- •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.
Instead of a smile or frown, a movie fragment of night sky washes across her face.
A galaxy of stars and moons.
Her lips red with beet juice. Her eyelids smeared with yellow saffron dust.
There, a shifting mask of pink nebulas. Of planets with rings and craters.
Mother Nature says, “They ask for too many letters of reference.”
Plus a polygraph test. Four pieces of picture ID.
“Four,” Mother Nature says, holding up the hennaed fingers of one hand. Her
bracelets of brass wire and dirty silver, rattling windchimes around her wrist.
She says, “Nobody has four pieces ofpicture ID . . .”
To become a nun, she says, you have to take a sit-down test, worse than
the SATs and the LSATs, put together. And full of story problems, such as:
“How many angelscandance on the head of a pin?”
All of this, Mother Nature says, just to find out:
“If you’re marrying Christ on the rebound.”
Her long hair pulled away from her face, braided and falling down her back,
Mother Nature says,
“Of course, I failed. Not just the drug test—I failed everything.”
Not just as a nun, but throughout most of her life . . .
She shrugs, her freckled shoulders under the tie-dyed straps,
“So here I am.”
The constellations shifting and crawling across her face, Mother Nature says,
“I still needed someplace to hide.”
Foot Work
A Story by Mother Nature
Don’t laugh, but in aromatherapy, they warn you never to light a lemon-cinnamon candle at the same time you light a clove candle and a cedar-nutmeg candle. They just don’t tell you why . . .
In feng shui, they never let on, but just by putting a bed in the wrong spot, you can focus enough chi to kill a person. You can give a late-term abortion with just acupuncture. You can use crystals or aura work to give people skin cancer.
Don’t laugh, but there are back-alley ways you can turn anything New Age into a killing tool.
Your last week in massage school, they teach you never to work the transverse reflex zone at the heel of the foot. Never touch the arch of the left-foot dorsum. And especially not the outer-left-most aspect. But they don’t tell you how come. This is the difference between therapists who work the light side versus the dark side of the industry.
You go to school to study reflexology. It’s the science of manipulating the human foot to heal or stimulate certain parts of the body. It’s based on the idea that your body is divided into ten different energy meridians. Your big toe, for example, it’s connected straight to your head. To cure dandruff, you massage the little spot just behind your big toenail. To cure a sore throat, you massage the middle joint of the big toe. This isn’t the kind of health care covered by any insurance plan. This is like being a doctor but without the income. The kind of people who want the space between each toe rubbed to cure brain cancer, they don’t tend to have loads of money. Don’t laugh, but even with years of experience manipulating people’s feet, you’ll still find yourself poor and rubbing the feet of people who never made income their top priority.
Don’t laugh, but one day you see a girl you went to massage school with. This girl, she’s your same age. You both wore beads together. You two braided dried sage and burned it to cleanse your energy field. The two of you were tie-dyed and barefoot and young enough to feel noble while you rubbed the feet of dirty homeless people who came into the school’s free practice clinic.
That was years and years ago.
You, you’re still poor. Your hair has started to break off at the scalp. From poor diet or gravity, people think you’re frowning even when you’re not.
This girl you went to school with, you see her coming out of a posh midtown hotel, the doorman holding the door open as she sweeps out swinging furs and wearing high heels that no reflexologist would ever strap her feet inside.
While the doorman is flagging her a cab, you go close enough to say, “Lentil?”
The woman turns, and it’s her. Real diamonds sparkle at her throat. Her long hair shines, thick, heaving in waves of red and brown. The air around her smells soft as roses and lilac. Her fur coat. Her hands in leather gloves, the leather smooth and pale and nicer than the skin on your own face. The woman turns and lifts her sunglasses to rest on the crown of her hair. She looks at you and says, “Do I know you?”
You went to school together. When you were young—younger.
The doorman holds the cab’s door open.
And the woman says, of course she remembers. She looks at a wristwatch, blinding bright with diamonds in the afternoon sun, and says in twenty minutes she needs to be across town. She asks, can you ride along?
The two of you get into the back of the cab, and the woman hands the doorman a twenty-dollar bill. He touches his cap, and says it’s always such a pleasure to see her.
The woman tells the cabdriver the next address, some place a little farther uptown, and the cab swings into traffic.
Don’t laugh, but this woman—Lentil, your old friend—she loops one fur-coat arm out of the handle of her purse, she snaps the purse open, and inside is stuffed nothing but cash money. Layers of fifty- and hundred-dollar bills. With a gloved hand, she digs into these and finds a cell phone.
To you, she says, “This won’t take a minute.”
Next to her, your Indian-printed cotton wrap skirt, your flip-flop sandals and brass-bell necklace don’t look chic and ethnic anymore. The kohl around your eyes and the faded henna designs on the back of your hands, they make you look like you never take a bath. Next to her diamond-stud earrings, your favorite dangling silver earrings could be thrift-store Christmas-tree ornaments.