Zuzu’s Petals

A father’s pocket,
containing secret petals—
the meaning of love.

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Hymn

We are here, but briefly,
shadows of candle-light
dancing between dust and choir,
day and night,
so consider today
a good day
to begin, or to continue
unwrapping yourself,
and giving you to you as a gift,
your soul rightfully tagged
as both receiver and sender,
in what constitutes
a wild embracing and radical fusion
of the old and the new, in that place
where wonder meets faith,
and the fragile birds of gospel
sing sweetly and achingly
of hearts broken open
to pour light,
to inherit the tenderest
of lost and lasting claims.

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What We Talk About When We Talk About Time

1.

   The hem of her dress had caught his eye.

   Yours was an eye waiting to be caught, she’d say, later, much later, a drizzle of girlishness in her voice.

   The dress was a form-fitting red dress and the hem was fringed. He also noticed her throat, how it was white and bare and asking. But he only noticed her throat in relation to the hem of her dress. He would not have seen the throat otherwise. Later, much later, he would tell her how the fringed hem had produced soft strange visions.

   Strange how, she inquired, but he couldn’t say strange how, not because he didn’t want to say, he just couldn’t say. His grotto of silence caused her to throw her head back and laugh, exposing the taut symmetry of her throat. Lovely as it was, it did not inspire visions, and for a long time afterwards he’d wonder why.

2.

   It was his friend Mitch who had invited him to the party. Mitch was always inviting him to parties. Mitch seemed to know where and when all the parties in town were taking place. There’s going to be a great party on Saturday night at so-and-so’s. Great emphasized with zip and crackle. Or: There’s going to be a party on Tuesday night at so-and-so’s. It could be good. Hopefulness flagged by doubt. Sometimes it would be like that. His response was pretty much always the same: Sounds like fun.

3.

   He had found his corner, his niche, and staked himself there, half his body turned toward the wall. Around him the crowd, the fractious winged patter, generating circles within circles. He grew dizzy, listening. And watching. None of it seemed to have anything to do with him. He couldn’t locate himself, spatially or otherwise, until the fringed hem of the red dress appeared as revelation cutting through soporific haze. He could suddenly place himself within the context of his surroundings, and his unfulfilled impulse, he would remember later, much later, was to touch the hem, or tug on it, if she would have been closer.

   If I would have been closer, she reminded him, and lightly grazed the back of his hand.

4.

 When he awoke he saw Mitch’s face looming above him, a distorted satellite with liquid eyes. At first he felt nothing, and then he felt cold and nauseous when Mitch helped him to his feet. The room righted itself. He thought he would throw up but didn’t.

   What happened, he asked Mitch.

   What happened is I don’t know what happened. One minute I see you standing in the corner, the next minute you’re on the floor.

   Mitch grinned, clapping his shoulder.

   Too much to drink?

   I haven’t been drinking, he said, and realized his lips were bone-dry. Then he remembered. And scanned the room.

   Where is she?

   Where is who?

   The woman in the red dress.

5.

   When he gets home, he goes into the bathroom, opens the medicine cabinet, takes out a bottle of Tylenol, taps two into his palm, chucks them to the back of his throat, turns on the faucet which runs cold water into his cupped palm, washes the Tylenol down. Pink and black has settled over the puffy bags under his eyes. He tilts his heads back to examine his throat, noting the sinewy curves, which his index finger then traces, producing a shiver. He squints inwardly, thinking about the party he had been to earlier, much earlier, and what if he hadn’t gone? He looks into the mirror one more time, then turns off the bathroom light, and goes to bed wondering what it would have been like if he had not been at the party.

6.

   In exactly fourteen days, his friend Mitch will call him up and say—There’s going to be a fucking great party this Saturday at so-and-so’s. Fucking great would be laced with zip and crackle. He would respond—Sounds like fun.

   At that party, on that Saturday, he would see the fringed hem of a red dress come to him from across the room. For a long while he would remain perfectly still, afraid that any sudden movement would destroy everything, and eventually he drifted in the direction of the woman in the red dress, and her voice, like a white-ringed wave, broke over him in foamy recognition—You seem … do I know you?

   And later, much later, he would tell her the story about a story in which two people meet, again, the first time, returning.

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Way Station

   I am waiting. There I am, see me, waiting on the train station platform. I am waiting for my train. It is a specific train that I am waiting for. When a train begins pulling into the station, I grow excited, I think—This is it, this is going to be my train, I can finally board. Then I see that it is not my train. I am disappointed. Oh, well, the next train. Or the one after that. It has to come eventually.

   I want you to understand that it is essential that I get on the right train. The wrong train won’t do me any good. It would just be riding for riding’s sake. Motion for motion’s sake. No, I must exercise deep patience. I must abide and wait. Because when my train comes, and I get on board … what then? I will somehow be transfigured. Changed. I will be transported to the new and altogether marvelous. I will become known to myself in a new and different way. Yet there is only one train that can get me there, only one train that can conduct that metamorphosis, and so I wait. Sometimes I doubt. Why hasn’t my train come? It’s been so long. But has it? Perhaps it just feels that long. Relativity and all that jazz. Yet there has been so many other trains, trains which have cycled and recycled through this station, and my train … never, not once. What if I am waiting on the wrong platform? What if this is the wrong station? The wrong state? The wrong country? What if I need to switch realities altogether? These speculations weigh on my mind and induce anxiety. Because they all point to the same menacing conclusion: What if I never get on my train? A train that never arrives is impossible to board, right?

   No matter the answer, I continue to wait. I have trained myself to wait. Am I full of faith? Am I deluded? Is my confession of doubt proof of my delusion? Am I too stubborn and set in my ways that I am missing the opportunities that these other trains present to me? These trains pull in and out of the station, one after another, collecting passengers who, seemingly without reluctance or hesitation, board the trains and are whisked away. Yet despite the continued demonstrations of ease with which the passengers board these trains, I cannot do it. Something stops me. These trains are not my train. But what is my train? Does it even exist? Did I invent it?

   I continue to wait. Patiently and impatiently all at once. Burning inside. That is me, there, in the overcoat and fedora, suitcase in hand, waiting. I am somewhat recognizable to myself as a shadowy figure, an apparition, a totemic stand-in, someone who bears great psychic resemblance to me, someone who is waiting for a train that is running behind, or perhaps, perhaps I am ahead, too far ahead, and the train schedule does not accommodate the prophetic gist of dreamers on platforms.

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Event Horizon

Two upcoming events in Los Angeles for The Last Furies. The weekend literary mini-tour will include:

Sat., January 17th at 7pm at Reverie Bookstand (1519 W. Sunset Blvd)

Sun., January 18th at 2pm at Lucky 13 Micro-Gallery (391 Coronado Ave., Long Beach)

Both events will comprise a reading/book-signing (copies of the Furies will be available for purchase), and the cover artist of the novel, Heather Ross, will be exhibiting her work and joining me for salon-style discussions on storytelling, visual art, and the innovative spirit of indie creation.

If you’re in the L.A. area, come on down and join us for the celebration!

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Matroyshka

   He often reflected, while writing, upon himself, writing: reflecting another. Who he was, who he was not. Absence and presence locked in intimate simultaneity, a cogent pairing. Who is this Other, writing? And does he reflect upon me? Why do I perceive him as if through a thin rippling sheet of plasma—he appears to me as a soluble phantom with whom I have nothing in common, yet to whom I feel ultimately bonded.

   I feel as if: I am writing, therefore the Writer, and the presence of the Other, let’s say above me and off to the left (to constellate a fixed point of orientation), affirms this notion by stating—He is the Writer, writing … which, instead of validating my existence, strikes a contrary note: he is the Writer, not me, he, this thing. And if I cast these words at Him, nothing, not a word, and the length and girth of silence stuns me into understanding: If not written, He would not exist.

   So who the hell is writing, who is responsible for creation, His and the pages? Also, how could he be writing and see Himself, not Himself, writing Himself, the written, and reflect upon it in such a way. Something happening, something not happening. Something there, something not there. A person referring to a person, yet no one is being referred to—there is no one to do the referring.

   And so these words, from where do they come? Thin air? The interstices between being and not-being? Are these the words of the dead, the words of the unborn, the words of the dreamed, the undreamed?

  A portrait of a writer sitting at his desk, pen in hand, suspended between air and contact with the page, and he is being watched, therefore defined, in a narrative by the watcher (who is also the voice). In other words: A writer, sitting at his desk, pen in hand, suspended between air and contact with the page, and he starts to write—A writer, sitting at his desk, pen in hand, suspended between air and contact with the page … and the story will end, as it begins.

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Crumbs

   That’s him , yeah. That’s right, every day, from late morning to dusk, he sits on that bench and waits for her. I don’t know who she was. His love who left him. Or died. Disappeared. There are all kinds of stories. No one knows the truth. Except him. He comes every day with a brown bag lunch. A sandwich and a thermos filled with … I think filled with coffee. He eats the sandwich slowly. So slowly … its hurts me to watch him eating that sandwich. I can feel his loneliness in the way he eats … know what I mean? Maybe it’s just me. Because I see him every day. Yeah, I sit on this bench, opposite his. We’ve never spoken. I’m pretty sure he doesn’t know I exist. I come here for my own reasons. Not that a girl left me or died or disappeared or anything like that. My reasons are … I don’t know, I guess you’d call them non-specific. Look, look, he’s taking out the sandwich. Watch how he unwraps it. Slowly, methodically. Like something fragile. Something about that … it gets to me. Do you understand? And the way he feeds pieces of bread to the pigeons. It’s just … watch, watch. Nothing? Really? Maybe it’s just me. Maybe because I see him every day. Maybe because … I don’t know. And the girl. I always think about her. What if one day she shows up? What would it be like if I come here and I don’t see the old man, if there is no sandwich and no thermos, no slow careful eating … what if I didn’t have this hope and loneliness to share with the old man? If she came back … what would become of us?

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Giant Killer

   The first thing Josie thought—He looks like Hemingway.

   The second thing—He reminds me of my grandfather.

   Knowing that Sir James (which was how he had introduced himself with a dramatic flourish—I, my dear, am Sir James) had had enough, Josie avoided making eye contact. She shifted her attention to the rack of glasses set near the sink.

   With a marksman’s precision, Sir James caught Josie’s eye in the mirror posted on the wall behind the bar.

   My dear, excuse me … may I have another drink?

   Josie had worked as a bartender for almost ten years, and knew the Politeness Ploy well: speak softly, in a measured tone of kindness and restraint, so as to divert the bartender’s attention away from your state of inebriation. Unfortunately, for Sir James, while his tone was polite, his words were thick and soupy.

   Continuing to work a rag around the rim of a glass, Josie’s gaze met Sir James’s in the mirror, and she said—Sorry, Sir James, I can’t serve you anymore alcohol. Would you like a Coke or iced tea … or something to eat?

   Sir James’s features pinched tightly, and he wrinkled his nose as if Josie’s suggestions smelled really bad. He leaned his weight into the bar and splayed his elbows on the oak counter. His head was slightly bowed, chin bucking toward his throat, eye more than halfway closed. He remained totemically fixed in this position, and Josie wondered if he had fallen asleep or was tangled in thought. Then, as if an alarm had suddenly gone off, Sir James snapped to attention, stiffening his posture, eyes widening, his index finger shooting up like a flare-signal, and in fuzzy faraway voice, asked—May I have another, my dear?

    Josie turned and briefly locked eyes with Sir James: his look cueing heightened desperation.

   In a firm and parental tone—That’s all for tonight, Sir James. You’ve had enough. Okay?

   Sir James smiled, revealing nicotine-stained teeth—No, my dear, it’s not okay.

   He paused, a leaden slug of a pause. Josie continued wiping the glass in her hand.

   But, Sir James went on, it’s okay. It’s not okay, but it’s okay.

   Josie nodded and issued a slight smile. Some of the other female bartenders Josie had worked with never smiled after a certain time of night. Smiling after a certain hour at certain bars was too risky. Josie thought this rule too severe and had never adopted it.

   Sir James rocked back and forth on his stool as if being tugged at by phantom hands. Then he stopped tottering and began tapping out an uneven rhythm on the counter with his fingertips.

   Josie stole glances at him in the mirror. The snow white beard like a winter animal covering most of his face. The blue eyes, loose and jiggly, like two small fish swimming in separate tanks. The flush-pinkness of his complexion threaded by broken blue veins.

   Sir James stopped drumming on the counter, and said—Do you want to know why it’s not okay, Jenny?

   Josie.

   Sorry, my dear … Josie. Do you want to know why it’s not okay, Josie?

   Sir James paused, giving Josie a chance to ask why. Josie turned to face him but said nothing.    

   Again Sir James raised his index finger, high and administrative, and said—It’s not okay because the giants will be back later. It’s okay for now, but later when the giants return and I’m not ready for them … it won’t be okay. Two things I’ve learned: it’s never enough and they always come back.

   With that statement, Sir James flattened his palms on the counter, rose from his stool, and strode out of the bar without looking back. It all happened in one unbroken motion, what could be termed a graceful exit.

   Josie looked at the clock: 12:26. She wondered if she had done the right thing in not giving him another. She also wondered at what time the giants would return.

   He could be my grandfather, Josie thought, and the distance between that and he is my grandfather was not as far as she had imagined.

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My So-Called Life as a Cartoon

   Being a cartoon is not all it’s cracked up to be. Don’t get me wrong, when I first made the conversion from human to cartoon, I considered myself the luckiest sonofagun on the face of the earth. All my human frailties and limitations were gone, and I thought of myself as fully liberated. I could throw myself in front of a steam roller (which I often did, just for kicks), get flattened, then blow into my thumb and re-inflate myself. I jumped off skyscrapers and walked away, unscathed. I was able to execute taffy-esque contortions with my cooperative cartoon body. I was no longer bound by the laws that governed the physical human world. Free, right? Not exactly.

   Yes, I could vault from a tall building fully confident that death would not claim me, yet a small mysterious something inside me died after those falls. And what I noticed, as those tiny deaths accumulated, sort of like kinks and crimps in my cartoon-gummy stomach—I was driven to do more and more outrageous things. That is, my need for cartoon-dramatic effects and actions intensified. I had to fiercely assert my cartoonishness, lest that growing fear—am I really as impervious as I think am?—would sink its claws into me and not let go.

   For those who care to know—my cartoon alter-ego is Willis the Wolf. Who, exactly, was I before I became a cartoon? That’s a good question. I have forgotten my human name, and most of my human memories. There are some scattered bits and pieces, fragments wrapped in haze. It’s sort of like seeing a disconnected run of film clips through a foggy lens. I would like to say that I don’t miss my name or memories at all, but that is not true. There is a nagging curiosity, an under-the-skin splinter that subtly announces it presence. If that splinter could talk, what I might say: As long as I am here, under your skin, you will wonder who you are and what you’ve been missing as a human being.

   Lately, the urge has grown stronger for me to abandon my cartoon life, to shed Willis’s thick and heavy fur. But how? How to get back to my pre-cartoon form?

   I don’t know the answer, but I do know that I’ve started acting differently. I no longer throw myself in front of steamrollers, or off of skyscrapers. I no longer seek out accidents or commit frivolous “suicides.” I have started acting as I imagined I would if I were human. With concern and regard for my body and well-being. A respectful nod to mortality, and a toning-down of the dramatic and exaggerated. While I don’t know if the new choices I’m making will help me get back to my original human form, the other morning, when looking in the mirror, I noticed that I had shed a significant amount of fur. Enough that the bright pink flesh beneath was exposed.

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Setting

He notices the dark red lipstick on the rim of the glass, displaying a half-moon smudge. For an instant, his vision moves beyond the glass and settles on the inner lapel of the jacket she’s wearing, comparing its brighter red to that of the lipstick.  

She turns her bare slender fingers, the index and middle one, around the stem of the glass, slowly rotating it. The movement, a subtle one, magnetizes his attention to her fingernail polish: a caramelized burgundy.

She releases the stem, retracting her fingers, the outside of her hand grazing the edge of the table as her hand withdraws. The table is covered by a white linen tablecloth. There is a votive candle, unlit, inside of a crystal fixture, which has textured grooves cut vertically into its design. Her hand is placed palm down at almost exactly the midway point between the candle and the glass. She inverts the fingers on her other hand, slightly, as she raises her hand to mouth and clears her throat, hiccupping a cough.

He scratches the underside of his chin, using the edge of his thumbnail. She notices the kernels of fresh stubble darkening his chin. When he rests his hands, he folds them neatly, directly in front of where his abdomen and the table meet, then quickly disengages one hand from the other and coughs dryly into a cupped palm.

The waiter comes over. She acknowledges the waiter with a smile. He acknowledges the waiter with a slight nod. The waiter asks them if they are ready to order.

He scans her eyes to see if she’s planning to respond, and her eyes briefly meets his, then her gaze skittishly jumps to a different sight, that of a busboy carefully arranging silverware on a table, before she returns to the waiter and says—No, I won’t be staying.

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