Showing posts with label Nonfiction. Show all posts
Showing posts with label Nonfiction. Show all posts

5.29.2011

Christchurch Earthquake
by Maureen Eppstein


As I grieve the earthquake destruction in Christchurch, New Zealand, I have been remembering  my time as a reporter on The Press, Christchurch, New Zealand’s city newspaper. I worked afternoons and evenings. When no deadlines pressed, I would gaze out my window in the Press Building, which overlooks Cathedral Square. The Press Building is badly damaged, and the cathedral spire in the center of my view has toppled. Rummaging in old files, I found fragmentary notes typed on yellowed newsprint, the small sheets we used to turn in our stories. They are undated, but would have been written in 1960 or 1961.

###

From here, with the afternoon sun through the window, people walking the square are mere silhouettes, with long shadows reaching out towards me. I can sometimes pick out what they are wearing, but they are mostly a pattern of shapes, against the curved lines of the square that isn’t a square at all, but the shape of a cross, with gently sweeping curves of the cathedral grounds in the center. A pleasant curve below me, with its little stone wall, a comfortable height for sitting on. There was a woman sitting there, by the entrance with the knobs on it. She was wearing a cream coat and a bright pink hat. It was a cheerful hat, and now her escort has arrived, and she has walked across the road with him.

Lots of people jump over the wall—it is much more fun than going through the entrance with the knobs in the proper manner.

A little choirboy runs to a bicycle parked against one of the buttresses of the cathedral. He has been to sing Evensong. Now he is joined by two others, three, four—they pour out, shouting and jostling. Neat little grey suits and red caps, schoolbags swinging in the dust. Singing is just part of their everyday living, as much as football and schoolwork.

The right of way by the cathedral is patterned with people coming to and fro. It is the back-lighting at this time of evening that makes the scene so attractive. Sunlight through the plane trees by the war memorial, a golden outline on each figure, long patterns of light and shade.

Silhouettes—the big cross on the memorial, the slender cross on the top of the cathedral spire, the stark criss-cross of the scaffolding round the spire, wrapping it in a blanket while it is cleaned and whitened. The sunlight through the green glass of the tower windows, tall narrow windows with diamond patterns.

###

Delicate tracery of bare branches outlined with sunlight on a winter afternoon. Dew silently falling—streets slowly dampen, although the sky is cloudless. Towards the west, the setting sun fills the sky with smoky pink. Buildings are grey silhouettes, slowly darkening to black. Cheerful red of transport buses the only touch of color.

###

To gather the texture of the square in the rain into a handful of feeling—dreaming out the window, with the rain spattering gently down, and the dazzling light reflected on the road, the long street lamps—white streaks, and the neon signs flashing on and off, endlessly—“Don’t be vague, ask for Haig,” and the white outline is filled up with a rush of red—“Be sure with Trufit,” hidden behind the “Choysa” oval. The “s” in Choysa is a bit wobbly—it won’t last long. The blue bird endlessly getting bigger, and then disappearing in the TEAL sign. “Fly to Australia” fades off into nothingness—it has had it too. The stars go round and round on the Monarch Shoes sign.

The colours of the neon signs are reflected in the pattern of puddles on the road—blue, purple, red, green, orange—vivid and glowing, shimmering in the circles of raindrops.

###


The gentle curve of the street below, with cars swishing round it. Not many now. It is before picture time, and only those with business at this time will be out on a night like this. An occasional bus sweeps into the stop, or lumbers out, almost empty.

The spotlight on the cathedral is smoking, as the rain hits the warm glass. The cenotaph is a black silhouette against the misty light.

Sometimes a black figure scurries across the square to the bus stop, head down, umbrella leading the way. Even the Bodgies [a youth gang] are gone from their usual haunt by the Embassy Theatre.






Maureen Eppstein lives in Mendocino, CA, where she is executive director of the Mendocino Coast Writers Conference. Her most recent poetry collection is Rogue Wave at Glass Beach (March Street Press, 2009). Her work has been widely published and nominated for a Pushcart Prize. Read more about her on her website and blog.

3.01.2011

My Grandfather Who Runs Away With Me
by Matthew Zanoni Müller


I am just under three years old when we move from Germany to America. I can still remember things from that first trip because everything is different afterward. There is the low hum of the airplane, the dim lighting, which is like brown honey, and the reading light that shines on my mother next to me, while she reads me stories. There is my father and brother across the aisle, and together we make a little line that is our family. Behind us is Germany, and that Germany will never change, and every time I go back to visit, I will look for that Germany but it will no longer be there. It will just be old grey buildings with graffiti on them that never quite shift back into the right position.

America is in front of my family, and we are all facing it, looking down the long tunnel of the plane. We land in Chicago, where everything is the color of metal, and where they take our fingerprints and our handprints too. We are given green cards. It isn’t until Portland, Oregon that I think we have really come somewhere. Here we have a door to walk through, a big glass threshold. Two squeaking sliding doors part, and with our bags we walk to the other side. Music is singing in the air and soft voices from people humm along the halls. The walls are shiny and the floors are shiny and it feels like the moment just before a party, where the adults are whispering and bringing everything into final order. For a minute we just stand.

A man comes toward us and his whole face breaks into a smile. The closer he comes the more his arms open. First my mother is brought into the big arms and then my father. My brother and I, we look up at what is happening. The man is laughing, just laughing, and then he bends down and scoops me into his arms and holding me high against his chest we run off into the airport.

I think to look back for my parents but don’t have timme. His laughter is shaking his chest and he says, “Op op op, off we go” and my mouth has to laugh like his does. Everything becomes funny because we are escaping and I do not even know who he is. I look straight ahead as we move through the airport. The man has a deep smell, something very strong, and it comes off of his clothes and from his mouth. It is like tea and spices and has a thickness. It becomes clear to me that I am captain of the ship, and when I point he changes directions. We round a column, weave through people. Together, we jump over a row of suitcases and he says, “oh ho ho ho, here we come!” It is only when he lifts me up to touch the arrivals sign that I realize that this man is probably my grandfather.

I point to the moving stairs carrying people up and down. We get on just like the others. I turn to look back and see little groups of people with their baggage around them like fallen apples as they slowly get smaller. I turn and touch my grandfather’s hair, which is grey with brown mixed in, and I feel his rough cheeks and the nose like my father’s, which is long and hooked. His skin is browner than my father’s, and leathery, but a very thin leather. He is still making noises and saying things. “Oh ho ho, up we go, yes yes my boy, up we go.”

A giant balcony rises around us and the strange sculptures made out of metal hanging from the ceiling come closer. My grandfather is talking all the time and I don’t have to answer or to say anything. When we get to the top he turns one way and then the other waiting for me to direct him. I point to the other stairs back down.
“Ah, down again, yes.”

At the bottom I point up. “Up, up up up.”

From my grandfather I learn that we are going to become best friends. He tells me this as we ride up and down on the escalators, again and again seeing the balcony rise and the planes take off through the grey windows and the music clinking in the air and the passengers all walking in their different directions with voices like presents that are about to be opened. As we are coming down again he says, “Oh oh, they’ve found us, we are caught,” and I see my parents and my brother in their dark coats looking up at us with their bags dropped around them, a tiny group of travelers in the giant hall. My grandfather and I, we float slowly down to them from the second floor, and from there, tow them to the parking lot, led by my little finger.






Matthew Zanoni Müller was born in Bochum, Germany and grew up in Eugene, Oregon and Upstate New York. He received his MFA from Warren Wilson's MFA Program for Writers and teaches at his local community college. His work has appeared in various magazines and you can learn more about it by visiting his website: www.matthewzanonimuller.com.
FALLING INTO HUGENESS
by Marcus Speh

Dear accidental reader, 

be careful now: this is strictly for writers. It's not called ‘Falling  Into Hugeness' for no reason and you need to pay special attention now to see if you want to go on reading it at all. Yes, now.

I repeat my warning: this is a story strictly for writers and writers only. 

If you are not a writer, do not read beyond this line. Do not read further.

   ___________________________ [this is the line I've been talking about all along. It really exists, you see, I wasn't kidding. This is serious business.]

If you did read beyond this line anyway and are not a writer, you may need to revisit your livelihood. 

Now consider this:
It may just be that by regarding yourself a writer you will enter a new dimension of being on this Earth that brings you happiness and fulfilment way beyond your wildest dreams. 

An additional advantage of continuing your life's journey as a writer is that you're not stuck with your wildest dreams but you can write about them. Or you can write about people, call them characters, who have those dreams. Or you can write about characters who write about people having those dreams. As you can see, your mind can get pretty frazzled. That's a risk you might want to take.

In any case, now that you've crossed the line, even if you let yourself off the hook by saying: “This guy tricked me into reading things I didn't really need to hear or want to hear”, there's no going back. 

That's the incredible beauty of this method. It's life-altering if you like it or not. This wasn't a story at all, you see, it was a magical potion. 

Miraculously, it's the same with anything that you write: it's going to change the universe and the way things are after you wrote it.

Drop me a note from wherever you are, my friend. Let me know how you're treating yourself. Whatever you do, illluminate the riddle.




Marcus Speh lives in Berlin. His very short prose has appeared in elimae, > kill author, metazen, monkeybicycle and elsewhere. His story "Cahiers du Cinema" was nominated for a Pushcart Prize by Blue Fifth Review. For this piece, he would like to give credit to Cynthia Ozick for first using the expressions "falling into hugeness" and "illuminate the riddle" in an interview with The Paris Review in Spring 1987. Marcus has nothing to flawnt at http://marcusspeh.com.
Headstone
by Jane Hammons

for Mark 1951-1974


We bake a whole lid into a batch of brownies for the drive from Roswell to the Indian School in Santa Fe where Linda Rondstadt and the Nitty Gritty Dirt Band will play for us at the Paolo Soleri Amphitheatre. Chocolate bales of hay our last meal.

Steve Martin opens the concert
makes balloon animals
wears them on his head.
The crowd boos around us.
We laugh so hard we are embarrassed. Cactus roses creep off my peasant blouse embroidering my face red. Pearly snaps button you up when Linda comes to the stage and sings Desperado why don’t you come to your senses you been out riding fences for so long now.

Guitars and fiddles and voices that shimmer
the Dirt Band promises
There’s a better home awaiting in the sky Lord in the sky

The concert ends

Coyote flings his blanket of stones up and up mapping pathways
to my mother’s farm outside Roswell
(I am home from school)
to your father’s ranch near Sitting Bull Falls
(you are foreman of the H-Bar-Y).

Yikáísdáhí.
Milky Way

Night lit with music and stars.

Three prisoners—convicted of robbery, rape of a child—escape from Eddy County Jail rob abduct turn loose two adolescent boys. Unharmed their parents say.

Later in Dog Canyon dawn the three who broke out break down.

Not looking for you
they find you
take your truck
leave theirs behind
hood up in distress the photos show.
Between bumper and creosote bush they drop you
shot through the heart
you are just a caption
appearing only in your absence
a blank space I will fill in
when I get the news.

On the ground deputies comb the back roads.
Border Patrol scouts from the air.

Driving back to school
I turn on the radio
KSWS
the hog report and local news:

Eddy County Rancher Murdered

Name withheld. Details sketchy.
Oblivious
I fiddle with the dial
fill the sunrise with music
KOMA from Oklahoma City
until it fades at the I-40 turn off to Albuquerque.

I drive through the llano in silence while one commits suicide
on the banks of the Pecos River as the Border Patrol closes in.
Two surrender.

The first time I fly
I fly home for your funeral
I-40
U.S. 285
Roswell
H-Bar-Y
creosote
blood
earth
Yikáísdáhí
Milky Way
in the sky
lord
in the sky





Jane Hammons on Headstone: "When I was a junior in college my boyfriend was murdered. The way this changed my life is the subtext for much of my fiction. I’ve struggled to find a way to tell the real story: essay, poetry, memoir. I thought I’d try this."

Yikáísdáhí is the Navajo name for The Milky Way.





Jane Hammons teaches writing at UC Berkeley. Her writing appears in various places: San Francisco Chronicle Magazine, Columbia Journalism Review, decomP, Word Riot, and Crimespree Magazine.
Nonfiction by Allison McCabe


Nineteen

It was hot in my bedroom this afternoon. I was lying on the bed looking out the window at the sky intersected by telephone wires. I was sprawled out uncovered and I started remembering.

A day like this a long time ago. In Mexico. I was lying on a stained mattress in the middle of an empty room. It was a house under construction maybe. Or abandoned? I sort of remember the frame of a room, wooden beams, a bathroom without a door, neon light spilling in from the street through windows with no curtains. We came from a locals only bar called Risky Business in downtown Cancún. We got the key from a friend. I was sweating and panting under some local — Fernando maybe? I can’t remember the name. He was skinny enough that I felt the slight protusion of rib through skin at intervals. He had curly brown hair bleached yellow at the tips by the Caribbean sun. Fernando fucked me on this mattress yellowed with age and dirt. When I got up the floor was sticky under my bare feet. I squatted above the toilet to pee and when I looked down I saw a huge cockroach between my feet.

Please stay still, I said in English and then Spanish just in case. Tengo miedo. I won’t hurt you and you don’t hurt me.

The air doesn’t hit you when you leave an air-conditioned car in the jungle. It envelopes you like a cloak. Immobilizing.

Heat and moisture and faint music penetrated those particle board walls. Me and Fernando. Was it Fernando?

Earlier at another bar: una más tequilita por favor. Solo una más. No tengo dinero. Por favor.

The next day – a brighter sun scorching away the shame, branding his taste and scent into my skin. Not, apparently, his name. We stopped at some mechanic friend’s where tin shells of old cars competed for ground space with chickens and children. Talk to her, he told me in his halting English. He pointed at a thin woman sitting on a tire. Entre mujeres.

So I tried to talk to this sixteen year old mother of three who had never been out of Cancún and who could not understand why any young woman would travel alone.

Tenía que escapar, I explained, eventually, even though it wasn’t really true.

I lived for the melodrama in those days. 




Semi-subversive in Los Angeles

I used to live in a Spanish style duplex near the Beverly Center.  Whenever anyone asked where I lived I would say Hollywood because it was a million times cooler than saying “near the Beverly Center,” or “between West Hollywood and Beverly Hills.”  When we hear Hollywood we think of kids on the street and drugs and getting drunk at the Rainbow with Guns n Roses before they were Guns n Roses.  Tourists hear Hollywood and think of glamor and movie stars, I think.  When we hear “Beverly Center” we just think of Guess billboards and that guy who killed himself by jumping from the parking structure.

I was a student at UCLA when I lived in that Hollywood apartment.  I took Burton Way to Wilshire and sneaked into lot 3 by tailgating the car in front of me so I could make it through the gate before the arm dropped.  It always worked, and it was always an adrenaline rush: what if the arm came down on my car? what if the driver of the car in front of me was looking in his rearview mirror and got mad that I was using him to break into the parking lot?  What if I wasn’t fast enough and the arm came down, blocking my entry, and there was a line of cars behind me?  Sometimes I’d have to wait for so long for a car to enter the parking lot that I’d be late for class.  I forgot who taught me that trick.  It also involved the one-time (per semester) theft of a hanging parking pass from an unlocked car.  I justified it because they could get a new one at no charge and it was the stupid bureaucracy that had rejected my request for the pass in the first place.  I was a revolutionary.

When I started grad school I had moved into a condo near Pico and Fairfax.  There was no way I could spin that one as being in Hollywood.  I lived there with my boyfriend, and we always had people over and we were always drinking.  I did every drug possible in that condo, and my boyfriend just loved me, oblivious to the changes in my personality and the shadier and shadier characters lounging in the living room when he got home from work.  I hid it well.

We lived there during the Rodney King riots.  We called it a rebellion.  When my mom urged us to come to her house in Santa Monica for safety we said that would be “white flight” and we wanted to stay with the people.

I heard a guy from the apartment building next door yell “I got a new air conditioner! We won’t be hot this summer!”  The Indian restaurant we liked on the other side of Pico burned down.  The 7-11 next door was on fire.  The same neighbors who bragged about looting organized the neighborhood to get water to throw on the 7-11.  We didn’t volunteer.  I can’t remember why.  Maybe it was because we were the only white people in that neighborhood.  I’m sure that wouldn’t have fazed Daniel.  It must have been me.

There was supposed to be a curfew.  The TV wouldn’t stop showing clips of that truck driver being dragged out of his car and getting beaten up.  There were guys with assault rifles standing on the roofs of their stores and national guard officers on the corners, trying to enforce the curfew.  The sky was red.

We used to like to say that the only way to change oppressive regimes was through violent revolution.  L.A.’s “civil unrest” was confined to a few days, suppressed as quickly as possible, spun into an anger that was supposed to be a result of the King verdict alone.  In the end, nothing really changed.

Eventually we went to my mom’s house.  As we drove west each neighborhood was darker and quieter than the previous one.  By the time we were west of the 405 it was like a curtain had fallen, insulating us from the heat and anger of L.A.  If we changed the radio station and listened to music, we could pretend that the heart of our city wasn’t throbbing with anger and untreated disease, that no one was hurting, that this quiet seclusion is how it would always be: dark and starry and soft and safe.

We brought the cat because we weren’t sure how long we’d have to stay. 




Allison McCabe is a Los Angeles native who writes about sex, drugs, recovery and other addictions.  She has written for the Main Street Journal (UK), Village Voice's Naked City-Los Angeles, and Sex and the 405.  Allison currently blogs at solitarex.wordpress.com.
Visiting The Factory
by Nicole Monaghan


My elementary school. Christ the King of northeast Philly, grades one through eight. It made me, didn’t it? Almost as much as the elusive microscopic braids of my DNA. Because every day I experienced at CTK during those formidable years would represent the “nurture” element in the nature vs. nurture debate that even the most rigorous of scientists would allow at least some consideration—that both biology and experience ultimately hold shaping power as to the human beings we become. If no other set of experiences in life would be indelibly impressed in our minds, those of grade school—that precipice we stand on between babyhood and adulthood where we first find ourselves as members of little societies–surely would.

What were the lasting and defining memories? It was the smell of pencil lead, Number Two, as I made my first presentation in front of a classroom. It was the single-file lines to the lavatory. It was the word “lavatory.” It was playing hopscotch on the blacktop, our parking lot which doubled as a recess yard. It was looking forward to dress-down day, paying the required quarter to the fifth-grade teacher, then having her send me to the principal’s office for my “inappropriate pants,” a pair of flesh-colored leggings that apparently revealed my premature curves too easily to the prepubescent boys. It was the eighth-grade class trip to Hershey Park where, for the first time, all groups, “nerds” and “jocks,” “super-smarts” and “average” kids, “prudes” and “sluts,” seemed to overlap as they lined up for the roller coaster. It was the soft pretzels and juice cartons at recess and the sixth grade science teacher who called me to her desk in the middle of (science) class to tell me I was a very talented writer, that I should pursue writing, write for the high school newspaper when I got there (which I would), and keep writing no matter what (I wouldn’t, but then would). She didn’t know about the hundreds of scribbled stories, poems, and journal entries I’d already composed, or the fact that at that point, age eleven, I’d already intuitively understood writing was home for me, a place to feel good and right and free and smart and normal for a girl who’d gotten her first period at age nine (yes, nine), the first girl in her class to have grown boobs but who wouldn’t dare let a boy touch her (for a very, very, very long time) because she internalized the shame of having changed too young, a girl who boys were intimidated by, a girl who wanted desperately for them to talk to her, a girl who felt entirely freaky, who couldn’t–despite having wonderfully loving and insightful parents–reconcile her mature emotions with her number of years. I walked back to my desk proud and hopeful. And this teacher’s words would replay in my mind: Keep writing no matter what, keep writing no matter what. 

In summer, 2009, with twenty-one years of life having elapsed between my eighth-grade graduation from CTK and this visit to the school, I led my three children, ages nine, eight, and four through the double doors already propped open to the August heat and found myself quieting their boisterous voices. The speckled floors hadn’t changed. In my mind, I saw a blur of saddle shoes and attempted to grasp how many had tapped these tiles. Walking down the hallways was like spying on my own vague dreams. These were the corridors of my memories, the places I’d made friends when we weren’t supposed to talk, the place I saw the boy I longed to be with as we waited in line to use the porcelain water fountain, its lukewarm delivery never satisfying my thirst. (And the boy, my desire for him was never satisfied either.)

My kids and I found the now-principal’s office. I’d only recently discovered she was a relative of a friend. That “small world” connection had been the impetus for this visit. But now it seemed fated all along—just as I was preparing to prioritize writing again for the first time since graduate school and after nine years of viewing my writing as something I’d pursue “some day,” I’d stumbled upon circumstances that would lead me to circle back to an old self, a familiar and long-forgotten place that continued to breathe inside me, waiting for a voice.

The truth was that the eight years at CTK wasn’t all hushed voices and “Thou Shalt Nots.” There was learning, friendship, compassion, respect, and yes, spirituality. I was comforted by the cartoon drawings of Jesus in the religion workbooks whose pages I liked the scent of—that particular mix of ink and promise. I knew what I learned in religion class was true, never felt brainwashed, and held dear my gift of easy faith. I did want to do what “Jesus Would Do,” and I never had a nun slap me with a ruler like I’d heard whispered about by people who seemed to think Catholic School was a cult. To the contrary, I was lovingly encouraged to be my best self. One of my favorite teachers was Sister Marlene, who gave me the job of counting pretzel and juice money and folding it neatly into a manila envelope precisely because she knew I needed a nudge in the direction of learning responsibility. I’d always shied away from anything quantifiable, opting for the path of least numbers. But I overheard her explaining to my parents at teacher conferences that she trusted I would learn numbers mattered, and that she believed I was in fact learning. Her trust in me made me trust myself. And I became a little more responsible, and a little more open to math.

The principal greeted me and the kids warmly, talking with pride about her fifty-some years in Catholic Education and about CTK’s computer lab complete with flat-screen monitors and projectors with large screens in all but four classrooms. When the phone rang, she called on two students who were organizing uniforms to conduct our tour. She introduced them as an eighth-grader and a fifth-grader, and I could see by a tiny flicker behind her eyeglasses that these kids made her more proud than any piece of equipment the building housed.

The girls were confident, informative, and gracious, leading us down the hall to see the library, the art room, and the gymnasium, complete with a renovated stage. The eighth-grader had to fiddle with the mass of jangly keys each time she opened a new door. I pondered that the doors seemed to have withstood so much without aging. They were precisely as I had remembered them–orange-brown wood, big silver knobs, and double rectangular panels of brushed glass which was almost too opaque to see in or out of. 

Peeking in at one of the sixth-grade rooms with the caddy-cornered podium, the painted cinderblock walls, the desks with the one groove along the top to cradle one’s pencil, was like looking at a photograph from the day I’d been told to write, write, write. I saw her there, my teacher with the serious look in her eyes, not in real time but in my mind’s eye, I saw her calling me to her desk to talk privately. I felt it again, the warmth, the encouragement toward a calling, the faith in who I was always meant to be that sustained throughout the trials of high school, college, falling in love, the births of three children, and the challenges of marriage and family life. My eight years at CTK had determined who I’d become as much as my mother’s intelligence or my father’s olive skin, as much as a biological program etched in my genes. When I mentioned the teacher’s name to the students, and they told me she still taught there but was retiring after the coming year, I heard it, clear as the memory of the morning bell, I heard the call to go home and write, and to keep writing. No matter what.





This piece won First Prize Honors at the 62nd Annual Philadelphia Writers’ Conference for Memoir. Nicole Monaghan’s work appears or is forthcoming in PANK, Used Furniture Review, Foundling Review, Negative Suck, and many other places she loves. Visit  http://writenic.wordpress.com for all things literary and Nicole, where she blogs regularly about flash and gets excited about visitors.

12.08.2010

Conversation With A Five-Year-Old
by Shannon Cavanaugh


What’s that?

That’s mama’s belly button.

What’s wrong with it?

Nothing.

Why does it look like that?

Well, after mamas have babies…
Um, like when a balloon loses its air…
Or, uh…

Mama, did the doctor pull us out your belly button?

(smile) No.

How did we get out?

(think, think, think)

How did we get in?

(think, think, think)

Why-aren’t-we-in-any-of-the-pictures-from-when-you-and-daddy-got-married?

(think, think, think)
(silence)
(think some more)

(intense impatience)
Where did we come from?!?!

(think, think, think)

There’s an egg, some sperm and love…
(do over)
The wings of a dove…
(do over)
You were in the stardust, love – a twinkle in my eye.*

(pause)

Mama, if-god-created-all-people-and-god-is-Jesus-what-about-all-the-people-who-came-before-Jesus?

Sweetheart, mommy is falling asleep. Let’s talk about god in the morning.

WHY?!

Because we already talked about my belly button.

(furrowed brow, quizzical expression)
(pause)
(smooth, trusting eyes and smile)
K. ‘Night, mama.

Goodnight.
Sweet dreams.
I love you.

(kiss)

*Consider seriously before using this one. My boys all think they were in my eye before they were in my uterus.



 
Shannon is stay at home mom of three little boys.  Between wiping their various body parts and playing helpless animals in their games of 'Predator and Prey', she blogs at themildlyinterestingcaseofbanana.  Shannon has a BA in Psychology that was enjoyable to acquire but has otherwise gone unused.  She is also a dancer, having taught and performed her whole life; she feels like she’s dancing when she writes. Her works are also forthcoming in a future publication of The Battered Suitcase and at voxpoetica.com.  Shannon was amazed by the first issue of Ramshackle Review and is thrilled to be a contributor to the second.
Kio Stark:
Selections from Municipal Archive 



on the block

“Hey Stranger,” is what my neighbor, the ex-fireman, calls out when I walk by, but it’s been years since we were strangers. I know about the fall that busted his leg, and the pins in his knee that need replacing. I know where he grew up, and that his brother lives across the river. I’ve admired the hot red Lincoln that he stores for the winter and I helped him out of his plain black sedan once, when his knee was in pain. I know he ran track in high school, cross-country. He chides me on warm days when he doesn’t see me in running clothes, and he cautions me to stretch when I arrive home in a sweat.

I told him today that I’m moving. Not far, still in the neighborhood, he said. He shook my hand after all these years and said, “good luck to you.”

“I’ll walk by and see you sometimes,” I told him. It’s something you say to someone you might easily never see again, and I’m not even sure which house is his if I wanted to ring the bell. This is street intimacy, that’s all, I realized, and in a single handshake, I saw the boundaries crystallize. They are tricky, transparent. Like glass, they are solid all the same.



in a cab

On the radio, there’s some talk show banter going on. A new study says men who kiss their wives every morning live five years longer than the ones who don’t.

The driver says to me, “I’d kiss my wife every morning if she’d let me!” He’s got a sweet laugh. A small guy, bundled against the cold. He touches his chin. “In fact this morning I told her this was her last chance to kiss my smooth cheek until summer. I’m gonna grow a beard to keep warm. Never had a beard before but I gotta do something, I freeze in these cars.”

“Did she kiss you?”

“Yeah, she’s a good girl, my wife. We couldn’t be more different. She reads books all the time, I don’t touch the stuff. I never even went to high school, but somehow we get along real good.”

We’re driving along the river, the traffic is slow. I’m watching his pitted face, his shy smile. “I met her in the car. A customer. I picked her up by the hospital and we talked so much I forgot where I was supposed to be driving her! She said that was alright. We had breakfast the next couple mornings and then she moved in. Eight years.”

He’s on a roll now, and I’ve no inclination to stop him. He’s telling the kind of stories I always think the cabbies might be making up. The kind that are a little too cute. But I believe him.

“I grew up over there,” he says, pointing across the river to a row of project towers. “I started dealing drugs when I was 12. I tell you, drugs gave me a good life. I had money, I went all over the world. I went places I don’t remember going but people tell me I was there.”

“Then I had to get cleaned up. My clock ran down. So here I am. I’m doing ok. I work, people work.”

This looks bitter on the page but he’s not. He is laughing his sweet laugh. He is, I find out later, dying slowly of the things you would expect. His liver, he says, but not his heart.



at the cafe

The blind man and his bull dyke guide are back today. He follows her, half a step behind, his hand resting on her shoulder. He moves timidly, tapping his cane in an arc in front of him, his ears attuned to her whispered translations of what it is like to see this room, these obstacles. But when she moves his hand to the back of the chair, the scene changes key. He straightens up and casts a great smile up at the sky. I wish you could see him. He’s wearing slick wraparound glasses and a shiny red jacket. He looks more like a space man than a blind man. He’s got his knuckles on the table, keeping time, he nods along as the woman talks. She’s speaking ardently. You know, with her hands.



on the subway platform

I only realize I’m late when I notice that the woman with Medusa’s curls isn’t here. People as units of measure. The clock of the world.



on the subway

It’s a Fellini movie in here, jammed with people who look like out-of-work carnies grown old. That fat Russian man with the thick neck, he’s the strong man. I see the flowing orangey locks of a lion tamer, he’s reading the newspaper. There’s a stout woman with the sparkly makeup of the trapeze flyer, but she’s not swirling around the pole. A man whose nose would need little addition to play the clown leans against the door. One woman has a palsied face, her lips and eyes outlined in black, a bearded lady once, certainly. Sitting across from me is a tall dark man, his shaking hands holding a barker’s top hat in his lap. I know I’m staring at them. I am filled with wonder that might easily pass for rudeness. The train grinds into the station and the bearded lady gets up to leave. She leans down as she passes me and touches my face. “We were all beautiful once,” she says.




Kio Stark's first novel, Follow Me Down, will be out in June 2011 from Red Lemonade. She blogs at www.municipalarchive.com and www.fencedlot.com, and teaches geeks about ideas at NYU's Interactive Telecommunications Program.  Learn more about Kio’s work and the courses she teaches at NYU’s ITP
Mark Etchells:
Three Stories


Just Working

Way busy in work putting in railway sleepers on the upright to hold a bank up after we cut a track thru a field. A hundred and thirty so far and a shit loada concrete. Young fella owns the propert, 26 years of age. Grandad left 25 mill to him. He gets up, smokes a rolly, has a coffee, plans his games room, clears the ice off his range rover by remote from his back door, and goes back in. o yeah, then the dog comes out for a shit next to my pick up. He stayed in for a year when he first got it and smoked weed. Brains gone a bit now I reckon, nice enough lad, but fuck me. Been cold here. Fingers like digits of a monkey at the mo. Smell naught but creosote from sleepers. Chainsaw has made me deaf and blind from the shit in them. Just moanin bra, just moanin.


13 Eyes

Still here. Been back to the boy millions place - nay more chainsaws and shite so much this time. The sleepers we put in still holdin fast the cut thru the hill. Didn't like to see the concrete so much I gather, gotta cover that up with somethin. Been doin a wall for what seems like an age, reconstructing something that was put 150 years ago but has kinda fell down and had same age trees growin thru it. Pull it out and put it back. found a farthing. Labour was cheap then and they built with any shite they dug up on the property. Puttin it back difficult on a time and money scale. Still. Put it back with better quarry stone mixed in to make my life and back easier. Cant build a wall out of medicine ball mishapen heads in 2008. Not on a price. That was the bank been put back, and on to the wall. Used to build walls and tall walls down here using naught but shite and lime mortar. Anyhow, the things been fucked and the stone blown with wet and frost and snakes and ivy, took 4ft off the top as it was at a mathematical angle full of un original matter and Not Safe for our £boys stoned perambulations with his dog. Lime mortar, a curious thing. Delving into the black arts. Ive spoken to experts, theres talk of damp hessian, mixes worthy of fuck knows who, hydraulic, quick, and hydrated.

Burns all the skin off your hands in 2 days.no finger prints. Time for the perfect crime. Cept youd get stuck to a coppers shirt on day 3 with the barbs and shite on ure hands for a week then. Nay escape. Burns eyes too tho thats no good for crimes.

He bought a new jag the other day, an F plate fucked v12 convertible for 6 grand. Does minus on the mpg. Happy. Collects his mail in it from the top of the drive. Must be a quarter mile. Tis a distance eh?

Back tomorrow for more wall. Only 50 metres and 17 hands worth of skin to go. and 13 eyes.


Victory V 

Had a few of those jobs, not the kind when you can voluntarily say yay give it a go for a full 32 mins. Couple come to mind, one poss the worst on a stone crusher. Stood on this fuckin huge 40 tonne machine on a footplate while a 16 tonner swung shit and concrete in front of my face, no cage, and dumped its old oily load of bust up town of brown field site into the rollin vibrating killer jaws of satan hiself, yeah, my job mind, was to grab steel and shite from the jaws of said beelzebub, and any other foreign matter too. foreign matter. crushed old stuff for foundations of new stuff. old steel fucked the machine tho, that was the job. 10 hour shift in fear of your fucking life every time you grabbed a 9 foot piece of reo and the fucker bit it already, yeah, snag you, pulled in, lost a coat once. was wearing it, but it was me or him. hope it went  in the foundation to build somewhere nice.Used to pick Brody up 6am in the van. Smell of victory v's gave it up then, yeah brode was a great plant man, fix ought, but fuck , whisky before the work. Not a tot neither. hafe bottle. Early doors hometime he was a two handed pint man for the first half gallon. steady as a rock then, nay tremours. purple drain from his face to red and then start talkin and laughin with us all. I'd be away then. Id reckon he'd swamp another gallon and then back to the favourite homeside. a drop for the mornin and a victory v.



Just Working, 13 Eyes, Victory V first appeared in Tim Etchells' Notebook.

Mark Etchells works outside and lives in Devon.

9.19.2010

Ulysses In Ithaca  
by Phil McCray

1952. Seven years after Nagasaki, and before we sailed for Nausicaa and Charybdus, some of us were aggregated in a large room on the south end of a building on West Hill, in Ithaca, New York. Between this building’s oaky and elmy grounds, and the Nineteenth Century house to which I was carried from a birthing hospital in 1947, there is a quite small, triangular park, which features a brace of forsythia, a sloping lawn, and one enormous oak. Under this oak I now go to sit – to pass an oneiric afternoon – with a carafe of martinis, a cigar, and from within my taking the measure of the difference between time-indefinite and the réchauffé of memory’s scenes d’art. I usually take with me my dog Hellhound, whose long memory permits her to sleep in complete peace for the three hours we together each melt into our sentimental reveries. “We shall but be silt,“ quoth Hellie and I.

Eight months after Nagasaki, young verrenkt men had with eager haste returned to North America bursting with the impression that children would accelerate the forgetting, which it rather did. And so in some unison they impregnated the women they had perhaps suddenly married prior to departing for the ETO or the PTO. If twenty-nine of us fry had all taken a field trip to cross the bridge at San Luis Rey, in medias res, on a certain day, you and I would not have met like this.

Demographic actuarial statisticians employed by departments of education seemed to have fixed in their minds the casual pace of procreation and rate of infancy-survival that had preceded World War II, but in fact they had nervously to deal with teeming human surpluses that forced them to herd young people like lambs into new buildings and old annexes.

The room held one group of persons in the morning, and another in the afternoon. Names and the intertwining narrative paths associated with them jingled in my time-at-sea for many years afterward, all embraced within my arms as scoundrels, sailors, and coquettes.

Years later, on Eddy Street in Ithaca, hard by Cornell University, I spoke with Ephim Fogel (progenitor of the President of the University of Vermont), and I believe that it was Vladimir Nabokov (by then resident of Saint Petersburg, Berlin, Paris, Cannes, and Prague) of whom he spoke, describing the novelist’s asking the ten year old daughter of a colleague how she liked living in a small town. She didn’t know, she said: she’d never lived in a small town. When wee Rachel Kahn appealed to her father that her allowance might be a bit raised, she did so to the “Father of Airline Deregulation.” He was working in the White House as the “Inflation Czar” at the same time my brother was lunching there with Carter, as the EPA “Sunset Law” czar. My brother has concluded that he must have been a particularly sadistic Sixteenth Century Inquisitor, and is consequently my-brother-for-his-sins. When Laura Shill met me in 1967, she yelped “so you’re the guy who hates clichés” for which, in leafy green Geneseo, I had made myself famous and risible, such was my life-long fear-of-snakes abhorrence of canned language. When I rusticate now on sultry July and August afternoons at the little triangular park, I often read a few pages of IN THE SHADOW OF YOUNG GIRLS IN FLOWER or FINDING TIME AGAIN to abet the vodka’s roasting of my ¬reminiscentia-strands entwining back. Brief moments later, in another kind of kitchen, not far from the oak and forsythia, aswoon in the present tense, before she has written THINKING IN TIME: AN INTRODUCTION TO HENRY BERGSON, or THE IMPERSONAL SUBLIME: HUGO, BAUDELAIRE, LAUTREAMONT, or VISUAL DUST: PROUST AND PHOTOGRAPHY, I stood in the breath and by the personal flesh of Suzanne Guerlac, a Haze, black-clad, pre-transgressive not-yet-beaten nik by whom I had been long-mystified and entranced, and who loped through the expansive Sargasso penels of semiotext(e), rhizome/surface tropes, and deconstructed intertextuality, and which will base the novel she will write in the American Vorticist prose that had lately led me to Hart Crane.

A few short months after 1952, Rachel Kahn met the President of the University of Vermont; they immediately ran off together to Ouagadougou Burkina Faso, and affirmed a relationship that is now spanning fifty years. Half a decade after they met, and during the time they were forging that bond, I had one conversation with the President, on the odd occasion of my knowing something that he did not. His eyes looked at me with a startling, or perhaps disarming clarity, one that was so unlike the wise-guy scowls of the sullen and the misshaped, my collegial peers. A person of reckless imagination might confect the notion that in her blossoming greensickness, it was Rachel Kahn herself who infected the President and me with a fantastical devotion to Henry James (much later on to manifest itself as his founding the Henry James¬¬¬ Review and the Henry James Society with its fine scholarship, and as my paralleling the Jamesian, sirenic, and romantic gnarlies by living out really horrible approximations of what Charlotte and the Prince might have done had they been given to “Urban Cowboy” sorts of emotional explosions of anger and remorse). I unstopped my ears and subjected myself to fabulous Densheric and Ververian tortures of the heart. My Henry differed from the President’s, just as they were the same.

On the first day of that spell of mornings in the room at the south end of a building on Chestnut Street, Chuckie Srnka and I walked across Elm Street and entered the building together. We felt comfortable doing that, and every morning thereafter we walked to school together (though later we drove Volkswagens and Chevies) until the very last day, thirteen years later in 1965, of our indoctrination as capitalists, imperialists, appeasers, suborners, chauvinists, and egocentrists. Cancer: 2007, wife and daughters at his side.

Nick Adams (R.M. refers to his mother, an earlier social crime that was reluctant to speak its name: the embarrassment of a divorced woman) was acutely aware of the gaping force across the valley on East Hill, Cornbell University. I once had dinner with Nicky and his mother, who had invited a Brit visiting scholar. Liver was served. Shortly after that, the three of them decamped for Oggsford, and I suppose Nick became an Oggsford man.

Barbie Hodes lived across the street from the trangular park, on Chestnut Street. In 1964 every element of her dazzling mien proposed and assured that she was preparing herself for and directing her life to Fifth Avenue, among the very metaphorical starlights of Society, as if she had a secret foreknowledge of founding Barbara Hodes Ltd. on 39th, and her marrying Michael Gross, who wrote ROGUES' GALLERY: The Secret Story of the Lust, Lies, Greed and Betrayals That Made the Metropolitan Museum of Art. Barbie boarded a train in 1964, a TGV, that flew like an arrow from Ithaca to Manhattan. Before her calmative marriage, she was a sidekick of Lou Reed, a glory and pain that will have demanded much exposure to the elements.

Ithaca’s “Rhine” district is difficult to define, but the impression it leaves is quite clear, of bums, hovels, and transients. Chronological and geographical distinctions are easily disproved, but the sentiment and effects of the Rhine can be confused with no other element of the city’s societies or culture-bands. My father (1917-1993) was, and I am life-long a resident of West Hill. The odd numbered houses of Elm Street perch above a very steep bank, a cliff, overlooking Floral Avenue. The boatyards in which he and I spent many years of our lives are adjacent to the swamplands that, before Flood Control, formed some of the dark and doubtful homes and haunts of the Rhiners. In the 1930s my father and the bolder of his many brothers would hop down the bank to the wetlands below, to socialize (that is to say, play) with the young Rhiners, not excluding the ‘coloreds’ and the many doomed transient hobo kids strung along there by a feckless and drunken parent. It was fishing and fistfights, mostly; but either activity would be followed by some congenial hanging about, until the West Hill kids would scamper up to homes and chores and dinner, and the Rhiners would disappear into their hovels and camps, and vanish from consciousness. “They never came up to play with us,” said my father. “Dad would have skinned us alive.”

Nate was a Rhiner who had “settled in.” He lived-rough in a leaky, tattered boatshack a few yards north of the Buffalo Street bridge, and had in his possession a motored skiff that sometimes ran and always listed due to the sloshing bilges. He was toothless and greasy, and made rather an impression on me in the 1950s. My father would always hail him, and they’d talk, though they doubtless had never been introduced or exchanged anything more than their voices. His boat must once have been rather a dashing craft – sleek, many years before – but it had degenerated into a heap, with flecking paint, loose decking, gashes, wounds, and much creek scumdirt. CCC workers had failed to eradicate the squalors in the 1930s, but waterflow Reconstruction in the 1960s erased any trace of Nate’s life in Ithaca. Nate was born ten years after Antietam; he told us his father had no hands.

Throughout the Rhine era, notions of its crime and poverty were often exaggerated into attributions of a dangerous kind of unwholesomeness and depravity. Socio-economic eugenics supplied enough of a gulf between its people and those of us on West Hill or Fall Creek or South Hill, but democratic educationalization began to integrate persons who otherwise had no occasion to mingle. I became aware of Joe Simon in 1960, at Boynton Junior High on Buffalo Street. He was a Rhiner in all ways. I believe he lived on Cherry Street, in execrable conditions, and his share of life was a desecration. He wore the same clothes every day; and I never knew him to own a winter coat. He was undernourished, small and weak. Despite these afflictions, Joe had classroom friends, and was included in the joshing and jokes, though he too probably never was invited home. One day after school I saw him on the street; he’d secured a one-serving bag of potato chips, and just as he opened it a Creeker came along and needled him into sharing his chips. It is possible to imagine that those chips were the most nutritious meal he was going to have all day. As he palmed the open bag to the other boy, several more Creekers came by, each dipping their hand in for a chip. Joe could only smile, and let all the chips go, with a sort of bemused exasperation that might have suggested he’d rather have the amiable attention of those boys than the chips.

Later that winter Joe and his cousin were walking on the railing of the State Street bridge near today’s “Jungle,” which is presently rather an innocuous area for transient and lifer outdoor sleepers compared to the much severer privation from which it is sometimes said to derive. The other boy slipped and fell into the ice and creek below. I don’t imagine either of them could swim anyway, and certainly not flailing in icy water. Joe, of course, immediately jumped in to try to help his cousin. Death by drowning, both.

Those of us whose parents were reasonably proficient at moving things around according to the little marks on special paper, or those of us who might even have ourselves flourished at moving things around according to the little marks on special paper, will have Ithaca fixed in our memory as a benign and healthy place in which to have matured with other persons who grew up safely too, but it is unlikely that our lives lived out in the second half of the Twentieth Century and curling into the Twenty First Century will have ever demanded taking the measure of that within us which might have forced us to fling ourselves into cold water heedless. I have afforded myself the privilege, and honor, of calling this particular element of instinctive behavior “courage,” and if I cannot quite see it in myself or in others, I can always see when in other people it is not present at all.

Sandra Bowlsby and I ate crackers together. There are Bowlsbys living in the Jungle in 2010. George E. Bowlsby, Sandra’s younger brother, later to occupy the room that Chuckie and Rachel and I did, lived in the Jungle for forty years. He was found drowned, a few weeks ago, in the creek by which he had lived. That would be May 26th, 2010.

Abraham, Isaac and Jacob branched Sephardim and Ashkenazi and let us also say Anastasi; there was a diaspora, and dispersion, expulsion, migration, exiles, pogroms, Nobel prizes, Shoah, homeland-seeking; there was the business of mitochondrial DNA, ancestry-lineage markers and signifiers, and there was parenting. Thus appeared Judy Hamilton. At various times in my life, she has been the only ghost-figure (reified) that featured in the subtile reaches of my own mythmaking. She was always at my side, I realized much later. For six years at the building on Chestnut Street I was consistently measured as the fastest runner, a fact in which, year repeating year, I took much pride. (A stopwatch would reveal that I was the fastest except for Judy, but that never counted because she was only regstered on the girls‘ ledger.) Among us all, because of her true true smile, she was the only knight pure enough to be capable of peering into the grail cup, while Bors and Parzival and Lancelot were finding other excuses to fail, and errants such as myself just went burbling down with the Pequod. Diabetes.

We departed Ithaca in twenty-nine stout ships, bound for Castile. We each in our various cabins circumnavigated the Fifteenth Century world, and harbored in Capetown jails, on Iroquois trek-tramp trudges, and deep within the Age of Innocence; some of the voyages were vivid, bloody and gai, and some were brutally wearying by any standard, yet most of the sailors led lives of quiet desperation and went to the grave with the song still in them. “Quiet desperation” refers to those who (cravenly) sailed too close to the rocky shore, whereupon giant cannibals threw rocks down upon them and sank many ships, and ate the sailors alive as they were drowning.

Harry the Truman looked down upon our soft-edged pine blocks from a large glassed frame. Our naps were opiated. There was much hopping, some skipping, and bunching up in smaller groups. There were indemnities and there was cringing.

Bruce Bryant, pickled with LSD, sledded down Libe Slope. Rosie Wertz, a Rhiner, dressed in rags. Do not think that I am very much impressed with that as a colorful way of describing the habiliments of persons from that slough of poverty, for what she dressed in was rags. Her eyes were crusty, and her face was a sheencake of dirt. Quo vadis my Rosie? Surely not half so easefully onto death and dissipation? One married a Viennese prince; one disappeared into the hollow far plains of west Texas.

Some of us are homers. Albert Smith made the sort of difference that can usefully be called “real” by founding the deli in town that has pleased countless thousands of souls by replicating the perfect enjoyment of taste that is implied in the title of Edmund Wilson’s collection of short writings: “This Room and This Gin and These Sandwiches.” A thousand, thousand sandwiches have been perfect in execution and fulfillment, by measure in excess of the pleasure delivered by William Shakespeare, Milton S. Hershey, or that malevolent Malvolio of a Melvillean Confidence Man, Diane Disney’s pap Walter (another Laestrygonian). Albert’s deli stands. If there ever was an abiding in Ithaca, other than the gorgeous one, it was the sandwiches.

There were fathers. I have held firmly to the image of Sammy Panato firing from the deck of a battleship, an anti-aircraft gun (bob pop bob pop pop, ta,ta,ta,ta,ta) but I also believe that Darlene displayed in a later classroom a swastika flag he’d captured in Europe. John Vasse was shipboard near the Philippines, and he would have been the wisest guy on the boat, unimpressed with rank, and able with the most facile wit to unflate the boneheaded lies and soulless encouragement coming from the captain’s jerk of toadies. My father entered Paris soon after it was possible to do so, gathered up an abandoned German motorcycle and breezed with a friend up and down the long, opened-air spaces of the boulevards. He bumped into Marlene Dietrich in a store; she was searching for nylons. His father had voyaged from Kansas in a prairie schooner back east, to these ravines and lakes of Upstate. Earl flew over Sugarloaf full of bombs, and came home to never say a word about the dead. My uncle Paul is at the bottom of the North Atlantic, in the form of silt.

Ithacans vow pen is champ, and Trojans are material bearers. Mike played ball, but failed to make the Majors. Leon carried a purse, it made us mad. Ricky was from the very beginning, napping on our floor throws, an accomplished gay rights advocate in San Francisco. Ronnie taught us everything we would ever know of cerebral palsy, and there were polio receivers in the building. Sam wondered what made the white kids think they could just go ahead and play. Daedalus had four matrimonial adventures and has regarded himself as a bicyclist. Warriors died. Pete Smith, alcohol. We had cancers, we had strokes. I had thought that Noni Korf was the coolest person I have ever known, though lately I have realized that it is her daughter Maia Vidal who may save us. In other mills, where the breeding of nuclei transpired against different intentions, Ithaca bred actresses, just imagine: Amy Rosoff and Mary McDonnell and others, to walk among whom, as to trip in skipping among Rosie, Barbie, and Rachel in the early fomentation of their wills - was to be flying as if in a dream. I clasp your hand, topic sentence, we used to say; a semiotic and textual present tense. Following the reduction of lighthouses to irrefutable registers, I bicycle through the night ‘til dawn, and read about Passchendaele and Verdun, where boys jumped heedless into icy water.

Eventually, signal June 16th 1953 came along, and shortly thereafter we each deliquesced like butterfly wings into our summertime yaws of even vaguer negative being. Less than half of us remain. One day there will be but one left, and after that last passing, there will remain for other Ithacans, after the last ship has disappeared below the waves, the heart of the heart of the sort of Daisy Miller one can see well beyond the petulance and poofy vanity James has laid upon her: that would be the vision of Judy Hamilton smiling and laughing, susurrant in the trees with the voices of the Iroquois kids who played here six hundred years before us, as they dazzled one another with beauty and promise and their accomplished hunting of bunnies and cunning angling for the plentiful fish in the creeks and lake in the flatlands at the bottom of the hills, as we, after the late war, built our inextricable mazes.




Phil McCray, MFA 1971 Iowa Writers’ Workshop, followed by unexpected divergences: potter, archival consultant and manuscripts cataloger Cornell University, bicyclist Paris-Brest-Paris 1987, image publisher Loudeac Tile Studio Ithaca NY. Present tense: past recaptured - prose fiction and memoir.