who I don’t talk to anymore, who lives far away. Tell him about whiskey, tell him about late-night texts. Tell him about ten years lost between you.

I think I love the idea of him, I explain.

Don’t you want a real connection? he asks.

I do. I want it more than anything. But when someone leans in, they may swing for a kiss, or for the kill. Kiss kys kiss kys kiss kys. Somehow it’s safer to be in love with an idea. His jaw is beautiful, too far away to withstand my bullshit.

________________

Split Decision

Stay home for six months. Health gets better. Head gets worse.

I miss swinging, just to know someone’s there. The only person I fight at home is myself. Rounds in the mirror, in the shower, in my head. Shadowboxing my worst impulses.

I can’t buy a boxing bag because I live in an apartment. No noise, no sand, no water. Just my fists striking empty air.

In a movie there would be a training montage. But this is life. No swelling music, only silence. My breath and heartbeats. Count them to know something still lands, to know I’m still here. One. One two. One two three. One two three four.

________________

Rematch

Doctor clears me to return. Start slow, during quiet hours. When I show there are only real fighters there, young guys with hunched shoulders and proud chins. They smile big and shout hello.

Two of them are roughhousing, a fighter and his coach. Shoving and feeding soft fists to each others’ laughing sides. When I pass, the fighter grabs my waist, hides behind me. He knows his coach won’t hurt me. Coach advances and I put my fists up in jest but he knocks them away. Folds me into a big hug. It’s the most touch I’ve had in months. Joy beats the breath clean out of me.

Where have you been? he asks.

Open my mouth. Choke on six months of being sick, six months of suicidal thoughts.

It’s okay, he says. You don’t have to explain.

Go to a corner, wrap my shaking hands. Greet the heavy bag, something new to swing at. Something solid. Something other than my shadow.

I’m not counting breaths or heartbeats anymore. I know it’s getting better because I count days. When there’s a bad one, I start over. One. One two. One two three. One two three four. One.

Kirsti MacKenzie

Kirsti MacKenzie (@KeersteeMack) is a writer and editor in chief of Major 7th Magazine. Her work has been published in HAD, Rejection Letters, trampset, Autofocus, Maudlin House, Identity Theory and elsewhere.

Open post

Mandatory Reporter | Beth Konkoski

I am silent under the October stars. A boy has ridden home on the bus today to a house where his mother pushed him down the stairs. I saw the bruises and watched his eyes drop like anchors when I asked him what happened.

I am silent under the October moon. Checking school email, the filed report, a chance perhaps to help him, but the wheels and screens and checkpoints of CPS are slow to rise and lumber into action.

I am silent under the October clouds. In the blank space where the morning will shine, I imagine his bed with a blue comforter, a lacrosse stick and old baseball hats, dirty sheets and a tangle of pillows without cases, jeans too short after a growth spurt, mismatched socks left beneath the bed like the untethered days of loss, his cold feet. The family’s lavish vacations, the expensive pitching coach for Little League, and the certainty of his screams, muffled and stowed away. All the lies he will tell.

I am silent beneath the October eclipse. Still wondering as the shadow blots the sun, as the mother denies the accusation, as the cupboards offer up their plenty and the bruises start to heal... will it stay dark forever? No safe way to gaze at brightness either when it blinds more than it reveals. No safe way to help him if he never returns to class. No moonlight for my sorrow when the silence pins me down.

Beth Konkoski

Beth Konkoski is a writer and high school English teacher living in Northern Virginia with her husband and two mostly grown kids. Her writing has been published in journals such as: Smokelong Quarterly, Split Lip Magazine, The Greensboro Review, and The Baltimore Review. Her collection of short fiction, A Drawn & Papered Heart, won the 2023 Acacia Prize for Short Fiction and was published in June 2024 by Kallisto Gaia Press.

Open post

Tangerine Sonnet | Kenton K. Yee

Tangerine Sonnet

Is that a porcupine or a virus?
Hanging around didn’t seem safe
so I dropped last night. I take it
you did the same. Used to be
nobody would bug us on the branch,
but now squirrels, squirrels everyday
everywhere. Even on our own twig
we weren’t safe. But what do we
do now? How can we roll fast
enough to escape squirrels down here?
I can’t seem to roll at all. What if we
sprout wings, become orioles and fly
with coconuts—or are they owls?—
show the squirrels we’re top fruit?

Kenton K. Yee

Kenton K. Yee’s recent poems may be found in Hawaii Pacific Review, McNeese Review, Rogue Agent, Mantis, Asimov’s Science Fiction, Strange Horizons, Plume Poetry, Threepenny Review, and Rattle, among others. He writes from Northern California. INSTA: @kentonkyeepoet FB: @scrambled.k.eggs X: @leanpig

Open post

decompose: A conversation with poet Séamus Fey

Hannah Grieco, editor-in-chief of the ASP Bulletin, interviews poet Séamus Fey about their new poetry collection decompose, out now from Not a Cult Media.

 

Hannah Grieco: First: Tell us about decompose!

Séamus Fey: decompose is for the cycle of growth. What you have to give up and let die, so that something new can grow. It's my very first book, and I have been making it since I still had the word "teen" in my age. I'm very glad it took so long, though, because I think the version of the book that's in your hands is decompose's final evolution. Likely, the book will grow more, but inside of its readers! If you have ever felt that terrible feeling of letting go of someone, something, or some version of yourself that you loved for the benefit of who you're becoming, decompose is yours.

 

HG: Can you talk a little about genre and form (or even genre vs form?) in this collection?

SF: The genre question is tough for me, as I write fiction, nonfiction, screenplays, and plays, too. I've always moved fluidly through different genres, knowing that I will write them all at some point and (eventually) publish something in each one of them. As I don't live in one genre as a person, neither does my work. There's a poem in decompose that was published as flash fiction first. My press catalogued decompose under grief and loss, and LGBTQIA+ in bookstores and online. I think that's accurate, if we're going to label it as anything. There's also a tarot influence, so there's spirituality in there too. I think it belongs in all of the above. I call it my coming-of-age book, because one of the central themes is that we go through many coming-of-ages in our lives. It doesn't matter how old we are.

In the collection, there are many different forms. There are some sonnets, a triptych, prose poems, and two of my original forms. One of which is called the Spite, which I teach and have a forthcoming essay about. And the other I lovingly call "both sides of the coin" which can be found in the book as poems with two subsection titles in italics, with prose blocks beneath them. This form was an accident. I kept writing them, and then would find out that more and more of the poems in the book belonged in this form.

I love form. I was very resistant to it as a “youthier” youth. I thought it was The Man coming in to ruin my flow. Now, I see it as an incredible structure to guide a poem in stepping into its own shoes. Dr. Taylor Byas and I work on form a lot together, and she's helped me learn some new forms that were absolutely not natural to me at first. I have her and The Making of a Poem: a Norton Anthology of Poetic Form to thank for my development in form. My favorite forms to write right now are the duplex, the sonnet, and my "both sides of the coin" form.

 

HG: Who is your audience for this book? Who do you love to write to and for?

SF: This is a great question. My editor Shira Erlichman asked me this when we were in our first round of edits and I told her: every person out there who has ever been told they're too intense or feel too much, especially my little trans babies out there fighting to feel whole in this world. And if you've read Anne Carson's Autobiography of Red, you'll get this: all the Geryon's of the world. That's my audience. Also, really, anyone who wants to be here. I needed to be specific in terms of book curation, but now that the damn thing is curated, I can welcome everyone. You are my audience if you want to be. Welcome.

 

HG: How did this collection come together? Did you write individual pieces that slowly evolved into a collection, or did you know early on that you were writing with that aim?

SF: This collection has been forming for ten years. I've had more drafts of it than I can count. The meme that showed an author naming a file as "Final Draft (546)" is pretty accurate for decompose and I. Us <3.

I would say we slowly evolved. I tried this book as a chapbook in college, and then made many new drafts over the years. Eventually Rita Mookerjee said she thought it was time for me to develop a full length, so I tried. It turned out that that was all I needed to make a book. (The first draft of the full length, anyway.) I think three or four drafts later I sent my book to Daniel at Not a Cult. We had three more drafts and then finally, the actual final draft. It's hard not to change a book when its central theme is growth, letting parts of yourself die so that you may grow into something new. I think it's reflected in how much the book changed over the years.

 

HG: Were there any poems you initially thought would be included, but decided not to? Why?

SF: Oh, loads. I told Shira in our first meeting that it felt like the book was buried within the book. We chopped it down a lot. I think, ultimately, it was a matter of finding the heartbeat to the collection and sticking to it. A lot of the poems came out because they didn't fit in the world. I didn't object to cutting anything unless it was a poem that I knew in my gut belonged in there. There are more books to come, and it's not a book of my collected poems after all, it's decompose.

 

HG: What was the hardest poem to write in this collection? Were there any that slipped onto the page smoothly and easily, requiring little to no editing?

SF: The easiest, most "necessary" (I have a whole essay about what this means to me), and immediate poems were Dinosaur Spine and poem in which you get to be a kid. Poem in which you get to be a kid was so instant that it felt like nothing, and also made me feel incredibly vulnerable, so I actually didn't really count it as a poem that would be big to me. Then, in one of our meetings, Shira said she thought it was the heart of the book. I was so surprised, because to me it just felt like a little thing I wrote. Then I read it at my next reading and choked up while reading it. I was like, “Okay buddy, you wrote this poem off because it makes you feel vulnerable. I see you.”

The poems that needed the most time and attention were probably Associative Amnesia and I want to lay on the couch. I have Dia Roth, Shira Erlichman, and Taylor Byas to thank for help with edits on these two.

 

HG: I think many emerging poets find the act of ordering a collection confusing and overwhelming. What was your process for ordering decompose?

SF: Oh golly, YES it was a lot. I tried several different orders before I landed on the final. None of them were holding the collection together or guiding the reader through with a lantern. After talking with Shira, I had an idea and called for an emergency meeting of the Manuscript Ordering Club, which consists of Dia Roth, Dr. Taylor Byas and I. We hammered it out and the order fell into place.

Shira had asked me: If the book was a tarot card, what would it be? At first I thought it was the Death card. Then I thought it's its own card, which I call the Footstep card. The idea is the Footstep card lies in between Temperance and Death. It's the moment where something in you or in your life has metaphorically died or ended, and you don't want to let go, but you have to just take one step forward at a time and you will eventually make it to Temperance. Temperance, to me, is when you're reconnected with your path and/or your purpose, and remember why you're here. I spent some time with each poem, seeing which of the three cards it was living in. I placed each poem in either the Footstep, Temperance, or Death pile based on their content and how I'd read them in a tarot reading. So that's how I ordered the book, with the help of the world's greatest editors. The book order goes Footstep poem, Temperance poem, Death poem. With the exception of a few places where we take more than one Footstep.

 

HG: What is it about Tarot that called/calls to you?

SF: I've read tarot for a long time now. It's intuitive to me; even before I studied in the practice, it felt as though I had always been a reader. It helps me understand astrology, because each sign has a card associated with it. It's become the way I can help close friends through hard times. I read for myself sometimes, but most often I have other tarot readers read for me. It's become so intrinsic to me that I can't remember life before tarot. It's kind of something I keep quiet about, as it takes a lot of energy to do a reading, so I can't do them for everyone all the time. Also, though, it's so sacred that I tend to keep it close to my chest. It's a practice for myself, and to share with others when I choose.

Emotionally, tarot is an incredibly poetic tool. A tarot reading is not meant to be predictive, but rather to give light to a journey the querent is already on. Because tarot is an intuitive practice, and there is an element of intuition in my writing practice, the two are interlinked in some ways. They have some of the same sparkle to them. This book, in particular, is close to tarot due to ordering and its common theme in the individual poems in the collection. Also, with my tarot readings being centered on the present journey, and the book going through many evolutions/journeys, decompose itself feels like several tarot spreads to me.

 

HG: What is the first poetry collection you remember reading?

SF: One of Emily Dickinson's collected poems. I can't recall which one. Around the same time, I had a collection of Byron Keats and Shelley's poems combined into one book. After that it was Sharon Olds, Anne Carson, and Rita Dove.

 

HG: When did you first consider yourself a poet?

SF: In hindsight, it could have been sooner. I had a very tumultuous childhood, so I didn't think about much other than surviving for my first 18 years. I did keep a journal, and all my journal entries had line breaks in them before I knew what they were. I think out of all the genres, poetry is the most natural to me. I was writing poems before I knew they were poems. I didn't share any of my work until I was a senior in high school. I remember my teacher, who was very strict and read a lot of poetry, telling me that she thought my poem was beautiful and very well written. I still remember how surprised I felt by that. I never thought the work was any good, just that I needed to write it. Writing and reading were my only solace for a long time.

Eventually, I learned to desensitize myself to sharing my writing. It took a long time of repeating to myself, “Hey, I know this feels weird, but if you wanna do this thing like I know you do... you have to get used to sharing your work." I did, and in turn, found out some people actually kinda like my work!

In college, I was a theatre major, and my degree allowed me to take a lot of classes that would benefit me as an artist. I took English classes and two introductory poetry workshops. It was then that I realized I was a poet. I didn't know, before, that I would be allowed to call myself something I wanted to be that badly. I think I was under the conception that I had to wait for someone to knight me or something. I didn't know it could be as simple as loving poetry, writing it, studying it, living in it. It turns out I'm allowed to be a writer. It's actually still pretty wild to me.

 

HG: What's an early piece that you published that still feels extremely you?

SF: I published a poem in Knight's Library Magazine years and years ago called With two fingers I can squeeze the sun. It's in decompose. I was just telling a friend that it feels like I don't write poems like that anymore, but I don't think that's completely true, either. It's really light, weird and goofy—tells you nothing and everything you need to know. That energy still comes out in my poems, but they've also changed a lot since then. That poem and I can't focus right now but who can blame me, which I published in Hooligan Mag long before I was poetry editor. They feel like little windows to my interior landscape. They're just a bit quieter than my other poems; to really hear them you have to listen intentionally.

 

HG: Who are some writers you're obsessed with right now?

SF: Well, I am always, always, always obsessed with my poetry friends and editors: Dr. Taylor Byas, Dia Roth, Dare Williams, Jason B. Crawford, Susan Nguyen, Rita Mookerjee, Natasha Rao, Shira Erlichman, and Mag Gabbert.

ALWAYS Diane Seuss, Danez Smith, Richard Siken, Khadijah Queen, Aimee Nezhukumatathil, Anne Carson. Always. *insert Snape gif*

And three collections that have come out recently that I am absolutely obsessed with are Black Pastoral by Ariana Benson, I Do Everything I'm Told by Megan Fernandes, and Once, This Forest Belonged to a Storm by Austen Leah Rose. I cannot recommend them enough.

I could go on and on. I'll stop after this: Amelia Ada, whose book is coming out with Dopamine, the incredible new press my friend Michelle Tea made with Beth Pickens. Amelia's work never ceases to blow my mind. And last but certainly not least, the poet Gem Arbogast. They have a lot of forthcoming poems, so be on the lookout.

S. Fey (they/he) is a Trans writer living in LA. Currently, they are the poetry editor at Hooligan Magazine, and co creative director at Rock Pocket Productions. Their debut poetry collection, decompose, is out with Not a Cult Media. His work has appeared in American Poetry Review, Poet Lore, The Sonora Review, and others. They love to beat their friends at Mario Party. Find them online @sfeycreates.

Open post

FEATURED STORY: The Chase | K.C. Mead-Brewer

The Chase

Here it is, The Fool, stepping off his cliff. I love you, he says, I’m saying, and fuck. Thank god the road is there to save me from myself. It’s always known how to love me best, by being there, by running away from me. Every mile I gain on it, it’s got thousands more in every direction. My previous lives have all felt its pull and stretch, the tease of its bending smile: when I was Jonah boarding the ship, out out! to the sea!, crisp salt air filling my chest with hope even as a hungry god lurked in the waters beneath; the road, the road. When I was Persephone climbing aboard my lover’s
oil-black motorcycle—the way his engine rumbled, it sounded like the growling of a three-headed dog. When I was Merlin deliciously insane on the dirt paths of ancient England, my youth rushing toward my creaking body even as the wilderness tangled in on my mind, tempting me toward kings and lakes and crystal caves. When I was Odysseus and everything, everywhere, a wine-dark sea. When I was all one hundred and one of those Dalmatians sneaking off into the dark, fresh mud squelching beneath my paws, my fur coat the night sky’s wild inversion. When I was with Allen and Jack and taking their poetry like medicine against all that my preacher-father taught me in our years running 92 The Chase through every parish in North Carolina. When I was the hurricane that dragged my mother’s house out to sea and everything started again. How it’s always been a dawn in my chest. A notion clear and untouchable as light. My soul bending toward the scent of circuses— popcorn, elephants, funnel cake; the chalky taste of that sad clown’s makeup as we licked each other—and the blaring of foghorns, the crunch of waves against a ship’s hull, the violent romance of a pirate’s laugh as they take you in their arms and swagger, “Kiss me if you want to live.” My grandmother, several greats back, smeared her naked body with blood jelly in hopes of drifting up to her lover, the moon. She scrawled with the black ink from a snake’s fang into a diary that now bakes in my old Impala’s glove compartment: Only ye who wish to be chased shall run away, and yes, Grandmother, yes! If you don’t chase me, how will I know you love me? If you don’t chase me, how will you ever taste my dust? If you don’t chase me, whose arms will I fall into at the edge of the world? What is a great fuck but a great running away—a flight into another’s body, another’s pleasure, another’s breath. I don’t care about sex, but I care about this: the road. The motion. The glorious roar of the horizon, a cheek so soft, so exquisitely curved, you’ll reach to touch it again and again and helplessly again. If you aren’t running by now, you’re either dead or much braver than me. If you aren’t running by now, there’s nothing I can do for you. If you aren’t running by now, sweetheart, it’s because you’ve already been caught.

K.C. Mead-Brewer

K.C. Mead-Brewer is an author living in beautiful Baltimore, Maryland. She writes mostly weird, dark fiction, the kind of stories that love flashlights, closets, and the green dark between the trees. For more, check out her website: kcmeadbrewer.com.

Open post

Out of Nowhere | Vanessa Micale

Out of Nowhere

It was near nightfall, teasing and tenuous between pitch black and gray fog. The fog came in along the curvy road on Highway 1 north of San Francisco. The wind slapped the truck, windows down. Robert turned up the music on the tape deck. Lou Reed cupped his mouth over Robert’s ears with a lullaby about the kind of love you can’t lose because it lingers regardless of what’s on the physical plane.

Robert’s backpack slid against the floor as he took a curve. The road was smooth. It was hard to see the dangerous drop of the road edge as the light sunk. This thrilled Robert even as it made his head dizzy.

Don’t think about the water. Don’t think about the cliff edge. He gripped the wheel. He imagined the waves as slurping mouths, sea foam spitting out all sides. The salty residue coated his forearm. It was wild to snake over the asphalt at 40 miles per hour while his mind conjured up landscapes and then there she was again, Rosalie, lingering.

Robert was lost in a daydream of Rosalie’s teeth as her full-bodied laughter cascaded. Everything about Rosalie was full-bodied, from the wine she drank to her hips to her tenderness and rage.

The thump of an animal body broke the smoothness of the road. He pulled over at a gravelly turnout. He calculated how he would put an animal out of its misery if it was injured beyond repair. He grabbed his flashlight and shone it down a few yards. He hoped this gesture would be enough. He hoped the animal had leapt up the hillside with panicked adrenaline to bleed and die out of sight. He hoped to get back in his truck and home to Rosalie to tell her that after two nights on the mountain, he was ready to be the man she needed.

An animal whimpered. Oh fuck, oh fuck. His flashlight caught the eyes of a dog otherwise invisible with its shaggy black fur swallowed in shadows on a bed of rocks and brush. He was still 45 minutes from the nearest town. He walked towards the dog, who was in too much shock to move or run away from him. Robert threw his jacket over the trembling body. I got you, its ok, its ok, you’re ok.

As he lifted the dog, he could feel the heat from its body against his own. He couldn’t see or feel the wetness of blood, but he knew the bleeding could be internal. He lowered the dog onto the passenger seat and took off up the long highway. He tore over the ribbons of road past the sheen of the median and reflective markers and finally the oncoming rush of headlights on the 101. Robert looked over at the motionless pile, the rough outline of a dog underneath his jacket. Had it taken its last breaths? Was the dog still there, or was the jacket a marker of absence now? He moved his right hand under the jacket, rested it on the matted fur to check for warmth. The dog’s eyes opened, a soft sheen in the night.

When Robert pulled into the vet parking lot, the dog’s eyes were closed, breaths shallow.

Robert hadn’t spoken to another human in days. His voice emerged scratchy, subterranean.

“I need help. I hit a dog on the highway.”

“What happened? Were there any other cars around?” The young receptionist blinked at Robert under the fluorescent lights.

“It came out of nowhere.”

The truth was he didn’t know if the dog lingered lost in the middle of the road or leapt suddenly in front of the truck. At the moment of impact Robert was just as lost, remembering Rosalie.

Robert’s hands trembled as he filled out his name and address on the clipboard. He waited in the truck until the vet staff came out with an update. The dog had a fractured leg, but no internal bleeding, no tags, no microchip. Robert thought about the permanence of committing to a dog, how he and Rosalie would name this dog together, the way they might one day name a child.

Robert stayed in a motel for the night while the dog recovered from surgery. In the morning, Robert was on the road with the dog, who slept, heavily drugged. He tried to imagine what it would be like to see Rosalie again.

When he pulled into the driveway, he was met with her absence before he opened the car door. She had taken her favorite wind chimes and cut all the flowers from the front yard. When he walked into their small house, he was in a stranger’s home. The walls were stripped bare of her decor. Her closet was empty.

Robert brought the dog inside. The dog’s black fur was shaved around the surgery site. Caramel canine eyes scanned the room and returned to Robert who kneeled, palms open with pain meds hidden in bacon flavored pill pockets.

Robert wanted to feel the searing despair of being left alone. The only thing Robert could feel was the warm tongue of the dog against his open palm. Maybe Rosalie was right, that he was a man with a closed heart, unable to feel the world around him.

Just a few days before, when he still had a home and he still had Rosalie, he didn’t hear the pop of the Achilles tendon of their love, how the torn tendon wouldn’t bear any more weight.

“It’s like trying to love the fucking glaciers. You just melt out of reach.” Rosalie stared into the yard, stoned and tired.

“So I’m dead inside? I’m a disappearing glacier?” Robert tossed the words at Rosalie’s back and watched them slide off her spine along with past sarcastic attempts at reflective listening and “I” statements.

He wanted to place his hand on Rosalie’s back. He wanted to kiss her perfumed neck of tobacco and amber.

Instead, Robert hefted his backpack on. “I’ll see you in a few days. I do love you Rosalie.”

When Robert opened his eyes again, his hands were empty. He listened to the dog’s breath against the soundlessness of no wind chimes. Somewhere Rosalie walked with an armful of freshly cut flowers.

Vanessa Micale

Vanessa Micale is a multidisciplinary artist who lives in Portland, Oregon. She is a mixed Uruguayan American who creates across monikers and mediums as a poet, writer, singer-songwriter, musician and performer. Their work has been Pushcart nominated and appears in The Hopper, Roxane Gay’s The Audacity and zines + things. Vanessa has received support from Latinx in Publishing (2023), Randolph College MFA Blackburn fellowship (2022), Anaphora Arts (2021) and VONA (2018). https://www.vanessamicale.com

Open post

The Wolves of Paris | Ryan Deegan

The Wolves of Paris

To a girl searching for proof of her own uniqueness, a wolf at a window is a curious thing.

Car lies in bed, knees to her chest, mouth held under a heap of blankets, collecting the heat of her own exhalations.

Behind the bifold shutter, the wolf's shape moves across imperfect seams. She has a curtain that would block out this view, but when it's this cold it's best to keep the curtain atop her with the other blankets.

The snout lifts, floats in search of food-scent. The thin shadow of another passes behind it. The window should’ve been fixed in the fall, but no one could have predicted the winter of 1450 to be this severe. Car shuffles her legs, hides from pockets of cold. She considers the fact that blankets don't provide heat, only trap your own.

The wolves are nocturnal curiosity. The wolves are night's probing tongue.

 

On more than one occasion, Car has been described as ‘an unfortunate twig of a human.’

A diminutive girl, even her name is a diminutive of a diminutive of a diminutive. Carolane shortens to Carole which truncates to Caro which abridges to Car. Given the French propensity to abandon the final letters of any given word, her name comes out as a melodious and barely pronounced Ca. Like a stifled cough someone tried to sing.

She suspects if she doesn't get married soon, her name might vanish all together.

At fifteen, with a penchant for imagining boys without their clothes on, she has tacitly defined herself as all humans do: unique among the mass of existence but with no clear understanding of how, while patiently waiting for evidence of this belief to present itself. She thinks herself unique despite knowing that all humans think themselves unique, which makes her unique.

She is aware of the irony.

"I saw a wolf last night." In the morning, she tells her mother who scrubs at the washbasin.

The porridge in Car’s bowl is warm but not warm enough to fend off night’s catacomb chill. The pots her mother hangs are valuable and kept far from the window where they might be stolen.

"Going to market later."

"I said a wolf came to the window last night."

"Good thing you have no meat on you."

The wolves are new to Paris, having entered the city's dilapidated defensive walls from the surrounding forest that has been raked clean by the two hundred thousand people who reach out from the ancient city. But people seldom care about failing walls: a wall's disrepair is a gift from peace.

Outside, between houses, the trash barrels haves been knocked over, their contents rummaged and sniffed and tested.

The wolves are the need to survive. The wolves are the forest’s reflexive reach.

 

When at church, Car passes her time glancing around in search of boys whom she imagines without clothes. It is not a particularly easy task, seeing as how she has never seen a boy her age naked. She has seen older men on two occasions. Once, when her grandfather needed the assistance of two people to get out of bed. The second, at a public beheading where the body lay on the street afterwards.

Both times were a mere glance. Both times didn't quite seem representative of real life.

When service ends, an argument ensues outside the church. It seems Madam LaCour’s child is dead, attacked by wolves. Held in place, the mourning woman screams threats while the men debate whether to let her see the remains of her child. On the far side of the courtyard, Monsieur Clarion holds a wrapped blanket stained in red, his back to the arguing crowd.

Car finds a declaration of curfew nailed to the church door. If it is to be believed, more than just this one child have already been killed.

Atop the holy water floats a thin sheet of broken ice.

 

Car's boyfriend's name is Etienne. They have kissed twice. She has not seen him naked.

He works at the dock and speaks almost exclusively of his future successes without providing a means by which he will accomplish them. Two years older than her, he doesn't like the word boyfriend or use the word girlfriend and will not let her tell anyone they have met a few times at night.

Car often fixates on the word boyfriend, which holds within it the connotation of worthiness, but not as much as the word fiancé, which she one day looks forward to using so everyone can see that she's valued and therefore valuable.

At night, they meet in an alley behind the pub he frequents.

"You smell good."

"Like what?" The quickness of her response betrays her neediness.

He licks her lips. "Don't know." He sucks on her neck. He makes her feel not so thin. She can see her own breath and he smells of beer and she asks, "Can I see you naked?"

The sucking on her ear is too loud.

"It's cold," he says and takes her hand, guides it under his clothing, and she feels, explores, without aim or knowledge of any desire that might exist beyond exploration. What she’s done to his body is physical proof of her desirability.

Down the street, the pale glint of a wolf’s eye flashes across the intersection. It pauses, assesses them as Etienne's hand makes explorations of its own.

When the wolf moves on, an entire pack follows behind it.

The wolves are moving grey famine. The wolves are a skin-hugged rebuttal to a city's plunder.

 

Dozens are dead.

The eight-year-old daughter of a merchant. A homeless man under a bridge. It's hard to know what’s rumor and what’s real. The poor are the hardest hit.

Car's family is not poor but not rich. Her blankets are thick and supple – her favorite possessions – and if she complains of the cold, she'll be told to put some meat on her bones. If she asks for more blankets, her father will chuckle and tell her to sleep with the rest of the family like a normal person. She refuses.

The room she has claimed as her own is actually a large storage closet, at one point used to store barrels of mead when their house was a store. The rest of the house is definitely warmer, but having her own space makes her feel in control and fascinating.

At night, in the room that isn't a room but is hers, she masturbates without knowing the word masturbate, unaware that she is not the first to discover such a thing.

At first, she impersonates Etienne's finger, which itself had uncomfortably impersonated intercourse, but soon she finds something decidedly better, simultaneously delicate and seismic.

Her mind sets on the feel of Etienne's hardness. She climaxes without knowing there is such a thing and is somewhat startled, and when the wolf comes back, she's already looking at the window, her head lolled to the side, mouth breathing little clouds just beyond the frontier of blankets, confused about what just happened, unafraid, so certain this animal understands her.

The wolves are innocent desire. The wolves are nature's exploratory touch.

 

Car can't wait to be older but knows when she's older she'll want to be young again, which means there must be a day in between where she's exactly happy with her age and wonders if that'll be the day she and Etienne will announce themselves to the world.

Etienne has spoken of their future only once. It's hard to get him to speak of it again.

The people of Paris have given a name to the leader of the pack. The largest reddish wolf with a missing tail. They call him Courtaud. Marie Claire next door writes a song about him and sings it in the street.

As the wolves grow bolder, King Charles and the city's government present no plan other than declaration that the curfew is now enforceable by police. So men begin speaking of organizing a militia.

 

Behind the pub, Etienne's hands feel colder than they should on Car’s belly. The curfew makes it easier to see him now, makes it easier to be out at night.

She waits for the heat of the moment. "Should we get married?"

"Boss has me carting now 'stead of working the dock."

"Should I come visit you?"

His face buries into her neck. Her mouth parts. He moves quickly, hikes her dress, exposes her to night's cold. In the days to come, an assembled militia, including her mourning father, will gather and drive the wolves onto Île de la Cité, where they will be surrounded and beaten before the cathedral of Notre Dame.

Over Etienne's shoulder, Car sees the pack collect, shift, their focus maniacal and confident as Etienne works and she is unique and wanted and there are things more important than curfew.

Ryan Deegan

Ryan Deegan lives in the deserts of Las Vegas, where he masquerades as an airline pilot by day so that he might write stories by night. His primary focus is long form fiction. You can find out more or connect with Ryan at ryandeeganauthor.com.

Posts navigation

1 2 3 4 5 6 7 8 9
Scroll to top