On Family, an Orphan’s Perspective – 31 July 2021

As an orphan I thought that I was lucky inasmuch as I could choose my family, my brothers and sisters, those to whom I could lean against when the winds made me wobble near to falling … in my illness, in my neuroses, my tortured artist skin I have yet to shed and cast off … and I was wrong, as it is no choice but yet an understanding of acceptance that, though you entered the dark chamber of the cocoon blind as the caterpillar, only to remain in that darkness alone, thinking that you might never emerge, only to come out more vibrant than before, taking flight … it is family that keeps you aloft when the wind gives no lift, and the waves give no mercy, they remain when those tidal forces of blind nature and chaotic consequence might threaten to knock you over or erode you to the bone; they remain, to steady you and make sure that, though you may have been worn down, as the rocks by the ages of waves that carve them year by year, family is what you have when you look around and see nothing else, yet you see that they have given you what you need to fly.

appreciation is a poor gift to offer to someone who stands before the tide beside you, or risks the fire to pull you from it — but if that were a motive in the solidity and solidarity necessary, family would be a poor word to describe such a person. Family need not be asked, they insist to be — and what can an orphan boy do but be comforted by the accumulation of such brothers, such sisters who have, through many seasons of monsoon and whirlwinds, hurricanes and williwaws, stand there, as they dare not let you fall?

What remained, though remnants exist, that skin that clasps and holds you in such mold that contorts you into socially recognizable shape — it is the form of the pupae, and we should not weep for the loss of prior forms, as the metamorphoses has given more to those who have transformed, who have grown and learned and seen, more than the blind caterpillar who emerges, once an insect, now with wings.

An imagining of myself as a pair of scissors, charcoal on Pizza Hut Box, 2001; from a short distance meant to be seen as a scissors, up close as a child with legs inward, shutting off the world through this gesture, cutting off the world.

The romantics had it wrong, that the sentimental life was one that rewarded the artist with grist for the potter’s wheel. The grist in this instance is more valuable by far than whatever works of pottery should come from the forge of potter or glazier.

The notion of romanticg suffering is romantic until you suffer, and to seek it out as a means to enlightenment is as rational as skydiving with a passport so you won’t get stuck at customs before they let you into Heaven.
Be all my sins remembered,
From the authentic bastards lot,
legitimate, in original packaging, aged but yet the skin has yet to be shed …
Though it’s time I molt.

Once I thought as an orphan I would have no brothers and sisters. Now I know I can and do have as many as I would like.

I have to hurry off now and find a place to circumcise my daughter on short notice.


Literary essay: Shakespeare – Choice & Fate, Fathers & Sons, 15 May 2016

On Shakespeare’s Drama,
Choice & Fate, Fathers & Sons

SHAKESPEARE’S PLAYS ARE ALL INTRINSICALLY Shakespeare plays; yet with MacBeth, Shakespeare taps into a deeper madness, a madness rarely pulled off with lucidity in literary history. Shakespeare unravels MacBeth in much the same manner as he did with King Lear. Piece by piece the layers shed, layer after layer of human skin.


At one point he was an honorable man, but is tempted by powers, and what justifies the need or want of power. This is a common reading, but I think the witches intend to be a sort of externalization, a way of seeking validation for the kind of the desires already there. As he rose to power, through each step, he deteriorated morally. The deterioration was such that another theme of internal / external heaven and hell becomes very apparent in the fact that he can’t even enjoy his kingship because of his internal struggle—in this he is much like King Henry IV, unable to enjoy the glory of his usurped throne.

Although Macbeth deteriorates slowly and becomes more and more vicious, his soliloquies, such as the one before murdering Duncan, invoke a sense of pity and awe in the audience simply because of how much he suffers. The great take-away for me is simple: Even monsters suffer. There is great ambition for social heights in MacBeth, but to gain it his morality is more and more cast aside.

MacBeth was once a highly respectable general in Scotland. He even witnesses to some degree the deterioration of his character as he notices his own choice for the social climb over moral goodness. He was respected by the soldiers and even King Duncan while in Scotland; however, this externalization of his greed and desire, the witches, will tempt him with the Throne of Glamis and Cawdor—and propose it will be Banquo, his good friend, soon to be a father of a dynasty of kings, and not he.

MacBeth’s ambition is the heroic flaw, a common theme in theatre,

“My thought, whose murder is yet fantastical, shakes my single state,” he reflects, regarding the prophecy. At first he rejects the idea of murder, shuddering as the witches mention what is to be his fate; he says, “If chance will have me king, chance may crown me, without my stir.”

Again the three witches, an internal peer pressure of sorts, make concentrated his murderous intentions, which he had yet to express. Again it is ambition goaded by temptation that drive him further when Duncan announces his intentions to make Malcom heir to the throne.

MacBeth says,

“That is a step on which I must fall upon, or else o’erleap, for in my way it lies. Stars hide your fires; let not sleep my black desires: the eye that winks at the hand, yet that be which the eye fears, when it is done to see.”

In the end his ambition gets the better of him and his moral deterioration is complete; in the role of a desperate murderer, he doesn’t wish for the light to shine upon what he has done—it is too evil to be seen, and far too much for him to see, to be confronted with the evidence of your crime so graphically, as Claudius was in Hamlet.

The inner conflict that acts inside Macbeth from evil and moral virtue carries on through the entirety of the play and the struggle against the prophecies and temptations become weaker and weaker. The self-fulfilling prophecy is another popular trope in theatre. He reasons after multiple aversions to kill Duncan, showing his complicit choice at each stage, aware of the risks, and then, because of what it took to get there, is unable to enjoy his rule. His slow fall covers a noble man falling from the favor of fortune, through temptation and gradual capitulation to desire, until he is a base creature, in complete service to his indulgences.

Methought I heard a voice cry

“Sleep no more!

Macbeth does murder sleep,”

the innocent sleep,

Sleep that knits up the ravell’d sleeve of care,

The death of each day’s life,

sore labour’s bath,

Balm of hurt minds,

great nature’s second course,

Chief nourisher in life’s feast.

Of many the recurring themes in Macbeth, sleep is focused on intensively. Macbeth thought that sleep made life worth living and thought that by killing the king in his sleep, that he had murdered sleep itself. This, of the many points in Macbeth, is probably the most provocative and widely discussed. He thought it to be soothing, “like a bath after a long day’s work.” In the passage, which is common to modern English’s “Sleep on it” – Macbeth is frustrated and distraught and sees no end to his troubles. Though he has a lot of troubles, he relates this with. “A ravell’d sleeve” – this is the metaphor he uses for having a tangled mesh, or string – or skein – of thread and yarn. Not unlike the tangled yard of the Weird Sisters (something else Shakespeare inherited from Holinshed’s Chronicles.

Before Macbeth murders king Duncan, Banquo says, “A heavy summons lies like lead upon me, and yet I would not sleep: merciful powers.” Something, though as of yet he doesn’t reveal it, is keeping him from sleep. Banquo shows beforehand that he is suspecting that Macbeth may have ulterior motives when Macbeth bids him a “Good repose” – which is the same thing as a good night’s sleep.

In one of the most popular of all the scenes in Macbeth, Macbeth hallucinates seeing a bloody dagger suspended in the air pointing towards King Duncan’s chamber; he thinks it’s appropriate to have the hallucination at that time of night and says, “Now o’er the one half-world, nature seems dead, and wicked dreams abuse that curtain’d sleep.”

Sleep, as he says, was curtained because many of the noblemen and personages high in the social hierarchy used four post beds and hung up curtains to keep out cold air. Macbeth believed the air of night could see through the curtains and through sleep itself.

“There’s one did laugh in’s sleep, and one cried murder,” – After King Duncan is murdered, he tells his wife this as he leaves the chamber and believed that the people, even though all were asleep, could see the blood on his hands.


Tragedy is of two popular forms now in the West. Modern tragedy and Greek tragedy. Greek tragedy is tied to the ideas of fate and the gods, and sometimes regular people too. A hero defies the gods, often due to fatal flaws which is the reason behind their eventual downfall; and English playwriting, in its early years, follows this tradition. In Shakespeare’s plays, tragedy is also identified as a story that ends unhappily due to the flaws of the protagonist, the tragic hero.

Romeo and Juliet – a broadstrokes tragedy – In Shakespeare’s other tragedies, such as Macbeth and Hamlet, although those characters are fated to die, this type of tragedy is different. Romeo and Juliet is a domestic type of tragedy, a tragedy of fate, despite the fact that other characters influence the result of the final tragedy; however only a few people are affected. In most of his work, the microcosm (Hamlet) along with the macrocosm (The fiefdom of Denmark) are affected equally, making the tragedy in microcosm and macrocosm, personal and universal.

Shakespeare tries to break down the rivalry and feud between two families; the Capulets and Montagues Many tragedies are been presented in the play including that of Paris, Mercutio, Tybalt, and Romeo, Juliet, and Lady Montague. These figures all lead to each other, each building up and abetting the next death or tragedy, which could have been caused by rivaling senses of authority, codes of honor, masculinity, rebellion, ambition, and – again, fate.

From the very beginning of the play, fate is constantly referenced, starting with the prologue,

“A pair of star crossed lovers take their life.”

This is Shakespeare working on a different type of tragedy, a tragedy in the face of time and destiny. Romeo and Juliet were meant to die, in that sense, because it was their destiny.  Therefore this is what fate had planned for their lives. So the audience recognizes even further that the tragic death of Romeo and Juliet was something which was definitely happening, something inherent and inevitable. Shakespeare’s job in convincing the audience this was due to fate was easy. As the audience at that point of time would have believed in fate.

Shakespeare tried to showcase the idea that to fulfill destiny and prophecy, you have to believe in destiny. Like prophecies, inasmuch as they are ultimately self-fulfilling, Romeo was shown to believe, saying, “I fear too early for my mind misgives, some consequences yet hanging in the stars shall bitterly begin this fearful date.”

Romeo knew—to that degree of belief, it transcends idea and becomes a physical reality—that his actions were not under his control;

“…He that hath steerage over my course, direct my sail.”

By believing that one’s actions are out of one’s control, one avoids responsibility and, for Romeo to believe this, he tried to defy what was already a self-imposed idea, to go against the tide that swept him to his end was to go against a tide he put in motion.

Fate was used by a number of playwrights, and Shakespeare used it well as a dramatic device, showing what fruit there is in believing one’s life out of one’s hands. Shakespeare was central to the progress of the play and its outcome; an example could be Romeo’s banishment and Paris’s engagement to Juliet. Both a modern and an Elizabethan audience would, despite the knowledge of the plays outcome, be interested in the play, and keep watching, and in a way Shakespeare uses the audience’s knowledge as a dramatic device.

Despite his own ambition, Shakespeare has a madness for condemning it; like MacBeth, Friar Lawrence could be an example of an ambitious person, believing that by marrying the lovers the feud would stop, alleging that the only reason he is marrying the two is to bring an end to the rivalry. Despite how well intentioned this action is, The Friars decision to marry Romeo and Juliet indicates his naiveté more than anything. The Friar is ultimately responsible for the ending. To persuade Juliet to fake her death, he attempts to reverse nature—to heal the wounds of the feud—but only succeeds in making everything worse.

The Friar was a man who did not believe in fate. As such, his decision-making leads to chaos. The unpredictable direction of events help to keep the audience attentive. Shakespeare used these techniques to build tension and make scenes more dramatic.

Youth’s Romantic Rebellion.

Romeo and Juliet both rebel against their families, as most young men and women do. They enhance and exacerbate the rivalry between them by marring one another, rather than taming it. The play presents numerous examples of youthful rebellion. Juliet disobeys her father by refusing to marry Paris, something unheard of in a society where fathers are the ultimate source of patriarchal authority, and authority in all things, moral and spiritual. As both rebel against their parents through their continued association, Juliet not only disobeys her parents, she encourages Romeo to do the same, saying,

“…deny thy father and refuse thy name.”

Things did not end well. For anyone, really.


Shakespeare could turn out plays like Romeo and Juliet in his sleep. In Hamlet and perhaps more so in MacBeth, however, he pushes himself higher and higher. In Hamlet by bringing the drama closer to the personal and neglecting archetypal tragedy; Hamlet, the character, is proof of this, as his mental anguish is the subject of the entire play. Perhaps it was due to the death of his own son Hamnet, that Shakespeare’s interest would become deconstructing the relationships between fathers and sons.

After his son was carried away by the plague, we have the character Hamlet, a consonant shy of having the same name of his deceased son, looking into a mirror, contemplating suicide. ‘To be or not to be,’ is just a fancy way of asking, ‘Should I kill myself or what?’ That’s the question. It’s the same question Camus pursued in his philosophy of the absurd, in works such as The Stranger and The Myth of Sisyphus; and Camus stated,

‘There is one principle issue in philosophy, and that is suicide.’

Shakespeare’s own anguish and regret seeps into his characters, who, even when seemingly on top of the world – as Shakespeare had been himself, showing up to a coronation decked out in red velvet – find ways to bemoan the everyday life of the depressive:

Tomorrow and tomorrow and tomorrow,

Creeps in this petty pace from day to day,

The way to dusty death

Out! Out, brief candle!

Life is but a walking shadow,

A poor player that struts and frets

His hour upon the stage

And is heard no more.

It is a tale told by an idiot,

Full of sound and fury –

Signifying nothing.

Shakespeare’s characters are all saddled by one form of loss or another in this period, and they deal with grief in different ways. His later work is a dissection of grief. Hamlet’s deliberation on his life, Macbeth’s lethargy and disdain for the noise and futility of the mundane, day to day, what is real and lasting, and what is ephemeral, just a passing storm, full of sound and fury, signifying nothing.

Shakespeare’s guilt over his son’s passing seeps into his greatest play, King Lear, as the King mistreats his one honest daughter while at the same time giving lavishly to his other daughters, who are sycophantic and gratifying, incurring his good favor by building up his self-esteem, so when it’s time to parcel out the kingdom, Cordelia doesn’t get as much as those other assholes.

It’s hard to pin Shakespeare down and say with definitiveness what he believed, or wherewith he is speaking in his own voice, as himself. He used the past as a prism through which to enlarge the issues of the present, such as the problems with the monarchy and the many religious schisms of his age. But in his later works, the character of Hamlet is in keeping with more reflective, pensive melancholy – about the loss of his father – and his ghost is who tips him on to what Claudius has done; MacBeth might be a reflection of Shakespeare’s own transformation. From the highest of the playwrights in England to a grieving father; he had money and fame at a time when it meant less than it should have.

At the time King Lear was written, Shakespeare was English playwriting. Kip Marlowe, Robert Greene, and Thomas Kyd, his detractors and contemporaries did well, but fell out of favor, gradually. Kip Marlowe has retained a popularity that the former did not, but even his doesn’t rival that of Shakespeare, the Bard, inventor of words like puke and queasy. That’s a legacy.

When one considers the popularity of Hamlet’s conversation with the mirror and his thoughts of suicide, it’s easy to see one’s self before that same mirror thinking the same thing: what have I to lose by losing everything? Will it mitigate my loss? Will destruction save me from the torments of my conscience? These are natural questions to ask, to wonder if there is providence, and to wonder if we can actually defy fate on any meaningful level. If there be providence in this world, must this be the greatest lack of mercy? This denial of consolation the grave offers us all? No grace, no word of condolences from that undiscovered country. To ask these questions during a time of religious upheaval were questions in need of asking. It is no consolation that the dead stay silent, and grace is a spectre over our noblest endeavors.

The dead may silent, sure, but they may find their voice again; if the proper necromancer restored these spirits to our world, to live out their days in one folio or painting or another, this preserves the voice of voices we can’t hear and is unless by a proper necromancer restored to live forever in the folio or painting of a fine dramatist or artist. This is among the finer qualities of art—the preservation of what we are as individuals struggling with self-definition. Shakespeare was one of the first writers to give the English a hint at what that definition could be.

Religion, Freedom, Fear & Panic (George Orwell) – 17 March 2016


AS MUCH AS ART AND LANGUAGE HAVE ENRICHED our lives and culture, it can be used as a means of personal advancement or attainment, and can be used, has been used as a tool to subdue and keep mute an illiterate public. As the best literature and music can be liberating, there is a darker side to this, something more nefarious. George Orwell’s nightmarish vision of a future where literature does not set free the soul was as fantastical as it was grounded. Because, despite seeing its absurdity, we saw echoes of Orwell’s themes, if but vaguely, in our own lives — Big Brother is the judging eye that watches, an eye that judges, a figure that enforces law against thinking the wrong way. Wilson gets sent to the worst hotel room in history outside of a Holiday Inn, Room 101.

Big Brother is Watching You — everyone is familiar with the popular phrase from [Orwell’s] most popular work, Nineteen Eighty-Four, but its interpretation has often been limited to political interpretation. If you cast big brother as an abstract and put the entirety of creation under his charge, what do you get? An all seeing figure who’s always watching, always careful to ensure the rules laid forth are observed, and in waiting to punish if a tenet of the Law is broken. Big Brother, as an abstract, is more than a satire of the culture of personality which, like Boy Bands and iPhone releases, always seem to spring up despite all sensible people knowing how objectively terrible they are.

Nineteen Eight-Four appeals to the same sensibility to which ‘God is watching over us’ appeals. Except, by inverting the All Seeing Eye, by showing us the perversion of thought crime, the crime of love, the arbitrary torture — it’s easy to see Orwell is telling a story on two different thematic levels: the microcosm (the singular Big Brother and the singular idea such a figure represents. And there’s a perversion of this, and it’s happening now, right in the modern, progressive world: but not through the silent, watchful judgment of one centralized authority figure, we’ve cast ourselves as indignant,flattered voyeurs in the drama of the watchful, attentive eye presiding over the most mundane of our activities, whether it is a friend who follows you on Twitter.

John Taylor’s Seven Lesson Schoolteacher has a different approach to handling an authoritarian edifice and his lessons are the bricks in the edifice of the mind’s sometimes voluntary enslavement. It is a poignant testament to the quality of individuality and warning against subscribing to a belief system structured to control. When the information provided comes from the same body enacting the law, it is, no matter the brand of information—literature, media, radio—designed to control by fear and recruit by a promise such law givers are unable to keep.

In The Seven-Lesson Schoolteacher, Gatto shows us what Dostoevsky, in Notes from Underground, called the ‘edifice of glass.’ Gatto shows the reality of totalitarianism in a distorted yet eerily similar America.  To paraphrase, a centralized order must not be questioned. No possible objections, logical, sensible or otherwise are to be taken seriously and those who make such objections do so to their disadvantage.

Mr. Gatto, as he wished to be called, was a school teacher who had taught for twenty-six years, winning many awards in the process. He outlines a subconscious and hidden curriculum that is unconsciously transmitted to every student in every school in the United States. These rules aren’t acknowledged, written, or made apparent but, as Mr. Gatto suggests, this is the only way students can be turned into functioning member of society—as he sees it.

What does it mean to function in a society if one has to be manipulated as a child to be able to do so? The seven universal lessons perpetuate what has done more to harm people throughout history, though it helps a select few, and could be interpreted as a list for the pros of making war upon your own government, as Shakespeare famously questioned in his treatment of the character in Richard II: is it ever right to overthrow a monarchy? When it is necessary for the following traits to be drilled into children in order to keep them in check, it most certainly is; I fall into another category on this position, which Leon Trotsky expressed so well in Literature and Revolution. 

‘Mechanical centralism is necessarily complemented by factionalism, which is at once a malicious caricature of democracy and a potential political danger.’

Mr. Gatto’s entire structure is built on factionalism. His seven universal lessons are meant to strengthen some factions to invite membership and conformity, and others are intended to keep those ‘unworthy’ are those for whom the rest of the rules were written. The seven universal rules are: confusion, class position, indifference, emotional dependency, intellectual dependency, provisional self-esteem, and an admonition against anyone who notices the slavery of a system that confuses intentionally, gives to one side it created for itself, and addicts the rest to scraps because class position can only exist in a society confused and emotionally dependent. You can’t hide. Big brother is watching you. Take your soma and fall in line: this is the literature of enslavement. And the author of this material is a real man and really believes in these universal ‘laws’ of education.

Students are often taught a barrage of information, none of which is important to their lives, intended to work as an assembly line towards an end, a goal: to college, to graduate school, and finally to a job. This sort of cynical approach by a life-long teacher is disheartening; it is disheartening not because of one man’s belief, but those who rally behind his ideas of slavery are highly influential. Behind all the useless information is what the intended goal of this system is: there is this centralized element abhorrent to Trotsky, an element that might have made Shakespeare rethink his ideas of overthrowing a monarch.

The central command structure of knowledge reaches into the deep past of western philosophy. It’s in Plato’s The Republic, St. Augustine’s City of God, even Leviathan by Thomas Hobbes. Although it wasn’t published in his lifetime, Hobbes’ much better work, Behemoth, was forbidden by a king, a king who probably would’ve endorsed it, had he read it. Satires like Orwell’s Nineteen Eighty-Four and Huxley’s Brave New World were considered, in their time, to be ridiculous. These were not instant classics. And the writing of Nineteen Eighty-Four nearly killed George Orwell; this brings us to what gave the English their first clear vision of totalitarianism.

AN HOMAGE TO ORWEL– On the Cult of Personality and Altar of Fear

BEFORE A SOCIAL AND BIOGRAPHICAL ANALYSIS of Orwell the man, writer of Nineteen Eighty-Four and Animal Farm, I would first like to say that I believe he was at his best in his non-fiction account of the Spanish Civil War—Homage to Catalonia.

“It was a bright cold day in April, and the clocks were striking thirteen.”

Sixty years after the publication of Orwell’s mostly widely cited and read work, Nineteen Eighty-Four, that crystal first line sounds as natural and compelling as ever. But when you see the original manuscript, you find something else: not so much the ringing clarity, more the obsessive rewriting, in different inks, that betrays the extraordinary turmoil behind its composition.

Probably the definitive dystopian novel of the 20th century, a story that remains eternally fresh and contemporary, and whose terms such as ‘Big Brother,’ ‘doublethink,’ and ‘newspeak—all of which having become part of the everyday currency in the English lexicon, Nineteen Eighty-Four has been translated into more than 65 languages and sold millions of copies worldwide, giving George Orwell a unique place in world literature.

The circumstances surrounding the writing of Nineteen Eighty-Four make a haunting narrative that helps to explain the bleakness of Orwell’s dystopia. Here was an English writer, desperately sick, grappling alone with the demons of his imagination in a bleak Scottish outpost in the desolate aftermath of the Second World War. The idea for Nineteen Eighty-Four, alternatively, The Last Man in Europe, had been incubating in Orwell’s mind since the Spanish civil war.

His novel, which owes something to Yevgeny Zamyatin’s dystopian fiction We, probably began to take a definitive shape during 1943-44, around the time he and his wife Eileen adopted their only son, Richard. Orwell himself claimed that he was partly inspired by the meeting of the Allied leaders at the Tehran Conference of 1944. Isaac Deutscher, an Observer colleague, reported that Orwell was “convinced that Stalin, Churchill and Roosevelt consciously plotted to divide the world” at Tehran.

Orwell had worked for David Astor’s Observer since 1942, first as a book reviewer and later as a correspondent. The editor professed great admiration for Orwell’s “absolute straightforwardness, his honesty and his decency,” and would be his patron throughout the 1940s. The closeness of their friendship is crucial to the story of Nineteen Eighty-Four.

Orwell’s creative life had already benefited from his association with the Observer in the writing of Animal Farm. As the war drew to a close, the fruitful interaction of fiction and Sunday journalism would contribute to the much darker and more complex novel he had in mind after that celebrated ‘fairy tale.’ It’s clear from Observer book reviews, for example, that he was fascinated by the relationship between morality and language.

There were other influences at work. The atmosphere of random terror in the everyday life of wartime London became integral to the mood of the novel-in-progress. Worse was to follow. In March 1945, while on assignment for the Observer in Europe, Orwell received news that his wife Eilee, had died under anesthesia during a routine operation.

Suddenly he was a widower and a single parent, eking out a threadbare life in his Islington lodgings, and working incessantly to dam the flood of remorse and grief at his wife’s premature death. In 1945, for instance, he wrote almost 110,000 words for various publications, including 15 book reviews for the Observer.

Then Astor stepped in. His family owned an estate on the remote Scottish island of Jura, next to Islay. There was a house, Barnhill, seven miles outside Ardlussa at the remote northern tip of this rocky finger of heather in the Inner Hebrides.

Initially, Astor offered it to Orwell for a holiday. Speaking to the Observer last week, Richard Blair says he believes, from family legend, Astor was taken aback by the enthusiasm of Orwell’s response.

In May 1946 Orwell, still picking up the shattered pieces of his life, took the train for the long and arduous journey to Jura. He told his friend Arthur Koestler that it was ‘almost like stocking up ship for an arctic voyage.’

It was a risky move; Orwell was not in good health. The winter of 1946-47 was one of the coldest of the century. Postwar Britain was bleak and Orwell always suffered from a chest pains and other anxiety-related pains. At least, cut off from the irritations of literary London, he was free to grapple unencumbered with the new novel. ‘Smothered under journalism,’ as he put it, he told one friend, ‘I have become more and more like a sucked orange.’

Ironically, part of Orwell’s difficulties derived from the success of Animal Farm. After years of neglect and indifference the world was waking up to his genius. ‘Everyone keeps coming at me,’ he complained to Koestler, ‘wanting me to lecture, to write commissioned booklets, to join this and that, etc.–you don’t know how I pine to be free of it all and have time to think again.’

On Jura he would be liberated from these distractions. The promise of creative freedom on an island in the Hebrides, however, came with its own, unique price. Years before, in the essay Why I Write, he described the struggle to complete a book: ‘Writing a book is a horrible, exhausting struggle, like a long bout of some painful illness. One would never undertake such a thing if one were not driven by some demon whom one can neither resist or [sic] understand. For all one knows that demon is the same instinct that makes a baby squall for attention. And yet it is also true that one can write nothing readable unless one constantly struggles to efface one’s personality.’ It ends with the popular adage: ‘Good prose is like a window pane.’

From the spring of 1947 to his death in 1950 Orwell would re-enact every aspect of this struggle in the most painful way imaginable. Privately, perhaps, he relished the overlap between theory and practice. He had always thrived on self-inflicted adversity.

At first, after ‘a quite unendurable winter,’ he reveled in the isolation and wild beauty of Jura. ‘I am struggling with this book,’ he wrote to his agent, ‘which I may finish by the end of the year—at any rate I shall have broken the back by then so long as I keep well and keep off journalistic work until the autumn.’

Barnhill, overlooking the sea at the top of a potholed track, was not large, with four small bedrooms above a spacious kitchen. Life was simple, even primitive. There was no electricity. Orwell used Calor gas to cook and to heat water. Storm lanterns burned paraffin. In the evenings he also burned peat. He was still chain-smoking black shag tobacco in roll-up cigarettes: the fug in the house was cozy but not healthy. A battery radio was the only connection with the outside world.

Orwell, a gentle, unworldly sort of man, arrived with just a camp bed, a table, a couple of chairs and a few pots and pans. It was a Spartan existence but supplied the conditions under which he liked to work. He is remembered there as a spectre in the mist, a gaunt figure in oilskins.

At the end of May 1947 he told his publisher, Fred Warburg: ‘I think I must have written nearly a third of the rough draft. I have not got as far as I had hoped to do by this time because I really have been in most wretched health this year ever since about January (my chest as usual) and can’t quite shake it off.’

Mindful of his publisher’s impatience for the new novel, Orwell added: ‘Of course the rough draft is always a ghastly mess bearing little relation to the finished result, but all the same it is the main part of the job.’ Still, he pressed on, and at the end of July was predicting a completed ‘rough draft’ by October. After that, he said, he would need another six months to polish up the text for publication. This does not happen.

Part of the pleasure of life on Jura for George and his young son was the outdoor life—fishing, explore the island, and potter about in boats. In August, during a spell of lovely summer weather, Orwell, Avril, Richard and some friends, returning from a hike up the coast in a small motor boat, were nearly drowned in the infamous Corryvreckan whirlpool.

Richard Blair remembers being ‘bloody cold’ in the freezing water, and Orwell, whose constant coughing worried his friends, did his lungs no favors. Within two months he was seriously ill. Typically, his account to David Astor of this narrow escape was laconic, even nonchalant.

The long struggle with The Last Man in Europe continued. In late October 1947, oppressed with ‘wretched health,’ Orwell recognized that his novel was still ‘a most dreadful mess and about two-thirds of it will have to be retyped entirely.’

He was working at a feverish pace. Visitors to Barnhill recall the sound of his typewriter pounding away upstairs in his bedroom. Then, in November, tended by the faithful Avril, he collapsed with ‘inflammation of the lungs’ and told Koestler that he was “very ill in bed”. Just before Christmas, in a letter to an Observer colleague, he broke the news he had always dreaded. Finally he had been diagnosed with TB.

A few days later, writing to Astor from Hairmyres hospital, East Kilbride, Lanarkshire, he admitted: ‘I still feel deadly sick,’ and conceded that, when illness struck after the Corryvreckan whirlpool incident, ‘like a fool I decided not to go to a doctor – I wanted to get on with the book I was writing.’

In 1947 there was no cure for TB; doctors could only prescribe fresh air regular diets. However, there was a new, experimental drug on the market, streptomycin. Astor arranged for a shipment to Hairmyres from the US.

Orwell’s son Richard believed his father was given excessive doses of this new drug. The side effects were horrific (throat ulcers, blisters in the mouth, hair loss, peeling skin and the disintegration of toe and fingernails; but in March 1948, after a three-month course, the TB symptoms had disappeared. ‘It’s all over now, and evidently the drug has done its stuff,’ Orwell told his publisher. ‘It’s rather like sinking the ship to get rid of the rats, but worth it if it works.’

As he prepared to leave hospital Orwell received the letter from his publisher which, in hindsight, would be another nail in the coffin. ‘It really is rather important,’ wrote Warburg to the star author, ‘from the point of view of your literary career to get it [the new novel] by the end of the year and indeed earlier if possible.’

Just when he should have been convalescing Orwell was back at Barnhill, deep into the revision of his manuscript, promising to deliver by ‘early December,’ and coping with ‘filthy weather’ on autumnal Jura. Early in October he confided to Astor: ‘I have got so used to writing in bed that I think I prefer it, though of course it’s awkward to type there. I am just struggling with the last stages of this bloody book [which is] about the possible state of affairs if the atomic war isn’t conclusive.’

This is one of Orwell’s exceedingly rare references to the theme of his book. He believed, as many writers do, that it was bad luck to discuss a work-in-progress. Later, to Anthony Powell, he described it as ‘a Utopia written in the form of a novel.’ The typing of the fair copy of The Last Man in Europe became another dimension of Orwell’s battle with his book. The more he revised his ‘unbelievably bad” manuscript the more it became a document only he could read and interpret. It was, he told his agent, “extremely long, even 125,000 words.’ With characteristic candor, he noted: ‘I am not pleased with the book but I am not absolutely dissatisfied… I think it is a good idea but the execution would have been better if I had not written it under the influence of TB.’

And he was still undecided about the title: ‘I am inclined to call it NINETEEN EIGHTY-FOUR or THE LAST MAN IN EUROPE,’ he wrote, ‘but I might just possibly think of something else in the next week or two.’ By the end of October Orwell believed he was done. Now he just needed a stenographer to help make sense of it all.

It was a desperate race against time. Orwell’s health was deteriorating, the ‘unbelievably bad’ manuscript needed retyping, and the December deadline was looming. Warburg promised to help, and so did Orwell’s agent. At cross-purposes over possible typists, they somehow contrived to make a bad situation infinitely worse. Orwell, feeling beyond help, followed his ex-public schoolboy’s instincts: he would go it alone.

By mid-November, too weak to walk, he retired to bed to tackle ‘the grisly job’ of typing the book on his “decrepit typewriter” by himself. Sustained by endless roll-ups, pots of coffee, strong tea and the warmth of his paraffin heater, with gales buffeting Barnhill, night and day, he struggled on. By 30 November 1948 it was virtually done.

Now Orwell, the old campaigner, protested to his agent that ‘it really wasn’t worth all this fuss. It’s merely that, as it tires me to sit upright for any length of time, I can’t type very neatly and can’t do many pages a day.’ Besides, he added, it was ‘wonderful’ what mistakes a professional typist could make, and, ‘in this book there is the difficulty that it contains a lot of neologisms.’

The typescript of George Orwell’s latest novel reached London in mid-December, as promised. Warburg recognized its qualities at once (‘amongst the most terrifying books I have ever read’) and so did his colleagues. An in-house memo noted ‘if we can’t sell 15 to 20 thousand copies we ought to be shot.’

By now Orwell had left Jura and checked into a TB sanatorium high in the Cotswolds. ‘I ought to have done this two months ago,’ he told Astor, ‘but I wanted to get that bloody book finished.’ Once again Astor stepped in to monitor his friend’s treatment but Orwell’s specialist was privately pessimistic.

As word of Nineteen Eighty-Four began to circulate, Astor’s journalistic instincts kicked in and he began to plan an Observer Profile, a significant accolade but an idea that Orwell contemplated ‘with a certain alarm.’ As spring came he was “having haemoptyses” (spitting blood) and ‘feeling ghastly most of the time’ but was able to involve himself in the pre-publication rituals of the novel, registering ‘quite good notices’ with satisfaction. He joked to Astor that it wouldn’t surprise him ‘if you had to change that profile into an obituary.’

Nineteen Eighty-Four was published on 8 June 1949 (five days later in the US) and was almost universally recognized as a masterpiece, even by Winston Churchill, who told his doctor that he had read it twice. Orwell’s health continued to decline. In October 1949, in his room at University College hospital, he married Sonia Brownell, with David Astor as best man. It was a fleeting moment of happiness; he lingered into the new year of 1950. In the small hours of 21 January, George Orwell suffered a massive hemorrhage in hospital and died alone.

The news was broadcast on the BBC the next morning. Avril Blair and her nephew, still up on Jura, heard the report on the little battery radio in Barnhill. Richard Blair does not recall whether the day was bright or cold but remembers the shock of the news: his father was dead, aged 46.

David Astor arranged for Orwell’s burial in the churchyard at Sutton Courtenay, Oxfordshire. He lies there now, as Eric Blair, between HH Asquith and a local family of Gypsies.


Why ‘1984’? 

Orwell’s title remains a mystery. Some say he was alluding to the centenary of the Fabian Society, founded in 1884. Others suggest a nod to Jack London’s novel The Iron Heel (in which a political movement comes to power in 1984), or perhaps to one of his favorite writer GK Chesterton’s story, The Napoleon of Notting Hill, which is set in 1984.

In his edition of the Collected Works (20 volumes,) Peter Davison notes that Orwell’s American publisher claimed that the title derived from reversing the date, 1948, though there’s no documentary evidence for this. Davison also argues that the date 1984 is linked to the year of Richard Blair’s birth, 1944, and notes that in the manuscript of the novel, the narrative occurs, successively, in 1980, 1982 and finally, 1984. There’s no mystery about the decision to abandon The Last Man in Europe. Orwell himself was always unsure of it. It was his publisher, Fred Warburg who suggested that Nineteen Eighty-Four was a more commercial title.

Freedom of speech

The effect of Nineteen Eighty-Four on our cultural and linguistic landscape has not been limited to either the film adaptation starring John Hurt and Richard Burton, with its Naziesque rallies and chilling soundtrack, nor the earlier one with Michael Redgrave and Edmond O’Brien.

It is likely, however, that many people watching the Big Brother series on television (in the UK, let alone in Angola, Oman or Sweden, or any of the other countries whose TV networks broadcast programmes in the same format) have no idea where the title comes from or that Big Brother himself, whose role in the reality show is mostly to keep the peace between scrapping, swearing contestants like a wise uncle, is not so benign in his original incarnation. Apart from pop-culture renditions of some of the novel’s themes, aspects of its language have been leapt upon by libertarians to describe the curtailment of freedom in the real world by politicians and official—alarmingly, nowhere and never more often than in contemporary Britain.


 Room 101

Some hotels have refused to call a guest bedroom number 101—rather like those tower blocks that don’t have a 13th floor—thanks to the Orwellian concept of a room that contains whatever its occupant finds most impossible to endure. Like Big Brother, this has spawned a modern TV show: in this case, celebrities are invited to name the people or objects they hate most in the world.

Thought police

An accusation often levelled at authoritative governments, or arenas in public in which ideas or speech are being restricted; any conglomeration designed to bleep or blur, remove or ‘correct’ literature, hide and suppress ideas.


For Orwell, freedom of expression was not just about freedom of thought but also linguistic freedom. This term, denoting the narrow and diminishing official vocabulary, has been used ever since to denote jargon currently in vogue with those in power.


Hypocrisy with a twist. Rather than choosing to disregard a contradiction in your opinion, if you are doublethinking, you are deliberately forgetting that the contradiction is there. This subtlety is mostly overlooked by people using the accusation of ‘doublethink’ when trying to accuse an adversary of being hypocritical—but it is a very popular word with people who like a good debate with their beer. If I may: everything is good with beer—if you have the beer first.

IN THE BHAGAVAD-GITA, THE HINDU HOLY BOOK, we find the great archer and warrior, Arjuna, with his charioteer, and avatar of Vishnu, Krisha—of questionable fame stemming from an event earlier in life, having been caught stealing butter–allegedly. They are poised between two massive armies lined up to fight one another. He looks at both sides and finds relatives, fathers and sons, ready to slaughter one another in this battle. In his confusion and anguish, he cries out for guidance. To guide him, Krishna speaks to him as the supreme God of Gods, almighty Time, and instructs him the way of the Yoga.

The war, like so many of what is herein discussed, is an externalization used to illustrate the conflict inside oneself, the kind of conflict that every person has when it comes to choosing, when it comes to differentiating between what is right and what is wrong. Krishna appeared before him as a beacon of light in a time of darkness. He has since appeared to millions as the same light, to lead people from eternal return (For modern comparison, consider Groundhog Day) from what Krishna calls ‘the transient world of sorrow.’

The main thing that appealed to me about this ancient text is just pure beauty. Transience, I believe, is the major theme, the mortality of everything alive on the earth. In describing this to Arjuna, the transience of life and its luxuries, Krishna consoles and reminds Arjuna of his purpose, thereby escorting him out of darkness. What Krishna reveals to him cripples Arjuna and he is left shaking with fear and awe, saying, ‘Thy tears are for those beyond tears; and are thy words words of wisdom? The wise grieve not for those who live; they grieve not for those who died. Life and death will pass away.’

By this I believe he was saying that emotional and physical states exist in finite space, unable to last forever, and reasons that life, like death, will someday pass away into another sphere of existence, beyond eternal return.

‘Because we have all been for all time, I, and thou,’ he says. ‘We all shall be for all time, forever, and forever more.’

It appears in his words that Krishna relates the human body to be nothing but a vessel, like a physical ship to carry the ships’ captain, then, when the physical ship is no longer set afloat, the captain moves on to find another ship, only to be imprisoned again, like smoke inside a bottle until reincarnation, where we’re trapped again inside a body in the miserable cycle of eternal return.

Krishna appears before him as all powerful Time, with, ‘…multitudes rushing into him and pouring out of him as he devours them all, destroys everything.’

Krishna says, “I am all powerful time, and I have come here to slay these men. Fight, or fight not; all these men will die.”

After the mortal body is shed, ‘As the spirit of our mortal body wanders on in childhood, and in you and old age, the spirit moves to a new body,’ Krishna believes the evaluating mid-mind, the mind behind the body, passes in and out of light and dark, between worlds, reliving one cycle of life and death without ever finding something that lasts forever, something that is forever tangible. The spirit, however, is forever to him; this is a good idea, as death is relegated to nothing but a temporary shedding of a body: ‘Interwoven in [his] creation, the spirit is beyond destruction. No one can bring an end to the everlasting spirit or an end to something which had no beginning.’

Once someone escapes the transient world, Krishna instructs, he will dwell beyond time in these bodies, though our bodies have an end in their times, but we remain immeasurable, immortal. With these words, Krishna tells us to carry on our noble fight and noble struggles against the depreciating forces of all of life.

The highest goal for him is a goal familiar to Buddhists: asceticism. ‘From the world of senses,’ Krishna says, again beautifully illustrating transience, ‘comes fire and ice, pleasure and pain. They come and go for they are transient. Arise above them, strong soul.’

These words have encouraged and inspired millions of people; from east of the globe to west, every day for thousands of years, this has the quality of liberation. As the Persian poet wrote: A king wished to have a phrase that would cheer him when sad and sadden him when joyful:

This too shall pass.

 The tone of the piece is intended to convey a liberating, lasting peace—an acceptance and eagerness to dispel disillusion and ignorance, to grow closer to the laws of the world and universe, a universe that is god made manifest—this is, in essence, what is called Brahma. It is a call for people to be honorable and kind to others. I’m not a religious person. I am however not ignorant of what this gives to culture and the arts. From a secular perspective, The Bhagavad-Gita is one of the greatest works of literature ever produced by mankind. There is much to take away, to learn, to believe. Acceptance of the supernatural is not necessary to learn and benefit from this cultural jewel.

The Bhagavad-Gita is a beacon of light, a candle in the dark. All cultures in some form or another produce these spiritual and religious texts. The dependence on the supernatural varies, but the message is universal: good for the sake of goodness and kindness for its own sake, while it will earn you no medals or honorary titles, is what lasting peace demands. If the world worked in this way, if everyone was motivated to not only improve themselves but the world around them, a peaceful world becomes possible. In a free world, there is no need to govern, or for government. Government is a euphemism for organized, demanded control.

Confucius, the proverbial wise old man, is credited with the composition of The Analects. In it, Confucius believed himself to be nothing more than a carrier of knowledge. Nothing divine, nothing unique or supernatural, not an inventor but a curator in the museum of our artistic history. Confucian intended to ‘reinvigorate’ what is called the mandate of heaven. Although he claimed to be but a messenger, he is, nevertheless, credited with the most famous of all axioms: “Never impose on others what you would not choose for yourself.”

With great subtlety and emphasis on learning and growing, Confucius left behind a legacy that has had a lasting impact on the world for thousands of years. The Analects are not the only source for Chinese philosophy: Lao Tzu’s Tao te Ching, The Teachings and Sayings of Chuang Tzu, and the iconic I-Ching, or Book of Changes, are cultural treasures, and inherently consistent in tone and content, giving this brand of Eastern philosophy a unique consistency in an otherwise muddled, frustrated series of contradictive versions.

‘Before you embark on a journey of revenge, dig two graves.’

Lines like this are the sun, the light to the lofty and pretentious little quote-loving moth in us all.

In keeping with the tone and aloofness of Eastern philosophy, generally speaking, The Analects echo the Book of Changes, Confucius says, ‘The only constant is change.’

This axiom is but a small notch above pandering tautology; yet we’re still drawn to it. Quotes in this vein are uniquely popular and for good reason. Sometimes one can, without true effort and study, get a good summary or imbibe the essence of a work of art with a cursory glimpse and partial, sometimes non-representative quote. However, this quote is representative and conveys a valuable message. The intention is to raise awareness, to make us more aware of ourselves and changing moods and their relation to the seasons, the cycle of life and death, destruction and renewal. As with The Bhagavad-Gita; it is another mantra urging us to accept the inevitability of the transient, the ephemeral among what is truly immortal, or never-changing.

In the religions of independently evolving cultures, we find, over and over, a connection, a branching out across time and space; in this there is a surprising consistency in the essential message, ‘It is only he who is possessed of the most complete sincerity that can exist under heaven, who can give its full development to his nature. Able to give its full development to his own nature, he can do the same to the nature of other men.’

Confucius’s philosophy is a call to the most ambitious of our characters to look for wisdom and sincerity.

‘Hold faithfulness and sincerity as first principles. Then no friends would not be like yourself (all friends would be as loyal as yourself.) If you make a mistake, do not be afraid to correct it.’

This is unique among quasi-religious texts: this is a eukaryotic idea within, what is by nature, a prokaryotic art-form.

In all the philosophies and religions produced by mankind, within each is some sort of promise, some hint of shelter from whatever storms in which we struggle—and a promised liberation, a refuge to come, a refuge for each moment needed.

History and Conspiracy, Jacopo’s Pocket Watch – 6 January 2016

By Jacopo della Quercia


BY LOOKING THROUGH THE LENS OF CONSPIRACY, WE AFFORD ourselves an illusion, an illusion of possibility, prediction, and control. Casting the horrors and intrigue of history in the light of conspiracy is a comfort, and to wield these elements so cleverly, as Jacopo della Quercia does in this novel, his debut, we are allowed to look at the present through the artifice of exploring the past. In one of the most memorable scenes (which I won’t give away here), the overtones of our need to control the popular perception of history is pervasive – as there is a lifeless, heartless attempt at changing history in the Oval Office.

            It is this character that lets the author reprogram an element of known history and use it in service of the story, and the identification of this character with another greatly popular and historic literary character further illustrates the need for people to feel like they’re in control of their lives, and ultimately their future, and the will to hold onto this control through will; it is this will, I think, that defines the struggle of the characters within the story, and the struggle for self-definition in the greater scope of history. This is a great quality of the novel, the author’s understanding – not only of the history – but of the present’s comfort.

            The work is a testament to Jacopo’s substantive education in American and world history. Despite the mixed-bag genre, none-of-which are truly capable of properly categorizing it, the characters are a high-point of the story. The relationship between Taft and his wife has a lingering sadness, a sadness that manifests as a crisis of conscience, the sadness of sickness being a catalyst for the presumption to make changes to the actual writing of history. It betrays a more human look at the development of connected events, no matter how loosely, and peoples, places, and the multitude of intersecting strings [Jacopo] manages to keep in hand.

            The story, in my reading, is more about the way that the passions and the sorrows and the love and sadness of people shape the world, despite their status. We see the most powerful of men succumb to the discomfort of despair; the way another prominent Bull Moose of a character walks among his people in disguise, in one of the many call-backs to Shakespeare, the first being a character’s defining himself as ‘the Falstaff of his era.’

            The Great Abraham Lincoln Pocket Watch Conspiracy not only takes you on a ride through the reality of history, but the reality of characters interacting with history as it’s happening; and by using conspiracy as the catalyst, it highlights another unique aspect of our nature: the curiosity and community built around assumed truths in history, the community conspiracy, which is itself a dodge, a comfort, a way to skip a more difficult and pressing issue: that of mindless action, unpredictable chaos without deeper meaning. By uncovering deep and all-encompassing conspiracies, it gives us the comfort of being able to see some sense in a world of randomness; it allows the world to be held accountable in breathing together (the definition of conspiracy), as all thoughts and persons in our world become more easily linked and associated, Jacopo shows a world of connected people, by narrative or company, doing what people have done since people were people: try to take a part the biggest balls of tangled cables, the tangled wires of prominent historical characters behaving poorly.

            The Pocket-Watch itself, I thought, was a source of light, something that drew the curiosity of its characters, bringing their prejudices and predispisitions with them in their attempts to divine its origin and mechanism of action. That mysterious pocketwatch, with dual transcriptions, is itself an image for a history stuck in the loop of time, or an era in which time stands still; the focus on the watch puts us into the story as another character, allowing us to be in on the conspiracy and history, allowing us to breathe together around that baffling fob watch.

            An object of wonder, of mystery, this watch — full of strange connections, bringing people together, in wonder, in awe: it demonstrates how people, who otherwise might have never crossed paths, become entangled in a web whose spider is that watch: around which the mystery and characters perform in this brilliant, clever, ersatz roman de clef. It is the anatomy of wonder and togetherness, and how it is easy for so many to reject the love of friends and community when contronted with intriguing symbols and puzzling events, embracing the solitude of skepticism and melancholy.

            In this book, you become a part of the unfolding story; as people have a natural capacity for pattern recognition (and pareidolia for when it fails us) and we – as readers – get to participate in the mystery. using our own impressions and experiences to try to crack the mystery, but in the end we prefer it, to keep that unique, blended version of history. We’re more voyeur than reader here, as our minds turn as well with mystery as those within the story. We go with each clue around the world, from Brussels to Paris to New York, as each new connection informs us of a larger and more complicated world, a world more strange and beautiful for it.

‘The Obituary Writer’ first draft, 11 September 2015


Copyright © 2015




I Death in Isla Wor


My first paying job after finishing school was writing a sports column for the town newspaper, a town of less than a thousand people, Isla Wor. The games were of no consequence in the world but very important to our little town; it brought everyone together, and when my poor nephew died, a tight-end on the little league football team, the community rallied round our family. Since I wrote about sports, when my poor, dear Alex died, I wrote it up in my column. It did really well, the paper sales; and there was more interest in my work. When no one died, I’d fabricate it just to keep the momentum of my work going. I was the obituary writer. I was proud of that.


I was formally offered the position to curate the obituary column after my successes, and it was all good and fun. People started noticing me in public, talking to me about my work, my other work, work I was more proud of, and it was a nice feeling, when people care about you and your work, about who you are. I wrote more, more eulogies than obituaries, more and more, more dramatic, more poetic. It got so popular I was writing an obituary a day, sometimes more, and grew more and more detached from the people; but when it was with old media, with the real newspaper, it was still impossible to distance myself completely.

I got personal requests, too, and got paid for each. I named the price. It was cynical, and depressing, but that’s work. Knock-knock. It changed, to an extent, when I wrote the obituary for the son of a prominent town official, and the only doctor in that small town, Dr. Eddie Redding, the eulogy being for his oldest son, Marcus, whom I knew, but poorly, despite knowing his younger brother William, who was closer to my age. The paper ran it and it sold more copies than any paper in the company’s history; and from such popular success, the boy’s father reached out to me, first to my aunt, then to me personally through email. He invited me to a diner on a Sunday afternoon.

I was intentionally early, uncomfortable as it was. Knock-knock. The reason for my work, by then, had bothered me. Of course it bothered me! Everybody hates their job, or at least some part of it. It was just a job, just business. I knew what I did. I wasn’t proud of it. No, that is a lie; I was extremely proud it.

He showed up in a modest suit, no blazer, no tie; button-up shirt, tucked in, a leather belt, no buckle. I stood to welcome him, extending my hand. He shook it effusively;

“Nice to meet you, Mr. Nobles!” he said. “Did you find the place all right?”

“Yes sir,” I said. “I took a cab.”

“That’s fine,” he said. “That’s fine indeed. Yes, very well. Sit down, please.”

He was a kind man, I could see it on his face, and warm hearted, the creases on the sides of his lip betrayed a man of many strained, false smiles. A doctor, that is.

“Would you like something to drink? Some coffee?”

“If you’re having some, I will, sure.”

He stood and approached the counter. I took my valise out of my satchel. A moment later he returned.

“She’ll be over in a minute to take our order,” he said. “So, where did you go to school? Did you go to high school here?”

“Oh, yes sir. I was in English IV with your son, with Marcus. He was a few years older than me, class of ’03. But I knew his little brother Will a lot better. We skateboarded before I went off to college.”

“Did you always want to be a writer?”

“I think I did,” I said. “I went to a childcare center until I was five, when I was adopted, and I remember story time the most. It was the best part of the day, the only fun I had. I was taught to read, and I went on to read the dictionary back and front. I started copying all the words that rhymed and then started making little lists of rhyming words. I liked Dr Seuss and copied his work quite a bit, learning the rhythm of it. And when I was adopted, my adoptive mother and father adopted another young boy, my little brother Christopher, and he’d call out words to me and I’d name all the words I could that rhymed with it. When I got into trouble at school, they punished me by making me copy out of the dictionary; my punishment might have helped me more than the schooling.”

He laughed a hearty laugh.

A young woman approached the table.

“How can I help you fellas today?”

“I’d like a BLT, a large iced tea,” he said. He thumbed the menu. “And a small salad.” He folded it and put it back on the table.

She looked at me. “And you?”

“Can you get me a cappuccino?” I asked. “Vanilla, if possible.”

“We can sure try,” she said with a smile. A lovely young lady, “Large, medium, small?”

“Large,” I said.

She wrote the answers on a small legal pad in hurried, slanting letters. Left handed!

“Thank you,” she said. “I’ll take that.”

She took our laminated plastic menus, folding them under her arm.

“I’ll be back with your order as soon as possible.”

“Thank you,” I said, and Dr. Redding: “Thank you very much.”

She walked away. After a short but rather comfortable silence he turned to face me again.

“Well,” he said, “your punishment seems to have reformed you!”

“I’m sure it has,” I said.

The waitress brought Dr. Redding his iced tea, then a moment later my cappuccino.

“We’ll be over with your sandwich soon,” she said.


He took the glass of tea and thanked her.

“So what was Marcus like?” I asked. “I knew his brother well, but didn’t really get to know him.”

“He wanted to…”

The waitress came over with his sandwich on a serving tray, along with his salad. He grabbed the salad first, then the sandwich, and finally some napkins.

“Are you sure you’re not hungry?” he asked.

“I’m fine, thanks.”

He turned to face our waitress.

“Thank you very much,” he said.

“No problem!” she said. “Now, if you fellas need anything else, just give me a holler.”

“We sure will, thanks,” he said.

She walked away.

He took a sip of his iced tea, popped the plastic top off his salad, and unwrapped his sandwich.

“As I was saying,” he said after a bite of salad, “he wanted to be an engineer. He liked working on cars, but he never finished college, quitting after he started working at Nichols’ Tire.”

“That’s that body shop across the river, right?”

“That’s the one!” he said. “And the money was okay for the work, and having to take care of Leslie, his daughter, kept him showing up.”

I was silent. Didn’t know what to say; to admit I’d somewhat faked the obituary, the whole eulogy being a platitudinous exhortation of your most common, most stereotypical ‘live life to the fullest’ excrete. Knock-knock! That’s when it started, the knocking; in my temples first, it spread, following me to my home, then into my dreams.

“So,” he said, wiping his mouth with a napkin, having finished his small salad. “Do you work for the paper full time?”

“Well, I covered sports and town events first, then I wrote a eulogy for my nephew and put it on the internet. It got really popular and the newspaper got a lot of exposure. One of the editors for the newspaper saw it and asked me to take over the column permanently.”

“You do all the obituaries?”

“Yes sir. Every Wednesday. Well, that’s when we get in the information, from hospitals, from the internet, social media. Facebook, Twitter; we have people from the paper who overlook the messages from town residents, keeping up-to-date on the elderly and sick, scouring for updates to get a jump on the story…”

Later I would be sick in thinking back on this conversation, speaking so casually about what must have still been an open wound for that nice old man. Not an old man, not really, early to mid-50’s. I prattled on:

“I start the eulogy on Wednesday, with the goal to run it in the Sunday paper. Sometimes something will come in later in the week and it’s a little more rushed.”


He ate his sandwich as we talked, mouth closed when he chewed. Very proper, pausing occasionally to dab his mouth with napkins. His interest seemed genuine, and that’s an intoxicating feeling, that feeling of being good at your job, to believe you’re doing something good, something important; that’s how I dealt with it, how I justified the profession to myself each new night when a name came in with a number beside it.

“I’d much rather get into the business of writing fiction, or at least get some of my finished books and essays published. It’s a passion of mine, much more so than my job.”

A nervous laugh: “I don’t want to be ‘the obituary writer’.”

“What are you working on now?”

“Well, I’d like to write something about theatre. But I’m… I don’t know enough about how it all works, I don’t know enough I don’t think; you know, to do it properly.”

“Don’t be hard on yourself,” he said. “”You’ll figure it out!”

“Yes sir,” I said. “Thank you, sir.”


“Do you keep all your work in that?” he gestured to my leather valise; it was a professional suitcase, a type of folder with a metal 3-ring binder along the spine, assorted compartments, two protected by zippers, and another slot for a larger, 8×12 legal pad, another compartment on the outside – for academic work, my studies in art and literature. The binder was reserved for current fiction projects, the legal pad for work, for obituaries and eulogies for my ever-expanding, ever-popular column. I kept my completed, hand-written work in one of the zippered compartments.

“Yes sir,” I said.

I dug around in one of the compartments for a moment until I found the original copy of his son’s eulogy and handed it to him. He took into his hands gently, almost lovingly, as though he held some relic of his son, if not his son outright. He called the waitress over again.

I took my wallet out. He waived it away. I relented, not wanting to be that guy. Instead I took laptop from my satchel and sat it on the table in front of me as he paid.

“Can I get a refill and a to-go cup for this?” he asked.

“Sure can!” the waitress said. She returned presently with a Styrofoam cup with a plastic cap that snapped in place, hole in the center for a straw.

“So,” he said. “What do you have lined up for today?”

I saw that he had a $100 bill between his fingers, folded.

“Ah, I don’t know. Stay here and see if I can get some work done!”

“Your book on theatre maybe?” he said. Such a warm hearted man, he smiled.

Something like that,” I said. I smiled too.

“I’m sure you’ll get it right. Just don’t be hard on yourself. Maybe you’ll have me to dinner when you’ve finally written that book of yours.”

“That sounds good to me,” I said. “It might be a while.”

“A while I’ve got,” he said. “At least, so I hope. I guess you never know. … I’m sure you know that better than most.”

He had remained friendly and light, speaking with levity, no hint of any great weight on his shoulders, the great weight of death, no hint of that on his face.

“Here,” he said. He offered me the $100 bill, a crisp new note.

“I can’t take that,” I said. “I didn’t do it for money, despite that being my job; I did that one because I cared about your son.”

“I know, I know,” he said. “But I’m going to leave it here anyway, so if you don’t take it, it’ll just be lost.”

I took it from his extended hand with a sense of embarrassment, almost shame.

“Don’t spend it all on coffee,” he said. “You might want a new briefcase someday.”

I laughed it off, still uncomfortable with the money.

“I guess it is kind of worn out,” I said, laying it out wide-open to where I’d left off. Ashes everywhere, covering the surface, the leather covered in white scuff marks.

“Have a good day, Mr. Nobles.”

He took a sip of his iced tea through a straw.

“I will sir. Thank you, sir.”


He walked away, out the door. It clanged the enter/exit bells, a gentle bing-bong! like metal wind-chimes.

Be careful what you wish for

          (Cause you just might get it)



2 Electric Purgatory



I stayed at the paper until it went out of distribution in 2012, when I was 28, having worked there for 5 years; but it spread to the internet, infernal machines, miasma of labyrinthine metal snakes with open mouths all sucking data or spitting it out, a confused Ouroboros already drunk but still drinking; my obituaries were broadcast worldwide. The newspaper ceased to exist in meatspace, in old media, becoming digital; the circulation possibilities increased beyond what anyone had thought possible in the early days, covering pointless, minor skirmishes between middling sports teams in the little town of Isla Wor. That stopped being important in the digital world, and the obituary column enhanced my reputation even further; I was finally able to do my theatre piece.

This success, the string of warm feedback and heartfelt thank yous, I imagined, might have been due in part to my over-wrought, faux-dramatic, faux-inspirational style of obituary: it was sermonizing, shameless masturbatory kitsch in arts’ clothes, all false, all hollow, paper houses gone digital. I had a high opinion of myself. The machine brought hundreds of names and numbers a day, deaths and dates, Daniel 22, Susan 17; and the more popular I got, the more famous would my fortunate unfortunate subjects become; musicians, then small-time movie stars, spreading through satellites to phones and tablets, the same hollow pronouncements of the obituary writer. A title I would not only hate, but resent, as the world knew me only as such, and most certainly of what I’d done to earn such a moniker.

As my popularity grew, young kids would find my house an amusing place for practical jokes. Practical joke is a kind word; they wanted to drive me out of town, to drive me mad; I was a bad omen, they thought, as death followed fast behind me, and in my trail were tears and terrible writing, the saddest parade. The knocking on the doors and running away, that bothered me the worst; it happened late at night when I did most of my work. It’s a tradition, at least where I’m from, to knock on someone’s door or ring their doorbell and run away. The satisfaction being that you inconvenienced someone, and as a child, that feels, man, just wonderful.

But it never stopped.

I tried to back away, to make it a colder process, so it’d be easier to handle. I was drinking, taking sleeping pills, drinking a lot actually. Surely much more than was healthy. I set to studying theatre, its origins and traditions; how they worked, how a character would make changes to the sets. I ran the column still, but I didn’t interact with the bereaved personally anymore; I’d get alerts on my computer, email alerts, with new deaths: the names and numbers selected at random using an algorithm written by an intern to select the most profitable, most tragic deaths, those that best played heartstrings–all for more traffic to the website, the digital mausoleum, electric purgatory: young and under 30, teenage girls in love, with a few kids maybe, single men.

It was easy to do the practical part of the job, as easy as it could be to write it up. I didn’t know anything else: names and ages, over and over and over. At the height of my popularity, I’d write five to ten eulogies a week for my column, and it had become much more than what it started out as, adjunct to a newspaper; it was separate now and distinct, and more successful for it. I eventually made out a form to expedite the process further:

[Name] died on [date] in a [cause of death here] when [what to blame] caused [what happened] [gender] to [mistake description]. [Gender noun] is survived by [mother and father, wife and/or kids if alive]. [Gender noun] was [age].


Sarah Harding died this Wednesday in a freak car accident when a deer ran out in front of her car on New Egypt Rd. She is survived by Mr. and Mrs. Gary Harding and had two daughters, Lisa and Tammy. She was 34.

But that’d never fly in my column, no, no, no. It had to be dramatic, life-affirming, death-denying. So I set about writing it properly:  

          The lovely Sarah Harding, former cheerleader and passionate journalist, was taken from our poor town in a tragic car accident early Monday morning. Her parents received the call from a stranger, only to be told their beautiful daughter, 34, was dead, and they would bear the burden of telling Sarah’s two young children of her death. Lisa was 5 years old, a pre-school student at the Master’s Baptist Daycare, she loves coloring and singing. Her older sister Tammy, a 12 year old 6th grader and Carver Middle School, plays t-ball for the Isla Wor Wolverines and is in the chess club. I can say, in confidence, that she will be missed by all.

          The knocking at my door!

I flung my papers aside, knocking over a candle. Thankfully it went out. I tied my housecoat and stalked off to the door, cursing and shouting. This is beyond a joke! I yelled. The hallways were dark and derelict. Tables stood with disheveled stacks of unedited pages, existing solely to bear the weight of unfinished work to never be finished.

I flung open the door. Darkness there, a wisp of wind, no middling kids with suspicious paper bags. I stamped off to my study, furious. It kept on and on, this pestilential taunting; always late at night, always while I was busy. It would be redundant, perhaps, to say no one interrupts you unless you’re working! But, like the old saying of New York City: “Nobody drives; there’s too much traffic.”


I went on to knock out mock-obituaries in my spare time, more often than not I’d only have to change the names, the pronouns, the setting, maybe. I just made it up, made them sound good, and the facts weren’t important. So I did: to spend time with my girlfriend, then my wife, I wrote thousands of them: each with a common male name or female name. Sometimes people would die who matched the information I invented. I ran the obituaries anyway. Somewhere in all of this Katerina left me and at the time I barely noticed.


I tried to ignore it. It kept on and on, pounding harder and harder. I would tip toe then, with a baseball bat, then later with a pistol. I never caught them. It beat in my temples when I woke and why I lay down to try to sleep to take my pills and have a drink; more medicine and more drink, more and more. Money affords you many things, nice suitcases and suits, but peace cannot be bought, nor love, at least not love that stays without being put on retainer.


It’s easy to debate the ethics of journalism when you have heat and power and a full belly. Rationalizing those objections was only what the job as obituary writer was allowing me to do: I made enough money to study theatre, researching that book I’d so often talked about. Enough money to live comfortably, without financial worry. The stress of it all got worse and worse as email alerts flooded in with that terrible alert noise, the familiar bing-bong of metal wind-chimes clanging against a diner’s enter/exit door.

I remember the first nightmare. I woke up sweating, having heard that email alert. I checked my computer; nothing there. I had woke to the thought of getting my mother’s name, and sitting there in the dim light of my laptop, smoking a cigarette, I finally did hear that ever-ominous alert and saw the name come in, the result of an impersonal, neutral computer program, the Judge:

Brandon Keith Nobles, Whitmire, SC. 30. Overdose. Found by mother.

I received that alert when I was 28.

I unplugged my computer speaks, putting out my cigarette. I never wanted to wake to the sound of that horrible jingle again. But I did, over and over, all in my mind, imaginary like so much else. And in the bouquets left on tombstones all I’d see, no flowers blooming, just crisp and folded $100 notes, and dead men in their caskets with money stuff in their cold mouths like the horrible bloom of an extinct flower.

I don’t remember what became of that email heading, as I went back to sleep somehow, as it sometimes happens; you wake in the middle of the night, in the silence, still except the shuffling feet of distant cats, chasing invisible mice or attacking each other.

My dreams were disconnected bits of phantasmagoria; lists of printed paper, page after page of names and numbers, rolling on forever, all vaguely familiar and I thought it must be purgatory, and there I’d be forced to truly know all those whom I had so briefly summarized and put aside. All were familiar but ultimately unknown and dead, unknowable. The obituary writer – ha! What a dark star! how very dim, how grey!


I ran to the door to catch that miserable cretin, once and for all. And flinging the door wide I saw nothing, once again, then looked down, as I had never done. And there stood a little boy with a bleeding head, a football jersey. I woke up screaming.

I began to burn all of those old handwritten pages, all those falsities, hoping to appease whatever madness I had stirred. But madness is like a cold pool, like all addiction; you may recoil when you first jump in, but stay in long enough, and the ice cold water warms you up, somehow, and when you get out of the pool the warmth of the night air is cold.

I continued to study theatre, pushing all the death and gloom that was my day job from my mind, and I was making incremental progress. I learned of a character in early theatre that gave me pause; Hypokritos was a falsely righteous character who would wear buffoonish masks and feign divinity, uttering lofty, laughable pronouncements intended to be sincere, to be profound, only to be a popular source of mockery and ridicule.


I looked at my photograph on the Obituary Writer website. It was an airbrushed joke of a solemn, thoughtful photo, sharp contrast and pretentious, black and white. Knock-knock-knock! The email alert – the one I finally removed – had always startled me, as it was the same as the bell that smote on the shivering prison air to let the inmates know that one of those unlucky souls had made it out. So I thought, naturally, I would turn the sound back on and capture what I looked like when I got the email alert; that way I’d have a sincere impression, not knowing that, instead of taking off the mask of the falsely divine Hypokritos, I was just making the hypocrisy more subtle, slightly easier to stomach, slightly harder to notice. The professional make-over had ended with a vast, fully searchable digital archive; a macabre, gaudy porno.


God dammit! I ran through the halls and out the door into the street and looked around. No one, not a raven, no obvious source; just the wind and dogs barking in the distance. I was exhausted by the time I made it home, and tried to get some sleep.

Artists have a sort of fire inside. The greater the artist, the greater the fire, less smoke. I felt that I would exhaust my fuel and become one of those useless plastic lighters, the kind you have to strike over and over, getting more and more pissed off, changing the lever on the back to control the size of the flame, to make it smaller, then larger just to get a cigarette lit, eventually striking it over and over in the vain hope that it might light once more, knowing eventually it would dry of fuel completely and never produce a flame again. I felt that I’d run out of fuel, having wasted my life as a profiteer of misery, death on my mind like a heavy crown.





3 Speaker for the Dead



I did few eulogies when work on my book began in earnest. I had given notice to my employer, resigning to finishing only one: the heading that disappeared, the obituary for myself. I kept working, working hard with the motivation, with the hope that, upon completion, I’d have dinner in that small diner with Dr. Redding again. I still wrote obituaries in the meantime, and never was I more distant from it, as they were cold and ever colder still, the popularity began to fade, and never had I been so happy to fail. Demand dropped off for my particular brand of obituary—though there was a remorse to it, to have invested so much time and effort to become such a good obituary writer; I was very, very good at my job.


Those early days were the best, when I wrote obituaries for the paper, the small town paper for Isla Wor, there were no email alerts, no nightmares, no knocking, broken ringing doorbells; and all were at least sincere, in the beginning—many being for family; after the eulogy for my Dr. Redding’s son Marcus, looking back, that’s when something broke, something mechanical, some part of the system that processed grief. It broke as I worked through it and continued breaking as I wrote more and it made me cold to all, more often than not I kept to that automated script completely, completely sterile, no passion for anything save for my book on theatre, and passion enough only to get the money needed to continue; it moved closer and closer towards publication.


As I wrote, I thought of my dead father, and I thought of him quite often, and the obituary, the eulogy he’d never gotten, not from me, not the celebrated obituary writer. I looked forward to seeing Dr. Redding again at that little diner, I’d take a cab. I’d order him his BLT and cold iced tea, a small salad too, and I’d pay for it all. I’d bring a new valise, toss out that old ash-stained leather volume, unsightly and assaulted by age, scuffed white and daily marked by time, by dust. I wanted to show him that I’d finally gotten it right.


After I got my book edited and did the proper revisions, I managed to talk my brother into designing a cover. He was a graphic design major; and his talent, like his degree, didn’t come cheap. I shopped the manuscript around for a while until a small publishing house picked it up.


My book came out to little fanfare, just shy of my 30th birthday, with a reasonably warm critical reception, yet slightly colder commercial response. But there is no price to pay for a clear conscience, being able to tell the truth, if through fiction, it was a better way. There is a great element of truth in the worst lies and in the best of lies, and a great fiction in the most honest statement by the most trustworthy men.

I still had those dreams of waking to that electric death toll, the flowers of the bereaved sprouting monetary blossoms, that horrible knocking which seemed to drone on forever, but I’d dream that first I woke to find that mock-heading:

Brandon Keith Nobles, aged 30. Overdose. Found by mother.

And I set out to finish it, once and for all, sitting at my typewriter in this dim dream in a dim room trying to write it out. I would receive more pressing emails from the machine, each clanging louder than the last, probing me ever on, offering me more and more money to finish my obituary, the quicker the better. And I got to the last sentence, and felt that if I put the full-stop in, if I set the period, I’d never wake, that I’d forever be the obituary writer. I woke cold and sweating, breathing heavily. I expected to hear the knocking, but didn’t; nor the doorbell which, though broken, sometimes near midnight tolled.

When I received the first printed proofs of my book in the mail, it had some time since the initial, limited released, I called the doctor’s office to leave a message for dear Dr. Redding to call me when he got the chance. He did, and I had been out at the time; my brother took the message down. We were to meet at that same diner, again on a Sunday—his one day off. I got there early, uncomfortable. He was already there. He stood as I approached with his hand extended, shaking mine effusively, with feeling and warmth, a smile on his face. With one hand under my elbow, the other on my shoulder, he guided me back to the booth we’d sat in last time we met. I found a cappuccino waiting for me; he had yet to order. Vanilla as I liked it, and cold.

“Thank you, sir,” I said. “And, look at this.”

I took out my book, the copy I intended for him, pulling it from the new valise, much nicer indeed despite the signs of cigarette ash and age, dust collecting around the zippers. I handed him one of the galley proofs. He took it into his hands in that same careful, loving way. I realized then, as he handled it in that delicate fashion in which he’d once held the handwritten draft of his son’s eulogy—he handled things as a doctor, not out of any sort of love, but with delicacy and care—but then, I thought, that is a sort of love, not a sort, that is love; to spend so much time in school, such long hours away from growing children, a lonely wife awake all hours of the night and worried back at home, and to do it for others, to work so hard to live a life to help.

I wondered for the first time, making the strange connection: how many names checked in at his office only to later arrive in my email? Had he ever checked the obituaries, hoping to find some consolation, however fraudulent, to think he hadn’t failed? He was turning my book around, looking at the cover, holding it up to better see it in the light.

“‘Theatre: Tradition & Ritual’,” he said. “That’s fine, that’s very fine indeed. That’s a good looking book, Brandon. I knew you’d figure it out.”

“Open it,” I said.

He flipped to the dedication page.

“‘For Marcus Redding and his family. Thanks for the support and coffee. With love, Brandon.’”

He seemed genuinely moved. He looked at me and smiled.

“That’s really something,” he said. “I don’t know what to say. But thank you. Thank you very much. I’m glad you never gave it up. I can’t wait to read it.”

“It hasn’t been a big hit, but, alas, it’s a better business to be in. I’m glad I got it done.”

“I’m proud of you, Brandon,” he said.

“Thank you sir,” I said. “Thank you very much. And look at this—“

I showed him my new valise, all the new features, the less gaudy white leather. He looked it over attentively.

“That’s might fine,” he said. “Mighty fine indeed.”

He handed it back to me.

“So what are you working on now?”

“That’s why I’ve asked you to meet me here,” I said. “Not that I didn’t want to see you again and give you a copy of my book…”

“A free copy!” he interjected. “You can’t beat the price!”

“Yes, a free copy of my book, but other than that, after I met you, I realized I didn’t really know anything about your son, nothing about his life, your happier times with him, things he should be best remembered for and not my column and I thought—if you don’t think it’s inappropriate—you know, to tell me about who he was, what he was like as a child, the awkward teenage years and the man, your happy memories, the kind of stuff you can’t find online, so often the meat of life is picked away and what we’re usually left with, writing an obituary, is just the bones. And that’s what people seem to like. Short, thumbnail sketches, overly dramatic and declaratory. I wanted to do something real and honest for him. For you, for your family, to the extent, to any extent that I may. If I am to be the obituary writer, I must do so honestly.”

“He was a shy kid,” he said. “You wouldn’t have known it, but he was quiet. Loved going fishing with me and his little brother, when they were young. We had a pond behind our house, and we’d take those Zebco 33 fishing rods down there after church on Sunday, they’d have those corks on the end, you know? The plastic bobbing corks that let you know when you’ve got a bite.

“Then when the twins were born, they stayed home them with after that, always protective big brothers. When they turned four, they got new bikes for their birthday and when you buy for one you have to buy for all! So everybody got a bike, and they loved nothing more in the world. Riding around and doing tricks, popping wheelies, and Marcus repaired them for Will and his sisters when they got a flat tire, when the chains came off—they always did! He got his daughter Leslie one of those new bikes when she turned four, one with a pink boombox on it and a radio.

“And that’s when he started talking about wanting to build things, to be a builder, to be an engineer, working on cars, fixing things that broke. He was always fixing things. They rode the horses, he couldn’t fix those! Hell, neither could I! They played video games and monopoly. We were fortunate, but they weren’t much different than lots of good, kind kids. And they were very much loved. And he is very much missed. He was very much a normal kid, a good kid, and a fine man. A loving father.”

“Thanks for meeting me,” I said. “I hope I can write a eulogy to suit him and honor your family properly.”

And through that finish my own perhaps, the obituary writer’s eulogy—who better to write it?

“You did, Brandon.”

I was confused. And he saw it on my face.

“I’m sorry,” I said.

“For what?”

I was quiet.

“I trivialized it all,” I said. “I was cynical and gaudy, and I’m a fraud. I’m not an obituary writer. That’s just the only way people seemed to care about my other work. And I used it. I used it to advance myself, selfishly. I’m sorry.”

He reached across the table and put his hand on my shoulder.

“Look, Brandon,” he said. “You might not like what you do, and I know you don’t. I can see it looking at you. Who would want to do that? I deal with it in my line of work. But in the end, you’re giving people closure, allowing them to refresh their memories and keep their loved ones alive in there, and alive for longer. Don’t be down on yourself. What you do is a public good, despite your reasons. People need closure. When I can’t keep their loved ones alive, you can give them something I can’t.”

A short, not uncomfortable silence passed between us, a shared sorrow lingered for a moment and departed. I felt that I could do a proper eulogy, then, for Marcus, and maybe let it stand as mine, as all of ours, as normal, kind kids, who are very much loved and would be very much missed.

He ordered the same meal, just the same; BLT, small salad, large glass of iced tea. I finished my cappuccino, took out my laptop, and went about my work, typing away as he ate his sandwich and drank his tea. And I picked up the tab.

After that the conversation mellowed, teetering out but still pleasant; with little left to say, we talked about upcoming projects. He dabbed a napkin at the corners of his mouth, ever-creased from a life of forced and honest smiles. And I thought, if ever a ghost knocked on my door again, I’d invite them in for tea and a sandwich, and let them tell their story, so I could be the obituary writer once last time and get it right, finally, a proper obituary, and live out the true purpose of my title, that we both might rest. He opened the door to leave.


Hawthorne & the Cult of Judgment

In the Scarlet Letter, Hester Prim has a daughter out of wedlock, Pearl.

“For Peril~”9780671510114

And for the Puritan society, for that culture, this is a sin. They were too civilized to burn her at the stake and kill her, they wanted to kill her and make her live with it. So they burned her while she was still alive, forcing her to wear the eponymous Scarlet Letter – ‘A’ for Adultery. (The worst segment in Sesame St. history, if you ask me.)

This type of punishment, this very demeaning sentence, not least of all to Prim, but to an absolute innocent, the child, caters to a culture of judgment, a culture that instructs not through hands’ on education, but through shame and judgment.

The purpose of this public ridicule is a revenge, in this case, a revenge against a woman’s transgressions, despite their not knowing of the situation in its entirety. Because in a culture of encouraged judgment, a psychological condition plays an important role: you are more likely to excuse your own behavior because you know the reasons behind your behavior, if you run a red light, there are justifiable reasons. If someone else does the same, or cuts you off in traffic, may they burn in hell. And there is another issue: confirmation bias. It is the tendency to seek out that which reinforces what you already believe while at the same time avoiding anything that might contradict those beliefs, even to the extent that contradictory proof will only solidify your position further.

After Hester is lettered, put on display for all to see – for the old to pity, for the young to fear themselves and their own desire – it is to the sole benefit of a culture too busy judging a Rembrandt to learn to paint. There’s a large audience for popular criticism, the criticism of film, music, and literature, and people. Yes, people. That thing you are. Self bias doesn’t extend to other people. Why, that’d be crazy. But they have a word for that: empathy. The excuses we make for ourselves are excuses we’d never accept from somebody else.

There are different types of judgment, to be fair, and not all judgment is vindictive. Literary criticism is more explanatory than dismissive in most cases, looking to expand upon the story’s merits rather than burn it for its flaws. I see the appeal: understanding is hard. It takes time. And burning is easy and fun. Whereas literary criticism and traditional film criticism expand on the story to show its relevance and applicability, this is in furtherance of teaching and preserving the intellectual culture of humanity.

With dismissive criticism, it makes it easy for someone without time or ability to create and contribute, even if it’s only to the detriment of harder working people. only to join the dehumanized spectators on the sidelines, never a part of the defense or prosecution, with nothing to lose, contributing only to the chorus of other blunt and feeble instruments without losing the delusion that they could make music, much better in fact, if they tried. Not trying is how you fail without doing anything, and it’s easier to redirect that judgment, to focus it on someone who did try. By distance and cynicism are the jaded excused, only by themselves, for those like them, without empathy, are making similar excuses, and those excuses don’t apply to other people. 

Hawthorne makes less of a case for the removal of Hester’s scarlet letter than advocate a world where there’s no hunger for this kind of public disgrace.  as all who live fall short of their goals, fuck up, make mistakes, some large, some small, and the encouragement of lettering doesn’t stop more people from failing, it stops more people from trying.

Arthur Miller touched on many of the same themes in The Crucible: 

“Ours is a divided empire in which certain ideas and actions are of God, then their opposite are of Lucifer. A political party is equated with a moral right, and opposition to it with diabolical malevolence.”

This was an injunction to share more and hide less, a call to mpathy, to understand a shared humanity, to use a gray approach when considering people, not thinking of things in good and evil, wholly so, or black and white, guilty and non-guilty, implying that you are purely and only one or the other. It’s easy, I get it, to understand contrasting ideas when using exaggerated, extreme examples but it comes at the cost of subtlety and nuance (two endangered species of bird found in French Polynesia.)


The Crucible by Arthur Miller is a similar tale, another warning against public condemnation and judgment, in instance using the same political machinery to brand someone with a scarlet letter. Miller’s allegory is a treatise on the morality of society’s collective need to see someone hurt, to stab someone solely to see their blood, not for justice or in furtherance of truth, not truth, but a revenge against their difference, a poison, to make someone’s name synonymous with their mistake, like Hester’s A – by the end of the story it changes from a totem of shame to be angel, to the young women she seeks to help and angel, even.

What starts as political opposition becomes, through manipulation, a moral, emotional opposition. This allows an issue to be addressed in the easiest but least appropriate manner: emotionally and personally. When you treat one set of people as inherently better people, how kindly then should those less fortunate be treated, those with the disadvantage only of having been born different, or different by choice? They become morally repugnant, and as such the process of judgment becomes not only a necessity but moral, even righteous. A sense of pride, a sense of responsibility – the responsibility to judge. Whenever you pull a scab off someone’s wound and point a camera at it, you’re embroidering a Scarlet Letter,

Hawthorne’s novel is as relevant now as it was when it was released and is a poignant, profound reminded of the nobility of humility in the face of criticism and dismissiveness, slander and shaming. Though we may not see another’s heart, nor others ours, surely if we only looked for scarlet letters, through confirmation bias and osmosis, we’d find one in everybody, and place it on them publicly and forever, as Hester’s gravestone is emblazoned with that same A that marked her shame, to remind the living, in perpetuity, the penalty of making a mistake. There’s a scarlet letter for every mistake you can name, but keep in mind, in the court of history, the jury is on trial, and the world is not full of bit players only, extras with varying degrees of plot and development, but full of tars, all the lead character. Don’t be the antagonist. be the person who shows up when the screenwriters have no other way to move forward.

The Silent Circle, short story – 2 November 2015

There are times in life when all you can do is walk. Arriving home, that’s all that I could do. Just walk, just think, watching ants crawl over the stones that led to the porch. Thinking leads to nothing but trouble and I felt that trouble coming on when I found Bullet asleep in front of the sliding glass door that led into the kitchen. When I stumbled over one of the loose rocks, he roused a bit, grumbled, and licked his gums. Within a minute, he had drifted back into sleep.

     I threw my keys on the kitchen table, locked the sliding glass door, and then prepared Bullet’s food. To fix his food, I normally fill a bowl of dry food and then run water on it, stir it, then spoon each bite into his mouth, rub his throat, to help him swallow it. That night the pantry looked empty, barren in each cabinet and cupboard. His food was gone. The implications made me shudder as I passed into the living room. Grandmother sat in front of the antique television with crocheting needles. Under her breath she conversed with my Grandfather’s portrait on the wall behind her. In the corner a small fire tapered off in the dark, embers faded when the hollow logs burnt and charred. As always the room was stale and close, full of antique cabinets and dresser drawers with antique candelabras atop them. Inside each a dying candle flickered. There was another single candle burner in front of me on the coffee table, making my grandmother look like a frail, skeleton type figure, a flower on the day before winter.

     “Where’s Bullet’s food, grandmother?” I asked. “I’m about to go to sleep and I thought I’d feed him first. He seems quite fond of food.”

     “I done threw all that food away boy,” she said. “Can’t ya see the poor old dog is sufferin’? I don’t want him to suffer no more. Tomorrow we takin’ him to town to the vet so they can put him down. He won’t suffer no more.”

     The twinge, that needled type of numb feeling, went through my arms, my chest. I sat on the couch opposite of her, beyond the reach of the fireplace’s last embers. “So,” I mumbled, “you’re going to murder your dog? What good will that do? That won’t end his suffering; it will end yours. What’s it going to help to have him killed? There might be some more food in the pantry. I’ll find something for him.”

     “We gone have him cremated,” she said, nodding. “After we put him to sleep, that is. We picked him out one of them bottles too, those gold bottles. He’s gone be so pretty in his new bottle. It’s made out of gold.”

     “Why do you soften the language like that?” I asked. “You’re not going to ‘put him to sleep’ and ‘have him cremated.’ You’re going to murder him and then you’re going to set him on fire. Does it sound as humane when you use the right language? It’s not fair. Let nature run its course.”

     “They have some kind of special at the vet,” she said. “If you put two animals to sleep, you get a discount on the third. Ain’t that a good deal?”

     “I’m not even going to reply to that shit.”

     “I was readin’ some letters ya father sent me from across the ocean,” she said after a brief pause. “They all from your daddy. Never any from your mama, though. She sure was a pretty woman. Look,” she raised her bony finger to point across the room to a dresser on which a leather bundle rested. “Some of the letters your daddy sent. He sure was proud of you.”

     “When are you taking Bullet to the vet?” I asked.

     “Sometime after supper, I suppose,” grandma answered. “After I get my hair done.”

     “I have to go into town tomorrow for some groceries and notebook for school before it starts. I can drop him off on my way. He can ride in the camper on the back of my truck. That way you won’t have to go out in the cold.”

     “That ‘a be fine, I reckon. But you best go to sleep tonight, Roger. School ‘a start soon, and if you don’t get some rest how you gone be able to get them kinda grades your daddy knew you could get? He always said you was a smart boy, smart as a whip. Your grandpa was smart too. So was your daddy. He had a lot of problems, but he did love you. After the accident with your mama, his mind started going. Understand what I’m saying?”

     “Understand?” I laughed. “He was cruel to me and he got what he deserved. If my mother hadn’t done it, I would’ve done it myself. I wish none of this would have happened because my mother had to suffer for the crimes of someone else. I didn’t want to leave. I wanted to stay there forever.”

     “It broke his heart to leave you, Roger. It broke that old man’s heart. His mind was going. It started when his father died, and being in that war, getting in that land mine accident, and all of that sure made it worse. But once your mama shot that girl, he knew he had to leave. At the time he thought it was best for you. It broke his heart when he saw your mama with that rope around her neck.”

     “What do you mean?” I asked. “He didn’t leave! You think he would abandon me just to hang out with his fishing buddies? Am I that big of a disappointment or a let down? He got what he deserved. He wouldn’t just abandon me; he enjoyed being cruel to me, but he would never have left me like that. He didn’t disappear. Not with a woman, a man, nothing. He got what he deserved.”

     Grandmother shrugged and then nodded off to sleep. Snatching the bundle of letters, I grabbed Bullet’s collar. After getting his food down, I went to the front door with him behind me, wobbling on his last legs, panting as he hobbled along. I lugged him into the camper of my truck. I mixed some more food, what little I had in my truck, and spoon fed small mouthfuls into his toothless gape. He gummed it down as I rubbed his wrinkled neck to help him swallow. I wiped the food off his mouth, dislodging a little that had sprinkled into his whiskers. He went to sleep in the back of the truck, having been fed, and I crawled through the camper into the front seat. By the time we reached the end of the road, Bullet was snoring loudly in the backseat. With a flick of a small control panel, the silence disappeared, replaced by the tranquil sounds of Schubert.

     At the end of the turnaround, I parked my truck near a path that led to a small river. I helped Bullet out of the back, saying, “Come on, man. Just a little ways to go now.” Placing him on the ground, I closed the camper. I connected his leash and collar. His wrinkles looked thicker than they had in the glow of my headlights, his limpid eyes a glowing flicker in which the headlights reflected a tiny spark. His legs wobbled as I led him behind me, to the center of the gravel circle. The end of the road was a barren circle of gravel, covered in empty packs of cigarettes, torn slips of paper, beer bottles, and papers that drifted in silent circles with the wind. A thick forest surrounded the turnaround. Off to the right a trail to a small pond tapered into the high grass, and beyond the trees I heard the trickling sounds of water, calm as the mind of Buddha when Mara approached him deep inside his mind. I went through all of my studies in Buddhism, in an attempt to ‘take out the poisoned arrow’ as Buddha once put it to the intellectual Malunkyaputra. But as the dog walked on, breathing heavy and too tired, the arrow twitched inside my chest.

     “Come on,” I urged. “Please. You just have to walk a little bit. It’s not too far now. They want to set you on fire, buddy. I’m not going to let them do that. I respect you, buddy. You don’t deserve to die.”

     With the song that I had hummed for my mother, when our outstretched fingers touched in the hallway of that Syrian prison, I rubbed his fleshy pink stomach. It had helped in the past, to numb, not to deal, but to tolerate the laws of life and nature. It was failing, and I knew it; not even the songs of Galilee could help me leave a dog to die in the woods alone. In my head, the same familiar procession of broken images came and went, my cats, my birds, my mother, and my father, in a continuous procession of dim shapes, like shadows behind a dingy glass, small at the end and beginning of each procession, but high up on the wall in the middle, coming into focus.

     Bullet fell to his stomach, closed his eyes, and I knelt beside him in the loose gravel. Puffs of dust roused as he breathed against the dirt. I sat his food bowl in front of his wrinkled face. His eyes remained closed as I went to get another bowl for water along with his bag of food. With the bowl of water full, filled with some tap water I’d brought in a bottle, I sat beside him again. His hind legs twitched a bit. His spotted head with isolated tufts of hair lilted as he rolled onto his back, as though to stare up to the stars. For a moment I remained there with him, pointing out constellations in the sky to him, telling him about the history of the universe as revealed by man. I spent half an hour comforting him on his death, on the meaning of his limited life, but it seemed as though I was never trying to convince him. It seemed as though I was trying to convince myself. And I failed, as I had before, to make sense of anything. With that lump in my chest, I left him there, in the middle of the turnaround, and went back to my truck.

     I sat there for a moment with my eyes transfixed on Bullet’s red figure, glowing in the glare of my dull brake lights. Inside the car, the hum of the engine pulsed under the seat. Other than that, it was silent, and I sat there in the dark with Bullet’s dying body behind me, glowing red in the glare. After an hour of sitting there, in constant torment, I left him there. Alone in the sand, cold, and hungry as I had been for so long in Galilee. The same tufts of smoke gathered around his nostrils as he struggled to breathe, took heavy breaths, then rolled onto his back again for one last look up to the stars, the likes of which he’d never see again, a beauty that would disappear for him forever. Did he ever know what sucked the energy from him and made his legs lame and lazy, that which turned his bones to dust? He would never know he lived. He’d never know the feeling of being again. That saddened me more than anything, I think; I realized that he would never even know he lived. That’s what hurt the most. It’s not fair; I remember thinking, parked at the end of the dirt road. I pictured the little glow in Bullet’s eyes, and in my mind, even then, I gleamed what it would be that I would dedicate my life to. My mind strayed forward to a time when I too began to become frail, to wither, to see the same winter that the flowers see before they fade. I thought to when I’d take the same lonely walk that Bullet would take to the stream and underbrush before he died, if he made it through the woods at all.

     I never went back to that road, probably because I feared I’d see Nature’s Garbage Men on the scene, waiting for their chance to eat, as they had for Casey, as they had for my father. Bullet never knew what took him from this world, but I thought then it was not the hand of god, but the invisible hands of time, the hours. The hours took him. That was a scary thought, to me as a young man, to think of time as such a heartless killer.

     How much had the hours taken? I wondered. Sammy, mother, father, Entae, Hiroshima, Pompeii, Julius Caesar, and the other countless billion ghosts that now inhabited the earth. Those same hours had me by the throat, dragging me from one place to another regardless of how much dust I kicked up. There was no control, no antidote, no way to sever the leash on which we’re taken to the landfill, where everything else is taken to the past, the boulevard of bones and broken images. How much had they taken? The hours like giant dump trucks, lugging everything to landfills of years of wars and dead presidents, the renaissance, the revolutions, and all the deaths and guillotines and tyrants, leaders who in the end rest with the commoners beneath the surface of the Earth. They take emperors and peasants, all to the same place. Together in the end, time does not discriminate.

     On the way home, as the dark trees that lined those roads swept by, I saw myself as Bullet, on all fours, crawling around in a puddle of dirt and dust, toothless, walking in circles, just waiting around to die. What else was there? My chest went cold. I filled my pipe again, as I had grown accustomed to doing, with the gun firmly in my mouth. Those blacktopped roads were lonely that night, and the only pedestrians of night that came out were solitary deer that sometimes fledged the lip of the roads before going back into the woods. The roads and trees kept me company along with streetlights and disconnected telephone cables that hovered above the trees. A disk of classical guitar music forced that terrible silence out. Nothing is more terrible than the infinite sound of silence. Human life is temporary, but silence lasts forever.

     When I walked into the attic, to put Bullet’s collar away for good, I ran across a pile of paintings, all of them my own, snacked in neat order and preserved by a thin film. A fish bowl sat on top of them, with stagnant water in it. An address had been scribbled on the under side of it in a thick black marker. I wondered what it was for, if it was for anything.

Windmills in a Broken Breeze, short story – 1 November 2015

This short is taken from two chapters of my novel Songs of Galilee,  with the intent of making it available in The Library of Babel short story collection.

I moved to the American south, South Carolina to be exact, in 2244, at the age of twenty two. I lived with my grandmother for a while, and spent most of my time in seedy liquor bars with overweight truckers watching pool and wrestling on television and arguing over politics. The local colleges didn’t seem to offer much, but I’d suppose that college has very little to do with learning.

     The first thing I noticed was the air in America. It had a different taste to it, like stale water. American air is different than any air on Earth. Another thing I noticed was the abundance of billboard signs.

     When I moved to the outskirts of a small upstate town, Newberry, South Carolina, I lived in the middle of Sumter National forest, beside Lake Murray. Thick pines surrounded the house, blanketing it from the noise of industry and automobiles. It was a small town beside a lake, like my home by Galilee, but it didn’t sound the same. It was off-key; the songs rang out atonal, mixed with the hum of boat engines. Fishermen on Lake Murray eschewed sails and paddles in favor of the electronic motors and yachts. They said very little to me when I approached them on the shore for information about local plant and animal life. They weren’t rude or anything. It just seemed as though they didn’t know. They were good people, simple and pure, and reminded me of my mother in their quiet routines.

     Main Street had a few small stores: auto repair, a Chinese restaurant that the locals called “The China Place,” a drug store, a drab tennis court and basketball court by an abandoned gym with boarded up doors. An old white church hovered above the planted palms at the end of the street. It was the first time I had seen a church. I had heard of them, of course, and their general purpose, but had never seen one. I made a note to check it out, but for the most part, I stayed out of town. People didn’t concern me anymore in America than they had by Lake Galilee.

     The alien woods were delightful. Birds sang different songs, and different animals prowled the underbrush. Animals I had never seen: possums, different birds, white tailed deer, raccoons, cats, and wild dogs. I fed them and enjoyed their company, but it was a long time before I met my first friend: a fifteen year old girl named Casey who dated my great-aunt’s grandson, Daniel. I spent most of my time with him, playing video games, smoking cigarettes, and getting drunk. He lived with his grandmother. He had been adopted at age twelve after his real father hung himself over a car payment.

     She was only fourteen. Daniel was a few years younger than me, at eighteen, but that didn’t seem to matter to him or her. They started dating and almost all of my time was spent with them that summer, before I met Chris, who would introduce me to Elise. We watched television, got stoned, and played video games. We were kids.

     They started spending more and more time together and wanted privacy. I understood. I didn’t want to annoy them, so I decided to spend less time around them. Behind his house a small stream ran by a basketball goal without a net, so I sat there in the evenings by the brook with a drawing pad. There were occasions when we’d go to the movies together, but those were few.

     I still talked to Casey when she came into the bar where her father worked. She was always friendly with me, but I could tell they were in love. He was the first man she had ever slept with and she vice versa. They had the rare kind of love, the rare type, the type that’s real, and pure. They spent a lot of time dancing in his living room to old Patsy Cline records.

     When walking through the woods, we always had to jump over that little stream behind his house. Casey’s ankles were always sore from it, a car wreck as a child I believe, so Daniel and I decided to make a bridge so she could walk across it. We found an abandoned junk pile in the woods, full of old washing machines, stoves, toilet seats, and broken down cars. We went through the piles for a few hours until we found something we could use: an old car door could be the bridge.

     We went back to Daniel’s before evening’s blanket fell to find screwdrivers so we could pry the door from the old car. It was an old thing, orange tinted, with paint stripped off the side. With his big tool box, we hacked our way through the tall grass to make it back to where the old car was. We took the hinges off, unscrewed the bolts that held it in place, and pulled it into the grass. It was tiring work. We sat there as the night crept in with sweat on our foreheads and cigarettes in our mouths. The discussion went from how to make the bridge, how much we’d like to fuck some of the young girls in town (I didn’t really want to fuck anything, honestly), and how drunk we were going to get. Of course we wasted time. It made us happy to waste our lives. We were good at it. We had online gaming clubs, chess sets, and exotic magazines. We had a secret handshake that only we three knew. To us the shake became a symbol of inclusion for three people of whom the world thought very little.

     We invited her over the following Friday to check out the bridge. She wore short shorts with frayed ends, a tucked in polka dotted shirt, and her curly hair in innocent looking pigtails. She smiled when she saw it. She walked back and forth across it, jumping lithely. She was happy. Embracing Daniel, she told him her young girl thanks and you shouldn’t have. Daniel looked over at me with a shrug. I shook my head. I didn’t want her to know I helped; it was his glory, and I didn’t want to come between them. I wanted them to like me. They did.

     It was after five that Thursday when she parked her bicycle outside the bar. The bells chimed on the door as they swung open. Light from the street outside filled the darkness of the bar for a moment, and then faded as the door swung shut. She ran to her father, embraced him as he dried a glass, and kissed him on his wrinkled cheek. He could tell she wanted something. Father’s can always tell when their children are strangely kind. She got some money from him and told me to come by the night after to watch a scary movie. I lied and said I’d already made plans to see a new movie that came out. Sounding sad, she protested that she wanted to see me before she started working at the local grill. They would go to the movies with me. Their new found enthusiasm forced me to find a movie to go to.

     I showed up at seven or so. Daniel said he didn’t have the money to go that week. He said that if I waited until he got his check, he’d pay for my way and we’d all go together. Instead he suggested I spend the night with them and watch the scary movie.

     It was three in the morning when his grandmother, a paranoid old lady with too many superstitions, shuffled into the living room. I was sitting on the loveseat; they sat together, cuddled on the couch. She asked if we heard anything outside. A prowler had been seen in the neighborhood, she tells us. She suspects that he’s trying to get in the backdoor and tells us to listen out, lock the door, and stay inside. After that, she scowled at us and closed her bedroom door. We heard her digging around in her bureau drawers for a while, but she finally went to sleep.

     As planned, the next weekend we met to go together to the movies in Union, South Carolina at a tiny little theatre with sticky floors and raucous audiences. Casey didn’t feel good that day and protested when I begged and begged and begged some more for her to come over to Daniel’s to go to the movies with us. She didn’t want Daniel to pay her way, she said. Her head hurt, she said. My persistence finally paid off and she showed up in her mother’s jeep, kissed her mother goodbye, and walked up the walkway with her head in her hands. Daniel lived just short of a block from my grandmother’s house on the lake, so I met them there at eight in my best clothes.

     Casey sat on the couch with her face in her hands when I came in with a pink cloth over her face, made of silk; it reminded me of the dancing girl’s in Syria with their silken veils. Daniel was in the bathroom shaving, so I went in to ask him if Casey still felt bad. He ran the electric razor along his chin, lining up his newly forming goatee, and told me that she still had a bad headache. Though she had a headache, she still planned to go because she promised me. I went into the living room to talk to her while Daniel finished dabbing on bits of aftershave that I couldn’t smell.

     I sat beside her on the couch. Daniel came in the room with an old shotgun slung over his shoulders. That old gun was never loaded. We used it to pretend to be hunters sometimes in the fields behind his grandmother’s house. It was never loaded and we doubted that it even worked. He sat down in front of her with the shotgun in his lap. We didn’t think anything about it. He always threatened us with it in jest. It didn’t work. Why should we be afraid of it?

     Casey sighed a tired sort of sigh, and reclined on the couch with the cloth over her face. It glowed a hollow pink because of an antique lamp in the corner. It gave off a dingy sort of light, yellow and muted. He put the shotgun beside the couch, put on his shoes. He ran a comb through his hair, saying, “Casey, you still got that headache?” she groaned behind the cloth. She got it from his grandmother’s sewing table in the dining room. Daniel sighed and turned on the television.

     “You sure you wanna see the movie tonight, shithead?” he asked. “We can always go next week. I could take Casey home now so she can get some sleep. You know she ‘a be cranky if we don’t let her sleep.”

     Casey laughed. The air of her breath made the cloth float above her face a moment.

     “We have to go tonight if we want to see that movie,” I said. “It won’t be playing next weekend.”

     He buckled his belt with a sigh, but doesn’t lose his smile. I could tell he was concerned about Casey’s headache. She had frequent migraines because of the car wreck in her early childhood. It had shattered all of her front teeth and broken the bones in her ankles. Only the pain remained. The pain and the memory of it followed her around like a shadow. If you didn’t know any better, though, you could never guess that she wore false teeth. She sat there groaning on the couch beside me. In my head I could see her car slamming against the milk truck, sending her forward into the dash, shattering her teeth like a wicker basket against the hard plastic upholstery. Daniel rises, drawing me from my imagination, inside my head the image shrivels up; he grabs his car keys and shifts through the dim light of the small living room like a shadow. Patsy Cline played on the television, the music channel for golden oldies that they always danced to. Her sweet voice sang such sublime melodies, so quietly in the yellow glow.

     “Casey, you want a Tylenol or somethin’? Maybe a drink of water?”

     “I already took four already,” she said.

     “I’ve already taken would be a better sentence,” I said. “’Already took’ just sounds wrong.

     Daniel laughed and hoisted the shotgun against his shoulder, putting aside an unfinished origami windmill he had been working on for Casey. This was what brought her to him in the beginning, his flare for origami. He made her frogs, turtles, planes, and roses. That one would have to be finished later. With his origami secure on the stand beside the chair, he pointed the shotgun at her head. “This will help a headache,” he says, and pulls the trigger.

     The gun worked. It took me a few moments to realize what happened. The living room was full of smoke, above the couch where Casey twitched the smoke alarm went off, marring the beautiful music on the television, and a terrible ringing filled my ears. The gun had worked. Drops of blood dripped off my face as I sat there dumbfounded, trying to see Casey through the smoke.

     Daniel panicked. He dropped the shotgun and ran to the couch. Daniel grabbed Casey by both sides of her face and lifted it to his own. Bubbles of blood trickled from her mouth. The left side of her face was splattered against the dingy couch behind her and the little pink veil above her face was torn to pieces. He started giving her mouth to mouth and each time he pushed on her stomach more blood bubbled from her mouth. He shakes her and shakes her and screams for me to call an ambulance.

     I ran into the other room to find the phone. My ears were still ringing when the operator picked up. I could see her little feet kicking against the floor when I leaned into the other room. On the other end of the phone, a burly sounding woman assured me that help was on the way. We should keep talking to her, feel her hands, and make sure she didn’t gag on her own blood. I ran back into the living room. Her feet thrashed against the floor and made soft thuds against the carpet. The ends of her fingers twitched a moment, and then they stopped. Her arm fell limp across her face.

     Five minutes later the ambulance shows up with the police because a neighbor called about the gunshot. They found me in the bathroom vomiting, Daniel still in the living room trying to give her mouth to mouth. His face was covered in drying blood, around his mouth like a clown would paint his face. They pull him away and take him outside, four or five of them together, and slam him against the cop car. It took them a good bit of time since he fought them off to run back in the house to her. I stood there in the bathroom doorway. The shotgun smoke had settled and the smoke alarm had been turned off, but the same song played on the television. It was surreal to see a person die. It’s not the same to see it in a film. Her mother showed up before they carried her body out of the living room. I had never seen a woman lose her control so fast. In the doorway she stood a moment shaking, with urine running down her legs, and then she rushed into the dim light of the room to find Casey silent under the yellow lamp. Her now pale body had fallen over the arm of the couch in front of the television where the glowing notes of the sad song, sung so many years ago, scrolled over the side of her face.

     I sat face down on the sidewalk when they brought her stretcher out. She was zipped up in a long black bag. Daniel starts after her again, punching one of the police officers, and they throw him to the ground and cuff him. He hears the squeaking wheels as they wheel her to the ambulance behind the cop car. That’s when he realized that his Casey was dead. She was gone. She was inside that zipped up bag and she was gone. Daniel slammed his face against the police car repeatedly, then fell onto his knees behind the cop car, and slammed his face against the cement until they managed to pull him into the backseat. They took him to county and charged him for murder in the first degree.

They questioned me about what happened. Had they ever talked to my mother, they probably would’ve decided against asking me anything.

     “Where you from, towel head?” asked the first cop. I didn’t respond, as towel head wasn’t my name.

     “You got a name or don’t you?” asked the second cop.  They both had the same sort of beard, overlapping gut, and shifty eyed glance. This is apparent in larger primates.

     “Tell us where you from or you goin’ to spend the night.”

     “I grew up on the Sea of Galilee,” I said.

     “Whar’s dat?” the first cop asked. “Some sort ‘a towel head village?”

     They laughed amongst themselves a moment, then swung their guts to face me again.

     “It’s where Jesus walked on water,” I said. “Don’t you love Jesus?”

     “Jesus is our lord and saver,” said the second cop.

     “Welp, it’s not nice to call Jesus a towel head,” I laughed.

     “You blasphemer!” they yelled in chorus.

     “You’re the one who called me a towel head,” I said. “I assumed that was a racial slur, and since I’m the same ethnicity of your lord and ‘saver,’ whatever that means, it is a slur against Jesus to call me a towel head.  Now, don’t you boys have something to say?”

     Their pleasant smiles had dripped away.

     “What?” their eyes seemed to say.

     “Tell Jesus you’re sorry,” I said. “What are your names?”

     “My name’s Jeremiah,” the fatter of the two fat men said, “and this is Kent.”

     “Well, Jeremiah and Kent, it’s not nice to call Jesus a towel head, is it?”

     “No, sir,” they said.

     “Now tell Jesus you’re sorry.”

     “We’re sorry Jesus.”

     “Good boys,” I said. “Anything you’d like to ask me now that we know I’m not a stereotype?”

     “What’s yer name, mister?” Kent asked. “We could get ye some cawfee.”

     “My name is Roger,” I said, “I don’t drink coffee; it makes me tense up.”

     “Then can we get ya somethin’ else to drink?” Kent asked. Jeremiah was on the phone lying to his wife. Maybe these guys were all right after all.

     “Vodka,” I said.

     “We don’t have any vodka,” Kent said.

     “Then I don’t want anything.”

     After pursuing my opinions for an hour or so, they agreed to find a bottle of orange juice and some vodka for me. I tell them that from what I knew, Daniel had never even slept with another girl. He would never have hurt her, I said. He was too meek and passive, eager to please, and never seemed to have any sort of aggression in him.  I told them that we’d all played with that gun before… in one way or another. It had never been loaded around us. We didn’t even think it would work.

     If not for that girl, Daniel would have never gone to work at a warehouse distribution factory just so he could buy her cheap jewelry and second rate clothes. He never hurt her or raised his voice at her. They thanked me for my time, had me sign my confessional release forms, and helped me to my feet. I stumbled out of the door as Casey’s mother strolled in. Tears and mascara snakes ran down her face, stained her lips, which twitched at the corners when uncovered by her knotted handkerchief.

     They try him for murder at first. Then Casey’s mother testified on his behalf. The trial was a matter of formality. Daniel’s lawyers convinced him to plead guilty to involuntary manslaughter, a plea bargain that would have been impossible had Casey’s mother refused to testify on Daniel’s behalf. She told the judge and jury that Daniel loved her daughter. That he just wanted to do anything that could make her happy. But how did the gun get loaded? The prosecution wanted to know. Casey’s father was not as forgiving as her mother. All he saw was his fourteen year old little angel headed for a hole in the ground.

     His senile grandmother—hard of hearing, going deaf—loaded the gun the night before because she thought she heard prowlers picking at the mesh screen of the door on her back porch. The prowler later turned out to be a starving cat. I took her to my home on the lake and named her Galilee. She would be the waves to me, my comfort in America.

     Daniel was sentenced to five years in prison, suspended to three, with ten years of probation.

     They left the couch, on which lay Casey’s drying life blood, out on the side of the road for weeks to wait for when the garbage men would come to take it away. The pale cushions, once bland yellow stitched with white, had blood red stains on the side where Casey sat. Buzzards often sat atop the telephone pole and streetlights in front of the house, drawn in by the false promise of a meal.

     I baked a cake for Daniel on his nineteenth birthday. Prison officials received me in the main lobby to search me for contraband before allowing me in the visitor’s hall, spotted with circular tables and plastic chairs. After they cleared my wallet, cigarettes, and cake, a female guard waved me into the bright room where scruffy prisoners talked to their loved ones and children. Daniel had his head propped on the butt of his palm, staring at the chef’s behind a buffet table on the far side of the room.

     He wore the typical orange jumpsuit, with one black stripe around the cuff to signal his prison job where he helped load heavy equipment in and out of the textiles factories where the prisons made socks. A purple welt stuck to the side of his face like he’d been hit by something. Behind the bruise his eye was swollen shut.

     For a moment he stared at his cake. I had designed it to look like his favorite singer, Patsy Cline. Because of such protest, they allowed me to put a candle on his cake. The candles burned away in front of him.

     “I can’t believe you got that cake in here,” he said at last. “They normally don’t allow food in the visitor’s area.”

     “They must be afraid it’ll taste good,” I said. “Murderers they can handle. Rapists, pedophiles, and bank robbers are fine. But damn if they’ll let a cake come in here. Maybe their no tolerance policy applies to baked goods, too.”

      He smiled a silent smile, no teeth, just a small curling of his chapped lips. Stubby hairs grew thick under his chin, wrapped around his face up to his ears. Casey’s poorly inked initials lined the under side of his left wrist. It took some courage, but I finally asked what happened to that pretty kisser of his. He paused a moment while the candles burnt down before his face.

     “How you holding up?” I asked.

     “This is a prison, Roger,” he said. “This isn’t a weekend in Cancun. People will kill you here. Dying is a lot worse than being overcharged for a beachside hotel room.”

     “What happened to your face? That isn’t a friendly looking bruise, paison.”

     “I was in the shower,” he said. “I’d just finished washing my hair and some people came in. I thought those cats were my friends. How could they hurt me? Next thing I know, a combination lock, stolen from one of the bathroom lockers. Guy taps on my shoulder. I turn around and try to ask what he wants. That’s when he swung the lock into the side of my face.”

     “Behind you,” he said. “It’s time to go, Roger. It’s time to go.”

     “Wait,” I said. “You forgot to make a wish.”

     The candle flames had dwindled to little more than sparks. He leaned down again, his face in front of them; eyes closed, he blew them out. Small trails of smoke went into the air as he rose to his feet.

     “Hey,” I called as he walked away, gray cap in hand. “Do you remember our secret handshake?”

     He paused a moment, stopping in his tracks. “Yeah, Roger,” he said. “I remember.”

     He extended his hand and walked toward as the times over alarm bell sounded on the high-treble PA system. “If you ever get the time, put some flowers on her grave. But no tulips; she’s allergic to them.”

     I nodded and walked away. Upset criminals bid farewell to crying children with extended arms, reaching out for their father locked away. In defeated lines they tromped off for their tiny cages. That was the last time I got to see my brother. One of the prison guard’s came to escort him away. I sat at the table for a moment alone, to think, to collect myself and give my nerves a chance to relax. To my surprise, Daniel hurried back to my table. He ran his hands in his pockets. As his fingers thumbed the paper edges of his surprise, he smiled. He smiled and placed his origami windmill on the table.

     “Finish it,” he said. “I can’t do it.”

     He disappeared into a locked door on the other side of the room.

2 / One Last Dance

Sometimes I dream of them. The blood on his face always reminds me of clown paint around his lips. Things are different in those dreams. It always comes back to the movie. But in some dreams I call to tell her that I have a headache too, and that we’ll stay home. It is okay, I would say. We could wait on the film to come out in stores. She always tells me thanks, tells me I’m a good friend, and I tell her to sleep well; Daniel and I will visit when she feels better. Afterwards, I go to Daniel’s. His old grandmother shuffles through the living room, dragging her feet in purple slippers, and tells me Daniel is getting ready to go to the movies.

     I must make up my mind today. What to have, what to hold—

     He comes out of the bathroom to the same sort of music they played at the orphanage at lunch. Clown paint covers his face. His eyes are darkened with the same color that showed up when they slammed his face in. He tells me that since Casey is at home sick, and we wouldn’t be going to the movies, he had something he wanted to show me.

     After numerous promises, he leads me into his grandmother’s bedroom. There’s a giant unmade bed in the center of the room with flannel quilts and lint covered throw pillows. A bureau drawer is to one side, with a television on it, bunny-ears and everything, and a dresser at the foot of the bed rises to the ceiling with a giant mirror. Daniel kneels before the mirror, digs around in the clothes for a bit, and then takes out a music box. From the looks of it, it seems to have cost him thousands of dollars. Inside the music box, beside the ballerina’s feet, a golden ring, plain-looking but exquisite, gleamed in the yellow room. Thousand bucks, he tells me. The low music of the box rolls out, high pitched and soft, a Chinese melody.

     A poor man’s roses or a rich man’s gold.

     It’ll be worth it, he says. I’m going to marry that girl and give her the world, he says: fancy clothes, jewelry, and cars. Then there’s the wedding present. It’s an antique jukebox, almost two centuries old. It’s stocked with Patsy Cline, Casey’s favorite singer.

     One’s as wealthy as a king inside a palace. Though he’s callous and he’s cold.

     Five children, he says. Three boys, and two girls, and the oldest boy will be Daniel, Jr. The youngest one will be named Roger. It wouldn’t even have happened if not for me, he says. All of his children will owe their lives to me. Then there’s music in the other room, always the same: low like the ballerina’s song. Daniel doesn’t hear it. I rush into the other room. Casey’s sitting on the couch, now dead for years; her pink socks have frayed, unraveled on her feet. Her eyes are hollowed out and black. I turn around and Daniel’s there, wearing the clown paint again. Daniel looks at her and tells me he always wanted to take her to ballroom dancing lessons, or just take her out to dance, but he never could afford them. In the living room she rises from the couch, with her arms in the air, and spins around on her tiptoes, like she’s in that music box. Each time her face swings by me, the left side, above the eye, is empty. But she can still dance.

     He may learn to give his heart for love. Instead of buyin’ it with gold.

Daniel goes into the living room. He asks her to dance. The side of her head is normal again, regenerated, and then things go in reverse. She falls to the couch. That piece of cloth is hanging on her face again. I’m gone, but I’m watching it happen. She tells him that since I never showed up, they should lay down a while. Maybe watch some television, or listen to some music.

     Then the poor man’s roses, and the thrill of when we kiss—

     He says that’s fine by him, but why not dance a little first? He dusts off an old time Patsy Cline record for the jukebox, moves the boxes out of the center of the living room, and extends his hand. She grabs it. He hoists her to her feet. Just me and you, he says, taking her hands, and don’t worry about Roger. We can always go to the movies. We’ve got all our lives. Are you worried about Roger? I’m sure he just got lost in the woods. He does that a lot. Who knows what that boy is looking for? But don’t worry, you know Roger. He’ll come around. He always does. And he won’t be mad about the movies. He’ll understand. He’s a smart fella.

     Will be memoirs of paradise, that I’ll never miss.

     In the corner, the yellow colored lamp gets brighter, and then shines in the center of the room. They walk there together. Time goes by, lots of time. Sol rises, Sol sets, and they stay together, never moving. Her head is propped against his shoulder. They dance around the center of the room as their faces age. Casey turns into a beautiful woman. Daniel’s face gets harrier. The goatee he always wanted is trimmed and proper on his face. A big beer belly hangs over his leather belt. Pictures of children line the room. The children smile and laugh, and run in and out of the living room as they dance together. They pull little wagons behind them, full of toys and tiny racecars, but Casey doesn’t hear them. Her head is on Daniel’s shoulder. Patsy Cline sings on the stereo. Everything is fine.

     Their children began to grow as well. They come into the room with dolls and puppies. They ask mommy to come and play, or daddy to go fishing, or ask daddy to fix their toy airplanes. Daniel laughs and asks them if he can have one more dance. One more dance, and he’ll fix anything. He’ll read their favorite stories, about knights and dragons and the boogeyman, and everything will be fine.

     They have their entire lives. It will only take a moment, and then they can sleep their happy dreams. They’ll throw the baseball after school, and Casey will braid her daughter’s hair. They smile and run into the other room. In their beds they wait for their parents to come to them.

     And yet the hand that brings the rose tonight,

     The world grows up around them. Casey’s long black hair begins to fray. It turns gray, wire-like, and tangles at the end. Daniel gets wrinkles under his eyes. Gray spots crop up in his beard. They dance as they did in life, in the center of the room, in the same circles for eternity. They never move and the record never skips. I’m never there to bother them. I’m outside with my face against the window, looking in.

     Is the hand that I will hold.

      Then I wake up and remember the couch and how it looked on the curb, with the restless buzzards above it squawking. I remember trying to scare them off with twigs and sticks. There were occasions when I could scare them off, but they always came back. They waited for their meal. That’s all the lifeblood of the young girl signified to them: a meal.

     For the rose of love means more to me,

      In the end, they hauled the couch off to the dumps on the outskirts of town. Every time I passed it, I realized there’d be no more dancing. Daniel was in prison, Casey in the ground, and all that survived their brief lives together was a rose on a plot of grass, in front of a rock at the cemetery. That’s all there would ever be. They had their dance, their time together, and I had an incomplete origami windmill to finish.

     More than any rich man’s gold.

The Devil’s Projector, short story – 1 November 2015

This short is taken from Act II of The Chameleon Mirror, The Thief of Thursday.

A group of men and women in sharp business suits sat in semi-circle round a dusty old computer. All-star black. I sit at the head of the table and a man to my right introduces himself and the rest of the group. There’s a television at the end of the table opposite to me. The eldest man on the left stood beside the AV setup, and ran a clip. Static filled the screen then freckles of white skin appeared then light hair curled, then a white shirt and dress, white socks and shoes. A tennis-racket tea-set popped into view and Willow, sweet Willow, an imaginary friend they said. But kind and her hair was white and stringy. Old Willow miss Willow was with’ring steadfast waving like the others blades of fluff among the mast. She went away, this friend, now renting a spot in my heart and imagination.

 There’s no freak genius just some demons that speak English, target evangelical snakeslingers in four seasons for four reasons snapping snakes stealing souls and they say,



 I pulled out of the tape. That’s what it was. A media device, a recording, a moment at Moncrief, no was it An’mien? And the old man said,  “Accept or take another?”  The others looked at me.

            I looked up and down and the iron frowns returned like stone.


 “You can make a choice to take one moment into the lord’s paradise, or take all memory, all moments, and entire the world of fire.’  “Another,” the man beside the screen said.

 I felt him say Amen? Ahm-myeen, his name. I’d never heard a name like that.  The screen pans back from the nose of a dog, and my sister is in diapers patting him on the head, old Traveler. A collie with a mane of white, a prize to be sure. And his eyes. The light amber brown touched orange burst into focus like a little sun the size of a ladybug.


            Yes Renny, miss bo, what are you doing?

            She walked through the TV into the room, in that red kimona.

            Let me look at you.

 She turned my eyes to hers those almond browns and looked into mine. She smiled. My Wenny, my Lenny, miss bo! My how you’ve grown! You think your hair is short enough? She smiled and thumped me on the head. Then placed her hand on the side of my cheek. I don’t care what your father says. It looks great. You look wonderful miss Bo, Mrs Brisbois!

 I snapped out of it realizing that somehow I had been into the screen. They let me know, if I didn’t choose one thought or memory or idea that is meant for me could potentially trap me like a genie in a bottle here, inside that screen, stuck in a memory that happened to keep me from slipping out. Each tape they played, it had a song. Bang bang, you shot me all along! My father played the piano, wrote poems and violins. I sat on his lap and he listen here, this is how we’ll us both, Mama too, we’ll sneak off into heaven and take the thief Lain when we do!

 Listen, father said. They may never bring it up. You’re my daughter, a Brisbois like my son. Your mother is difficult, you know. She’s so lovely, so lovely and I love her, but she has a more, strict set of social codes. You know? Don’t keep me here!

 I was back in the seat. The tears swelling in my eyes. Surprisingly, I’d been in the rest of that scene, and how hard it was to stay there as I lived to hear him say it. And it dinged off inside the room, making it impossible to flee.

 Your mother thinks that since we weren’t married proper, that they’d deny you that theatre. Well, we’re not barbarians, and honor can be here won by women and men, bastards and bastard kings. Don’t ever think that since these Greeks couldn’t claim their daughter she’s put as special as you are my bo, Lenny my star. Don’t believe them, not ever that, you’re less because you’re this or that. I tried to strain to pull away but the glass around me kept me in and for the first time in that world I could tell it was a light-show ran by little men, shaped so roundly paper-thin. The words were falling down the screen, through which those who held me must have seen.

 This world is as much yours as mine. Renette, Renette! If you’re ever anyone’s be theirs by your choices. For university to Scottish pubs. Demand and earn respect and it’s yours. Your mother has a different way, you know. Because you’re so so pretty little Bo. But you’re more than pretty. You’re my viking girl. And you’ll be Frey in the Christmas play, and Loki he’ll fall mad for you.

 And there was Lain outside the screen. Hundreds of feet tall so it seemed. Looking at me as the words crawled up the wall in waltzing spirals to the beat of an automatic clock set on repeat. I jumped from one word curious, to another frightened, breathless, overwhelmed and rest.

            Outside the screen again, the people looked to me,

            “Choose,” they said, “One memory. One for heaven, hell for three.”

            I asked by impulse, “What about all?”        “This room, this here?”

            A man with a dignified voice said.

 “This place is between two others, you know by the wrong name. One requires you let go, and so pain goes along. The other lets you keep your pain with your forever alone.”

            “And if I stayed here?”

            The choir gasped, each one except that same man.           “Don’t you know where you are, my Bo?”              She knew as soon as he called her Bo.

            “Brisbois,” he said. “My Joan of Arc. Empress of Arcadia, Queen of the Isles and March.”

 The others had left and with that man, the well-dressed older fellow running these scenes he threw on the screen behind his fingers like playing cards. The thought, I thought, that we’ll all die, it vexes us sometimes in life. For some more so than someone else. It’s still more near a nightmare than a dream to realize you’re in Hell, and getting out requires a choice: To take the anguish and the noise, but every photo ever done, every memory, everyone. Lain and Cammy, Russeau and Jon, my mother, Yes! Mme Nanty… It’s time for you to go on.

            The second tape

I was pulled into the screen. I was dressed up dressed like Cleopatra. I must’ve been 9. In America, it was fun. That’s where I met Lain. He was a big fish in a small pond and we walked around the neighborhood. It must have been 99, maybe. His half-brother Gilbert, four years younger, had been in an accident and he was at that dumb parade. This was a small town, where Lain came from. Every year they had a carnival. Setup like a cheap and temporary fair. A tilt-a-whirl, and gravity pulled him against me on that ride with Maddie. He was in central park I think it was during lunch. I watched him playing chess as I walked up. Nobody was there. So I asked if I could play when he finished. Yes, he said. I’m done. Do you want to go first?

 He looked at me. Lain, god fucking fogasfk. You lose them. We lose them all. What picture do you take then, if to preserve yourself at the expense of all else? Defeat it. Change that. Make them immortal somehow.

 The man smiled in a unique way, seeing her self as her body turned grey. I was behind the scene then, lifted up, drained into the background as I watched them in a cup. “Choose one memory, go up; or take all with you down.”  Another choice, the voice whose owner I had been.

            The man, that demon, that angel, whatever he was, smiled again. He loved her it seemed. And it was unique. He spoke with warmth, while once so cold, distant but now closer.

 “A third choice?” he smiled. “Only for you, my Bo. You can stay here with me, and watch the show. You don’t have to take one, not for heaven, nor purgatory with all, stay in hell where you belong.”

            But I can watch these tapes? I said. Much more confident was I in death.

 “With me, you can watch for eternity. You can go inside that dream machine. I’ll be here by the setup here, as new clients come and finally clear, you can come back into this

little room, I’ll join you in the afternoon. I’ll leave the tapes beside your bed.”

            “I want each scene of me and Dad.”

            “Okay,” the friendly devil said. He’s not as bad as you’d think.

 A moment passed. He saw that then, I wanted to see the screen. My dad again, he threw the card. It stuck to the glassware then a wire brought the sound out of a fiddle. The devil went down to Georgia!”  Did you get his soul?

            The devil said, “You may not know,

            “I may have lost that sole, that one show,     But I met him again fifty years on,         He chose the banjo and moved on.       He took that memory with him,       Into the highest highs of H’en.

            “Do some take all to purgatory?”

 “The poets,” said he, “Romantics that have somehow turned it upside down and made the smiley face a frown. I thought you would, you’d take them all, and suffer with them, forever, just to hold onto a boxful of ghosts.”

 Renette had stopped listening to him talk He’s – he’s I came to myself. The devil has a dark side like everyone else. As for Renette’s, she made a gamble on the bet that the devil, if indeed he were, had thought of no such thing as mirth. Each time he laughed he weakened; Renette didn’t need the treats above, with a digital scrapbook and the world; in her way it was the greatest thing she thought a man or anyone could in the most unlikely dreams: she tricked the devil with the magic word and made him say please. And when he realized the lies, the deceit, he laughed to know that he’d been beat.

 I heard the snap of fingers. He stood before me then. Behind him was a whirling hurricane, hurrying towards a wall of flame. The devil bellowed (yellow!)


 Oh dear, I felt it in my bones. And bones he was and strung along. Whispy, thin as a sheet of paper, and he’d written on it in his blood. Even in hell, misunderstood; he could spell and work but just as good, a suicide floated in the woods and woods he liked; he’d been without them all his life. He floated down and saw me, frowning – more sorrowful than man I’d seen in hell while I’d descend. Leaving the video room again.

 I walked into fire expecting flame but found instead more a cool lake, the embers more like little eddys scribbled in and golden, electric to the touch. I could tell however, despite how heavenly my Hell, Lain looked like Hell in his.

            Lane said, go into the TV, meet me there. I’ll get you out of here and we’ll go South.

            Why not to heaven?

            I know a cooler place.

            “Where is cooler than heaven?”

            “I don’t know, your place?”

            “My place is a mess!”

            “It’s better than hell.”

            The Devil changed the TV channel.

 The props rose behind a cabin, a wooden shed. A boat was in there, and a young boy was washing one side of it. It was filthy; he’d covered it in swaths of paint. Hypnosis, madame butterfly was on. Lain, sweet Lain. He’s about 15 hear, and he has that stupid hair-cut but he’s tall. Thinks he’s the smartest man in the world. He crosses his eyes just to make me laugh and ruins such a good photo of him. I can hear him talk, his voice picking different accents. He chewed on words when he got nervous.

            I’m Renette! I said.

            You are French? He asked. We’d never met.        Yes, I say. I couldn’t help but laugh.

            Before I could respond he’d asked,            ‘What’s your last name, hyphens?’             ‘Renette Brisbois,’ I say.

            “Nice to meet you M Brisbois,” in that accent. Articulate devil, even then.

            “And you Monsieur …?”


            “Alain…” I fidgeted. Fuck!

            ‘Yes, I go by Lane. Charles is my first name. Charles Pinon.”

            “Would you rather me call you Lane or Charles?”

            “Whichever you’d like, mademoiselle.”

            “Okay then,” squeak squeak. “What do you do for fun?”

            “I write.”

            “I write too!”

            And we were friends. All writers I think are friends, even when they hate each other.   ‘Where does Brisbois come from?’ he asked. ‘Is it a family name?’

 ‘No,’ I said. ‘It was a chosen name my mother used to hide my parentage from her husband.’ I wanted to cry. No bastard’s happy to be one.

            ‘Did you know your dad?’

            ‘Just from dreams. You?’

            ‘From my stories.”

            “Oh, these stories again…’ I was out of my mind!  ‘Would you like me to tell you a story?’  It’s weird to be intimidated by a child.

            ‘Sure,’ I said. I felt like an idiot.        ‘You’re fine,’ he said. ‘I’d love to.’        ‘Okay,’ so silly.

            ‘What kind of story would you like to hear?’

            ‘A true story!’


            ‘Tell me about the last woman you loved.”

 He seemed shocked. Not unawares, but surprised I’d said it. His smile turned into a happier expression. ‘I’d love to,’ he says. ‘Enjoy.’

 ‘Once in Istanbul a mother named Terrha gave birth to a conjoined set of twins. Siamese twins, some call them. The child was unique and beautiful, two girls—two girl heads, that is. Sersia controlled everything, and Lera felt everything, the prick of needles, the warmth of Sersia’s body, but she could not move, not a single hand, and so her head traveled around Sersia’s body, at the whim of what she chose.

 She chose to bash a sailor’s brains in with an old Clam shell. The conjoined head screams for her to stop. The adrenaline shoots through her skin but she can’t make the body stop destroying that sailor’s face. And we were arrested. She asked me to lie, to say he tried to take her by force. But she wouldn’t. So they go to court and Sersia pleaded not guilty, but her sister, though innocent, pleaded guilty. The jury was left to the decide to question: is it worse to let go one murderer to preserve the life of the innocent or punish a crime at the expense of the innocent and by that commit a crime against the innocent?  The jury came back unanimous.   You are the jury. Work this out.”  What a strange child!

            “Is there a right answer?” I asked.               “Yes,” he said.     “Ethically?”


 He never told me. He said some questions are really answers to an unspoken question posed by the Earth, curious about itself.

            “Tell me one of your stories,” he said.

            “I don’t write stories,” I said. “Just poems.”

            “Can I hear one?”

            “Sure,” confident? Nailed it.

            Nothing lasts forever

Long live the Queen! or not …

Each daughter did their duty

Raising their siblings, all Cindarellas,

No offspring of their own;

At their core, in every child, Was a desire for the throne.

So when the queen was found,


Dead on her satin pillow,

The Royal Guard was pulled apart,

And Regicide! Declared …

Executed were the guardians Each one that wasn’t there.

And so each dreaming Cindarella,

One by one,

Was prepared for the chair.

The peasants and the people of the kingdom weren’t told

That queen Muriel, beloved by young and old,

Had been found without her crown

Her skin already cold, And each day the same parade The same charade portrayed:

A daughter in disguise was taken by The road most taken by the Queen

By the gardens and the markets

She waved from her dark veil

How sweet it was, thought Elanore,

To be so loved, adored;

Each blessing and each tailored


Warmed her to the thought:

That the veil may fall, it fell;

And so she took the throne.

Seeing this new Queen, her being, So young and before unseen,

The peasants riot in the streets.

Elanore burned in effigy,

From sea to sea,

From caves and towns, The hecklers in the streets demanded Elanore renounce the crown.

So her retinue of guards

And staff of sycophants,

Prepped an announcement disavowing Any desire to remain:

Though Elanore refused, and more,

Had each traitor slain;

First her guards and then her brothers,

Then her sisters, so becoming, More feared than loved but, It’s enough:

More like her mother she’d become.  Rebellions rose, and frequently
She made examples in the street: Executions, martyrdom;

Baptizing heathens in their blood.

Each shadow she thought had a plan,

Each whispering servant, each stage-hand, All she thought had the desire,
To see her overthrown:
She’d take them with her,
Each advisor:

Would burn like them all
The Fire:

It starts with the smallest town,

And spread without control


Through cities and forests like driftwood


Until Elanore herself went out
Like so many in the flame.

The Slow Suicide of Narcissus – short, 27 May 2015

The Narcosis of Narcissus, the mixing of the real and fanciful, lead into this mirror, and distort it, distort it that a nobler shade of truth might reflect this honest fiction. This is not autobiography: this is therapy. 

Whenever you see someone writing about themselves, and they’re not exposing someone or accusing, they’re trying to work something out on their own, never thinking it will enter into the public eye, this dirty little habit of the self-absorbed, when one indulges the reprehensible urge to write about oneself, the simple question, ‘why?’ is somehow invalid, like asking which prime number looks best in a business suit. You know them, they are the doomed and miserable lot who utter that philosophical alibi ‘why?’ And they are as doomed with any why as I am with mine: why write a book about your life?

And without fail, I have to come to the same answer: that voids the question; that at once makes the act reprehensible and justifies my actions to myself, the opposing me whose giant eyeball is always looking over my shoulder, scrutinizing, judging, evaluating, as though I were a specimen under my own microscope. And that, indeed, is the point of this writing.

I’ve written about psychology and studied it my entire life. It has been the most fascinating subject I’ve ever encountered. Not in books, but the psychology of people and their actions. There are psychological determining factors behind any decisions, the complex ones, the ones more complex than, ‘should we have steak or salad? One is good, and murder, one is terrible, but human.’

There are cynics, or those who cum with closure, who read that last line with an exquisite since of sardonic delight. Terrible, but human, that is the joke and the punch line that defines a lot, and as an psychological aphorism, to me, it is three things. It is the crime and acquittal of a conscious race. To me, it is three things because there are three me’s.
There is the noble, the genius, the sensitive, the understanding me, the me I call the Roger complex. Roger comes from the name of the main character in my novel Songs of Galilee. I wrote about Roger from an admiring perspective. He was what I would like to be, and the Roger complex is me trying to imitate the character, when in the novel, Roger faces situations in his fictional life similar to situations in my real one. But he’s more than me, and that is what I felt made him admirable.

To those who have read the novel, they could conjecture that Roger is the manifestation of my ego, what I think would be my highest self, though Roger himself was the embodiment of the highest virtues: no hope, no fear; no pride, no shame. Roger was a multi-talented child prodigy genius of the highest order. That’s how I wrote him as a character, not as to imply that is what I thought I was. Roger was everything I would be if I could.

Thus the creation of the Roger complex; the mystic Buddhist who at twenty-four attained his enlightenment, and at twenty-seven died in the third and last book of his life, The Match Behind the Jar. Roger had invented a cure to death based on theories I had as a child. He was smart enough to make it possible. My theory was that the suspension of decay in cellular organisms could slow the aging process until the point of pure biological equilibrium, without decay or mutation of any cells in the body. Roger studied the human genome, as I did, but Roger found the Sisyphus Mechanism. He found out how to remove it and thereby render immortality.
That was Roger’s final temptation: immortality. In my short story the Dream of the Louse, Roger faces this temptation on a train, on his way to demonstrate the cure for death and the immortality of mankind. He calls the tempter Mara, the Buddhist version of satan, and embodiment of the ego. And like Buddha under the tree, and Christ in the desert, Roger resists temptation on the train.

Mara tells him to become more than a man, to push evolution forward. He dismisses the rules of nature, of life and death, and tells Roger that he is a brilliant man, that he will become the savior that mankind wanted and had been waiting for. He had brought real immortality to Earth. Roger, like Christ, was born on the Sea of Galilee. I chose that birthplace before I knew that that is where Christ is said to have walked on water. In Roger’s youth, he invents boots that stabilize and equalize buoyancy that allows him to walk on water. In one of my favorite passages of the Match Behind the Jar, Roger runs from his father across the sea, with his father chasing him from behind with a belt, to whip him for painting on the walls of his house.

Mara appears before Roger before he arrives in Time Square, on a train. Mara appeared before me in my bedroom, and inspired the Dream of the Louse. The characters are different, and it’s a fictionalization of a real event that took place in my life.

The plan was for Roger, though the plan was different for me, to inject the medication into himself, the immortality rendering compound he designed and synthesized based on his advancement of my genome studies, and then have someone give Roger the lethal injection on the stage. If it worked, of course, he would come back to life. He would be born again.

Roger chooses to take a placebo, and allows them to kill him on stage with the lethal injection because he did not take an injection of his compound. It was an injection of morphine, my drug of choice, and there Roger died at twenty-seven, at the end of the Match Behind the Jar.

Had he done the right thing by saving faith? With the possibility of immortality on Earth, Mara told him, why would anyone believe in the nonsense of afterlife or even need an afterlife? There’d be no more death and war. No more religion. And so Roger, the second man from the Sea of Galilee to offer immortality, to save the beliefs of everyone. He did not want his discovery to be believed, although it did work, and his death was taken as the compound didn’t work, and research on it stopped. It did work. It would have worked for all. Roger allowed himself to die so the soul would no longer be locked in the body. That was his last temptation in the last book of The Lizard’s Tale. I am sure he did the right thing. I am sure I would not have. I would have taken the cure to live.

Think about it as you read: would you take the injection to live forever? One injection: no more pain, death, decay.
It took me a long time to answer that question and two of me would take it, and one of me would not. There are three me’s, as I’ve come to in my psychiatric sessions with myself. Only one of me would resist, and that me is the Roger Complex, which I will further elaborate upon later on.

Rogers’s father was there at his birth and remained until his mother, or as Roger thought, and indeed once hoped, killed his father. This was written to expound upon Roger’s inner self. At first he wished for his father’s death, but at the same time was devastated when he died, and then he, as a grown man at the end, returns to a place his father always wished to take him. That is the coda to the Songs, Roger’s forgiveness. His forgiveness of his father, his mother, and himself. That’s where forgiveness starts.

And when you forgive yourself, it is liberating. At first, I felt like I was free; to do whatever I want. I could smoke and stay out late. I could piss away my mind in a way he would not have allowed. It took me several years to find my Coda at Pigeon Rock, as it is in Roger’s story, but it was more like a coda at Lake Murray, where my father and I went fishing before he died. All of the three me’s, as of now I’ve gone into only the Roger complex, which you will see me imitating throughout my life, even before his creation; I will later go into the Harvey complex, the lowest me, and Complex Zero: Brandon, the medium between Harvey and Roger.

But, I hear the chorus of why, and I must address it. The why of my decision to write this memoirs, Bastard; I’m sure by now, the title choice is apparent.

Why: I’m adept at helping people with their psychological problems. I’ve studied psychology at great length in my life, and it is the most powerful weapon known to man. I’ve written four accredited PhD’s in psychology as of this writing, and I’ve always been able to help people, not me, but others. I am always able to give them the advice they need based on the equation they gave me to solve.

When it comes to me, I don’t know the equation. I know parts of it, and I use those parts to try to solve the problems of my life, but since I don’t know all the numbers, the equation is never solved. I can find numbers in my past: abandonment, the need to assert and prove my worth because of it, the Oedipus complex directed at my biological father, the hallucinations, the dreams, the nightmares, the desires, the tragedies, and everyone has their share, the death of loved ones and friends, coming to terms with mortality, coming to terms with the thousands of philosophical questions I have less than satisfactory answers for, the want to matter, the want to be loved, to be admired, and other, less noble desires.

I can’t find all the numbers and the variables they create in order to solve the equation, the me equation; I cannot make them come together in a unified number, a number that will represent my life, the problem, solved. I doubt I’ll ever determine all the variables. But when it comes to equations of other people, their loves and hates and losses and gains, I seem to do well as someone to give advice, to mentor, to guide: to find the number they needed based on their equation, solved for contentment. The thought is my sickness and the page my hospital, and, all the better, public – the narcosis of Narcissus.

Author’s note: All characters, characteristics of said characters, living or dead, real, or otherwise alive, are fictional. All fictional elements are part of a more honest story. This is the sickness of those who revel in the spiral, enjoying it more the faster they go down. And my oh my, how fun it is to slide. 

Political correctness, 18 October 2015

First I’d like to acknowledge the wonderful article written by Cracked writer J.F. Sargent, whose article can be found here. And point out, that’s generally a more intelligent and insightful argument. That is all.


I’d also be remiss to acknowledge the state of this dead horse before I proceed to fucking beat it. (Because it’s dead… what is easier to beat? A living horse will fucking destroy you. Horses are the worst. But don’t tell Mr. Ed, he’s way too PC. And also dead. Which is slightly worse. Slightly, amirite?)

Political correctness, oh my god. Right? Right? 
I know.
Dude, I know.

Everybody and their biologically oriented life-giver, in-vitro, biological, or cesarean, has their personally distinct and worthwhile opinions on whether or not people have become overly sensitive. or — now, bear with me — if the response is less to someone saying something insensitive and more of a response to someone being an asshole or otherwise deliberately antagonistic, saying something not in service of a joke, or a story, but something which has one purpose: to intentionally insult or disparage someone or a group of people for the purpose of advocating something: their brand’s betterness, their political brand’s betterness, or their notion of general progress towards being as good as them, which, for some reason, must always be at the expense of others. The response isn’t overly sensitive liberals being too delicate, while I’m sure somewhere, right now perhaps, someone is beginning an article with shit like ‘biologically oriented life-giver’ to avoid saying something like mother … only to hide their hatred of in-vitro fertilization. IT COULD BE THIS VERY PAGE.

It’s not that. It is the response of those who balk at the idea that whoever is saying this “non PC friendly” shit, or the group to which that person belongs is inherently above or better than their intended target, simply because they’re not that target. The response is not one of overt-sensitivity, but of a group saying: you are not better by virtue of what you were born. The Internet has made it very, very hard to distinguish between someone’s merit and ability based on their sex/race, so when someone is being called out because of that, and that alone, the response is the response of those who believe in an idea: You know, they call this democracy. And it’s not a deviant sex act some French-y developed… But it is close. Democracy is an objection to inherited worth, status, or value. 

The idea that some things are inherently offensive, while certainly true, the criticism, the criticism of the politically correct sensibility is invariably made by someone who has said something inflammatory, and intentionally so, from a position of influence and power–which seems to consist primarily of rich/famous white people who think the concept of democracy is something to define, to the inclusion of some and the exclusion of others, for them and those who believe as they do, which is coincidentally the way the law was written by (surprise!) people like them, wealthy, white, heterosexual males – as other minority groups were for some wild, crazy reason, not allowed to vote; thus perpetuating the freedom of this group to the exclusion of that group, which were all groups, minorities and women (yep! All inclusive exclusion!) while at the same time making it illegal for anyone who has broken the law to vote someone who might represent their needs.

When women and minorities were finally given the god damn right to vote, the elected representatives – surprise! – began to become more diverse and the fight  against institutional prejudice began – and with same sex marriage only recently becoming legal in all of the US, and the remaining resistance comes from that same group struggling to stay true to rules that were very much written by people like them, voted for by people like them, to keep those liberties very much in the hands of that same, homogeneous group: wealthy, white, heterosexual males, betraying the very core of democracy; that everyone should be, by birth, afforded the same freedoms and protections under the law.

Democracy is either absolute or not democracy.

The greatest achievements of America have been, with exception of course, the reversal of earlier, less inclusive institutionalized standards. Greatest moments in political history? The American revolution? Overthrowing … taxes and tea, something like that. The Emancipation Proclamation? As wonderful as that was, it was the eventual overturn of the casual attitude towards slavery. The million-man march? A protest against prejudicial practices in Jim Crow-era south. The greatest achievements of America are those moments when the establishment finally goes, Fuck it, other people can have freedoms too. It’s great to have figures like Abraham Lincoln and Martin Luther King Jr… but to need them is horrifying by implication. And, it didn’t end well for either. Go ahead, guess what happened. This isn’t uniquely American, either. Anyone vocally against systems set in motion to benefit the few at the expense of the many, historically speaking, have been fucking killed.

And now, the criticism of political correctness is used as a means to brush aside – sometimes legitimate – accusations of racism or sexism. But the accusation of political correctness leading to censorship, or that people are being too sensitive, is only used when someone has been genuinely sexist, genuinely racist, xenophobic, or otherwise intentionally hurtful – for the sole purpose of being inflammatory, as a way to be provocative without being thoughtful or insightful, or even interesting. It’s less about overly sensitive liberals and their quivering antennae when someone isn’t PC, and more about a sexless, colorless culture recognizing bad manners and assholes – and making them know, ‘Hey, you’re a fucking asshole. And we know it.’ If you were to fart at a dinner table, you wouldn’t accuse your dinner guess of being too sensitive for saying nobody wanted to smell your asshole at lunch. Put it in the right story, or in the right context, and we’ll laugh right along. Conservative, liberal, communist.

Fuck the French!

2015-02-11 13.00.16
Don’t shoot, French friends!

Feminism as a Humanism, 12 October 2015

I will be asked, be sure of that, if I am a feminist. I would say yes, as that is a part of a larger belief which is, I think, more accurate: a humanist. People are an insoluble mystery as a collective. Even groups can be as mysterious; mystery gives us a safe danger, and a righteous fear to an imagined horror. Groups are created to better understand motivation. An individual’s motivating factor can be different from that of the group, and to find out the motivation for everyone would take too much time, and would be much more difficult to malign using the worst examples of overreach and crazy possible. As PETA is discredited by the very few who throw blood onto mink coats and wrap themselves in plastic as protest, civil rights protestors’ actions are easily marginalized when one subset or individual does something wrong, burns down a building, or attacks a police officer.

Then there’s news; one in a thousand becomes the face of the majority, and a convenient face is used to lionize the entire cause. Then the motivations are assumed instead of interpreted, and the focus becomes the reaction, the protest, rather than what provoked it. And because you have a bogeyman, and bogeyman have that safe danger, you use it to terrify people into feeling threatened by all the protestors’ motivations because of the heavily amplified focus on the behavior, comments, and misdeeds of the few who can provide the safe danger those against civil rights need to scare others into thinking all protesters wish to do this and thereby rally their constituents against the push for human rights being not delegated and decided by genitalia, skin, cultures, or religion.

That is the feminism I know; and it’s not separate, a girl’s club; it’s a group of people dedicated to the idea that human beings are human beings, regardless of their sex organs or lack thereof, and should be granted the same opportunity appropriate to their ability to make the best of it with an ability not given to them by the same genetic code that changes colors of skin or sex organs; by the development and ability of character should all be afforded the opportunity to excel, not at anyone’s expense, but to everyone’s advantage; a world divided by isms and ists is not the goal; the goal of feminism and humanism is to bring about a world where there’s no need for this division, a world where no one stands to lose for who they are, where everyone stands to gain for what goodness they can bring into the world. Protestors aren’t protesting to win at the expense of anyone, they’re not fighting to win if winning is defined by the defeat of someone else. The fight is to end the fight, to show that paths to peace are forged not by the forceful paving of unnatural roads, but by frequent walks enemies can take toward a common ground, a ground where the only items on a checklist are willing, check; able, check; and human, check. We’re in this together people.

The struggle will only be a struggle as long as one side is fighting to defeat the other, while the other side is fighting to be equal – not through defeat, but through concession of the universal elements of humanity that tie us to each other, to our friends, our family, to our pets, and to this world, a world big enough for every person, every ism, every ist; a world not made for feminists or environmentalists out of the ruins of another’s world, but out of the acceptance into that world by everyone. When division ceases, there are no sides, and without sides there is no war. There’d be no need for it. I am feminist because that is worth fighting for. Victory is not measured by those conquered, but by those liberated, and the feminist movement at its best and as it is best represented, looks for the victory of opportunity, personal freedom, and the personal freedom of others to choose among freedoms, not restrictions or asterisks or exceptions for or against anyone.

Struggles might be unique to individuals, but to struggle is the condition by which peace is possible. I want to be strong so I can stand in the rain and not worry about being blown over. I want to be strong so my strength might inspire further courage to stand in the rain until no one else is forced to. None of us have a monopoly on struggle, on true faith, wisdom or belief, and there are more things that make us like one another than make us different. We all want to be loved. We all worry about our friends and families. We all struggle to put together a puzzle we can’t see. The struggle might not go away, but it is easy to push away boundaries to possibility when everyone is pushing in the same direction, as long as that direction is forward, and for the future, to pay our debts for those who stood in the rain before us, those who showed us we weren’t the only ones on eggshells, struggling to find our place in the world. We all have one, and humanism is about pushing forward to allow all to take the road they feel may best get them out of the rain. For the truth is, to stand in the rain is not so bad when you don’t have to stand alone. Feminism and humanism is thus motivated, by common and unique bonds, not to change the rain, but to make sure no one drowns and let those who stand know that someone will be there if they go under, because of how many people went under so they could stand.

The protest for opportunity and equal treatment is not the sigh of an oppressed people. The demand for equality is not a demand for the opposition’s failure. The solution is not proposed to be to another’s detriment. Civil protest is the war of the civilized; and the loudest warriors aren’t the loudest, but those who stop the most screaming. So put your war faces on and join someone in the rain. Heroes are those who help others stand. Heroes aren’t always on the news, nor do they get a citation for helping someone with their math homework. There’s no medal of honor for a mother of two raising beautiful happy and healthy children – a person this strong doesn’t need a necklace. They have guts, and guts is enough. You might get no award or medal or be praised for the simple act of helping another person, male or female, black or white, atheist or theist, but in a better world, in a perfect world, you wouldn’t have to pay a fine.

Poetry, its Forms and Traditions: 10 September 2015

Part 1: Forms and Traditions

As poetry is a type of music, there are, as in music, many different varieties, or styles, of writing poetry. I will briefly enumerate them in the following vignettes; some of which are undoubtedly familiar to western audiences. But others might not be as familiar. If this is a book from which you are to take instruction, I implore you to experiment which each of the following techniques and forms as you read.

          As you can trace different types of music to different parts of the world, poetry is no different. Different styles of music bear the stamp of the culture from which they come. Jazz is a distinctly American production, a production which later led to what is titled punk rock, when of course one wishes to resign expression to names. Classical music that behaves led to blues; blues evolved into rock ‘n roll, rock ’n roll into metal, and metal into a myriad of different species of music. Poetry is no different.

          Poetry has been around since the beginning of writing itself. It is an echo of the time where humans understood one another by tone alone. An example of this, to a non-German speaking listener, one can still fathom the emotional expression that is put forth in Mozart’s opera; therefore, tonal value is of great quality in getting the ambience and tone just right and then, upon revision, turning it into an atmosphere, an atmosphere in which the tone is the movement of the clouds, and the sounds become the rain that touches the reader’s heart and soul.

          As valuable as expression is, it is important to know the difference between expressing and stating. To express sorrow, the tone of the language and the contrast between happiness and sadness must be apparent. It is also important not to be entirely obvious, but it is important to be relatable. To be personal and relatable is not easy to attain. Throughout this book, after detailing the most famous of poetic forms, I will analyze historical efforts as well as modern, and to give legitimacy to my thoughts on poetry, I will not avoid showing how I put my philosophy on what poetry should be into practice.



A recent example of an abecedarian poem is Anna Robinowitz’s ‘Darkling.’ This book-length acrostic sequence details the experiences who family went through during the Holocaust. ‘The Darkling Thrust,’ by Thomas Hardy is used as a palimpsest for its structure.

          For people new to writing novels or poetry, a helpful way to begin is to map out another poet–preferably a good one–and use the length of lines and quatrain arrangement and substitute their words with your own. As one learns to play piano by learning how to play pieces by old masters, by using a palimpsest approach, by changing only the words and keeping the structure, it will become easier for you to branch off into your own territory.

          The abecedarian form of poetics is ancient and is identified by its form of usage according to alphabetical arrangement. As it is to be expected, the first line begins with first letter of whichever language it is you are writing in and succeeding lines are begun with the next letter in your chosen alphabet.

          The history behind this tradition is semitic and can be found in the religious poetry of the Hebrew peoples. It was traditionally used for compositions considered sacred; hymns, psalms, prayer. There are many examples ot the abecedarian to be found in the Hebrew Bible. Psalm 118 is highly regarded. It is composed in twenty two eight line stanzas, each for one letter of the alphabet. Another example, fast forward several centuries, and the abecedarian can be found in the medieval English poet Geoffrey Chaucer’s ‘An ABC.’ As it is one of the works of literature that would signal to the world that English was a viable language for beautiful expression. ‘An ABC’ is crafted from the translation of a French prayer (the translation being of his own doing it is thought.) It is composed using twenty-three eight line stanzas following the alphabet, excluding J, U, V, and W.

          Abecedarian poems are wonderful tools for children and can make poetry fun by turning the composition into word games. Dr. Seuss and Edward Gorey are children’s book authors who have used this form in modern times, even if it’s a modified way of doing so. Among adults still using this ancient form, it is a mnemonic device. Contemporary examples of can be found in Blue Hour by Carolyn Forché, and in Sleeping with the Dictionary by Harryette Mullet. In Forchés forty-seven page poem On Earth, the alphabet guides not just the stanzas, but the words as well.

          Languid at the edge of the Season     

          Lays itself open to immensity

          Leaf-cutter ants bearing yellow trumpet flowers along the road

          Left everything left all usual world’s behind

          Library, lilac, linens, litany.

A poetic form know as the acrostic, which spells out names or words through the first letter of each line, was developed through abecedarian poetry. In a perverse sort of effort, the intention is to reveal by hiding. In William Blake’s London, he recalls the way in which the pain of the people come to people as he wanders the shore of the Thames (a River that runs through London, among other cities in England.) In the third stanza of his poem, Blake uses the acrostic in the third stanza to emphasize jarring, terrific sounds.

          How the Chimney sweeper’s cry

          Every black’ning church appalls;

          And the hapless Soldier’s sigh

          Runs in blood down palace walls.

The way this works is that within the stanzas he is communicating with sounds and through acrostic getting the message ‘hear’ across. This is an interesting technique, despite the fact that is built on an edifice of rules, and, normally, I’m opposed to any sort of edifice in which expression is forced into a corset unable to contain its voluptuousness. Practice with me. I’ll mimic the four line quatrain of Blake’s, and within the acrostic use the lines themselves the first letter word to convey the hidden but intended to reveal word that echoes the theme:

          Looking for someone in the dark     

          Old as the wind playing the Lark

          Someone somewhere just may help

          The child climb from the darkened well.


That might not be the most eloquent of verse to which my name has been attached, but I think the acrostic’s lettered word is well-connected to the content of the verse. It’s an easy way out, admittedly, to speak of being lost only to then use the acrostic lost. So, out of solidarity, I’ll put a little bit of effort in this next one:

          To hurt is how we know we live,

          Ruin is what heaven is;

          Under a pale sky’s looking glass

          Thumbnails from some distant past–

          Helpless we ne’er seem to last.



Anaphora’s etymology can be traced to a Greek term meaning, ‘To carry.’ The intention of anaphora in poetry is parallelism; parallelism can also lead to something called non-complement anaphora. Successive phrases or lines beginning with the same word is the essence of anaphora and can be as simple as just a word or as complex as a complete and musical phrasing. Anaphora is an ancient poetic technique, and is familiar, even if by the name of anaphora, to Christians due to the usage of ‘And’ in successive lines of devotional, religious poetry–especially in the Psalms.

          Poets in the time of queen Elizabeth during the Romantic period, a period including Shakespeare and Christopher Marlowe (author of Faust,), Philip Sidney and Edmund spenser (author of the Faerie Queen.) Shakespeare used anaphora in his plays and sonnets. Line 66 demonstrates anaphora to its utmost, as he begins ten lines with ‘and,’ which is the most common repeated word associated with using anaphora.

          Tired with all these, for restful death I cry,

          As to behold a desert beggar born

          And needy nothing trimm’d in jollity,

          And purest faith unhappily forsworn,

          And gilded honour shamefully misplaced,

          And maiden virtue rudely strumpeted,

          And right perfection wrongfully disgraced,

          And strength by limping sway disabled,

          And art made tongue-tied by authority,

          And folly–doctor like–-controlling skill,

          And simple truth miscalled simplicity,

          And captive good attending captain ill:

          Tired with all these, from these I would be gone,

          Save that to die, I leave my love alone.

To continue our discussion of anaphora, it is important to remember that the intention is to produce a rhythm, a rhythm of reiteration that deepens the content by stacking words, building more and more pressure on the content. It can also intensify the emotion of a poem, make it more sporadic, make it seem more desperate. Lord Alfred Tennyson’s ‘Tears, Idle Tears,’ does this in repeating ‘the days that are no more,’ at the end of each stanza. The end line variation of anaphora is termed epistrophe, as it is an echo of a phrase instead of the voice that speaks it.

          Here is an example of a poem I wrote that demonstrates the epistrophe variation of anaphora. In these frames I won’t attempt to go into theme or meaning, only the demonstrative qualities of form. This poem is called the Malfunctioning Robot and is published in my poetry collection Counterpane and Other Poems. The classical variation of anaphora is evident in the some of the stanzas, but the epistrophe variation is used in others.

          Error, error,

          We have a problem here.

          The robot is malfunctioning;

          The warranty is void.


          It’s stuck in an endless loops,
asking the same questions,

          Getting the same answers,

          Repeating the same line:

          Wrong place, wrong time.


          Error, error,

          We have a problem here;

          The robot is malfunctioning;

          The programmer won’t answer the phone.


          It’s stuck in the same place,

          That stutters back and forth;

          Wires flicker in his brain,

          Disconnected data goes nowhere;

          In one side and out the other:

          ‘Wrong place, wrong time.’


          Error, error!

          We have an emergency;

          The poor robot is shutting down,

          Not knowing why, not knowing how:

          The programmer isn’t home.

          The robot does not know what’s wrong;

          He wants to go to somewhere safe;

          He’s never had a home.

          Random command lines drift around,

          A broken fish-bowl brain:

          Random numbers, random letters,

          Faces without a name.

          Ten seconds of power remains.

          Find another power source,

          Or you’ll lose everything.

          The malfunctioning robot repeats the same line:

          ‘Wrong place, wrong time.’

          He falls back in a chair, offline.

This poem (the merit of which may be questionable) has many elements that represent the elements of anaphora. Anaphora doesn’t always have to be a direct replica; it can be a replicated reference that evolves within the story. For example, the ‘programmer’ references would technically constitute as anaphora, although they deviate and change as the situation for the robot changes. It is important throughout the progression of a work of poetry that the refrain alter, or evolve to suit new and changing conditions within the composition. Anaphora can also be thematic without being true to repeated lines or words; it can be repeated leiit-motifs. Within the poem, although it is not classical anaphora, the repeated references to the programmer, although his position in relationship to the eponymous ‘robot.’

          The obvious anaphora in the poem, the ‘error, error, the robot is malfunctioning’ and the ‘wrong place, wrong time,’ is obvious. The reason I chose this poem of mine to represent the poetic form of anaphora is to show that it doesn’t necessarily follow the Biblical concept of ‘And,’ after ‘and’ after ‘and’ which we will discuss in turn. The point in discussing this poem is to show the versatility of anaphora within your own writing as it can reinforce thematic elements.

          There are many famous poets who use anaphora to reinforce the rhythm and cadence within their works. Howl, by Allen Ginsberg is one, as is Walt Whitman’s ‘Out of the Cradle Endlessly Rocking. It is also used by T.S. Eliot in ’The Waste Land,’ in second V; Mark Strand–all are great examples of modern poets who have found creative ways to use anaphora. In a book length by Joe Brainard, I Remember, anaphora is used in recalling his childhood in Oklahoma by starting each phrase with ‘I remember.’

          I remember when one year in Tulsa by some freak of nature we were invaded by millions of grasshoppers for about three or four days.

          I remember downtown, whole sidewalk areas of solid grasshoppers.

          I remember a shoe with a big brown x-ray machine that showed up the bones in your feet bright green.

          Kenneth Koch was so influenced by Brainard’s technique that he adapted the process to teach children how to compose verse. The method has maintained its popularity with English composition teachers for students of all ages since.

          A popular usage of anaphora among English readers of poetry who are by necessity uncultured and unaccustomed to variety and therefore drawn to what they consider macabre, in Edgar Allen Poe’s strictly superficial work The Raven, which is given more depth by those who explicate it than by the author who penned it, the repeated refrain ‘Nevermore,’ is an example of anaphora.




It is thought that the composition of ballads began in the European folk tradition, most often accompanied by musical instruments. Centuries old in practice, ballads were not originally put to parchment, but preserved as oral lit for future generations, with the intention of being passed along through recitation. The subject matter dealt with religion, love, tragedy, domesticity, and even took shape of political propaganda.

          The prototypical ballad is defined as a plot-driven ones, with one or more characters that drive the narrative to its conclusion. Traditionally, a ballad does not intend to reveal what is actually happening and instead relying on detailing crucial moments that lead to the conclusion. Quatrains are the typical method of stanzas in ballads; this technique is often employed to convey emotional urgency–wherein there are three to four stresses and rhyming either the second or fourth lines, or of all alternating lines. This style of composition is most common in the forms of poetry one encounters, as it is in the ABAB style, and, as such, provides a palimpsest which allows the transposition of one’s own ideas into an established form of poetic expression. Due to the nature of the ballad’s hidden happenings allow for abstractions throughout the composition that are to be resolved with its conclusion.

          In the fifteenth century, English ballads began making their way into print and have remained popular since. Ballad broadsides were a rich source of cultural income during the Renaissance and because of this became a popular practice, though rarely earning the respect of other authors because those who wrote ballads were referred to as ‘pot poets,’ a pejorative used to demean the ‘lower classes.’ It was considered a cheap form of poetry, easy in the sense that it didn’t require the complicated rhyme schemes or the sceptered iron mood music of bombastic blank verse, like that of Shakespeare.

          The ballad would later evolve into a sort of sport. Samuel taylor Coleridge and William Wordsworth would make the ballad a respectable form of poetic expression and both wrote numerous ballads during their careers. Coleridge’s Rime of the Ancient Mariner,’ the tale of a cursed sailor aboard a ship caught in a tempest, is a revered ballad in the English language. It opens: (Take notice of how syllable count and line separation allow the reader to keep the fluidity intended by the author while reading–we will analyze this further in another section):

          It is an ancient mariner,

          And he stoppeth one of three.

          –’By thy long grey beard and glittering eye,

          Now wherefore stoppest thou me?

          Te bridegroom’s doors are opened wide,

          And I am next of kin;    

          The guests are met, the feast is set:

          Mayst hear the merry din’


          He holds him with his skinny hand,

          ‘There was a ship,’ quoth he.

          ‘Hold off! Unhand me, grey-beard loon!’

          Eftsoons his hands dropped h.e


          He holds him with his glittering eye–

          The wedding guest stood still,

          And listen like a three-years’ child:

          The Mariner hath his will.


Writers of early ballads, such as Thomas Percy, and later W.B. Yeats, contributed to the english tradition. The ballad evolved into folk songs in America, in compositions such as ‘Casey Jones’ and the old time cowboy favorite, ‘Streets of Laredo,’ and ‘John Henry.’

          In France in the fourteenth and fifteenth century, the ballade was the principle form of music and poetry. It is distinguished from ballad, as a ballade contains three main stanzas, each with the same rhyme scheme, plus a shorter conclusion stanza, or envoi. Each of the four stanzas have identical refrain lines. The tone of the ballade was most often solemn and form, using elaborate symbolism and classical references to further its narrative.

          François Viillon was one of the most influential writers of early ballades in Renaissance France. His exacting form was checked by his limited rhyme, although he was capable of creating intense compositions about poverty and the frailty of life. Inspired by vagrancy and poverty and the vagrancy of his criminal life, his work offered up eviscerating attacks on the bourgeois and declarations about the injustice imposed on people ranked lower in the caste system.  It was a sort of ‘poetry for the poor,’ that would later be claimed of Dostoevsky, the Russian novelist about whom Nietzsche said, ‘[He[ was the only psychologist from whom I ever learned.’

          Ballades were also written by Geoffrey Chaucer in the fourteenth century. It would become popular again in the nineteenth century after being revived by Rossetti and Algernon Swinburne. Ezra Pound, a major figure in the post-modernism and a person for whom James Joyce has to thank for the publication of works that would change the world of literature (Portrait of an Artist as a Young Man, Ulysses), would later compose variation of Villion’s ballades. This poetic form is used for light verse in modernity and there aren’t many examples from which to cite as successful.



What is, in America, called the blues poem, is an extension of another type of poetry that has been around since poetry began, the lamentation. But in this chapter, I would like to discuss the tradition of American blues. It began as an oral tradition among slaves in southern America, it is believed, and is imbued with weighty themes like struggle, despair, though some of it does lighten up enough to include sex–which usually is the outcome of struggle and despair or, inversely, the cause of it.

          It has an inherent form, but it’s not set in stone. Its formal shape is an individual statement, modified by the second, and the third is usually an ironic alternative.

          It is about struggle and despair

          And can be light, about sex:

          Which sometimes is the cause of it.


          Ralph Ellison once said that the blues, though they are often about struggle and depression, it is also about determination to overcome difficulty through strength of character. Making it through the struggle is what defines the blues poem, as it begins with tragedy, and ends in ironic bemusement after it has been overcome. This can be seen as a way of differentiating between traditional lamentations and American blues poems.

          Among the many famous poets who work in this category, among them Sterling Brown, James Johnson, and the more popular Langston Hughes. In high first book, the eponymous poem, ‘The Weary Blues,’ is an wonderful example of an America blues poem:

          Droning a drowsy syncopated tune,

          Rocking back and forth to a mellow croon,

                   I heard a Negro play.

          Down on Lenox Avenue the other night,

          By the pale dull pallor of an old gas light

                   He did lazy sway…

Another good example is Brown’s ‘Riverbank Blues,’ which begins:

          A man get his feet in a sticky mudbank       

          A man get this yellow water in his blood,

          No need for hopin,’ no need for doing,’

          Muddy streams keep him fixed for good.

Kevin Young is a contemporary poet who has continued the tradition. In his book, Jelly Roll, he presents a collection of poetry steeped in the tradition of American blues poetry. Apart from that, he attained success as the editor of the anthology, Blues Poems.

          Try it out yourself. Begin with a line that states the issue; modify it in the second line, and then finish it with it being overcome.

          Sisyphus tied to his rock,

          Pushed it up all day and night,

          Until he realized he could stop.



The bop as a poetic tradition is relatively recent, originating from Afaa Michael Weaver during a summer retreat at Cave Canem. The bop is not unlike the sonnet in its framework; it is a form of poetic argument, rigidly constructed; it consists of three stanzas; the first is followed by anaphora, or refrain, each mutating to reveal a different facet in the overall composition; the first stanza is six lines long and states the issue; the second is eight lines long and enumerates on the issue. If there is a resolution, the third stanza, which is traditionally six lines long, attempts to find it. If a resolution can’t be made, the third stanza is the reflection on the failure to overcome the proposed problem introduced in the first stanza and modified / expanded upon by the second.

          Despite its youth, the bop has engendered many variations. Adding to the three stanza bop, six line fourth stanza, refrain-ending bops have appeared. A good example of how a bop introduces a crisis before attempting to resolve it is a poem by Lyrae Van Clief-Stefanon, whose book Black Swan features several bop poems. The most popular, Bop Haunting begins:

          In the evening she comes, her same unsatisfied self,
with the hard, smug look of salvation. Mama,
stop bothering me. When we argue, she says
What you’re saying is not scriptural

          You need to get back to your Bible.

          In one dream, I slap her. I’m tired of her mouth.

          I hate to see the evening sun go down.


The refrain in this piece, ‘I hate to see the evening / sun go down’ appears at the end. It is, what is called in blues guitar, the blue note; the tone of the speaker has not found a solution to the woes conjured by the invocation.

In contemporary criticism, the bop can be looked at as a formalized way of recounting a life: it begins with an issue, the issue evolves, and the issue is either resolved, or the failure to resolve it is lamented. To do your own bop poem, extrapolate an issue from your life that you have been struggling with, show the evolution / modification / growth of the issue, and then show its resolution, or lack thereof.

          I’ll give it a shot.

          My mother left me at a door,

          At a home for children poor;

          To me, to live, is such a chore.




























Cento is a Latin word for ‘patchwork,’ and the cento is a collage poem, a poetic form made from lines cobbled from other poems and other poets. Poets often ‘borrow’ lines or leif-motifs from more imaginative and skilled writers, a cento in its true form is composed entirely independent from the composers own poetic sensibility, though it can definitely reflect it in his / her choice of juxtaposition of foreign and imported sources. Examples of this can be found in the most respected of poets, including Homer and Virgil, who wrote the Odyssey and The Aeniad, respectively.

          The composition of a cento consisting of other poet’s lines can do as much to reveal the intended expression of the collaborator as that of the original writer. You can make psychological deductions regarding the arrangement and selection of verses and the poetic voices included in the arrangement of the cento to find the individuality in the voice of the person’s compilation of the work of others. You can find out if they’re a novice, weekend warrior poet–if, for example, they’re canto is littered with Edgar Allen Poe (ugh) and Sylvia Plath.

          Sylvia Plath actually had great poetic ability, and to put her in the same sentence as the morose and monotonous Poe is a sin, I’m sure, but the compilation of one’s favorite poetry can do as much to express one’s self than writing one’s own verse, if that person is without the talent or inclination to construct their own verse. William S. Burroughs went through a copy, cut and paste period that is similar in style to what falls under the heading of canto, as defined by this chapter.

          The Academy of American Poets, with lines from Samuel Beckett, Emily Dickinson, Charles Wright, and Marie Ponsot, composed the following canto, which can serve as an admirable example of the psychology and individuality that typifies the poet who composes cantos consisting of other poet’s work.

          The the Kingdom of the Past, the Brown-eyed man is king

          Brute, spy, I trusted you; now you reel and brawl

          After great pain, a formal feeling comes–

          A vulturous boredom pinned me to this tree

          Day after day, I become less use to myself

          The hours after you are gone are so leaden.

Not to be confused with the division of Dante’s Divine Comedy’s division into cantos, which were of original composition, the modern cento is less weighty in tone and often ironic, witty, or humorous, humor which comes from juxtaposition of idea and representation. This is something we will come to in due course. Contemporary examples of centos are John Ashbery’s The Dong with the Luminous Nose, and Peter Gizzi’s Ode: Salute to the New York School.





















Variable operations, or the more common name ‘chance operations,’ are methods of generating poetry independent of the author’s will. This can be done by throwing darts, rolling dice, chopping up and juxtaposing pieces of newspaper articles (as Burroughs did in his ‘cut and paste’ period), and the laying of yarrow stalks, which dates back to the Chinese divination method used to make sense of the Oracle, or book of changes, the I-Ching. Sophisticated computer programs have also been designed to randomly select disparate and seemingly incompatible work to put it together by using encyclopedias, almanacs, or famous works of literature.

          The purpose of this method is to separate intentional contrivance and allow the nature of your variable methods to speak for you; it is the poetry of chaos, and it creates unusual syntax, disjoined images and odd correlations. This sort of chaos is intended to be extractable, that is to say meaning is imported from the chaos while there was no intended meaning in its composition.

          The Dada movement in western Europe are generally credited with the development of chance operations in the early and mid-twentieth century, Paul Eluard, Phillipe Soupault, Andre Breton, Louis Aragon, and Tristan Tzara are notable. The prominent focus of Dadaism is the subconscious as they believe that the mind would create meaning and association from any text, even randomly selected juxtapositions in variable operations. Tzara’s Dada Manifesto on Feeble and Bitter Love offers instructions on how to compose a Dadaist poem, here translated from the original French: (The translation is mine, so any errors are entirely my fault.)

          Take some newspaper.

          Take some scissors.

          Choose from this paper an article the length you want to make your poem.

          Cut out the article.

          Next carefully cut out each of the words that make up the article and put them [all] in a bag.

          Shake smally [gently.]

          Next take out each cutting one after the other.

          Copy with conscience in the order they [are] left in the bag.

          The poem will resemble [you.]

          The use of chance operations in contemporary poetry has been used by the avant garde group Fluxus, poet Jackson MacLow, and the poet / composer John Cage. A good example of a poem written using chance operation is MacLow’s Stein 100: A Feather Likeness of a Justice Chair, which includes, also, MacLow’s explanations of the methods he used he used to compose the poem.

          Considering futurism, Dada, and concrete poetry, if a language is to support a highly literate culture, claimed rhetoric scholar Richard Lanham has argued, then the language must be composed of more simplistic parts. That is to say, characters which are to be the building blocks of language must be easily comprehensive and written in unobtrusive calligraphy. This is primarily due to the fact that because language is an external device that requires internal recognition, a reader must be able to internalize the alphabet and see through the characters to differentiate between representation and meaning. When reading a book, it is not often apparent that one is simply looking at marks on a paper; the awareness of the ideas that the words represent under the surface of language.

          Typographical philosophy, simplicity, clarity and transparency, dominates printed culture and has since the advent of the printing press, Lanham has argued. The twentieth century has seen many movements in art and poetry has called this philosophy into philosophy into question, using typography itself for a medium for meaning, preventing people from looking through words, and forcing readers to look at them. This is to disconnect idea and representation and make representation and idea the same thing.

          A movement of Italian futurists, led by F.T. Marinetti, in a 1909 manifest, rejected traditional expressions of art as ‘borrowed dresses.’ (The English idiom would be second hand clothes.) Among their critiques was the book itself. Marinetti called the book stale and oppressive, a symbol of what the futurists called the ‘old guard,’ which they [the futurists] were striving against.

          In the Electronic Word, Lanham wrote: ‘In a literate culture, our concept of meaning depends on this radical act of typographical simplicity. No images, colors, strict left to right then down one line, no type changes; no interaction; no revision. In attacking these conventions, Marinetti was attacking the literary totality of humanity.” Marinetti would begin by experimenting with unusual typography, creating textual and visual oddities, such as the 1919, SCRABrrRrraaNNG.

          At the same time, Dadaism was gaining strength as a coherent artistic movement in Europe, due partially because identity is adapted in three manners: alignment with the culture, rejection of the culture, or an independently evolved set of ethos and sensibilities, commonly found in orphans and the displaced. As a rebellion against traditional art forms, it had its appeal. The Dadaists were keen on spotaneity, something which I believe is of great value in poetry and prose, along with automatic writing and variable operations.

          Collages were important elements in both are and poetry until the futurist movement, and it remained important in typography. The Dadaist Tristan Tzara urged poets of the futurist movement to cut out of newspapers as in variable operations, and anthropomorphic letters were also used; Kurt Schwitters used the character ‘B’ with feet and arms, for example, and the style was also interested in poems that were ephemeral and erasable, such as poems written in sand or on a blackboard.

This sort of interest in transience is reminiscent of a poem I will come into in a later section, Masters and Masterpieces, which is the Rubaiyat of Omar Khayyam. The image of a poem written in the sand along the beach, to me, has poetic, dreamy power to it. It establishes an important element often addressed in poetry across cultures, transience and mortality. I can’t think of a more poetic way to describe life than in terms of a poem written on a beach, or on a blackboard, however passionately, it is finite, it will go away.

          Although the futurist revolution never really took over the old regime of classical forms of expression, public interest would reemerge in the ‘50’s and ‘60’s in the form of concrete poetry. These are poems that take visual shapes and can only be appreciated when seen. Reinhard Dohl, for example, wrote a poem in the shape of an apple made entirely of the word apple, save for one instance of the word worm.

          Another example of a concrete poem is Eugen Gomringer’s 1954 poem Schweigen, the German word for silence, was composed of entirely of typographical representations of schweigen, which surrounds an empty, silent space in the third line. The silent space in the third line is the most important part of the poem, as scholar Roberto Simanowski in Concrete Poetry in Digital Media, because, in practical terms, silence can only be articulated by the absence of words.

          Concrete poems continued the typographic experimentation begun by the futurists, requiring readers to look at and through language. As Simanowski wrote, ‘Concrete poetry deals with the relation between the visible form and the intellectual substance of words. It is visual, because it adds the optical gesture of the word to its semantic meaning.’

I’ll give you an example from one of my own poems:

          The Glass Umbrella, one of my most popular works of poetry, was one of the first poems I wrote after becoming somewhat fluent in Italian. And sometimes it’s necessary to orient the subject-modifier-article in manners which reflect the normal diction of other language to maintain the music of what you’re trying to convey. Another good way to maintain the music of what you’re saying is to keep time. This can be done by line by line syllable matching. This is a good way to keep tempo; to break it into faster reading, making shorter, even one to two word lines, will increase the speed with which the reader takes the music of the piece in. Another important aspect of getting poetry read at the intended tempo is ‘rolling’ from one word to another.

          It is easiest to roll words when a following word begins with a phoneme that could attach to the ending of the previous word to form an independent word. This will be important to consider when we’re considering first line beginnings for end line rhymes. When done properly, the reader will read the poem in the manner you intend it to be read in, while poor poetry may work when read in certain ways by the author, it is rarely rendered in a consistent tempo, or universal meter that makes it possible for everyone to attach to it the tempo at which it is intended to be read. Another important aspect of a good poem is intimacy. While it is amateurish to rhyme about how you feel, it is not so to, by tone and imagery, isolation of ‘blue’ phonemes, to convey a type of sadness. Theme is usually something that is threaded throughout the poem; it is reinforced by repetition, but made poignant by reconciliation and furtherance through moderation as the poem progresses. In making a poem universal and also personal, it has to be open to extraction / allegory application for those who read it. If it’s an elegy (a poem for the deceased), a personal approach can be more universally applicable as one’s own lens through which death is seen can remind one of their own and enrich it, making the poetry more relatable and stronger. Let’s consider the mentioned elements in an analysis of my narrative elegy, the Glass Umbrella:

          We are the footprints by the Sea. (8 syllables)

          The waters come

          The waters leave. (8 syllables)

          Miss Sea, you see,

          your children taken. (9)

          Children of the Sea forsaken. (8)

By keeping a running syllable count, it ensures that the lines will be read at the same speed. Using words that allow one word to roll into another adds to the music of the work, although ‘come’ and ‘and’ could not be attachment phonemes, they can be said as one word. Like ‘miss Sea, you see,’ it can be pronounced as one word, an extended phoneme that allows for appreciation of tonal quality. Repeated consonants, of the same delension, such as Sea and see, give an element of completed rhetoric to a basic statement. Independent clauses, beginning with ‘the waters’ employ a poetic construct called anaphora; anaphora is a device in poetics where certain words are repeated, usually at the beginning of the sentence, and is most obvious example of anaphora usage. Mnemonics in poetry is the usage of a term to represent an abstract; in the Glass Umbrella, the Sea is represented as a proper noun and preceded by a definite article because it is being used as both a literal sea and a place to which life goes when gone, and whence life came. The waters come; the waters leave also echoes this biological truth, thus linking the poem to the natural workings of the world and, as a eulogy, enforces the thematic elements regarding the wax and wane of natural processes. The reference to forsaken children introduces the idea of the eulogy in the first stanza and sets it up for the coming story.

          It is important to import music into your poetry to invite atmosphere. The sound of waves gives atmosphere, and footprints disappearing hints at the element of passing, and as mnemosis, it is, the footprints, our lives, and the waves are death, the death that take us back to whence we came. This cyclical nature is central to the poem. Let’s take a look at the next line, where syllogism is more direct than symbol-idea association, though the syllogism is without an unstated contrast, the conclusions drawn from this natural cycle pervade the work, and thus the apparatus of syllogism is just as important as that of mnemosis, which has a soporific effect and adds to the atmosphere. When writing poetry, to fully immerse the reader in the world, a certain part of the story’s completion relies on the reader’s ability to fill in the gaps, to fill in implications and open ellipses (which we will touch on later), and the scenes should be painted with broadstrokes, allowing for fine details to be added by the imagination of the reader. The author creates part of the work, but it is completion is only accomplished by the reader’s coloring in between the lines and synthesizing the words into a complete portrait. Another important part of poetry is telling a story that can be about yourself, but also can be extracted to be about any aspect of any person’s experience with similar experiences. The poet paints the picture, but the reader puts the frame on it. Let’s look at how the Glass Umbrella develops (remember this is a elegy written when I was 21 upon the death of a friend.)

          See me, see Miss Galilee (7)

          Bring back what she took from me; (7)

          Bring back what you swallowed whole. (7)

          The yawning old,

          And wide-mouthed urn, (7)

          Lolled on but never turned,

          Her deaf ear,

          To me,

          To hear,

          My confused shouts at her. (19)

The first line is an invocation, a request for the murderer to look me in the eyes. My friend, her name Diane, had taken a lot of pills and walked into the New Jersey shore, and Galilee was the name of a church we once went to when she visited me in South Carolina, so that’s where the title of the Sea comes from. The next two lines are anaphoric, pleas to something that can’t hear, the first being a request for what ‘she’ took from me–this is an instance in which the reader’s participation in the work is vital. When someone is gone, what is lost varies from person to person. Instead of naming something precise, the ambiguity allows the reader to substitute their own feeling of loss, and what it was they lost, and this allows them to feel with the poem instead of feel it on an intellectual level. Age is another thematic element referred to over and over again, in adjectives such as ‘yawning’ and ‘wide-mouthed’ and the lazy, lolling about. The sea is mnemonic in this stanza for death again, being a wide-mouthed earth, and is described in a way that would befit death–never turning her deaf ear, to me, to hear, my confused shouts at her. Using ‘at’ instead of ‘to’ furthers the unfeeling nature of what has taken away my friend. Confused, as a modifier, indicates the nature of how we react to loss. We don’t understand it, the why, the where they may be going, if they’re to be going anywhere, and we’re often reduced to unintelligible shouting, either in our heads or at something that can’t hear us. The shortening of the ‘her deaf ear, to me, to hear,’ lines are designed to keep the tempo read at the proper pace by the reader. It quickens the pace and brings about the conclusion to the stanza. Within the stanza, the sea is referenced to an urn; this is a way of expressing what was taken into the sea–a person–although nowhere in this poem do I explicitly say it is about someone who has committed suicide. The abstract artists of the 20th century who followed in the tradition of Vincent van Gogh believed that there was more passion in the strokes and fury of the execution than the accuracy of photographic replication, and therefore a report unedited from nature was not the highest calling of an artist, but simply a way to paint rich and famous people as accurately enough to flatter them because they didn’t have cheap and affordable photoshoots in those days. The abstraction in this poem is mostly embodied in the characteristics given to the sea which is by mnemonism addressed as the Sea. In looking for the music of a line of poetry when written in Victorian classic verse, my preferred method and the preferred method of W.B. Yeats, Oscar Wilde, and, more famously in America, Edgar Allen Poe, it is useful to read a sentence as one word and attempt to ascertain whether or not it would not sound inappropriate, or disjointed, if it was a single word in some other language.

          The poem has been given sound, anthropomorphic characteristics (related to swallowing and blindness), and deafness. The poem, being about deaf, is just as concerned with shutting down the stimulation of the senses as it is with stimulating them in the livelier sections. In later, less ambiguous narrative segments, the senses will be fully engaged and for it to work so well, to contrast death and life, is to shut down reference frames that one can avail oneself to in part, and then make them accessible when the character becomes alive again in memory. The deafness of the lost is reinforced in the next stanza:

          Without a word at all to say (8)

          She waves at nighttime and the day (8)

`        She rolls about within a dream (8) –

          The carousel goes by overhead (9)

          To it she turns her mirrored head (8)

          She simply looks to it, and all, (8)

          As we, like leaves,

          Around her fall. (8)

The silence is reinforced again, the silence from that side of this veil of tears, and movement is introduced to give the mnemonic representation characteristics of the idea’s dressing. Introducing movement gives fluidity gives it a natural feel to it, and the addition of our comparison to leaves keeps the natural feel to the whole implied cycle. To extract this and apply it to the physical process of lives, we sprout from seeds, grow and flower, and produce leaves and seeds of our own. To this sea, this urn, we’re universally the same watchful, fearful eyes, unheard and afraid of her ‘mirrored’ head; the mirrored head is not a poetic device without implication. When we look at someone dead, part of the revulsion we fear is our own mortality and this is what gives us pause, trepidation. In giving death the face of a mirror, the expression is open to debate, as it should be. There are those who believe once a mystery is solved, it is no longer interesting. Being a fan of Sherlock Holmes’s detective stories and Agatha Christies serial works, I don’t necessarily agree with this when it comes to art. Art is an elaborate door and there is no skeleton key, and sometimes the person who understands it the least is the person who wrote it. So it can be said that instead of defining what it means, I’m interpreting it. Finished works of poetry rarely begin and end in one sequential writing. When I first compiled this poem, when I sat down to put it together, I had to gather it from non-linear and disparate sources, notebooks, scraps of toilet paper. I don’t intend to speak for all poets, but it’s rarely a straightforward, linear process. And at the time, while I was generally aware of what was being said, I didn’t have the kind of understanding of poetics I have now. One thing I’ve learned from the study of aesthetics, you can use philosophy, if you’re good at it, to make something mean anything you wish depending on the quality of your rhetoric. When I wrote it, what I was conscious of was the symbols of the footprints and the sea–the footprints being us, the sea being where we’re from and where we’re going. The best place to hide a tree is in a forest, and subtlety is not used purely to understate your ideas; it’s a means by which the attentive are rewarded. And subtlety, to be honest, is most often accidentally done by the author being in tune with his subject.

          Whenever you go back to your refrain, the glue that keeps your narrative strings together, the narrative changes and evolves and your refrain has to reflect the growth of the narrative. The best way to execute a refrain and keep it memorable is to, although it’s slightly modified, is to keep it recognizable.

          The beach we leave our footprints on, (8)

          The waters come,

          And then they’re gone. (8)

          We are but footprints by the Sea; (8)

          The waves come in,

          And then we leave. (8)

          Miss Sea, you see,

          Your children taken. (9)

          Children of the Sea forsaken. (8)

The importance of rolling in tonal value cannot be understated. Internal rhyme, instead of completely relying on the end of sentence rhyme, although it is the most common. The anaphora of the first two sentences gives stability to the stability. ‘The beach we leave’ opens the refrain with two compound syllable rhymes, and if pronounced together as ‘thebeachweleave’ doesn’t sound disjointed as a word, and thus retains the music. The same is true of the delayed anaphora of ‘the waters come, and then we leave.’ In this delay, a transition article is used to denote a brief passage of time–one word is used, in this instance, is used to separate the tide coming in (our lives) and the tide receding (our death.) The next stanza addresses this in a manner intended to break the fourth wall, as it is a direct line of questioning–questions for the king in black. The pain is in the appeal to something that cannot grant your wish, nor even hear your plea. Remember the elemental mirror of looking into death and seeing oneself, this stanza presents an inversion of that idea–wondering if that king in black can look at us.

`        Ancient Sea, Miss Galilee (7)

          Can you see yourself in me? (7)

          As I see myself in you – (7)

          Glowing white and tinged with blue (7)

          Can’t you see what you have done? (7)

          The lolling sea-saw none. (6)

In matching syllable counts to keep control of the tempo at which you wish for your poem to be read, breaks between articles and end stanza lines are not always necessary. Sometimes an abrupt stop can add tension and make the closed quatrain jarring, which is something you might want to employ in horror or suspense.  The lolling see saw, which is non-perfect anaphora but effective in playing with the up and down nature that has been a thematic element with the tide, the waves, the sprouting of trees and falling of leaves; lolling was an attempted casual benevolence, not a mockery, although to a heartbroken person screaming at a loved one dead can make a world feel as if it’s turned into a mockery of your need to love and be loved.

          Passing through the stages of grief from confusion and denial and anger, we get to acceptance in the next stanza, the gradual coming to terms with something that’s almost impossible, and would be impossible if not for it’s lack of other options. When Diane died, it opened a wound, and the poem I’ve spent this chapter analyzing is just the shape the blood happened to take. Sometimes apophosis is a good way to tell a story that allows the reader to put the pieces together on their own, like a magic eye test, by telling one story through apophosis, you get your expression across, and allow the reader to make it an extracted allegory of their own personal experience.

          I see, I said, and that was that, (8)

          Standing at the shore of black (7)

          I hear my own words echo back: (8)

          In that mirror,

          I saw me, (7)

          Just  a reflection in the Sea. (8)

Continuing with the stages of grief, this stanza begins with facing the ‘shore of black,’ which was intended to be the equivalent of looking into the face of someone dead. The double anaphora of ‘I see, I said’ and ‘that was that’ is a seven line consonant non-complement anaphora and it serves, in this case, to further the see-saw / up and down of the nature de’ monte so persistent throughout the poem. Looking in the mirror–seeing someone dead from a drug overdose–was the first time I saw what would happen to me if I continued to abuse medication, and as painful as this process was, it had the effect of healing me, and seeing myself as just a reflection in the sea, in writing it, I intended it to connect me with the rest of humanity, as we are all alone in facing this natural process of our life.

Rolling, Natural Sounds in Poetry and Expression: 11 September 2015

Poetry is a method of expression. Expression, ostensibly, means to show–not say. For example, to rhyme how you feel is not poetry, or expression; it’s didactic and it’s boring. Touching on universal characteristics of the human condition is important; hope and fear, gain and loss, love and hate–it is all a part of the human experience.

          Although it is not poetic to simply rhyme how you feel in blatant statements, to overtly symbolize and make metaphor of your work is almost as bad. Symbols rely on idea association, and one of the main movements of modern art was the separate symbol from idea, idea from representation. Symbols are important, but to be obvious is to be boring. The oblique interplay of ideas allows for the reader to extract and apply allegory to their own life; allegory shouldn’t be equivocation within the poem itself.

          The best poetry not only has the ability to express without stating, but also works as a work that can successfully convey beauty with tone alone. Having fluency in another language will awaken the reader to the tonal qualities of his or her native language and, in doing so, allow them to see the beauty that certain arrangements of words can be. It has been said that ‘cellar door’ is the most beautiful word in the English language. It is unclear who actually made this claim, but once it was perpetuated by a popular Hollywood movie, it has become a go-to word for illustrating the beauty within the tone of certain English words. In writing rhyming couplets, a good way to judge the way it may sound to someone who can’t speak the language, is to see if it is possible to read the sentence as one word without difficulty. Let me offer a demonstration:

          I’m uncertain as to what makes a book on expression necessary.

          The consonant reflections do not adhere to natural vowels which would follow if the sentence rolled, in the manner I intend.  ‘Expression good’ doesn’t roll because it’s rare for a consonant, N, to be followed by another consonant, G. (It does happen, as in lingo and linguistics, for example) but adding to the diminished roll after the reflective consonant is the D that closes the sentence on a closed sound. It is a good practice in rolling to arrange words in ways that reflect single words, as in the following sentence ‘for what’ is not too far a stretch from ‘forward.’ For what I do not know the purpose for those books on prose. In the same manner, ‘purpose for’ is tonally related to purposeful; ‘books on’ is tonally related to book song.

          The sentence works as an example of smooth rolling and as an example of internal rhyme and, in addition to removing an unnecessary proposition, the line becomes more fluid, as though the words become Siamese, inseparable from what came before and what is to come after. In addition to flowing and being more lucid, it has multiple syllabic rhymes within it. ‘Do,’ (although not a perfect rhyme), ‘Know,’ and ‘prose’ connect as middle and ending phonemes and, taking away everything away from the sentence between the phoneme rhymes, the rhyming words, do the imperfect, and know and prose the perfect, you are reduced without transitions and articles to a statement: ‘Do know prose.’ Consonant pairing spread across the lines can also lend symmetry to a line: as the ‘t’ in ‘not’ presages the ‘t’ in quality. It is easy to do end-sentence rhymes of vowels, but to rhyme consonants by alliteration using internal, ellipse rhyme schemes, is much more difficult.

          End-line rhyming is the easiest form of writing poetry. But, just because it’s easy, doesn’t mean the resultant poetic expression is without value. I could make up lines of more than 20-30 internal parent rhymes, imperfect rhymes, and consonant relationships, but it wouldn’t make the statement, or expression, any more lovely. For example:

          I’m an imaginative and passionate masochist given adjectives elaborate and massive ass whoopins so bad it could land my ass back in prison. Imaginative, passionate, masochist, and adjective are three syllable perfect rhymes done over the course of the first half of the sentence. Just because of the display of rhyme ability in such a sentence is admirable, it is not necessarily a poetic sentiment. Which brings me to what qualifies as valid poetic expression.

          To be a poet, idea-object relationships have to be seen through the lens of a poet. To be a poet is to see relationships between objects and ideas that people without the poetic inclination do not. To look at a ring of smoke and see the essence of life is the type of idea-sight association that a poet would make, because there are layers to this idea. A ring is cyclical, like the cycles of life and death, the coming in and receding tide; the fact that it’s blown into being and lingers briefly before fading also links it to the idea of its relationship to life.

          It is important to keep in mind that, as important as it is to keep meter, for the sake of maintaining musical quality, nothing about it should be forced. If you are resigned to a specific meter, it is important not to be hasty in putting thought to paper. It is said that the poet Virgin, author of the Latin epic the Aeniad, wrote only two lines of poetry a day. When you’re under the impression that it is necessary to wait for inspiration to write good poetry, the best advice is to write on anyway: inspiration doesn’t always come when it is needed. If every writer who ever penned a master piece waited on inspiration for every page, the amount of masterpieces we have on record would be cut in half. Frank Herb, author of the acclaimed science fiction series Dune, said of writer’s block (I’m not aware of the price quote): the important thing is to write anyway, for when you look back, if you forgot all memory of the composition, you would not be sure which parts came to you while inspired and which came to you while uninspired. There’s something dangerous about inspiration, too.

          Inspiration should come to you as you’re working. You don’t get past writer’s block by waiting on the fence to be torn down, you have to break through it yourself by writing. If you waited on inspiration to write, you’d never get anything done. By the time inspiration does arrive, you should be too busy to notice. There is a dangerous quality to inspiration too; inspiration is like a drug, and certain drugs can lead you into self defeating cycles: professional writers will know what I mean when I refer to the re-write cycle. There is a tendency to stop while you’re in the heat of a good section to go back to the beginning and check out what you have so far. In doing this, you lose what future was going to come naturally before you stopped, and can be locked into forever trying to improve what you’ve already written. Be wary of this; it is possible to fix something until it’s broken. Jack Kerouac famously believed that re-writing was a censorship of one’s self, that re-writing was a cheat that altered the original expression for the sake of making it more decorative, more intentionally pandering to the sensibilities of one’s perspective readers. Ginsberg, author of the famous poem Howl, was always revising, always looking for le just mot (the perfect phrase, as it is said in French) and considering his success, I would not give my support to one extreme or the other.

          Another dangerous thing about inspiration is that it can lead you into tangents that, due to your confidence, will lead you so far away from the actual novel that, when working with a copy editor to produce a galley proof to send to a publish, it can look like an out of place, drug induced tangent that, in reality, was the moment you were lead astray by the confidence that inspiration can bring. Like a drug, it can convince you that you’re doing no wrong. Therefore, I would say that while inspiration is a good quality and excellent motivation, it is just as important to write logically and with a clear focus on where you’re going.

          When you go back to the beginning and start trying to improve, you begin to take the story out of a linear progression, because ideas intended to come later on are slipped in unknowingly, and as it is easy to do this, it is easy to forget what you have already said and, in all probability, have said better. Expression should be as natural as breathing; breathing is not a practiced process. Serendipity comes to those who summon her through great effort, not to those who wait on her to provide them with everything.

          Symbolism and metaphor are wonderful tools to use in poems. But the reliance on heavy, weighty symbols and metaphors, as well as the deplorable usage of using ‘like’ to relate one object’s essence to a train of thought, can trap you into expressing the ideas of symbols, instead of symbols used to represent ideas. When I say the reliance on symbolism in poetry is dangerous, I only mean to say the reliance on often used symbols to represent something is dangerous. Poetry is the expression of the personal, but it should have the touch of the universal. That’s why when I am writing I take great pains not to use ‘I’ as much as possible, to use ‘I’ in writing a poem is a way of separating your poetry from the reader. Sometimes it’s unavoidable, but it keeps your writing within the three walls.

          The forth wall is the final barrier between true art and kitsch.

The Royal Reflection – short, 10 August 2015


ELANORE WAS BORN TO A ROYAL FAMILY IN THE NORTHERN-MOST TIP OF what had been Padania, in northern Italy, having come into being by accident. As Elanore lost her sight, and as she gained it inexplicably.

As an infant, before she could remember anything else, her handmaiden had burnt her eyes while straightening her unimaginable curls. And being in the part of childhood forever forgotten, she had a happy childhood, ideal, fool of love. She liked her toys, milkmaids and moo-cows. Quite happy she had been too for so long, for all her life, until she strangely woke to find a flame that seemed to speak:

“I think she’s in the country…”


She screamed as she realized what was happening. Seeing, she knew that she was seeing. It built from the center and expanded out with the width of the room, that white mantle and what a beautiful device! A clock, she’d never seen a clock, never seen a minute pass. Her father turned to face her.

When she saw him she remembered his face. Somehow, it was right. Yet everything was blinding to her there, in that moment in the morning when the sun has intruded into the bedrooms blessed with open blinds. She fled from her room into the darkened corridors of her family home, almost a castle—save for the cruddy gray bricks – this was wood, and smelled differently in different halls, having been a way for Elanore to find her way to the chamberpot room and to sit on the sell de banne.

She ran through the halls assaulted by the shapes and colors that rose out of a black mist just outside of range, a blackness she didn’t understand. Guards young and old passed the wild-eyed child as she fled that those stony corridors, lit by torches dwindling, spent as the veil of night had rose.

Nothing shook the feeling that the world was somehow wrong, the colors off; she tried to squint to take it in, subdue the light, to conquer it, to shut it off, hoping she could tame the sun, make it relent. And she came upon a mirror. It was her, she knew by instinct, as she had known her father’s face, despite never having seen it. But everything was wrong in the reflection: the eyes and hair and her complexion, chestnut colored eyes, a lovely brown, dark hair still curled – as her maid had no chance to have pressed it. She began to think – how strange! her eyes could lie, how strange a thought.

“She’s in the country…”

She heard the distant murmurs of approaching horses, her father calling out:

“Alissa!” he called. And others with him: “Signorina Alissa! Signorina!”

The retinue of men, in strange dress and manner, approached her, slowing down. The horses, what a sight! for new eyes beyond belief, such strange machines, covered in hair, larger than she’d have thought. Her father dismounted and ran up to her, pulled her into his arms and turned to walk away. He saw the mirror and turned around. He said: “So what did you think? Aren’t you the prettiest little girl in the world?”

No, she thought – she didn’t say it – she’d never thought of such a thing, a mirror that is – why would she, how? How could she have been told, and why tell the blind that such a device existed, knowing they’d never see themselves? He told her what it was, a mirror. She was intrigued and asked. “Papa,” she said, “Are there other mirrors? Better mirrors? I don’t believe it worked, the one I saw.”

“Of course,” he said. He dismissed the other men, helped her onto the horse. He made sure she was secured and hopped in front of her. .

“Hold on!” he said. She wrapped her arms around him as the horse broke into a gallop. The sky she’d often heard was full of clouds and birds was empty then and barren, an ocean she had thought, an ocean without end. And the moon hung like a thumbnail above distant treetop. They rode toward the castle and must have taken a more scenic route. She saw such things beyond belief: birds in flight, rolling hills and vineyards, bright and strange. Back in the castle she felt lost; She’d made her way around for many years without help. She held her fathers hand and he led her to a washroom. Another mirror, oblong with a gold frame above the wash-basin. Something was off; It was wrong as well. She looked away. In her father’s bed chamber she found another, a smaller vanity mirror, wrong again and so on: mirror after lying mirror; she didn’t trust the glass. They stopped for a moment in a gallery, a well-appointed, spacious room, comfortable chairs and divans. Each picture, each painting, she thought was an honest mirror, mirrors she could loved.

He introduced her to the family; his father then his uncle, distant relatives, the rest, and then her among so many, how few with that same hair and eyes, no other was a true brunette. The painting had it right, she thought, and each mirror had been wrong, imperfect glass that lied or changed to spite her. She said as much, asking her father,                                “Could you show me a better mirror?”

“A better mirror?” he asked.

“Yes,” Alissa said. “The best! Only the best. One that is as accurate as this.” She indicated the painting and smiled.

“I will in the morning, sweetheart.”

“You promise?” she asked. She took his hand and swung it back and forth. “Do you promise? Do you? Do you?”

“Yes dear,” he said. He smiled. “There is someone I can see. I promise.”

He never lied to her, and a promise she could count on, unlike her mother.

“She’s in the country…”

They were quiet at the dinner table. It was too long, she thought. The table, feeling lonely, a new feeling for the dinner table, a feeling she had not felt before. Two men in uniform stood on opposite sides of the dining table with white kerchiefs draped over their wrists, on call. She finished her meal, they took it away, and her father finished, and the table was cleared.

“Are you ready for bed?” he asked.

“Not yet,” she said. “I want to see the prettiest thing you have.”

He took walked toward her, took her hand, and said, “It’s not in the castle. But I’ll show you. You’ll love it.”


The night had crept up on them quietly, bathing the now dim dining hall, its candles blown out and left smoking. That candle light, those flames still seemed so personal, like living things. And she liked to watch them as her father spoke, to relive that moment when she first awoke again.

He led her from the dining hall through winding corridors with torches hanging on the walls. The shadows thrown, such strange patterns, with light and darkness split by lanterns. The castle doors came slowly slowly down and moaned. Everything seemed to make some sound or sounds, as if they spoke, not as a consequence of movement, not for her, but from personality; the doors were old and groaned but did their duty still; they had purpose, as all things did, all personable and alive. Soon they were in the courtyard, and under the canopy of distant lights, the stars! There they were, scattered in that endless ocean, stretching on and on forever, without end. A black ocean full of fire, anglerfish with entranced planets, hypnotized and trapped by its spell.

So much to take in, so very much! So much she knew she’d never know, never could know, never hear of all of them nor their names, and silent all of them, so far away like all of space and quiet, She fell asleep underneath the constellations as her father spoke, imagining those distant fires as candlelights themselves, with the same voice.

“And that is Ariene, and Toros, and Pesci there, and my sign Acquario, your mothers there, Gemelli, and yours..,”

Alissa was fast asleep. Dreaming in color, too; she was a fire like the rest; and spoke to kids as that same flame that managed to light her life, bring her the stars; among them now and uncontained by mirrors or frames unbound by math just change; never stopping endless never still. Breathing and stretching in such freedom with such relish, a longing she had never known and it went on. Sparks struck into flame and swelled orange at first then red, then white and finally blue and bright bright beyond compare it flashed and ebbed away. One after another flaring into flame and life just to subside as had all others growing faint, growing dim each light, each point she had just slept under in such peace. Each point followed in its fashion, some larger and some brighter yet none of them were lasting; finally they were far away, as far as they had been when she had listened to her father. She heard him speaking, voice of the last stars each fading, ever darker, ever gray. She woke in the comfort of her bed. She could hear father talking to someone, a woman; the voice was familiar.

Alissa heard her father say, “Whatever you ask,” he said. “It’s yours.”

The woman walked into the room. Alissa’s father followed close behind, “I have something for you…”

The woman held an object, egg-shaped on one end , straight on the other; cased in black satin, tied at the hilt with a golden tassel.

“This,” said she, “is very special, a magical object. Your father said you wanted the best of all the mirrors, best in the whole wide world, is that right?”

“Yes, ma’am,” said Alissa.

“Well,” she said, “look at this!”

The velvet sheet fell to the floor as a glittering object, mostly silver, slid from it into one hand, then to both. The glass was more liquid than solid, unusual and restless; the mirror moved—the mirror moved! Changing shapes and changing colors always shifting restless, so it seemed. The woman said, “This is a very special mirror. This mirror tells only truth, while other mirrors only show what’s real. This will show your true face no matter what, whether you wish to see it or not. It is a camaleonte, alive… Do you know that is?”

“It is a lizard,” said the princess. “A chameleon.”

“Yes,” the lady said. “This is the Chameleon Mirror.”


The young girl nodded.

“But,” she said, “Pardon, ma’am. Could I see it work before I try it?”

“How clever!” said the lady. She had a toothy smile. “Do you still have your dolly?”

Alissa looked around. She hadn’t thought of toys, not since she woke at least. She didn’t know how to find them, not with her eyes. She lay back as if to sleep, pretending for a moment, and replayed her usual routine. She sat up with her eyes closed then felt her way around, out of the bed across the carpet, onto the wooden floor, then to the corner. Her old toy-chest, made of soft-wood, had a cold, metallic switch and buckle. She groped about until she found a wooden doll, a dairy-made she’d never seen. She opened her eyes to finally see. The shirt was white and bilious, the dress was red and wrinkled; her shoes were black, her stockings white. Alissa walked across the room and sat down again. The lady smiled. She took the doll and said: “My daughter had one of these!”

She placed the doll in front of the mirror and – the mirror moved! The mirror moves, Alissa thought. it changed from an amorphous shade of neutral grey and blank and bit by bit became defined; sketchy at first then color sprang into life coloring the face. It looked different immediately, but Alissa didn’t know exactly why or how. There was a discomfort in the face, an emotion, a pained expression somehow. Alissa looked at the doll in the mirror, then to the real doll; at first glance they seemed the same, but the mirror gave it personality; it told the truth by some strange voodoo that the real doll for some reason could not manage. The reflection in the mirror was more true than the milk-maid’s face.

“Well?” the lady interrupted. “Would you like to see it work on you?”

Alissa thought for a moment, wondering truly, wondering what question she wanted answered; none, she thought, had troubled her before she woke to find the speaking candlelight.

“I want you to look!”

The lady’s smile faltered a bit but did not fail. She said, “Of course.”

She turned the mirror to her face. It sprung to life again, shifted from a settled palette, undefined, and bursting colors sprung from beneath the liquid surface and hurried into place, each more definitive, putting the face together bit by bit as she looked on. A lively woman appeared, not unkind nor kind, came together dot by dot, color by color until the surface settled into a stern, more wistful countenance. The face was younger, much younger, but the eyes were older, weary and tired but sharp, acute and penetrating. She became beautiful through that same magic. And Alissa took the handle but the lady grabbed her hand.

“Are you sure you want to see?” she asked. “If you look, you can’t take it back.”

And without thinking she said yes, compelled and egged on by that magic. Alissa took the handle into her hands and held it up to her face and focused. Colors rushed from the lining silver toward the center, dark colors first, the outline in dark colors then new colors softer, beige and lesser brown, each softer, more subtle shades all marching towards a growing image. And the face with currents shifting settling, colors barging into one another, merging, and finally settled. She looked into the eyes on the mirror’s face, her face. It was … was it? Was it?

“Take it away!” she screamed. “Take it away!”


Alissa pushed the mirror away and covered her face, holding her eyes shut tightly. Her father sat beside her. The lady – she could tell through each small sound, still at strange heights – began to redress the magic mirror. She couldn’t shake the image bu she tried, for hours hoping, praying, begging, wishing that when she slept she’d lose the image, the whole thing would go away, like a memory from childhood of a small moment, a moment no one notices or remembers; filling a bird-feed, changing the hay for the horses, something routine, something ordinary.

Her father stayed with her until the sun went down. She felt her father’s heartbeat against her shoulder, tender and supportive. She felt silly and opened her eyes. His eyes were closed, but he seemed calm. Calm enough, at least. And he put his head on her shoulder, looking, she knew, for some sort of support from her.

And she said, “I’m sorry.”

He laughed and asked:

“What did you see?”

“The painting,” the princess said. “It just didn’t seem like me.”

“It’s okay,” he said. “It’s okay.”

She’d find out later to her shame the kind of fee her father paid for a mirror, for such magic. The price for her to get to see had cost her father’s sight. She thought back to that night with him, leading him outside into the courtyard and then on the hill under the black velvet blank full of stars. He got comfortable on his back. She wanted to show him she remembered, the stars from the night before. She put her finger on his stomach first, “I remember,” she said. She pressed into his stomach, “Here is Ariete,” she moved onward, sideways, “And Leone right here,” she kept on drawing. “Pesci of course and your sign Acquario, that’s yours and mama’s sign is here, Gemelli…”

“Wait!” she cried. “Where is my mother?”

“She’s in the country,” he said. He repeated a few more times and was quiet. She understood and never asked again. She continued with the constellations on his stomach, on his chest. And when she stopped, he said: “You forgot yourself.”

He pulled her hand above his heart and said, “Right here.”