Off the Shelf

He buys his anger off the shelf in little green bottles, each stoppered with a tiny cork, each cork sealed with wax the color of obsidian. He pays with pieces of bone and twists of hair, laying them on the scarred wooden counter in front of the woman with the cloth face and stitched eyes, who blindly and unerringly takes the payment in her shriveled hand and makes it vanish into her till. Transaction complete, he slithers down the abandoned hallway to the door which only opens for the right sort of customer, where he breaks the seal on one of the bottles and pours the thin bitter fluid contained within into the hole in his throat, drowning in it. He crushes the empty bottle in his stone hand, the glass not daring to cut him, and he flings the pieces away into the shadows of the room.

He takes his tools from his coat pocket, his hammer specked with bits of hair and stained the color of copper, his blade with jagged edges like the backs of broken ships, and the door opens for him without having to be touched. He crashes into the dark, focusing his reptile brain on her, always on her, knowing that he will find her tonight, as he does every night, and he will show her what a fine vintage of anger can do for man.

Behind him, the door swings silently shut, and disturbs the fine talcum cloud of ash and soot left hanging in the air with his departure. Inside, the woman with the cloth face begins restocking the shelf with a dozen little green bottles, in anticipation of the man’s return the following night.

After all, he is her best customer.

Navigating the Latitudes

Bez lays beside me on the mattress, still asleep. It was a late night last night, and she and Juteau were up long past the point when I went to bed. I never felt her slip in with me.

She is facing me, hand curled palm-up beside her chin, the blanket riding low and covering her just below her hip. There is a tiny octopus on her skin, revealed just above the edge of the blanket, a doodle in blue ballpoint, which was not there the day before. I want to put my finger against it, but I don’t want to wake her. She has been bearing most of the weight of Juteau’s grief this week, and they both need all of the sleep that they can get.

Juteau was telling us about a trip she took once to Paris, and the boy she met in a bookshop there. She spoke Berlitz French, but he knew enough English for them to get by on. He lived in a small apartment full of cats and novels, and the bed was barely big enough for the both of them, but she stayed with him a week anyway, drinking wine and navigating the latitudes of his body by the dim light which slipped in between the curtains.

She talked last night of going back to Paris, to find the boy again and to switch off for a while, and I can’t think of a reason for her not to. No, that’s not quite true. I can think of a million reasons why she shouldn’t, but those are reasons of the head. My heart knows what she is after, and as the wall between the head and the heart is as thin as rice paper, the heart will always win out.

I think briefly about getting out of bed, but toss the idea aside. There will be time for other things later. For now I will lay here in this dimly lit room, five thousand miles from the apartments of Paris, and consider the latitudes of the body laying next to me, and almost, but not quite, trace them with my fingertip.

Afraid to Sleep

The funeral is a small affair, attended mostly by friends. The only members of the family present are Juteau and her uncle’s wife, who was his second wife, and therefore according to Juteau is to be referred to as Patty and not as her aunt. Family dynamics are always a tangled mess of secret pains and obscured loyalties, and I am in no mood to ask questions.

Bez arrives late and sits beside me as the service nears its end. She is dressed in black and I want to tell her that she is beautiful, but of course that would be inappropriate just now.

The night Juteau’s uncle died, I woke from a dark and foggy dream and rolled to drape my arm over Bez’s waist. I heard a soft snuffling and cracked my eyes open to find the tiger sitting on the floor on Bez’s side of the bed. It looked at me with dark and evil eyes and ran its tongue across its thick yellow fangs.

“Get out of my house,” I whispered. “You don’t belong in here.”

The tiger put its nose over Bez and sniffed her, inhaling deeping.

“You don’t belong,” I said again.

The tiger dropped slowly down to the floor, obscured by the edge of the mattress, but it didn’t leave. Instead it lay on the floor all night long, and I listened to its breath until long after dawn came.

There is no body for the funeral, only ashes in an urn. Juteau’s uncle was cremated yesterday, and his remains gathered into  a simple urn, which now sits on a small table at the front of the room. Patty sits rigid and unmoving to one side of it, Juteau in a chair on the opposite side. The uncle’s friends are an odd mix of old burnouts and men in suits. The service is being performed by a woman with a thin face and a mass of white hair piled like whipped cream on a slice of pie. There is no religious overtone to the service, just lots of talk of life and shared love wrapped in thick slices of excess verbiage which make me want to roll my eyes.

Halfway through the ceremony, Juteau gets up from her chair and walks down the aisle to where Bez and I are sitting. “Let’s go,” she says, oblivious to the eyes of the guests and the pinched face that her aunt… Patty… now wears on her face. “This is bullshit and I want to leave.” She heads for the door. Bez and I follow her outside, followed by the whispers of the mourners. We get in her car and she peels out before I have on my seat belt.

Juteau puts The Velvet Underground on the stereo and drives much too fast, and soon we are at the ocean. She stops the car illegally and gets out, leaving the engine running and her door open. Bez exchanges a look with me from the front seat, then reaches over and turns off the car. We both get out, Bez pocketing the key and me closing both my door and Juteau’s, and we follow her to the shore. Juteau is undressing as she goes, kicking off her shoes, pulling off her shirt, unbuttoning and slipping off her pants without hardly a break in her pace, and leaving everything dropped in the sand behind her like a trail of breadcrumbs. She pays as little attention to the stares of people on the beach as she did to the mourners at the funeral. She walks into the Pacific wearing only her underwear, and after a moment, Bez and I strip down as well and splash out after her.

Juteau stops when she is waist-deep in the water, and we come up to stand beside her, Bez on the left, me on the right. The ocean is cold but it is a calm day, and the waves lap at us without malice. I can feel the current tugging at my legs, but it’s a gentle pull, and there is no sense of danger from below.

We stand silently for a few minutes and let the water splash against us. My skin is puckered with goosebumps and my teeth are beginning to chatter. Finally, Bez says to Juteau, “I realize you’re having some fucked up vision quest freak out kind of thing going on right now, but I’m freezing to death. Let’s get dressed and go get drunk.”

Juteau barks a sort of simultaneous laugh and sob and nods her head. I take her hand in mine under the water, and we head back to shore.

Fearless

She whispers her name in my ear, while Bez sleeps beside me and Juteau stalks the house in her sleep: Sabina.

The scent of eucalyptus faintly slips through the air as she leans near to me. I can feel her breath as she whispers, cool like fog, and I turn my head in her direction, but I can’t see anything more of her than a slight shadow in the air that passes between me and the doorway as she stands and slips into the hallway, past the tiger who still waits in the corner, patient and unmoving. I pull back the blanket and slip out of bed to follow her.

She goes down the stairs, and the creaky fourth step remains silent under her feet, only to groan when I step on it. She goes into the living room, and I follow. When she stands by one side of the window to look out over the street, I stand at the other side and look also, but see nothing outside that is unusual. She puts her shadowy hand against the window, and though it is nearly sixty degrees tonight, frost appears on the glass in the shape of her palm and fingers.

She says something then, but it is too soft for me to understand. I move closer to her, standing next to the cold outline of her empty form, and wait to hear if she speaks again. Once more she leans in until her lips are almost directly against the skin of my ear, and she breathes her chilled breath on me again.

The air is thin…” she whispers. “Too thin to breathe…”

I try to touch her arm, but she is made of smoke and my hand passes through her. She is not distressed by this, and so neither am I. I stay as close to her as I am able without entering the space in which she stands.

She turns suddenly away from the window to look back at the staircase, and her long hair brushes like ice across my bare skin. “Almost here…” she murmurs, and for just a moment she becomes more full, more present, and I can see her for the space of a heartbeat, dark hair, wide eyes, frost on her cheeks and lips. “Almost here…” she whispers again, and then she fades from smoke, to cloud, to vapor, and then she is gone. Her icy hand print remains on the window for a moment longer, and then it too vanishes, leaving no trace of her behind.

When I get back to my bedroom, Bez has kicked the blanket off the bed and is curled in a naked ball on her side of the mattress. I pick the blanket up and get back into bed, pulling it over the both of us. She is cold to the touch, and my fingers trace over the raised geometry of her skin, a landscape of goosebumps. I spoon myself against her and wrap my arm over her, nuzzling my head against her neck. Shortly, her chill fades, and she unfolds herself like a flower blooming, then rolls onto her side to face me. Without waking, she drapes her leg over mine and puts her arm up between us, holding her hand against my chest. I touch my lips against her forehead and she murmurs something, as quietly as Sabina had a few minutes ago, in the low and musical language of dreams.

In the morning, whatever is almost here will feel as weightless and vaporous as Sabina did herself, but for now, I hold Bez close in the dark and breathe in as she breathes out, taking her air into my lungs, and there is nothing thin there at all. I am fearless in the moment, and with that fearlessness I slip my arm up between us where Bez’s is, and I put my hand into hers. I can feel her pulse beating against the skin of my wrist, and I am not surprised to find that our hearts are beating with a matched rhythm, soft and fierce at once.

In the hallway, the tiger whuffs softly, but I pay him no mind.

I am fearless, after all.

 

Something I Rarely Do

I don’t normally do these sorts of things, but as I have been tagged by two of my favorite people in the world, Roxanne Piskel and Cameron Garriepy, I find that I have absolutely no choice in the matter. I am outnumbered.

And so it begins:

The rules are: 1) You must give credit to the person who tagged you with her/his URL/link; 2) you must answer ten questions relative to your WIP (Work In Progress); 3) you must name five other authors and their URL/links who can merrily jump through these same hoops.

I hate rules so very much.

One: What is the title (or, working title) of your next book?

I have several works in progress at the moment, only one of which is currently burdened with anything approaching an actual title: A Baker’s Dozen, which is a collection of short stories. Those stories themselves are what I’m focusing most on at the moment, and they have such wonderful working titles as “The One With the Bugs,” “The One With the Newspaper Boats” and “The One With the Fish In the Desert.” Titles generally do not come to me until after the final polish is being put on the stories themselves, so I am not feeling rushed at the moment to come up with anything better than what’s already there.

Two: What genre(s) does/do your book fall under? (Or, land really near!)

Most of the stories in the book fall into the old school horror or dark fantasy categories, along the lines of ’80s Stephen King or early Clive Barker. Some are more straight fiction and as such will probably be removed from the final cut and let loose on their own or as part of another project, because I’m trying to aim for one unifying genre for this collection. However, the final selection hasn’t yet been determined, so I reserve the right to go with something outside of the genre constraints if I feel that it works within the context of the whole.

Three: What actors would you choose to play the characters in the film version of your book?

This is a little difficult, since I am working with a slew of short fiction characters instead of just two or three main ones. Obviously, Ryan Gosling would have to be in there someplace, because again, obviously. I should also like to have Peter Weller and Ed Harris, because they are both beautiful to look at and wonderful actors. Oh, and Naveen Andrews. And Tom Waits. So essentially, every male actor that I find attractive in any way. That’s not too much to ask, is it?

Honestly though, if I picture any of the characters from the stories I’ve already written in my head, it would be a narrow list at this point, and also time-specific: Russell Crowe in L.A. Confidential, Diane Lane in anything from the ’90s, Thora Birch in Ghost World… it’s a very short list, I’m afraid. Maybe when the whole of the project is finished, I’ll have a better answer to this question.

Four: What is the main outline of your book? (Call it a ‘pitch’ as a synopsis includes ‘spoilers.’)

I can’t really answer this, as the book will be a collection of short fiction, but I can say that there is a continuity of narrative that runs through all of the pieces… although I reserve the right to not have the continuity remain past the final edits, if I feel like doing something else once I get to the end of the project.

I’m fickle, I know.

Five: Will your book be Indie published, self-published, or represented by an agency and sold to a traditional publisher?

I am a fan of the self-publishing world these days, which I find liberating and more satisfying than banging my head against the wall attempting to get anything published traditionally. After having a few “real published works” out in the world, I’d have to say that doing it yourself is much, much more rewarding in the long run.

Six: How long did it take you to write the first draft of your manuscript?

I’m still writing it. I’ll let you know when it’s finished.

Seven: What other books in this genre (or genres) would you compare yours to?

Why don’t I just shoot expectations to the moon and also set myself up for being knocked down later by saying Barker’s Books of Blood or King’s Night Shift, although my ego is nowhere near so inflated as to actually compare myself to the masters.

Eight: Who or what inspired you to write this book?

I haven’t gotten inspiration from any one place for the stories in the book, but I have gotten a great deal of encouragement from those women who tagged me for this questionnaire in the first place. Does that count?

Nine: What else about the book might pique the reader’s interest?

Each book also comes with a free piece of German chocolate cake. How many titles can you say that about?

Ten: Teaser! There is no question ten…

Oh good. Does this mean that I get out of class early?

I am apparently also supposed to tag five other authors who should then subject themselves to the same sort of self-promotion that I’ve done here, but I do believe that I mentioned my hatred of rules somewhere up there, and so I’m not going to do it. Instead, you should just go click on some of the links in the sidebar to the right and go read something. I don’t need the guilt of forcing anyone else into the spotlight hanging over me. I have enough guilt as it is already.

 

A Tiger In the Hollow of the Throat

There is a tiger in my house, stalking through the halls. He is thick and terrible and the color of snow on ice.  He smells of spice, hot spice that stings the eyes and burns the back of the throat. He crawled out of my bathtub two nights ago, dripping water all across the small black and white tiles which cover the floor. He has taken up residence in the darker corner of the hallway, below the picture of Katya and Jarek in Bulgaria. At night I can hear him licking his chops, waiting to make a meal of something.

Bez hasn’t seen him, but Juteau said she heard something snuffling around the crack of her bedroom door last night. She thought that she’d been dreaming, but I know that she was not.

The tiger is here for something.

I’m afraid that it might be Juteau.

Illumination

“I want to tell you a secret,” Bez whispers in my ear.

“We don’t have any secrets,” I say softly. “We just have things we haven’t told one another yet.”

We are in my bed, which honestly has become our bed over the past few weeks. Juteau still occupies the guest room, when she’s not sleeping on the sofa or in the bath. Bez wouldn’t be sleeping in the guest room even if Juteau weren’t here. The time when I bothered with thinking it was odd that we sleep together has long since passed for me. For Bez, it’s never been anything that was odd to her. She does what she wants, and doesn’t care what anyone thinks.

“Wait here,” she says. She throws back the blanket and gets out of bed. The light from the streetlamp outside slips in through the parted curtains and wraps itself lightly around her body, not strong enough in its grip to do more than paint an amber glow on her pale skin as she moves silently across the bedroom floor. She disappears through the doorway. I do as I am told, and in a minute, she comes back into the room. She is carrying her sketchbook under one arm and her box of pencils in her hand. She gets back on the bed, sitting cross legged beside me.

When I reach to switch on the bedside lamp, she puts her hand on my arm. “Leave it off,” she says. “I like it better this way.”

“It’s too dark to see properly,” I say.

“I can see fine.” She opens her sketchbook, puts it on her lap, and takes a pencil out of the box. “Just do what I tell you.”

“It’s too late at night for you to be pushy,” I say. “Or too early in the morning. One or the other.”

“It’s only one,” she says. “Now hush and sit up.”

“It’s cold.” I pull the blanket up over my head.

She pokes me in the side with the flat end of the pencil. “It’s not cold. Sit up.”

I make a show of reluctance, but I can never refuse Bez anything. I sit up, one hand holding the blanket against my chest, the other against my bare hip.

“Put the blanket down,” she says, and I do. “Put your head forward,” and I turn my head toward her. “Pull your hair over your far shoulder,” and I run my hands through my hair, gathering it and letting it fall over my shoulder, over the top of my breast. Satisfied, she leans in closely and again whispers into my ear: “Don’t move.”

The light is behind her, and it isn’t strong enough for me to see features, but I know how she looks when she is working, how her brow knits in concentration, and how her eyes flit back and forth from subject to paper. Her hand moves quickly, and the only sound is the rasp of the pencil against the rough texture of the page.

“Put your hand on top of your thigh,” she says.

“Turn your face to me,” she says.

“Part your lips a little,” she says.

I do, and I do, and I do, and then I am still again.

Five minutes pass, then ten, then no time at all and everything is still, everything but the pencil scratching against the paper.

Finally, Bez puts the pencil back into the box. She looks at the drawing she’s made in her book, then she closes the pages and puts both the book and the pencil box onto the nightstand.

“Don’t I get to see it?” I ask.

“It’s a secret,” Bez says. She gets back under the blanket, and pulls it back over me as I lay down again.

“You told me you wanted to tell me a secret.”

“That wasn’t the secret,” she says. She moves closer, and her legs touch mine beneath the blanket.

“What was the secret then?” I ask.

She leans in to me, and puts her lips against mine. She has a taste that is uniquely her, cinnamon and pencil wood and oranges. For a moment her tongue darts against my upper lip, then it is gone again, leaving an electric spark where it has touched. She takes her mouth away, and touches her forehead against mine.

I lick my lips. “That’s not a secret. I already knew that.”

I can’t see it, but I know that she is smiling when she says, “That wasn’t the secret. This is.” Then she puts her lips up to my ear, and she whispers words to me that are made of breath and heat and stardust.

 

Sargasso Sea

There is a girl on the beach, nine or ten years old, who reminds me of myself at that age. Her hair is cut in the same pageboy, her face carries the same mixed look of seriousness and wonder. She stands in the sand at the edge of the continent and lets the water wash in over her bare feet. She curls her toes in the sand, and sinks lower into the earth as the water pulls back out into the sea.

Unbidden, a memory flashes in my mind of myself, ten years older than this girl on the beach. I think of a boy with a birthday the same as my own, and an empty room in a empty house in a crowded city that feels empty anyway. The dark wood floor is cold against my bare legs, the shirt I am wearing–his shirt–only reaching to the middle of my thighs. I can see the bruises on my legs, small and round and purple like tiny plumbs, one for each of his fingers, breadcrumbs through the forest of our lovemaking.

He is speaking to me, the fumbling greeting card words of love that he has learned from television and bad movies, but I’m not really listening. I already know that our love affair won’t be a lasting one. Already the feeling of his hands on my stomach and my legs and my breasts is fading from my memory. He is a layover on my journey to something else, and if he could read my thoughts as well as he thinks he does, he would know that his best course of action is to put on his pants and take back his shirt that I am wearing and to go find himself a woman more suited to his needs. He is oil and I am water and there will be no alchemical mixing of us tonight or in the future.

A year later, I see this boy in a store, although he doesn’t see me. He is with a beautiful woman wearing a shoulder-baring dress, hair swept up high, slim and delicate as a porcelain doll. They are looking at towels, and as the woman reaches to pull one from a shelf, I see the glint from a ring on her finger as it catches in the light.

Today, the girl turns and runs away from me across the sand along the edge of the water, daring the surf to rise up over her feet again. I slip off my shoes and go stand in her place in front of the ocean. I curl my toes into the sand, and as the water splashes cold and sudden over my feet, I remember an empty room in an empty house and an empty love affair, not even the first link in a long chain of them.

All rivers run to the ocean, and all memories do as well, collecting in a Sargasso Sea of hopes and whispers and lingering plumb-colored bruises, drifting in the thick, slow current of forever.

 

Undiscoverable In the Atlas of Love

Bez reads over my shoulder as I work on a story in progress. She is the only person who is allowed to do that. No one else can see a piece until it’s done. I like to present a finished work to the world, and not let them see the nails and tape and bits of string holding it all together. I’m certain that I’m not unique in this.

“There’s a story inside of your story,” she says. “About unrequited love.”

“All love is unrequited,” I say. “At least in some way. We’re all Dante aching for Beatrice, even if we don’t admit it to ourselves.”

Juteau, who is laying on the sofa across the room, speaks softly, not asleep as I had assumed she had been. “Love is a wisp of cloud that slips from the lungs and out over the lips, moving on cat-fog feet like that Sandburg poem. You can feel it when it comes, when it curls around your legs, and then moves up to your waist, and then your chest. You can taste it when it slips into your mouth.” She rolls onto her side away from us and pulls the blanket up higher. “Love tastes like strawberries.”

Juteau has been living here for three weeks. Bez hasn’t gone home to her apartment in two. I can’t remember a time when my house was empty of them both, and I don’t want to imagine a time when it will be.

“I’m going to bed,” Bez says. She puts her hand on my shoulder and gives it a light squeeze. “Don’t stay up all night.” She walks up the stairs, going to my room, to the bed that we have spent so much time in together that I find I have trouble sleeping now without her in it.

We are an odd little family, which is what I realize we have become. We live together in our house, raised up on a hidden island, undiscoverable in the atlas of love.

I am too tired to work on my story any longer this evening, and so I put it aside. Juteau is already asleep, for real this time, so I turn off the lights and walk softly upstairs to my room.

“Come to bed,” Bez says, her voice soft and low. “I’m cold. Warm me up.”

I take off my shirt and slip into bed.

Bez isn’t cold in the slightest.

Popcorn

Bez and Juteau have decided that we are to watch the entirety of my film collection, from The Abyss to Zombieland

“We need a project,” Bez says. “Something to take our mind off men and things.”

“Especially things,” Juteau says.

“There’s hundreds of movies here,” I say. “This is a pretty big project.”

“I’ve got the time,” Bez says, “and you’ve got the popcorn.”