Showing posts with label short stories. Show all posts
Showing posts with label short stories. Show all posts

Thursday, May 23, 2013

Story Time

I've been asked recently to share some of the old short stories I wrote back when I was using my pen name, J. David Bell, before I turned to novel-length YA fiction.

Looking over my oeuvre, I found two readily available stories (both were published online) that feature child protagonists and fantasy or science-fiction related material.  So I guess, in retrospect, I've been moving toward speculative YA all along!

The first story is called "A Chimaera Story with Four Morals."  It appeared a couple years ago in Jersey Devil Press.  It started out as a simple experiment in writing a very short story, but it refused to remain a mere experiment.

The second story is called "Cats in the Backyard," and it appeared in the journal Niteblade three years ago.  It's one of my favorite stories of all time--a hybrid of literary fiction, horror, and something else I can't quite put my finger on.  It was first written years ago--as many as 20 years ago--then set aside and reworked when I returned to writing fiction.

I'd love to hear some reactions to these older pieces!

Friday, March 22, 2013

Scarecrow


It seems as if Oz is in the air this week.  No sooner did I post yesterday's piece on Oz, the Great and Powerful than I learned that my short story "Scarecrow" has been published by Untreed Reads.  It's a retelling of the Oz story from the Scarecrow's point of view, and I think you'll be surprised to discover what's inside the straw-man's mind.  The story is downloadable for a very reasonable price, so enjoy!

Tuesday, February 12, 2013

February Fiction

I've got some new fiction (and nonfiction) out, so I thought I'd link to it here.  First, the fiction: a short story titled "The Fundamentally True History of Mary Shelley, aka 'The Creature,'" which appears in the online journal The Abstract Quill:

http://theabstractquill.com/?page_id=5

Now, the nonfiction.  There are two pieces, one titled "Watershed," available online (or in print form for a trifle) at Kudzu Review:

http://kudzureview.com/2.2.html

The other, titled "Body Parts," appears in Blood and Thunder: Musings on the Art of Medicine, and is, alas, available only in print form.  But again, it's priced so as not to break the bank:

http://www.ouhsc.edu/bloodandthunder/subscriptions.asp

Check 'em out, and let me know what you think!

Thursday, December 22, 2011

Novels and Stories

One thing I've discovered about writing novels: it definitely slows down one's ability to write short stories.

Duh!

But seriously, since I've committed much of the past two years to novel-writing, my short story production has drastically slowed. I've got a bunch of half-finished stories in the hopper, some of which I'll try to complete, others of which are probably best left where they are. But I haven't been able to muster the time to work on them.

It's not just a time thing, either. The novel I'm currently revising is Young Adult fantasy fiction--requiring a very different voice and narrative approach than the experimental, literary short fiction I've been producing lately. So changing gears from the one to the other presents certain problems; it takes a period of decompression of whatever to move from one style and genre to another, radically different kind.

Case in point: I just completed a very short short story (1,700 words or so) titled "Girl Drives into Oncoming Traffic." I'm pleased with it, and I've started to send it out. It was short enough that I could write it in a week and thus not take too much time away from revising the novel. But its language and narrative were SO very different from what I'd been working on, it had a powerful effect on the novel when I returned to it--in the middle of a lovely, straightforward prose passage, I found myself spouting postmodern nihilism. I cleared it up, needless to say, but it was eerie seeing the hold a particular voice gains over you.

Eerie, but also encouraging. Sustaining a narrative voice is one of the hardest things about writing, especially writing longer works. You have to let the voice take control to a certain extent if you're going to keep it strong and consistent. So it was good to see how deeply the voice I'd created had taken on a life of its own.

But now, it's back to the novel. And to another long dry spell for all the other voices clamoring to get out.

Saturday, October 22, 2011

$2.01 USD

The title of this post is exactly how much I've made so far in royalties from my story "Snooping," which was recently published in an e-book anthology from Nevermet Press. That's the amount that went to me after the editor/publisher took his percentage and all the other authors divvied up the rest.

So obviously, unless you're Stephen King or J. K. Rowling, you do this thing for love, not money. In fact, they probably do it for love too. The money just kind of happened.

But you plug on. I just got word that my story "What the Dog Saw" has been (kind of) accepted for publication. The editor wants some revisions, and unlike previous instances in which I've been asked to revise a work before publication, this guy sounds as if he's not ready to publish the story unless I meet his expectations. So we'll see what happens there.

I've been publishing fiction now for about three years, and I've got a good twenty stories and just about as many dollars to my credit. To some, this might make the act of seeking publication for one's work seem pointless.

But me, I'm not complaining. I'm living large. And I've got $2.01 USD to prove it.

Monday, September 26, 2011

"Snooping" Available!

My new/old story "Snooping" is now available, along with twelve other fantasy/sci-fi stories, in the anthology Stories in the Ether from Nevermet Press. You can check it out and download it in a variety of e-forms here.

Enjoy, and spread the word!

Thursday, August 25, 2011

A Very Small Child Called Eugene

As promised, I'm back, with news of a recently published short story. It's titled "A Very Small Child Called Eugene," and I suppose you'd call it speculative fiction/alternative history/magical realism/something like that. My contributor's copies came yesterday, so you can order copies of your own if you're so inclined. And the online version will be out in October, according to the publisher, A cappella Zoo, which you can find at this link.

Warning: the story contains explicit language and hard-to-stomach concepts (hard to stomach in the moral sense, not the physiological sense). It's why a couple publishers turned it down; they liked it, but told me they were afraid their readers might not understand what the story's trying to do and might be deeply offended by it. I hope that's not the case with you; I hope you see what the story's really about. But that's always a risk when dealing with sensitive subjects, subjects we as a culture haven't really resolved no matter what we may like to tell ourselves.

Thursday, June 30, 2011

Snooping, Redux

The new and (I think) improved version of my old story "Snooping" is available on the website of Nevermet Press! The story's been trimmed and tightened, and I think it reads much better now. There were supposed to be illustrations to go along with it, but alas, they seem not to have materialized. Maybe they will when the print edition comes out later this year.

Enjoy!

Wednesday, March 30, 2011

A Chimaera Story

Well, after yesterday's gloom-and-doom message, maybe you're not ready for this announcement, but here goes: I had a new story accepted for publication. It's called "A Chimaera Story with Four Morals," and it was picked up by Jersey Devil Press. Should be out in June, at which time I'll provide a link.

Funny story about this story: when I originally wrote it, I had in mind some bizarre, tongue-in-cheek, self-referential parody of the "sci-fi apocalypse" narrative. So I wrote it that way--or at least thought I'd written it that way--and sent it off. Turns out there's a very straightforward, mournful tale about loss and the relationship between fathers and sons lurking within the madcap prose, and the editor at JDP was sharp enough to pick it up. So I was advised to trim out the parts that worked against the inner story and let it emerge. I was reluctant to do so at first--it's easy to fall in love with one's own high concepts--but once I did it, I realized the editor was right, and it's much better in its current form.

It just goes to show, you never really know what you're doing when you sit down to write. Sometimes, maybe all the time, you're better than you think.

Monday, March 21, 2011

Worth Reading

Having critiqued a short story not my own in a recent post, I thought I'd introduce a story I thought was terrific. It's titled "Tomorrow People"; I can't remember the author's name, unfortunately, but who really cares? I'm interested in stories, not authors. And you can look it up yourself if you're so inclined.

"Tomorrow People" is set in 2040-ish, but it's not science fiction. Oh, there were a few offhand references to technologies that don't currently exist, but that's just for flavor. The real story concerns the narrator, a pre-teen boy whose college-aged sister was killed when a terrorist nuclear bomb destroyed the city of San Francisco. His parents and older brother don't talk about her, and they've kept no images of her; when he sees an old picture of his parents on his dad's laptop and asks one too many questions about it, thinking his sister might have been the photographer and he might be able to catch a glimpse of her in the sunglasses his mom is wearing, his dad scrubs the picture from his hard drive. So this is definitely a post-9/11 story, a tale of memory and loss, or of lost memory.

The story takes a turn when a neighbor, a former soldier in the ongoing war against those who destroyed San Francisco, brings home a Muslim boy who has lost his own family in the war. The narrator, who committed an unthinking act of anti-Muslim prejudice the year before--spraypainting epithets on the toilet stall of a mosque his school visited--wants nothing to do with the new arrival, and neither does the Middle Eastern child want to make friends with Americans. But the child's adoptive father keeps trying to get the two together, the narrator's mother wants her son to atone for his act of the year before, and the two are forced into an awkward, tension-filled meeting.

If this sounds a bit like the story I disliked, "Summer, Boys"--two pre-teen boys making friends over the summertime--well, it sort of is. But it's a far superior story in every way: unpredictable, far less mannered in its writing style, and about something that strikes me as far more significant, or at least bigger, than that of two boys coming of age. I won't spoil the story by telling anything more about it; I'll just say it's inspired me to try a story of my own that I've had in mind for a while but not, shall we say, in heart. If anything ever comes of that, I'll let you know. Either way, it's always nice to know that there's fiction out there that's not just well-written but well worth reading.

Sunday, February 27, 2011

One (Dull) Story

I've been preoccupied lately with writing my first novel (I'm about halfway done with a draft), so I haven't had much chance to write and submit short stories. I did complete one, titled "Aphasia," and I'll be sending that out soon to see what happens. But in the meantime, rather than offering more of my own short fiction, I thought I'd comment on someone else's.

Over the past year, I've subscribed to the literary journal One Story, whose innovative idea is to send out precisely one story to subscribers roughly every three weeks. Of the fifteen or so stories I've received from them this year, I've really liked about five and at least appreciated another five; the rest I haven't thought much of. The most recent one, titled "Summer, Boys" by Ethan Rutherford, falls into the "appreciated" category: it's beautifully written, but in my view, utterly predictable and ultimately unsatisfying.

"Summer, Boys" is a coming-of-age story about two unnamed fifth-grade boys who develop an intense friendship centered on the common interests of many prepubescent males: professional football, skateboarding, dirt bikes. The two are inseparable until an older cousin of one of the boys mocks their interests as childish and introduces them to his own interest, namely video porn. The story ends with the two friends uncomfortably but compulsively trying out on each other one of the acts they witnessed in the video. So in the end, the story becomes what just about anybody could have predicted it would become from the first word (which is "Friends"): a story of the loss of innocence, conveyed through the medium of homosexual experimentation.

And that's precisely my problem with the story. Not the homosexual experimentation, which I'm confident lots of boys engage in as they're making the passage from childhood to teenhood. What bothered me was the predictability. As a rule, I think we can agree that any story whose plot can be expressed in the form of a tabloid headline isn't a very original story: "Two Young Boys Lose Their Innocence and Engage in Homosexual Experimentation!" What's so interesting about that?

Rutherford, it must be said, can write his pants off (no pun intended). Just look at this sentence (and yes, it's all a single sentence):

"Plays are called, random numbers, slow huts, sharp hikes, and the trees lining the street, the great oaks and elms that have been watching over this particular block for who knows how long, have seen how many plays called, have seen how many errant, throwing-starred punts go up on the roof, who hold, in their branches, a generation's worth of Aerobies too high to knock out--these trees, who have enjoyed, for centuries it seems, those magical on-the-lawn-hours when balls are drawn heavenward, who have stood in rapt attention for those endless minutes before the car-door slamming parents return from the outside world to ask their kids what the hell, just what the hell is going on, these trees, they whistle their applause."

That's good stuff. But to my thinking, it's form without much substance; it sounds great, it evokes a feeling, but it's all in the interest of setting up the scene toward which you knew the story was driving all along. The trees, see, are timeless, but cruel Time will snatch these boys and drag them toward teenhood and an Unspeakable Act! But that Act being neither unspeakable nor particularly interesting, the trees are mostly wasting their time, or ours, by leading up to it.

Some might say it's precisely the job of stories to render the commonplace in uncommon language; others will quibble that the classic definition of the short story presumes that every word will indeed point toward a single predetermined effect. But personally, I'm not much for stories that go to great stylistic lengths to tell me something I already know, or something I could already see coming from word one. I much prefer stories that teach me something I don't know, stories that shock or surprise me, if only (to paraphrase Emerson) with the alienated familiarity of my own being.

If you want to read a couple recent coming-of-age stories that do just that, check out Benjamin Percy's "Refresh, Refresh" and James Lee Burke's "Why Bugsy Siegel Was a Friend of Mine." Both of them are brilliant, impossible to summarize, surprising, melancholy, hilarious, sad. No timeless trees or unspeakable acts in either, but I promise you won't miss them.

Saturday, January 15, 2011

100th Post!

In my kids' elementary-school classrooms, they've always celebrated the 100th day of school with a big party and a big project--something, naturally, that contains 100 items of some kind. (My son is thinking of doing something with Legos this year.) It's a nice ritual, one that commemorates persistence, accomplishment, or just plain survival.

Well, according to Blogger, this is my 100th post since I started this thing a year and a half ago. And while I don't have any great big project planned for my 100th post, I thought I'd use the opportunity to present a story of mine that went the way of all flesh when the magazine in which it was originally published shut down for good.

The story's called "String," and though looking at it now after a further year of writing, I can see some flaws in it, at the time it represented a big advance for me in terms of story structure, discourse, and point of view. So I still feel a great deal of fondness for it, and I'm happy to take this opportunity to present it to you.

Here's to the first 100 posts, and to the next!


String


They stand on the shoulder by their crumpled Toyota Prius, waiting for the cops and the Triple-A tow truck to show. Jasper eyes the accordioned fender, his upper lip clenched in his lower. Lila braces for the one-liner she knows is coming. Why can he never take anything seriously? It drives her mad.

Jasper peruses the wreckage, not because his inspection tells him anything of use, but because he needs time to formulate his quip. Then he thinks of a good one, one sure to get her steamed. “Well, this will certainly reduce our carbon footprint,” he says.

Lila expels a breath. “This never would have happened with a normal car,” she says. “I felt something, a hitch, a hesitation. It’s that goddamn hybrid motor. It must have stalled just as I braked.”

“You were driving like a bat out of hell,” he tells her. “This would have happened in an SUV. The only difference is the damage would have been much greater.”

“And the carbon footprint would have been much higher,” she sneers. “You and your crusades. I need a cigarette.”

She retreats from the roadside. Jasper watches her brace her purse against her thigh and stab her hand vigorously but randomly into the bag. He knows her purpose is less to find the cigarettes than to impress on him his guilt in bringing her to this extremity. Finally she extracts the flattened pack and looks at him disgustedly. “I’m out,” she says, crumpling the offending object and hurling it to the ground. It rolls away in a passing truck’s slipstream, a miniature cellophane tumbleweed.

“So I’d noticed,” he says. She knew she was out before she started fishing. She hasn’t had a cigarette in three days, the empty pack meant to be a motivator. She also knows he knows she’s quit, and has merely been egging her on.

“Do you care?” she says. “Do you care that we almost got squashed, we’re standing by the side of the fucking highway, and I’m out of cigarettes?”

Jasper squints at the shrunken car. The airbags stuff the front seat like some overgrown fungus. Then another good one comes to him. “If the choice is between killing yourself and killing me along with you, I’ll buy you the cigarettes.”

Lila glares. She wonders why she has put up with this for so long. In a heartbeat’s time, she can tick off a royal tally of irritants. His arrogance, his air of superiority. His constant dry, sandpapery sniffling. His inability to bring her to orgasm. His spreading forehead and sloping back. His insouciance regarding her quarterly smoking-cessation schemes, his told-you-so smugness when she relapses. His this, his that. Her girlfriends had warned her he would never change, and in this they were right. What they hadn’t foreseen, what she hadn’t foreseen herself, was how he would.

“You’re a real asshole, you know that?” she says.

#

Cissy rests against the metal barrier, her face lowered to ward off the dust and debris of trucks rumbling by. The couple who rear-ended her, having spent the briefest of moments checking her condition and exchanging necessaries, have returned to their car and are, by all appearances, quarreling. Though they keep their voices low, the argument emanates from the lines of the woman’s body: the arch of a heel, the thrust of her chest. Cissy supposes she should be angrier than she is--they’ve mashed her bumper, barely apologized--but she finds herself studying them, pitying them. At least, she thinks, she has no one dear to blame, no one dear to blame her.

When the impact first shook her Hyundai, grinding her against the seat before pitching her forward, she felt a moment’s vindication, even exhilaration: the copper-colored car had been bearing down on her hard, she’d felt the adrenaline rush tailgaters always produced as they squeezed you into the smallest of spaces, leaving you no exercise of will except the sacrificial protest of slowing to a crawl. After the hit, though, she felt herself deflating, righteousness ceding to gray, empty routine. Move the car from the travel lane, limp along the shoulder. Take a deep breath, reach for the glove compartment, free the insurance card. Take another deep breath, compose one’s face to exude neither overt aggression nor unfelt forgiveness. Check the side view mirror, exit, circle the passenger door. Meet the culprits, express concern for their wellbeing despite their reckless blunder, enter pertinent information in one’s mobile device. Shake hands, comment on the pristine fall day, return to separate vehicles, wait. Remarkable how readily the moves flow from her, considering she’s never done this before.

Only once she returns to her car does she have time to wonder at the byzantine chance that has brought her here, to feel the panic flame in her chest--how close, how very close to the end of me!--to offer thanks for her salvation, to clutch at reasons, to register irrelevancies--the doughy clouds, the circling hawk--to enter the minds, the lives, of those who struck her, to sound their souls, to imagine how they too will be changed by this circumstance, even though it was of their own causing. The woman with the black dress and smoker’s contralto, so much younger and more vital than the wispy beanpole beside her--his daughter? No, too much accumulated anger tautens her back, her shoulders; they are lovers at least, husband and wife more likely. Nor, Cissy decides, is the woman so young as she seems. Though she carries it well, Cissy can picture gray beneath her black crown of hair, can trace the outline of cords ready to flare from her fleshy throat. Still, the man is quite a bit older, his hair as fine as iron filings, his hands mottled and veined. In a sure-footed leap of sympathy, Cissy perceives their life, knows they are childless, estranged, knows they were arguing just before the impact, knows the woman--Lila--was plunging forward in hopes of killing them both, or him alone, or her alone, or at least of making him believe such was her intent, and that her current posture of coiled and strained defiance is a result of his not having been at all impressed by her fatal bravado, in fact of his having mocked her, called her bluff, when what he should have done was acknowledge it for what it was, its desperate foolishness. Cissy feels certain, too, that this man is incapable of internalizing others’ feelings, is always inspecting them from a comfortable remove--a psychiatrist, a politician--no, she has it, a college professor. Lila, then, will be one of his former students, dazzled as a freshman by his command of hermeneutics and the grade roster, seduced in his book-lined office or under a leafy campus grotto, or maybe at a café following a reading of his poetry, and yes, again, Cissy knows with dead-eyed certainty, the woman too is a poet, a lesser one, lured by the promise of prosody by osmosis, but always failed, always second best, always denied. Next to this betrayal of her life’s ambition, a rear-end collision must seem scandalously insignificant, if not a gift from a life unlived.
Cissy considers going to her, offering her sisterly sympathy, certifying it through the ironclad accuracy of her intuition. But just then the police arrive, the spell is broken, the routine resumes.

#

“You were lucky, you know,” Amos tells her. An insurance agent, he knows all about lucky. “It could have been a lot worse.”

“I know,” Cissy says. “If I hadn’t been wearing a seatbelt, if they hadn’t hit the brakes, if we’d been traveling any faster. . . .”

“I’m not trying to scare you,” he says.

“I’m not scared,” she answers.

Amos drives with both hands on the wheel, his foot hovering over the brake. He slows to let a woman back her minivan out of a driveway, grimly returns her wave. Though he has shared little with his twin sister in the past twenty-five years, her near miss with mortality has spooked him, and now, floating in his tin can through the streets of the city, he feels vulnerable.

“You could sue,” he says. “Recover damages.”

“Amos, I’m fine. The paramedics checked me, and I’m fine.”

“The car--”

“The insurance will cover the car.”

Now he is in more familiar territory. “Trust me, Cissy. You’d be amazed at the loopholes these guys find. They’ll dredge up some parking ticket from six years ago. . . .”

“I’ve never gotten a parking ticket.”

“Fine.” He lifts his hands from the wheel in a brief, petulant shrug. “But you wait and see.”

Cissy can’t decide whether to feel touched by his awkward concern or annoyed by his fractiousness. She glances sidelong at him, notices that his face looks sweaty, and that the knot of his tie is loosened the smallest degree, a gesture she has come to decode as his attempt to lend a “family” feel to their brief contacts. She has actually watched him undo it in her presence, hooking an index finger and pulling, his Adam’s apple tugging against the downward pressure. She decides, on the strength of his willingness to drop everything and come pick her up, to be charitable. “Will this affect my rates, do you think?”

“Shouldn’t,” he grunts, then softens. “It wasn’t your fault, Cissy. You filled out the police report, you were abiding by the speed limit, right? Your brake lights were working? You didn’t stop suddenly, swerve, anything like that?”

“I was driving the way I always do,” she begins, but then, remembering the woman’s suffering face bearing down on her in the rearview mirror, she feels a fresh spurt of doubt. Doubt not only about her own reaction--did she hit the brakes, slow dangerously in a fit of pique?--but about the entire sequence of events. At what point, exactly, did she perceive the woman’s grief? Did she read it in her eyes, inverted by the mirror? Or only reconstruct it after the collision, along the roadside, as a spectator to the ill-matched pair’s bickering? And why does this matter? Shouldn’t it be enough that she is alive and well, the only residual a slight, prickly stiffness across her neck and shoulder blades? Shouldn’t it be sufficient that she has dodged death?

Amos, noticing her silence, makes an effort, does what does not come naturally to him, forces a smile. “You must have been pretty scared.”

“I was--” What was she? Cissy turns to him, and Amos realizes she has begun to cry. He considers what to do, finally decides to find a place to pull over. His tires rustle across dry leaves. The decision turns out to be the right one, as moments later she starts to bawl, and he is forced to shut off the ignition and reach across the seat for her shoulder. She leans her head against his hand, her eyes shut tight, her mouth grimacing in what appears to be real pain. He tries stroking her shoulder, but that’s difficult with her head there on his hand, and anyway he begins to think it might not be enough under the circumstances. He pivots to maneuver his left arm over the steering wheel and around her back, pulls her to him. She shakes with sobs.

Amos assumes this is a delayed reaction to the trauma, and he is right in part. Cissy herself can hardly tell what is causing this, everything has become so tangled. The accident, the woman’s wounded eyes, her husband’s brutal indifference, the sororal communion that had never happened, would now never happen, would seem intrusive and ghoulish if she tried, the round of police reports and medic evaluations and calls to work and the repair shop, her twin brother’s judgment, then his gentleness, the perfect, prismatic blue of the fall sky. For the first time in a long time she thanks the random chance of sharing a city with her nearest relation, not the city where they were born and their parents died, the city where, as a beginning speaker, he christened her with the nickname that soon crowded her birth name into obsolescence, but the city to which he moved as an adult and she, unmotivated by his presence, followed. If fate operates, she thinks, could it have been for this occasion the strings were pulled that brought her here? But she knows she will never be able to trace those strings, and she knows, too, that in a day’s or a week’s time they will be released, Amos will return to his work and family, she to her schedule, and the pattern of Thanksgivings, Christmases, birthday parties will resume. She feels her brother’s stiff shirt, wet by her own tears, beneath her cheek, smells its powdery fragrance, and knows this was not enough. But she lets herself drift in his embrace for a while longer, remembering.

Amos feels Cissy’s breath level from gasps to deep sighs, then soften to rhythmic inhalations and exhalations. For a moment, thinking of his own daughter, he imagines her asleep against his chest. He finds his left hand absently stroking her hair; a lullaby plays in his mind, almost rises to his lips. Then, at once, Cissy withdraws, sits erect, her eyes wide in a way that reminds him again of his daughter. Her short blonde hair sticks up like a chicken’s crest; he realizes she wears mascara, because it has smeared. Uncomfortable at the transition from four-year-old Franny to full-grown Cissy, conscious of looking at his twin sister as a woman, and a woman in distress at that, he turns away. His hands flutter in the door pouch for a tissue, but he finds none. Cissy laughs as if she knows what he is seeking, runs her sleeve across her nose, and rests back against the seat, her eyelids slanting closed. Amos starts the car and drives the remaining blocks to her apartment.

He pulls up before the building, a former elementary school now bedecked with rows of brass mail slots and wooden planters. Cissy turns to him. “Thank you, Amos,” she says, laying her fingertips on his arm in a dignified manner, almost with a hint of noblesse oblige, but he takes no offense. For once, he knows what she means.

“Are you sure you’re all right?” he asks, leaning across the seat as she exits.

“Do you need anything?”

Cissy shakes her head. As it happens, Amos can think of quite a few things she needs. Like a real job, not this low-paying, dead-end daycare shift she’s held for years. And a husband, or at least a boyfriend, someone to call in crises like this, not that he grudges her the favor. With a rude shock the thought occurs to him that his sister might be a lesbian, and he knows that, whether true or not, the suspicion will haunt him until she marries or he dies, whichever comes first. The latter more likely, he guesses. He feels a rush of affection and sorrow for his twin, for the meager life it seems to him she lives. What ever happened to the Cissy who used to orchestrate puppet shows, tunnel snow forts, fashion uproarious nighttime narratives with herself as star and crusader? For that matter, what happened to the Amos who used to join in?

“I’m fine, Amos,” she tells him. “Give my love to Becky and Franny.”

#

From the apartment window, Ricardo watches the foreign car sidle up to the curb and disgorge Miss Cissy. His surprise at her arrival is overwhelmed by his delight. His mother has been edging around the apartment all morning, reminding him of her responsibilities, his responsibilities, and the apparently subtle relationship between them. Now, with Miss Cissy home, he can stop trying to puzzle out the precise contours of that relationship and simply play.

“Mama!” he calls. “Miss Cissy here!”

His mother emerges from the kitchen hallway, her hands knotted in a dishtowel. She is smaller than Miss Cissy, and even prettier, her eyes somewhere between turquoise and brown, her eyelids golden, her hair a glossy braid that reaches almost to the small of her back. Ricardo has no memory of her in any less than perfect condition, groomed and polished like a studio shot, though she could if she so chose evoke for him weary nights when she’d stumble into his bedroom with tousled hair and lined face. He’d never believe her, though, any more than he’d believe there were times then she doubted she loved him. She has vowed never to let him learn what scars and sacrifices bind their life together, and she has kept her vow.

“Miss Cissy?” she says, gliding to the window and raising it to glance out. “What she doing home?”

Brianna surveys the sidewalk, but there is no sign of either Cissy or her car. Still she does not doubt her son’s report; he is, generally, a truthful child, and in any event he will be too excited by the prospect of a midday playmate to concoct a lie that will disappoint mostly him. A favorite teacher at the daycare center Ricardo attended until the start of school this fall, Cissy has sat before, though only for emergencies; Brianna does not date, does not leave him lightly. Though she wonders at Cissy’s unexpected return, she blesses her luck this day.

Ricardo’s face is alight with expectation. “Can Miss Cissy come play?”

“We’ll see,” she tells him. But she is already planning her deliverance, hoping this is not simply a lunch break or a momentary stop on some errand.

Her answer suffices for her son, who scoots to his room and begins making his own plans.

Brianna slips out the apartment door just as Cissy opens hers. The two women--not exactly friends, Cissy a good decade older, but across-the-hall neighbors since Brianna and Ricardo’s arrival five years before, and sharers, if far from equally, of his young life for all that time--greet each other with a nod and a smile, Cissy’s a bit less generous than usual due to her stiffening neck and self-consciousness of her appearance, Brianna’s perhaps a trifle peremptory, since she hopes to skip the preliminaries and get right to business. Tidy in a brown velour sweat suit with tan piping, the younger woman faces her neighbor, whose oversized white sweatshirt shows a ring of hand-holding stick figure children, in red. “You’re home early,” Brianna says.

Cissy considers contriving some tale, but knows she lacks the energy for it. “I got into a little accident on the way to work.”

“My God!” Brianna’s fingers fly to her cheek. Her nails show golden against her brown skin; even in alarm she is regal and glamorous, like an Egyptian princess. “You all right?”

“I’m fine,” Cissy smiles. “Just a little stiff.” Though the truth is, she is more than a little stiff; every time she shrugs her shoulders, trying to loosen them, they tighten and sear. “Hey, Ricardo. What happened to school?”

Brianna looks behind her to where her son has emerged. His face douses at the mention of school. Since starting kindergarten two months ago he has missed five days, each time with an identical and unidentifiable ailment: lethargy, fever too slight to be detected, dry throat. Whenever Brianna presses he shows signs of panic, his nostrils wide, his heart racing against her chest. The teacher assures her he has not been bullied, is welcomed by the other children, seems confident in forming capitals and numerals. “Many new learners experience separation difficulties,” the teacher said, and Brianna knew what she was thinking: single black mother, child at home, first time on his own. That the corollaries were untrue seemed not to impress the teacher, for whom, Brianna knew from other such contacts, her race and marital status trumped all else. The teacher suggested she seek counseling; thus far she has managed only to drop several broad hints at work. She courts hope the spell will lift on its own, and then it will be as if it never has been.

“Ricardo’s not feeling well,” Brianna explains, circling her arm around her son. She feels his resistance, feels it melt as her hand folds him in. “We’re having a home day today.”

Cissy has not worked around young children this long without knowing what’s up. She knows, too, meeting Brianna’s proud eyes, that a home day is exactly what Ricardo’s mother cannot afford right now. A receptionist at the hospital’s radiology clinic, she may have a more lenient employer and forgiving schedule than many in her shoes, but something in her delicate embrace of her child tells Cissy she is fast running out of sick time. Cissy projects the day that would have been, dreams herself surrounded by preschoolers, and determines that if she must be stranded in her apartment all afternoon, she might as well be stranded with Ricardo. Maybe he will even give her an excuse to walk to the park.

“I’d love to watch him,” she says. “If it would help.”

Brianna does not respond immediately. She is thinking of too many things at once: the grace and worry of motherhood, the blessing of numbers, the future of her child. The half-day she will not have to subtract from the ledger of her best efforts. The riddle that she must send her son to a classroom he for some reason fears when he could learn so much more of loving kindness from this chance woman across the hall. She is about to speak when Cissy saves her from making a fool of herself. “We’ll pretty much be stuck here, of course. But I think I can keep him entertained.”

“He loves race cars,” Brianna blurts, before ushering Cissy in and vanishing to her room to change.

#

Ricardo watches Cissy’s every move. Though she is nothing like his mother, her voice not as fluid, her smell not as fresh, she harbors a magical energy that easily balances Mama’s steady presence. She is the same bright spirit he knew from playschool, the one with the instant, laser-beam focus and just-for-you grin. She does not race his cars along the track; she zooms them, readying them for takeoff, inscribing spools and somersaults in the air with their shiny metallic bodies. She crouches low to urge them along the carpet, cups her hands over her mouth to make the breathy noise of the crowd’s cheering, waves an invisible checkered flag to greet the champion. When he tires of cars she suggests reading, and when he returns from his room with arms full she makes an amazed face, her eyes popping and her mouth so wide he can peer down her throat. She cantilevers the pile on the end table, pats the couch beside her, and takes it from the top, departing from his mother’s serious murmur, inventing voices he’s never heard, crazy voices and giddy voices and booming voices and squeaky voices. As if in accompaniment, a racket of high-pitched bird song erupts from the direction of the front window. Ricardo leans into her body, turning pages on request, trusting her to make sense of the mad squiggle of black lines. He feels her arm around his back, her fingers flexing in his hair, and recalls a comfort he had not remembered he’d forgotten.

“Miss Cissy?” he asks, mid-book.

“Hm?”

“Can we have lunch?”

“Sure.” She sets the book aside, shoos him from her lap, takes a couple tries to stand. Her body has been clenching ever more tightly throughout the day, and her spirited bout on the living room rug didn’t help. “Oh, I’m stiff!” she says, then laughs, and he laughs along. Being stiff, it turns out, can be a game too.

She rummages in the kitchen for plates, cups, forks, napkins, a pot, macaroni and cheese. “This okay?” He nods serenely. While the water boils he regales her with tales from Star Wars, having been impressed to learn that the first movie came fourth, the fourth first, and so on. Like most boys his age, he seems in equal parts thrilled and stricken by Anakin’s descent into the Dark Side. “He used to be a good little boy,” he reports solemnly. “Then he became the second most evilest person on earth.” Cissy senses he could talk about this all day and still be set tingling by its pitiless intricacy. She wonders, not with much hope, whether she can engage him in a discussion that will get to the root of his school anxiety, but she decides not to meddle. He seems simply happy in the unplanned day’s embrace, and why cloud it? Besides, she is growing sleepier by the minute.

He helps her clear, climbs a stool to get his own snack. She exclaims at what a big boy he is getting to be. “Too big for a nap?” she experiments. He laughs as if she’s made another joke; apparently, the thought of becoming too big for a nap has not fully settled on him. “We do quiet time,” he says, mouth full. “At kiddie garden.” Then his face shuts down as though he is conscious of having broken some wordless pact, fearful he has spoiled the day.

“We’re not going to do quiet time,” Cissy assures him. “We’re going to take an honest-to-goodness nap.”

They pad down the hall to his bedroom, take a moment to show and be shown new toys, then stretch out on his bed, with its puffy blue Transformers comforter. Cissy reaches across him to hoist the bed rail, lets her arm come to rest across his slip of a body. He settles into her. She hopes he will sleep; she will not feel comfortable drifting off unless he does.

“Miss Cissy?” he whispers into her hand. His breath is warm and, now that she thinks of it, a smidge ragged.

“Hm?”

“Knock, knock.”

“Who’s there?”

“Boo.”

“Boo who?”

“Don’t cry, little baby. They nothing to be scared of.”

She smiles drowsily and draws him closer. For a moment she imagines herself as his mother. She marvels at the strangeness of cuddling this little boy, this boy about whose life she really knows so little--his father, his mother’s history, the strands of his school avoidance--when she has not done the same with her own niece, her twin’s daughter, since Franny was a newborn. Amos and Becky have their own babysitters, teenage girls in the neighborhood, and they have never asked. Or is it that they know better than to ask? Has she ever suggested to them that she has no desire to sit her niece? The crisscrosses in her mind are becoming too complex, they close like an aperture on a pinhole of light, and this is her last thought before falling fast asleep.

Ricardo wakes first and shakes Cissy gently but urgently. There is something he needs to show her. She glances at his clown clock in confusion, realizes it is still afternoon, they have slept only a couple hours. She gasps as she gets her elbows under her; her position, arm looped over his body, which had seemed so cozy when she nodded off, turns out to have been a mistake. “Give me a second, okay?” she asks Ricardo, who is out of bed, trying to pull her after him. She can’t exit by the side because of the bed rail, so she inches toward the foot, using mostly her butt and heels. She stands, letting gravity do what her arms won’t. Her shoulders feel as if they have been pierced by a two-by-four, pinned into place so she must rotate her entire upper body as a single unit, like a lumbering marionette. She mentally reviews her medicine cabinet, knows she has nothing for pain. A discreet search of Brianna’s bathroom turns up a bottle of Motrin. She downs a couple tablets while Ricardo dances outside.

“What is it, Mister Fidgets?” He laughs and takes her hand, pulling her down the hallway to the living room. She decides not to resist, since that makes the pain stab even harder. He opens the door to the adjacent room, saying, “I want you to meet Leonard!”

The darkened room erupts into light and a crazy squawking, the same song, she now realizes, she has been hearing off and on throughout the day. The air enfolds her, stuffy and sweet. The source of all this sensory commotion, Cissy makes out, is a single small birdcage resting on the black-topped desk that dominates the room. Flitting from perch to wire barricade and back again in an endless, pointless staccato is a finch-sized bird with a rosy sheen to its body, bright black eyes, and a heavy orange beak, with which it clutches and pecks the wires of its enclosure, madly clacking. The cage shares space with an open laptop, its power cord trailing but its screen damped; the walls and floor cluster with bookcases, half-empty boxes of books, piled plastic clothing containers, loose baby clothes and shoes. “This is Leonard!” Ricardo announces, and the bird, stimulated to an even higher pitch of frenzy by its owner’s voice and movement, begins to circle the cage like a bright bit of rag caught in a spin cycle. “It’s time for his dinner!” Ricardo sings, and Cissy appreciates why he has saved this revelation until now, when he can demonstrate his duties to his pet. She nods in silent approval; she doubts whether, at his age, she would have made it through playtime, lunch, and a nap with such a surprise in store.

“Where do you keep his food?” Cissy asks, just as she spots the twist-tied bag of seed slumped beside the birdcage. Ricardo rushes over, and before Cissy has a chance to register the danger he springs open the gate. “Don’t--" she begins, but Leonard, seizing the chance, has already squirted through the gap and, skimming the ceiling, made for the open sunroom door.

“It’s okay,” Cissy begins again, before remembering: the living room window is open, she saw it when she entered, left it that way, had no reason to disturb anything of Brianna’s that didn’t absolutely need to be disturbed. Now, with heedless certainty, Leonard darts for the opening, Cissy praying for a screen. But the screen is raised, and in a liquid blur Leonard pours through. Cissy lunges for the window, her neck and shoulders screaming in protest, her expectation fully to witness him sailing off into the startling afternoon sky.

He pauses on the window ledge, cocking his head this way and that, perhaps baffled by his instantly enlarged world. Cissy inches toward him, the futility of the rescue bunching in her thoughts: she will need to raise the window yet farther, lean out, and, last and most unlikely, scoop the creature from its own buoyant element to her leaden hand. For a single, heart-starving moment she visualizes cornering this sliver of less than air. But before her pained body can gather itself to match her purpose, Leonard leaps into space, skips gaily, and is gone.

Cissy turns a horrified face to Ricardo, who smiles.

“Don’t worry,” he soothes. “He always come back.”

#

At five-thirty Brianna returns to find her son and neighbor playing a hand of Uno on the living room floor. Cissy rises at her entrance, her movements clumsy and formal. She wastes no time. “We lost Leonard,” she says. Her greatest fear is that unassuming Brianna, her look turned strangely ferocious in her brown business suit, will punish Ricardo for his irresponsibility. Then, too low for him to hear, “I’ll buy you a new one.”

“Oh,” Brianna says. She notes such guilt in Cissy’s eyes, over such a small thing, it momentarily makes her want to laugh. “That’s all right,” she says. “They die all the time,” she adds, mouthing the words.

Pursued by Brianna’s thanks, Cissy helps Ricardo clean up. At the door, she leans to give him a goodbye hug, and Brianna hears her wince as her son’s small arms grip her neck. Boldly, the boy’s mother reaches out and presses through the heavy cotton cloth the soft flesh of her neighbor’s back. Cissy whimpers but does not shrink from her touch.

“I’ve got some Icy Hot,” Brianna says. “It might help.”

She leads Cissy to the bathroom, closes the door, helps her balance on the edge of the tub, eases her sweatshirt over arms she can no longer raise above shoulder level. The woman’s pale shoulders crowd with bruises the size and color of sweet cherries. “Girl,” Brianna breathes. “I thought you said you were okay.”

Cissy, miserable with the pain and Leonard’s flight, considers outlining the crazy theory that has been sharpening in her mind as the day grew long and the knives in her back bored deeper. She considers saying: I met a woman in agony today, a woman so angry and hurt she was willing to take the life of a perfect stranger, and I had a chance, a brief moment, to reach out to her, to feel for her, but I refused it. I didn’t even know at the time I’d done so, I just didn’t see it for what it was until after. And so I feel as if I’m being punished for that, for not trying, or not knowing, or thinking I needed to know before I tried. And I feel, too, as if my punishment is to have taken on her pain, for it to have gone into me. It’s part of me now, it’ll only get worse. Even after the bruises heal, if they ever do, it’ll still be with me. It’ll never go away. What she says is: “I’ve caused only pain today.”

Brianna shakes her head. “Not so,” she whispers, as with gentle fingers she probes her sitter’s spreading wound.

#

Brianna slips from her bedroom where Cissy rests, closing the door noiselessly behind her. The poor thing had protested--I live right across the hall!--but Briana insisted, and in the end Cissy was too drained to struggle. The Icy Hot, Brianna determined, was not enough, so she ran a hot tub, helped Cissy undress, lowered her into the fragrant lavender suds. After she soaked for a dreamy time Brianna bade her rise, wrapped her in a towel, and steered her to the bedroom, where she found a sweat suit that just fit. Passive as a child, Cissy sat on the bed while Brianna toweled moisture from her hair. Then Brianna lifted her neighbor’s legs, settled her body, and drew the covers to her chin. Cissy was gone before she turned out the light.

Through the whole procedure Ricardo sketches, his drawings of superheroes and monsters spiraling across the living room rug. Though he is far from comprehending how a babysitting has turned into a sleepover--with the sitter retiring before him, no less--he has figured out this much, and in so doing has taken his first great step toward the grown-up world: it has nothing to do with him. “Miss Cissy sick?” he asks.

“She just tired,” Brianna responds. “She be fine in the morning.”

Ricardo nods and returns to his artwork. Brianna notices two things: first, no picture of the missing bird blemishes his portfolio, and second, the drawings all bear his overgrown scrawl, RICARDO, a sure sign that these images are presents, for her, for Cissy. Her heart swoops: how long before he works out that Leonard is irreplaceable, and after that, all the rest? How long, Lord? She feels the time has come to tell him certain things, things she has kept from him thus far, things that perhaps he has a right or a need to share. She quivers at the thought, but it will not release her. He will know pain, she thinks. I will know it too. She takes a breath and squats beside him, breaking his concentration, peering into his serious eyes.

“Baby,” she says carefully. They will get there, but not by the straightest road. “Why you so scared to go to school?”

#

Leonard soars above the city streets. His brain is small, not much more substantial than a fine almond shaving, and his legacy of domestication has dulled its survival protocols. He may learn to distinguish food, but he will have difficulty competing for it. He carries no memory of predators, no hint of talons roosting in the network of skyscrapers above him. No instinct tells him where to turn when the air grows cold. He will not survive the winter.

But tonight he is free. No artificial barrier circles him, no arbitrary limit binds him. If only he knew how, he might cinch the cord that won this night’s liberty; at least, he can follow its course. He can wing above the penthouse balcony where the dark-haired woman sits, savoring an after dinner cigarette without the slightest trace of repentance or ill ease. Or he can dive low past the window where the handsome couple tuck their four-year-old daughter in for the night, her face radiant and her purple bedspread dancing with daffodils. He can cruise atop the highway where the merest remains of the accident, paint flecks and skid marks, fade to invisibility, their history troubling none of the streaming blind headlights that loop over them. He can even, if he chooses, return to the building that now holds no meaning for him, the memory of the cage and its pale horrors no longer resonant in his mind, and peek in the side window at the sleeping woman, her body milky in the moonlight, her shoulders lifting and falling in a peaceful synchrony like wings. He can circle to the front and spy on the mother and child settled cross-legged on the maroon cushions of the couch, hands laced as if in a suspended game of patty-cake, the mother speaking, her son listening. He can wink at them, chatter a mindless valedictory to the closed portal, and launch himself once more into the night.

Wednesday, December 15, 2010

"Frogsong" (Officially!)


My sci-fi story "Frogsong" is now officially available in the anthology Farspace 2. It's an interstellar environmentalist love story of sorts, with a dash of Heart of Darkness thrown in for kicks. Ya gotta love it!


So check it out, buy lots of copies for Christmas, and let me know what you think!

Monday, December 6, 2010

On Being Rejected

Aside from the one essay I've had accepted recently--the aforementioned "Last Days of the Frog Prince"--I'm currently in the midst of a string of rejections. My sci-fi story "A Very Small Child Called Eugene" can't seem to find a home, my essay "The Toad Garden" (yes, I like amphibians) just received its first rejection slip, and my short story "Scarecrow," a retelling of the Oz story from the Scarecrow's point of view, has pretty much exhausted the possibilities. (I might publish it here, just to give it a shot at being read by someone other than my wife!) Using the tools on Duotrope's Digest, I can chart my progress; the figure 17% popped up, meaning, I guess, that out of every 100 submissions, I'm garnering 17 acceptances. This is, once again according to Duotrope, a healthy number.

Which just shows how tough it is to get published. If that were my batting average, I'd be sent to the minors; if it were my score on course evaluations, I'd be in the Dean's office. But for the majority of us trying to publish our writing, rejection is by far the norm.

So how does it feel, being rejected? Really, not that bad. It might be different if I had aspirations to immortality; it would certainly be different if I had no compensating acceptances. But the fact is, there's an awful lot of good writing out there (as well as a good lot of awful writing), and if you're going to play the game, you have to live with the odds.

We all wish the rejections could be more personal, something to help us the next time around, something more than a preprinted quarter-page sheet saying, "We regret that your submission does not meet our needs at this time." (You could drive yourself crazy interpreting that: "Hey, maybe I'll send it again at another time when their needs have changed!") But I've received only one truly obnoxious rejection in the two years I've been sending stuff out, and I'll chalk that one up to the publisher having a bad day. So long as everyone is striving for the same outcome--the discovery and publication of truly deserving work--I can deal with the form responses.

Being rejected isn't so bad. Not trying for fear of being rejected is a whole lot worse.

Sunday, November 28, 2010

For Fiction Fans

I know I've been focusing a lot lately on the Marcellus Shale, and I don't aim to stop; it's a timely issue and one I'm passionate about. But I also know that some readers of this blog are more interested in my fiction than in my stance on fossil fuels--and though I could make some very convoluted comment about how our faith in fossil fuels is itself founded in fiction (oops, I think I just did make it), I'll simply say that at the moment there's no new fiction of mine to share with you. I've got about four pieces out for review (one of them a story that was accepted by an online journal that folded before it got around to publishing my piece), but no good news on any of them at the moment.

So, by way of keeping you updated, let me at least describe the stories I'm currently working on:

1. A sci-fi story, "A Very Small Child Called Eugene," about a future United States that has been taken over by racist hate groups. Perhaps not so very far from the truth, some might say.

2. Another sci-fi story, "What the Dog Saw," about a mysterious stranger who appears in a small Western town. As the title suggests, the story is told from the point of view of, yes, a dog.

3. A realistic piece, "More Passion," about a college student and her professor, written from the student's point of view and using her own clumsy voice and diction. Lest the title and scenario lead anyone to worry, I can assure you that the story is not what you think.

As these summaries suggest, my recent work has tended to be rather odd, perhaps unclassifiable, playing around with point of view and voice, which might be why I haven't gotten any bites on it yet. But I'm pretty pleased with the direction my writing has taken; in "What the Dog Saw," for example, I think I've been able to tell a story through a narrator that, being a non-human animal, can witness events but not comprehend their significance. That's harder to do than you might think, and I'm not sure I could have pulled it off when I resumed writing fiction a year or two ago.

So I guess the gist of this message is: hold the phone. I'll let you know if there are any developments on the fiction front, and in the meantime, I'll keep on plugging away at the fossil fuels.

Monday, November 15, 2010

From the Vault

As mentioned in previous posts, I'm going to be using the blog to "publish" some old stories from online journals that have gone under. I think I've pretty much decided to focus on print publication exclusively; my latest negative experience concerns a story that was accepted by an online journal that vanished before it had a chance to publish my piece. I might change my mind in the future, of course, but that's where I am right now.

So for the moment, here's my story "Snooping," which appeared in the inaugural (and only) issue of the online journal The Squirrel Cage. It's my first sci-fi publication, and though I personally think it's a bit less polished than my later stuff, it's got obvious sentimental value, if nothing else.

Snooping

Minnie is Snooping on the couple in 2A.

Ruth and Jericho are their names. They are at the kitchen table. Ruth curls on a chrome and red vinyl chair, her knees to her bent head, her brown hair spilling over her bare legs. Jericho stands in a grease-stained t-shirt, his torso tipped slightly forward and upward as if a new self is straining to burst free from the shell of his old body. The table hosts a solitary plate from which a bean-and-rice dish has been violently spilled, trailing a muddy cone across the white plastic tabletop. Its companion lies on the floor, its contents smearing the linoleum near the legs of Ruth’s chair. Ruth’s back jerks arhythmically, her sniffles clotted as if from some obstruction of her nasal passages. When Jericho cocks his arm she raises her head, showing puffy eyes and a red tangle where blood has matted her hair against her cheek.

“All right, Minnie,” Dr. Achison’s voice says. “That’s enough for a start.”

The kitchen fills with the whine of a desktop powering down and Minnie watches as Ruth, Jericho, the table, the room shudder and shrink like a balloon flying through space, only there is no space, the scene is the space, and its collapse yields a sickening sense of compression until Minnie opens her eyes to the familiar sight of the darkened office, her therapist’s shadowed face.

“So,” he says, reaching over to unclip the device from her ear. “What did you see?”

#

The first thing Snooping taught you was that you were far more populous than you could ever have guessed. The brochure even said so. Personae proliferated, depending on how deeply you went in, until you found yourself the axis of a veritable republic of surrogates, each bearing a name, a behavior, and a history. None of these factors, though, was fixed; as Dr. Achison explained, the personae could shift, change, surprise. The next time in, it might be Jericho whimpering at the kitchen table, Ruth taunting his crumpled back. Or it might be that Ruth had departed, leaving Jericho to pitch dishes in pent solitude. Or it might be that Minnie would find them cuddling by the ornamental fireplace, the chance vocabulary of Scrabble tiles lying forgotten on the flagstone hearth. This would not, however, mean the two had separated, reconciled, switched personalities or places; all was simply random fluctuation, neural firing. It was vital, Dr. Achison stressed, to keep in mind the three fundamental principles of Snooping:

1. The personae were not real. They were manifestations of the brain’s electrochemical activity, anthropomorphized, it appeared (the process was not well understood), in the mind’s effort to foster identification with its own biochemical basis. The Snooping technology did no more than provide heightened access to, and in principle control over, these personifications of one’s neurological apparatus. Hence its trade name, Sub-Neural Omniscience OPtimization.

2. You could not interact with your personae in the normal sense of the word; you were not, by definition, a participant in the scenes generated during Snooping sessions, for “you” were at once source and expression of the personae on whom you Snooped. You could watch, but not join, the action.

3. Your role was to guide the action, to cultivate a healthier, which was to say a more productive, relationship to your personae. In so doing, you would not (as in classical psychotherapy) simply be altering your attitudes or beliefs but actually changing the physiological operations of your brain. But such guidance, again, could not take the form of direct interference. Snooping subjects who failed to honor this built-in limitation found themselves frustrated, angry, finally worse off than when they began. What you were watching, you had to recall, was yourself, and you could not leap in to save yourself. You could only gain sufficient ownership of these simulacra of yourself to make such dramatic gestures unnecessary.

Since its introduction a half decade ago, the brochure explained, Snooping had supplanted talk therapy as the most cost effective form of therapeutic intervention. Skeptical at first, patients, doctors, hospital administrators, and insurance carriers had all come around. Clinical trials to assess the procedure’s effectiveness on major depressive disorders were currently underway.

#

Minnie had begun seeing Dr. Achison after her husband died, when her dreams turned so turbulent she couldn’t sleep. In the first nine months following Greg’s death she had experienced all the anticipated signs of heartache: finding a sock balled at the bottom of the hamper and sobbing uncontrollably, finding herself dialing his office from work, finding she’d misremembered a detail of his courtship, his body, and pleading at the altar of her grief for forgiveness and consolation. The pieces of him he’d left behind, the pieces that had fallen irrevocably away, made a jagged mosaic she knew it was her lot to carry for life.

But the dreams introduced a totally unexpected form of torture. Most of them were of his death, grisly fantasies so unlike his sad surrender to cancer she (who could never bear to watch that kind of movie) couldn’t imagine where they came from. Greg gunned down by hidden assassins, light beams piercing the perfect round holes in a blinding Braille. Greg torn to bloody shreds by packs of wolves. Greg drowned in the tub, his eyes encrusted with corals and crabs. And worst of all, in some of the dreams she was the victim, he the attacker. This didn’t make sense; her husband had never laid an unwelcome hand on her in eight years of dating and marriage. But in her dreams he stalked like a murderous golem, brandishing hatchets, beating down doors she put between them. At her first, tentative sessions with Dr. Achison they pursued the usual routes: guilt over her inability to predict or prevent Greg’s death turned to anger at him for abandoning her, then the anger twisted back onto herself for betraying her guilt. But the dreams didn’t cease, and when her therapist suggested they try something a bit more radical, she gratefully agreed.

The afternoon of their first Snooping session Minnie remembered pausing at the apartment door, feeling she’d forgotten something, frozen with unease. The wedding photograph she’d never had the heart to take down gleamed on the wall: Greg in his tuxedo looking shyly at the champagne flute in his hand, she half turned to face him as if waiting for his signal to drink, the lacy hat she’d worn in lieu of a veil piled on the table where the cake sat, tiered and ruffled. Long life, the toast had been offered. She had been so dazzled then by her husband’s beauty she could remember no more. Four years later, when he was diagnosed with pancreatic cancer just shy of his thirtieth birthday, the cruel fact of his undamaged good looks struck her like a fist. She felt it to be a spiteful joke that he could appear so sound when the oncologist gave him less than a year. Like the crystal flute of the photo, his fragile beauty would not last.

After one final, fruitless search of her purse, she closed the door and left that memory behind, waiting.

The Snooping setup was disarmingly simple: a slim box about the size of a laptop, with a wireless transmitter in the shape of a Bluetooth that hooked to your ear. The transmitter directed a signal to your hippocampus, initiating a process of cerebral stimulation and memory retrieval. The operator, Dr. Achison explained as he showed her the keyboard, could modify, intensify, redirect, or abort the signal on the subject’s cues, but could not (with current technology) access the Snooper’s personae. The Snooper, meanwhile, required practice not only to recognize, sort, and differentiate the scenes presented to her but to distinguish the interior landscape sufficiently from the exterior to provide the operator with feedback. Ideally, in time the subject would become so expert that she could remain in constant communication with the operator throughout the procedure.

“But let’s start slow,” he said at that first session, gently clipping the device to her ear. It pinched slightly, warm from his touch. “When I press this button you’ll feel a pulse, a tingling behind your ear. I’ve tried it, it feels something like a cell phone on ‘vibrate,’ it’s not unpleasant at all. The tingling will penetrate, that is you’ll feel it deeply inside your head, but there should still be no pain. Most people prefer to close their eyes, at least at first, it cuts out distractions.” He smiled encouragingly. “Are you ready?”

“And you’re sure this will help?”

“All I can tell you is that it has helped others. On the premise that the devil you know is preferable to the devil you don’t.” He cocked his head, whether in irony or not she couldn’t tell. “Are you ready?”

Minnie closed her eyes, nodded, and felt her jaw hum, then she vaulted inside with Jericho and Ruth.

#

At first she is like a swimmer reentering the water after losing a limb: the cool fluid embrace feels familiar, but its very familiarity mocks her unbalanced body. Her strokes lash out lopsided, mutinous; she thumps the water where once she shrugged it off. Her coach assures her she will recover her cadence, but she trusts the poolside more than his words. She launches herself for its slick surface and clings, heaving.

In these first few weeks of uncertainty many personae appear, their bodies and faces coalescing out of nothing, shimmering and wobbling like soap bubbles. Anthony, the homeless man with walrus mustache and filthy olive parka who snoozes at the bus stop. Ray, the young black woman who dances in a black leotard beneath the track lights of her apartment, her back a snapping ribbon. Delilah, the stringy redhead who negotiates the hopscotch grid under the autumn spill of leaves. But these are isolates; they never commune, never last. They flicker and fade. They tantalize--how to fit them together?--but they do not take.

The one person who never arrives, whose arrival she awaits, is her husband. But she knows (the brochure tells her so) he will not be there. No one real will.

Unlike the others, Ruth and Jericho arrive regularly, and always as one. Within a month the apartment they share becomes as familiar to Minnie as her own, its nooks and spaces mapped in her mind: cream-colored living room carpet, off-white walls bare of photos or artwork, improbable jutting fireplace, front window seat, peeling kitchen floor, bedroom and bath down the narrow, unlit hallway. By this time Minnie has mastered the jarring duality of inside/outside adequately to report as she views. There they are again, they’re arguing, Jericho raises his voice, Ruth hugs a shawl around her shoulders as if his words cast a chill. Or: Jericho seems subdued today, he sits at the alcove window staring into the sun while Ruth putters in the bedroom, folding sheets. Or they’ve gone out, the apartment is empty, Ruth’s vanilla scent lingers. Minnie asks Dr. Achison whether the couple’s persistence may be significant, and he concurs, guardedly, that it may be: though primacy and frequency offer no proof of relevance, the obvious analogy--a young couple experiencing marital difficulties--suggests they are worth pursuing. He only cautions Minnie not to become so fixated on them that she ignores or suppresses other potentially fruitful leads.

“If I were to suppress them,” she asks, “how would I know?”

He has no answer to that, beyond the suggestion that she consult her dreams.

This response is characteristic; though occasionally he prompts, queries, he offers no analysis of what she has witnessed, and Minnie needs to remind herself, conditioned to the give-and-take of psychotherapy, that here the analysis is not his to make. At the end of each week’s session they discuss but do not speculate. The lone time he provided what might count as diagnosis or exegesis followed her first session, and then only because the violence she had witnessed made her quail to continue. She should not be surprised, he had suggested then, that Jericho should appear as aggressor this first time, given the dreams with which she’d lately been wrestling. She could not so easily escape the violence that had settled on her life, he said.

“Will I ever?”

“That’s the hope,” he responded.

And indeed, after that first time Jericho displays no violence, merely anger and a bristling disquiet, and Minnie is somewhat mollified.

Her first real crisis occurs three months in, when unexpectedly she is thrust into Ruth and Jericho’s bedroom. Or not altogether unexpectedly: she had wondered, worried, if this might be coming, but when it had not, she had relaxed, reasoning that such scenes would surely be blocked by some internal censor. Now from her position of hovering omniscience, within the scene yet surveying it all at once, she spies on the couple in bed, Ruth reaching up to fondle Jericho’s face, he accepting her caress, eyes closed, cheek slanting to her fingers. Minnie is relieved to see the tenderness of their lovemaking, on this occasion at least, but still she feels defiled, and the knowledge that it is herself she is watching does not help. She had not imagined her brain had sex. She knows that, with some effort, she can terminate the session, instruct her mind to disengage with its own material basis, but at the same time she admits, with corrosive guilt, that she does not want the scene to end. She has been without a partner for over a year, Greg’s final months having been so fragile he bruised at her very touch. If nothing else, this scene recalls to her when his body--and through his hers--was whole.

“Minnie?” Dr. Achison’s voice enters the room, making her flinch. “Is everything all right?”

“I--” This is even worse, now she is in bed with her dead husband, two strangers, her brain, and her shrink. “I’d rather not say.”

She hears the rapid ticking of his keyboard. “Would you like me to stop?”

Despite her confusion and shame, Minnie almost laughs. But the truth is, she does not want him to stop, does not want Ruth and Jericho to stop, does not want Greg to stop, does not want herself to stop. And yet, even now, she can see the distraction taking its toll, the rhythm of Ruth and Jericho’s movements becoming fractured, the room darkening. Soon they will deflate, sag like wilted violets, and she will be powerless to prevent them. How horrible, she thinks, that she cannot close her eyes to avoid seeing.

“Yes, please,” she says, as Jericho jerks covers that stretch and bubble like gum over his own and his wife’s bodies. “I’d like to stop now.”

#

At the following session Dr. Achison tells her that crises differ from catastrophes. He offers this spontaneously, in no particular rejoinder to anything; if he guesses what she saw the previous week, he does not disclose his deduction. A crisis, he explains, typically marks a transition, the arrival at a crossroads. But choice is difficult; there is always the temptation to turn back. Hence the conflict, hence the crisis.

“You remember the line from The Wizard of Oz?” he says. “When they enter the lion’s den? ‘I think it’ll get darker before it gets lighter.’ Which is another way of saying it’ll only get lighter if it gets darker.”

Minnie has her doubts, but remembering Greg, her crystal wine glass, she decides to enter the forest.

And as it turns out, her reward awaits her there. Ruth and Jericho have returned to a less compromising spot--their old standby the kitchen--and have commenced the first civil conversation Minnie has seen shared between them. Most encouraging is how truly trivial their talk flows; no accusations or innuendoes, just common chitchat such as two young lovers might trade. Maybe, Minnie thinks, the crisis was theirs as well as hers; maybe the x-rated scene was a reconciliation, the result of some breakthrough in their relationship. Or--she still finds it difficult to remember that their relationship is hers, or a function of hers anyway--some breakthrough in her own recovery.

“I’ll resist the obvious forest-for-the-trees witticism,” Dr. Achison says as he removes the earpiece. “But how was it?”

“Lighter,” she answers.

She spends that weekend boxing up her life with Greg. The wedding picture comes down, the album following it into storage. His clothes are long since gone, except for a special hand knitted sweater and a tie or two she’d given him over the years. These she slips into storage bags and deposits with the rest. She empties the shelves of college textbooks, maps from journeys they’ve taken, novels they’ve exchanged. She buried him with his wedding ring; many times since she’s wished she kept it, but now she tells herself she’s glad it’s gone back to the ground from which it was mined. She hardly knows why she is so keen to purge the space just now; she wonders whether it is time to move altogether. She wonders, too, whether this is what it means to heal. She breathes deeply, looks around the emptied apartment, and tries not to remember where everything used to be.

#

As the weeks pass and the memories of forgetting dim, she finds herself looking forward to her sessions. Ruth and Jericho have supplanted all other personae (the last to go was dancing Ray, who tapped madly at her curtain call as if determined to impress before being applauded offstage). But Minnie welcomes the uncontested space the two now own, the space, she realizes, they’ve needed all along; freed of the others’ disruptive presence, their relationship is quite obviously improving, even thriving. Perhaps it was that initial, unimpeded conversation that sealed the change. Or perhaps it was the ring Jericho presented Ruth shortly after: an opal set in silver, he slid it onto her left hand, and Minnie was surprised, but not displeased, not to have considered their being unmarried. This explains the ugly start, she reasons: a young couple just starting out, of course there’ll be hiccups along the way. A bloody nose, she recognizes, is no hiccup, but it has not recurred, Jericho’s hands are gentle as blossoms as he cups Ruth’s shoulder or guides a strand of hair behind her ear, and perhaps its initial appearance was her--Minnie’s--fault.

The apartment becomes a second home. Minnie fails to witness a formal proposal or wedding preparations, but she presides over every sign of their courtship deepening. Jericho surprising Ruth with roses, she returning the favor with back rubs. Extended exchanges at the dinner table, now filled with sly laughter and private allusions. Evenings before the TV, Ruth’s hand trailing from the couch to be cradled by Jericho’s, he feeding her popcorn, she taking the kernels lightly on her tongue and teeth so each bite seems a promise. And yes, more nights in bed, Minnie no longer torn between fleeing and drinking in the scene but simply relishing their uncorrupted delight in each other’s body. She has not reported these encounters to Dr. Achison--in fact, she has not reported the disappearance of Anthony, Ray, and the others--but she has come to an understanding that satisfies her: watching Ruth and Jericho together is no more inappropriate than watching her former husband’s body sleek with droplets from the shower or tense with the rapture of their own lovemaking. Ruth and Jericho are hers, are her, and there can be nothing disreputable about sharing in their joy.

Minnie’s nightmares have ceased. When she does dream it is of Ruth and Jericho.

#

Six months into the process, Dr. Achison suggests a change.

"Thus far you’ve been a more or less passive observer,” he says. “That’s not a criticism, you’ve done wonderfully considering. But I think it’s time to step it up a notch.”

“But I thought we were making progress,” she says. At their last session Ruth and Jericho took a walk in the park, the first time she’d witnessed them outside their apartment, and she had thrilled to see them holding hands, kicking leaves, contemplating others’ children.

“We may be,” he says. “But I’m afraid. . . .”

Minnie’s heart sinks; she imagines what’s coming.

“. . . you’ve become content to watch, to let things develop as they may. And that’s problematic, even dangerous.”

“Dangerous?” This is the first time he’s raised the prospect of dangers.

“Risky,” he amends, smiling. “Therapeutically speaking. It suggests a withdrawal from the process, a desire to cede control.” He smiles again, apologetically; Minnie knows he does not want this to sound as reproving as it does. “There’s a term for this, Minnie. Not that a term makes a thing real, but. . . . Omniscience avoidance. Everything appears to be going well, yes? Ruth and Jericho’s relationship appears to be strengthening, healing?”

She nods.

“But ask yourself this: if they were taking a turn for the worse, would you feel the same way? Would you be so willing to allow things to develop ‘naturally’? Or would you want to step in and take control?”

The response is too obvious, which is perhaps why she feels the need to argue. “But if they’re healing, doesn’t that mean I’m healing? If they’re me, if my mind--brain--is finding a healthier place, maybe I am taking control without even knowing it.” She suspects this is a lie; she feels only pleasure at their strolls and sex, too purely gratifying for the hard work of therapy. But maybe it’s true.

“It’s possible,” he muses. “Only you would know. But let me pose it this way: can you know when you have no basis for comparison? Never having tried any alternative, can you be sure the path you’re following is the right one?”

Minnie’s resistance wavers, drops. Therapy, she had believed before Snooping, was an inexact science: relative, a tautology. Whatever worked was good; whatever was good worked. But apparently with neurochemistry came absolutes. Still she tries: “I don’t think I have enough control.”

Wrong objection; he pounces on it. “That’s precisely the problem. You can’t gain control until you think you can.”

Fearing another storybook analogy, she concedes. “What do I need to do?”

“Nothing drastic,” he assures. “Just when you’re in, try to think of yourself differently, less audience than director. Don’t simply watch; ask yourself what you’re watching, why you’re watching it, whether it’s what you want to see.” He waves away her riposte. “I know you’ve already done this to an extent, it’s impossible not to. I’m simply asking you to try harder, to do more.”

“What will happen to Ruth and Jericho?”

For a moment his eyes scrutinize her face. He begins to say something, stops. “Let’s just wait and see.”

#

In her mind’s eye Minnie sees trees, trains, traps. She knows the therapeutic relationship is built on trust. On the edges of the vacuum that forms her vision she senses personae crowding, swirling like vapor, clamoring for entrance. For the first time she imagines one of them as her doctor, shadowy and stern. Why, she wonders, is it so hard to know one’s others, one’s self? Why can we never escape this mind? Then the room fills with light as if in answer and Minnie watches intently the scene that takes shape on the brightening sphere.

Ruth sits at the kitchen table, the scent of cinnamon hovering in the air. What was once a merely functional, uninviting space has been leavened: an oversized brass ladle hangs from a peg on the wall, its beaten surface reflecting golden cuts and crescents, a ceramic vase stands on the table, overflowing with baby’s breath, the buds’ pink shade only one hue of the rotating pinwheel Jericho replenishes daily. Ruth seems agitated but not upset; she glances frequently at the hand-painted clock above the counter, rises to peer out the kitchen’s single window. Watching her, Minnie feels a throb inside her stomach, a deep wobble greater than tension or anticipation. When the apartment door opens and Jericho enters, bearing blue flowers wrapped in plastic, Ruth runs to him, and Minnie knows what she has longed for has come to pass.

#

“Ruth is pregnant,” she announces without prelude at their next session. She has kept the secret a week, savoring it, but she cannot contain it any longer. Her voice is triumphant, her chin raised, her eyes squarely on his. It is almost a challenge.

Dr. Achison blinks. Then he asks, “How far along?”

“It’s still early,” Minnie says. “She just took the test. But they’ve been trying for a while.” Her voice sounds actually defiant; now that the truth lies before them, she refuses to apologize for having watched and withheld so long.

He says nothing for a time; he is enough of a Freudian to be intrigued, even intimidated, by anything having to do with sex. Then he says, “And how do you feel about this?”

“It’s what I’ve wanted,” she says. “What I’ve willed. You told me I needed to take control. This is proof I have.”

“Proof,” he repeats. “Minnie, how long has it been since you’ve Snooped on anyone other than Ruth or Jericho?”

“Months,” she says without hesitation. “Just after I first saw them in bed together.” She adds, needlessly and recklessly, “And I’ve been dreaming of them too. Real dreams. Good dreams.”

“You’ve banished the others?”

She shrugs. “I didn’t realize it at the time, at first it made me uncomfortable to watch them, but now I know they’ve been trying all along. To have a baby.”

“They’ve been trying.”

“They, I, we. I’ve been trying to have Ruth’s baby.” She laughs. “And now I have.” She realizes this makes no sense, she cannot be mother and father, watcher and watched, the one who wills and the one who receives all at once. But at the same time she feels absolutely sure of herself, sure of the miracle of surrogacy that has enfolded her life. This, she thinks, is what it means to heal: to become one, whole, a cosmos integral and secure.

“Minnie,” Dr. Achison’s voice interrupts. “How long has it been since you’ve had your period?”

She ignores him. She watches a fly bat itself against his window, stupidly stubborn to gain the light outside.

“Minnie,” he tries again. “Whatever is going on, Ruth can’t be having a baby. Or you can’t be having theirs. There is no Ruth, there is no Jericho. These people aren’t real.”

“They’re real enough,” she says. “More real than this office, than”--she points--“that machine. Their love is real. How do I know you’re real?” How, for that matter, did she know she was real?

“You know,” he says. “Reality isn’t always such a nice place.”

She rises. She considers a final gesture--dashing off a check, slamming the Optimizer shut--but decides simply to march past him and grab the doorknob.

“What about Greg?” he says as she opens the door.

She pauses for a moment, hand gripping the doorknob. “What about him?” Then she exits the office.

Another patient sits in the waiting room, an older woman thumbing a magazine. She looks up, surprised, thinking she has lost track of time. Her watery eyes search Minnie’s face. Then, catching the young woman’s expression, she smiles conspiratorially. “I used to cry at night,” she confides. “Now all I hear is singing.”

#

The machine, Minnie knows, has opened a pathway. For that she offers thanks. But it is no longer needed. She can travel the pathway whenever she chooses, wherever it goes.

Ruth reclining in a hospital gown, cool gunk smeared on her belly, Jericho standing proudly at her side. The ball rolls across her flesh, the screen brightens with a gray, swirling form.

The couple at the mall, pricing prams, strolling arm-in-arm past the goldfish stream, spooning each other sundaes at the snack court.

Ruth decorating, blue and white, fingering the mobile and watching it dance.

Ruth lying in bed, aglow in a shaft of sunlight. Her skin pale, her arm flung above her head, her hair splayed as if sinking. The door parts and Jericho peeks in, his tie loosened, his daily floral offering fanned under an arm. At first he smiles tenderly, begins to retreat. Then his look changes and he leaps to the bed, lilies scattering on the floor. He touches Ruth’s shoulder, speaks her name, lowers his ear to her chest. His eyes travel her body to where the blood shadows the sheets.

#

The doctor admits it was a close call, but Jericho’s vigilance has saved her. Within a day she has recovered her color, within weeks, having clung to Jericho every night, her spirits. She is more determined than ever to have her baby. And within the year she is rewarded. Her faith has healed her.

#

At least, that’s what the Snooper hopes happened.

But there remain other possibilities, random firings, she can neither predict nor avert. Ruth barren for life, bitter in a childless marriage. Jericho resuming his assaults, caged, furious. Or arriving too late to save his beloved, blankly watching the earth take her rose white body.

#

Ruth is Snooping on the woman in 1A. Minerva is her name. Chubby, with a headful of black ringlets and dark eyes, she squats among cardboard boxes in an apartment empty of furnishings. She calls out, but her only reply is silence.

Ruth rests a hand on her stomach, feeling the baby beat inside her, and waits for Jericho’s return.

Wednesday, November 10, 2010

"The Burning of Sarah Post" Hits the Stands!

The anthology Cover of Darkness, in which my short story "The Burning of Sarah Post" appears, has just hit the stands! "Sarah Post" is a story of witchcraft and evil (not necessarily the same thing!), perfect for Halloween (or the month after). Pick up a copy or two--you won't regret it (though you might have trouble sleeping!).

Monday, October 25, 2010

Frogsong

My latest sci-fi story, "Frogsong," is due out in the anthology Farspace 2 (available any day now through this link). Here's a teaser:

Frogsong

By J. David Bell

The delivery truck rumbled along the muddy road above the swamp. In the cab, eyes fighting fatigue and the gathering dark, Todd Stuckey guided the rig up a steep grade. He could feel his rear tires slaloming in the slop until with a rattle and cough of gears they caught hold. He kept the window cracked just an inch, taking in rich whiffs of diesel to clear his head of the swamp stench, rank and stifling as a latrine. The lush green of overhanging trees faded to a blur in the twilight as luminescent bugs started to dance over the marsh like sparklers. And behind it all, as ever, the song: a drone, a peal, a whine. An endless, senseless cacophony of throats crying carols across the swamp.

In low gear, Stuckey inched down a grade that levelled at the swamp’s edge. One more bend and the compound rose in his headlights: a paved loading dock, prefab trailers, the broad squat gable of the mess hall. On the flagpole, the Stars and Stripes drooped in the sultry air. Beside the dock a halo of sulphur light revealed a solitary figure slumped in his booth, head lowered on crossed arms. Stuckey wheeled around the drive, backed her in, and hopped from the cab. His boots met the pavement with a familiar liquid smack. He circled his truck, unlatched the gate, and sent it rattling to roost. Then he approached the clerk.

The man had shown no awareness of the truck’s arrival; he remained prone, head buried in his arms, cap hiding his face and hair. Close up, Stuckey could see his shoulders rising and falling, hear his snores. They seemed to keep time with the rhythmic pulse of the swamp.

“Delivery,” Stuckey said. His voice came out loud and ringing against the background buzz. “Where do you want it?”

The clerk muttered, raised his head, and squinted. Stuckey saw then he was only a kid, maybe twenty-two, red-haired and freckled, red-eyed and raw cheeked. New guy. He removed his cap, ran a hand through unruly hair, and yawned.

“What you hauling, Joe?” They called the delivery guys “Joes”--as in “Regular Joe.” Stuckey’d have preferred to be called a Regular, but it was the Joe part that had stuck.

He shrugged. “Laminate, drywall, the usual. It’s in the manifest,” he said, shoving his clipboard at the kid’s face. “We got an unloading crew?”

The kid scratched his head as if he’d never heard such a question. “Ease up, Joe,” he said. “Just take it easy.”

“Look,” Stuckey began, but the kid had roused himself from his stool and gotten his legs out the door. “I’ll make the call,” he said, and yawned again. Then he sat there stupidly, hands in his lap, staring at his open palms.

Stuckey left the clipboard and returned to his truck. Last run of the day, he reminded himself. A tepid shower, a frozen dinner, a lukewarm beer, a rerun or sportscast in the rec room. Anything to dream the place away, drown out the sound and smell for a moment. Then bed. Then the same thing the next day.

Monday, October 4, 2010

Another Lost Tale

As promised, I'm publishing on the blog those short stories of mine that have vanished into the cybersphere due to the collapse, disbanding, or simply disappearance of the zines in which they were published. Today, I offer my story "Princess." Special prize to the first person to identify the literary allusion!


Princess

By J. David Bell


It is impossible to avoid people you live with.

Chris would be waiting for me this morning, as always. Waiting, a hand on his doorknob, waiting for the telltale jiggle of my door beside his. When it came, he would fling his door against the wall, its noise so jarring I had to stop in my scramble for the steps even though I knew he who hesitates is screwed. The first few days I eyed his blank portal as I inched toward safety, thinking a watched door never yawns or maybe even I could will it to stay closed. But always the door would snap open like the maw of a toad while I, the fly, stood transfixed. The next thing I knew Chris would be in the hall, lazily fiddling with his lock or shrugging into his baggy blue letter jacket, carelessly cocksure. Then he would look up, snap sandy hair from his eyes, and begin his charge, one hand raised as if hailing a cab, the other out to stiffarm obstacles from his path. His grin would widen as he saw how I stood, the door bar half-pushed and the toe of my sneaker wedged in the inch-wide opening. Inevitably his momentum would loosen my hold and he would ride me into a tight corner. Trapped.

Another snap and the long lick of hair would fall into place. “Yo, Deberg,” he would pant, grinning. “How’s it goin’?”

“Fine,” I would reply, my voice strangled with defiance.

“Cool,” he’d say. “Hey, how’s the poems coming?”

My teeth would clench. “Fine,” I would breathe.

“Well, that’s good.” He would smile.

And I would explode: “Listen, Chris, it’s no deal! Why don’t you just leave me alone?”

“Awww, Cy, come on,” he’d say, laying an arm across my shoulders. “It’ll take you ten minutes, I’ll give you five bucks, you get me in the door. Everyone’s a winner. Aren’t we buddies?”

“No.”

“Well, what’s that got to do with it? Listen, Cy--”

“Chris, leave me the hell alone!” I would shake free of his embrace and push past him.

“Well, if you won’t even do a guy a favor!” he would yell.

I would rush down the stairs, the hallway a long gullet convulsing around me, peristaltic panic as I struggled to escape. Then bursting out the front door, leaning against the brick, slimy mollusk feel of dew-wet ivy on my back, passersby staring as I gripped my books against my chest and drew long breaths. At last off to class, no sounds of pursuit, but behind me the baleen grin of the beast, waiting to strip my shell like a mass of krill.

#

Princess. . . . How oft have I staked thee out, watching thru orange filter of window shade thy ballerina silhouette, thy waist a needle-thin outline, thy upper and nether regions black tulip bulbs bobbing, thy arms and legs pirouetting thru windmill arcs to make da Vinci proud, thy tresses a soft pillow of cloud behind thee? How oft thy marble hand admired as with a motion as of a bird settling to roost it flicks the shade high, and there at thy window in thy nightgown have I beheld thee, thy head tipped as if listening, thy locks trailing o’er thy shoulder, thy dexter hand resting upon the curling tail while thy sinister combs and caresses? How oft espied thy upward gaze as if the moon holds the secret to thy loneliness? How oft composed the sonnets to banish the enchantment that holds thee, and longed for the guts to cry out, Princess, cast down thy golden hair? How oft. . . .

Actually, never. But that’s what imagination’s for.

Twice weekly for two months, though, had I seen her in the seat ahead of mine in Baby Bio, a class fully living up to its prefix in that the teacher had assigned us alphabetically to seats the first day of the semester and reprimanded us thereafter for absenteeism, tardiness, or any other mutiny against the seating chart’s rigid rule. My row, second from the left, doorway on the right, hence a long humiliating walk whenever I was late (which was oft) between black slab of chalkboard and brown pickets of seats garnished with red, yellow, pink and blue. Toothpick thin professor in tweed, with a gray goatee, sadly shaking his head and marking a broad X in my square on the chart; jeering rows of jesters parading their punctuality with freckle-faced grins. Halfway down the row to my seat I drop my notebook and the coils twang, ejecting my pencil like a BB pellet to clatter at the professor’s desk. More peer hilarity and pedagogical head shakes as I stoop to retrieve it. Then creaking into my seat at last and an involuntary, stress-induced fart, provoking yet greater mirth and wrinkled noses. Only Roxane Deli does not look, does not laugh, does not squirm in her seat; only Roxane remains impervious, her broad back repelling me like a wall. Though I don’t relish her scorn, it would at least prove my ability to trespass upon her consciousness. But I do not: to her, my epic trek before the class was the passage of a ghost, my projectile pencil the merest flare minus the acrid aftertaste of gunpowder, my gastric distress a dry whisper as insignificant as the shuffling of a dusty deck of cards. I open my textbook and though the breeze ruffles her hair, not the slightest shake of her head indicates that a single follicle was disturbed.

The room: wooden chairs with hinged desks, minor incline, high terraced ceiling, fluorescent lights. My row, back to front: Stuart Crowell, Marybeth Deacon, Cyrus Deberg, Roxane Deli, Ruth Dorf, Jason Eisenson, Elaine Eckridge. On my right, Beatrice Adams; my left, Fiona Gallagher. Capsule critiques: Stuart, loud and always wrong; Marybeth, wispy and black-haired and seemingly alcoholic; Ruth, cool and sharp, with a voice like an electric shaver; Jason, red-haired and pygmy small; Elaine, stringy blonde and lost in her hockey-star boyfriend’s letter jacket; Beatrice, black and sarcastic, with purple nails; Fiona, three hundred pounds if she’s an ounce. Shrewd observer of humanity, Cy Deberg, floundering amidst the sweltering mass of accumulating details. Today I will observe how Fiona scratches her cavernous armpits beneath her rainbow-striped tank top; the next I will note how Stuart’s hand-raising takes on a strained and desperate quality as his wrong answers mount; the following I will register how Marybeth totters to her chair and catches only the lip in sitting, but remains poised for some seconds as she tries to decide which way lies solid matter. Each day more and more pressure from details I can’t help attracting; they crowd me like an angry swarm. Each day more and more of the world’s people press upon me in rude entreaty, seeking to unload sorrows as if I could free them from their grotesquerie. I’m so sick of people. I want to spring to my feet, spread my arms and scream, “I can’t help you! Now go away!” Instead, I turn to page sixty-five and see a picture of a child with cystic fibrosis.

And Roxane, in the seat before me, nibbling absently on a pencil, sporting a sunny yellow sweater, a tight black leather belt, and a flowered skirt which her legs, in crossing, have thrown over her dumpling thigh, exposing razor-sharp shiny shins. By a great act of charity one might describe her figure as hourglass; actually it is more wasp, two unwieldy orbs tied by the tiniest thread. Her hair, golden and kinky and disclosing dark roots, hangs mere inches from my seat. Lamenting the lost art of inkwells, I can do nothing but watch as she shakes her head, fluffing the snaky curls. Her smell: cigarettes and perfume, stale and sweet, like mildewed roses. Her complexion: marathon-runner red, the outcome of a makeup orgy calculated to conceal pockmarks as numerous as those on an orange rind. Her eyes: presumably brown, though lost in such a fecund overgrowth of mascara as to make any attempt at taxonomy highly speculative; her nose, long and fleshy; her lips, glossy slick, pumped beyond capacity and threatening to explode. She wears glasses with thick dark frames and says very little. When she does speak her voice is--how does one put this?--ugly, not merely deep but flat, slow, thick, like day-old coffee. Her hand is not the graceful bird of my imagined nighttime vigil; when occasionally it rises, heavy and hesitant, fingers flexing and unflexing timorously, it puts me in mind of worms groping for the surface. And if it is not called upon, it shrivels instantly and nosedives for her lap, where the tremor in her forearm tells me it is still fidgeting nervously.

But it is her back that confronts me, disdains me, reviles me. Roxane’s back, spread out like a picnic blanket before me every Tuesday and Thursday, will always be a source of shame. I know she considers me disgusting, because I sneezed on her back once, by accident--it just came out too fast. It was, in all fairness, her fault, for she was hyper-perfumy that day, physically perfumy in a way that plucked painfully at my nostril hairs. I am allergic to anything artificial, which includes perfume, Popsicles, polyester and most people. By merest bad luck, however, the incident had occurred on a sweltering fall day, and Roxane had been wearing a halter top exposing her freckled, ice cream white back--thus my nasal geyser had been particularly offensive. Compounding my ill fortune, it had been the first day of the term when my nose got the better of me, so such had been our introduction. She had said to me that day--or not to me, and not really said, but more to her lap, and mumbled--the only words she ever had, or would, and they were this: “Fucking asshole.”

#

Chris is waiting for me, striking a casual pose by the water fountain, his eyes roving the hallway like a john scoping out the local meat. Broad-shouldered and swaybacked, with the beginnings of a beer belly, he reminds me of various trolls and ogres from bedtime stories. But oh, is he cute! Ask anyone. That almost-military haircut with the single unruly smear across his forehead, those ballpoint blue eyes, those prominent, big-veined hands, those gunslinger bowlegs, that powerful physique enhanced by his padded jacket and his own inflated opinion of himself. His entourage doesn’t hurt either: those swooning steamy girls so eager to lap up his frat-mentality rantings about his gridiron glory days, to whisper the answers to the Chem test in his ear, to open wide and let the slimy worm crawl in. I fear I am beginning to lose my composure. I leap for my door, but Chris sees, tosses me a gesture halfway between a wave and a salute, and strides over. His boots stomp the carpet.

“Hey Deberg,” he says. “Given any more thought to my little business preposition?” Snicker, snicker, wink.

“No,” I say.

He spreads his hands. “Deberg. You look like the kind of guy who knows a quick buck when he sees it. Look. I’ll make it ten. Final offer.”

“No deal,” I say.

“Deberrrrg,” he whines. “One letter. That’s all I’m asking. Look, I’d do it myself, but I can’t write that romantic shit like you.”

Compliments, now.

“Just one letter,” he says. “I’ll never ask for anything else. Hell,” he pulls himself up, hands on belt loops, “that’s all I’ll need. I just--man, I don’t know where to start. She’s like . . . ah, like a princess. . . .” He nudges me in the ribs to make sure I caught the simile. His face is red, whether from embarrassment or the effort of cerebration I don’t know. “Just one letter. . .” he concludes feebly.

“You don’t need me,” I say. My voice grates. “You need a pimp.”

“Awww, Deberg, don’t be like that.” The duck of the head, the carpet-kick are impressive. He scrambles for his wallet. “Fifteen,” he gasps, shoving it in my face. “You’re robbing me.”

“A hundred,” I say. Saying it, I feel a strange mixture of power and dread. I begin to tremble, wondering if I would take it.

“A hundred!” He gapes. “For a lousy letter? Hell, she’s not worth that much!”

“Then no deal.” I can barely get the words out.

He stands silent for a minute, biting his lip. “Twenty-five,” he says heavily. “And you don’t have to write the letter. Just gimme one of those mushy poems of yours. She’ll eat it up.”

For a moment I stare at him, praying for the strength to commit murder. Then I push past him and race for my room.

He catches my arm. His paw grinds into my skin. “Deberg,” he says. “What is it with you? You’d think I was asking. . . .” Then a new thought strikes him and his voice changes. “You like her, is that it? Hell, just say the word. I’ll lay off.”

I look at him. The greedy, feral grin is gone; his features have softened. Can he be serious? Would the knight relinquish the princess for the frog’s sake? And if so, what then? Frogs don’t get princesses anymore. “Let go of me,” I say.

He drops my arm. I fumble for my keys and enter my room. I leave him standing there limp, drained, alone. Something clutches my chest and won’t let go.

#

A frail princess slept atop a tower of mattresses, and underneath was a rusty coat hanger, a lead pipe, the transmission of a Toyota Tercel, a sack of gravel, a thermonuclear device and a pea. She awakened with multiple compound fractures of the tibia and fibula, a lacerated scalp, a deviated septum, third-degree burns over ninety-five percent of her body, arteriosclerosis, breast cancer and an aneurysm. When asked how she had slept she replied, “Not bad, except for that damn pea. I should have stayed at Holiday Inn.” She was immediately recognized as the true princess, but she died the next day. There was great lamentation and rending of garments until the court wise man said, “Princesses is a dime a dozen. Rig up them matteresses again.” And thus it came to pass that a lowly serving wench, resting her tired bones atop the pile after an exhausting day of catering to the whims of a fickle royalty, complained subsequently of lower back pain and was crowned Princess. The frail one’s bones were pitched in a pauper’s grave and her name forgotten. She was too sensitive for this world, alas.

I lay in bed. The toad crouched on my chest, its mucosa tongue idly darting in and out. Princess. . . . You sit alone in your room, watching yourself in a hand-held mirror, the glass scarred and spotted, the plastic frame chipped. Your breasts, freed from the constriction of underwire and yellow sweater, sag gratefully; your posture, no longer under public scrutiny, would shame a hunchback; your stomach, girdleless, sinks into folds you are helpless to control. You swab pigment from your face with a white cloth and discard it next to a dozen rags bloodied by the same pink powder. You reach for a medicated pad and siphon grease from the creases beside your nose, the hollows beneath your eyes, the folds to either side of your mouth. You pick a clot from your hair, shake your head and scoop dandruff off the dressing table into your palm. Slowly, you begin to brush out the tangles, your hand moving in practiced rhythm, zombielike. At last you lie down, feeling the weight of your body settle, still but never satisfied. You roll onto your stomach, you clutch your pillow, you shove your face into its suffocating folds, you shake your head fitfully: finally sleep comes. You dream you are trapped in a tower, short-haired, mute. You plot revenge against the time you will be free.

Inside Roxane sleeps, innocent of the dirty designs Chris would have me accomplice to. And outside, a frog in the moonlight, I attempt to scale the tower. I spit on my suction-cup fingers, press them against the stone, but the mortar drips oil, and down I fall in a puddle, my pants wet again. I stand, hurl myself against the wall, but it repels me with a comical sprrooiiing! I rant and leap, splashing in the marsh; I shake my fists. Lilypads dance, exposing their pale green bellies; cattails snap erect and flat with metronomic frenzy; smaller creatures scurry for safety, zigzagging blindly, tapping the water in brittle ripples then off again. Inside, Roxane rolls over in her sleep, beating her arms over her head and whimpering. Outside, the frog collapses, spent.

But she saves her sorrow for night; night, shut in her tower, immune to my advances. In two days she will be back in class, aloof, her beautiful barbaric back reminding me of the time I defiled it. Fluff from her sweater will loosen as she rubs against her seat; it will float upward, sucked into the vortex of her scent, swirling, finally settling in her hair. My hand will flinch to brush it away, and I will know I can’t. I can’t touch her. I can’t--I can’t! I began to tremble, rage and frustration gagging me. And then I thought of Chris and his filthy plans, and as in a vision I knew what I could do. Springing from bed, I crouched over my desk and began to write.

Dear Roxane,

You don’t know me, but I’ve been watching you. My name is Chris Newville. I see your every detail before me now: your hair like licorice, your tits like ripe nectarines, your buns like buns. I want to clutch you, sink my teeth into you, have you for lunch. So far I’ve controlled myself, but I can’t trust myself to do so much longer. Please help. Don’t make me do something I’ll regret. I’m too shy to say these things to your face, but believe me when I say that I find you irresistible and will be watching you, waiting for my moment to have you.

Affectionately yours,

Chris

I ripped the page from my notebook and, handling it like a rat that’s likely to bite, folded it in half. I wrote her name in loopy, frilly writing, then drew a flower that was really a coiled-up snake if you looked at it hard. I crept outside. The hall was dark and quiet; no doors popped open at the sound of my exit. I laughed. I imagined Chris alone in his room, condemned to a lifetime of meaningless encounters, futile gestures, danger he was too bland to recognize. And Roxane. . . . I could hear the scream when she looked under her door and read the note, see the fearful glances from those black-choked eyes and thick frames, feel the clutch in her throat when a man at night crossed the street to her side. I foresaw that there might come a time, if I could engineer the circumstances, when she would welcome my gentle company; yes, me. There might come a time when she would be happy for what she could get, when Her Majesty wouldn’t be too high and mighty for a frog anymore. She might need me. After all, there are a lot of scary creatures out there.