Buddy is a good friend but will be an even better Marine. He is open to following directions. He will die face down in Pleiku, far away from his dreams, alone. But today, Buddy is twelve and entitled to his share of dreams. After all, most nightmares are reserved for adults. Buddy’s stepdad had a job for us.
Blake LondonSEAN’S ROOM Steam from the shower moves in columns to the ceiling. I’m holding Sean’s hand, and his eyes close with the bathroom door—we twine and twist into sheets of flesh. Sean said the comedown is the hardest, but…
He’s a grotesque in primary colors, as much David Cronenberg as Clark Kent. The cartoons and the movies and the coloring books—they usually forget that. The idea of Spider-Man is, at its core, revolting. When it is time to suit up, Superman bears his classically handsome mug. Batman, Captain America, and Green Lantern, at the very least, leave their chiseled jaws exposed. With Spider-Man, everything hides beneath his spandex. Should you be saved by him—hung up in his gangly, yet muscular arms as he swings you off to safety—you’d look into the face of your hero, and there’d be no reassuring grin or playful wink, but, instead, two pupil-less eyelets, teardrop-shaped and alien, staring hugely as if frozen in shock. It would take all you could muster not to scream.
I receive a text from a friend.
Since preschool, our girls have been kindred spirits. They are on the brink of young adulthood, buds pressing through tee-shirts, splotches of pink and red in a of constellation across their hairlines, limbs long and gangly.
Christmas morning two years ago. Cold and snowless. My father hauled a leather instrument case through the front door and set it at my feet. Next to its handle was a little gold plaque, its logo embossed in fine script. Martin & Co., Est. 1833. Up close, the case smelled like his car: a mixture of coffee, Red Bull, and sweat. I unfastened its buckles and pulled the top open. Inside was a new guitar. A particularly beautiful one, smaller than a dreadnought. Black, gourd-shaped mahogany body with ivory binding along its waist and edges. Cream-colored, vintage-style tuning pegs, pearlescent fret inlays.
The dissection, in simple terms, is a search. Imagine searching your house for a pair of socks. Now, imagine searching your specimen—for our purposes, the body—and this time, the body is your house, and its secret is a pair of socks, misplaced somewhere in the body for you to unearth.
Over dinner the Brazilian painter says she doesn’t believe in time, or maybe she says she’s skeptical about the measuring of time—I can’t be certain as we meet haltingly between languages. We are painters and photographers and musicians and one writer, me, in a crumbling Catalonian farmhouse at the foot of a mountain that looks like a pile of noses.
Like you’re supposed to hate winter, with its cold and mountains of snow and how slip-walking on ice is a bitch and all that shit. Honestly, I love it. Honestly, I’d move to Alaska or the Arctic Circle or the South Pole if anyone would let me. In another life, I’d beg to be a penguin. Or a polar bear, except they’re going extinct.
Instead of getting on the highway, Jake starts to drive deep into the woods, past the Savage Funeral Home and out 147, past Iona’s Country Bar. I can tell by now that this so-called spontaneous road-trip has been meticulously planned. I think, Iona’s in there, so is Lucky, so is Fran. I give a quick squeeze to my red rubber stress-ball. Jake’s got his box-cutter handy, for just in case we get into an accident and need it to free ourselves from our seatbelts.
A girl at a house show expresses surprise and delight that I was from the Philippines. Her academic concentration is in environmental studies. She talks to me about conservation pursuits for American students, on the rivers and shorelines. I say, ha ha, yeah, we could use the help. Too glib: she thinks I mean it, or she just thinks I'm mean. Two years from that moment I write tongue-in-cheek poems about my mother, who waded in those rivers simply to scratch the red welts leeches left on her skin. How when she visits home now the tap water makes her stomach curdle.
On a rainy morning in October my son erased me during craft time at the library. We made a wind chime out of old spoons and gray yarn and colored beads in green and purple and orange and a jar lid with pre-drilled holes. The pencils were there to sign up for mommy/baby yoga the following day. A new three-year-old, Milo no longer qualified for mommy/baby yoga, but he still helped himself to a pencil. Ignoring the pointy end, Milo scrubbed the eraser over the ring finger of my left hand until the finger disappeared. Using my other hand to help the mother next to me attach the final string to her and her daughter’s wind chime, I didn’t notice until it was too late.
Every night, after a long day spent creating the universe, God removes his talents from inside His chest, like a handful of featherless baby birds, glossy with blood, and lays them on the bedside nightstand before turning out the light. “He’s a genius,” everyone says. “What He’s done with the universe, it’s just great. Can’t wait to see what His next project will be.”
Mary counts the ships. Rodney has just broken her heart.
“You’re like the ocean,” he points to the blue water carpet. “You will ebb and flow, you’ll see.”
There are five ships. A mother duck ship and four little ducklets. Last night, the radio talked of an oil spill.
“I hope those are rescue ships.” she says, “for the poor oily birds.”
The Females was my first encounter with the late writer Wolfgang Hilbig, who grew up in East Germany and was allowed to move to the West in the mid-80s. He died in 2007 and was buried in Berlin. Isabel Fargo Cole has been translating his work for twenty years now. She started working to gain Hilbig an English-speaking audience before his death, and The Females, from Two Lines Press, is her sixth Hilbig work.
Part of the pleasure in following an author, as I have followed Claire Fuller from her first novel to her latest, Bitter Orange, is coming to recognize her voice, even without a title page. Our Endless Numbered Days and Swimming Lessons introduced me to Fuller’s eerie, ironically rendered English countryside of dark forests and haunted seaside villages, and to her characters held captive by lies. From novel to novel I’ve admired how she uses intelligent but naïve narrators to withhold information from the reader, sustaining unnerving suspense while signaling dissonance beneath the well-mannered surface. At this point, I’ll eagerly read anything she writes. And Bitter Orange is her best book yet.
Lisa Appignanesi’s latest book comes at a time in which most of us regularly feel beside ourselves in what she describes as an “everyday madness.” She devotes herself to describing this mundane madness, something which could be called trauma but is experienced by almost everyone, in three manifestations.
The first piece I ever published was a personal essay on workplace sexual harassment. The title alone— "Sexy or Sexual Harassment?"—made my intent clear. I was using my writing as a means of interrogating my own experiences. Of working out for myself what these experiences meant.
I’m a recent college graduate with mad STEM skills. I just started my first full-time job last June. My question is: should I quit it to go work on a political campaign until the election? I feel strongly about the candidate and even more strongly about the fate of the country. The job is unpaid, but my role will be important—and I think my skills could really help. Despite the fact that my parents are furious at the very thought of my quitting my job, the fact is that I am very employable, and could maybe even get my old job back, even though they are so pissed off at me they have refused to give me a leave of absence.
“If books don’t get published, they don’t live,” argues Marian Schwartz, the prolific and award-winning translator of over seventy Russian works. Thanks to Schwartz, significant 20th and 21st century Russian books have been brought to life, including work by Nina Berberova, Polina Dashkova, Mikhail Shishkin, and now Leonid Yuzefovich.
Thank goodness Magela Baudoin’s first book to be translated in English, Sleeping Dragons, is so short. The fifteen stories in this collection (adding up to only 140 pages) are so precise, bursting with such potency, that to increase the collection to 200 or 250 pages would just about kill the average reader. Nearly all the stories are perfectly formed, energetic little spheres—like new tennis balls, popping with their own elasticity the moment they drop out of the canister—and only so many of these spheres can hit a reader between the eyes before she must stop, dazed. The overall impression is of a writer with years of craftsmanship already behind her, ready to don the halo of South American literary fame.
Excellent writing is often lauded for its ability to transport and disembody the reader, to enrapture so completely that its audience floats along the sentence and forgets their place in the room. Meghan McClure’s Portrait of a Body in Wreckages does not do this, instead, much of its excellence is found in its proficiency to embody the reader, to address them in their own physicality, and move along the level of the cell as well as the sentence.
Chaya Bhuvaneswar is part of a unique legacy of writer-physicians—Nawal El Saadawi, William Carlos Williams, Anton Chekhov, to name a few—and the unexpected harmony of these pursuits is showcased throughout her collection White Dancing Elephants, winner of the 2017 Dzanc Short Story Collection Prize. Written with a straightforward, refreshingly uncluttered voice, these stories center on the urgent human desire to heal and be healed.
Ada Limón is the author of several poetry books, including the National Book Award finalist Bright Dead Things, which was named one of the Top Ten Poetry Books of the Year by the New York Times. This year Limón released her fifth book, The Carrying, to wide acclaim, including being named a Best Book of Fall 2018 by Buzzfeed. Since the release of The Carrying, Limón has been traveling extensively for poetry events but was able to take some time out for Cleaver to discuss the new book and aspects of craft in her poetry. She lives in Lexington Kentucky.
At the beginning of Guadalupe Nettel’s newly translated novel After the Winter, twenty-five-year-old Cecilia moves from her native Oaxaca to Paris. She arrives there without the usual image of Paris as a “city where dozens of couples of all ages kissed each other in parks and on the platforms of the métro, but of a rainy place where people read Cioran and La Rochefoucauld while, their lips pursed and preoccupied, they sipped coffee with no milk and no sugar.”
I hoist the case up onto my desk and struggle to release the typewriter. I don’t remember my portable typewriter in college being this cumbersome. Plug it in, feed a sheet of paper through the roller thingy, and flip the switch. Oh yeah—I’d forgotten that motor sound. Do I remember how to use this thing? I consider the keys. My fingertips find home row. Like getting on a bike again. The next thing I know I’m typing. Energy flows into my fingers. I can still do this! Even though it’s been more than thirty years. Through the serial number, Barbara confirms that this typewriter was manufactured in 1964. I was only eight years old then, trying to pick up Dad’s bowling bag. Talk about a time machine.
The paradox in writing a postmodern memoir is that the author must somehow convince readers she’s telling the truth—typically by admitting to subjectivity and fallible memory, and by interrogating her version of events. But that’s not the strategy Vanya Erickson employs in her post-WWII coming-of-age story, Boot Language. With vivid detail and some implausibly long passages of remembered dialogue, she presents herself as the sole reliable narrator of her life in California, where she was raised by an abusive, alcoholic father and a mother who failed to protect her (but did “soften Dad’s blows” with inherited money).
The motor of Strange Weather is the slow love that builds between Tsukiko and Sensei. At a neighborhood bar, they run into each other after decades of absence. Maybe at another time they would have exchanged pleasantries and moved along. But they are both living in the same kind of underwater blue. They chat and find that their language is the same. They start to build an intimacy without schedule, running into each other at the bar, sharing meals and drinks, telling simple stories, laughing at their inconsistencies.
Last night David Bowie sent a motorbike rocket, the first of its kind, into space, with a man having anal sex with a woman.
It has long been every female’s dream for a gay man to have sex with them.
Light Years: plurisy, renewed nostalgia for each moment
as it goes, the dream returning as it’s escaping. / His wife’s
demonic pain, his fuckall, to have failed separately
too long too much together, by the minutes ganged, contemned,
When we couldn’t dance around it any longer, we set mousetraps and started imagining our two toddlers, Henry and Suzanna, losing their fingers one by one: limp pinkies crinkled like sun-wilt, severed rings, scattered middles, dirty orphaned pointers curling into themselves as if for protection.
Kimberly Grabowski StrayerTHE REST I slept with a kitchen knife in my bedside table as a little girl, I don’t think even my mother knows. She loved all the shows about murder. I would tell her I was scared but…
One is waking up in a bedroom that you do not recognize. The scent of coffee makes your head ache, but you cannot recall what it tastes like. And you don’t understand because you thought you liked coffee, but now you are not so sure. You feel panic as it fills your fingertips and clogs your throat. The patchwork quilt stifles you, makes threats against you. The newspaper tells victims to put up a fight, but whose house is this, and what if they do not react well to strangers who thrash around in twin beds that creak?
Luke WortleyONTOLOGY OF FATHERHOOD Apparently Jack just learned the basics of genealogy. The lowest, sturdiest limbs branching out from roots of blood not my own. When I picked him up from school today, amid raindrops the size of a newborn’s…
Whilst I was human
I walked around with glitter in my eye
I wrote it down
I believed in magic
Once there was a clementine
when I couldn’t speak
and a late afternoon on
the steps in the sun when
all I could do was think about
your hands so close to my hands.
In the sour aurora borealis of our political reveries
every bruise dives together in a drink of lead paint
pouring out of smoky eyes poked out at the broken border
again we were stopped at the dirty border again
doing the thirsty gecko
in need of a hopeless shower...
we'd rather have thirty legs and arms cut off
in a hurry than let go of the neutral internet cut off
When we meet you will tell me you’re tired of the same old thing. You will look me up and down and see what you like.
I will nod and tell you I know, baby. I will show you all the ways that I’m different.
I like football and beer and steak.
Those that whispered
stay in the corners
unadorned, protecting
their corners, pissing
in their corners, un-
willing to dance
or play with the bones
of the chicken
we had picked clean.
This isn’t one of those stories where the twenty-two year old work-study assistant gets kissed on the cheek by the Chair of one of the country’s most prestigious English departments while she’s arranging cookies for the Visiting Writers Reading, writers whose names you’d surely recognize, like the author of the graphic novel about her coming out and the author who writes about horses, and the trim little poet who upstaged her husband last December at a reading for The Environment.
Once I was so lonely, I spent all night talking
to an android, her pursed lips whispering
thick as a storm cloud. I wanted to step inside
her hollow machine, hold the very brink of nothing
alive. I wanted to listen to her voice like the sofa
I was never supposed to sit on. She held my hand
After I call Barney, I take a bath. I have my hair in a topknot, so it won’t get wet. But it’s been cold all day, and the hot water feels so good that screw it, I pull out the ponytail holder and submerge. It’s not like he hasn’t seen my hair wet 500 times before. It’s not like a date where you need to look your best.
Twelve hours under the flood the putrid silt
sacked every staging and support, the poplar
plank with its larch cross-sections, wrung through
with woodworms and fungus spores.
Holly LiTHE REVOLUTION IS NOT DEAD: I’M WEARING IT It was a dingy street stall, somewhere in the back alleys of Tiananmen Square in Beijing. The uninterested teenage boy manning the booth flipped through a magazine while I rummaged through…
Photos of every winner of the Hungry Man Challenge hang on the wall of The Little Texan Steak Ranch. Four dozen photos. Mostly white men. So when Sandy Jenkins plops her red, heart-shaped purse on the counter and orders the Hungry Man Challenge, a hush falls over the restaurant. Sandy Jenkins at 5’2 with short downy dark hair like a baby chick and unsmiling liner-rimmed eyes already doesn’t look like she could eat 72 ounces of steak in one lifetime let alone one hour. But besides that, everyone in town knows Sandy isn’t the type of girl to sign up for anything. She’s the type to traipse through your tomato garden in combat boots and when you catch her, claim she is searching for a four-leaf clover (and you kind of believe her). She’s the type to steal pencil toppers in the shapes of cute forest animals from her classmates and display them on her dresser, and when her mother asks where she got them, lie that they were gifts (her mother is just relieved she’s finally making friends). She is the type who, upon realizing that she sticks out like a cactus flower in her homogenous hometown, instead of trying to blend in, leans into her differences—wings mark the corner of each eye, drawing their shape further up her temples, black hair shorn close to her scalp. Sandy is the type to avoid restaurants like The Big Texan Steak Ranch and tourist traps like the Hungry Man Challenge at all costs and, instead, suck on Slim Jims while perched on parking curbs in the local shopping centers.
Waiting for a table at the diner, I won round after round of I Spy with my son. I spy with my little eye something green (the 7-11 sign across the street), something ephemeral (the time between now and when this boy will be too heavy to carry to bed), and also something getting truer (there is no silence left in this world).
I lie on the couch wide awake, cramps gouging my uterus. In my stupor, I picture the trappings of a baby girl, her translucent skin, her nail-less fingers, her snake-coiled legs. She has Jake’s smile, I think, the way the edges of her lips twist up, the way her left cheek dimples. I wonder how her laugh sounds, if it comes from her belly like his.
My earliest memory of Po-Po is her cooking: the thick aroma of beef and bok choy wafting through our old kitchen, and the sight of her tightly permed semi-afro through the steam gathering over the stovetop. After dinner, she would humor me as I tried to teach her English. I never had much success, but I remember her nodding and smiling along as I read my favorite picture books to her.
I wonder at the little dead lady on my carpet. I found her as I was picking up tissues from the floor of my bedroom, underneath the bed, lying on her back like a lentil. I had an urge to put her in my mouth, but then I remembered that she must be the same one that was crawling around my room in September. I had identified with the little lady, indecisively flitting around the room, landing on the white plastic blinds, walking along there for a while until she came to what she thought was the end of the earth, and beyond that the buttery yellow fabric of my curtains: heaven, for a bug.
How am I supposed to know that? Maxwell thought. He didn’t go to Escher Middle School or the Dalí Institute like the rest of them. He hadn’t learned underivatives or nonce poetry or taken any anti-rhetoric! Frustrated, Maxwell scrawled “Why don’t marshmallows have bones?!” for the first question, and for all the rest he drew faces with tongues sticking out.
While my husband frantically searches the house for his misplaced eyeglasses, I watch Marie Kondo fold socks, then stockings, then a sweater into neat little rectangles. They look like origami handbags. In her signature white jacket, the Japanese tidying expert instructs viewers to stroke each garment. She says, “Send the clothing love through your palms.” She runs her hands gently down both the sleeves and the body of a fluffy, white sweater, and my skin tingles.
