- •If you were planning to be stranded on a desert island for three months, what would you bring along?
- •It was all Japanese, Germans, Koreans, all with English as a second language, with phrase
- •Inhale.
- •It’s this big brother who travels around the world, sending back French phrases. Russian phrases. Helpful jack-off tips.
- •It’s after dinner when the kid’s guts start to hurt. It’s wax, so he figured maybe it would just melt inside him and he’d piss it out. Now his back hurts. His kidneys. He can’t stand straight.
- •In the end, it’s never what you worry about that gets you.
- •It’s a choice between being dead right now or a minute from right now.
- •In the dim streetlight, his rhinestone buttons sparkle.
- •It’s because of all this, we brought nothing that could save us.
- •Instead of a smile or frown, a movie fragment of night sky washes across her face.
- •Into the cell phone she says, “I’m en route.” She says, “I can take the three o’clock, but only for a half-hour.” She says good-bye and hangs up.
- •It’s just a matter of time before you contract some incurable toenail fungus under your silk-wrapped French manicure.
- •Inside, it’s just you and Angelique and Lenny.
- •In her high heels, Angelique must be a head taller than him. She smiles, saying, “Lenny . . .”
- •Vermin-proof or not, our Missing Link could rip a bag open with his bare pubic-hairy hands.
- •Itty-bitty.
- •In their last minute alone, just them in the green room, the slick guy asks if he can do our blonde girl another favor.
- •It’s then the floor producer walks in with the old goober.
- •In your own mind, you are always right. Every action you take—what you do or say or how you choose to appear—is automatically right the moment you act.
- •It’s then the bag lady looks up and says, “Muffy? Packer?” The wino’s hand still feeling around deep in the front of her stretch pants, she pats the bench beside her and says, “What a nice surprise.”
- •In the newspaper the next week, the kidnapped heiress was found dead.
- •It’s after that Evelyn goes cold turkey. She cancels the newspaper. To replace the television, she buys the glass tank with a lizard that changes color to match any paint scheme.
- •It’s that moment, some people walked away.
- •In the movie–book–t-shirt story, we’d all love Miss Sneezy . . . Her deep courage . . . Her sunny humor.
- •In the viewfinder of his camera, Agent Tattletale rewinds and watches as Lady Baglady tells her story onstage. Telling and retelling it.
- •In his shirt pocket blinks the small red light of a tape recorder taking down every word.
- •In the phone book, when I found him, I was blind with crying, afraid my dog might die. Still, there was his listing: Kenneth Wilcox, d.V.M. A name I loved, somehow. For some reason. My savior.
- •I say, Who does?
- •It’s the kind of joy we felt when Dana Plato, the little girl onDiff’rent Strokes,got arrested, posed naked inPlayboy,and took too many sleeping pills.
- •I tell him, Trust me. Good writing means you take the regular facts and deliver them in a sexy way. Don’t worry about your life story, I tell him, that’s my job.
- •I pour him red wine and just let him talk. I ask him to pause, then act like I’m getting every quote perfect.
- •Instead, you’ll run toward torture. You’ll enjoy pain.
- •It’s after that we couldn’t wash clothes, another plot point for the story that would be our cash cow.
- •In our heads, we’re all jotting down the line:I happen to know a lot about human insides . . .
- •In so many ways, this old man seems younger than any of the volunteers in their thirties or forties. These middle-aged angels a half or a third his age.
- •It’s only normal that, someday, an angel will gush. To the head nurse or an orderly, a volunteer will gush about what a wonderful youthful spirit Mr. Whittier has. How he’s still so full of life.
- •In another year, he’ll be dead of heart disease. Of old age, before he’s twenty.
- •It’s then he’d tell her—he lied. About his age.
- •Into the Earl of Slander’s tape recorder, Comrade Snarky says, “Do you know there’s no hot water?”
- •In the blue velvet lobby, we’ll have nothing for breakfast.
- •It goes round and round, kneading and grinding
- •In his studio, the black flies still circled the same heap of soft apples and limp bananas.
- •Infallible,
- •In two days with a rented camera, they’d used up their lifetime allowance of interest in each other. Neither of them held any mystery.
- •In our version of what happened, every toe or finger, it was eaten by the villains whom no one will believe.
- •If that next bullet has your name on it.
- •If someone wanted a doll right away, she’d offer the old rag dolls.
- •It’s then Cora goes to lunch and buys a razor blade. Two razor blades. Three razor blades. Five.
- •It’s after that, Cora must talk to somebody at the county health clinic.
- •It’s the furnace, running full-blast. The blower pumping hot air into the ducts. The gas burner chugging. The furnace that Mr. Whittier destroyed.
- •Into twin-penciled arches, with, underneath each,
- •It’s the ammonium nitrate their buddy Jenson had ready for them in Florida. Their buddy from the Gulf War. Our Reverend Godless.
- •It got so their getups were cutting into the bottom line. But say a word about it and Flint would tell you, “You got to spend it to make it.”
- •In the pockets of his bib overalls.
- •It was lacquered black, waxed and smudged gray with fingerprints.
- •It could run for a month, always ticking. Or it could run for another hour. But the moment it stopped, that would be the moment to look inside.
- •If you’re tall enough, you can see her nipples.
- •It’s all we can do not to drag Mrs. Clark out of her dressing room and force her at knife point to bully and torture us.
- •Voir Dire
- •It was the summer people quit complaining about the price of gasoline. The summer when they stopped bitching about what shows were on television.
- •In the pitch-dark, Sister Vigilante says, it would hit—bam—a bolt of black lightning.
- •It was a bowling ball, the police reported.
- •In times like that, every man is a suspect. Every woman, a potential victim.
- •It’s the soft groan of someone dreaming in her sleep.
- •It’s with this in mind I started my project.
- •It’s an interesting juxtaposition. A fascinating sociopolitical power relationship, being fully clothed and examining a naked person held down, wearing only his high heels and jewelry.
- •It’s the greasy ghost of Comrade Snarky, what we’ll have to smell every time we use the microwave. We’re breathing her spirit. Her sweet buttery stink will haunt us.
- •In the blue velvet lobby, the microwave oven dings once, twice, three times.
- •In the wash of water backed up from the toilet, washed up and stranded on the lobby carpet, you can see fur. Tabby-cat fur. A thin black leather collar. Some pencil-thin bones.
- •I promise to just breathe deep.
- •It’s a marriage.
- •In that future world, the world outside here, the only animals will be the ones in zoos and movies. Anything not human will just be a flavor for dinner: chicken, beef, pork, lamb, or fish.
- •Inside the curtained walls of the emergency room, Mrs. Clark leaned over the chrome rails of her daughter’s bed and said, “Baby, oh, my sweet baby . . . Who did this to you?”
- •In her hospital bed, her skin looked purple with bruises. Her head was shaved bald. The plastic band around her wrist, it said: c. Clark.
- •It’s the prison or the asylum you’ll eventually call home.
- •It’s five-thirty, and the store closes at six.
- •In Claire’s vision, the man’s face comes closer. His two hands reach out, huge, until they wrap the jar in darkness.
- •Instead, Miss America asks, Is this how it will go? Her voice shrill and shaky, a bird’s song. Will this be just one horrible event after another after another after another—until we’re all dead?
- •It’s here that she’d work hard to make the story boring, saying how water heated to 158 degrees Fahrenheit causes a third-degree burn in one second.
- •It screamed, “What did I do?”
- •If there’s any trick to doing a job you hate . . . Mrs. Clark says it’s to find a job you hate even more.
- •In the deputy’s headphones, the buzz of flies gives way to the crackle of grubs tunneling forward one bite at a time.
- •In the sheriff deputy’s earphones, the mice munched the beetles. Snakes arrived to swallow the squealing mice. Everything looking to be last in the food chain.
- •It was the voice of Mrs. Clark saying, “I’m sorry, but you should’ve stayed missing. When you came back, you weren’t the same.” She says, “I loved you so much more when you were gone . . .”
- •It’s over dinner, Miss Sneezy blows her nose. She sniffs and coughs and says she really, really needs to tell us a story . . .
- •In white coats, holding test tubes,
- •I didn’t mean to kill you.
- •Instead, I want to know the stuff Shirlee can’t say. The stuff I’ve started to forget—like how does rain feel on your skin? Or stuff I never knew—like how to French-kiss?
- •It was my senior year in high school when people around me started to die. They died the same way my folks had died ten years before.
- •I ask again, about my grandma.
- •It’s when the light comes on, when the mirror in your suite turns into a window, then you can see the camera that’s always there. Always watching. Recording you.
- •In case you’re wondering how I got out . . .
- •In New Keegan, not one of the tombstones had writing you could still read.
- •If we could’ve read the headstones, we’d see how almost the entire town had died in one month. The first cluster of what doctors would call the Keegan virus. Rapid-onset viral brain tumors.
- •I can show him the ropes. Calm him down. Help him adjust to life here at The Orphanage.
- •It’s how we can eat all the shit that happens.
- •If you could not die.
- •If we died in enough pain, cursing old Mr. Whittier, then he begged for us to come back.
- •It takes four. One bodybuilder to screw in the bulb, and three others to watch and say, “Really, dude, you lookhuge!”
- •In the alley’s narrow blue sky, birds soar back and forth. Birds and clouds that aren’t cobwebs. In a blue that isn’t velvet or paint.
- •In the alley, Mr. Whittier’s voice shouts from closer and closer, for them to stop.
- •It doesn’t matter who we were as people, not to old Mr. Whittier.
It goes round and round, kneading and grinding
a wad of nicotine gum.
His gray sweatshirt and canvas pants are flecked with dried raisins of red, dark-red,
yellow, blue and green, brown, black and white paint.
His hair tumbles behind him, a tangle of brass wire, tarnished dark with oil
and dusted with sticky flakes of dandruff.
Onstage, instead of a spotlight, a movie fragment:
a slide show of portraits and allegories, still lifes and landscapes.
All of this ancient art, it uses his face, his chest, his stocking feet in sandals
as a gallery wall.
The Duke of Vandals, he says, “No one calls Mozart a corporate whore”
because he worked for the Archbishop of Salzburg.
After that, then wroteThe Magic Flute,
wroteEine kleine Nachtmusik,
paid by trickle-down cash from Giuseppe Bridi and his big-money silk industry.
Nor do we call Leonardo da Vinci a sellout,
a tool,
because he slopped paint for gold from Pope Leo X and Lorenzo de’ Medici.
“No,” says the Duke, “We look atThe Last Supperand theMona Lisa
and never know who paid the bills to create them.”
What matters, he says, is what the artist leaves behind, the artwork.
Not how you paid the rent.
Ambition
A Story by the Duke of Vandals
One judge called it “malicious mischief.” Another judge called it “destruction of public property.”
In New York City, after the guards caught him in the Museum of Modern Art, the judge reduced the charge to “littering” as a final insult. After the Getty Museum in Los Angeles, the judge called what Terry Fletcher did “graffiti.”
At the Getty or the Frick or the National Gallery, Terry’s crime was always the same. People just couldn’t agree on what to call it.
None of these judges should be confused with the Honorable Lester G. Myers of the Los Angeles County District Court, art collector and downright nice guy. The art critic is not Tannity Brewster, writer and knower of all things cultural. And relax, no way is the gallery owner Dennis Bradshaw, famous for his Pell/Mell Gallery, where just by coincidence people get shot in the back. Every once in a while.
No, any resemblance between these characters and anyone living or dead is a complete accident.
What happens here is all made up. No one is anyone except Mr. Terry Fletcher.
Just keep telling yourself this is a story. None of this is for real.
The basic idea came from England, where art students go to the post office and take stacks of the cheap address labels available at no charge. Every post office has stacks and stacks of these labels, each one the size of your hand with the fingers straight but held tight together. A size easy to hide in your palm. The labels had a peel-off backing of waxed paper. Under that was a layer of glue designed to stick to anything, forever.
That was their real charm. Young artists—nobodies, really—they could sit in their studio and paint a perfect miniature. Or sketch a charcoal study after painting the sticker with a base coat of white.
Then, sticker in hand, they’d go out to hang their own little show. In pubs. In train carriages. The back seats of taxicabs. And their work would “hang” there for longer than you’d guess.
The post office made the stickers with such cheap paper that you could never peel them away. The paper tore in specks and flakes at the edge, but even there, the glue would stay. The raw glue, looking lumpy and yellow as snot, it collected dust and smoke until it was a black smear so much worse than the little art-school painting it had been. Folks found that any artwork was better than the ugly glue it left behind.
So—people let the art hang. In elevators and toilet stalls. In church confessionals and department-store fitting rooms. Most of these, places where a few paintings might help. Most of the painters just happy to have their work seen. Forever.
Still—leave it to an American to take something too far.
For Terry Fletcher, the big idea came while he stood in line to see theMona Lisa.The closer he got, the painting never got any bigger. He had art textbooks that were bigger. Here was the most famous painting in the world, and it was smaller than a sofa cushion.
Anywhere else, it would be so easy to slip inside your coat and cross your arms over. To steal.
As the line crept closer to the painting, it didn’t look like such a miracle, either. Here was the masterwork of Leonardo da Vinci, and it didn’t look worth wasting a whole day on his hind legs in Paris, France.
It was the same letdown that Terry Fletcher felt after seeing that ancient petroglyph of the dancing flute player, Kokopelli, after seeing it painted on neckties and glazed on dog-food bowls. Hooked into bathmats and toilet-seat covers. When, at last, he’d gone to New Mexico and seen the original, hammered and painted into a cliff face—his first thought was:How trite . . .
All the dinky old masterpiece paintings with their puffed-up reputations, the British post-office stickers, what it meant was, he could do better. He could paint better and sneak his work into museums, framed and wrapped inside his coat. Nothing too big, but he could put double-sided mounting tape on the back, and when the right moment came . . . just stick the painting on the wall. Right there for the world to see, between the Rubens and the Picasso . . . an original work by Terry Fletcher.
In the Tate Gallery, crowding the Turner painting ofSnow Storm:Hannibal and His Army Crossing the Alps,there would be Terry’s mom, smiling. She’d be drying her hands in a red-and-white-striped dishtowel. In the Prado Museum, butted up against the Velázquez portrait of the Infanta would be his girlfriend, Rudy. Or his dog, Boner.
Sure, it was his work, his signature, but this would be about heaping glory on the people he loved.
It’s too bad that most of his work would end up hung in a museum’s bathroom. It was the only space without a guard or security camera. During slow hours, he could even step into the ladies’ room and hang a picture.
Not every tourist went into every gallery of a museum, but they all went to the bathroom.
It almost didn’t seem to matter, how the picture looked. What made it art, a masterpiece, that seemed to depend on where it hung . . . how rich the frame looked . . . and what other work it hung beside. If he did his research, found the right antique frame, and hung his picture in the center of a crowded wall, it would be there for days, maybe weeks, before he got a call from the museum staff. Or the police.
Then came the charges: malicious mischief, destruction of public property, graffiti.
“Litter,” a judge called his art, and slapped Terry with a fine and a night in jail.
In the cell the police give Terry Fletcher, everybody before him had been an artist, scratching away the green paint to make pictures on each wall. Then to sign their name. Petroglyphs more original than Kokopelli. TheMona Lisa.By names that weren’t Pablo Picasso. It was that night, looking at those pictures, Terry almost gave up.
Almost.
The next day, a man came to his studio, where black flies circled a pile of fruit Terry had been trying to paint when he was arrested. This was the lead art critic for a chain of newspapers. He was a friend of the judge from the night before, and this critic said, yes, he found the whole story funny as hell. A perfect story for his syndicated column about the art world. Even with the sweet smell of the rotting fruit, the flies buzzing, this man said he’d love to see Terry’s work.
“Very good,” the critic said, looking at canvas after canvas, each of them small enough to fit inside a trench coat. “Very, very good.”
The black flies kept circling, landing on the spotted apples and black bananas, then buzzing around the two men.
The critic wore eyeglasses with each lens as thick as the porthole on a ship. Talking to him, you’d want to shout, the way you’d yell to someone behind an upstairs window, inside a big house and not coming to answer the locked door.
Still, he was absolutely, positively, undeniably NOT Tannity Brewster.
Most of the best pictures, Terry told him, they were still in lockup as evidence in future trials.
But the critic said that didn’t matter. The day after, he brought a gallery owner and a collector, both of them famous from their opinions being in national magazines all the time. The group of them look at his work. They keep repeating the name of an artist famous for his messy prints of dead celebrities and signing his work huge with a can of red spray paint.
Again, this gallery owner was not Dennis Bradshaw. And when she spoke, this art collector had a Texan accent. Her red-blond hair was the exact creepy orange-peel color as her tanned shoulders and neck, but she was not Bret Hillary Beales.
She’s a totally made-up character. But as she looked at his painting, she kept using the word “bankable.”
She even had a little tattoo that said “Sugar” in lacy script on her ankle, just above her sandaled foot, but she was in no way, absolutely not, nope, NOT Miss Bret Hillary Beales.
No, this fake, made-up critic, art collector, and gallery owner, at last, they tell our artist: Here’s the deal. They have millions invested in the work of this messy printmaker, but his current output was flooding the art market. He was making money with volume, but driving down the value of his earlier work. The value of their investment.
The deal was, if Terry Fletcher will kill the printmaker—then the art critic, the gallery owner, and the collector will make Terry famous. They’ll turn him into a good investment. His work will sell for a fortune. The pictures of his mother and girlfriend, his dog and hamster, they’ll get the buildup they need to become as classic as theMona Lisa.As the Kokopelli, that Hopi god of mischief.