Here

by Jason Namey

Pickle likes his ex-wife’s house because when he steps out for a night piss the Tallahassee streetlights light and shape the plants like clay dogs. 

            He coughs into his elbow and curls down on the couch, pulling the sheet up to his wet armpits. It’s patterned Winnie the Pooh and must have been around since his daughter was a child. His hands come up dusty. Did nobody wash it for him? 

            Whenever he’s really working to fall asleep, he’ll smack his lips. Maybe he saw that in a movie once. 

            He sits up then lays back down just to sit up again in clean rotation till the sun starts to rattle against the trees. He wants to watch TV but scares about waking everyone, decides to just watch it on mute but can’t crack the remote. The screen won’t flash no matter which button he presses how many times. 

             He leans back and lets his eyes trace the roof like it were a maze to solve. He tries not to stare at that stain, the one shaped like pimpled lungs. 

            Today, his daughter is coming to visit. He just wants it to go well enough for her to not be like the rest and forget him already.

            Like his landlord who forgot who he was and changed the locks.

            Like his old neighbors who forgot who he was and wouldn’t let him borrow some cash.

            Like his buddy Mike who said, “Sorry friend-o, I don’t have room for guests right now.”

***

            A few hours later, Sand and Bill come down. They fry up pancakes from a box and top them with blackberry jam. Pickle eats just a bite, two. He can’t tell if he’s not hungry or just nervous about seeing her. 

            “Did you sleep okay?” Sand asks. 

            “Sorry we have nothing more comfortable,” Bill says. “Why don’t we go by Walmart later, buy you a blowup?”

            “Maybe he likes the couch,” Sand says. “Sometimes there is nothing more comfortable than a couch.”

            “What if he finds himself a young lady?” Bill turns to Pickle and winks. “Sorority Row is just a few miles thataway.”

            Sand giggles and whispers something to Bill. Pickle tries to let out a polite laugh but it falls into a coughing fit. He wipes phlegm on the cushion without thinking. 

            Pickle leans forward and uses the coffee table to push himself up. The empty dishes on top chatter against each other. After finding his balance, he goes over to his bag and pulls a pack of cigarettes. 

            Sand and Bill watch him struggle the sliding door open. 

            He sits on the concrete bench and looks back at his reflection in the glass door, distorted amid a collage of waist-high smears as if rubbed off a dog’s nose. 

            Tapping his empty breast pocket, he realizes he can’t find his lighter. He scans the patio, cluttered with the same old bullshit: lawn chairs messed with mildewed rags, a shovel rusting against the house, cans of bug spray capped neon orange—shining among the muck. A small tin bowl rung with mold. A grill caked with ash, or is that dirt? Hanging from it, a utility lighter.

            “Bingo,” Pickle says, reaching. 

            In the morninglight the plants look like plain old plants. It’s hard to tell quite how they shape the way they do at night: clay dogs frozen as if while running. The long grass droops back over itself like rows of barbed wire fence. Pickle fantasizes about cutting it. He can’t remember when he last sweated.

A kiddie pool sits pushed up against a tree, dirt gathered in its mouth and mixed with stale rain. A squirrel, perched on top, jerks its head around. 

            “Fuck you, squirrel,” he says, then slaps at the mosquitos tickling his neck.  

***

            When Pickle gets back inside, Sand and Bill are heading upstairs to get ready for work. 

            “Try not to sit on the couch when you’ve just finished smoking,” Bill says.

            “Don’t listen to him,” Sand says.

            “Don’t listen to me,” Bill says.

            Pickle wants to show he can respect even their pettiest wishes. But he feels suddenly flint-kneed and lightheaded so he just nods and starts to say “Sorry,” but hears their door shut so instead he says it to himself. He can’t find his water cup on the coffee table.   

            After a short commotion of drawers and hair dryers, they come back down. Sand says, “I talked to Cyn yesterday. She’ll be by around noon. Tell her to call me.” 

            “Noon,” Pickle says. “We’ll see.”

            “Don’t start,” Sand says. “Ask her about school, her major. I think you’ll be proud.”

            As they turn to leave, Bill motions to the fridge, “There is salami if you get hungry. Help yourself to whatever except—” Sand glares at him. “Whatever.” 

            “Could I get some water?” Pickle asks, holding his hand out. 

            “Sure, help yourself,” Bill says as he opens the front door. 

            “I’ll meet you in the car,” Sand says.

            “Aye, aye.” Bill goes outside and, a second later, starts the engine.

Sand walks over and sits next to Pickle. “Hey,” she says. 

            Pickle tries to put on a small smile. 

            “Are you scared?” she asks. 

            “There’s a first time for everything.” He stares at his feet. 

            “You’re brave,” she says. 

            “What have I ever done that were so brave?”

            She squeezes his hand and looks away. 

            “We’re all brave,” she says. 

            “I’d rather be a coward,” Pickle says. 

            “Well, maybe you’re that, too.” 

            “I don’t know if death is the end,” he says. “But I sure hope it is.”

            After a minute, she looks over with the mood of her face changed entire. 

            “You don’t know what all you’ve costed us,” she says, moving her hand back to her lap. 

            “What the hell are you talking about?” he says. 

            “Wouldn’t it be just like you to have nothing but a ‘what the hell’ to show for it all.” She stands up. 

            “It’s me,” he says. “Pickle.”

            “What are you doing here?”

            Here. The word hits him like an empty vessel. 

            “I’m not Here,” he says. “I’m Pickle. Don’t you remember me?”

            “Here as in here.”

            He feels thrown into a play with no script. He searches her with his eyes. 

            “Here,” she stomps her foot and points to the ground. “Right here.”

            “Huh?” Pickle says. 

            Bill honks the car horn twice: a long one followed by a short almost apology.

            “You’re something,” she says and walks outside before he can respond. 

            He sees his blurred reflection in the TV screen and wonders if he would remember himself either. If he weren’t himself, that is.

            The clock shows only 8:30. 

            He wishes he had asked her about the remote. 

            8:31

            8:32. 

            It’s truly amazing, he thinks, how much time there is in a day. If a person only had one or two days to live, that wouldn’t be much less than a lifetime. 

Without meaning to, he falls asleep.  

***

            A knock rings out. 

            “Come in,” Pickle gasps, startled awake. But the knocking continues. His eyes confuse around the room. The hearing-aid makes it hard to tell where sounds come from and now he can’t seem to find the front door. It doesn’t help that, having just woken up, everything appears a blur poured out.

            After surveying what feels like a different room each time his eyes make a pass, he squints the light gold of a door handle. He can’t tell if it’s locked, but Cyn must have a key.

            “Come in,” he shouts, robbing breath from his lungs. Door and lock collide then collide again. The knocking resumes.

            Dammit, Pickle thinks, pushing off the couch and rocking forward to not so much stand as fall upward. He uses first the countertop then the wall to steady himself as he makes his way.

            Now don’t get annoyed already, Pickle tells himself.  

            He reaches over and unlocks the door. 

            Instead of his daughter, he opens it to a man his own age, wearing a loose smock with a cross patterned breast. The man holds out his arms as if to say: Ta-da. 

            “May I come in?” 

            “No,” Pickle says, caught off guard.

            “Are you Peter?” the man asks. 

            “Do I know you?” 

            “Sand and Bill invited me.”

            “People call me Pickle.” 

            “May I come in?” the man says.

            “No,” Pickle says. 

            “Pickle,” he says. “I won’t be long.”

            “I’m expecting my daughter,” Pickle says. “Fact, I thought you were her.”

            The man peels out a watch. “Not till noon. It’s only ten. May I come in?”

            “How many times you gonna ask?”

            “That was the last time,” the man says. 

            Pickle steps back. “I’m holding you to the few minutes.” He tries to walk confidently but only makes it a few feet before leaning hard against the counter. 

            The man stops behind him. 

            “Have a seat,” Pickle motions to the couch. The man walks around and sits on the near cushion, but scoots when Pickle nearly falls in his lap. 

            “Do you know why I’m here?” the man asks. 

            The word carries a familiar unfamiliarity. Pickle takes a guess. “Is that some sort of parable? The Priest and the Here?” 

            “First, let me say you’re very lucky. You have a beautiful, kind family.”

            “You say that like you’re the one who figured it out,” Pickle says. 

            “No, no,” the man says. “I just think it’s important to remember what all we have. How lucky we are. How lucky we have been.”

            “What do you mean ‘we’?” Pickle says. “You planning to come with me?”

            “In some form,” the man says. “In some fashion.”

            “Only one fashion I know of,” Pickle says. 

            “Would you like to pray with me?” the man asks. 

            “No,” Pickle says. 

            The man nods and looks around the room. “That’s a fine TV. I have the same one, actually. Why don’t we sit, and watch something?” He picks up the remote. “Would you like to sit and quietly enjoy some television with me? Yes, then, after a bit, if there is anything you want to talk about, anything you want to confess or beg absolution for, just start. I’ll be listening, even if it doesn’t seem like I am.”

            “They let you have a TV?” 

            “College football,” the man says. “I can’t live without it.”

            “Do you look away when they show the cheerleaders?”

            The man laughs. “Maybe we could do your confession now?”

            “What the hell are you talking about?” Pickle says, coughing.

            The man sighs and abruptly leans forward. “Well, then I guess I should get going. Bird feathers and water, Pickle.”

            “What?”

            10:01

            “Those are the only two things you can legally throw from the window of your car.” 

            With that, he stands and leaves. 

            10:02

            10:03

            I should have asked him about the remote, Pickle thinks. He decides to again try figuring it out himself but now he can’t find the damn thing anywhere. 

            He taps the pack of cigarettes in his breast pocket and closes his eyes, soon back asleep. 

***

            Near one o’clock his daughter comes but not alone. She knocks on the door as it opens, like a mother who doesn’t want to catch her son touching himself. 

            Pickle snaps awake. He had only been half-asleep: still aware of his body but enjoying pulses of strange imagery. 

            The first thing he thinks is, Fuck, I want a cigarette.

            The second thing he thinks is, Say hello to your daughter, asshole.

            He can’t believe how beautiful she’s become. Short, yes, but too smart to be a model anyway. Not brilliant, perhaps, but possessed by a certain intuitiveness. He wonders how she did in high school. Was she class president? Valedictorian? Prom Queen? No, likely not. But who decided those things matter?

            “Cynthia,” he says and pushes everything through his legs to stand, but his body doesn’t do more than resettle on the couch. “Introduce me to your friend.”

            “This is Pat,” she says. “Pat, say hi.”

            “Hi,” Pat says. 

            “Hi,” Cynthia says. 

            Pickle tries again and partly rises but not far past still slumped with one hand on the couch’s arm. 

            They don’t come more than a few steps inside. Cynthia kicks something small and rubbery down the hall. A dog toy, perhaps.

            “Pat’s a musician,” Cynthia says. 

            “Musical student,” Pat says, blushing. 

            “A musician,” Pickle says. “Marvelous.”

            “It is marvelous,” Cynthia says. 

            “I’m really not that good,” Pat says, blushing even more.

            “And what are you studying, dear?” Pickle says.

            “I’m studying History,” she beams. 

            “No,” Pickle says. “No, that’s not right.”

            “Huh?”

            “History,” he says. “No, I don’t like that at all.”

            “Now sir,” Pat says, stepping forward and holding a palm out like Pickle is some beggar they saw on the street. “I know we just met, but I’m set to take offense. With all due respect, you don’t know a damn thing about your daughter.”

            “You’ll never be a musician if you keep defending people,” Pickle says, coughing into his elbow. This makes Pat back up and quiet, as though he can’t handle any challenge to his identity. 

            Pickle wishes he could be nicer to his daughter, but it’s like every time she does or says anything he’s learning new ways to be disappointed. New areas of disappointment he didn’t even know existed. 

            Cynthia turns to Pat, “I told you he would get like this.”

            “You did. You told me.”

            “Didn’t I tell you?”

            “You did. I said you did.”

            “Like what?” Pickle says, feeling like he just walked into the middle of a conversation. “It’s me, Cyn. Don’t you remember me?”

            “Like why are you even here?” Cynthia says. “You’re too good to die in a hospital? Or at your apartment?”

            “Why do people keep saying that?” he says, near pleading. “Doesn’t anyone remember me? I’m not Here. I’m Pickle, your dad.”

            “This isn’t your home!” she screams. “Mom and Bill have been through enough already.”

            “Enough?” Pickle says. 

            “Perfect,” Cynthia says. “We’re gone.”

            “Call your mother,” Pickle says. Feeling proud for having completed that small task. 

            “It was nice meeting you, sir,” Pat says. 

            “Fuck you, Pat,” Pickle says. He takes out his cigarettes and pulls the utility lighter from his jeans. Cynthia turns back at him. 

            “Smoke more cigarettes,” she says. “Never stop smoking.”

            She slams the door. It was too late from the moment she walked in, Pickle thinks. She never had a chance of remembering me. But he had remembered to tell her to call her mother. You couldn’t take that away from him. He could imagine the conversation now: Mother, some man in your house told me to call you. The kindness of strangers, she would say from across the wire, shaking her head. Where would we be without it?

But a musician! he thinks. What a marvelous profession. What had Pickle studied again? Thirty years ago in his undergraduate days? History? He thinks it might have been History. 

            History, yes, it had been History.

            But History had been different back then, of course. More interesting things had happened back when he studied. Now there is nothing interesting that has happened. 

He lights his cigarette and leans his head back. Call your mother. He congratulates himself for the job well done.

            After a few shallow inhales, he drifts off. The cigarette tumbles from his lips and lands on the sheet and, before long, it is aflame. Pickle lies stoic as a self-immolating monk, skin melting like yogurt in the sun. 

***

            The devil wakes him with a pat on the shoulder. 

Pickle looks over. The devil has a large, open ledger on his lap and bifocals near fallen off his nose. “Hey, I know you,” Pickle says. To his right, a dog sits licking itself.

            The devil tilts the book toward Pickle and motions with a pen. “Does that look like an ‘R’ or a ‘P’ to you?”

            Pickle coughs into his elbow, but nothing comes up. Just dry coughing. “It’s awfully burning in here,” he says. 

            Here… Here. Here. Here.

            How did everyone forget such a simple word?

            Smoke curtains upward around the couch, leaving the two of them in a sort of well.  

             “Do you know how to work this thing?” Pickle asks, reaching through the smoke for the remote. He gropes around the coffee table, knocking his cup over before finding it. “I want to watch Jeopardy.”

            The TV isn’t visible through the smoke, but Trebek always reads the answers out loud. 

            “If you hit the little red button, it’ll record it.”

            “The which button?”

            “Give it here.” 

            Pickle hands him the remote and the devil breaks it over his knee. 

            “That wasn’t mine, I hope you know.”

            “I think I would have done it either way.”

            “Fuck you, devil,” Pickle says. 

            The devil laughs. 

            “What’s your favorite movie?” Pickle asks. 

            “Apocalypse Now,” the devil says. 

            “That’s a good one,” Pickle says. “Good choice.”

            The devil beams.

            “Want to hear a joke?” the devil says. 

            “Sure,” Pickle says. 

            “Let me get a cigarette,” the devil says. 

            “Don’t take the lucky one.” Pickle hands him the pack. 

            The devil sticks one partway up his nose. “What am I?” he asks.

            “I give,” Pickle says. 

            “An elephant about to face the firing squad.”

            “Oh.”

            “What caused 9/11?”

            “What?” 

            “I was flying to LA and forgot to turn my phone on airplane mode.”

            Pickle stares at him. 

            The dog licks itself.

            “I’m outta here,” the devil says and scurries over the couch. Pickle hears him open the window and climb out. 

            The smoke around Pickle doesn’t get any closer or farther away, it just stays a constant stream, the fire sounding chirps and rattles. He tries to stand and walk around a bit, stretch his legs, but his lower torso is stuck to the couch, melted to it. Flesh spun between fibers. 

            Dammit, Pickle thinks. I really want to scratch my ass. 

            So what now?

            He wishes he could see a clock. 

            Bored, he taps his palms on his knees like: ho-hum. But then he does it again and again until he finds the beat of some song he invents as he goes along. After he finds a pattern in his hands, he begins to whistle, only able to scale a few bars before coughing. He keeps tapping until he finds his breath and starts to whistle again, erupting quickly into another coughing fit. But he doesn’t stop tapping his knees. He whistles again: same result. 

            But, he slowly starts to realize, the coughing is part of the song, too. He plays it up, extending it past what’s natural. 

            So, on, Pickle decides, to continue, in this fashion, until somebody asks him to stop, which, he knows, no one ever will. 

Fun with Peter

by George Choundas

12/03/05   Peter is born.

03/15/09   Peter and I walk to the playground down the street and hop onto the swings. We bore quickly of rote pendulum motion. We invent Battleswing, a martial-themed game that awards a point each time a player—er, warrior—succeeds in touching his foot against the opponent swinging alongside him, so long as foot contact is made with the other’s legs above the knees (lower legs are too accessible and gut the game of challenge) or with the front or back of his trunk. Safety is paramount: contact with head, neck, or arms is prohibited; holding on with both hands is mandatory.

I learn three things. First, at the playground that day, I learn that three-year-olds lack the neural pathways to distinguish between foot contact and kicking. Second, in bed the next morning, I discover a sullen bruise at the center of my lower back, the very place where birthing mothers sometimes experience bruising from epidurals. Mothers pay with their bodies through parturition, it seems, and fathers after.

Third, at the same playground six months later, it dawns on me—as multiple mothers shoot aren’t-we-setting-a-bad-example looks in my direction—that if safety were really paramount, there would be no such thing as Battleswing.

02/10/10   It snows eight inches. I shovel, Peter plays. Once I finish, we drift onto the front lawn. It is a mattress of snow. I point at two trees, ask Peter if he remembers using them once as a soccer goal (he does), and propose I curl up like a ball and he try to kick me through the snowfield into the goal. He likes this idea; it involves kicking and/or foot contact. I like this idea; it involves the madcap spontaneity that commercials for credit cards and cruise lines suggest middle-aged suburbanite fathers should be exhibiting more often. Peter scores two goals. It is great fun. Until he kicks me in the penis. It gets dark suddenly, for reasons having nothing to do with the sun.

10/11/13   It’s Friday before Columbus Day Weekend. Peter has the day off from school, so I take a vacation day myself. We put on shorts and bring his bicycle and my waveboard to the playground and play Cops & Robbers. As I chase him, tottering atop what is essentially a two-wheeled skateboard, Peter turns his bicycle into me rather than away from me, and at speed. I have two choices and one moment to make them:

(1) bail from the waveboard and get out of the way to minimize the impact but thereby run the risk that he catches his front tire on my abandoned waveboard and catapults over the handlebars, or

(2) stand my ground and absorb the impact by grabbing those handlebars.

I choose the latter, because I am a father. But immediately I realize I have overlooked the downside risk of this second option, which in fact materializes now: the bicycle’s underworks barge into my right leg, the chain wheel bites into the shin, and the serrated metal leaves a wound that gapes wide under a grinning flap of flesh.

I probably need stitches. I tape the thing instead. I tell Peter I’ll bear the scar forever as a reminder of the time he ran his father over. “You mean the first time I ran my father over,” he says.

Is this idle smartassery? Or is it a threat? I don’t know. But I have recorded it here, for public dissemination, in case the latter and I cannot give witness.

The scar—I still have it—is the shape of a letter J. Part of me sees it on its side and imagines it is a graph showing the necessarily dwindling number of memories I’ll make with my son over time. (Look, here’s where he leaves for college. And that point there—that’s where he gets the job in Guangzhou.)

More often I see it upright. More often I decide it stands for joy.

Today Peter is twelve. He can lift his mother and carry her through the house. His forearms are thicker than mine.

I still give him options, sure, every weekend. Lately they are limited to Xbox or chess.

The Sweater, the Pair of Shoes, and the Jacket

by Rebecca Curtis
from Post Road 3

A daughter disobeyed and the mother of the daughter hit the daughter very quickly with her hand, a thing she had not done before in the past.  Soon the daughter disobeyed again and again the mother struck the daughter in the face with her hand and then also with an object which had been nearby.  The daughter cried and ran away but soon came back and disobeyed and the mother took the object which had been placed nearby for use and broke it upon her daughter who moved from the room on her knees and came back and was beat by the mother who had become three mothers with three objects which had all been nearby and the daughter on her belly moved very slowly from the room and eventually came back and disobeyed and the mother took the daughter’s head in her mothers’ hands and pulled it close to her own and held it in that place for hours, and now that the mother had given the girl a sweater, a pair of shoes, and a jacket, one item upon each departure, the girl was dressed.

Ask the Dust by John Fante
Rebecca Donner
from Post Road 9

It’s not often that someone grabs you by the lapels and tells you that you must, absolutely must read a particular book. Not in my experience anyway. Usually my friends’ recommendations come with their fair share of disclaimers and qualifications, the sort of hedging we all engage in simply because we know that one person’s dog-eared treasure is another’s doorstop. But lapel-grabbing is what a friend recently did to me, and what I’m doing to you now, hoisting you up so only your toes graze the ground, and if your collar rips, so be it—hear me now, goddamnit: You must, absolutely must read Ask the Dust.

John Fante himself would have seized your hair by the roots and repeated the mantra until your eyes goggled, if you happened to be alive in 1939, when the publication of Ask the Dust went virtually unnoticed. Fante had the singular bad luck of being published by Stackpole Sons when the company was being sued for its unauthorized publication of Hitler’s Mein KampfThe Grapes of WrathThe Big Sleep, and The Day of the Locust were also published that year—tough competition for any novel, especially one released by an obscure publisher on the verge of bankruptcy—and while Steinbeck, Chandler, and West received literary accolades, Fante went on to languish in relative obscurity for forty-odd years, squandering his talent writing hack screenplays. In 1980, Black Sparrow Press brought Ask the Dust back into print, and the 71-year-old author at last achieved some measure of the recognition that was his due. By then, Fante’s diabetes had taken its toll, and he was confined to a wheelchair, blind and legless.

Fante writes from his wounds, his fiction hewing closely to the facts of his own life. Ask the Dust—considered by many (including myself) to be his masterpiece—is the third in his quartet of books about Arturo Bandini, a second-generation Italian immigrant who flees his childhood home in Colorado for the gilded streets of Los Angeles, where he lives in squalor as a struggling writer. Fante’s hand-to-mouth existence during the Depression is vividly described through the eyes of Bandini, staving off hunger in his sordid hotel room with a nickel-bags of oranges. We meet a cast of desperate characters, among them Hellfrick, a drunk in the adjacent room who steals a live calf to sate his rabid desire for meat, and Camilla Lopez, the impoverished Mexican waitress Bandini pines after with a passion verging on madness, who repeatedly spurns his advances unless he insults the dirty huraches on her feet.

Like Céline’s Bardamu, Svevo’s Zeno, or Dostoyevsky’s “Underground Man,” Fante’s literary alter-ego is a stewing cauldron of nihilistic self-absorption, and every bit as memorable. He is given to febrile rants and arias of grief, often switching from first-person to second to a self-aggrandizing third within the space of a page, sometimes a paragraph. When he’s not chastising himself (“You are a coward, Bandini, a traitor to your soul, a feeble liar before your weeping Christ”), he’s indulging in delusions of grandeur (“I stood before the mirror once more, shaking my fist defiantly. Here I am, folks. Take a look at a great writer! Notice my eyes, folks. The eyes of a great writer. Notice my jaw, folks. The jaw of a great writer.”). For all his arrogance, Bandini is an endearing buffoon, and his confessional outpourings are shot through with black humor. Here’s Bandini walking the streets of downtown LA:

I took the steps down Angel’s Flight to Hill Street: a hundred and forty steps, with tight fists, frightened of no man, but scared of the Third Street Tunnel, scared to walk through it—claustrophobia. Scared of high places, too, and of blood, and of earthquakes; otherwise, quite fearless, excepting death, except the fear I’ll scream in a crowd, except the fear of appendicitis, except the fear of heart trouble . . . Otherwise, quite fearless.

The prose has the immediacy and colloquial fluency of the Beats, whom Fante prefigured by over a decade. Charles Bukowski, dogged champion of free-form verse, called Fante “my God,” and was responsible for bringing his work to the attention of Black Sparrow Press. In the preface to Ask the Dust, Bukowski describes the day he discovered the book in the Los Angeles Public Library, carrying it away “like a man who had found gold in the city dump.” Fante, he writes, “was not afraid of emotion. The humor and the pain were intermixed with a superb simplicity . . . [the] book was a wild and enormous miracle to me.”

Fante’s biography is the stuff of literary legend, the kind of story that makes you weep at the injustice of it all. It’s some consolation to know that Fante was buoyed by the attention his work at last received, and spent the last few years of his life dictating a novel to his wife. Dreams from Bunker Hill is the fourth and last in his Bandini series—the others are Wait Until Spring, BandiniThe Road to Los Angeles; and, of course, Ask the Dust. Read them in order, or begin with Ask the Dust, as I did, then devour the other three.

Testing

Student Paper
by Justin Taylor
from Post Road 29

The negation of the negation is based on a correct reading of the wrong books.

 — Donald Barthleme, “The Rise of Capitalism”

Let the reason remain outside of the fact that the world does not involve magic: only chance, intelligence, and skill. There’s this idea of people creating their own stories but in the beginning what they thought was horrible ended up good. It makes sense. I mean let’s say you are a person who hasn’t gotten sick in many years, and then I offer you an opportunity for meaningful exchange, to transform fantasy into a fragment of communication widely spread without visible limits on the scope of being understood. The thing is that you always have these people who support or oppose a situation. My thesis is that a problem is something which is caused by something else.

            As Gladwell points out, events take place. Try to estimate where you stand. A broken window does not allow us to decipher that in fact the culture has taken a detour. A major concern is the anger that each of us holds inside the same ability. Our human thoughts, the normal daily epidemic misdemeanors, stimulate an invitation. People have realizations in the homeless and polluted air.

            Not all religions accept the idea that limitations should not be banned completely. Rather, they should focus, should be conscious. A sense of belonging overwhelms the participants. Without the comprehension of others we are alone in the world. With the rituals and customs of a clear and concisely revealed stimulus, the youth walk hand in hand provided communities symbolize identities that have not yet been discovered to preclude an overall better chance of adaptation or the idea of creating different forms.

            The preoccupation of hunting down pirates is a major epidemic. Underneath the water hid the legal owner of the so-called “catchphrase” and the relevance of this information is just another method expanding on the depiction designed solely for the purpose of staying dependent on the main point. Now let me just explain the advantageous reaction: forces shape ideals. There is a current need to participate in another medium, a small but unmistakable link between opposing views.

            We must all embrace or fall behind a world that doesn’t yet exist and no one knows how to accommodate the traditional commercials. A new form of existence: limitless control of one’s own product. Every year—every year—we see the advancements. The normal is falling apart.

            Through one’s lifetime the exhaustion of traditions are witnessed. Who has as much power as that which rests in the hands of the children we must all become? The harsh cruel truth was exposed to the public and no longer remained a secret for the privacy of the academy. Though it is not necessarily possible for anything of this sort to happen, it is a capable representation of how minds are lived in an environment. The theory points out where to act precisely. There is a vital difference between an individual. This is something that will not be passed without a fight to the dance.

            Consistent attitudes lead to comfort and normality. We are opening our protective plethora and can vouch for the extreme velocity of our country in a bad salutation. Authorities must enforce constructive rules as they play. It is crucial to allow exposure to the main transmitters surrounding the exact root of the motivation to do better and earn a pizza party so we expect a community where guidance is provided for who we are and what we become. In the wild we are empty vessels filled with who we are.

            Choose a new way of enduring the vigorous original knowledge of the false being who claims we have the power to admire a bond we form with the participant. Community can shape amazing features and our surroundings persuade us there are things people might wish to do to prove that they really have the power to do the things they want and become people. This is where lies the true significance of a name.

            Johnson states that different experiences teach people how much they have underestimated different mountains, the mysteries of the forest. Discovery leaves behind questions. With everything that happens one must realize one can not especially dislike the spooky baby because babies are usually symbols. A man steps into fulfilling his needs where they are lost and as an American I define morality as something that provides people with an incentive to make good decisions because of all the silence. I am talking about anything inside us all: a battlefield or a cliff that has no end.

            Wilderness happens to everyone. The reader finds himself choked. He has chosen to open the door and molest the young buffalo. Content cannot be told. There are no such things as stories. The presence of absolute moral indifference allows us to experience life in a whole new way. We want to enter and escape traditional countries; the words a vivid difficulty, a virtuous blur. What is aesthetic is actually fantasy. You figure out that though you see things you don’t have to believe in them. The larger scales of trouble are inevitable to avoid the certain dangers of underlining comfort without order. A city inhabits the creatures of the jungle. The voice and footprint ameliorate functionality, collaborate better. Laws struggle to stray the deeper factors from the facts. Character emerges in the space left over, a beauty inflicted by institutes that get sucked into ascendance toward the dire public void between perfect works.

            The people become subject or “addicted” to their specifics. Growth away from the security net is due to the fact that some of us have healthy relationships, infectious moods, constant recurrence of exuded feelings, terms for achieving cohesion of desires, something on the table, the long chance to be respected, refined alienation in the wilderness of media attention, links between reading and living, an extremely influential tie. Expectations infringe on desire, a situation that in a lot of ways guarantees journal entries, a wealth of susceptible wisdom, a map, and many other things. At the important end of pleasure, we are all different and we are all we have.          

            Some of us may not like what society gives us. Hope suffocates a man intent to join the isolation principle to the unpopular strain of the shining riddle. It is not always easy inside the walls of aversion, the critical lens shaken to show affect brought down to mere presence: a pack of wolves like a bubble. We may now live in a time period. A person can be lonely without being alone.

            The absolute cannot be spoken for. All are strangers before the court. It was never about the travel or the fact this is just a metaphor for primitive truths inside us. Most circumstances incorporate the example of a firefight to beauty, where many have met their deep end. Others, meanwhile, live their whole lives residing in a childhood dream. In some cases animals and keys grow long over the temples: basis enough to live in fear of attitudes portrayed as mystical and full of depth.

            We can do whatever we want whenever we want. Nightmares and abandoned buildings shrouded and reacting as if alive. We are what we are doing. We are satisfied or confused. We find ourselves. We find a little haven in a break we knew before. We are content. We may not yet be able to understand. We as readers suppose that we as readers cannot judge. We were not there. You are looking for characters with the same intentions. The word can be an empty forest. We are truly broken, not acting stripped by the force of wanting. In conclusion, I tried to say something to the maximum degree possible. I have learned that experience is one of the main things we endure.

Periphery
by Bradley Clompus
from Post Road 36

As though stuck at thirteen,
as though mother were
fixed in mid-forties. Beside,
an uncomposed demolition
of sounds, iron ball slowly
arcing into the top level ruins,
muddled whump of impact, girders
shearing, tumbling, concrete fists,
shoulders, joints staggering
down to cutters and torchers,
massed pushers, haulers. Building
guts spilling from pre-crash fruition
of 1920s: lawyers, insurance agents,
accountants pale from overwork, hopeless
hoarding of others’ assets, plaster
a sickly mint green granulating
from every exposed, torn off
room, secrets mixed with
unaccustomed white, newly
opened to wind, to light.

From one of those half
de-created spaces, floor jigsawed,
dust billowing, paint chips mothing
down, a thin object falls, twists
while falling, hits ground
noiselessly, lost behind a drift
of debris. I say Something just
fell from a building. Mother
doesn’t answer, keeps walking.
Next day the news allots
a name, a past, a truncated
present. He was working
the 11th floor, wore a yellow
hard hat. If we stayed, we might
have seen a crowd assemble,
a few lance-like arms pointing.
There could have been a subsonic
hum of frightened bees, a plea
for reckoning. Try to remember
this, I remind myself. Mother says,
not to me, not to the watchers,
That poor guy, that poor, poor
guy. Rubble is piling on the ground,
a minor mountain, its peak unstable,
sloughing off the hard and soft
stuff we’ve made, the brownish
scarlet rusts, dirty beige, broken
Wedgewood blues. The man waits
for his pickup, his arrangements.
Verging toward mourning,
the crowd might have huddled
a bit, leaned in tentatively,
sheltering an absent core.
And two of us who’d partly
seen, partly known, left it
all behind, kept walking.