Am I sweating? Goddamn Jack Kennedy, may he rest. I never cared about the faults in my face before that SOB. Thank God for Pat. Smile, shake hands, remember key points: differences, future, enemies. Smile. “Hello, hello.” Smile. Breathe. Do not bob your head. Clasp hands behind. Clear throat. “Ready?” Yes. OK. Breathe. “Mr. Vice President...” Shit, my nose itches. “As we look to the future.” Forget the fucking nose, Dick. “We must realize that the Government of the People’s Republic of China...” You are announcing history. “We will have differences in the future...” This, this will be my legacy.
There must be more of them than you suspect, here in the Midwest—maybe every tenth, every fifteenth woman you pass. Those who used to ride clinging to some guy’s leathery back, bruised and battered and passed from one biker to the next, and then re-applying makeup in the fender’s reflection. Like the one who dropped by my office last week, her second skin peeled back to reveal her trinity: Harley, Triumph, BMW. Her name was Lorca, after Garcia Lorca, I hoped, imagining one of his dark Gypsy ballads recited at her conception.
Play. It’s 7 a.m. in Erie, Pennsylvania. Two young men sit at a bus stop on East 6th Street across from a paper mill that closed the previous year (2002). One young man, Dan Morey, is recently returned from a West Coast university, where he earned a master’s degree in English. When people ask him what he’s doing now, he tells them he’s “considering a PhD.”
The kid rides the dad’s buggy fast and quick. It’s him and her in the buggy with the handlebar and the seat he sits in with the kid standing at his back. He’s got a rare type of osteoporosis that only affects men, see, and though it hasn’t been diagnosed he knows this is what it is. He’s seen the weird hunched-over ladies with their reusable totes lugging veggies and fruit back and forth. Each time he sees them he thinks, You and me both, sister. The symptoms haven’t yet showed but he knows it’s coming. He can walk just fine if he wants. The buggy is more a preventative measure than anything else. Plus it gets his kid and him from A to B real quick. She’s in school, elementary, you know, the one where she’s gotta be there 8:30 a.m. or he gets a call. And he gets more than enough calls that’s for sure.
When the boy asked his father where his mother went he said she “had a bird.” He didn't know what that meant, but maybe it was because she squeaked like one, he thought. Or maybe she used to have one and she lost it.
His father paced around the kitchen preparing for dinner. He pulled out the pasta strainer and put it on the counter but there was hardly enough room, only the corner. He peered over at Tommy. He grabbed the plates smeared with dried ketchup, pressed them together, and rolled them into the dishwasher. He glanced again at the boy, who looked like he had a question. In fact, Tommy was trying to reach an itch in the middle of his back and was squinting his face in desperation.
Category is a submarine, Soviet,
riveted together in pointless hurry
by convict labor, Lesser Class, something for
Black Sea, obsolete when it hit the water:
[Intercept] Frontal lobe Ivan drinks vodka
on his watch—bilge is backwashing into head.
Odessa Command has forgotten us—
no radio response since 1989,
Not since the order to dive too deep for sturgeon
for the Party banquet. Listen, Officer of
Language and Music starboard must be written up
for insubordination – anti-social behavior
playing those old 78s of Stalin from the ‘40s
as everybody gets naked and drunk with
the mermaids. But will they sing for me
sings Denisov, the bass from Stalingrad—
As he trudged through the water-logged grasses, the weight of the canoe’s bow suddenly doubled in his hand. When he turned to look aft, his daughter knelt in the mud.
"Are you okay, Monkey?" he asked. His neoprene waders hobbled him and kept him from rushing to her.
"Why does it have to be so dark?" She shook mud from her hands as she stood.
I grew a maple tree behind my shutter board house. It blossomed despite the stuffed weave of city streets. The first time I saw it, a single leaf had sprouted and turned its face to the sun. Those rays of light that the leaf caught fed the single branch, which pushed against the cobbled patio, displacing old bricks. It is a waking giant, I thought.
when he beat me up he had me against a row-house screen door, blows like birds flying at my ears as if they were feeders, my hands at the sides of my head protecting my face, I don’t remember the feeling of being punched but I remember my bully’s face, filled with paternal rage as if I’d committed a mortal sin not a wrong against him, his lips sealed, his cheeks red and exploding the energy of punishment, I shouted fuck fuck to show that even in tears I was brave enough to shout a word I knew was bad,
Bury me under feathers.
My mother wanted me to be an actress, a singer.
I paint in wings, in white, black, in plume.
You waterproof, you go thermal.
All the directions read backwards, the compass is upside down.
Don’t you get it. Look again, again. It is right here.
It is time to go home.
We rolled into Bakersfield in 1968 the way the Okies did in The Grapes of Wrath — with everything we possessed packed into a creaking car and trailer, kids stacked on top of each other and no place yet to call home.
Following a dust-devil down Highway 99, leaving my dad and his other wife at the Sacramento end of the Central Valley, my mom strangled the steering wheel of the Belvedere wagon until it and the U-Haul came to rest, hot and ticking, beneath the cement awning of the Capri Motel. Piling out, we could see the yellow arch across Union Avenue spelling out Bakersfield in bold black letters. Tall desert palms spindled the endless, empty sidewalk while sun-spotted traffic coursed by the motels and take-out shops and liquor stores. It was May and already close to 100 degrees.
Sunlight through kitchen window,
porridge swirled with raspberry jam.
Mouths clotted red, a bluebird sings:
on this morning, how can anything
be dead? Heat, the language of the
tea kettle, and whistle, warmth.
In 2013, a young journalist named Clara Beaudoux moves into a Paris apartment. The previous tenant, a woman named Madeleine, lived there for 20 years before passing away in her nineties. Strangely, Madeleine’s things have not been removed from the cellar. “All I had to do was open a door, the door to my cellar, for the adventure to begin,” writes Beaudoux.
The New York City of the decade in which The Future Won’t Be Long is set is a city in transition, sloughing off the dirty skin of a seriously fertile artistic period to eventually reveal a heartless skeleton scraped clean by Mayor Giuliani and the NYPD by the book’s end. From the start, the city is riveting for Baby, who describes how he “wandered New York, its manic energy seeping into my bones. The pavement vibrated, resonating with billions of earlier footsteps, centuries of people making their way, the city alive with the irregular heartbeat of its million cars and trucks, of its screaming pedestrians, its vendors and hustlers. The roar and clamor infected my blood, transforming my walk.”
Island of Point Nemo is a fast-moving adventure story featuring murderers, romance, and preternatural turns. But dig further into those turns, and the novel is ultimately a eulogy to books, both as physical objects and as containers for fiction. Written by Jean-Marie Blas de Roblès and newly translated from French by Hannah Chute, Island of Point Nemo features suspenseful plotlines that intertwine in such a way as to make the reader question the natures of fiction, reality, and history.
Haunted by her father’s absence and riveted by her single mother’s cautionary tales, Cleaver contributor Andrea Jarrell longed for the “stuff of ordinary families,” even as she was drawn to the drama of her parents’ larger-than-life relationship. In her forthcoming memoir, I’m the One Who Got Away (She Writes Press, September, 2017), Jarrell revisits family stories starring wolves in cowboy clothing and lambs led astray by charming savior-saboteurs, to recount how she escaped a narrative she'd learned by heart.
The stories in Rion Amilcar Scott’s debut collection, Insurrections, are set in Cross River, Maryland, a small East Coast city you won’t find on any map. The city itself is a work of fiction, but the lives of its inhabitants feel startlingly real. Among the Cross Riverians—or Riverbabies, depending on who you ask—included in this collection are a suicidal father, an old man known as the slapsmith, and a pair of brothers separated by the constantly flooding Cross River, which gives the city its name and divides it into the affluent Northside and impoverished Southside.
The problem—or, rather, the question, since I would be embarrassed to call such a minor blip in happy life and a good set of relationships a “problem”—is Beth’s parents, and especially her mother. We are Jewish and they are super-WASPs. They wear clothes with little anchors on them and so on, and she has one of those “Muffy”-type nicknames. But so far the religious/ethnic divide has not been an issue. They seemed to be fine with the kids’ ecumenical wedding, and I have never heard an anti-Semitic remark pass their lips (although the Irish have not fared so well). They even came to the twins’ bris. And we are all very pleasant and friendly to one another, exchanging photos and recipes and so on.
But Muffy is a relentless and vocal supporter both of Donald Trump as a leader, and of what I consider the Republican policy agenda’s worst elements. I suppose that her husband basically agrees with her, but he is too wise, or cowardly, or maybe uninterested, to talk politics with the rest of the family. Beth and her brother are both quite progressive—like everyone in my family—but Muffy seems willing to let the younger generation be. Not so with my husband and me, although she hardly ever talks to my husband so he is mostly off the hook.
Posthumous novels are both a joy and, sometimes, a let-down. Left behind by an author whose polished work stands as a testament to the full capacity of his or her mind, the words on the page surface at first like an extension from the past. This one last bit of evidence left for us to find. The posthumous novel should be examined and praised as a rare object—hidden in a vault, locked in an old suitcase, tucked into an envelope—and given a small bit of license for being not quite the full body of work its author intended.
If we felt attached to and invested in the ground beneath our feet, how would the world be different? What’s the difference between feeling rooted in a place and feeling stuck there? And how is one to face the facts of geographic and human impermanence?
Lazi argues that mapping secrets and pain can be a matter of life and death, and Qiu’s suicide seems to attest to that. Considering the stresses of our present age, where identities and ideologies are masking and unmasking, the intrapersonal mapping of identity is even more significant for artists that would influence culture. That might be another way that Notes of a Crocodile is oddly predictive; or, its tendency to speak so clearly to our global present might mean that Lazi—and Qiu’s—struggle for self-identification is timeless. In either case, Notes of a Crocodile is an important addition to literature that addresses identity and sexuality, as well as a significant stylistic legacy from a writer prematurely lost.
Fiction by Richard Beard, reviewed by Ansel Shipley The Apostle Killer (Melville House) Jesus is the enemy in The Apostle Killer: a socialist anti-establishment religious extremist. In the novel, Richard Beard creates a world that melds both the superstitious past, in…
I'm thinking of asking Gary’s son if he would like to read the account of his father's life, but I don't know whether it is ethical to share emails that may have been written in confidence. The son wrote to thank me for the childhood photos I sent to the huge listserv of Gary’s friends and family. Gary had often shared photos and thoughts on that listserv.
An aging and dying actor, a blank slate, a forgotten man. This is the first narrator the reader meets in Dennis Must’s 2016 collection of seventeen short stories, Going Dark. The narrator of the title story, though a nobody, shares much in common with the other narrators and characters of the stories that follow in the collection. Indeed, throughout the collection, Must’s characters wrestle with important questions about identity, sanity, and morality, as their lives are colored by the particular details of their lives: their cars, the music they listen to, and their work. . The reason the first narrator, the actor, considers himself a nobody is that his identity is simply that of every character he has ever played. His own identity is simply lost.
In Nico Amador’s Flower Wars, the lines of poetry are full of flesh and voice, both of which are sure of their uncertainty and masterfully show the reader that, if we would trust an author to write their own poem, we should absolutely trust someone with reordering, preserving, mangling, and or perfecting the syllables of their own humanity. If you are a person and or a body, Flower Wars is relevant and vital reading.
Portland is where the nice go to be nice, where the humans go to be human, and where everyone goes to eat lobster. So yes, it’s a wonderful and liberating city to create in, but regardless of where you are or the tools at hand, it’s important to recognize that you can achieve that kind of creative liberation in all of your travels as a photographer or a tourist. A good photograph tells a story that allows the viewer to fill in the blanks or complete the story themselves. Keeping this in mind while you travel is vital to travel photography. Don’t just take snapshots, because you want people to be as stimulated as you were when you felt the moment needed to be captured. The images you make on your journey say something about yourself and the nature of your experience, so seek out the frames that will capture that essence and make them immortal.
Herr Eduard Saxberger lives in a pleasant apartment overlooking the Vienna Woods. Each night after spending the day in his civil service office, he eats at his usual restaurant where he interacts little with his companions beyond small talk and basic requests, and goes for a walk. His life is stable, if a bit empty. But one day a young man named Wolfgang Meier appears at the door, clutching a copy of the Wanderings, poems by Eduard Saxberger, and the somewhat bumbling, bourgeois civil servant is thrown back into a past he hardly remembers.
My mom’s big sister, Aunt Barb, loves to criticize me. She is never openly mean, but always “helpful,” and in fact many of her worst zingers take the form of backhanded compliments. She will tell me that I have a beautifully proportioned figure, and so imagine how great I would look if I could just lose 10 or 20 pounds. Or that she always regretted that my parents didn’t force me to practice more, because there is a real chance I inherited my grandparents’ musical talent but now we will never know. The other day she told me that I am a nice person inside, but should pay attention to the way my face looks “in repose,” because people might think I was angry or unpleasant. I am pretty sure this was her way of saying that I should smile more because I have Resting Bitch Face.
Hindsight never fails in providing a comprehensive scope of recently-felt chaos—this is the key narrative tool Claire Messud employs in her intimate coming-of-age novel, The Burning Girl. The Burning Girl offers deep insight into a seemingly minuscule and ordinary loss of two young Massachusetts girls, and quietly probes us to ponder the necessity, ridicule, and unfairness that results from a society prizing itself on the lack of innocence as means of survival.
Anyone who has written and submitted anything—poems, stories, essays, books—knows that immediate acceptance is extremely rare. When that happens, we celebrate and try not to let it spoil us. Much more often, we receive negative feedback in the form of outright rejection, advice, and/or an invitation to revise and resubmit (an option much more common in the academic world than in the poetry and fiction publishing scene).
When my parents moved to a smaller place this past winter they gave us some of their furniture and art. One of the works of art—to use the term loosely—is an oil portrait of me at sixteen, basically copied and enhanced from a prom photo, that had been languishing unseen in their attic for years. It is very expensively done, all by hand, with a frame worthy of a Sargent. I actually looked forward to owning it, and was pleased when my husband “Max” said how much he liked it and suggested that we add it to the paintings in our downstairs hallway. But now Max seems to like it too much, and it creeps me out. He stares at it all the time, and even copied it onto his phone—to look at when he is away from home on business.
When I try to read in bed, I fall asleep. When I try to sit in a chair and read, I usually lose my concentration, or remember something else I should be doing. When I listen to books in the car, my mind wanders and I have to keep replaying stuff until I am out of patience and just switch to music or a podcast. I tried setting aside some time in the morning before work, but that was a bust because I cannot survive without checking my email and other media as soon as I wake up, and once that happens I am gone—all caught up in emailing my coworkers, reading a link to some story about the latest presidential scandal, making an angry call to my senator, playing Solitaire to calm down, etc. I feel as if I have lost a whole world, and a part of myself. Any ideas?
Plainspeak, WY is impressive in its attention to detail and draws clear connections from matters of the earth to matters of the soul—and back again, repeatedly. The poet’s central obsession is depicted, in fact, somewhat subtly, on the cover of the book as a topographical map. Atop a cool, arctic blue, several thin black contour lines unevenly work their way around one another and connect to make shaky targets that reveal the gradual shifts in Wyoming’s terrain, formed largely, of course, by the glaciers that have so ensnared Doxey’s imagination. Plainspeak, WY, ultimately, is about the inevitable erosion of the human heart, as mirrored by the slowly eroding landscape of the northwestern United States
When people ask you about San Francisco, you always get stuck on the way you sense it. It starts with the smell. Wherever you lived before here, it didn't smell quite like this. The pot is open, lingering around parks and sidewalks, not just your brother's basement room. It's hand rolled joints after work. It's chocolate covered blueberries eaten at the movies. Pot in San Francisco is beer in Berlin: commonplace and open. If anything, pot knows this city better than anyone who lives here.
Catherynne M. Valente’s most recent novel, The Refrigerator Monologues, exists in an odd space between novel and what could be called a pseudo-parable. Valente’s six protagonists and her interconnected narratives clearly parallel famous female comic book characters and their narrative arcs. Each of them, in fact, exhibits numerous traits that link her to a specific DC or Marvel property, ensuring that nothing is lost on the reader.
I got more and more upset—and when the dad slammed his fist down, some other customers started shaking their heads and raising their eyebrows at one another and so on. Finally, without really thinking much about it, I stood up and told the couple that corporal punishment is against the law in our state and that if they made good on their threat I was going to call the police. And I added something about how nobody wanted to hear any more of their abusive language, but by then I had started to trail off...
“The narrator of this book is a Caribbean woman. You may have noticed that the writer of this book is not,” Rebecca Entel notes in a preface to Fingerprints of Previous Owners, her novel set at a resort built on the nettle-choked ruins of a former slave plantation. Alluding to her research and credentials as a scholar of nineteenth-century American literature, Entel does more than attempt to deflect criticism for cultural appropriation. She declares her investment in this story, as well as her intention to free her characters from a colonial narrative frame.
charred, acrid smell of gunpowder
smokes from the holes in Philando’s body,
which carries the stigma(ta) of
all things dark,
lead from the muzzle
to the flesh, three wounds enough
to steal the soul, four more
for good measure
Julie Lekstrom Himes’ novel, Mikhail and Margarita, imagines the love affair that might have inspired The Master and Margarita. This is Himes’ first novel, following the publication of several short stories and essays. Himes is a physician in Massachusetts; interestingly, Bulgakov was also a physician. In an interview with the literary website Eye 94, Himes describes reading Bulgakov’s collection A Country Doctor’s Notebook (reflections on his early years as a doctor) and identifying with “the fear and regret and self-questioning” of a young doctor. Identifying with Bulgakov’s “voice” as a doctor encouraged Himes to try writing from his perspective, to imagine what compelled him to write one of the canonical Russian texts of the 20th century.
My parents wrote up a will many years ago leaving everything to whichever one of them survived (it was mostly all joint property anyway), and then dividing the estate equally between my brother and me. But my brother is objecting to this, saying that my mother had been paying for his med school tuition and living expenses at the time of her death, and that the clear understanding was that my parents would always cover educational expenses for both of us until we finished school. (I have an M.S.W, and have no current plans to return to school, although the thought of a Ph.D. in the nebulous future is very attractive.) He is demanding that the cost of his next two years, until he gets his M.D. and starts his cardiology residency, should come off the top of the estate before it is divided.
Dear Fifteen,
I know you’ve gotten used to the catcalls and honks coming from passing cars. I’m proud of you for learning not to react outwardly. But here’s the thing, sometimes these cars will actually stop in front of you and provoke more than just a roll of the eyes.
Take the existential universe of Jean-Paul Sartre and pull his pants down around his ankles—this is the paradoxical narrative met with in French comedic novelist Antoine Volodine’s Bardo or Not Bardo. Volodine’s blunt, absurdist style illustrates a marriage between the profound and the comedic, using humor as a weapon to further investigate humanity’s most unanswerable questions.
A few hours in this room not much bigger
than a storage space, boxes replaced
with a teetering desk early this morning
and the heavy sound of uniformed men,
whose questions he has answered
as far as English carried him, wondered
why their eyes narrowed when he repeated his name
....read more
The cover of Exposure, a short story collection by Katy Resch George, hints at the kind of stories you’ll find inside. The photograph of a topless woman on a beach with her arms tugged behind her is both intimate and distant, the woman exposed but also obscured by the translucent type of the title and, in the repeated image, wrapped around the spine of the book, also underneath type. The woman’s expression is blocked by George’s name on the spine and, on the front cover, hard to make out. Is she scowling at the camera? Pondering something beyond it? Seductive, angry, unsure? George’s female characters, especially, are exposed and obscured in this intriguing book.
His back toward us, he faces history
and history is armed
with AR 47s, water cannons, grenades,
Andrew Jackson, and Natty Bumppo.
They myth of water is permanence.
The myth of war is purpose.
The myth of America is America,
spilling all over our computer screens,
soaking us to the root.
The German Girl permits readers to enter the minds of two 12-year-old girls as their lives are shaped by the tragedies of the SS St. Louis and 9/11. Correa expertly combines fact with fiction, as he constructs and then deconstructs the lives of two young girls. He also illustrates the importance a family’s history and the need to pass down history through the generations. The story of the contemporary girl, Anna, is imbedded (as is her name) in Hannah’s and though this is the conceit of the novel, it is also a weakness.
Dear June,
Why does everybody think it is okay to use about a dozen informal names for the male member when disparaging men, but offensive to use the c-word , or the t-word, when disparaging women?
—Ticked Off in Teeterboro
Philadelphia smelled like Vermont today,
after light rain. A fly buzzed
four or five clusters of crocus.
The sky draped with gray.
There are no stones in the Jewish cemetery
under the new president.
Our hearts are broken in half, evenly.
Lord, teach us how to care.
The branches are blurred like webs and ask me
to come in. I am only a poet. Am I holy enough?
...read more
Emmanuelle Pagano’s Trysting is an intimate romance among hundreds. This book of fictional fragments, each in the first person, features character after character—most of indeterminate gender, age, and history—falling in and out of love. The self-contained pieces range from one sentence meditations to several hundred word flash fictions. The shortest of these could be writing prompts, while others read as prose poems. Reading Trysting can, in fact, be like reading a book of poetry, and it benefits from slow, thoughtful study. You could linger over any one piece, reread it and taste the rhythm, the carefully chosen words.
Based on the synopsis (conquered conqueror stuck on island hesitantly befriends by young native girl) and artwork (an ocean crashing into the bottom of seaside cliffs) on the book jacket, I expected in part to read the account of an aged, brooding, and isolated man pacing away his final days on an isolated rock, sometimes tolerant of, sometimes avoidant, sometimes thankful for his friendship with a young girl who lives there. For better, and for worse, I found something else.
