All Too Familiar

by Shy Watson

It was the era of the mothman sightings, and Helma wanted a guardian to stand by and assuage her fears. The government had no problem giving free food to all the men and women who couldn’t stand holding a job, but when it came to a real, imminent threat, one of nobody’s choosing, Helma was left to fend for herself. She had paid her taxes, hadn’t she? Where was the National Guard when she needed them? Where were convoys to protect her streets? Oh, how she longed for spotlights to scan the mountains like a stage. Helma’s favorite televangelist, Peter Knight, shouted through her television set, “Repent! Repent!” The mothmen, he warned, were demons, sent to serve their master, Lyndon B. Johnson. 

Helma slept with every lamp and the television on. Gold-framed photographs of her three grandsons reflected the buzzing fluorescent tubes in the hall. Betty Boop magnets secured newspaper clippings of Joseph McCarthy’s face to the fridge. Helma was grateful for that patriot Lee Harvey Whatever, but Johnson was barely an improvement. Forget the war on poverty. How about a war on tramps? She despised the Communists who threatened to ruin her way of life. Her husband Elmer had been a strong man, a decent man, a man who had worked his way up to become Natrium’s plant manager down in Proctor and constructed them a nice Sears home up in Wheeling, the Norwich model. His life insurance wasn’t half bad either. 

Helma thought it a cruel joke that Elmer died of prostate cancer in the same year the Gleason grading system was devised. He had not been one to trust doctors and had repudiated all of Helma’s concerns. “Taking a leak gets harder with age,” he had said. It wasn’t until he saw blood in the bowl that he finally allowed Helma to accompany him to the hospital. He scored an eight on the Gleason. The prognosis wasn’t good. Within three weeks, the cells had spread to Elmer’s lymph nodes. Within two months, he was dead. 

The house displayed not a single picture of Helma’s daughter. She couldn’t believe Barbara had married a Democrat who took her last name and moved with him up to Cleveland, leaving Helma to spill oatmeal on the dover-gray broadloom and rot in her recliner all alone. Even Helma’s cat, Feathers, which she had gotten for Barbara, hated her. Feathers had adored Elmer, wouldn’t leave his lap. But ever since Elmer had died the year before, all she did was claw at the couch and piss on the bath mat. Barbara’s dorm in Morgantown hadn’t allowed pets, and then the man she married claimed to be allergic. That sissy. Helma wasn’t born yesterday. No one was allergic to cats. 

Rumor had it the mothmen fluttered from roof to roof and terrorized the streets with their glowing red eyes only at night. The sole daytime sighting was reported by an unreliable adolescent. At first, the mothmen had only been in Point Pleasant, but they had slowly infiltrated the surrounding areas. The lights, Helma reasoned, were worth the electric bill. And Raymond would be worth the eighteen dollars per night.  

Helma came upon Raymond in the classifieds two days after the first sighting in Proctor. The listing advertised a bodyguard, but Helma prided herself on spotting diamonds in the rough. His experience included one year as a bus driver, three years as a security guard at Food Machinery Corporation in South Charleston, and one year infantry in Vietnam. Surely, he was qualified for the task.

“One time a drunk smashed my bus’s windshield with a walking cane,” he told Helma during the telephone interview. “Didn’t live to tell the tale. I could wipe out any ol’ mothman. Easy.” 

Though he had been unavailable for the first two nights after the interview due to a preplanned turkey hunting trip, Helma was confident he would be an ideal overnight watchman. The boy must have been no older than twenty-five. 

The night Raymond was due, Helma spent all day getting ready. She hadn’t seen anyone but her girlfriends at bingo for over a week. Even those excursions had diminished, as she wouldn’t dare drive home after dusk. Barbara regularly condescended to Helma about how she shouldn’t be driving anyway, day or night, wouldn’t even let her boys ride in the back of Helma’s GTO. “Christ, Mom,” Barbara would say. “Relax on the brakes, you’re giving me whiplash!” 

Helma was astonished by how Barbara had reacted to her plan to hire Raymond. She had quoted some quack professor who claimed the mothmen were mere sandhill cranes, stopping by West Virginia on their migration down south. Helma had not raised her daughter to be so ignorant. It was clearly the fault of her spineless husband. Helma had lived in West Virginia all her life and had never seen a single damn crane, let alone one that resembled a demon. Besides, Ethel-from-bingo’s grandson had seen a mothman down in New Martinsville two nights before the Proctor report. He was a policeman, and Helma knew a policeman wouldn’t lie. 

Already made up, Helma opened her Lady Vanity case and plugged it in. While the rollers heated, she surveyed her dress collection and felt, as she always did, the transient pride that came with fitting into the same clothes she’d had since the ‘30s, forever a size 2. But today, she longed to appear modern, electing instead for a pair of periwinkle capris and a scalloped white top. She hung her bathrobe, embroidered Sunshine, on its hook, the last anniversary gift Elmer had given her. As she bent over to buckle the patent leather flats, she smelled the baked, chemical air of the rollers. 

Raymond’s knock was loud. He was an hour early, which Helma considered a good sign because it meant he was punctual. When she opened the door, she was startled by his height, which must have been a couple inches shorter than her own. He also looked a bit older than twenty-five, but Helma reasoned that the war had weathered him; the violence he’d seen had left trenches above his brows. 

“Raymond Bellhive at your service, ma’am.” 

His handshake was as hard as his knock, and Helma glimpsed the tail of a shark tattoo peeking out from under his sleeve. 

“Well, come on in,” Helma said. “Make yourself at home.” She handed Raymond a spare set of keys. “I would have had tea ready, but you’re an hour early. Usually my hair isn’t such a mess. Here, sit. I’ll put some water on the stove.” 

Raymond limped into the den and sat on the couch.

“No disrespect, ma’am, but I wasn’t early. Uniform Time Act. I can change your clocks. Been since Sunday.”

“That clown Johnson.”

“Amen to that!” 

Raymond resembled a toy soldier as he sunk into the floral tufted cushions. Helma recalled that Vietnam had quicksand. Or was it Africa? Feathers jumped onto Raymond’s lap and made biscuits along his chest before Helma turned away. The moment had somehow seemed private, had made her feel like a pervert, and she couldn’t bear to intrude. She filled the kettle and put it on the burner, then marched to the bathroom and ripped the roller cord from the wall. Raymond Bellhive was not handsome. He wasn’t worth getting ready for, anyway. 

Helma was uncertain if she was qualified to bless water, so she rang Pastor Jim. 

“I don’t know, Helma,” he said, “Call the Catholics.” 

The phone book rested on top of the fridge under a thin layer of dust. Helma wiped her hands on a kitchen towel and flipped the yellowed pages until she found Blessed Trinity. It was a Tuesday but worth a try. The phone rang and rang and rang. Helma scoffed. As if she needed more proof that the Catholics were behind the times. Not even an answering machine. 

The TV blared from the living room, so Helma plugged her ears and closed her eyes as she struggled to recall what was required. Natural source, salt, prayer. Their property was blessed with well water, which seemed as natural as anything else. Helma turned the faucet so hard water splashed out of the saucer and onto her shirt. It looked like lopsided lactation. But she had no one to impress. She reduced the stream to droplets and sprinkled in some Morton salt. Helma thought the salt girl was adorable, with her big umbrella and small yellow shoes. She decided she would buy similar shoes, perhaps before inviting her plumber over to fix the overzealous sink. Thomas was so square-jawed and rugged he managed to render the vocation glamorous. 

Whhhhhhhiiiiiiiiiieeeeeeeeeeeeeeeeeeeeeeeeee!

Helma jumped when the kettle whistled, overturning the saucer.

“Goddamnit,” she said. “Lord forgive me.” 

She poured the steaming water over two chamomile tea bags and returned to her consecration. She filled the saucer once more, sprinkled in the salt, hovered her palm over its surface, and bowed her head in prayer. 

“Blessed are you, Lord, all-powerful God, Christ who art in Heaven. I ask humbly for your service, may you assist me. To protect against the mothmen who art demons. Dear Lord, please repel these interlopers and offer an orb of protection around my home, myself, Feathers, and Raymond. In the name of Jesus I pray. Ah-men.” 

Helma placed her pinky into the salt water and stirred. 

“Want honey?” she yelled. She waited a moment but received no response. 

Helma crept into the den to find Raymond’s pygmy legs twitching on the coffee table as he watched television. Feathers nestled under his armpit. His shirt was coated in fur. 

“Mr. Bellhive, would you like honey?” 

“Oh no, ma’am. Call me Raymond.”

The channel was set to a Twilight Zone rerun, which Helma found rather inappropriate during this trying time. She went back to the kitchen and grabbed a tea tray. When she returned, Feathers had mounted Raymond’s chest again. She audibly purred. 

“Why don’t we watch something a little less sinister,” Helma said. “It’s almost sunset.” 

On TV, a group of leather-clad hunks were really aliens in disguise. Raymond turned it off. 

“You got blackout curtains?” he asked.

“God no, they hate the daylight. I’ve been sleeping with every light on.” 

“Ma’am, no disrespect, but these things are phototactic! That’s why they been soarin’ toward headlights and bangin’ against windows!” 

Helma hadn’t heard of the windows. Had they already visited her home? 

“I’ve got blankets in one of the guest rooms,” she said. “In the trunk.” 

Helma pointed Raymond in the right direction, then got back to her holy water. She fetched the hummingbird feeder from the front porch. The sun sank below the horizon, but the sky remained pink. She’d have to be quick. 

Under the sink, Helma kept Tupperware full of rotting grapes and cabbage. Moths had always taken a liking to Elmer’s flannels, so she cut a collar off an old green number and plunged it into the rancid pulp. She dumped the mixture into the feeder’s tank and filled the base with holy water like a moat. If a demon wanted to hover near Helma’s home, it wouldn’t go down easy. God’s power was great, Lyndon B. Johnson be damned. 

“Ms. Cotting.” Raymond stood in the kitchen doorway carrying quilts. “Are these what you meant?” 

“It’s Mrs., and they will have to do.” 

Raymond pointed to the bird feeder and scrunched his brows. 

 “It’s a trap,” Helma said. “Subtle enough not to attract from a distance, but if one ventures onto the property, it will be instantly lured.” 

Raymond opened the fridge, grabbed a Coca-Cola, and doused the contents of the feeder. “Moths love this stuff. And they hate smokes. Speaking of which, do you mind? I’ll bring

the trap.” 

Helma wondered if Raymond knew the difference between fruit flies and moths, but she knew better than to insult a man. She showed Raymond to the front porch though it was dusk. 

“Are you sure you want to go out there?” 

“I’ve seen the worst of it, believe you me.” 

Raymond held onto the doorway as he ventured outside, and Helma swore one of his legs was shorter than the other. She thought to check the classifieds again in the morning, then set to pinning quilts on the curtain rods. Barbara’s husband had miraculously managed to install a chain lock on the door after Elmer died, but for the last couple weeks, Helma had been lodging a crutch under the knob in case it hadn’t been adequately secured. She yawned. When Raymond came back, he brought smoke with him, which Helma hadn’t smelled since she last sat at the American Legion, winning nothing at bingo for the fourth month in a row. Elmer had smoked, but only cigars, which smelled much sweeter than whatever Raymond dragged in. He crumpled the empty pack in his fist, then threw it into Helma’s garbage can.

“Well, what’s it like out there?” she asked. 

“Warm. April showers bring May flowers.”

“You see anything?” 

“Not yet. Do you have a gun?” Raymond’s lids twitched. His deep-set eyes reminded Helma of Ovaltine. 

“Excuse me?” 

“Just in case.” 

Elmer had a gun safe in his study, but Helma hadn’t entered in months. 

“I think so,” she said. “Upstairs.” 

Raymond paused on the swell step and acknowledged Elmer’s framed portrait.

“Is this Mr. Cotting?” 

“It was.”

 Raymond’s footsteps plodded uneven and heavy behind Helma. His heft seemed incompatible with his stature. Maybe he was all muscle underneath, solid as stone. He climbed the stairs uncomfortably close to Helma, filling her with heat. The doorknob was cold in her palm. The air in Elmer’s study stood still. She had left it exactly as it was. Checks signed a year ago sat on the desk beside a single cigar. The oakmoss notes from Elmer’s aftershave exuded from the walls. The study was so evidently his that Helma nearly sensed his presence; his spirit felt closer than it had since his death. 

“Here’s the case,” she said. “I think the code is our daughter’s birthday, 10-4-43.” 

Raymond knelt down and twisted the lock. 

“Nope.” 

Helma struggled to think of what else it could have been, but nothing came. Raymond stared up at her expectantly. 

“I don’t know what else it could be,” she said. 

“Well, when’s your birthday?”

Raymond tried 5-13-19, but that was wrong, too.

“What about your anniversary?” 

And with 6-18-42, the case swung open, revealing a rifle, a shotgun, and a pistol. Helma felt remarkably smitten by her deceased husband’s gesture. The man had only said “I love you” about a dozen times.

“Okay, well, now you know where to find them,” Helma said. She bent to shut the gun case, but Raymond wedged his hand to block the door. 

“We’re gonna need one of these downstairs.” 

Helma hated guns, had since she was a child when her father shot her rabid dog. “The shotgun would work,” she said. That was what her father had used, and it had only taken one shell. 

 “I’ll handle the guns, if you don’t mind,” Raymond said, with what Helma took to be an ex-soldier’s authority. He caressed the engraving on the shotgun’s receiver, bird dogs pointing at pheasants. “I love Remingtons, but this tube mag only takes two shells. Got the gas system built into the front. We’re usin’ the M14 tonight. Twenty rounds. Like riding a bike.” 

Helma shrugged. Raymond may as well have been speaking Mandarin, but she figured a gun would do better than his dilapidated body alone. He turned on the safety, checked the chamber, then loaded it. He pointed the barrel toward the carpet and Helma followed him down. Feathers meowed at the foot of the stairs and rubbed her head against the barrel of the gun. 

“She likes you,” Helma said.

“She’s hungry.” 

Helma was horrified to realize she hadn’t fed Feathers in what must have been two or three days. “Dear God,” she said. “You’re right.” Feathers nipped at her heels as she headed toward the pantry and knelt to open the bag of Friskies. Feathers hovered her head over the bowl so anxiously Helma had to fight her off to pour it in. A shadow fell over the pantry and Helma whipped around to see Raymond blocking the doorway with the gun in his hand. 

“Should I stay on the couch tonight?” he asked.

“Where else would you stay?”

Raymond shifted on his bowlegs. “You tell me.”

Helma had intended to dig through the attic for a cot. She knew there had to be one somewhere, but all of Barbara’s toddler toys along with every holiday decoration ever purchased crowded the space, rendering excavation insuperable. 

“The couch has a nice hide-a-bed,” Helma explained. “Just grab a blanket from the trunk.” Raymond disappeared into the guest room and returned with Elmer’s quilt, which his mother had made him. Helma hadn’t seen it since she packed it away on the morning of the funeral. She felt uneasy with the notion of Raymond cozied beneath it. “Is that the only blanket?”

“Last one. The rest are on the windows.”

It had been over a year, Helma reasoned, so she resolved not to be maladaptive. “Fine,” she said, relenting. Raymond helped her pull the handle that transformed the sofa into a bed. “What’s your wife think of you staying in another woman’s house?” 

Raymond chortled. “I’ve got no wife to think of anything.”

“Sorry, I didn’t mean to—”

“Oh, it’s fine. It’s not for lack of want. I spent my good years in the service and haven’t found me anybody yet. I’m ready and able.” 

“Did you have a lady before you enlisted?” It was rare for Helma to meet an unmarried man of Raymond’s age.

“Yeah, but she wasn’t very patient. Came back to learn she’d been running around on me.”

“That’s just awful. Young people these days have no sense of commitment. You’re better off. You’ll find a woman who’s worthy when God wills it.”

Raymond shrugged. 

“Well,” Helma continued, “this chamomile is getting to me. I ought to retire.” 

“Suit yourself, Mrs. Cotting. You think they’ll show Elvis’s wedding on the TV?” 

“I hope not. That boy’s an abomination.” 

“The man’s a legend,” Raymond said. “Besides, it’ll be good for staying up.”

Helma held the handrail as she ascended to her room. It disgusted her that a wedding could be televised. There was no more sanctity. She’d never forget when Elvis gyrated his hips all over The Milton Berle Show. Fitting that he was singing about a dog. Helma hated dogs. They possessed no discernment whatsoever. 

The batteries in the General Electric toothbrush were losing power, and, unfortunately, they were irreplaceable. The device rumbled with a couple pauses but still did the trick. Helma had often fantasized about pressing it against her cooch, but she wouldn’t dare for fear that Elmer’s spirit would look down from heaven. But this time the desire was too heavy. She resolved to turn off the light. It took less than one minute. 

The twin-sized bed was already made. Barbara insisted Helma downsize after the funeral, as she didn’t want her mother to suffer Elmer’s absence. If only it had been that simple. Helma had been inconsolable for months, incapable of consuming anything but instant mashed potatoes and Tang. She had prayed that God take her too, so at least she could be with Elmer in the afterlife. But God wouldn’t grant it. She supposed her purpose had not yet been met. 

Even with Helma’s head pressed to the pillow, she could hear the faint chatter from the TV downstairs. It was distracting. She imagined Raymond watching Elvis and resolved conclusively that Raymond was a dunce. She lay still, working up the courage to confront him about the volume, but her body was so relaxed she felt submerged in Skin So Soft. She wished she hadn’t waited so long with that toothbrush. Tomorrow she should draw a bath. Maybe try again if the batteries held out. If not, she could send Raymond out for new ones. That was nice to imagine. Helma unwittingly drifted off to sleep. 

The rifle’s blast startled Helma awake. She felt paralyzed and told herself repeatedly that it had only been a dream. Straining for sound, she realized the television was no longer on. The house was silent. Her heartbeat throbbed in her ears. She felt more awake than she had in decades. And then the silence transformed into a bloodcurdling cry. The mothmen were here.

 Helma hurried out of bed, covered her body with her embroidered bathrobe, and scampered down the stairs. On the swell step, Helma’s foot rang out in pain. She squatted and grazed a cluster of shards with her fingertips. 

“Raymond?” she called out. 

She stepped as wide as she could to avoid further injury and trembled toward the living room, where she found Raymond rolled tight in Elmer’s quilt and the gun on the ground. 

“Raymond,” she said, but he didn’t reply. She reached out to discover his face was drenched in sweat. His teeth chattered. Unintelligible sounds fell from his mouth, reminding Helma of a whimpering dog. Raymond’s legs kicked as if he were running, and Helma imagined him blood-soaked in camouflage, fleeing to a trench, the percussion of land mines pulsing through his legs. Helma stroked his hair behind his ear and cooed, “Shhhh, now. Shhhh.”

Raymond’s lids fluttered as he grabbed Helma’s forearm. His strength was undeniable as he pulled her on top of him and squeezed her desperately. She was unsure whether the wetness on her shoulders came from tears or sweat. With her face against his ear, she continued to coo, and Raymond’s fingers stroked the length of her arm. At once, his tremor ceased, and his breathing became uniform and deep. To Helma’s despair, Raymond’s wrist fell limp. 

Helma lay still for fear of waking him. She waited until Raymond’s next exhale, and then she began to breathe in sync. Their chests rose and fell together. It was intoxicating. In the dark, Helma’s thoughts turned toward Elmer. The man, like a saint, had never snored. She had often traced the contours of his face once the sun shone in with the morning. His stillness never ceased to make Helma marvel. It was as if he dreamt only of wool. 

Helma repositioned her cheek against the crook of Raymond’s neck. She experimented again with her breathing, this time inhaling the air that exited his nose. There was something sweet in it, like fresh-baked bread. She pined for Elmer as she hadn’t since his death. She bartered again with God. Lord, I will give you anything, she thought. Take my diamonds, my dresses, the white oak at the end of the drive. 

Tears burned under Helma’s lids as she reached under the comforter and pulled the fragment of glass from her foot. A rush of fatigue apprehended her, and, intertwined with Raymond, she was overcome with sleep.

It was still dark when Helma sprung to consciousness, startled to find herself cocooned within Elmer’s quilt against her watchman. Worried Raymond would catch her snuggling him, she shimmied slowly from his grip and crawled off the pull-out mattress. She fumbled invisibly in the den, sidestepped the glass, and returned to her own room, where she reluctantly tucked herself back under the twin-sized sheets. 

Helma awoke at 7:00 a.m. sans alarm as she did every day. The scent of coffee floated up the stairs. She selected her favorite silk nightdress, slid into her slippers, and sprayed a spritz of her most expensive perfume. The glass was gone from the bottom of the stairs. Elmer’s portrait hung nearly frameless with a dime-sized hole above the left brow. 

She forced the front door open to find the birdfeeder all but empty and cracked on the concrete beside Barbara’s embossed childhood footprint. The only remaining pulp was caked to the plastic, and the holy water left no trace. Feeling triumphant, she decided to call her daughter right away to boast about having been right. 

As Helma strode into the doorway of the kitchen, she was surprised to see Raymond’s legs on the table, a newspaper opened across his lap. The blankets had been removed from the windows. In the sunlight, Raymond’s hair looked gray. Smoke swirled from the tip of a cigar. When he turned to look at Helma, he appeared twenty years older and striking. His smile revealed a dazzling set of teeth. 

“Good morning, Sunshine,” he said in a voice all too familiar. “Would you like a cup of coffee?” 

Helma felt as if she would faint, but still, she managed to nod her head. 


Shy Watson is a writer and poet who grew up in Missouri. Her fiction appears in Fence, Southwest Review, Joyland, and elsewhere. She earned her MFA from the University of Montana in 2023 and has since received support from Monson Arts and The Lighthouse Works.

ART:
Lizzy Rockwell

FICTION:
Shy Watson, Kim Chinquee, Dylan Fisher, Sean Maschmann, Rick Andrews, William Jones, Mari Klein, Mina Austin, Alan Crow

GUEST FOLIO:
Edited by Allison Adair
Rose McLarney, Huan He, Tishani Doshi, Daniel Poppick, Sara Moore Wagner, Michael Kleber-Diggs, Lauren Camp, Andrew Hemmert

NONFICTION:
Molly Gleeson, Cristina Pop, Margaret Everton, Ben Wielechowski, Alex Herz, Megumi DeMond, David Luntz, Shawn Lisa Maurer, Marcus Spiegel, Annie Raab, Alyce Miller

POETRY
Levi Rubeck, Mary Margaret Alvarado, Tate Sherman, Matthew Rohrer, Billy Collins, Heather McHugh, Emma Bolden, Rachel Becker, Eric Roy, Stuart Dybek, Meg Kearney, Sid Ghosh

RECOMMENDATION
Maria Zoccola

Norma Jeane Baker of Troy, by Anne Carson

Maria Zoccola

I’m a little bit obsessed with Helen of Troy. This is not news to anyone who knows me, or in fact to anyone who happens to have seen me on any social media platform created by man or machine in the past few years. My lifelong interest in mythology recently culminated in a poetry collection I published with Scribner in early 2025, a book called Helen of Troy, 1993. The collection reimagines the Homeric Helen as a dissatisfied housewife in small-town Tennessee in the early nineties, blending myth and modernity through persona poems that pay homage to both the Iliad and Chuck E. Cheese. Embarking on this project meant indulging my fixation on Helen of Troy far beyond the poems I was writing myself: I sought Helen out in television shows, comic books, stage plays, advertisements. I tracked her through mythology and scholarship. And, too, I hunted down other poets and writers who were engaging with Helen through inspiration and adaptation, calling her down from whatever afterlife she might currently be inhabiting to serve as muse for creative projects large and small.

I’d already been saving one particular Helen work to read after I’d finished my own collection, as a kind of reward for my perseverance: Norma Jeane Baker of Troy, a version of Euripides’s play Helen by the great Anne Carson. I’m personally something of a Carson mega-fan. I’ve inhaled her work across poetry and translation and stage adaptation—to me, Carson represents the very best of what a lifelong engagement with the Classics and a rigorous commitment to a creative life can produce. She turns a phrase on the blade of a knife. Her images become weapons, her characters small ticking bombs. “A heart surgeon told me once, / no need to worry: once the cutting starts, / a wound / shines by its own light,” her play announces. Carson’s version of the Euripides is under sixty pages, and yet I knew it would unzip the back of my skull.

Norma Jeane Baker of Troy is a mashup of the end of the Trojan War and 1950s Hollywood, and the spotlight is trained directly on its single suffering speaker. Norma Jeane Baker (the real name, and realer persona, of Marilyn Monroe) is staying at the Chateau Marmont in Los Angeles to work on a film with the director Fritz Lang. Her residence in the hotel does not seem quite voluntary; she is not free to come and go or to see her family—or rather, Helen of Troy’s family, daughter Hermione and husband Menelaus. Moviemaking takes a long time, and as a consequence, Norma Jeane has been shut up in the Chateau Marmont for over ten years. To keep him from interfering, her husband has been informed that Norma Jeane has instead been kidnapped and taken to Troy. Menelaus has spent the intervening decade fighting the Trojans for Norma Jeane’s release, a project of double utility, as it has kept him occupied and allowed MGM to invest heavily in the film rights to the war. Alas, Menelaus has recently discovered that Norma Jeane hasn’t been in Troy at all: instead, a magical cloud in the shape of a woman formed a very convincing body double, a cloud that dissipated once returned to Los Angeles. Norma Jeane’s troubles, therefore, are many: placate her deceived husband, worry about her absent and pill-swallowing daughter, and find a way to escape Fritz Lang and the Chateau Marmont.

While Norma Jeane Baker of Troy is not a scene-for-scene retelling of the Euripides, it grows directly from the rich soil of the original plot. In Euripides’s Helen, an eidolon goes to Troy in Helen’s place while Helen waits out the war in Egypt, where King Theoclymenos is now angling for her hand. When Menelaus shows up at the war’s end, the two plot to sail back to Sparta right under the king’s nose. By recasting Helen of Troy as Marilyn Monroe, Carson yokes together two women so weighed down by their respective symbolisms that the resulting mouthpiece seems to pulse on the page, her speeches echoing across centuries and geographies with a terrifying resonance. Helen and Norma Jeane are twin figureheads of the fetishized feminine, women who have “the same power—to stick in the throat of Desire,” as Anne Carson said in a rare interview for LitHub. In Carson’s play, Helen/Marilyn/Norma Jeane is trapped, deprived of agency and humanity, her name and fame a shell inside which the real woman curls unseen. “She’s just a bit of grit caught in the world’s need for transcendence,” remarks the play’s chorus character, who is in fact Norma Jeane in the guise of Truman Capote. In the Euripides, Helen’s eventual escape from Egypt points her to a bright and honorable future; her piety and faithfulness to Menelaus have earned her a happy ending. In Carson’s play, Norma Jeane’s escape may bring a change of physical circumstance, but there can be no freedom from the objectification Helen/Marilyn/Norma Jeane represents:

Rape
is the story of Helen,
Persephone,
Norma Jeane,
Troy.
War is the context,
and God is a boy.
Oh my darlings,
they tell you you’re born with a precious pearl.
Truth is,
it’s a disaster to be a girl.

Carson intersperses the scenes of her play with linguistic meditations on relevant Greek words, such as άρπάξειν, “to take,” which Carson traces through the Latin (rapio) and into the English (rape). The conclusion: “Sometimes I think language should cover its own eyes when it speaks.” Norma Jeane Baker of Troy refuses to cover its eyes, however. Its speaker stares down the audience, daring us to look away, we who are complicit in the appetites consuming Helen/Marilyn/Norma Jeane down to nothing, who are here, in the end, still to take from her. To me, Norma Jeane Baker of Troy is an Anne Carson masterpiece, original and sobering, a shining entry in the world’s library of Helen of Troy adaptations. I keep it on the shelf next to my Homer and Vergil. (And next to my own book—please forgive a poet her shy adoration.)


Maria Zoccola is a poet and educator from Memphis, Tennessee. She has writing degrees from Emory University and Falmouth University, and has spent many years leading creative writing workshops for middle and high school youth. Maria’s work has previously appeared in The Atlantic, Ploughshares, The Kenyon Review, The Sewanee Review, ZYZZYVA, and elsewhere, and has received a special mention for the Pushcart Prize. Her debut poetry collection, Helen of Troy, 1993 (Scribner, 2025), earned a starred review from Publishers Weekly and was a New York Times Editors’ Choice pick.

Twilight Of The Cowboys: A Glance At The Origin Of Country Music

Marcus Spiegel

I’m not one of those people who can say country music flows in my blood. As a city boy from midwestern Canada, during adolescence I rarely ventured outside my musical comfort zone, the boundaries of which were marked by the groovy soundscapes of Aerosmith and the distortion soup of Seattle grunge. Later, in the more rebellious high noon of youth, I still kept well away from mandolins and fiddles, spurning singers whose voices jittered with the pop and spring of Nashville twang. Instead I preferred to teleport all the way back to Vivaldi and the archbishops of baroque, working up to the Classical and Romantic periods, stately operas and sublime concertos, music for kings and duchesses who sat watching from balconies while they stroked their cats. I had zero affection for saloons and dusty leather boots. Hillbilly shrieks disturbed me at a cellular level. I’d always been indifferent to the sight of my native province’s endless wheat fields, and the instant I possessed a modicum of self-determination I felt compelled to leave the heartland for the sort of metropolises where the sky is no more than a conceit and the subway maps are as intricate as the fantastical lands sketched out by Ursula Le Guin.

Nevertheless, even urban sophisticates and would-be intellectuals are not immune to the guitar-and-harmonica offerings of Bob Dylan. Dylan is the only gateway drug one needs to make the plunge into the deep river of the American music tradition. Turned on to Dylan, one can certainly find one’s way to the pan-artistry of surrealists and the mad musings of the Beats. Yet there comes a time when you become disillusioned by the Zen rap of Kerouac and the nearly infinite scroll that contained his ramblings. This is the moment when maybe you graduate from the Dylan of Highway 61 Revisited and, after checking out Nashville Skyline, you keep on roving, hungry for more, passing by way of Woodie Guthrie and the traveling minstrels of the plains before pushing on farther south, searching for the enchanted region that gave rise to voodoo, gospel, and the blues.

Amusingly, the very features of country music that used to make me recoil are the ones I now count among the genre’s principal charms. Slide guitar and southern grandeur, plaintive voices, droning banjos, even—yes—yodellers in straw hats. I can’t help but admire Dolly Parton’s frilly dresses and beehive hair as much as I do her lonesome melodies. And I have no reservations about admitting that I now relish the songs of the doomed cowboys and other motley figures from the Southwest who carry about them a permanent shadow born of exile and angst. Haggard men whose knowledge of firearms surpasses their abilities on guitar—or at least so their personae would have us believe.

Okay, sure, maybe my callow romanticism is creeping in, but the thing is, country music itself—like the genre of the Western in literature and cinema—demands nothing short of romanticism pushed to the extreme. Sentimentality is much too threadbare a term to capture the country music artist’s longing for a life that’s already vanished and is now only an apocryphal memory. From the dawn of country music, back in the days when it was being broadcast as the Grand Ole Opry radio show, there were musicians born in the city who were advised by marketers and crafty managers to impersonate bumpkins and hicks. Some were told to don tattered overalls, or to exaggerate their southern drawl. Indeed, the early years of country music were dominated by two artists: the Carter Family and Jimmie Rodgers. The Carter Family spoke to America’s worship of the basic family unit and the sweet joy of a rural life. Rodgers, on the other hand, would find acclaim as an embodiment of America’s veneration for the railroad and, later, of the ranch and the rodeo. Rodgers was famous for popularizing the yodel, and he often appeared in costume for concerts—sometimes as a brakeman of the railyard, other times in full cowboy regalia. Christened with the epithet “the father of country music,” Rodgers was a star in the twenties and was already bedding down for a long graveyard sleep in the thirties, courtesy of tuberculosis. It’s significant that his cowboy wardrobe gestured back to the eighteen hundreds. The Homeric period of Ancient Greece now seems to us a high point in the flowering of classical values. But Homer himself was already bemoaning the weakness of the “modern age,” harking back to some more warlike era, when humans were closer to titans, near rivals to the gods.

Country music, then, professes its bardic origins by being backward facing. But even as lyricists and individual artists have anointed the past with greater worth than the present, the music itself is mysterious and difficult to trace. According to lore, however, it was the combination of the banjo (an African instrument brought over by slaves) and the fiddle (a European invention) that’s responsible for the basic architecture of the country music tune. And it seems clear we have African American slaves to thank for this potent alchemy. While it may be rare to see Black people devoting themselves to the banjo now, there was a time when the most exalted banjo pickers, whether in the clawhammer or the three-finger picking technique, later popularized by Earl Scruggs, were Black. So much so that in the early part of the twentieth century, white banjo players tended to invoke their Black counterparts by performing in blackface. Though this choice of makeup surely had other more depraved reasons for being used, one of its aims was to conjure the spirit of the African American banjo artists, the leading masters of the form.

Recordings of country songs gradually became widespread in the twenties, but that’s not to say this music had a modern origin. One of the curious things about country music is that even in contemporary times you don’t know who the original songwriter is unless you undertake a bit of detective work. I have more than once had the experience of listening to a song and assuming it was an original, only to later hear it performed by a musician on an earlier recording. At that point, I am usually deceived into thinking the second artist is the creator, only to be driven backward in time again after discovering an older version, and so forth.

The first recorded musician is in many cases no more the original songwriter than the Brothers Grimm were the first to tell the story of Little Red Riding Hood. Many artists in the country music genre, especially in the deep past, were hardly more than scribes. Once the Carters had recorded all the songs they knew, they didn’t set out to write more music. Instead, A. P. Carter, the gaunt, suit-wearing patriarch, went out searching for it. If he heard a rumor of some old blind spinster who lived alone in a cabin in the remote wilderness of North Carolina who knew songs that could make even a hardened banker rosy-cheeked with dreams and nostalgia, he was willing to drop everything and drive up there and talk the spinster into coughing up her songs. Maybe he would compensate the woman for her music with a couple of nickels. Maybe he would merely offer her a dozen eggs and a bit of company in exchange for the primeval tunes she carried in her head.

Foreshadowing the epoch of celebrity rockers, A. P. Carter was a prodigious drinker. His working memory was frequently too scrambled with bourbon to be of any use. Lucky for him, then, that he came across a talented African American slide guitarist and blues singer, Lesley Riddle, who he met in a ghetto of Kingsport, Tennessee. Riddle was missing a leg because of an accident, but he did have the memory A. P. Carter was lacking. Carter brought Riddle along on these song voyages, and Riddle quickly memorized the lyrics and learned the chord progressions and melodies he heard. Returning to the Carter farm after these trips, A. P. would have Riddle teach the songs to his wife, “Mother” Maybelle, and her sister Sara. The results often made for the next Carter Family album, which of course necessitated A. P. having a few drinks in celebration of the accomplishment.

The past is the subtext of country music, but it searches for the past not through artifact and document, the way a historian would, but through the imagination. Even in its formative years, when the sacrament of the music was still untarnished by a plethora of financial incentives and the snare of celebrity culture—which would emerge with Elvis Presley—country music was by no means “three chords and the truth,” as some folks have defined it, but a strange system of theater no less abstract than kabuki. Journey back to year one of country music and you find it evolving almost as a tributary to vaudeville. You had musicians balancing fiddles on their nose. Banjo players, such as Dave “Stringbean” Macon, who wore his pants down to his ankles and was as much of a comedian as he was a musician. Indeed, Stringbean’s criticism of Earl Scruggs, when the latter erupted onto the scene, was that Scruggs “may be a good banjo player, but he was terrible at comedy.” Then there was Gene Autry, who started out as a Jimmie Rodgers impersonator and developed into a star of the Western genre in cinema. Back then, strangely enough, Westerns tended to be upbeat and comedic, and for a while, until he spawned his own set of copycats, Autry was the golden child of singing cowboy comedies.

But much as the First World War created the Lost Generation, the Second World War spelled the death of sunny Westerns. With the films of Clint Eastwood—not much of a singer judging by his later film, the maudlin Honkytonk Man—the tone of Westerns became a whole lot darker. Maybe we weren’t exactly in Cormac McCarthy territory yet, but we were traveling farther out, into more forbidding landscape, where heroes weren’t so much taming beasts as they were meting out a messy justice to villains in the desert. Country music, too, was taking a sinister left turn with the amphetamine-plagued Johnny Cash, the “Man in Black,” who, despite all his cries to Jesus, could not escape the devil’s sensibility. Ditto, his friend and fellow Highwayman, Waylon Jennings. When Cash roomed with Jennings in Nashville for a time both kept their drug stashes hidden from one another, Jennings inside the frame in a painting, Cash among the tubes and wires of the black-and-white TV.

And yet, however much these artists of the fifties and sixties kneeled to the power of sex, drugs, and fame, you could hear in their songs an echo of the Carters’ simple faith in the sanctity of the family and their little plot of land. The land where they were born, where they harrowed in the fields. The land where their bones would eventually demand to lie still. Still but not altogether silent, in the depths of the earth.


Marcus Spiegel’s fiction and nonfiction have appeared in Boulevard, Conjunctions, Southwest Review, North American Review, and the 2022 Pushcart Prize XLVI anthology. Originally from the plains of Canada, he now lives in Nashville, Tennessee. His work is forthcoming in Chicago Quarterly Review.

Fortune

Lauren Camp

I keep lists of plants and lists of the best of everything
else: lipsticks and Latvian streets and thrift stores
at every distance. I continue to think
it would be good to do some reliable fleeing.
I get ahead of myself,
seeking goodness at each next corner.
In September, I saw some of the space
on the surface of a desert:
a doll’s house of sedums,
an abacus of seedlings. I smelled the familiar
artemisia, the vertigo of the bleeding
heart. We’ve lived in the same house
for a score but took out peas and foxgloves, put in
small greening truth, particulate amidst rust.
We’ve built many gardens, and yesterday
crouched down to see what the plants have done
since the last time we crouched or dropped water on them.
And then we went to Tim’s
and he made curry and we hovered over old memories
sucking the nectar out of them, trying to remember
if they were true or right.
Full, we sat on the couch that came with his tiny
place and Tim showed us a ballet he had queued on his screen;
forty dancers skinned to transparencies,
bellying from hushed sounds to bending.
Tim had been away fourteen years.
Lived in Milwaukee near his mother.
He still has a globe of white hair.
Moment passes moment to make a lifetime.
I can no longer list the many people
I’ve been, all the proportion and practice:
breath and riddle worn soft.
It’s a new day. We might get rain.
I dress in a shirt the color of sky
and other pale traces. I’ll go outside.
The earth is full of surprises.
Dad once planted marigolds.


Lauren Camp is the author of nine poetry collections, most recently In Old Sky (Grand Canyon Conservancy, 2024), which grew out of her experience as astronomer-in-residence at Grand Canyon National Park, and the forthcoming book Is Is Enough (Texas Review Press, 2026). She is the recipient of a Dorset Prize, a Glenna Luschei Award from Prairie Schooner, fellowships from the Academy of American Poets and Black Earth Institute, and finalist citations for the Arab American Book Award and Adrienne Rich Award. She served as Poet Laureate of New Mexico from 2022–25. www.laurencamp.com

Post-Elizabethan Pills

Billy Collins

The moon climbs into the sky tonight
with the same sad steps
as she did in that sonnet by Philip Sidney,
but without the busy little archer,
for no baby Cupid animates
this moon-lit lawn
that runs down to a nameless stream.

And Sidney’s hollow skull
can no longer behold
the ceiling of St. Paul’s,
leaving me sad as the moon’s steps
and wondering if I should double
my usual dose, or cut down
to just one, maybe every other day?


Billy Collins is the author of thirteen books of poetry, his most recent being Water, Water. He has edited Poetry 180: A Turning Back to Poetry, 180 More: Extraordinary Poems for Every Day, and Bright Wings: An Illustrated Anthology of Poems about Birds. A graduate of Holy Cross College, he received his doctorate from the University of California at Riverside and is a former Distinguished Professor at Lehman College (CUNY). He served two terms as United States Poet Laureate (2001–2003) and as New York State Poet (2004–2006). He is a New York Public Library “Literary Lion” and a member of the American Academy of Arts and Letters.