The Last of the Coojettes

She was the Last of the Coojettes. That’s what Rob called her. Rob was my mother’s cousin. My father’s nickname for Rob was The Moron. Rob worked as a postman. My father worked as a truck driver for Budweiser. Rob and my father both liked to play the horses and spent a lot of time at OTB. They sometimes went to Aqueduct or Belmont together. They were both, in the eyes and mind of my mother: degenerate gamblers. My mother had divorced my father for this and various other reasons some years ago. Rob had gone out with Christine, the Last of the Coojettes, for about a year, then Christine broke up with him and returned to her ex-husband, Tony, who used to beat her. Christine then got back with Rob six months later, mostly because, as she had told my mother, Tony had broken his promise to never lay a hand on her again. Christine started living with Rob. Rob lived in the same upstairs apartment in which he had grown up with his mother, Terri, and his sister, Gina. Terri had died from lung cancer a half-dozen years back. Gina now lived with her girlfriend, Tracy, in Coney Island. The rest of us lived in Bensonhurst. Rudy, Rob’s uncle, who lived in the downstairs apartment, owned the house. Rob called Rudy, Fruity Rudy, because he was gay, though he wasn’t openly gay in the way that Gina was. Gina was just Gina. Rob’s other nickname, the one used by my mother and Helen, a childhood friend of Rob and my mother: Beluga. They called him Beluga because he was rotund and getting more rotund with each passing year. He laughed when my mother and Helen referred to him as Beluga. He called them The Ditzes. My father called Rob, The Moron, because, as my father said: He’s a moron. He never explained why, or what exactly made him moronic. Chrstine was called the Last of the Coojettes, because she had maintained a look popular among Brooklyn women in the 80s: hair, spray-sculpted high and dramatic, a cross between cotton candy and a bird’s nest, skin-hugging denim jeans, stiletto heels, a consortium of clinking bracelets, gold hoop earrings, and a kaleidoscopic mask made of eye shadow, mascara, eyeliner, blush, and two-tone lipstick. Many women had abandoned this “coojette” look after the 80s, but not Christine, who preserved it into the Aughts, into her forties. The last time I saw Rob was three days ago. I stopped in at OTB to see if my father was there, so I could borrow money from him. Rob said he had been in earlier but had left about an hour ago. Couldn’t stand the losing anymore, Rob said and laughed. Rob both talked and laughed as if he had a frog-inside-a-bottle-inside-his-throat. When I asked Rob who things were going with Christine, he snapped—She left me and went back to Tony. If she wants to get knocked around again, that’s her business. I’m through with her. Those two deserve each other. I told Rob I was sorry and asked him if he knew where my father had gone. I think he said he was going to Lucille’s, Rob said. Lucille was my father’s new girlfriend. She worked at OTB and her nickname, at least among the guys that hung out at OTB, was the Red Devil. That, because of her red hair and what they considered her nasty disposition. I rode the B64 to Lucille’s apartment, found my father there, and was invited to stay for dinner. On the sly, I asked my father if he had $100 he could loan me, but he said he was broke. I lowered my request to $50. Still, he was broke. During dinner, Lucille asked me how my mother was doing. Fine, I said. She still dating that moron, what’s-his-name, my father said. Lucille nudged my father’s arm—Don’t be such a jerk. Jimmy, I said, and yeah, she’s still dating him. The term moron made me think of Rob and I told my father that Christine had left him to go back to Tony. How many beatings does that girl need before she gets it, my father said. Lucille nudged his elbow again, this time harder, and with a glare in her eyes. My father looked at her—What—then turned back to me—Anyway, Rob’s a moron, so whaddya expect? I said nothing and cut into the chicken cutlet I was eating. When my father was married to my mother, and Tony was married to Christine, and they were neighbors and friends, I suspected that my father and Christine were having an affair. Why I thought this, I have no idea. I used to wonder what would happen if Tony found out and confronted my father. In a fight, who would win? Cheater or not, I saw my father as the good guy, and the idea of Tony winning the fight made me feel sick inside. That was a long time ago.  

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Nobody’s on Second

She told me I was crazy. It would be like taking out a restraining order against your shadow to stop it from following you. Then, Edie deepened her voice with judicial authority, and decreed: Shadow, you have been court-ordered to not come within fifty feet of this man. Is that clear?

Edie laughed. I loved when Edie made fun of me. It made me feel closer to her, and less alone.

Well, what can I do, I asked her.

Edie’s eyes ballooned with disbelief. Are you serious? There’s nothing that can be done. You know that. Need I remind you that you’re the one who engaged him in the first place.

Yeah, yeah, I know. It seemed like a good idea at the time. No, not a good idea …  a necessary one.

Well, now you’re stuck with him. You said the assignment was a lifetime commitment, right?

Do you remember everything I tell you?

I listen.

In a world of me-me gabbers, a most excellent quality to possess.

Thank you. And … your repeat yourself often enough. Especially when it comes to him.

If you had someone following you around 24-7, marking down every move you make, recording every gesture in a notebook, watching you, watching you with those eyes—

That dark penetrating gaze of his—

What, you in love with him?

In love? I’ve never even met him. You’re the one that goes on and on about his dark penetrating gaze.

I looked inside myself, and sensed that he was watching me and Edie, listening to our conversation and cataloguing it for future reference.

It’s weird, I said. I feel so small and insignificant in comparison to him, yet his entire existence hinges upon me. Without me, there is no him.

That seems to be the design.

What do you mean … seems to be?

I don’t know. Do you ever consider that it works both ways? That without him, there’d be no you.

That’s not possible, is it? I mean he exists as a … what would you call him … a stalker, a witness … a recording device. That’s all he is. All he does. He has no other interests, serves no other purpose.

And you? What purpose are you serving?

I don’t know. Come on, Edie, you’re getting all back-alley existential on me.

Oooooh, back-alley existential. I like that. Well said. But you’ve got to admit, Alex, this foray into back-alley existentialism began with you complaining about being tracked, harassed and followed by … who, exactly?

Yes. Who.

Is on first?

Yes.

Who is on first?

Yes. Who.

Is on first?

Yes.

Who?

Edie pretended to strangle me and started to laugh.

It seems, Alex, you’ve got two options. A. You learn how to laugh your ass off about the whole thing, or, B. Drive yourself completely and irredeemably mad.

Why can’t it be both?

Nobody said it can’t be both.

And is Nobody the one who’s on second?

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Death Rides in on a Pony

When Death showed up on a broken-down pony, I scoffed.

This, really?

What, Death said, looking around, unsure as to who or what I was referring.

You’re Death, right?

Yes.

THE Death?

You can check my I.D.

And you’ve come to collect me?

When it’s your time, it’s your time. Nothing personal.

I’m not upset about that. It’s just … look at what you rode in on.

Death dismounted his pony and gave it the once-over.

Yeah?

A pony? And not just any pony, but a broken-down one that looks like, like … well, like this.

Death was perplexed.

What’s wrong with this pony?

Death slapped the pony on the rump. The pony emitted a sound that was half-cough, half-snort. I filed through a laundry list of all the things that qualified the pony as “broken-down,” and when I was done, Death laughed, thin and metallic, the teeth of a comb scraping aluminum.

This is about you, isn’t it?

Me?

Yes. You. And your ego. You feel that Death, your death, deserves more of a ceremonious farewell, that Death should ride in on some noble and mighty steed when coming to take you away. Am I right?

Well, now that you mention it, a noble and mighty steed would be more suitable for someone of your … stature.

I think it’s your stature, not mine, that is in question.

My stature?

That’s right. To be carried off by Death on a broken-down pony does not confirm the profound and poetic exit you imagined for yourself.

Now hold on there, Death. You’re the one that came for me. I’d be happy to stay here and forego this profound and poetic exit plan you imagine I’ve fantasized about.

Very well then.

Very well what?

Stay.

Stay?

Yes.

Just like that?

Just like that.

Let me get this straight—You, Death, rode in on a broken-down pony to carry me off, and then when I say I don’t want to go, you say fine, and that’s that.

That’s that.

Wow. Death is nothing like I thought it would be.

I work in mysterious ways.

Isn’t that God?

Death grinned a glowing skull-faced grin. Equal parts comical and terrifying.

Well, I guess … bye for now?

For now, yes.

Where you going next?

I have others to collect.

Will you be picking them up on that broken-down pony?

What broken-down pony?

I somehow had missed the part when Death’s broken-down pony had been transformed into a hobbyhorse with a frayed mane. Death riding in on a hobbyhorse. This somehow made sense.

Through a gaping sleeve, Death’s skeletal hand emerged, waving goodbye, before he reared back on his hobbyhorse and rode away, kicking up trails of dust.

Okay, then. Review. Death had come for me on a broken-down pony, accepted my suggestion that I should remain among the living, and had galloped away on a hobby-horse en route to collecting other poor souls. I looked at the clock. It was still early. I wondered what the rest of the day would be like.

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New York Story

When the bird hit me in the side of head, I had no idea what had happened. It felt like someone had blindsided me with a loaded handbag. I clutched at air and went down immediately. I didn’t feel any pain but was aware of a crackling wetness on the side of my head and touched my fingers to the spot then checked my fingers. Blood. I stayed down on the sidewalk, fuzzy, and stilled by shock. It was as if shock were an electric blanket that covered me from head to toe: not that I couldn’t move, but I didn’t want to. After a brief spell, I looked around to see if I could find who or what had attacked me. A little more than an arm’s length to my left, I saw the culprit: a pigeon. I had always despised pigeons, for no good reason, so the fact that it was a pigeon that had struck me in the head somehow made perfect sense. The pigeon was lying on its side, slowly rotating, like a record being played at super-slow-speed. The wing that was visible was misaligned, seemingly disjointed. The pigeon was cooing a low muted coo, tremulous and half-stuck in its throat. I saw the shoes and heels and pants and skirts of the people on the sidewalk, passing by, but no one stopped. There I was, down on the sidewalk, bleeding from the side of my head, and a grounded pigeon was rotating in what looked like its death-throes, and everyone maintained their unbroken pace, either willfully or unconsciously blind. I took off my sport-coat and pressed the sleeve against the side of my head to staunch the flow of blood. No pain, but an alarming amount of blood. Staying down, I moved closer to the pigeon. I was mesmerized by the iridescent patterns beading its squat neck. A dazzling necklace flashing tiny gems of sea-green, lavender, indigo, turquoise. Visually I scaled its neck to its eye, the eye of a dinosaur, cold and ancient. Its pencil-thin feet, tri-pronged, reminded me of the base in which you planted your Christmas tree. The pigeon’s cooing now sounded like phlegmatic purring, which grew thicker, more syrupy and gargled, and then there was no more sound. No more movement. The pigeon was dead. I looked up. No one stopped, no one noticed, no one cared. Either that or, I, along with the now-dead pigeon, had ceased to exist in the visible sense. Which, of course, was something to consider. After all, what are the odds of a pigeon flying, or crash-landing, into the side of someone’s head? Things that don’t happen sometimes do happen and you’re left wondering what, if anything, to make of it. What came to mind was my friend Anthony’s story about the birds he saw flying, I don’t remember what kind of birds he said they were, and how one of the birds plunged from the sky and slammed onto the pavement. All of the other birds, except for one, continued their flight. The bird that stayed behind flew down to the ground and stationed itself next to the fallen bird, that was still alive yet obviously couldn’t fly. Anthony’s initial poetic take was—the two birds were lovers, or mates, and the healthy one would not leave behind the wounded one. Anthony was touched, he felt he was witnessing something pure and beautiful. That is, until he saw the healthy one mount the wounded one, and begin violently humping it. After a half-minute of humping, the healthy bird flew away and left behind the wounded one, who, Anthoy imagined, died shortly thereafter. Perhaps these birds had been lovers or mates, perhaps not, but one thing was fairly certain to Anthony: the healthy one had wanted to fuck the wounded one, maybe for the first or last time, before rejoining the flock. That bird story had always stayed with me, and now I had my own bird story to tell, thick with its own mystery and drama: Why had this pigeon crashed into me? For the rest of my life I could only speculate, same as those to whom I told the story could only speculate. After some time, I rose to my feet. My legs were shaky and there was a lightness in my chest, a hollowed-out feeling. I pressed the sport-coat hard against the side of my head, sponging up the blood that kept coming. I looked around and saw people everywhere, but none of them saw me. I thought I should go and see a doctor. I started to walk and when I got halfway down the block, I turned and saw the pigeon on the sidewalk: a dark lifeless lump amidst a bustling stream of people. It seemed a useless comma in a run-on sentence. I thought about going back and taking one of the pigeon’s feathers, to mark the occasion I suppose, then remembered that the feathers of birds could carry diseases. I didn’t know if that was true or a myth, but I had already been hit in the side of the head by the bird and didn’t want to risk contracting whatever disease it may have been carrying. When I crossed the street I realized that, either I had returned to my previous existence, or had never left it at all, because a taxicab stopped short in front of me, its bumper nearly grazing my hip, and the driver slammed down on the horn, a sustained angry chord, and he shouted—Get the fuck out of the way, moron! I was back to life as I knew it.  

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Outtake

I saw the sign in the window: Lessons Learned/Karma Burned. I went inside. The studio reeked of frankincense. And cotton candy. Greeting me at the door, as if she had been waiting for me, was a tall, well-toned woman in a black body suit. Her features were sharply pronounced, and her blonde hair was tied back into a whip of a ponytail. Before I could speak, she commanded—Give me twenty jumping jacks now! I was about to protest, when she repeated—Now—in a blistering, take-no-prisoners tone. I did twenty jumping jacks. When I was done, I was exhausted. I couldn’t remember the last time I had done any jumping jacks, much less twenty. As I tried to catch my breath, the woman produced photographs from the fanny-pack clasped around her waist. Had the fanny-pack been there the whole time? How had I missed it? Here, she said, and thrust a stack of photographs into my hand. Then she walked away, taking a seat at her desk in the far corner. I looked through the photographs. They were photos of me when I was a baby, when I was a child. In one of the photos, I was maybe two or three, my hair wildly curly, a yellow pacifier plugged into my mouth. My mother is holding my hand, though you can only see her from the shoulders down. Her head and neck are cut off. So how do you know it’s your mother, I heard myself questioning. In another photo, I am six or seven, and sitting in the bathtub. I am looking back at whoever is taking the photo. How did you get these, I shout at the woman, who is shuffling through papers at her desk. She doesn’t respond. I storm over to the desk and repeat—How did you get these? Burn them, the woman says, and hands me a book of matches. There is moist malicious glee in the smile that crosses her lips. I set the photos and matches down on the desk. No, I’m not going to burn these photos, I say. And I don’t want them. They’re fakes. The woman laughs like I’ve hit her hard with a funny stick. With her head thrown back, I notice how long her neck is. Almost unnaturally so.

They’re fakes, are they?

Yes, I say. They’re not originals. And I want my money back.

You never paid.

The woman’s response threw me for a loop. I was sure I had paid.

I didn’t pay anything?

Nothing at all. Now, I want you to balance in tree pose.

This time I did what I was told straight away. I got into tree pose. My foundation felt shaky, as my arms branched upward. I swayed and wobbled, and then lost my balance. I was very frustrated. As if I had failed a major test.

Relax, the woman spoke in a soft voice. Then she laid her hand on my shoulder. The gentle pressure of her fingers kneading my shoulder made me want to cry. And try again. So I did. And again, lost my balance.

Remember, the woman said, staying perfectly balanced is not the key. Restoring yourself to balance after you’ve faltered … that’s where it’s at.

I stayed in the studio all night. Doing lots of things that the woman suggested. I entrusted myself to her care and guidance. There were various asanas, running in place, push-ups, breathing exercises, board games, finger-painting, crossword puzzles. And the burning of photos. A lot of childhood photos were burned that night. When morning came, I didn’t want to leave the studio and reenter the real world. And I didn’t have to. There was no studio. I found myself standing on a wooden bridge, the cool wind slapping at my cheeks. I had no idea where I was, how I had gotten there, and where I was going. I was on my way.

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Focal Points

Deep focus in film, as in the depth of a shot, creating dimensional layers. What about deep focus when one points the camera towards the interior? Not just the surface level of interest or engagement, or the foreground, but a focus that comprises various layers. For example: You, in the present moment, are screaming at someone, who has tripped one of your triggers. There is a close-up on your face, beet-red, mouth contorting as you scream, and the middle-ground shot is that of two cars, a red car cutting off a blue car, and you are the driver of the blue car, this near-accident occurred earlier that morning, and in the distant background we a small child, stamping his feet, shaking his fists, and rage-weeping. How to shoot a deep focus of the interior life? How one incident is connected to another, a protean collage, a complex scale of moods and emotions, a trigger-sensitive interplay. Deep focus capturing past, present and future in a single dynamic shot.

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Theme for a High School Dance

There is a rumor that Laura Palmer is going to be at the dance. While you don’t know her personally, all you can think about is the exquisite mystique of her televised corpse, and how her voice, on a karmic loop, kept repeating—So you wanna fuck the prom queen? The idea that Laura Palmer might breeze into the school auditorium, and perhaps stand only ten feet away from where you are standing, you holding a plastic cup filled with cherry punch, dressed in a suit that was your brother’s, god rest his soul … Laura, can I get you a glass of punch? (Good, in your head, you didn’t stammer or stutter when propositioning Laura). You suddenly realize that cherry punch is leaking from a hole in the bottom of the cup, and onto your new shoes, as you tip the cup horizontally, which, unfortunately, spills the entirety of your cherry punch onto the tiled floor. The cherry punch now pooling around your black shoes reminds you of cartoon blood, and you remain transfixed by this grotesque effect, until out of  the corner of your eye, you spot a platinum-haired girl in a white ruffled blouse and tight-fitting blue denim jeans, walking backward through the doorway. She seems to be rewinding at a spasmodic, off-kilter-pace, in your direction. You cannot understand the words coming out of her mouth, as they sound like chunky globules being gargled, and are being spoken forward, away from you, with the girl continuing to rewind, and you, locked in a pause, awaiting her arrival. When she reaches you and wheels around, as if she were wearing roller skates, it is the smile that is hardest to bear, and how its yearbook majesty and rigged incandescence forces you to look down at the mess you’ve made, and please, god, tell me why anyone would serve cartoon blood at a high school dance?

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Distances

In the catacombs of grief, she wandered. She wandered, without thirst, without hunger, without want. This frightened her. Had she lost her basic humanity? Why had she created such elaborate labyrinths in which to wander? Try saying that ten times fast, she said to herself. Good. At least her sense of humor was intact. She had possessed a need, or rather been possessed by a need for labyrinths, and wandering in them with no regard for time, since she was a child. And she had no interest in getting lost in someone else’s labyrinth. If I get lost in any labyrinth, I want it to be of my own making. She had gotten good at it: the labyrinth-making. Yet down here, in the catacombs of grief, which she thinks is below the labyrinth—but could she be sure? Maybe the catacombs were flanking the labyrinth (which would make them irregular catacombs, but still, when it came to her…). Maybe they were outside the labyrinth entirely. Orientation in the labyrinths is damned near impossible. She held fast to her inner compass. Which registered directional coordinates through mood and feeling, through intuitive forecast. Here, in the catacombs of grief, it was cold. No wind. Just pure cold, like being in a deep freezer. There was also the wailing. Who or what produced the wailing, she had no idea. But it made her heart weep. She cried and cried within, and it was there, the within that is within, where she saw and then became the woman using words, voiced, written, stitched together to form a raft, upon which she cascaded along the River Grief, which had been produced by the woman weeping her hidden heartbreak—the tall woman in the shadows crying secret tears for the wailing whatevers—the small woman tethered to the raft gliding downriver—they were both her, being watched over by the other woman, who may not even be a woman, a mysterious genderless figure, an enigma destined to witness, take notes. The whole thing, at times, was completely overwhelming. Could she crack? Would she crack? She thought of Humpty Dumpty, that poor existential sap. He fell, he cracked, and couldn’t be mended. The lesson there: not all get mended. Humpty became so much yesterday so quickly. And, God, with his Hoover vac, sucked up the shattered remnants of Humpty and that was that. She looked ahead. In the distance … there was distance. To look out into the distance, and see only more distance … there was only so much a wandering heart can take.

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Without Proper Guidance

They had me in a corner and ganged up on me. A team of guidance counselors wearing black turtlenecks, black Dickies, black wingtips, wristwatches, and spotlessly clean spectacles. Their voices harmonized in a harsh baritone chorus: Biscello (ohhhh…ohhhhh…sounded the echo)—what about your future? Have given any thought to your future? What are you planning for the future? I was cornered. There was about a dozen of them, and their unform blackness affected a menacing air. Normally, when they had me in this position (they got me like this every so often), I’d smile sheepishly or issue a smart-alecky answer, and wait for them to go away, but this time I heard myself saying, as if reading perfectly rehearsed lines from an inner-script: The future, my guidance-counseling friends, is not some down-the-road place, not a designated X on the timeline—the future is inside of us, ripening and growing. As for me, I’ve been building my future, word by word, sentence by sentence, story by story—my future exists in these words, these writings. I’m not waiting on the future, I’m building it. It exists, now, and will continue to grow and come into its own.

I felt relieved and satisfied, but not in a smug or self-righteous way. I just felt good that I had announced the future to the guidance counselors, or rather the future had announced itself through my voice. I figured after my clear and confident proclamation, the guidance counselors would disappear, but they didn’t. They looked at each other—mystified, puzzled—then huddled together as if coming up with an alternate plan. The huddle broke up, and again the baritone chorus, this time with more snarl and bite—We, the guidance counselors, are charging you with the crimes of solipsism, egomania—bordering on megalomania—heightened delusionality, fraud, and self-negligence. I was taken aback. Based on what evidence, I asked. One of the guidance counselors took out a tiny black tape recorder and played back the speech I had made about the future. When it was done, he clicked off the recorder. The counselor said—I believe those words will serve as enough evidence to render a guilty verdict.

This dream was not turning out the way I had expected. My mind raced. Should I beg for mercy? Plead ignorance or insanity? Tell them I had Peter Pan syndrome and demand to be charged as a minor?

Guidance counselor chorus—Would you like to say anything before we take you in?

My anxiety suddenly passed and I felt supremely serene. I spoke quietly, but with confidence—Counselors, the future has announced itself. You, like everyone else, like everything, will be written, therefore part of the future. Whether you condemn me and send me away for a long, long time, or break out into cheer and applaud my words and deeds, you will be written. What you do with me is your choice. What I do with me is mine.

I’d like to say that’s when I woke up, but I know the dream continued on without me. One of these days I’ll return to that dream, already in progress, and see what’s become of us all.

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Reel

It’s like watching a movie. In which you deeply and passionately relate to the main character, who has been wronged. You feel angry, vindictive, vengeful. You want to lash out at the antagonist who has wronged him. Then you pull back and realize: This is only a movie. I am watching a movie, and as much as I relate to the main character, as invested as I feel in his plight and ordeal, I am not him. He is not me. He doesn’t exist, not really. He is a character on a screen and you are … what are you, exactly? Good question. After you leave the theater, and forget about the man you related to who was wronged, you ponder the question—Who or what am I? From an imagined distance, you feel as if you are being watched, perhaps even dreamed through. You suddenly become very afraid of the imitation you might encounter, when turning the corner.

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