How to survive a bohemian lifestyle

It should have been nothing, just a picture of an evil man holding up a cat, a peevish animal that looked more like a Pomeranian in the early stages of rigor mortis, unnaturally stiff with dull, sunken eyes, than a feline. But behind the man loomed a woman, huge, over six feet tall at least (though the man, kneeling in the middle of a dirt road, was of indeterminate height; perhaps the perspective was off). She leaned over his head, her pendulous breasts forming a cushion, a pillow, behind his thinning scalp. The woman’s body, a blurry backdrop to his, was crawling with tattoos, a fest of fists and skulls and wrinkled barbed wire. She was clearly going through the usual middle-aged skin deterioration. I reflexively ran a hand over my over-tanned arms in solidarity.
He looked as if he were about to lie back and sink his head into her ample chest. I’m not into tit comparisons. I’m fine with what I’ve got. Still, I could imagine the scene afterwards as he jettisoned the cat (maybe it was stuffed?), tossed its stiffened body into the gully by the side of the road, or placed it beside him as though it were “sleeping,” before burying his face in her cleavage. There would be kissing on that road, tumbling in the dust, and all I could see was her face, that fading pixie face, all hidden-eager and faux-tough, and been there, done that and I knew just what she wanted, 25 years after her the first ink job: a punk pregnancy. I could feel the ache, the desire, coming off of her and I wished I could reach out and give her a hug: he’s not worth it, sister. You’re fine on your own. A baby isn’t the only thing that makes life meaningful.
I run a photo blog that’s all about how to survive on bad memories. The pictures aren’t mine. They come from my public. My market research tells me that they’re mainly INFJ neurotics like myself, you know, fucked up, insecure, emotional. What people don't send me: funny pictures of people sleeping with wild animals. What they do send are arty images. Erotic arty. These people are into clowns. They are into daddy-complexes, and sex in the woods (naked ladies sneaking around cabins, sex in cabins with small children present – I don’t post those). But the majority of them are into feet.
We’re not talking hot porn girls with their feet in flip-flops. No, these images come with stories, narratives penned by people with borrowed souls living on borrowed time. Or that’s how one of them described herself, anyway. The feet aren’t just bare, they are bare feet at the airport. In the jungle. Over the edge of a cliff. They’re dirty and in the street. They’re impaling themselves on briars. Or nails. Or thistles. One black and white foot (the ankle so delicate I wanted to snap it in two) was so buried in sludge that the only hint of foot was a patch of painted nail, gleaming and pearlescent in the muck.
I don’t post them all. I bounced the image of bare feet trampling a face, some grimacing man in 80s fashion grandpa pajamas – you could tell from the frayed paisley collar – to the sender, someone whose email address was 12yearoldcodfan@gmail.com (yeah, right). The image was too personal. It brought me back (bad memories, remember? most of my contributors don’t, but I post the stuff anyway). My mom with her gray-white hair, mistaken for my grandmother yet again, my dad in that too-tight shirt, his eyes glassy, with splotches of mud on his cheeks and lower lip – the fissures were just starting to show in the armor of his steely personality.
I don’t like to think about it.
You know why I do this? I want to tear down a wall of feelings. I want to own parts of myself that have been traumatized since childhood. I really don’t give a shit about barefoot freaks or people playing footsie in the bathroom. I am sick of the bun still lifes, of the shoeless men on the corner with their heroin-dark circled eyes. I am through with it all, these photos with their creeping existential soul-crushing dread.
The last picture I post will be of me, a reluctant room mother who plans parties I don’t want to attend. I will pose with my middle finger up, a glass of liquor in the other hand, a handgun tucked into my waistband.
And then I’m quitting my job and going to culinary school.
Image: My feet.
Search terms used (and sometimes adapted): creeping existential soul crushing dread, heroin dark circles, picture of evil man holding cat, 12 year old cod fan, 80’s fashion grandpa pjamas, an animal that is peevish, buns still life, fucked up insecure neurotic emotional, funny pictures of people sleeping with wild animals, fissures were beginning to show in the armor of my steely personality, I quit my job and went to culinary school, infj neurotic, kissing on the road with sleeping, people with borrowed souls, Pomeranian rigor mortis stages, punk pregnancy, clowns weird writing prompts, middle aged skin deterioration, middle finger up wit liquor in the other, mom gray white hair mistaken for grandmother, reluctant room mom parties, naked lady sneaking around cabin, pendulous breast lean over, sex in a small cabin with children present, tit comparisons, “daddy-complex” tumblr topless, how to survive a bohemian lifestyle, how do I tear down a wall of feelings, how to own parts of myself that have been traumatized since childhood/getting whole, how to survive on bad memories, porn hot girls in feet in flipflop, footsie, footsie in the bathroom, barefoot freaks, bare feet at the airport, bare feet jungle, bare feet on concrete, bare feet over edge of cliff, barefoot bed of nails, barefoot dirty feet street, barefoot face trample, barefoot in briars, barefoot in sludge, barefoot on thistles.
Fiasco

I’m not a car person. I grew up with clunkers that didn’t tell you when it was time for an oil change, with gas gauges that didn’t work, or windshield wipers that flew off in fits of pique at the first drop of rain. Sometimes there was no car, so my mother and I walked or took the bus. For a short period of time she chugged around Smithburg on a yellow moped. No car is fine with me, though it would be a pain to live that way here, with the children and our various needs. Still, since I don’t drive, I should be able to live without.
Like the character John Self, Will drives a sporty wreck of a car, temperamental, expensive to maintain. Will's car is white. There are a lot of white cars around here, dirty white cars sooty and grey like city snow; white cars more cream than blank sheet of paper; white cars with mufflers pulled to the edge of uselessness. Shiny new ones. Scuffed and rusty old ones. Most of them look alike to me. It was only lately that I committed Will's car to memory. He drives a Fiasco.
The Fiasco is about seven years old, all rounded edges, a memory of aerodynamics, sad with former glory, the track star gone to seed. Until I memorized it (the tail end -- he is always driving away), I thought that every white car belonged to him, that he was waiting inside, that maybe he saw me as he passed, even though he never saw me at all, or maybe his vision was spotty, he saw parts of me so clearly that I might as well have been under a microscope, but the rest of me was covered over in fog, in a haze of want and assumption.
Apparently his white car is failing, along with the rest of his life. The women that don't show, the clotted business deal holding up his money, the child who ducks his phone calls -- they've taken their toll on his body. Stop telling me this, I tell my friends, I don't care anymore, but I still listen for the rumors, the updates. He's not looking well. His skin's gone yellow and he's returned to the annoying habit of pulling at his ear lobes. His belly hangs over his waistband. None of this seems to bother Will, who shuffles about with his usual sang froid, a man trapped inside his own head. I vacillate between sad and thrilled at his decline, remind myself of his tenderness in still moments, the way he took to my care.
He still invades my dreams, inserts himself into my sleep, though never in his car. He is just there, cagey, waiting, the knock at the door, the sudden appearance on my couch. He pushes his way into my space. He tells me how it should be.
I remind myself that the characters in our dreams are actually parts of ourselves, that we need to look at them for how they function in the dream, not what they may be in real life. Still, this morning at 2:15 a.m. I woke up angry, my psyche and emotions cut open from within, my composure slashed and my worries spilling out.
I left him in the shabby apartment with the crowds. They all wanted something from me without giving anything back and I decided I had had enough of that to last a lifetime. And then I woke up.![]()
From the prompt "The car."
I stumbled into the Round Robin late this go round, replacing someone who dropped out. But I don't have the time to post daily (which is probably better), so the writing prompts will be occasional additions to the blog.
Image by a fool, a girl, a gullible dolt.
Ringing true

Nora led me on the slow walk along Dwight. She concentrated on sidewalk scents, the deep contemplative sniff, totally ignoring the grumble and gunning of car engines and their acrid exhaust. She’s getting older and I cut her some slack, let her enjoy the spicy roots of roses and street trees, the metallic bitterness of security gates. Outside the store, I tied her to the stoplight post, knowing from experience she hated to be left out. She jumped and barked and pulled at her leash as I entered the double doors.
Bamboozled is for last chances, last-minute alcohol, milk for when you run out, bananas for a burst of health after the fried fish sandwich. Most people come here for six-packs and lottery tickets, for the cigarettes behind the register.
The girl at the counter, glossy black hair, cinnamon skin, was speaking into a mobile phone in a language I didn’t know. Somewhere behind her my pack waited, anticipating the tap-tap of nervous hands, the ceremonial unwrapping of cellophane, my trembling choice: which one would burn first? Even through the closed door I could hear Nora's yelps. The girl made eye contact. I put an empty hand to mouth and inhaled deeply, pantomimed the satisfaction of holding and releasing smoke. Phone crooked between ear and shoulder, she turned to the cigarettes, letting her hand pass from brand to brand. I nodded when she got to Camel Lights.
This was the start of my escape and I noted the details: the dog's distress, the store's faint odor of disinfectant, the rows of 12-packs in the sunlight, the layer of dust on the cans of Coco Lopez. I dug into my back pocket for a ten and one of my fingernails bent against the denim. The girl and I slid our offerings across the counter, my cash for her cigarettes. A pale scar divided the back of her hand in two. Someone stuck his head in the door to ask if anyone knew whose dog that was, the distressed one tied to the post? She's mine, I told him and ran out to Nora, leaving my change behind (oh, her dance of recognition, of joy in not being abandoned she gave as I freed her from the post). We continued our walk to University, past Indian restaurants, cafes, and small grocery stores, turned left, and went to the water.
Cesar Chavez Park, a former landfill, juts into the bay. The grass is uneven, the ground underneath lumpy and booby-trapped with gopher holes. As Nora obsessed over gophers and ground squirrels, I looked across the water. San Francisco glittered in the distance, a taunt for what I could never have, another thing to bemoan, and my chest ached.
But suddenly the feeling changed. This is the mystery, the real topic of fiction: that moment of change -- is it a moment? A process? What brings it on? What is the key to the transformation? Did the kites flying above push me toward acceptance? Was it the family picnicking near us, two silent and exhausted parents watching their chubby toddler rip up handfuls of grass? Had I been working on it unconsciously all along? This was when my heart shifted toward truth and yet I can't get at the truth of the moment, at least not here.
As we left the park, I sent the pack of cigarettes sailing into a trash can, a sacrifice to note my sacrifice, an acceptance of the delicate balance in my life between ambiguity and love, novelty and stability, lightness and darkness. Cleansed by bay breezes, baptized by the city's exhaust and the hum of the highway, Nora and I returned to the humid familiarity of home.
That night I woke to chains dragging and ghosts howling, the sound detritus of a rowdy party up the street. But I was having a dream, too, of coming to the edge of the impossible, flirting with it while knowing it was impossible. I kept changing my clothes, rejecting my outfits, my disguises. Nothing fit or it was dirty or ripped, long out of style or season. The impossible and his progeny waited for me. In the end I told them to go on ahead. I would make it to our destination on my own in whatever identity fit.
Yesterday morning I did tell my husband I was going out for a pack of cigarettes (har har har). It was day four of the boy's illness and my husband was also laid up (and continues to be) after hernia surgery. I felt trapped by other peoples' needs. A dog walk, some studying, some time almost-alone, and a little more sleep helped shake the feeling. There is nothing to escape. This is my life and I am committed to it and to whoever we will become, me, the man, and the boy.
Besides, I already have a pack of cigarettes in my desk, a remnant from the truly horrible spring of 2011. The pack is almost full. I’ve never finished a cigarette. But I like the fact that it is waiting for me in a drawer, that I can take on the role of rebel or angry girl or self destructive harpy without taking it on at all. Because I am not any of these things.
It doesn’t mean that I can’t return in my mind to the time when home meant my erasure, that I can't wear the dark coat and scuffed boots even on a sunny October day. The cigarettes and stories act as a pressure valve for my dark side. I dance with the impossible in my dreams and I return to reality when I awake. In my first version of the cigarette story, the fictional me got to the edge of the bay and kept on going. The water submerged her. The dog barked as it swallowed her up. But there was no point to this ending, no transformation, just the further disappearance of self.
It didn't ring true.
I got very absorbed in this one -- probably best to think of it as a work in progress.
Image by meddygarnet.
The love object

It’s brutal, this game. I’ve dressed as if we are at war, at odds, and who is to say we aren’t?
My heels click click on the steps. The drink leaves a muddied circle on the concrete. I press the glass against my cheek before taking a sip.
Your car pulls up without a sound. I hear your skateboard hit the sidewalk in a sudden stop. I could tell your step and whistle anywhere. You are clean and fresh. You are musky with a day’s work. Your hair is curly. It is dark. No. Gray and straight. You have no hair. Your white shirt is still crisp at the cuffs. Your t-shirt is deep red, the color of passion. We kiss until I have to take a breath. I greet you with a stinging slap. You push me back. I see you and can’t stop crying. You never arrive.
(In the black and white movie, the woman waits all afternoon. She stubs cigarette after cigarette out on the steps as the shadows lengthen. She refills her drink until the mint runs out and her thoughts run together. No one is coming home. The house is an apartment, the skirt is borrowed. Her legs are nicked, her hair unwashed. A decoy without a mark, a lie within the fantasy.
He was tall with strong ankles. Small with thin wrists. His eyes were hazel. Brown. Blue. Brown again. She didn’t know how to characterize his eyes. His gestures swept the room. They swept her off her feet. He followed her for weeks until she finally turned around and said “So.” They had been friends since grade school. He had a British accent. His family was from Puerto Rico and he trilled his r's to make her laugh. He told lies that were more delicious than the truth. He prided himself on his directness. He led her down too many paths, all of them wrong.)
I created you in my mind, all of you, fantasies that I still return to. I conjure us up, how we would be now (the simple life in a small town, the one with fights that underwrite the passion, the lap of luxury, the comfort of small things, the sudden pull of little old me into the big wide world). But surely you did the same? I was the bad girl, the good girl, the available girl, the damsel in distress, the buddy, the relief pitcher. We create the love object in the hopes that it will stay unsullied, that our image is clear and shining and true. We are wrong.
I don’t know how to think of it anymore. Love. It exists and I have to give it credit, the eternal optimism, the quick attachment of the heart, the lack of logic, the call and response of bodies. But it does me no good. So I stop feeding it, I let it languish in a room with the shades drawn, knowing that resurrection in another time and place is possible.
My poor foolish heart.
Image: Me playing dress-up.
For those keeping track -- I have a driving lesson tomorrow morning. Gulp.
Two rooms

Wood is complicated. Warm. It is direct, sure of itself, with no need to put layers of paint between it and the world. She rubs her hands across it for comfort and reassurance. A circular oak table, the type with clawed feet at the end of its curvaceous legs, a walnut roll-top desk battered with age and use, a birdseye maple vanity with its mottled grain, remind her of a man who knew what he was doing. He wielded saws and hammers and drills, coaxed rounded shapes out of flat boards with attention – the lathe, the sander, his calloused hand intimate with chisel and splinter. She swept the sawdust out of his woodshop, saved it for the creation of flame, tossed it in the compost, breathed in the sharp rich scent of life that permeated the room.
There is no wood in this room, or at least none that hasn’t been choked out by paint. Everything is glossy, her thoughts bounce off the surfaces and back to her, mangled on the return, emphasizing her aloneness, her single quality in the emptiness, the only other living thing to exist.
The man was strong. He used to carry her high above his head and twirl her around. She protested, as anyone would, as she giggled. She couldn't stop. The confusion between yes and no was forged here, along with the paradoxical nature of the tickle, the way being pinned and tortured had an element of pleasure to it. Still, she turned off her skin. She stopped feeling the sensations. She locked herself inside her head, made the room with warm wood furniture and soft dark fabrics.
It is a comfortable mind, a retreat, a place where a fire burns contained in an open brick sarcophagus, chaos in a box. She sits in the overstuffed chair with a cat on her lap and another beside. The dog snores in his corner. People don't give animals credit for having emotional lives, she thinks. It's not as simple as dumb love and loyalty, and in her head she can acknowledge that, be open to it all, to the differences outside her perceptions.
She pages through a book of photographs from the past and watches the people come alive. She runs a cool hand up and down the inside of her arm until the goosebumps start. She closes her eyes as the fire crackles and the sun streams through a closed window. Outside there is weather. The trees struggle silently against the wind. Dead leaves dance across streets. Unsecured doors swing open and closed again and couples fight in person, on cell phones. They have silent conversations, the words felt rather than heard, and hold hands across great divides. She sits. The fire accepts her handfuls of sawdust, her sacrificial logs. In another room, cold and hard and bright, the other part of her waits in chilly silence.
From the prompt "Minimalistic." I wanted to call this post "Fuck Minimalism," more because I am in a foul mood than for any other reason, but that didn't seem appropriate.
I'm posting every messy Round Robin prompt, a prompt a day until the RR ends. This one took a lot of editing, in part because I am tired. Nora-dog chuffed in the stairwell at 12:30 a.m. I finally went downstairs with her to see if there was anything to chuff about and opened the door to the back room where Nick the cat was mysteriously sitting (it's a no-cats-allowed room, for good reason). I evicted him before going upstairs. Then my brain raced here and there and THEN a car horn, constant and sharp, faded in and out of the bedroom until it finally stopped. I got back to sleep somewhere in the 3 a.m. hour and was up again by 5:20. I'm so tired that I am going on and on about this. And because no one in the house is up yet, anyone who has gotten this far in this long and boring paragraph might be among the first to know about my night.
Image by geoffbarrattgeoff.
Sound barrier

First it was the people, with their yammering, with their jabs and petty squabbles. Leaving them behind was no big deal, considering how little I interacted with them anyway. And I took it slow, stopped asking folks at work how they were or about their weekends, about their perfect children. I didn’t make eye contact when I walked the halls, the street, the parks, the supermarkets. People respond to feedback or its lack. They didn’t know what my game was, they didn’t care or notice or even think about it, until finally I lived in glorious silence, alone, unmolested.
I even turned the sound off on my television set. I watched the faces of the actors, the anchors, the grinning and grimacing idiots on the commercials, and tried to interpret the action without sound. This gave me the idea of walking around with earplugs. I practiced in my living room, my ears stuffed with a magical synthetic, pliable and complete in its blockage, a sound barrier. I danced to music by feeling the beat in the floor. I held my hand against the walls as they trembled with treble and bass. I watched the phone quiver in its cradle.
Living without using your ears is not easy. The cues we get from sound – the rumble of a car engine, the crash in the back of the house as a cat knocks over a plant – I had to intuit, to tune into the vibrations, the way movement disturbs the air and the waves of sound glide past one’s skin. It almost became too much, the soft touch of the small sounds – the cat licking its chest, the refrigerator’s sigh – intermingling with the macho waves pushing their way out of the garbage truck, the slaps from ambulances, a neighbor’s shrill screams at her daughter or her dog or her husband a nasty cut across my cheek.
But most of the disturbances came from cars. The highway, with its low rumbles and its pretensions to ocean waves, was a constant undercurrent. My insides felt like they were being jumbled by the trucks of San Pablo. I thought about constructing a suit out of sheets of aluminum, something to deflect the noise, but I knew that would have its own cadence and would rob me of my anonymity. I had to be like the rest of them. I had to stop noticing, had to let the sounds pass through me as if they didn’t exist, another way to erase the world, to stop containing it in my body.![]()
From the prompt "A time you let go."
I'm posting every messy Round Robin prompt, a prompt a day until the RR ends. LIghtly edited.
Image by lemasney.
Under the surface

She had alibis, the appearance alibi, the shyness alibi. A coworker once told her she would make a good drug mule. No one would suspect the hint of darkness at her core, the nights she spent watching her boyfriend break apart cocaine with a razor before handing her the rolled dollar bill, the bottle she hid in her underwear drawer, her dreams of men knifed in broad daylight by women in leather catsuits and masks. She could exploit her appearance, or, really, exploit their inattention, so there she was, pinned and loving it, in the backseat of a broad car from the late 60s, the car older than she was and made for large families or the creation of them, her parents clueless, her boyfriend elsewhere.
Sometimes she would go down to the bar a few blocks away and sit, waiting, waiting for the lonely men with their beer or whiskey, the ones who treated her to new things (oysters on the half-shell, too-spicy salsa, the layered shots and stories of grownup life). They touched her hand, they stroked her hair. Most of them didn’t want a thing but conversation. They liked to take her apparent innocence, make a fetish out of it, the girl they were protecting from their like, the quasi-daughter, the fantasy.
On her last night in her hometown, she befriended an elderly man at the bar who regaled her with New York jazz tales from the 40s and 50s. He told her she looked like Veronica Lake. He spoke of his dead wife. And when it was time to go home, she walked with him hand in hand, accepting a chaste kiss on the cheek before he stepped, alone, into his house.
From a photo prompt.
I'm posting every messy Round Robin prompt, a prompt a day until the RR ends. Unless I tell you otherwise, this is the original 12-minute prompt edited only for clarity and typos.
Image by shimonkey.
Cleansing ritual

Against graying tile the splashed remains of coffee create a Rorschach test, along with the grounds from last night’s bungle with the grinder. They play beside the ghostly circular outlines of a wine glass and a hardened brown remnant of a banana peel. Dirty dishes lie dormant in the dirty porcelain sink. Recycling, all bottles: beer, wine, gin (the odd duck in this household of soft liquor), a large caper container, waits for someone to walk with it in arms across the house, through the front door, and down the steps to the bin.
A knife lies ominously next to a partially autopsied peach, the fruit’s pit moldy and split, its juice adhering it to the battered cutting board and still on the knife, too, waiting for her to clean it off.
On the floor, the ridiculous Mexican tile that takes in every stain, every remnant of cat puke and the overflow from the animal’s water dish, every sticky watermelon drip (oh, that he would stop just ripping into it with his teeth right beside the refrigerator), there are crumbs from a late night attempt at a sandwich. And here’s the bread, too, left out, gone hard by the darkened cheddar and bleeding tomato.
Did she do this? She remembers a dinner without eating, the preparation in the kitchen that took too long, their impatience, the bottle of Zinfandel heavy on the grape (now in the recycling to-go stack). There was an argument, something about politics or was it love or the two of them combined, and she cried or maybe she made the kid cry, and then there was the sob over the sink. Later, after her coffee and her little pill, she will check the sent file in her email, will cruise Facebook for the trail of oddities, of strange comments and overwrought complaints, but for now, it is time to clean up.
Hot soapy water, coffee with soymilk, oatmeal with blueberries and maple syrup, the sink bubbling and steaming like a cauldron, the cleansing ritual, the soothing ritual. She will wait until they wake up to take the bottles outside. The dishes watch patiently as she rolls up her robe sleeves and gets to work, wielding her water and vinegar spray against last night's kitchen transgressions.![]()
From the prompt "On the kitchen counter." Yes, the setting is my kitchen counter, but the writing is not about my life.
I'm posting every messy Round Robin prompt, a prompt a day until the RR ends. Unless I tell you otherwise, this is the original 12-minute prompt edited only for clarity and typos.
Image by TimeMachine Sailing.
Peevish
I have a neighbor, a woman who’s all stick arms and knee bones, her hips two spikes jutting through her clothes. You can count the woman’s ribs from fifteen feet away through her tight shirts. But her chest, this heaving thing, two solid breasts that truly do bring melon/tit comparisons to life! She sits out on a chaise in her yard – the front yard – her private bits barely covered with a shimmering swimsuit (though I don’t think she uses that bikini for swimming), eyes closed, body buttered, some surprising periodical at her side (the New York Review of Books? Come on, babe, we know that’s above your mental age, above your brain-stretching capacity).
Why the front yard? Does she enjoy the slowing of trucks, of cops, of the cyclists riding innocently to work, staring, not daring to honk or slam on the brakes, but taking all of her in? She stretches her delicate toes, the nails pale pink, her ankle accented with a golden bracelet so fine that I can’t see the links from the upstairs window. “Get a job!” I want to scream at her, I do scream at her, internally at least, and then I return to my computer, for my flipping around the Internet, to my Go Fug Yourself and my Gawker and my Facebook friends.
I read about bad men and drug habits, sneer at politicos who wax rhapsodic about their dicks to strangers. I IM with some dude in Toronto, tell him what I’d like to do to him while he sits passive as a blinking cursor. Sometimes we Skype, both of us silent and staring. I reach out to touch my computer screen – the surface of it is smeared with fingertip marks, with the juices of nectarines and plums, with bloody dots of cherry juice – when I want to touch him or for him to touch me, but the screen is as close as we get to touch.
In the store strangers give me a wide berth, but I don’t take it personally. My aura is dark brown, it’s black, I know it, and that’s bad, bad, but what am I to do? I watch. I message. I dream of the melding, of the veil between me and them dissolving. I forgive the people who ignore me, who brush up against me without knowing that I am there. I wake up and stare at the ceiling. I prowl the virtual streets of shame.
Cool as the proverbial cucumber.
From the prompt "Pet peeve."
I'm posting every messy Round Robin prompt, a prompt a day until the RR ends. This one is lightly edited. And, despite the first person point of view, it really is fiction.
Dulled

I remember the sharp object, the way it glittered under the kitchen lights, the nicks along the blade, the way you told me that it was more dangerous this way, blunted so that you had to use more power to cut. The blade could slip, it could jump from the red bell pepper on the cutting board (our sacrifice, still intact, unaware of the awaiting evisceration), jump from its flesh to your opposite hand.
“A sharp knife is your most important kitchen tool,” you told me. I watched as you straightened it against a steel, remembered a time when we couldn’t keep our hands off of each other, the panting across tables, the wanting and wantonness. Time and proximity had dulled us, too.
The nape of your neck looked cool, too cool for me to touch. The kitchen tile held my feet. I decided not to say anything, to let this lesson be without subtext, decided to ignore the dangerousness of blunted emotion. Straightening over, you took a thumb to the blade. You showed me the difference, held down the pepper, and sliced into its crispness.
Love, when it is sharp and new, when the couple is like a single knife blade, has its own dangers: the melding, the way the we are reflected in the metal, the way love's intensity threatens our core. Time dulls, and little pains do, too, and then you press too hard and someone gets cut, the sanctity of skin and blood vessels and self violated.
We ate salad that night, crisp romaine and bell pepper, the vinaigrette sharp, the olives a sour counterpoint to freshness. We sat across from each other, silent under the sounds of knife and fork, under the soft collisions between metal and ceramic and tooth. I watched you, the observer. I prepared myself for the cut, for the jagged gash, like I’d been preparing myself since the beginning.
You would not disappoint.![]()
From the prompt "I remember."
I'm posting every messy Round Robin prompt, a prompt a day until the RR ends. Unless I tell you otherwise, this is the original 12-minute prompt edited only for clarity and typos.
Image by GavinBell.
How to survive at the bottom of the sea

Use your inhaler. Slip out of the house, a messenger bag slung across your chest. Walk, bike, hitchhike to Caffe Trieste in Piedmont, where you'll be another pretty girl with a writing notebook in a room full of chicks in glasses and tattooed men lost in novels and knitting. Write poems on how to be a quiet and thoughtful person. Or pen birching stories of the Victorian or stepmother variety, your characters with naked bottoms poised. For simplicity's sake, make the stories authentic and text only. For variety's sake toss in a few Russians. Or take on the newest craze, flash fiction about hamster birching (remember that hamster punishment DVD you found in your brother's room?). No matter the flavor of your erotic fiction, you can't go wrong if you include someone who gets a thrill from being naked in public, a supine male nude causing model mayhem.
If the birching stories don't work out, make a website because your life is fucked up. Make it a grief blog. Put it on a dark background. Even if you are as lazy as Ludlam's dog, you can still create a fictional character that survives. Write instructions on hiding crack cocaine in a styptic pen. Teach melancholics how to survive. But please don't include pictures of people who barely survive car accidents and, take it from me, nobody wants writing prompts from Nubs the dog.
The café empties out. You don't see the men with tattoos noting their places with bookmarkers and stuffing yarn into tote bags, the chicks in glasses yawning and checking the time. Everyone is anticipating the post-coffee cigarette, the cloak of night air. A man wearing a suit and coffee and cream wingtips hovers over your table. He smiles and reaches out a hand. "Writing to survive? Hi, Jennifer, hope you're well."
Your hand smashed in his, your heart tight, your writing forgotten: He looks familiar, but how does he know your name? Was he the guy at the poetry slam in the city who wrote something nonsensical, something about cha cha gabor's husband gluing his eyes shut? It was social commentary, it was above your head, but the poem did make you laugh, the name like a dance, like a starlet long gone to seed, the hapless husband with his tube of Krazy Glue, the car crash at low speed.
The man sits down. You talk about surviving college as a quiet person, the way you both feel more comfortable with a pen in hand. He compares his writing style to Bertie Wooster's (a reference you don't get: wasn't Bertie Wooster a P.G. Wodehouse character?). Things start to get weird. He gestures to his forehead with two fingers, then whips them to yours, pressing lightly against your brow. "My thoughts get to you," he whispers, leaning close. This clean-cut character suddenly reminds you of a 1950s Allen Ginsberg. Ginsberg on weed, actually. He stinks of it.
You start to babble, to make excuses for your quick exit. "You know what Michael Ondaatje said about our stories? That our past is like a villanelle, that we keep returning to it? I'm going to create a blog with romance prompts about car accidents, get people to write of their past traumas, the screech of brakes, the smash of metal, the fluttering of hearts. A type of therapy, right? Just go to, ummm, 'human skull writing.' It's on blogger."
And with that, you are out the door and back into the night.
Search terms used in this post (some modified): birching stories, birched buttock stories, Victorian birching, Amis on insomnia, Jennifer Trinkle arrest, stepmother birching, middle age doldrums, writing grief blogs, writing prompt website with a dark background, Eighties “tall hair” tom waits lyle lovett, “its like a villanelle,” birched buttocks, how to survive liquefaction, poem about a quiet and thoughtful person, Russian birching, the simplicity of childhood, “bertie Wooster” writing style, “my finger” “her divorce,” “my thoughts get to you,”annoying loud night sounds insomnia insects frogs, as lazy as ludlam’s dog, birching naked bottoms,caffee Trieste pretty girl writing notebook piedmont,cha cha gabor husband glues eyes shut, coffee and cream wingtips, Djarum clove cigarette head rush, feeling frumpy mom, fictional character that survives, Ginsberg weed, hamster birching, hamsters DVDs punishment, hiding crack cocaine in styptic pen case, how should melancholics survive, how to be quiet and thoughtful, how to survive at the bottom of the sea, human skull writing, made website because my life is fucked up, male nudes supine model mayhem, “my mother insists on burning candles, ignoring my asthma,” naked public thrill, nubs the dog writing prompts, pictures of people who barely survive car accidents, quiet person survive college, romance writing prompts about car accidents, text only Victorian birching tales, the smell of gin, tight_heart, want to read authentic Victorian punishment stories, writing to survive hi Jennifer hope you’re well
And a "hi" back at you, Vito!
Image by new_sox (modified by me).
Baltimore pastoral

Norm's father was a drunk and he is a heroin addict. His mother, Anna, took the beatings and she lives with two sons who don’t speak to her or to each other. One sits in his room, drinks beer and watches television, the other lives like an alley cat, thin and sly. He slinks between neighborhoods and drives other peoples’ cars. He hides his works under seat cushions and stows away the crack pipe in holes in the upholstery.
He says he is going to get clean. He doesn’t mean it. The life suits him, the cheap beer in boxcar bars, the in and out familiarity of Central Booking and the Baltimore jail. He gets arrested for stupid stuff, loitering, driving without a license, uses the jail time to detox, then goes back to it when he is released. You can go for a long time on heroin, years lost to its pleasures, the nodding in front of the TV set, the corner deals. His friends are prostitutes and homeless men and when the nice naïve lady moves in across the street, lonely on her stoop, the clothesline burning her hands as she wrenches it too hard, he sees an opportunity. She sees self-destruction incarnate, the desperate eyes and trembling hands.
He has an easy way, she tells herself, and easy way and a light touch. And when he’s sober, Norm has a talent for carpentry. He works with his hands and she’s always been a sucker for that, the three dimensional knowledge, the things of beauty that men can create. Wasted, wasted, wasted. She must reveal his goodness to him, save him from the streets.
From the prompt "Promises." We're repeating prompts this last week of the Round Robin, with various choices on how to go with the prompt ranging from a new approach, a rewrite, or the insertion of a new sentence every three sentences. I went with the new approach. Here is last week's take. This one is based in reality.
I'm posting every messy Round Robin prompt, a prompt a day until the RR ends. Unless I tell you otherwise, this is the original 12-minute prompt edited only for clarity and typos. I'm working on fourish hours of sleep and have no idea about the quality of this one. A little too much tell and not enough show, but that's how it goes.
Image by ktylerconk.
Chasing the dragon

We chase down the moment of first contact, of redemption by touch, again and again, try to make it real, to give over to surprise. That’s how you find yourself a year later, sitting at the bar in a too-short dress with uncharacteristic sheer black stockings. Your cleavage shows beneath a silky shirt. You are relieved to have made it successfully to the bar in your fuck-me heels without twisting an ankle. Your toes ache. You rehearse the scene again in your mind. I’m a working girl and he’s here on business. I’m a working girl and he’s here on business.
When he walks into the bar, the reality of him makes your heart sing, the familiarity, the knowledge of what is underneath the suburban exterior, the dirty mind he hides under an actuary's precise language. Suppressing an urge to smile, you smolder instead, remembering your kohled eyes and your thong (but who could forget the thong? It lodged itself uncomfortably in your crack two seconds after you put it on).
There’s the chit chat, the role play. Your knees inch closer. His hand appears on your thigh. Under your skirt. Dangerously close to private places. He tosses down enough cash to cover the tab and you leave together, hand on ass. You don’t wait for a hotel room for the decorum of cover, but do it right then and there in the back seat of the car, under a fog of breath, clothing pushed aside.
And it’s close, it’s close to that first moment, the role play, the games. Still. You knew what was going to happen, knew the shape of him and the way his fingers danced, his scent, the weight of what was going on between you.
From the prompt "The best feeling in the world."
I'm posting every messy Round Robin prompt, a prompt a day until the RR ends. Unless I tell you otherwise, this is the original 12-minute prompt edited only for clarity and typos.
Image by Helga Weber. It took me more time to find a suitable picture than to actually write this thing. And I'm sure it shows.
Erase you

These are the things she lost: the desert highway, a single lane cracking the parched earth, her parents in the front seat, their voices not raised but tightened. Her brother is sleeping beside her, resting his head on her shoulder and her stomach wants to revolt. She wills it to stop. Tight words, short. Her father takes his eyes from the road, his fist shoots from his arm, a move of precision against her mother's nose. The car goes silent. By the time they get to the motel with the pool and the sheets translucent as onion skin, the blood has left a trail down her neck and into her cleavage.
The smell of sugar and butter and flour, the standing mixer going on the counter, her grandmother’s fleshy arm, her swollen hand cracking the eggs. It’s a birthday cake. Or is it cookies? The memory is slipping away. She is left with sweetness and powder in the air, the oven radiating heat, the sound of talk radio in the background.
The boy with the scar just above his lip who stared at her for two years before finally speaking, his body language suddenly confident, the proprietary lean over her locker, his breath of spearmint, the circles of underarm sweat on his polo. He fades, turns into a man, and then the man becomes mist as well, all because of the night she picked up the telephone to hear whispers and dirty words. She read the pauses, pictured the work of hands and imagination, the power of language. And now the boy is gone, every version of him, the memories sucked away.
Spring. The soft green leaves, how they feel like thin rubber between her fingers, the competing smells of flora and fertilizer and liberated earth, the year she and her daughter planted sunflower seeds by the front fence. Every morning they would tumble from bed to see if the seedlings had pushed to the surface yet, the girl pulling her mother towards the door. Her daughter's first word was flower, she remembers that, and the memory warms her skin, gives her the feeling of dirt under fingernails. She pictures the arc of a hose, watches a pair of chubby feet stumble across grass. Flower. What does it mean?
What if. What if we could erase the bad memories? It’s a movie plot, yes, and also the premise behind the development of a new drug (or, really, a new application for an old one). Why not erase the bad? But what are we without our memories, good and bad, those learning experiences that made us? And what about the integration of sense with event, the way we cross-reference smells and songs with our stories?
Ralph Lauren’s Polo cologne, the ubiquitous background scent of the 80s, reminds me of a boy I knew just long enough to suffer the consequences, The smell brings back his small lithe body, the dance where we met, the quiet bit of nothingness on a bed in the Little House that led to my ruin. If I couldn’t identify the source of distress – if the smell made my heart race, switched on my adrenals without me knowing why – then how would I interpret it?
Instead, I use this stuff, his wrist with the heavy gold bracelet, the swoop of hair over his sweet young Italian face, the inexperienced handjob in the back of a family car and the way the girl doesn’t give a shit but goes along anyway. There he is at the cousin's wedding, a plastic glass of champagne in his hand. There they are in someone's parents' house, sitting on the steps after another messy event. I see his tortured face hovering over her by the light of a television. She is silent, always silent, silent and enduring.![]()
From the prompt "We finally did it." I know that this drug doesn't really erase bad memories, that it's more subtle than that, and I know this topic has been tackled elsewhere ("Eternal Sunshine of the Spotless Mind"), but it got me thinking.
I'm posting every messy Round Robin prompt, a prompt a day until the RR ends. I extended this one and it feels very much like a snapshot, a work in progress with lots of flaws.
Image by paulineRroupski.
The unseen life

The woman stares at the ceiling, thinks about her next move. Slowly she lifts the child’s arm from her torso. She slips out of the bed and puts on a robe. The cats leap from their places and follow her downstairs. Coffee with cream. Laptop. Email. Facebook. Writing. She sits on the couch in low light, one cat behind her, the other beside.
Later, we see her walking the dog, phone to her ear, the dog sniffing sniffing sniffing, sometimes stalking a squirrel. She sorts the laundry, unloads the dishwasher, folds, puts away. She writes. Checks the mailbox. Lets the dog out. It’s all in time lapse photography. Her path is circuitous and fast and the camera doesn’t linger on her time in the kitchen, the tears are blurs and though she is wiping her eyes it could be from laughter or maybe there’s something stuck in there, a cereal grain, a fleck of coffee grounds. When she rests her head on the counter it reminds viewers of elementary school, their own hot breath making the faux wood of the desk top damp.
Her emotions don’t matter. We want to see the flow, the beauty of sameness, someone else’s monotony turned into entertainment.
One day, in an act of defiance, a show of stamina, she turns to the camera, crooks her left arm up, and extends her middle finger. She stands in this pose for fifteen minutes, her expression a blank, bored almost, and then she drops her arm and sashays to the washing machine. After that there are other acts of rebellion: a marathon nose-picking session. Partial nudity. She starts to move in slow motion so that the film looks more like real speed. There is the day of the Nixon mask, followed by the week of the gorilla costume.
Viewership goes up. Everyone loves a crack-up, likes to see a stranger disintegrate in front of them. She expresses what we all feel in some way, what all of us want to do, to be seen as we are and then to hide it again, to give secret messages to strangers because no one else is listening. She starts writing signs: Help Me! I’m trapped. She tapes her mouth shut. Begins avoiding the cameras. And eventually, she isn’t there at all.
From the prompt "Reality TV."
I'm posting every messy Round Robin prompt, a prompt a day until the RR ends. Unless I tell you otherwise, this is the original 12-minute prompt edited only for clarity and typos.
Image by suttonhoo.
Speeding

I want to stay up all night and all day for a week, to feel the bugs crawling along my skin, to watch them scale the vast white walls of my apartment, black, skittering, the noise of a thousand legs on drywall.
I want to be fast, too fast, not enough time to think and when I do think it’s profound, of the moment, my synapses tossing around adjectives and verbs and nouns and somehow collecting them so that they make sense in a poetic kind of way and I would dance around with them, would need no company but my own words and the cat and maybe another friend, another speed freak. We would break into mailboxes and steal identities. We’d take shredder confetti and tape it back together, the speed freak’s dream of a task, so important, it requires concentration and a bit of lucid hallucination, us in the empty factory with the fans hovering above us and the ghosts of the old machinery whispering.
I can almost see the women with their grey faces and washed-out uniforms, can feel the suppressed thoughts and wants, the decades of tamping down of need, of creativity, so that at the end of the shift they left smaller somehow, more compact, robbed of a part of themselves, the rest stuffed into a corner in their minds.
There we’d be with our barrel of confetti and our Scotch tape, fitting together the credit card bills and the documents like puzzles, focusing on the paper, the pieces, against the shuffling of the women’s feet.
Can you feel them? Generations of women leaking lives out on the floor, leaving a part of themselves? I want to tell them that they are not forgotten, that every life matters, that I will listen to their dreams and record them after the high has worn off and I’m left alone with my thoughts, my too-slow thoughts. Their stories, meandering and long, will bring me back to earth, will be my touchstone, my grounding.
They are here. They tug at our sleeves, tells us to stop wasting our lives. “You have so much,” they gesture to the air, to the needles on the table beside us. “Don’t throw it away.” A gust of wind scatters the confetti and you put your head on the table and cry while I comfort you, touching your shoulder, remembering the solidity of flesh.
From the prompt "Speeding."
I'm posting every messy Round Robin prompt, a prompt a day until the RR ends. Unless I tell you otherwise, this is the original 12-minute prompt edited only for clarity and typos.
Image by sassymonkeymedia.
Wholly present

It wasn’t my life that I wanted to drop, it was my memories, the same old soundtrack in my mind. Purge, purge, purge. Familiar people were a reminder. They made it hard, not only to forget, but to forge something new. I loved them too much and they reminded me of me and so I had to get away from them.
I hoped there would be men to beat me up, not lovers, but dangerous youths with mean streaks and a hatred for the weak and the old. Maybe they wouldn’t live long, which would be a blessing for them, not to be stuck with the repetitive pace of retracing their steps. The first few beatings are beautiful, right, but after a while they would see that they were just trying to recapture the thrill of the neophyte, the gasp of that first imprint of fist upon flesh, the feeling of power in bruising and bone breaking, their bare hands miraculous in their pain-giving prowess. After trying to make the feeling new again and again and again, they would start to falter and age themselves, victims for the next set of youth with dead eyes and sculpted bodies.
The elements would punish me, too, the sun carving out wrinkles and paling my eyes, the wind making my cheeks rosy as a ragdoll's. My skin would form a true protective layer, thickening itself against the cold air. I would open myself up to the kindness of other people, religious strangers who would make up stories about me for their own edification, who would create a different narrative, one that would be out of my hands, perhaps sadder than my actual story.
Meanwhile, my family would mourn me as if I were dead.
I thought about it, the selfish escape, the endless punishment. Punish me – yes. But why punish those who love me in spite of myself? I unpacked the bag and prepared myself for years of work, years of talk and feelings, all this effort just to be here and to teach the boy how to present in his own life.
From the prompt "You dropped it."
I'm posting every messy Round Robin prompt, a prompt a day until the RR ends. Unless I tell you otherwise, this is the original 12-minute prompt edited only for clarity and typos.
Image of the sign at the Evansville, Indiana Greyhound bus terminal by albany_tim.
Fifteen year cycle

Or the disaster will be internal, an internal flatness, an inability to think or feel. When she looks out on the world, the view through thickness like a woolen blanket, she will feel nothing, not even contempt. Her muscles will grow slack and in the end, the animals will swarm her as she melts into the couch or becomes one with the floor – after the fall, after the collapse, her electrolytes running rampant or doing nothing at all, dying with her, pushing her across the edge.
Every fifteen years she pays more attention, looks four ways before crossing the street, checks the weather report compulsively before leaving the house. She scrutinizes acquaintances to see if they are the ones bringing the danger, the cyclical danger, because, come to think of it, it has never been the earth that has brought her down, it’s been other people.
There was her birth, the sad event in a house of transients, the handover a month later to a bland couple in a white house with two other borrowed children. There was her fifteenth year, the hard skull in her abdomen, the kicks and flutters that just stopped. At 30 it was a man who wounded, a smooth talker with a lizard tongue and soft hands. She hasn’t yet reached 45, but the year looms, only 18 months to go.
So she paints the walls a soothing deep purple. She grows her own food and cans it in the late summer. She’s taken to reading romance novels and eating plum jam spread thin on wheat toast. At night she walks and memorizes the sky, connecting the dots in ways that no one expects her too.
When the time comes, she will be ready, not with sharpened spear or with the arrowheads she once flaked out of quartz. She will have hot cups of tea and long conversations with former strangers. The cats will sit on her lap and she will feed the birds in the back yard with raisins and sunflower seeds.
From the prompt "Fifteen years."
I'm posting every messy Round Robin prompt, a prompt a day until the RR ends. Unless I tell you otherwise, this is the original 12-minute prompt edited only for clarity and typos. This one could be improved, but I've got a busy day ahead.
Image: Playground with sky by me.
The crowd

Hosts poured the wine and whiskey and gin and vodka with a generous hand, the glasses were bottomless. In the morning the children, five and six and towheaded, fascistic little blondes with ice-blue eyes, picked their way among the bodies of the fallen, the dissipated adults who dusted themselves off and doctored their headaches with Bloody Marys. The boy drained the cups, sometimes collapsed into his cereal bowl at breakfast, and the grown-ups with their hoary breath and bloodshot eyes would wink and laugh too loudly for anyone’s taste, the kind of laugh that enters your dreams, the sound that the man with the fingernails like claws makes as he rips at your pinafore, at your high-necked nightgown.
Everyone slept with everyone else. Desire was hidden and then revealed with the snap of a corset, with a leer and a grope. These men were artists, the women were their muses, a quickie against the walls in the host’s bedroom the price of admission. The children woke up once to see their mother and Uncle Robert (the poet, the madman who once thought he could stop traffic with his mind and his one upraised hand, standing in his underwear in the middle of Fifth Avenue in the middle of the day, eyes closed, the other hand resting on his heart) settling in on the floor. Their mother was throaty, her voice slow and low, like she had scraped her words against broken glass before releasing them.
“Mama?” the girl said and the room got quiet, the form on the floor stopped cold. In the hallway a woman was crying. Everyone waited. The adults returned to the dance when the children appeared to fall back asleep.
Image from Follow My Bliss, but I am not sure where she got it.
From the prompt "The crowd." Based loosely on what I've heard of Anne Roiphe's most recent memoir.
I'm posting every messy Round Robin prompt, a prompt a day until the RR ends. Unless I tell you otherwise, this is the original 12-minute prompt edited only for clarity and typos.
Before the bombs hit

The joke between Tina and her friends that year was that they wanted to experience sex at least once before Armageddon, before the Russians and Americans exchanged missiles over the Atlantic in a fiery aerial dance. This was when The Day After was on TV, with its bodies and radiation sickness. What was sex like? When were you supposed to have it? Was it about walls and submission, the girl protecting her reputation, her body, until she finally acquiesced? Could you want it? When would they find out, crack the mystery?
A few years before, Tina had discovered her grandfather’s stash of porn, little magazines, tantalizing, filthy, intriguing. She snuck them out of his room one at a time and studied the pictures and the stories with their bad prose and bad words and indistinct depictions of orgasm, always announced with a series of moans and Ahhhhhhhhs and Oh Gods and I’m cumming (a disconcerting spelling that she hated even back then).
The summer between freshman and sophomore years, she cracked the mystery, slipped into the stream. The college boy, the walk up a street she’d walked since early childhood, one of his hands on his bike, the other on her back, the stumble into the dark house, the smell of paneling and indoor-outdoor carpeting mixed with sweat and beer and the mildewy undercurrent of the ancient air conditioner. She was 14, he was 20. She let him do what she thought grownups did without discussion or worry.
Tina spent the rest of her nights that summer waiting in the dark by the flicker of the television set, listening for his knock, for the click-click-click of the bike as he wheeled it behind the house, for the whir and sudden stop of a skateboard in the street. She was waiting to rediscover the mystery, lost in the classic confusion where sex and love intermingled without cause.
Image: By Writing Salon Mistress Jane Underwood. The photo was the prompt.
Let's call this faction -- a nice mix of fact and fiction, the first step in leaving the past behind . . .
Nostalgic buzz(kill)

When she was ten, her pet rabbit – the dwarf bunny that was later killed by her cat, the day before Halloween no less – chewed a hole in the side of her box springs. This is where she later stashed the bottles, those 7-ounce Budweisers her boyfriend liked to buy, the Southern Comfort and Captain Morgan rum she chugged straight from the bottle as a joke, but also as a shortcut. He brought them to her and she would drink them after he left, but then there was the problem: what to do with the empties? If someone moved that box spring, pushed it from its sagging spot on the floor, it would have clanked and jangled with the evidence of hidden drunkenness, of early elusiveness.
The beer and the cigarettes, the pot and the crank. The nights made lucid by cocaine and whiskey. Do teenagers still drive around drinking beer and tossing the empties at stop signs and mailboxes? On black velvet nights in August, when meteors streak and arc past the stars, are girls making out with boys on the wide thick hoods of old cars, tasting the sweetness of pot, the bitterness of beer, still believing in the promise of an endless night, the perpetual summer, their hands intertwined forever?
Back then she could escape into the drink, the buzz, the waterfalls of laughter brought on by mushrooms and acid. She knew there was a future and maybe it included babies or maybe it was her alone in the city, the career woman. But now, in middle age, there was nothing but a stretch of time, the long lean years, the acceptance of fate, the memories of subversion threatening to be the only story she ever had.
From a prompt: I would like to hide it.
Image: Me and sliver of D, 1986ish. Blurry adolescence, informing this fiction a teensy bit.
The blog isn't going away, but I am starting a new one, something less depressed and more . . . active? I'm not totally sure yet. I'll still update here occasionally, including when the new one is up and running and when I feel a need to express the dark side. But I'm mainly going to try and deal with the dark side in other ways.
It is going to happen

I see someone cute across the street, or getting on the bus, and I decide: they are mine. I will find them tomorrow, next week, I’ll follow them off the bus, I will charm them with my wits and my good looks, with the flash of green in my eyes, and they will be mine.
The number of worlds I can imagine is infinite. You, twentysomething girl with the straight brown hair and the earbuds and the dusky complexion. You stare insolently from your sludgy BART seat, you scrape your plump suede boots on the flattened rug. You act as if you are the only one on this train. I see you. You get off at Embarcadero and I follow, though I wasn’t planning on getting off just yet, was just riding the rails looking for destiny. You will be mine, we’ll move in together, two women surprised by the pull of our bodies, we’ll adopt babies and have torrid affairs and violent reunions. You will be mine, but you will also break my heart.
There is pleasure in the imagination, in my ability to meet, break up, and make up in the space of ten minutes. The man I pass almost every morning on my way to the café? He doesn’t make eye contact, stares at his too-white sneakers, shambles his skinny legs across the street sometimes when he sees me coming. This is a challenge, to find a life with the dodgy-eyed man whose hair is wiry and grey, who wears faded jeans and sweatshirts and wants nothing to do with me. You will be mine. I’ll stumble into you one morning, with hot coffee, with a bag of danishes. I’ll break the ice. Your eyes will meet mine and I’ll see your beauty, the beauty in ice-blue, will know that all your reticence is Scandinavian, that all it will take is my warmth, the touch of my hand on your shoulder and you will speak.
Coffee will turn to burgers. Burgers will lead to pasta. Pasta will lead to late night cocktails, to your place, a sad studio over a tattoo parlor. You’re an artist, or were an artist. There was a divorce, maybe two divorces, a child (or children) you never see in another city. I will listen. I will get you to cry to me, but I won’t tell you anything. Or I’ll give you glimpses: the story of the time I fell from the bar and broke my arm, the night my mother’s boyfriend slipped into my room, the way a book changed my life. I’ll confuse you with the stories, you won’t be able to thread them together.
Our kisses will be soft, then hard and wanting and the sex we will have will humiliate both of us in different ways. Two weeks after bumping into you, I will change my daily habits so that we never cross paths again. You will take it in stride, another cruel woman, another world glimpsed and destroyed.
In the meantime, I pass you on the sidewalk, I watch your gaze drift to the side, to the passion flower vine in full bloom knotting itself to a chain-link fence.
Thought it was time for something else besides writing on "the struggle." Another (fictional) post in first person, from the prompt "It is going to happen" from about a month ago.
Image by blmurch.
What I'm going to do

I kept a mattress there and a stack of books, mouldering classics from the resale shop. There was a wool blanket on the bed, old army surplus, a kerosene lamp, an vintage calendar with pinup girls for atmosphere. I pretended it was a time before the Internet and cable, that I was a pioneer woman, the first of my kind, making it alone on the misty prairie. I had a dog, a terrier with odd bald patches here and there and an iffy temper, who scared away the riffraff, and together we sat by the fire, a stack of wood in flames outside our little house, roasting squirrel meat on a stick, sharing the bones.
Some nights I thought back to my girlhood, my dreams of an adobe hut, my desire to escape my body and my mind. He threatened me, had power over me, and I eluded him, built a treehouse, a log cabin, an igloo in my head. I sat in the branches and looked over us as he did what he wanted to do. My feet grazed his hair, so short and rough, but he was so intent he did not feel them.
I used to imagine puncturing his chest with a weapon, something slim and sharp, as slim and sharp as him and just as deadly, but I forgot about it in the daylight, only remembered when it was too late.
He died eventually anyhow. They all do, thank God. But I’m still here, in my little wooden house with the brick foundation, reading by kerosene lamp, stirring the fire with a stick, letting the dead stars shine their light upon me forever.
From a prompt: What we're going to do, barely doctored from the 12-minute version.
Image by Mike Pennington.
Hope to be back writing more frequently (and in more depth) soon.
Thin end of the wedge

Where does this couple come from? They show up sporadically, once a month or so, time travelers in their denim and leather, the woman wearing pointy-toed boots that demonstrate the thin end of the wedge, the toe jam, the man with quirkily British brothel creepers, thick-soled and wide. Both of them have artificially blonde hair, tousled, the roots a shade of anonymous brown. The quick intake/exhale, the sideways glance, the tabby or calico, all of it incongruous against a stucco house the color of French’s mustard.
This is one of my dream lives, beholden to substances, a life of no obligations, romantically influenced by the 70s punk scene, where I could reasonably write something like this:
I paid for it
A lifetime of clean living doesn’t show on the face. The late nights, the whiskies and tequilas, the hovering over a mirror with a tightly rolled dollar bill: eventually, those years catch up with you. It starts out as a slight dullness in the eyes, a yellowish tinge to the skin. One night you go to sleep almost young, the next morning, the fine lines start to appear, the fissures, the sags and bags.
At that point, it’s too late. No amount of detox can save you from the destruction you’ve brought upon yourself, the physical ruination.
At that point, then, why stop? Why not go out in a hazy glare of glory, the afternoons fuzzy, the mornings cotton-mouthed? We’re all dependent upon something. Some people need sweet-as-candy positive thoughts, the cheery aphorism, pep talks written on the bathroom mirror in styptic pencil. Others need human touch, have to feel skin against skin, insist upon hugging every acquaintance, on touching palms with strangers. You, lover of chemicals, of the products of ferment, find this need pathetic. It’s nothing that sour mash and cheap wine followed up by a pack of Pall Malls can’t solve.
So you examine your face, pinch the sagging skin on your forearms, remember the long ago days when you were young and naïve. That first drink was bitter, but the next one went down easy. It wasn’t just the taste, the feeling of looseness, like drifting on the ocean, it was the camaraderie, the friends around the bonfire, the people stacked against the bar.
From a prompt, I paid for it. The next Round Robin starts up this weekend, thank goodness. Feeling very dark today, despite my night of long-enough sleep, but there's good news: we're closing on the house on Monday.
Image by Diamond Farrah.
Surrender

What she noticed were his shoes. If you want to know how well-taken care of a man is, start from the bottom up. The state of his shoes would tell you whether he had a lover, a wife, a boyfriend who would tell him when it was time for a new pair or a shine. The socks were important, too -- were they holey or faded? -- but sock maintenance was the kind of caretaking that was hidden and intimate as underwear.
She had Owen, beautiful skinny Owen in chinos and plaid, with his knuckles banged up out of clumsiness, and his shining intelligent dome. They had been together for seventeen years now and most of the years had been good. Not sparkling, not crazy-in-love, but solid and generally competent. They had gotten most of their fighting out of the way in that first decade, fit each other comfortably now, two fading cushions on an aging couch. Natalie made sure that Owen's shoes were fresh. No one at work understood why she would want to give him a pair of shoes for Christmas every year, but she remembered that first spring, those wingtips that were a hand-me-down. How could you not love someone who thought it was OK to wear family heirlooms on his feet? He needed her.
The first time she noticed Stuart Basil was on a morning dog walk. Here was this muscular knob of a man with a head of wiry grey hair, calmly walking a great dane more than half his size. His steps were evenly paced, his running shoes newish, and he wore a pair of pressed khakis. His grip on the leather leash was loose but confident. The dog didn't pull, but stopped at every corner and sat patiently when a child and her mother passed by. Stuart saw Natalie staring and gave a quick flick of one of those confident hands, a flash of well-cared-for teeth. The man positively glowed.
Natalie began to time her morning dog walks around his, even though Schnookie, her rat terrier, was terrified of the bigger dog and exploded into a series of sharp barks whenever they saw him. Stuart and Natalie would smile and wave from across the street, Natalie blushing, and yelling above Schnookie’s snarls: Yeah -- she’s a vicious cur!
Finally, thankfully, she ran into Stuart one day downtown, saw him in the Walgreens with a basket full of vitamins. Close up, his hands looked large for his arms, but his handshake was firm, and she could still feel the crisp cut of his shirt sleeves on her fingertips ten minutes later. Back at work, she fell into a reverie, imagined those hands unbuttoning her shirt, pressing against her hips, pushing her against the cool wood of the desk.
From a prompt: Write a story about surrender. This needs a conclusion, doesn't it? But I'm not going to go there.
Image by virgilpix.
Trivia: When we moved to Ohio, my first husband ("Mr. X") wore his father's wingtips and old suit pants to work, possibly because he had been a perpetual graduate student for most of his twenties, without the cash for a new wardrobe (in addition to having very little fashion sense at the time). My coworkers were flummoxed when I bought Mr. X shoes for Christmas one year. There was something about a man who was over thirty and wearing his dad's clothes, a man who didn't mind if I bought shoes for him without him choosing them, that was endearing at the time. Until it stopped being so.
I am now married to a man who picks out his own shoes and takes care of them himself, which negates Natalie's whole shoe theory.
Witchy woman

It wasn’t like I was a one-night stand. Well, it turned out that I was a one-night stand, but before that, we were friends. Close friends. Talk-about-lovers friends, and tell-about-the-spinach-in-the-teeth types. Of course, you hadn’t told me that Samantha was your girlfriend, though you’d think I would have figured it out from Sam-this and Sam-that, from the fact that you had a cheesy beach picture of her on your phone. Oh, no. Your relationship with Samantha became much more serious the minute you pulled out.
Your silence covered and cooled us, a blanket of snow, the sudden blizzard of the unsaid. I took it well, pushed myself a millimeter away and said, “I have a boyfriend, too, you know.” Well – yeah. You did know. Before you kissed me, pressed me up against that brick wall (all the teenagers and the botoxed and the homeless passing us by, we were just a blip on the promenade that night, a small sin), reached for the back of my neck, you said “But what about Phillip?”
“Fuck Phillip,” I told you and you were funny, dry as always: “That wasn’t who I was hoping to fuck,” your lips so close to mine that I could taste your words. We laughed and you kissed me. You know the rest.
Now I see you and my fists clench in my pockets. In the past few years, you’ve gotten beefier, have grown into that British face. Perhaps I could hide the punch in a tender gesture, trace the edge of your chin with my talon, reach back as though I’m about to run my fingers through your hair. Then: POW! You yelp in surprise, hold your nose (cover your eyes), press your palm to your lips (caress your broken check) and I run away, cackling like the witch that I am.
From a prompt: Confess to something. It's almost totally unedited from the original 12 minutes of writing. My partner thought it was funny (as it was meant to be, in a kind of twisted way), but now I wonder. I offer it here as a diversion.
Image by me (the moment before the punch?).
The thin line
Starr, a runaway, showed up in May 1972. Her body was awkward, all straight lines and angles, with the prominent exception of her belly, round and hard as horse flesh. The women took her in, fed her lentils and brown rice and shimmering river trout. When her time came, they swept a plastic child’s pool free of cobwebs and pulled it under the tulip tree. They ferried pots of stove-heated water from the house to the pool until the water spilled over the lip and soaked into the dust.

“Your son,” one of them said as she held him up in the moonlight.
The women covered Starr’s trembling shoulders with towels stiff from the clothesline, held the umbilical cord tight for the knife. Calloused hands massaged her belly. A soft voice whispered in her ear as she pushed out the placenta. They cleaned and swaddled the baby and lay him next to Starr as she slept on a pile of blankets on the sleeping porch upstairs.
The next morning, in the shade of the tulip, the women cut through roots and dug deep into the clay. They found a box. They fed Starr oatmeal with wild blueberries, supported her as she stood at the grave. She tossed in the first shovelful of dirt, and stared, stoic, as the others finished the job.
Starr disappeared a week later. She tumbled over to the next town or hitchhiked back home, no one was sure. The commune, disquieted, slowly emptied. The men got jobs, found other women. One by one, the women left, too. They styled their hair. They tossed away their jeans and tie-dyed tunics and replaced them with floppy business suits and silky disco dresses. The tulip tree grew strong and thick, its blossoms heavy, fragrant with the renewal of life. A new family moved in, three kids and a dog, a tire swing suspended over the child's unmarked grave.
He’s there still, a silent presence swaddled in grace, the boy who never was. Visitors to the house feel him as the absence of something, love or sun or words, a puzzle piece gone missing. He comes in their dreams, the stilled body, the bundle on the floor, the baby with closed eyes.
Every mid-June, an unfamiliar car drives past the house. The driver is a middle-aged woman with capable hands, eyes hidden behind sunglasses. Her two girls, just as blonde and skinny as she once was, stop arguing as the car slows. The tulip tree shudders, letting loose a flurry of petals that get tossed by the wind. The woman reaches out and catches a fully intact blossom. She will put it with the others.
She remembers the silence, her son's pale form in flat water, the taut section of umbilical cord. He showed her the thin line, the permeable border, how easy it is for birth to equal death.
Nothing was ever the same again after that.
Yet another Three-Minute Fiction entry that disappeared into the ether. The challenge this time was to write something under 600 words that started with the line "Some people swore that the house was haunted." and ended with "Nothing was ever the same again after that." The first line felt tacked on (hmm, maybe this is why it wasn't picked as a possible winner), so I've just taken it off as well as done some substantial editing.
Oh, Iowa Writers' Workshop students and Pulitzer Prize-winning author Michael Cunningham, why do you deny me glory?
Image by Roger B.
Tip of the pen to Holly for alerting me to the contest a few months ago.
Night vision

That night I couldn’t sleep, stirred up by a dream I forgot upon waking. From the bathroom came the litter box scratchings of Amber, her sad trill as she leapt down the hall. The cool air, the light of the moon, you barely stirring next to me, profile muted. The melancholy night noises. I tossed off the covers, wrapped myself in your flannel robe, and stared out the window. The full moon hung over the city, so juicy it looked ready to burst. It threw its light over the houses and parked cars and if I squinted your neighborhood almost looked beautiful.
Somewhere out there a man was going through a dumpster, clinking bottles into a cart like he was making overenthusiastic toasts at a party. It was eerie and familiar at the same time, the rattling of wheels, his mutterings, the explosion of each can as he crushed it, the crash of glass. A pair of women clicked on the sidewalk below, one lecturing the other, voice slightly slurred. "If he doesn't love you, what's he worth? Tell him to go to hell." You whispered my name.
Everything became clear to me, the way our relationship would deteriorate, not this year or the next, but when we were in too deep, how the things I love about you now, your hesitation, your unruly curls, your off use of slang, would be the first things to push me away. You would have your issues with me, too, the way I trampled conversations, left my clothes where I shed them, my increasing tendency to extend the cocktail hour past midnight.
In the now, you reached for me. I tossed off the robe and returned to your warmth. I let the lust last a little while longer, enough to get me through the night. In the morning the clarity of night vision would be mortared over by sunshine.
The photo, by Jane Underwood, was the prompt.
Strong enough
The rope is going to break. It's inevitable. Why hadn’t he bought a new rope, something made out of synthetic fiber, white interwoven with blue strands, a miracle of modern technology? A rope that would never break, that you cauterize with a lighter or with a long match in order to melt the strands together forever. Something that would last through the apocalypse.
“This is an heirloom rope,” he told me, smiling as though he was joking but I knew he wasn’t really joking. “My grandfather gave me this rope when I was a boy.”
“So why don’t you put in a frame? You know, box it up and stick it on the wall? Why did you leave it on the boat?”
“The rope is fine. It’s a good rope. Strong enough. And if it breaks, what’s the big deal? We drift for a while. Our plans change. We adjust.”
He drove us here in a car the color of the sky before the storm, a car of no color, another heirloom piece passed down to him when he graduated from college twenty-five years ago. His shoes were hand-me-downs and I could see his heart beat, the quivering in the neck, underneath his frayed shirt collar. The man could throw nothing out, held on until the emergency, the car dead in the middle of the night, the sole of his shoe lapping up the rain.
I grasped the rope with both hands, pulled hard, willed the inevitable. The rope didn't break. It burned my palms, punishment for my lack of faith. I l waved them through the air, dipped them in water as absolution.
"See? Strong enough." ![]()
Image by Jane Underwood.
The image was the prompt.
Note: As was brought to my attention by an experienced sailor, on a boat one calls ropes "lines." This sounds vaguely familiar (I haven't been on a sailboat or motorboat since 1990 and even though I grew up around water, I know zip about boats. Read Would you like bloodworms with that? to get a sense of the extent of my knowledge). I just can't bring myself to replace the word "rope" with "line" here. So my apologies if the use of it is grating.
Because I craved the contrast

I moved west in part to escape the relationship, to wash the taste of salt and blood out of my mouth. And there was Shelton, clean-smelling, like soap, like a freshly-washed window, sitting across the aisle at our graduate school orientation. He was thin and pale with a cap of dishwater blonde hair. When he contributed to class discussions, he pushed his rimless glasses back and wiggled in his chair before over-intellectualizing a dot point into a master’s thesis. Silence filled him with anxiety. He adorned it with linguistic frills, explaining simple concepts with an academic loquaciousness. It was cute, for a time.
I've been working on a short story and doing very little other creative work (outside of the Round Robin). This is an excerpt of my story, still in infant form. And since I'm in the middle of it, I have absolutely no perspective on its quality, but I wanted to put something out here, a crumb, a thought, a naughty word, a study in contrasts.
Pursuit and capture

Herbert’s eyes are bloodshot. They move from side to side, eluding mine. His lids are creased with age and a lifelong propensity for quick anger and I resist taking my towel and wiping away the dark line of spit caught in the island of stubble on his chin. He doesn’t smell like alcohol this morning but gives off the odor of rancid cinnamon buns, of too many days spent on the slats of a park bench.
“It’s ok, buddy,” I reassure, nudging him back to his cardboard perch outside The Caffeine Bean. “Just ignore the guy. Has he ever been here before? No. Will he be back? I don’t think so. Do you want a cup of coffee or not?”
The man who tipped Herbert over the edge is crossing Ninth Street. I knew from the moment that guy came into the Bean that he wasn’t from around here. His hair was too long, for one, and it was kind of greasy, flipped back behind his ears. It was very continental, although his accent was hard to place, as if he had been here long enough to sound almost native. He fumbled around in a large billfold like he didn’t know what a dollar was. Maybe he is unfamiliar with our coins. Maybe he’s just cheap. Wherever he comes from, they apparently don’t believe in cleaning up their newspapers or even folding them when they are finished. They don’t believe in tipping the help.
Herbert shuffles after Mr. Continental, waving his cup around, still ranting about five and dimes. Quarters from the cup flash onto the sidewalk and a little boy walking by lets go of his mother’s hand to catch a dollar bill as it floats to the ground. The man, halfway across the street now, pivots, smiles at Herbert with thin lips, then returns to the foot traffic, slamming into Amanda, one of our regulars, knocking her to the asphalt. Amanda’s lunch bag breaks free. The zombies that work in this neighborhood flow around her, flatten her sandwich, smash her bag of pretzels into salty dust. One of them punts her apple into the intersection. Mr. Continental picks up his pace.
“I am not surprised. I am not surprised at all!” Herbert shouts from the corner as Amanda, slightly dazed, props herself up. The light changes. Herbert jumps out in front of the one-way traffic and holds up his hand in the universal sign for stop, scampering sideways towards Amanda as cars start to honk.
The next thing I know, I’m tossing off my apron and rolling up my sleeves, dodging a clutch of suits on my way to stop Mr. Continental. Herbert is tugging on Amanda’s arm, pulling her up. He gives me a high five as I run past. “Get him, Jesse!” he barks. Mr. Continental is about thirty feet ahead of me, but I am gaining on him. I am sly and quick, with the soft step of a panther. By the time my breathing tips him off, I’m close enough to tackle him to the sidewalk.
And he’s light, too light, with hollow bird bones, no meat on them. His shirt is stained. His tie is a clip-on, decades out of date. The impact has jostled his false teeth loose and they shatter and scatter like pearls. The zombies pause, grumble at the conclusion to our sad dance.
I ask a woman in Earth shoes to call an ambulance.
Image by Rob Hill. The image was the prompt.
Today is the last day to submit a story for NPR's Three-Minute Fiction short story contest for short stories that have 600 words or less. This was my submission for the last round (which, obviously, wasn't selected or recognized as brilliant in any way). So far, my favorite story from this round is Mars: In the Beginning, by Angela Muhammad-Ali.
A facsimile of truth
“You come up with the first sentence and go from there. Don’t think about it any more than that,” she told me as she looked over the tops of her reading glasses. Giving writing advice like she knew what she was talking about.
“It’s like I don’t know how to put one foot in front of the other," I replied, "like I’ve never learned how to walk, metaphorically speaking. And who am I to think I can tell a story? I should have taken up poetry.”
“Leave it to you to make poetry sound like the easy way out.”
She waved at me dismissively and returned to her biography of Virginia Woolf. I no longer recognized her hands. Sometimes I would find her staring at them, too, the swollen knuckles and liver spots, the transparent skin. We were both thinking: is this what life comes to? A brief period of expansion, of shining hair and growing strength followed by decades of shrinkage? Aging, the long great loss of looks and faculties, terrified me. Yet it was happening to me. Sometimes I thought I visited her for the contrast, for the feeling of her papery skin against my plumped cheek. I planned to off myself before I got to her age, to embody the cliché of living fast, dying (relatively) young, and leaving an attractive corpse. Except I could stand to lose forty pounds and I wasn’t sure that being a law-abiding reference librarian qualified as “living fast.”
My mother had already set up the scene. Her life had become this room, food and liquid ferried in by home health aides, a bedpan on stilts to hover over when the need arised. Twice a week Noelle gave her a sponge bath, wheeled in a basin of soapy warm water and scrubbed off the must. Some old people stop washing. It is no longer worth the effort, or maybe they don’t notice the stink. But Mother didn’t sweat. She didn’t do anything. Frequent scrubbing aggravated her sensitive skin and a daily splash of scent covered some of the rot.
She slept, briefly, book still poised in her hands. She was a talented napper, had always been able to squeeze in rest. Me, with my permanent eye-circles, my aching temples and nap frustrations, I wasn't so lucky.
Her eyelids heaved open. “I made a point of never lying to you.” Here we go again. “There were no myths about the Easter Bunny, about Santa. When you lost a tooth, we just handed over a quarter. There was no sneaking about.”
“But what about that night with Henry?”
“Oh, him.” She let out a woosh of air. “Henry was just a friend.”

This room used to be mine. The walls were semi-permeable, let the moods of the household flow in without flowing back out. Everything was pink, from the rug to the ceiling to the canopy on my bed. On the night in question, my father was away on business. It was early summer and a breeze tapped on the blinds. Max, our fat tabby, pressed himself between the slats and the screen in my window, staring at the shaking leaves. I was supposed to be asleep, lights out by nine for the nine-year-old. But the house was restless. She was restless. The doorbell rang at 9:15. Their conversation was unrelenting, words like waves, eating away at my calm, the low rumblings and crashes of talk. I smelled pipe smoke, candle wax, the clean burn of the gas fireplace. My head pounded. The mattress felt like it was resting on gravel. I waited in the dark, tossed and flipped until my sheet wrapped around me like a shroud. When I woke at 6:00 a.m., I found my mother on the couch, snoring under a thin blanket, two glasses sticky with liquor on the the coffee table.
I recorded the white lies, the outright fibs, the sins of omission, the cover-ups. All children do. I was just more canny about it. I remembered.
Henry showed up periodically for family dinners. He was tall and extremely thin and dressed in an early 70s professorial uniform, tweed jacket with arm patches, a pipe that probably contributed to his death from mouth cancer. He and my mother had met in a freshman philosophy class. I tried to picture them in 1959, fresh and young, earnest in their discussions of Nietzsche and Sartre, living the cliché of what it was to be aware and thinking in those fraught moments before the sixties, before her marriage to my father changed the game.
“So, you don’t tell a kid the story of Santa Claus and that makes you honest?”
I didn’t know why I continued these conversations.
“You know what mistake most writers make today?” Now we were back to writing.
“No, Mother. I don’t.”
“They make it too complicated. They toss too much into plot, subplot. Isn’t the reality of life enough?”
As she continued to speak, I buffered myself with lousy poetry, described and contained her in my mind.
My mother’s hands
no longer grasp
the glass of bourbon,
but instead
hold onto the memory
of things that never happened.
Totally false. She wasn’t a bourbon drinker and her memory is tight.
My mother no longer drinks coffee,
but inhales the smell
of water filtered through
roasted beans
left on the burner
until all that remains
is black sludge.
“Phoebe?”
I looked up.
“Have you heard anything I’ve been saying?”
I shook my head and excused myself from the coffin. The rest of the house was bright, every curtain open. I stepped into her old room, into the walk-in closet where my father’s clothes hung, carrying the scent of cigarettes with them. Outside it was a May Saturday haunted by ghosts of other May Saturdays, the hum of the mower and the over-green smell of freshly cut grass, the chaise lounge getting damp with my sweat. I traveled in nostalgia and every turn brought me back.
It was a curse, a narrative without ending or moral, just endless scenes and scents. I wished I could transform it into a story, into paragraphs, with twists and turns and a narrative arc, and if I failed at that, into poetry.
Henry died six years ago, alone.
When my mother and I cleaned his apartment
I found a box of photographs,
her naked in black and white,
and decades of her letters,
the last one a month before he died.
My mother used to tell me that I knew nothing about poetry, that my language was rich without structure, that I should keep a notebook of words and impressions. When it was full I was to toss it into the air, to watch the words fall and form themselves into a facsimile of truth.
Image: the dark room by ~Mongibello on deviantART.
I am trying to rid myself of the shoulds -- what I should be writing about, how I should structure my fiction. I have to let go of some ideas about length and structure and just accept the fact that I have themes that I am drawn to (family, guilt, the past as constantly present, the difficulty of connection, what it takes to be good, to be loyal, how we handle betrayal and the trampling of trust) and that borrowing from my life is ok and necessary at this point. There are risks in all of this, the most terrifying of which is the risk of writing lousy crap. But I'm hoping (and thinking) I usually write better than lousy crap. Serviceable writing is fine for now.
Oh, and this is a draft.
Never tasted so sweet

Tanning butter. Warm sun, a plunge into comfortable water, like being in the womb, no difference between you and what surrounds you. Afternoon nap in a hammock with your hair giving off a touch of chlorine. Dinner by candlelight, light ocean breezes flickering the flame. The fish on your plate stares back at you with a dulled eye. Fish never tasted so sweet.
Creamy potatoes with a layer of crunch. Haricots verts steamed and tossed with sesame oil and ginger. You tap the skin on the crème brulee into shards, take a deep drink of Sauternes.
In the dark he comes to you, smooth muscles, breath underwritten by cigarettes and mints. It isn’t a surprise. It isn’t expected. It just is. You accept the gift, a kind of reawakening, the necklace of kisses, his rough voice, the burn of an unshaven cheek. You interlace fingers and he speaks of your beauty, your irresistibility, how you taste like papaya. He has been watching you all week.
Morning brings an empty bed, a freshly-plumped pillow, a trio of hairs tangled on the sheet. In the shower you sigh. Remember. Anticipation only lives once.![]()
(Soundtrack: La vie en rose, sung by Yves Montand.)
Image by besia.
From a prompt: Just imagine.
Because I am hungry for art
But worse than feeling the real world slip away is the feeling that I get when I don't write. It's a kind of lovesickness, an ache of not-having. The only way to feel better is to sit down and start typing. Even if it's painful to write, even when I procrastinate, when I avoid turning on Freedom for the Mac and bop around the Internet looking up information on John Quine or Anya Phillips (I've been re-reading Please Kill Me and the 70s punk scene is haunting my brain), eventually I get around to writing. Because I have to. It fills me. Without it, I am empty.
I want to write all night, sipping on red wine and smoking the occasional cigarette. I want to go to sleep at 3:00 a.m., sated with language, and wake up for a light lunch of mineral water and salad, of warmed baguette slices smeared with roasted garlic and chevre. After lunch, I want to linger over a book, sip a cup of muddy espresso in preparation to wrestle with words on and off into the night. I am up at 3:00 a.m. these days, listening to a frustrated cat howl, staring at the billowing curtains as my mind forces me to consider various bleak scenarios, feeling the heat of a feverish, fitful boy as he pushes me off the cliff's edge of the bed. A week of just the two of us -- me and the words -- would cure my angst. One week of writing in a dark room, embraced by a circle of lamplight, feeling the sediment on my tongue as I drain a final glass of wine, letting my mind dance with the headrush of unfamiliar nicotine. Just a week. I would take the time to focus on this useless fantasy in order to discard it before returning to the here and now.
The Round Robin, with its daily prompts and sweet feedback, helps, but sometimes I still feel like I'm bouncing around in my own mind, where (as usual) it's all about me. Other times, though, I create something that I can't explain, but I like.
So here you go, a piece that is a mix of homesickness and the past and an attempt to transcend. And let's hope for a few weeks of health and clear weather, of writing and creating. Of sanity.

Stained
I want a cylindrical room made of factory glass, the door a piece of carved mahogany salvaged from the She-Wolf, Lord's old boat, the one that is sitting on a trailer in the backyard, the hitch supported by a stack of cinderblocks. Against the cool glass, set into block, the mahogany will seem rustic, warm to the touch. I will rub my hand against it before I enter the room, think of the times we went waterskiing or just bobbed around in the muddy waters of the Elk, my wet ass spreading a dark stain on the boat seat.
Even then that boat was a piece of shit. Lord wasn’t paying attention to it. He let it sit in the water all winter long. The varnish wore off, the gleam melted away. Every year he bought cans of teak oil, stacked them in the shed, and let them sit. Barnacles coated the She-Wolf's hull. They were rough against my hand, cut into my feet as I pushed against the boat into the heavy water.
So, the room. It is lit from within, white light/white heat. Even the ceiling is made of factory glass. The floor, too. It is empty. I will go inside, lock the door, and remove my clothes. I will press myself up against the glass. See if you can tell me what you are looking at, my blurry image refracted in each square. I will light a cigarette, will snuff it out on the rounded wall, again and again. You will see flesh, the death of ember, the end of the spark.
Lord is dead now, too, washed away, though not in the way you would expect. It had nothing to do with water. It was emotion. The dike broke, his water wings deflated, a big hole opened in his roof and the house filled with rain. You want me to tell you about it, to be more direct, but I won’t. I have his boat and my plan. Every weekend I sand down the mahogany, try to remove the stains, think about my cylindrical factory glass room. I picture Lord on the other side, horn-rims slipping off his nose, one hand marking his place in the book. I mystify him and he likes that.
Image by Vinje.![]()
I serve in this fashion

I trace an outline of my daughter’s hand on thin tissue paper. The paper is pink as cotton candy and her hand is limp. She is asleep.
I’ve spent the last weekend tracing her limbs and torso while she sleeps, working my way up to her delicate head and wispy hair. I just want to catch an idea of that hair, a tendril here, a mass of frizz there. In her sleep her toes flex like a dancer en pointe. I follow the stretch of the arch of her foot, sweep up the ball to the tip of her big toe. Elizabeth stirs and tenses as the felt-tipped marker grazes her flesh, but I am stalwart and stay the course, capture the foot for posterity’s sake.
Elizabeth is three years old, red-haired and long of limb. Her knees are like mine were when I was her age, stretched and knobby all at once, awkward joints connecting leg bones. I can already see how her hips will jut out at thirteen, will buffer themselves in fat and muscle. Buying pants will become almost impossible for her, will become a source of frustration, and she will start to wear slimming flat-front trousers with wide legs no matter the going fashion. Her skinny legs will protrude from an ample rump, those now-slight hips will grow to temporarily house the wide skulls of ten-and-a-half pound babies. She will slap the first man who remarks on her child-bearing hips and then she will marry him and bear two children in three years.
They will exhaust themselves with fights over money and discipline. When she discovers that he's been sneaking out to Bible study meetings and is on the road to becoming born again, Elizabeth will leave him. I'll take the family in, my 26-year-old daughter and her two preschooler boys, will put aside my plans to redo the upstairs in preparation to sell the place. She'll be practically unemployable, her only experience being reproducing and windexing the glass off the windows, running a vacuum cleaner across the floor so thoroughly that you could eat off of it. It will be as though she were a teenager again, the petty little fights over who left what dish in the sink without washing it, her stealing my cigarettes and popping diet pills so she can stay up all night. I will wonder what happened to my golden years, my "me" time. She'll get an earful every night.
Eventually she will go back to nursing school, will find a new place to live and get a job. One of the night-shift orderlies, an atheist, rational and compelling, will seduce her with stories from his service in the Persian Gulf. He'll move in after their third date and will start whipping that fatherless household into shape. The boys, teenagers by this time, will be desperate to escape the two of them, sick of the discussions of Ayn Rand and the tyranny of other people's gods. There are other things that will keep them away, the sounds that leak from the too-thin walls of the tract house, the atheist's cries in the middle of the night followed by the low dove-coos of their mother soothing him. They will visit me for dinner almost every night and I'll serve them roast beef and potatoes, spaghetti and meatballs, fish sticks and french fries. Sometimes one of the boys will sleep on the pull-out couch, his brother in a sleeping bag on the floor.
But for now Elizabeth is a little girl with chubby feet and dimpled elbows. Her neck is thick, strong muscles leading to an unremarkable chin that dips out blandly from under her lower lip. Her dad and I are still debating about whose nose she will have. All children have cute button noses. It takes the hormones and stretching of adolescence to reveal the nose’s true nature.![]()
The bottom of the sea

Tom was pinned to the sea floor, staring into the gloom of pale green water, when his family started drifting past like surreal floats in an underwater parade. The first one to show was Faye, his father’s girlfriend, jammed into a one-piece bathing suit with a plunging neckline. It was the same suit she had worn on the Mexico trip and even in the murk he couldn’t stop staring at her cleavage, worried that something would pop out. Faye was bounteous, but untidy. She was a concern. He tried to speak, to get her attention, but his words came out as a giant bubble. Faye’s pale blue eyes were open and unseeing. Tom watched with increasing tension, staring into them, not noticing the pocket of air that contained his voice had winnowed its way to the surface. It was the same with all of them, his sister Veronica, his parents. They floated past one by one without purpose or reason, looking as they did in life. Except for their eyes. Unresponsive, flat and always open, their eyes were sightless. It was as if they were dead. Veronica, in her pajamas, wearing one of those high-necked flannel nightgowns their mother insisted on buying, clutched a leash with a stiffened hand. Tilly was on the other end of it, pulling in undeath as in life, stretching the girl’s arm past her head as she floated by on her back. From the look on his father’s face overhead – his eyebrows raised, mouth shaped like a giant O, as if he were in mid-shout – the man was surprised to find himself there with the rest of them. He was dressed for a pickup ball game, with catcher’s mitt and a ratty Phillies baseball jersey over a pair of running shorts and his legs, weighted down by over-technical sneakers, just missed brushing Tom’s face.
It was only once his father floated away, became a speck in the water, that his mother showed up. She was almost within touching distance, if Tom could have moved his arms. Her body slowly began to turn, the white terrycloth robe twisting around her legs and then spinning out again. With each turn the fabric fluttered and fanned in a slow motion dance. There was a beauty to it. For a second Tom thought he caught her eye, thought he saw a flash of recognition, but then she, too, was gone, carried away by the current.
He was emptied. Bereft. How could they leave him tied to the bottom of the sea where there was no air? But he was alive. The air just came. He became aware of the heaviness in his chest, how his lungs, thickened and clogged, would fill like balloons, suddenly buoyant. His chest would start to expand and his body, reborn, light, would pull against its tethers, and then his lungs would empty again. He would wait for the next breath to push into him, to refill his body with lightness.
An eleven-year-old boy lies on a hospital bed, his body a pale thread under bleached sheets. A cap of greasy blonde hair clings to his forehead and underneath his sallow skin blue veins trace a map of the body. Sleep glues his eyes shut. White Velcro ties bind his wrists to the bed frame and his arms are so thin that the elbows jut out like smooth, rounded stones. Two lines run from a plastic port in his hand to an IV stand. A tube snakes from his mouth to a ventilator sitting to the left of the bed. The night nurse re-taped it a few hours ago, inadvertently placed the tube at a rakish (though more comfortable) angle, so that Tom looks as if he should be holding a candy cigarette between his teeth instead of a ventilator line. For the moment, his lungs are receptacles. They expand and contract at the ventilator’s bequest. Intake and outtake, the machine does the work with quiet hums and hisses. His breath is external. Electric.
The room is dark. His mother sleeps in a slate blue reclining chair by the window, mouth slightly open, head slumped against her shoulder. A copy of the New Yorker lies open on her lap. In this light the circles under her eyes look like shadows and her unwashed hair has the tousle of sleep. Because she keeps forgetting to brush, her teeth are mossy and her breath sour. When the respiratory therapist, a large square man named Joseph, walks into the room, she doesn’t stir, having become accustomed to the strange cadence of hospitals, where day and night are delineated by the migratory patterns of doctors and residents, the dominant physician leading his or her flock with authority during business hours. The way they trample! At night, residents travel alone or in whispering pairs, quiet in soft-soled shoes, not wanting to bring attention to their drawn faces and wrung-dry minds.
Joseph visits twice on his shift to check on Tom’s numbers and clean the vent line. He pulls a pair of gloves from the box by the door, struggling to get them on. Underneath the latex, his pale hands shimmer with a thin layer of sweat. He smells of cooking grease and baby powder. Tom’s vent tube is gummed up; he has pneumonia and the thick secretions interfere with his breathing. As the man bends over him and attaches the vacuum line to the vent tube, his body exudes heat. Tom feels the warmth of breath, of Joseph’s proximity, followed by the industrial pull of the vacuum. It sucks away thick clots of mucus. Every ten seconds or so Joseph dips the tube into a glass of clean water. The water rushes with the joy of movement, of life.
With each suction Tom’s lungs sag. They deflate, go limp, until they spasm in protest. He begins to cough. The coughs are productive and Joseph continues with his careful cleaning, until, satisfied, he leaves the room, nodding politely to the bleary-eyed mother who has just woken up. Exhausted, scraped clean, Tom falls into a deeper sleep while his mother adjusts his blankets and smoothes her hand over his forehead. She is grateful to feel his skin under hers, is even relieved by the warmth of a fever. Tom is still here and fighting.
The bottom of the sea is murky. Out of the green, a small shape moves toward him. It travels in a nimbus of light made blurry with disturbed silt. The slow movement is hypnotic and Tom is filled with a sense of calm. As the form emerges, he recognizes the fine long hair of his maternal grandmother, white as bone, a flash of brightness in the deep. The mud and sand, the irregularities in the sea floor slow her down. She catches his eye and waves. Tom feels warm, well-fed, almost satiated. Gram will catch up with him. Everything will be ok.
But someone is tugging on his elbow. His mother has returned with purpose and animation. Tom looks into her eyes, her face a series of hollows, furrowed brow over darkened eyes. Her dark hair floats around her head in crazy corkscrews. We love you. Stay here with us, she demands. Gram waves again, smiling, encircled by jaunty bubbles. There is no hurry. When it is all over, the end will only matter to the people left behind. He has infinity stretched out before him. His suffering will eventually be a memory and such memories are stored in the body, destined to rot.
Give the living a little more time.
Image: "Murky Water" by -Ebil-Bils.![]()
Suspicious minds

Because Frank Smith is an investment banker. A lawyer. A high-powered PR executive. Or so the rumors have it. He showed up in Bank Nile about a month ago, rolled into town in his ’49 Ford truck, which looks beat up but runs suspiciously well. Maya thinks he’s wearing a mouth piece. He talks like he’s been eating ice cream, his tongue slightly numbed, the words not totally clear, but there is no stink of alcohol or sign of the needle. There is no ice cream cone. She swears she’s seen him adjust those just-so nubs of his when he thought no one was looking.
His hand are smooth. Even though the palms are filthy and his fingernails blackened with earth and compost, those aren’t the hands of a man accustomed to hard work. He keeps a dust bowl hoe by the garden patch, makes a show of rustic tools, the rusted metal rake, a long pointed shovel. Frank claims to know about healing herbs, says he’ll fix you up with something for those migraines, will make a poultice for your aching back.
But don’t let that investment banker/lawyer/PR man sell you a goddamned thing.
****
Image from an online costume shop. This post was originally my response to a photo prompt. I keep on returning to it for the blog, but didn't want to use the original picture, for obvious reasons. And if you are in the market for a fake beard, I recommend the fine selection at the Etsy shop I Made You a Beard.
I've been struggling to write and hopefully will be back on track in the next week or two, writing, thinking, and visiting other blogs.![]()
Berkeley type

There’s a man with thick silver hair who will save me. I’ll run into him at Good Vibrations or while thumping melons at the Berkeley Bowl. Eyes quizzical, brow scrunched, I'll ask his advice as I peruse the erotica or the tomatoes. “How do I pick a ripe one?” I'll say, then press my lips together in anticipation, run a nervous hand through my own uncombed mane, worry the tear in my formless tee.
He’s capable, my man with silver hair, knows what I require. “I haven’t read this stuff in years,” I’ll tell him, batting my innocent eyes. “A girlfriend of mine recommended the selection here. Do you have any recommendations?” Or: “My naturopath has finally given me the green light for nightshades, as long as I don’t combine potatoes and tomatoes in the same week. But how can you tell when a pineapple tomato is ripe?”
He’s firm, my man with silver hair. Turns out his name is Nathanial and he stays away from pornography and tomatoes. He scrapes a thin layer of coconut oil on his multigrain toast and makes his own organic soy milk. He lives in a house constructed of bales of hay coated in plaster, collects the rainwater and the grey water to pour over his lush, nightshade-free garden. In a far back corner of his yard, a former girlfriend has constructed a pyramid of empty television sets and we sit and watch in calming yogic poses, balancing our diminishing frames on iron loungers furred with ivy.
Nathanial leads me away from temptation. He slices layers of butternut squash, thin as sashimi, dries them in the sun, and layers them with nut cheeses and frothy cucumber juice: lasagna! With him I learn the taste of a peach, the value of chastity, the length of my arms from fingertip to fingertip. During our monthly fasts, we see visions, hummingbirds like fairies in the passionflower, fabulous eagles, strong and formidable, emerging from sketchy fog. And my parents appear before me, penitent and humbled. They kneel at my feet and I dismiss them with a forgiving wave. The vision repeats and I never tire of it, my power, the moment of clarity.
When it’s over, when I am saved and clean and about twenty-five pounds lighter, after my visions start to wear thin, Nathanial will move on to the next orphan. He is evangelical, gathering souls away from processed foods and packaged T&A, a beam of light that moves from soul to soul. I want to warn them, the lady paused in front of the cornflakes, the college boy reaching for a six-pack of Milwaukee’s Best, the skittish dog-walker about to cross Dwight: It isn't us he wants. It's the karma.
From a prompt last summer: I am counting. Despite the first-person point of view, this is fictional. Just a reminder.
Image: The infamous Berkeley Bowl, from a 2005 New York Times article.
8:37, Saturday morning

Every Saturday he and his mother make pancakes and he watches the drama unfold. The eggs, chilled in their container, ignorant of their fate. Then, she selects two. It is never random. She moves from the back of the carton to the front. Surely the last eggs know what’s up, though she shuttles them back to the refrigerator before destroying their brethren. This is when he insists on touching an egg, on holding it for a brief minute, transferring his warmth to its cold shell.
“Do you want to crack one?” she will ask and he always shakes his head: No. The mess! Tom can tell she is relieved, even though she doesn’t let out a sigh or stretch her thin lips into a smile. It’s the way she angles her shoulders, the slight relaxation, the slump, when he returns the egg. He has become a master of the nonverbal, of the facial expression, trying to figure out the scene before inserting himself into it.
One Saturday, he did drop an egg, just let it go onto the kitchen counter to see what would happen. “Whoopsy!” his mother exclaimed in a too-bright voice as she hurtled herself across the kitchen to get a wipe. The clear white was oozing over the side of the counter, had just started to drip down the cabinets and onto the floor, and the dog, attuned to any utterance that sounded vaguely like “oops” had already honed in on the trail.
This time his mother did sigh, gave out a loud sigh, before taking out her frustration on the dog. “Mandy! OUT OF THE KITCHEN!” She threw up her arms and stomped her feet, glared as Mandy slunk back to the living room. “I’m sorry, Mama,” Tom said, his heart fluttering, as she picked pieces of shell off the counter and attacked the remains with a sponge. The air around them, charged with anger, calmed as she looked up at him. Everything stopped. She reached out and cupped his cheek, leaned over to kiss his forehead.
It’s always the way, she thought, the anger that explodes out of nowhere, like an egg cracked into hot oil. The expression on Tom's face, the knowledge that she is her mother, that she will be apologizing forever for her lack of self-control, for the spark that she passes on unwittingly. Here's hoping he isn’t as delicate as an egg.
From a prompt: You hold it. As Anne told me recently, the prompts have been good to me lately. Though very shatter-focused.
Image by Petr Kratochvil.
Away from here

We kept on digging that night, pushed through soil rich and dark, encountered earthworms as long as Joe’s middle finger. He had a trowel and I had a pick-axe, but most of the time we used our hands, took off our gloves and did the dirty work directly.
Nobody had told the little one about what had really happened to Tristan. I mean, he knew he was sick and saw the old cat collapse on the kitchen floor, heard the pained meow. He saw me cry and hyperventilate and gather calming forces, but we couldn’t bear to tell him what was happening, what would happen. He hadn't known loss and I swore he wouldn't, not until I was old and sinewy, not until Joe's alcohol-pickled mind had gone south and his hands were blurry with the shakes. I had seen enough of loss myself by age eight, learned early to keep a tenuous hold on other people. My boy, he could remain untouched.
There wasn’t time or money for the vet, so Joe lifted up Tristan's lank body, bony at the spine but swollen around the belly, carried him off into the back yard. I tossed him a kitchen towel still wet from the dish rack. The boy, always his father's shadow, made for the door, but I knelt down and blocked him with a hug. "Tris needs a little privacy, that's all. It's like at the doctor's office. Daddy's giving him medical attention. Why don't we read a book?" We got through two stories when Joe finally came back in, eyes red, the towel clinging to his fingers. "Tristan's ready to see you, kid," Joe told him. I sent the two of them out there alone.
Joe told me later that Tris hadn't put up a fuss. He and the kitty had sat together by the corner of bamboo that Tris loved to hide in, where all you could see in the thick stalks was a pair of shimmering green eyes, maybe the hint of white whiskers. Joe had professed his love while the cat panted, glassy-eyed. Then, a little business with the damp towel. Tristan had even rested a paw on Joe's trembling hand. It was true mercy, over in a few heart-breaking minutes. Before he came back into the house, Joe had shaped him into a comfortable round, pressed his thumb gently against each eye to close it.
He told the boy that it looked like Tristan was taking a little rest now, sleeping off his fit. “Give him a quick pat like a good boy.”
That seemed reckless to me, letting the boy touch him. Didn't Joe remember the heavy quality of dead flesh? Once the heart stops, it's like petting wax. But the boy didn't seem to notice, came in dancing and told me Tris was better, was sleeping.
That’s how we ended up at Strawberry Creek Park, looking like grave robbers, sifting through the dirt in the dark, Tristan in a Teva shoebox tied with butcher’s twine. Fog had blotted out the moon and the damp had sunk into my bones, made me drop the flashlight more than once. Mid-dig, a mama raccoon and her kits peered at us out from the bushes, rustled the leaves with interest. Joe tossed a trowelful of dirt at them. "Git! Git! This isn't a midnight snack." They shambled off in the direction of the creek, looking like hunchbacked cats themselves, all the fur with none of the grace.
A half-hour later, we had a hole two feet deep and just wide enough to jam the Teva box into. Tristan's stiffened body shifted as we pushed him into the hole, hit the sides of the box. I hadn't looked at him since the collapse, but suddenly I had the urge. I made Joe cut the twine so that I could shine in the flashlight and take a final look, could stroke the tips of his fine orange fur.
The next morning we told the boy that Tristan must have taken off, shimmied through a hole in the fence, or through some miracle of will had scaled the nine-foot planks and taken off for a better place. He put his little hand in mine and asked, "Is he OK, mama?" There was only one way to answer it: Tristan was fine, perfect, whole.
Maybe he’s sitting on a rock by the Bay now, eyeing the ground squirrels, dipping a paw into the cold water as he searches for fish. Or he’s stalking a bird in a field of waving grass, tail quietly twitching before the final pounce. Tristan is somewhere out there, away from here.
This was from a writing prompt last summer: write about something you don't want to write about. I didn't want to write about our cat's death, at least not directly, so I wrote this instead. It seems to fit the theme around here these days. It was originally three paragraphs with very little spelled out, but as I expanded it the details it became more gruesome. Not sure what I think of it, but here it is.
Thanks to rcb for the advice to slow down. This one's slower than usual at least!
Image: Strawberry Creek, by Edwin Deakin, from Berkeley Architectural Heritage Association.
Lure

I flicked a career away as easily as I tossed down shots of vodka. The brown shoes and heavy overcoat, the thick wool suit in regulation blue, opaque hosiery that marked red rails around my waist, that made a serpentine path from my navel down: the uniform is all I remember, how the wool smelled alive in the rain, the flecks of mud that the shoes, too high for the job, splattered against my ankles as I walked.
If Robert hadn’t kissed me, I probably would have stayed. We were in the claustrophobic break room, sitting a little too close, but I liked it that way. He smelled like brandy and coffee, with a touch of rot underneath, the sweetness of the grave, reached out with his gloved hand to cover mine. I wanted him to kiss me, willed it to happen, just to breathe in the warmth, get a little taste of humanity. An exchange of knowledge. Or maybe it was the lure of touch, a desire for contact beyond a fatherly pat on the hand.
Sweat was forming on his forehead. I reached out with my handkerchief to blot it away, traced the scar above his right eyebrow. “Hunting accident,” he said mysteriously. I saw the flash of a Bowie knife, the wince of fists, felt tinny redness fill my mouth. Pouting in concern, I leaned in close, he leaned in closer, and we kissed. His delicate fingers, soft in their leather coats, relentlessly explored my nape. Obedient, I followed his lead. We went from peck to panting and pawing until the door opened.
Filler for NaNoWriMo, from a revised Round Robin prompt last spring. Impossibly short in the face of all the other words I've been tallying lately.
Image: Kiss V, 1964, Roy Lichtenstein.
Faking it*

Surely there are hidden meanings everywhere, waiting to be uncovered. This was my hypothesis when I started my latest self-improvement project “Barbara’s Weekly Epiphany.” All I had to do was approach the world with a childlike sense of wonder, to keep my eyes and mind open, maybe even wear my heart on my sleeve. All of that information that has beaded off my consciousness, repelled by my cynical attitude and “been, there, done that” grubby cliché-ridden approach was going to be captured now, in a mind as open as my VW sunroof on a light-pierced June afternoon.
I started a blog about the project, wanting to share my insights with others: epiphanyquota.blogspot.com. First epiphany? You have to sell your ideas, sell yourself, if you want to succeed. You have to believe in you, or no one else will. Second epiphany: fake it ‘til you make it is more true than you think. Third epiphany? In the middle of a crowded public park, if you close your eyes and quiet your thoughts, you will hear the vibration of the world, the sound of its heartbeat.
The blog started getting a fan base, made up mostly of earnest young men drawn by the stock photo I’d put up that looked vaguely like me fifteen years ago. They were drawn by that and the supportive and slightly flirtatious comments I’d left on their own blogs, encouraging observations on the quality of their writing, the strength of narrative voice and character, how close I felt to them though we’d never met. These exchanges led to other epiphanies, ones that I didn’t share on the blog: bullshit actually works; the reality of the online world both mirrors and denies the reality of the solid world; men will believe anything.
One of them -- let's call him Brad, a name that fits in its brevity and practicality, that matches his corny, Hemingwayesque writing style -- got a little too interested. How was I supposed to know that he would take my ego-stroking seriously? I thought I had covered my tracks (always cover your tracks, a too-late epiphany), but somehow he found my phone number. I have an old habit of letting the machine pick up and would stand over it, listening to these silences injected with anticipation, the light touch of breath, the occasional throat-clearing. The messages hovered in the air, sticky and thick, for hours after the caller hung up. Brad eventually told me he was responsible, in an email where he attached a photo of someone, I presume himself, in flagrante. I immediately moved the sordid pic to the trash, changed my number, and blocked his emails. There are some sick fucks out there.
I type this in my ratty old bathrobe, a mangy Pomeranian on my lap. But I could be lying. You never know.
*From a Round Robin prompt last winter ("my latest epiphany"). Every word of this is made up. Really. And I'm all for positive thinking, have spent years faking it and am on the cusp of making it.
Image: "Epiphany," Henry Ascensio. From Tavistock Gallery.
Foundation

The story was that he and Willard were drunk when they poured the foundation. It was a hot day, unusual for May, and the sky was cloud-veiled, the sun nothing but a glowing round cloaked in grey. The men mixed the cement by hand in a wheelbarrow, kept taking slugs from the whiskey bottle. Vi and the girls started out planting flowers, then prepared a lunch of liverwurst sandwiches, sugary potato salad, and coleslaw. Finally all there was left to do was to sit on the metal lawn chairs and watch.
Everything went down so easily. The cement had a nice resistance, just yielding enough, like Vi on a good night. It was a perfect mix, Willard agreed, as he passed the whiskey bottle back. Running a trowel over it was soothing, could almost put you to sleep. Dusk was enveloping the neighborhood as they wrapped up. One of the girls had fallen asleep on a blanket on the dirt, and the other one glowered as she kicked up clouds of dust in the rutted driveway. Al struggled with the wheelbarrow until he decided the hell with it, it was just a rusty piece of shit anyway.
Vi finally had to drive everyone back to Delaware, the men singing a song she didn’t recognize, the girls bleary-eyed and hungry. When they returned the next weekend, excited to start building the cottage, Al ran his hands across the foundation and groaned. It didn’t take a level or a plumb line to figure out that they had to start all over again.
Image: The house at Hollywood Beach, August 1957.
A crumb

But first, a preface to the crumb.
I haven't been here lately. My son is out of school until after Labor Day and we've had a series of pet-related good things and bad things. Cat dying: bad. Adopting a kitten and a new adult cat: good. Nora the dog passing a pea-sized bladder stone at the Emergency Vet: bad, though it could have been much worse. Attempting to dissolve remaining stones through antibiotics and diet: good, though if it doesn't work she will still need surgery. Me giving Nora cranberry extract pills with xylitol in them: potentially very bad, since xylitol can be fatal in small doses to dogs. Nora surviving xylitol exposure unscathed: amazingly, wonderfully good.
In between pet-things and kid-things, I'm still taking the Round Robin, a writing prompt-based class. So here is a crumb for those of you who are still reading this blog, from the prompt I remember.
I remember that her fingers were thickened by arthritis, were scattered with freckles. Helen’s nails were coffee-stain yellow, bitten down to the quick, and she kept fumbling at the wedding ring on the fine silver chain around her neck.
I looked at her hands because it was easier than looking into her eyes, or letting my gaze drift to her useless foot in its bright blue stocking. Sometimes after a visit I’d look at my own hands and realize that time is written on our hands the fastest of all. Already my knuckles are puckering in idiosyncratic ways and the backs are beginning to resemble the uneven surface of a barren planet, ropy with rocky veins and hairline fracture wrinkles.
Helen wasn’t a worker. The hardest work her hands had seen was the kneading of whole grain bread dough, maybe a bit of digging in the garden. She’d cracked open books, propped them up, her thumb and pinky keeping them open. Me, though, I’d scrapped carcasses in the field, held up splintery boards with the meat of one palm while I grasped a hammer in the other. Some jobs we worked all winter long, if we were lucky inside, but we weren’t always lucky.
I read a book once about men working on a tower, applying mortar and making repairs in the ice and slush of January. They were suspended from ropes attached to scaffolding, wore gloves with the fingers cut out as a symbolic act. Their hands were gouged and scuffed, palms smoothed by rough passes over granite, life and work written on the body.
Image: The kid, pretending to be a cat, because we don't have any good pictures of our actual cats being actual cats. Yes, he is holding an egg mold, which is this fictional cat's weapon of choice. It makes him fly or it's a bomb or he shoots it or something.
Join one sentence with another

For about eight months now, I've been taking a course at The Writing Salon called the Round Robin. Once a week the instructor, Jane Underwood, sends a class email with that week's writing prompts and partner assignments. Every day, for no more than twelve minutes, my partner and I each write on that day's prompt, sending the resulting "writes" to each other by email. Occasionally, the prompt is a photograph. Usually it is a phrase (yesterday's was "I feel exasperation tensing my face"), sometimes just a word.
The point is to just do it, to see what happens when we let our words flow without forethought or editing. Each partner responds to the other's work, pointing out the things that they like, encouraging the good. The process is exhilarating and a little scary. I read the prompt, gnash my teeth, and then start typing, not knowing where I'll end up.
And where I end up often surprises me. Mainly I divert my thoughts from real life, bored with the worn roads of me, well-traveled and devoid of wildlife. The words don't tumble, exactly, they waltz, softshoe onto the page, join me at a leisurely pace. I start with one sentence, join it with another, and before you know it, I have a story. A vignette.
Like this one, so different from what I write here.
Writing prompt: The test
It’s nothing. Just a blank sheet of paper, 8.5 x 11 inches. The doctor passes it to me. I stare at one of the desk legs, slit my eyes until the carpet and wood blend together, a fuzzy field of sand and tree.
Did she mention what I am supposed to do with the paper? Is that the whole point of this test, to see how I react? Origami isn’t my thing, doc. I can’t even fold a paper airplane. And I am not up to folding a cootie catcher. The idea makes me smile, though, a cootie catcher with various diagnoses hidden underneath the flaps, with pictures of clowns and crazies decorating the outside. Pick a number, say the riddle, figure out the problem.
The sheet of paper sits there, like a command: Do something. So I do. I grab it and growl, start ripping, take what I’ve ripped and rip through that as well, doubling, tripling the thickness of the paper until I can’t rip anymore. By now I’m stomping around her desk, going in circles. I take what remains of the paper and toss it into the air, cackling as the confetti drops around us.
I sigh, sit down. “I feel so much better. Thanks, Dr. Krapinski.”
She offers me a cigarette.
Image from here by way of I Am the Cheese.
More on cootie catchers.
Writing prompt: Give us some trivia

Illustration by Ed Harriss.
I was born with a stork bite on my neck, an egg-shaped mark pink as a salmon fillet. On some children this mark fades, but on me it spread down and around my neck, a two-inch wide necklace of permanent blush. “That’s a natural piece of jewelry,” Mom would say, “Some people pay good money to have that kind of thing tattooed on their skin.” Those people didn’t live in my town. The people in my town thought my neck band was the mark of the Beast. After twenty turtleneck winters and dickey summers, I finally had a plastic surgeon burn that thing off of me. It was worth every cent, every painful minute.
People think that calling them stork bites is cute. Like the stork doesn’t exist and, even if he did (yes, it’s the males that you have to worry about), he wouldn’t nip an innocent baby on the nape of the neck! What do they know about storks? Those birds are aggressive as hell. There’s nothing cute or funny about them or their predilections. That’s the brain stem, you know. One chomp there and you’re paralyzed for life. Dead before you even get a chance to give out a second wail of hello to the world. My parents turned their backs on me for five seconds … five seconds … and that nasty stork took his opportunity.
Still, I’m one of the lucky ones. My father had a younger brother, Cole was his name (they did name him). He was born at home. After the exhaustion of a 33-hour labor, his mother took a nap. The midwife was in the bathroom, and Grandpa — well, Grandpa wasn’t known for hanging out at the scene of a birth or death. By the time the midwife came back into the room, the stork’s work was done. Missy waved that bottle at Cole's face, tried to coax the nipple between bluing lips. When she turned him over, she saw it. This was no salmon mark, but a clear bloodless bite, a chunk of the baby’s neck gone missing.
So. You think the stork brings life, carries babies to their mamas in a soft muslin hammock, all pure and sweet and accommodating? No. Babies are born through blood and sweat and pushing, through exertion, the body like a machine that just keeps going until that thing is out. Then you have to keep watch, for the stork waiting to make his mark, for the death that can creep into the room on innocent-looking sleep, for the deadly cough that you can’t hear from down the hall.
Keep your babies close.
Gary Flanagan's Chihuahua
Next post: what I did on my winter blogcation.
And by the way, I have nothing against chihuahuas.

chihuahua skull image from Skulls Unlimited.
Take John and Elise. John was in love with her, but clueless about the ways of women. Not as taciturn as his father, a slab of a man, thick and slow, who tended to talk only after having a few, John had learned little of relationships or communication. He tried, though, bought Elise a toaster oven. He researched and did price comparisons and found one that would fit over the counter. He matched it to her appliances, black and sleek, made sure Elise could cook those frozen tater tots that she loved so much in it.
“Happy Valentine’s Day!”
Elise was expecting flowers, maybe even a dozen red roses or some sort of singing Valentine. She wanted the cliché, craved it after seven arid manless years. There was so much expectation that when she unwrapped the box (how many roses could be in such a huge box? And so heavy?) she burst into tears. What in the hell was this? John, bless his naïve heart, thought she was crying with joy, until Elise ran out of the living room, opened her kitchen window and flung the toaster oven, still in its box, out into the warm California air.
Start with a question. Focus on intent. For John, love. For Elise, unmet expectation, a dry spell Hallmarked to death, broken by this practical, this unromantic man. But intent no longer mattered to Gary Flanagan, whose chihuahua was crushed under a toaster oven flung from a third story window. As soon as Elise heard Taquito’s truncated yelp and Gary’s shouts, she knew something bad had happened. She looked at John, still in shock himself at the strange turn the afternoon had taken, through the kitchen doorway and held a finger up to her lips, her bloodshot eyes widening in warning.
And then, she didn’t know why, she felt a surge of lust. Elise marched over to the couch and starting ripping John’s clothes off, pinned him against the flowery cushions. Caution be damned, they consummated their two-week relationship right then and there without saying a word.
In the confusion of expedited passion, her underwear went missing. Afterwards, John went on a hunt, made a big show of it, checked behind the huge ficus in the corner, rifled through the china cabinet, lifted Elise's hair and brushed the nape of her neck with his chapped lips. “Nope. No underwear there, either. Guess you’re just going to have to go commando,” he told her and she laughed like it was the funniest thing in the world. Like it was the first time she heard that one.
Elise picked up a takeout menu from the coffee table. “I don’t know about you, but I’m starving. Chinese?” she asked, waggling a flyer from Mr. Chen’s Vegan Delites. “Chinese!” John responded with a jocular wink as he tossed her bra across the room, just missing the trash can.
Below, on Broome Street, a crowd had gathered. Tacquito’s hind quarters were barely visible under the box and a trickle of blood from his mouth had formed a dark comma on the sidewalk. Laura Falcon from Apartment 16 had heard the impact. She had poked her head out of her window and called the police right away. After putting down the phone, she went out to comfort the victim, that sweet and single Gary Flanagan from the sixth floor, handed him a huge mug of coffee and some chocolate chip cookies. Together they waited, stared up at the bank of windows, row after row of shiny glass with ominous gaps, windows cranked out to catch the breeze. Curtains flapped, blinds shuddered. Potted plants teetering on windowsills had taken on a dangerous quality. "Rows of terrabombs," thought Gary, newly enlightened about the pitfalls of gravity.
There were too many possibilities. “Not a peep from up there. Not a peep.” Gary kept repeating, and Laura would give him a reassuring pat on the shoulder. To Gary it felt creepy, like she was enjoying this chance to make herself useful. Indispensible. After the police took a report, took little Taquito away, she invited Gary into her apartment. He refused. Fred, the condo building's maintenance man, sprayed down the sidewalk as Gary watched, still holding on to the chihuahua's six-foot black leather leash. The comma of blood turned into a rusty cloud and slowly dissipated, washed into the gutter. Gary went back to his one-bedroom, determined to get totally drunk.
John and Elise have never told John, Jr. about the night he was conceived. They’ve grown quite comfortable with each other’s foibles over the last twelve years. He’s better about flowers, and she understands that you show your love in the best way you can. Sometimes she wonders what would have happened if John had brought flowers. How long it would have taken them to get beyond their assumptions? They couldn't stop talking that night, about the past, about how childhood confusion solidifies into adult surety. Elise is glad he gave her the toaster oven. She wouldn't change what she did that afternoon, wouldn't even alter it even by one second. Without the toss, the truncated yelp, the immediate intimacy of being partners in a crime of happenstance, she and John would never have gotten this far. There would be no John, Jr. It was fate, all around.
The day after the toaster oven incident, John left Gary Flanagan an anonymous apology note stuffed with twenties. The police said it was no use dusting for prints, and it was true, John had worn gloves just in case. Couldn't they have at least tried? Was Taquito's life worth so little? Gary has another dog now, a minuscule mutt from the SPCA who trembles in cold weather, whose barks sound like an infant with whooping cough. Nowadays, he tends to leave the building by the back door, shuffles Pepin past the dumpster and parked cars. He avoids the scene of the crime.
Shadowplay
The year was marked by the scent of patchouli. It roped and twisted its way into my room, coated the curtains, soaked into my skin. Some pseudo-hippy incense-burning chick with Camarillo brillo hair lived in the room next door and I put up with a lot of unwelcome odors. Pot smoke, sweat masked by scented oils, cigarettes and sandalwood. My least-favorite scent is an amalgam: Fall Term 1987.
Fall Term 1987 wasn’t limited to the waftings of pseudo-hippy chick. There were hints of puke (my own, my friends: we drank a lot), late night clothes exuding flat beer fumes and the remnants of cigarette smoke, the sticky 18th birthday remains of Coco Lopez and rum. That fall I comforted myself with baked potatoes clotted with butter and sour cream, used their earthy scent as an antidote to the disinfectant-sharp dining hall air.
Then there were the freshly opened condom packets; musty sheets left to go grey on the bed; my roommate’s apple shampoo; and the dangerous pull of Carl’s room across the hall. His walls were bare. In fact, the room was practically empty, save for a dead rose propped up in the empty whiskey bottle on his college-issue desk. I remember the smell of alcohol on his breath, sweet as molasses, as he unlocked the door.
He introduced me to the band Joy Division and to the previously unknown pleasures of the grownup crush, revealed the depths of my ability to obsess about certain kinds of men -- rebellious, prone to dressing in black, ready-made blanks for my projected fantasies. I wrote a short story about him for a freshman composition class that began "Carl is tall, dark, and handsome. Not classically good-looking ...." It was true. He had a Jeff Goldblum look, the dark-haired, smart, slightly nerdy ectomorph with his thick orange turtleneck, heavy boots and thrift store coat. He smelled like whiskey and cloves. The pull to Carl was obsessive. Single-minded. And pointless: I had a boyfriend and Carl was almost completely uninterested in me.
The real danger was Alonzo. Twenty-six, a senior from South America attending our small college on a sports scholarship, Alonzo was friends with Carl, but seemed to prefer the company of freshman girls. Rangy and tall, with hair like the young Kafka, Alonzo hung out in the dorm, crashed our parties, insinuated himself into our budding social lives. “Come on! What’s the problem?” he’d ask, eyes bulging, hand outstretched for my roommate Martha, making an offer we couldn’t refuse.
By the spring semester Martha had dropped out of college to get treatment for her eating disorder. I was unmoored, lost without my fellow drunk from a dysfunctional family. One snow-fresh February night Alonzo offered to take me out for a Procolino’s pizza. Afterwards (his intensity, his forcefulness) I reluctantly went back to his place, a windowless room in a Spanish professor's basement.

Shadowplay II (Gordana & Marko Zivkovic)
The professor wasn't home. Alonzo switched on a desk light, turned on the clock radio and reached for me. I could smell his cologne in the air. Polo. Not a good sign.
You know where this is going, right? It’s an old and very common story. I hesitate to call it rape, rape with its violence and violations and death threats and nightmares. This was more like coaxed coercion. Alonzo, all exploring tongue and crawling hands, used his knee to push me onto his thin camping mattress. I protested. He insisted, did what he brought me there to do. (I recently found out that Alonzo had been inducted into the college’s athletic hall of fame. The entry noted that he was so eager to get a U.S. education that he was willing to sleep on the floor. Yeah. That's right.)
Afterwards, the room damp with forced intimacy, I focused on the radio. George Michael was singing Faith. Martha loved George Michael. She also had a crush on Alonzo, similar in intensity to my crush on Carl. Now there was something between us. Another lie. I already had a moat of lies between me and my boyfriend, a series of flirtations and one night stands that I excused by thinking of his early treatment of me, as payback for the 1 a.m. visits, the nights he lost to bong hits and Elephant beer. It was getting uglier and uglier, wasn’t it? What was I becoming?
Alonzo the conqueror drove me back to the dorms in the professor's car. I headed for the showers. The coed bathroom was empty, no need to shout all-clear. Little blue toiletries bucket in one hand, towel tossed over the curtain, I turned the hot water on full-force.
I couldn’t wash the smell of him off me fast enough.
Writing prompt: Bone tired
Two notes: This is fiction. And for a much more encouraging take on "Fake it until you make it," check out the post The Greatest Love from the fabulous Melinda Roberts Tyler of Melindaville.

Image from It is Called Mount Cope.
I’ve been reduced to this, eating cheese crumbs out of my clothes, stepping over the cat puke on the rug, shuffling outside in a pair of de-elasticized boxers and a translucent t-shirt, ancient and holey, to get the New York Times at 10:30 a.m.
Yeah, I’ll wave at you, neighbor woman from across the street. Hello. Hello. I don’t know your name because you never gave it to me. The first thing out of your mouth when we moved here two years ago was “Don’t park your car in front of my house again.” OK. Thanks for the welcome, lady. That was when I cared, when my skirts were crisped by the drycleaners, when I ran a brush through my hair in front of a wiped-clean mirror, when I spent half an hour every Saturday wrestling with that damn morning glory vine on the fence to keep it in line. I cared what you thought then, Neighbor, but I don’t anymore.
No. I don’t give a fuck. I trace these two years gone and if I cared I might wonder what happened. He left, briefly, though he’s back now. We’re back to the marriage bed, so to speak. I still can’t stand the feel of his hand on my back, how his fingers trace their way down to my ass. Fake it until you make it, the expression goes. That’s his philosophy, anyway, and at least he’s here. Says he’ll stay with me through this little setback of mine. This emotional trough. He claims to know what love is. This is it, supposedly.
But I don’t believe him and wait for him to disappear.
Writing prompt: There is grace in that direction

Photo from apartment therapy.
“If only I was drunk,” she thought, remembering those tales of drivers fueled by alcohol miraculously surviving car-totaling accidents, their floppy limbs and carefree attitudes rescuing them from death. Extricated from smashed tin-can cars, they get up and walk away with a sprained wrist or broken toe while their sober counterparts are Medivaced and rushed to emergency surgery. Then she remembered: she was drunk.
This wasn’t normal. “Really, this is an outlying event,” she pictured telling the paramedics. “This is not my standard Tuesday afternoon.” Her stressful weekend had bled into the week and she couldn’t stand the muscle tension, her shoulders pulled tight, the way her tendons held her limbs at awkward angles. Victoria couldn’t even hug her husband properly. Unconvinced by his warmth, by his beating heart so close and welcoming, her body maintained its stiffness. She felt like an impassive observer as her hands thumped him on the back, a prelude to withdrawal.
When Laura suggested sharing a bottle of wine with lunch, Victoria thought: why not? It beats valium. The crisp Sauvignon blanc complemented her crab salad. They each had a tiny glass of Port at the end of the meal over a shared piece of chocolate cake. She felt marvelous.
No. Not drunk. Just a little tipsy, a little loose. Maybe she wasn’t hurt after all. Victoria slowly raised her right arm, then her left. She moved her head from side to side, bent a leg. Sore. Bruised but not broken. Her tailbone ached, and her left hip was probably turning purple, the broken blood vessels leaking into her muscle fibers. She turned around, pushed herself up. How would she explain this one to Barry? Oh, it was easy enough. Chris was in the habit of leaving his toys right by the stairs and both she and her husband had almost tripped multiple times. Maybe this would convince her son to be more careful. Even though he had nothing to do with it.
Once she was off the floor, Victoria inched her way up the stairs, favoring her left leg. To better assess the damage, she went into the bedroom, stripped down to her underwear and stared at her battered image in the mirror. Years before she had fantasized about taking up boxing as a way to get out built-up anger. Intrigued by the idea of sanctioned violence, she wanted the thrill of knocking her fist into another human being, but had never worked up the nerve to sign up for lessons. Victoria balled her freckled hands and took jabs at the mirror as she danced and swayed. Her hip was as dark and soft as a ripe plum. One of her cheeks was yellowing and there was a thin line of clotted blood coming from her nose. Her back ached. But the tension was totally gone.
Writing prompt: Many in the park are reading the white butterfly
I love that cabbage butterfly as if it were a fluttering corner of truth itself!
Tomas Tranströmer, "Streets in Shanghai"

Photograph from Wired New York
Many in the park are reading the white butterfly. Or worshipping the wrinkling God, exposing their winter-white limbs to the sun. Backs against thin towels, resting on hodgepodge quilts or supported by near-dead grass, they lie among the remains of dog shit and crushed beer cans. Four months of relative darkness, of travel wishes: the sea and sky clear, the beach unpeopled, a tropical drink supported by sand. Stuck in the city for the long haul, they celebrate the coming of spring.
They travel from studio apartments, from many-windowed penthouses, stream in from the train station, form in groups released from grubby cubicles. Maybe they are cutting school, calling in sick. It could be that they don’t have anywhere to be in the first place.
She props herself up on her elbows, surveys the landscape of bodies. Across a line felled by desire, a white butterfly floats, a promise fulfilled.
Writing prompt: The visitors

Image from promotional materials for 2005 animated film, Kontrol Eskape.
Daniel came with a backpack full of canned cat food and Max, a fluffy grey tabby artfully splotched with patches of orange, on a leash. As he kissed my cheek, his toothbrush nudged me in the chest. It was tucked into his front shirt pocket alongside a container of floss and a ballpoint pen. He had a change of clothes in the car and had packed a tent, too, just in case.
“I don’t know how long I’ll be staying,” was the first thing out of his mouth. Max, unleashed, threaded my legs and dashed into the living room. Later we found a small disc of cat urine on the floor by the ficus, Max’s lament, his only accident.
I made a crimini mushroom omelet with muenster cheese and served it with a side of crisp potatoes roasted with whole shallots and rosemary sprigs. When Dan emerged from the bathroom, freshly showered, he opened a bottle of Pinot. We sat in eating in silence until the second glass, when he rolled up his left sleeve and showed me the marks, a neat imprint of fingers wrapped around bicep.
“Eric’s at it again.”
His boyfriend was a brute, a nasty sort who was attractive if you didn’t know his back story, didn’t know he was a sweet manipulator that could turn maniacal. Daniel turned and lifted his shirt, revealing an archipelago of bruises on his lower back, a long bloodied scratch across his spine. He never had a mark above the clavicle or below the groin: Eric was strictly covert.
“I forgot to take out the recycling.”
Suppressing a sigh, I reached for his hand, tamping down my guilty urge to blame the victim, give him a hard time for sticking around with beautiful Eric, the work acquaintance I’d set him up with. Eric of the deceivingly kind brown eyes and silken hands, of the long fingers of bendable steel and the high-pitched staccato laugh, a machine-gun guffaw that was as hairtrigger as his rage. I didn’t want to know about it, didn’t want to provide sympathetic catharsis.
“I forgot to take out the recycling, so he dragged me to the bin.”
“I’m so sorry, Daniel.”
A story of kicks by wingtip, recycling carefully sorted and dutifully delivered to the curb, Daniel’s attempts to keep his expression flat and his apologies genuine – Eric wanted simple obedience and sincere contrition, not a melodramatic man-beating scene. Last time it was about dry cleaning, though neither of us can remember whether the issue was overstarching (Eric has very sensitive skin) or Daniel’s forgetfulness, the shirts that weren’t picked up in time for the conference.
“He’s so . . . quiet about it, have I told you that? He doesn’t yell or scream. But his face is terrifying, Janine. It looks like it’s going to collapse on itself. Someday his brow will fold into his mouth and he will reveal himself to be the alien I know he is. Max always runs under the guest bed before anything happens. He’s my early warning system.”
Daniel took off his glasses and rubbed his eyes. I knew tonight wasn’t going to be the beginning of his redemption story, just another painful, repetitive chapter, the time before the revelation. He would be back there maybe even tonight. The reunions were the best part of this, weren’t they? Max would stay with me this time and I would stay out of it.
I leaned back and grabbed another bottle of wine from the rack.
Writing prompt: Streetsweeper

Photograph by Jane Underwood.
Janine had been passing him on her way to the drugstore for weeks now. She never went into the diner – too much saturated fat, not enough green stuff, unless the dye they used in their mint chocolate chip ice cream counted – and, to be honest, she had other reasons not to go in, too.
Ever since returning home to pack up her mother, she’d been stepping inadvertently into the past. The town itself seemed stuck in a time warp, with all that neon and the thriving Mom and Pop stores (who would have thought that northern New Jersey was so retro?). It was the kind of place where people stayed, aged in place. The pharmacist at the corner drug store was a high school acquaintance, a former football cheerleader who was brainier than anyone knew. The guy who pumped her gas was the brother of Janine’s best friend from elementary school. The clerk working at the library circulation desk was the person who introduced Janine to marijuana, that first secretive toke during a school trip into New York.
Janine was tired of going through the dance of friendly interrogation. Over time she developed a willful blindness and only saw the path ahead of her. That was difficult enough, considering the state of her mother's apartment, the tangled and rotting neurons clogging her mind. This time he saw her. “Janine! Janine Rickenbacher?”
It was Tommy. In the same job he’d had since high school, handyman/janitor for Zorba's. Some things never change, but Tommy had. He’d hardened, his eyes had darkened a shade, were brassy and brittle. He took off a glove and reached for her, his hand calloused, the fingernails bitten to nubs.
Writing prompt: talismans

Image from The Heart Chronicles. "Vintage" (presumably long dead) rabbit's foot from the Etsy shop marytofts: antiques and curiosities.
Do the talismans protect you? They do not.
Do they bring on a creative rush, make you joyous when you are bereft, give you the courage and faith to love when your heart is stony and withdrawn? They do not.
Then why carry them around? Why write on the bathroom mirror each morning “I will have a great day,” in perky cursive with mauve lip liner if it doesn’t really work? The coffee will overflow, the bus will be late, someone will eat your sandwich from the communal refrigerator.
I knew a girl who used to carry around a rabbit’s foot – lucky for her, unlucky for the rabbit, the joke goes. Whenever she was called on in class, she would pull the foot out of her pocket, would worry worry worry the soft fur. Later she dropped out, ended up as an exotic dancer in that sex shop strip by the airport. Some luck.
I’ve opened umbrellas in the house, I’ve stayed on the thirteenth floor, I’ve watched frozen as a black cat crosses my path. Still here to tell about it, and to say: luck is often random. Sometimes we bring things upon ourselves, the good and the bad, we court the accident or flirt with the firing. Or we pave the way for happiness, work hard, make intelligent choices, drop the bad friends.
It’s not quite a crap shoot. It isn’t hocus pocus. But if your talismans bring comfort, well, that’s ok.
Writing prompt: Write about a box

Photo from Columbia News Service
It wasn’t just one box. It was twenty. Or probably more than that – thirty or forty at least. Her mother was a pack rat and a compulsive shopper. In between this visit and the last she had acquired a juicer, a new microwave, an iPod (did she know how to program the thing?), and a set of wooden spoons from a charity based in Africa, in addition to countless other things that Janine couldn’t identify. Some of the boxes were opened and empty; others sat waiting for the knife, their contents in darkness.
It wasn’t just the boxes. It was the newspapers. The books. The bills. There were piles obscuring the windows. Her mother had beaten down a path back to the rest of the house, like a deer makes a path through the brush and undergrowth, to get to the kitchen, the bathroom, the bedroom. Could she get to the bedroom? The couch -- the only piece of furniture without boxes and papers on it -- had been made up like a bed, with a soiled set of sheets and a blood-stained pillowcase.
Janine followed the trail back to the bathroom, walking carefully, one foot placed in front of the other because there wasn’t enough room to walk normally. Willow, her mother’s ancient grey tabby, all bones and croaked meows, darted in front of her. Janine didn’t respond in time and her fall triggered an avalanche of boxes, a flurry of papers as her mother watched from the kitchen.
“Find the birth certificate?” her mother asked. Oblivious.
Writing prompt: Watch it!
The Metro is packed. The threatened end-of-day thunderstorms have arrived and I am jammed in with other hangdog federal workers, soaked tourists, and a crowd of high school students all wearing identical Smithsonian raincoats. I stare at a man’s hairy hand, thick gold ring on his index finger, as I hang on to the pole by the doors. We breathe in the heavy air, faint with adolescent sweat.

Picture from The Janus Museum.
As the warning chime rings and a disembodied voice tells us “Doors closing,” she walks in. I see her almost every day at Union Station sitting by the Christopher Columbus fountain behind a phalanx of plastic bags. “Got any money to spare today, baby?” she’ll ask. Before I encountered her there, she once sat next to me on the Metro, in one of those seats half hidden behind plexiglass at the back of the car.
She’s hard to forget, this middle-aged African American woman, probably homeless, maybe a little crazy. Every morning she gets up and puts make-up on her face, stripes of beige and dark tan, giving herself the face of a bland tiger. Her eyes are always hidden behind sunglasses. Today she wears a threadbare, stained trench coat, tan, stylishly cinched at the waist.
Commuters flatten themselves against daytrippers as the tiger woman forces her way into the car, except for man beside me. “Hey, you: watch it!” he yells. She ignores him, the doors close, and we’re on our way. Next stop, Judiciary Square.


