Huge thanks to James Diaz and Anti-Heroin Chic! I’m so excited for this one to go live!
Huge thanks to James Diaz and Anti-Heroin Chic! I’m so excited for this one to go live!
So thrilled to share my piece on grief and art that’s live in Cabinet of Heed! This is a massive issue, and I can’t wait to dig into it. Rachel Abbey McCafferty’s The Teeth Were Sharp, The Eyes Were Wide and Wilson Koewing’s Ghosted both absolutely floored me already. Check it out here!
I put the idea of you into a small locket that I’d never worn before, closed it up and wore it around my neck weekends before we couldn’t go anywhere, when I would go down to the things that were happening in the city that had been mine but was no longer, so I could let it glint a little in the sunlight before coming back home. I polished and shined the idea of you weekly, or rather I polished and shined the thing that contained the idea of you. I put it on my night stand before going to bed and smoothed out its chain on waking, set it down to rest just above my heart and watched the way the LCD screen on public transit went haywire, announced that the next stop was a series of incomprehensible pixels. I painted the idea of you in a self portrait after you went away, refused to take it off for the painting because it would be there if I weren’t painting, so it had to be there if I were. I sprinkled the idea of you onto the surface of my morning coffee and stirred it in so I’d have a taste of you for the rest of the day. I put the idea of you in between the layers of all of my dresses, one after the other, till I couldn’t be sure where I ended and the idea of you began. I clawed your name off the mailbox and poured isopropyl alcohol on it and set it ablaze for a flickering blue-fire moment in quiet darkness. It erased any trace of your letters. I put you into the cleanses that I drank morning after morning, intoned the shape of your face as toxin to be purged, rinsed it down the sink like the stubble shavings you’d leave behind every other day. I practiced saying all the sentences you’d shush, the barbs left unspoken if not unearned. And there were the gowns I couldn’t afford but which I would try on, looking for a version of myself I could be okay with, and the way that you didn’t want to talk or see me after you came, how you’d go in the other room and wait for my postcoital chase. I put you down in the poems of that time, clipped events and rearranged the names but kept the idea of you intact. Couldn’t do much else. In the end, I survived on pomegranates and apple cider. Thought I saw a glimmer of you in the pulp, but I decided to drink it down anyway. I was too thirsty not to.
Do you remember the way our shadows collected under the awning as the rain came out of pepto sky? And something like shadow puppetry as we waited for it to stop, boxes tucked under with us but getting wet at the edges? Or what about that night, with Twilight Zone sending gray light into our new place, TV on the ground, but the mattress was there too so it was okay? Or you wanting to christen the bed, the room, all rooms that were now ours, and how I breathed through the panic, yawned through it and said I was tired, maybe tomorrow? Do you remember how I suggested another color for the walls, and the way I stomached your disappointment because that was the color she’d gone with, the woman I was with before you, but I couldn’t tell you that just then? I’m sure you at least remember waking me up that night, telling me I’d been crying in my sleep, and was I okay, would I be okay? I remember being half awake, gathering the blankets under me, and waiting for the pounding to stop in my skull, acrid breath, and wondering if I was breathing underwater–did I ever tell you all that? I keep going back to that sulphur smell in our backyard, the one that wouldn’t wash away no matter how many times I dragged the hose over the lawn, and the way it seemed to have its own ecosystem, the trauma did, and I’d be out watering the lawn at 3 am; I’m sure you remember that? I wrote love letters without the sense of sight, and I hid them where I was sure you’d never find them, scrawled them out backwards so you’d have to hold them up to a mirror just to figure it all out, but I don’t think you ever found any? It’s that time I pulled up one of the floorboards, and I found a pit–withered, too large to be cherry, too small to be avocado, and you smiled a sleepy smile and said we’d turn it into a project before going back to sleep, do you remember that? And then how I spent a week in the attic, brought food and water for the journey and didn’t sleep for five days, and the way I spoke with you through the walls so it seemed like I could be the ghost of our house, and when you cried past the sleep, I tried to wake you with cooing songs? Or the way I floated down through the basement, edging past wires and pipes and nails to get at something like machinery-hum-quiet, and the more I focus on it, the more I realize you can’t see me, can’t really hear me, and I’m stuck here, without you? It’s seeing you come back home, dressed in black, finally putting my pictures away, bagging up my clothes, and wondering: Will you remember me?
And they have a less than 2% acceptance rate! Aaahhhhh!!!
I read a quote recently. It said that a book is a suicide postponed. The person who shared it hadn’t attributed the original author, and I didn’t bother googling it because I didn’t want to remember my brother that way. Because for him, it was the other way around. Because some neat little quote can’t contain all the permutations of mental illness. Because he’s not here anymore, but his half-completed manuscript still is.
I found it on a flash drive in his computer while we were cleaning out his stuff. I’m not a writer, but it didn’t take long to figure out his system. D2, D3, and so on for completed manuscripts. Tracked changes peppering dashes of red. This last one was a D1, and there were no changes. It just abruptly ended at page 150. He didn’t leave any notes, no explanation texts. What happened happened, and he went away. That’s it.
I couldn’t read those pages for months. Past putting him in the ground, past splitting up his belongings like a mis-packed school lunch on a field trip, because none of us wanted his things. We wanted him.
I kept the flash drive. Put it in a lockbox and forgot about it for a few months until one day I came to it fresh, cleaning out my stuff. Ever since his death, I needed my space to be empty and clean. Scrubbed and sterile.
I pull out an old guitar, one of the few things I made a rule to not purge, and I fill the space with sounds instead of things. Our childhood home was filled with mountain ranges of garbage, unwashed clothes, and rotting discards. Our dog would fish out these things, paw at them, and that would give us an excuse to throw stuff out, clean up a little until mom would yell at us to stop again.
So I play something that’s a little progressive. Hard to follow. Hard to play. It’s been a while, so the calluses aren’t there. I play till it hurts, and then I realize what I’m doing. I want to break this thing. I want to break everything that I still own.
I put the flash drive in my computer. It’s past three in the morning when my body starts reading. Whoever’s going over these words then relays them to me as I hover somewhere near the ceiling. And there’s seeing the way he looked in that box they’d put him in at the wake, then putting that away and having some of his story instead, sips of it, then gulps as the sun comes back up and I can’t sleep and this is the last thing he’s left, this is it, there’ll be no more of him beyond what I’m now reading.
I go out into a night that’s like pouring microwaved water onto yourself. I pull a pack of cigarettes out of my pocket. I don’t smoke, but tonight I do, one after the other, until my fingers stink of chemicals and smoke and I feel I might leave what’s in my stomach on the roadway. There’s a wind coming in low, tunneling in past three flats and other vacancies. I go back in and read, come back out and smoke.
I look up story structure, plot, and dialogue. I try to understand what it is that I am going to do. Back when he was still here, people would mention how much we sounded alike, how it was hard to tell us apart on a phone call. So I read up about literary voice. I learn.
It doesn’t come easy. I can hear him tell me that it doesn’t go like that. That I’m getting it all wrong. I tell him I’ll smooth it all out in the rewrite. I can almost hear his laughter–the only giveaway that it was him, because our laughter couldn’t be more different. His like he’s laughing for the first time. Like this is a special thing that he can only share with you. My laughter always sounds forced. I don’t know. Maybe it’s just because I know where it’s coming from. You can never truly know the inner workings of another person’s mind.
When he was alive, he’d tell me about how you can always fix things in the rewrite. That the pages you have are better than the ones you don’t. Did he ever hear himself when he said that? Did he ever remember those words in a darkened room, where the only thing making sound was his breath, his lungs trying to keep him alive?
I get past another ten pages. Another chapter. I accumulate words behind me and climb the fire escape at night when my chest is heavy. I smoke these cigarettes that I don’t want. And when I’m too far into this adopted story to stop, I take it with me up to the fire escape. The screen’s glow lights up metal, a bit of brick. It makes them seem like they’re merged. Like they’re together somehow, and always have been. Always will be.
I’m so happy to be featured in FEED today, and in very good company at that! Jacqueline Brown’s “Oatmeal” is incredible, and Jessica Evans’ “Kitchen Magic” is absolutely stunning. Check out the latest issue here. Thanks, FEED!
My flash piece “Clouds of Static” is live in OPEN: Journal of Arts & Letters! While you’re there, check out all the other work they publish too. They run a really great magazine over there.