Thursday, July 31, 2014

Today's inspiration

“Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don’t bother concealing your thievery - celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from - it’s where you take them to." ― Jim Jarmusch

by Charles Bukowski

"--you know, I've either had a family, a job, something
has always been in the
way
but now
I've sold my house, I've found this
place, a large studio, you should see the space and
the light.
for the first time in my life I'm going to have a place and
the time to
create."
no baby, if you're going to create
you're going to create whether you work
16 hours a day in a coal mine
or
you're going to create in a small room with 3 children
while you're on
welfare,
you're going to create with part of your mind and your
body blown
away,
you're going to create blind
crippled
demented,
you're going to create with a cat crawling up your
back while
the whole city trembles in earthquakes, bombardment,
flood and fire.
baby, air and light and time and space
have nothing to do with it
and don't create anything
except maybe a longer life to find
new excuses
for.

 

  THIRTEEN WAYS TO RAISE A NONREADER

 

Tuesday, July 29, 2014

First Year Teacher Story


On Jun 12, 2014 8:27 PM, "------ ------------" <---------.-------@gmail.com> wrote:

Dear -----,

So, from reading your profile it sounds like you’re a math major? I can only speak on behalf of most English majors, but for the most part, we are not overly sentimental, and neither am I (except for crying at all weddings, most parades, and a few Kodak commercials). When not sipping espresso, or re-reading Infinite Jest I am scrolling through Cute Overload, dining alone, and listening to public radio like most other single white liberal women my age. ;-)

So yes, I am a teacher. And yes, I have lots of funny student stories. On Tuesday, one of the last days of school, a student greeted me, in full sincerity, "Oh, I didn't think you had any pants on." This was a fun way to start the day.  My capris were a clay color, not transparent!

But I should tell you what I always tell people when they ask for my first-year teaching story. 

I started off teaching 9th grade English in ____________. If you have never been there before, it's pretty economically depressed. Lots of abandoned factories (for making ice machines), abandoned railroad lines, and shady strip clubs. The school I was teaching at was supposedly on the "rough" side of town; most of the students were on free/reduced lunch and weren't afraid to fully express themselves with raw and colorful language in the classroom. While it is still Wisconsin, it was a whole lot different from what it's like where I live now. However, I completely adored the school and the staff, especially the principal, who is an incredibly smart and progressive educator, but also professionally terrifying.  Every moment with her was like a live, personal TedTalk.

But for that first year, I had a particularly tough class 3rd hour with students from families my mentor had coached me were "bad news," "'could do no wrong'" or were “somehow tangled in the prison system.”  Right away, the kids obviously tested me. I'm soft-spoken and gentle by nature, and my first year I hadn't yet found my teacher voice.  A lot of being a teacher, I've learned, is becoming an actor at key moments.

That year on Valentine's Day (I can't remember what we were studying --not Romeo and Juliet. Maybe The Crucible) I was exhausted by 5th hour, as usual, and for lunch slumped right down into my chair at my desk. I had the bad habit of eating alone that year. But as I began eating, I noticed my keyboard wasn’t sitting flat. I tried to adjust the little feet underneath but something was in the way.  I lifted it up and found three bronze coins. At first I thought they were scuffed Sacagawea coins. Sometimes the janitor would set dimes or lost earrings she found when sweeping up the night before.  But as I took a closer look, I noticed two figures on the face of the coin rather than just one. Later I found out they were Spintria tokens. 

Supposedly, Spintria coins are bronze or brass coins dating back to Ancient Rome and were used to overcome language barriers in brothels (according to Wikipedia).  Today they’ve taken on more playful use and supposedly can be purchased at most adult bookstores. So naturally, when I found them, I panicked. I immediately felt guilty and thought surely someone would catch me and assume they were mine. That I was exchanging them with children. My teaching career would be over, as I would instantly become a registered sex offender. I couldn't think, and kids were already coming into the room for the next class. So I hid them in a coffee canister of crayons in the bottom drawer of my desk. 

The next period I took the coins to my mentor during her prep. She barely examined the coins, and without even flipping them over said, "Take these to Kathy. Now."  

I found the principal in the cafeteria and asked to speak with her in private. She pulled me into the walk-in freezer.  (Creepy?!) I was already soo intimidated by her but also in love (in a weird, role model sort of way, you know?)   I tried to tell my story, but was nervous, and finally just handed over the evidence. She took one look, chuckled, and said, "Oooooh, thank you for learning with me!" as she motioned me out of the freezer. That was it.

To this day I don't know who left me the coins.  I didn't say anything to the class. I didn't want any of the students to have the satisfaction that they'd scared the shit out of me. They knew I was green, and I, of course, knew they knew. What else could I do?  

And without a doubt, I was later roasted by my colleagues. At a dinner party in May, my mentor placed a tiny net of gold chocolate coins at each place setting, and I was forced to begin perfecting this story. 

Well, your summer sounds fun!  I have no big travel plans but hope to camp at least once.  What class are you maybe taking? Are you a big baseball fan?

Bon soir!

P.S. I really want to play Scrabble with you! ;)


Monday, July 28, 2014

An Educator’s Sonnet

dedicated to my mentors

It goes without saying, September through August, we care
for you, and the tunings of your wild mind. As your world
deflects logic and deviates from focus in a stippled blur,
we stand by: Admit confusion. Be kind. And above all,
listen, we advise you, but watch as you commit blooper after
blooper and then, snafu-eureka! A teacher’s work is in this glance
when you can still look back while also peering, eagerly, ahead.
Time travel, they say, is wasted on the young, who refuse
to adhere to any clock, calendar, or linearity. But who decided
365 days, just about 365, was the way to measure life?
A teacher’s work is in the gut, and we hope, not for agreement
or gratification, but to aspire, and convince you of the dignity
in lingering with an idea half-formed, or a sentence left
hanging, mid-thought, as the bell rings for next period.

Wild Mind wisdom from Natalie Goldberg + others

--Write ever day for ten days in a row.  Do not reread anything you have written for those ten days until two weeks later....Put parentheses around sections you like. Develop those sections. (38)

--no, don't even think about good and bad: think instead of writing where you were present or not, present and connected to your words, and thoughts--is another chance to allow all kinds of writing to exist die by side, as though your notebook were Big Mind accepting it all...We need to learn to accept our minds...We have to accept ourselves in order to write.  Now none of us does that fully; few of us do it even halfway.  Don't wait for one hundred percent acceptance of yourself before you write, or even eight percent acceptance. Just write. The process of wriitng is an activity that teaches us about acceptance. (53)

--Do some oral "I remembers." Do them with friends.  Do them alone...Often students say that they had a great poem or story go through their heads while they were out running or walking or driving. Well this is the next step. Use your mouth and articulate it...This will get us prepared for when we have eaten up all the forests and there is no more paper.  (65)

--"If you want to write, you have to be willing to be disturbed."  Write what disturbs you what you fear, what you have not been willing to speak about. Go for ten, fifteen, twenty minutes.  Be willing to be split open. (71)

--A helpful technique: right in the middle of saying nothing, right in the middle of a sentence, put a dash and write, "What I really want to say is..." and go on writing. (73)

--"Listen, tomorrow I'll meet you here at one [to write]...Don't tell me whether you'll be here or not. I'll pretend you will and I'll be here." (77)

--Play with the idea of home. Return there either physically or in your mind and describe it...Write about the plae where you were brought up. Becareful not to become sentimental.  Try to be true. True to what? To original detail. To get a new perspective, try to write it from a different angle: a dog's your mother's, a visiting aunt's. (96)

--Take a discipline you know well, maybe running...Try that first and then launch into timed writings.  There other skill might be able to warm you up for writing as long as it is about concentration.  Concentration does not mean squeezing your brain tight, but rather relaxing it and bypassing the editor. You are so intent on what you are doing, the internal censor can't get a word in edgewise. (101)

--Make contact with a writer you know about. If she lives in your town, perhaps call her up and tell her you would like to take her to lunch...You don't even need a published author. Make contact with other writers. Go to workshops to meet people. Don't stay isolated. Make an effort to seek out people who love writing and make friends with them. It helps to confirm your writing life. (126)


Tuesday, July 22, 2014

This I Believe: Surprising Yourself

I believe all students deserve the opportunity to surprise themselves and feel curious, creative and smart.
“Oh, look at the baby! She sat up! Isn’t she smart?” my grandmother is known to exclaim, offering her copious, arbitrary praise for each new infant member of the family. Even my grandmother’s Siamese cat Molly Malone knows fourteen words of English!  As a young child, my dad taught me what he had learned from my grandmother and made sure I would never forget: we come from smart people. But my dad has no idea how much this word would continue to confuse my waffling confidence, even into my adulthood. Would I ever be smart enough? How can anyone truly own their smartness until she has the opportunity to surprise herself?
In the third grade I found my favorite teacher, Mrs. Ersbo, and she shared with me the jack-in-the-box excitement of inquiry.  Each week Mrs. Ersbo posted a new research question, and since this was the mid 90s, before the convenience of smart phones and Wikipedia, I was forced to climb up to the top floor of our school to the library, and crack open its dusty, old set of primordial encyclopedias. I can’t tell you what the questions were that Mrs. Ersbo asked or what an example of an answer was. I could make up something about the world’s largest squid or the name of that one lung disease you can get from inhaling fine particles of silica and volcanic ash.  Instead what I remember most is Mrs. Ersbo encouraging me to wonder. Sure, my family had labeled me “smart” since birth, but I’d never been told I was curious; this I'd earned for myself.
I believe all students deserve recurring opportunities to recognize their curiosity and creativity.  But this takes a culture of confidence, and for some reason, schools are replacing these celebrations with other rituals: factual regurgitation, self-deprecation, and collection of data; and if you care too much about your brain and learning, especially as a 10th grader, you’re branded as a try-hard. This is dangerous for students because it is the stories we tell ourselves that we believe in the most.
I believe all of my students have the right to feel curious, creative and smart. What do you mean you don’t want to feel creative, I ask my students in 10th grade English class.  When does feeling smart, acting curious, knowing you can be brilliant ever put you at a disadvantage?  I’m not talking about arrogance, or when we use labels to cover our insecurities. I’m talking about the giddiness of articulating an idea or solving a problem, the glee of engineering a window to see into another world, or better yet, holding a new mirror up to a corner of this one.

Mirage

a short story by Jamie Utphall and Benjamin Kilness  


It was early morning, and the sky was vast and quiet.  Everywhere was the sun, with pure hot white stretching in all directions. Everything waited, bleached and vulnerable.

He sat in the driver’s seat squinting at the map and jumped, startled, when the trunk lid slammed shut.  She walked over and stood next to the passenger window. Somewhere a thermometer read 120 degrees only because that was the highest a thermometer could read.
Too bad I don’t know how to read a map, she said. She opened the door and sat down next to him.
He tried to keep his gaze steady on the scrawling blue highways and red interstates. He’d let her sleep all the way through Nebraska.  What a perfect gentleman he’d been.  Mostly perfect.
Fuck it! What were we thinking?  She sounded as though she might cry.  You can’t even hear me right now, can you?
We just need to be more careful, he said. But he knew he was thinking of how her eyes had gone quiet when he had joked with that waitress back in Reno. 
Get us out of here, she said.
She kept it ready, always, tucked in her back pocket because there it would wait until needed. She crossed her arms and turned her head, pretending to study the blinding expanse.
He didn’t make any sign of turning the key in the ignition.  Instead he looked at her and ran his fingernail along the crease of the map. He knew about her other speechless cowboys, but where were they to rescue her now? She needed him.
Give it here, he said finally.
I want to go home.  She was crying now.
No, hand it over. He unclasped his seat belt, and twisting at the waist, stretched over the console. 
We were too ambitious, we weren’t thinking. Now it’s ruined. We are ruined, she gasped. The waitress’s name had been Beverly and not once had she offered to refill her coffee.  It seemed it was always a waitress. Or a convenience store attendant.
He moved towards her. But he was worried she might slap him.
For fuck’s sake!  She turned away and hid her face in her hands.
He took in a deep breath, and began to settle back into his seat when suddenly, he dove completely over the console, as much as one could in a compact hatchback. He straddled her to hold her down. They both felt him strong against her hips.
Get off! She kicked at him. Her face was contorted and veined as she threw out her knees and fists, thrashing more, thrashing harder.
But with two fingers he was just able to reach into her back jean pocket. He fished at it, trying to grasp its slimness between his ring and middle finger.  Her knees were hitting the dash now, and she’d struck him in the chest and now the jaw. His fingers slipped.
No tumbleweeds skirted past them, and no clouds shifted over the blinding totality of the sky. They were frozen, locked in struggle. With his other hand, he worked his fingernails deeper and deeper into her side, where the flesh was softer. He knew the marks under his nails were purple and deep.
Let go of me, she seethed, hot in his ear.
Not until you hand it over, he said.
She heard the map crinkle upwards and rip against the edge of car before it whipped past in the wind, gone forever.
No! she sobbed.  She fought for control of his wrists but he wouldn’t let go of hers.
She would have to use her teeth.
He felt her tense even more then, before her eyes going quiet  like they had back at the diner. Even so, he knew he would always be the best man he could for her.
She spit and felt the wet across her face.
I cut yours out so you couldn’t use for anyone else.  Like the others had, in her lap lay his tongue.

Friday, July 18, 2014

"Thrive" after Mark Doty's "Verge"


From two months within the infinite and fleeting green
 
of Wisconsin summer the mountains and salt flats
call you back into another life of speed and thrill
and thinning air,
                                    but even here
across flat, yellowing cornfields and scrolling prairie
you make my breath skip:
                                    Our nights, we have passed
without blinking, with restless eyes and hands and
mouths double-tracing every last curve and scar
sated yet hungry with this moment and for the thousand
that will follow.  Somehow, you pull me down
and fasten me to both the desert and the stars
with an alchemy of language, of laughter, and warmth.

Did we guess we’d plummet, so hard and fast, as they say,
into a depth far brighter and more terrifying
than the slope of any blinding precipice?
Can you know, 
when you are flying,
falling,  how  tethered
you still are to gravity?

Of course we will catch each other,
and those who come within our reach,
because whatever it is, it's a contagion, bed fellows 
with entropy but working in the opposite direction,
like weeds, like joy, like cancer, like fire’s appetite.

                                                                        Then, just now
I imagine the elegant towers and erosions
on the face of the Rockies, and the wild grace
of swirling dust and drunken rabbits,
and wonder if just anyone off the street can notice
how time and space around us bend
as if it is completely ordinary
that we are a new universe, surging. 

Thursday, July 17, 2014

Every Day is Mother's Day

What I Learned from My Mother Mother

I learned from my mother how to love
without conditions, to have plenty of patience
and origami paper nearby in case you need
a ritual to sooth your quavering heart and hands.
I learned how to be, how to save magazines
to dissect when folding isn't enough, how to read
myself into comfort because the library doors are always open,
even when all the others have been slammed in your face.
I learned how to breathe in empathy, instead of waiting for
my turn to speak. I learned how to listen, even to strangers,
but discovered attending to those you know best is much harder,
and how to press their moist eyes to your shoulder and offer
what words never can. Like a seamstress or scientist,
I learned how to notice and respect details and offer them up
when another's suffering surpassed my own usefulness
because humans love hearing what makes them unique,
and once you know how to do this, you can't stop yourself
from stirring her creamer into her coffee just so, sandwiching
a cat between your two beating hearts, or writing her this poem.

Inspired by Tacey Hadley, heartache, and "What I Learned From My Mother" by Julia Kasdorf

Tuesday, July 15, 2014

Bats Steal 7/14 by GMWP 2014


With new friends in the Atrium at 8:49a.m. we wrote our way in: 
How a few buttons could rinse through our memories
like rain on a cool metal roof in torrents of detail
and patterings of nostalgia and mystery and lime green chiffon,
because all great potlucks aspire towards chance,
how Zelda’s inquiry, “How to make kids want to write
like they want to shoot at one another with arrorws?”
could conjure attention and relevancy and inspiration
and give us all the choice, the chance, to think about spiders,
and Bob Dylan, and The Origins of Name.

We wrote for stories from small moments, and by not thinking
too much about any one artifact or scent for too long
because “sometimes we exaggerate in order to relay not just the
facts of an event or a time, but the feeling of it.”

We wrote because dialogue, and placing ourselves among history,
helps build circles of responsibility, because writing leads to the idea
And not the other way around.  What are the stories told to you about you?

We wrote for the chance for choice and to anticipate tomorrow’s
celebration which is sure to contain multitudes, but wait:
 THIS I BELIEVE DRAFT DUE NEXT TUESDAY.
WHAT DO YOU MEAN BY ‘EDUCATOR’S OATH’?
MAKE SURE TO UPLOAD YOUR TW FEEDBACK
IN A TIMELY FASHION PLEASE.  But what will this Jacob’s
tiny prophecies reveal about our fate?

We wrote for the chance for choice, for stacking Russian Dolls,
for the chance to yell, “GET OUT OF THE WAY YOU STUPID 
ASS HOLE,” in our loudest toddler-voices.
We wrote for the chance for choice, to manipulate our mothers 
and strange old ladies for one-cent gumballs 
because a writer’s life is led by the writing, in the way
  an appetite is led by re-appearing delicious homemade cookies.  


What For

At six I lived for spells:
how a few Hawaiian words could call
up the rain, could hymn like the sea
in the long swirl of chambers
curling in the nautilus of a shell,
how Amida’s ballads of the Buddhaland
in the drone of the priest’s liturgy
could conjure money from the poor
and give them nothing but mantras,
the strange syllables that healed desire.

I lived for stories about the war
my grandfather told over hana cards,
slapping them down on the mats
with a sharp Japanese kiai.

I lived for songs my grandmother sang
stirring curry into a thick stew,
weaving a calligraphy of Kannon’s love
into grass mats and straw sandals.

I lived for the red volcano dirt
staining my toes, the salt residue
of surf and sea wind in my hair,
the arc of a flat stone skipping
in the hollow trough of a wave.

I lived in a child’s world, waited
for my father to drag himself home,
dusted with blasts of sand, powdered
and the strange ash of raw cement,
his deafness made worse by the clang
of pneumatic drills, sore in his bones
from the buckings of a jackhammer.

He’d hand me a scarred lunchpail,
let me unlace the hightop G.I. boots,
call him the new name I’d invented
that day in school, write it for him
on his newspaper. He’d rub my face
with hands that felt like gravel roads,
tell me to move, go play, and then he’d
walk to the laundry sink to scrub,
rinse the dirt of his long day
from a face brown and grained as koa wood.

I wanted to take away the pain
in his legs, the swelling in his joints,
give him back his hearing,
clear and rare as crystal chimes,
the fins of glass that wrinkled
and sparked the air with their sound.

I wanted to heal the sores that work
and war had sent to him,
let him play catch in the backyard
with me, tossing a tennis ball
past papaya trees without the shoulders
of pain shrugging back his arms.

I wanted to become a doctor of pure magic,
to string a necklace of sweet words
fragrant as pine needles and plumeria,
fragrant as the bread my mother baked,
place it like a lei of cowrie shells
and pikake flowers around my father’s neck,
and chant him a blessing, a sutra.


Garrett Hongo, “What For” from Yellow Light  Copyright © 1982 by Garrett Hongo. 
Reprinted with the permission of Wesleyan University Press.

     Source: Yellow Light (Wesleyan University Press, 1982)


Monday, July 14, 2014

Love, Your Dear Old Dead : a letter (multigenre project)

"Portrait of Dad." J. Utphall. 2009.

  I receive another email from you today, Dad, and I see by the time stamp that you’re up early and you’ve once again failed to answer any of my questions. This latest email includes a code to copy and a link to one of those online greeting card websites, where I paste the intricate string of alternating letters and numbers, and an image of a dancing leopard impersonating Elvis hijacks my screen. The cat twitches, thrusting its spotted tail and pelvis, mouthing, “Hunka Hunka Burning Love.” A confetti of bloated letters spell out “Thinking of You.”  I shift in my chair, pulling up my knees to sit cross-legged. People must send these greetings to their lovers and friends, and for a moment I imagine you do too, and what she must look like and how she might tolerate you. It’s a game I’ve always played, imagining the people other than me, your only child, who might have the capacity to show you patience. Your message, as always, is brief: “It’s hot here. Can’t eat raw vegetables anymore, but hope you enjoyed the cat. Love, Your Dear Old Dead.”
            What is it this time? the boyfriend asks.
When you left for Slovenia a few years back, I thought I’d never hear from you again. But you soon appeared, somewhere invisible on the other side of my screen, behind a million twisting copper tubes, telephone wires, and a string of radio waves bouncing between the moon and back. In messages you call me My Darling Daughter, and write that a stray cat near the lake where you walk in the evenings, probably with that lady friend, is very friendly and rubs its nose and whiskers along the cup of your hand. You sign messages, as you always have, Your Dear Old Dead. Mom thinks, of course, that you have finally succumbed to your drug addiction, and she must thank herself for divorcing you twenty years ago. But she has always told me, Your dad has always loved you. And I believe her, even if you were never where you were supposed to be, or like now, had already passed through into the wanderings and incoherencies only you can understand.
            At least you know he’s doing all right, the boyfriend says, breaking the late afternoon silence.
            Sure.
            Instead, I think about this most recent message with the Elvis cat, measure it against others and more distant memories. Oddly, I remember the afternoon before I started preschool when you covered our dining room table with a large sheet of butcher paper, torn unevenly at one end, and pulled out a purple crayon from its box and said, I will not let any daughter of mine go to the first day of school without knowing how to write her first and last name. You then printed our first name where your dinner plate should have been. You drew a large, loopy “J” followed by the vowels and consonant. The letters were only a little more distinct than from how I noticed you signed a check at the grocery story, in one giant and hasty flourish.  Is this how you now press the space bar? How you might quickly press send, and turn back to your life somewhere else? Strangely, as we send our lines of text, transmitted then as lines of code, across the scrolling wires and invisible singles separating us, I remember that it is you who not only gave me your name, but also the power of naming things myself, of language.  It is a language of some kind that connects us now.
I’m plucked from my reverie as the boyfriend descends upon the kitchen. Banging cupboards and clinking pots and pans.  I re-cross my legs in the chair and close my eyes, and remember back to when you first sent a quick message to say you were planning to leave for Slovenia, to meet an online lover. You were leaving empty handed, from the cottage where granddad told you he had buried his life savings. Even though I long ago vowed I would never do it again, I always have tried to understand what you are telling me. Your Dear Old Dead. I’ve mulled that signature over and over, wondering what you might mean. After jumping ship my freshmen year of high school you’d occasionally send—to me at least, I’m not sure about Grandma or your brothers whom supposedly you owe increasingly large sums of money—a rogue email, answering none of my questions, but sometimes dropping hints about a mysterious medical diagnosis. Are you half dead already? What are you sick with? You might as well be dead to me, after all these years.  Once you told me and Mom at some theme park when I was eight years old, so two years after the divorce, I will never stop loving both of you. My mother sat stern and stiff between us and we plummeted—silently—down Paul Bunyan’s log chute. 
I love you too, I say now at my computer desk.  I can still hear the boyfriend’s intermittent clanking in the kitchen.  
            Or maybe you mean you gave up long ago: out of all the fathers I might have had, I have you. You exist for me alone. Distances, you imply, mean nothing. You had already given up. You’re only as dead as you can be, for trying. And it’s true: somehow, you’ve always let me know. When I was a teenager, the emails, and sometimes boxes of my old toys on the porch, came to my mom’s house, but later, when I went to college, and then to the first of several apartments, and finally to this slightly less crappy apartment I live in now, I can only expect the irregular email, sent to the same email account. For a brief period of time, before Slovenia, we video-chatted. You pursued me, and no matter how far away you intended to seem, you made your presence in my life an instable stability. In your way, I guess, you’ve been dependable.
            I leave this latest email with Elvis cat in my congested inbox, scattered amongst the others, spaced at different intervals, closer together near the holiday months, and farther apart beginning with Father’s Day when I always feel compelled to email you. Or not. Then I pull out the pictures I have kept since I was a child and see us standing on either side of Mickey Mouse, and yes, there you are, hunched beneath my overstuffed Cinderella backpack.
            He’s probably up in Minneapolis now, I tell the boyfriend, as if that were explanation enough for your absence. You’re a professional occupier, a homeless man with a political agenda. I describe a life of shameless squatting and drug abuse, and the boyfriends nods with a dishtowel slung over his shoulder.
            Dinner will be ready in fifteen, he says.
            But in all these emails, Dad, I imagine you: you are the first one waiting in line at the downtown public library overdressed for the heat and carrying most of your possessions on your back, or you are buying a coffee at the internet café and sneaking back to use the in-house computers across from bathrooms. You overstaying your welcome in the basement of a friend’s friend with her laptop perched on her skinny knee. And sometimes I am there with you, and ask, Do you mean it? What about your veteran’s benefits? Can’t whatever is wrong can be fixed?
            Several times I have decided you are dead; I’ve even wished you were dead, but then another email would appear, with another cryptic message to ponder. And I’ve always read them, even when Mom or Grandma has said not to put too much stock into them, even if the messages have driven me to tears or rage. I’ve been dependable, too, you see. I’ve always kept track of where you might be, and saved the emails. Sixty-three in the last seven years, more if you count the e-Cards and YouTube links: our new family photos.
For the past twenty years I know I haven’t always given you credit for teaching me what you did. Instead I have let my scorn and blame for your absences fester, and for all the ways you have fallen short.  Do you deserve to walk me down the aisle some day?    
On autumn evenings, when the windows are open to the dark, I sometimes feel the miles dancing between us…the cartoon cats…the hyperlinks jetting back and forth from space—strange movements not meant to be felt all at once—all the ways of giving up without the dignity of death. I feel them as if they aren’t ringlets of copper and satellite frequency tangled in the far away sky, but real, and close enough to snag my heart with hope. And sometimes in the middle of the night, I’ll sit bolt upright, and know that I’ve been screaming in my sleep, but my cheeks are dry and the boyfriend sighs without waking, and I ask myself, What is it? What is it? And I’ll imagine the relief of learning about your death—but what would that change? You are, and always will be, my strange and only father: like a satellite’s flickering, your presence, Dear Old Dead, fades into oblivion, just out of my reach.

Natural Selection : a short story after Harunki Murakami's "The Year of Spaghetti" (multigenre project)

            I liked the idea. Love.
            In our new apartment I always kept the sheets clean and crisp. Slipping beneath fresh covers was a treat I looked forward to each night. Each morning, I would turn back a corner of the made-up bedding so that later on I could peel back the rest and dissolve inside. An sometimes, when I woke up to find the sheets still flat and untwisted around, like warm concrete that refused to buckle, I basked in a great sense of pre-8 a.m. accomplishment
              After we moved in, I went shopping at a mid-range department store and bought a set of pastel green 400-thread count single-ply Ralph Lauren sheets for a double-sized bed and an extra-firm pillow sturdy enough to swear upon in court. “Are you interested in our luxury down mattress pad, sir? L. L. Bean?” The salesgirl had asked, but I told her, another time. It would leave me something to look forward to            in the cold, winter months ahead, craving novelty but could barely finding the energy to leave the house.
When I returned home I unwrapped the new sheets from their plastic, stripped the bed, and began to prioritize our linen closet’s hand-me-downs. I refolded the off-white ribbed Egyptian cotton, and stacked up like tree rings the extra pillowcases. Creased and faded were the two sets of cheap, papery sheets we had used during our lives as bachelors.
On Sundays I fluffed the pillows on the bed, four total, and flipped over the one with the ink stain.  I swept the bare mattress where particles of maybe granola, cat litter, dead skin, and whatever else stuck to the bottoms of our feet and traveled into bed with us in a kind of pollution or symbiosis.
They say the first year is all about survival.
As a rule, I alone made the bed because I was convinced this was an act only complicated by collaboration, and, at the time, it was important for me to feel the gratification of seeing a task through, beginning to end.
I kept a half-glass of water on my nightstand and always ate a sugary snack before bed, as children do—toast with jam, a cookie, or a small bowl of yogurt. Later it became almost impossible to sleep without this, and so after dinner I set out the dish or the utensil needed, and all throughout my post-dinner activity, grading papers, running an errand, or walking around the block, I would look forward to the extra glucose. “Aren’t you worried you’ll gain weight?” you said, slipping out of your boxers. But from Sunday to Saturday, one evening winding down and recoiling into another, I told myself you found my attention to habit somewhat endearing, especially when compared with the torrents of your own dullness. How could anyone not find apathy so overwhelming?

But some nights when I peeled back the covers, I had the distinct feeling I might die within the night, and strangely, the person I imagined finding my body was never you, the obvious choice, but an acquaintance or often times a stranger—how they would get into the house?—who would not arrive until days later to find my corpse, draped in wrinkled linens.  Once, it was a quiet girl who smelled like chlorine who had sat next to me in 10th grade geometry. Another time it was Vince Lombardi, who grinned with his hands clasped, wringing them shoulder to shoulder across his boxy chest.
Vince Lombardi?
However illogical, these rescuers would hover in the space just beyond my wakefulness, and without invitation, usher me into the comfort of a temporary death.
This is a story about surviving.

Fall fused icily into winter, the days grew shorter, and my bedtime crept and rivaled dinner, as if the ritual of sleep were my one and only sustenance. Like a biologist preparing for dissection, I took pride in arranging everything just so, including my own limbs. They say one’s sleeping posture reveals deep yet essential secrets about one’s mental state.  Those who sleep on their stomachs have something to protect, and those who sleep on their backs with their elbows and palms at their sides have the most confidence. My natural sleeping posture combined the fetal position with an upside-down version of how, at age nine, I had been taught to properly slide into home plate, my legs mimicking the shape of the number four. I had not thought a lot about what this posture said about my inner child, or my relationship with my mother, or the tension my body type carried in the muscles of the lower back. How could I? One’s sleeping position is determined by an endless, myriad of such external factors, including but not limited to:
                        digestion of a heavy meal,
                        lack of stretching after exercise,
                        how long or how much one had already slept that day,
                        the stress-level of events occurring immediately prior to sleeping,
                        the stress-level of events occurring immediately after sleeping,
                        the stress-level of events occurring at any time within the near or distant past or future of sleeping,
                        the temperature of the room and amount of blanket coverage,
                        jetlag, drunkenness, or daily caffeine intake,
                        post-coital fatigue (which is said can be deadly among squids),
                        the sleeping postures of participating organisms.
And then sometimes there were the pitiful, insomnious nights, hopelessly perforated by trips to the toilet, to the fridge, or the couch, the nights hung together in one liquid, long week of torment.
            And most importantly, what I would never openly admit, sleep always carried with it its own mysterious rules of bodily routine or renewal, which harnessed themselves to that First Year in ways I could never even begin to understand or describe, however much attention I paid. All rituals have a way of making certain things disappear.
                       
            Before the alarm clock rang on February 12th, at 4:19 A.M., I waited with my hands folded. The sky would not brighten for hours, until after the school day had already began, and so I lay there, waiting, as if riding the bus, content with letting only time do the worrying.  
            At first, I didn’t recognize the voice speaking. Its sound was more like the feeling of scanning your eyes across pages and pages before realizing you hadn’t actually comprehended a single word of what your eyes had passed over. Slowly, over the next few seconds, the speech began to take shape, and I began to observe its predicates and articles. Unmistakable syntax. One hundred percent grammatical sentences spoken by a one hundred percent real voice. I reached for my glasses.
            The voice was like a kind of third party, a friendly neighbor who sometimes struck up a conversation, by unlatching your back door without knocking, or by poking his head over the hedge when he saw you working out in the back yard. Whether this neighbor-figure had been invited was of little consequence. He was both well known and anonymous, trusted yet mysterious. Yet there was comfort in that only something concrete would bring forth his need for contact, such as a relayed message from the water meter reader or the endlessly volleyed favor of mowing the conjoined boulevard. I had, I admit, made the habit of avoiding this said neighbor, and only carried on the most reluctant small talk, to the point where I had caught myself repeating “and how are you?” a second time, which marked my inattention with bright, neon lights. This man should already know I wanted nothing. But sometimes maintaining a façade is easier than not.
            “Do you think,” he began, “ they make cat houses on blimps?”
            His subject then, became more or less clear.  I looked at the ceiling and cleared my throat. There was something troubling in the man’s voice, and whatever tension was gripping him, I knew I didn’t want to get too involved.
            “They let people smoke on the Hindenburg,” he continued, “so don’t tell me it’s out of the question.  Everybody nowadays assumes the answer’s obvious, but it’s not too difficult to remember a time when it wasn’t.”
            “Why’s that?”  I said.  The words felt fuzzy and fermented in my mouth, so I lay there, rehearsing infinitives: to floss, to brush, to put on the coffee.  Morning was all about efficiency, not manners.
            He didn’t respond.
            The darkness between us was like a brown picket fence.
            Then the pillows separating us arched upward, in the shape of brown fence posts, as if we were on an episode of Home Improvement.
            His breathing changed, and for a moment I thought I was off the hook.  “Give me a break. It’s not just about knowing and not-knowing. We’re talking about a set of conditions—expectations, really—that with ample preparation are nearly absolutely predictable.”
            He was right. There really was no reason you couldn’t take a cat house on a blimp. But I wasn’t about to give him this satisfaction. Do that, and the next time he popped his forehead up over the fence I’d be subjected to his theory about the history of mispronounced Italian in the American restaurant industry. I wasn’t about to act interested.
            “Nothing you say or do will make me unlovable,” he said next.
            I paused, thinking. I didn’t have an argument for that one. My judgment seemed clouded by either too much or lack of information. It’s hard to argue with someone you’ve let become mostly invisible.
“I’m going to be late for school,” I said.  It was still hours before sunrise.  But the urge to flee, to escape, had been programmed into my muscles, so much so that at that very moment the worry that I would somehow miss first period altogether seemed deeply probable and real.
In my head I rehearsed what the next few seconds would bring, me emptying the bed and smoothing out the covers.
“You’ll probably ask if we can talk about this later” he said. “There’s no way you could not know this already, but you’re not in trouble and I can’t help you.  That’s the good news.”
I was quiet for more than a minute, my thoughts folding and refolding linen. 
“Is it?” I said.
It was dark, but I imagined him waving a little perfunctory salute from behind the fence.  “Goodnight,” he said. “Have a good day at school.”
“Good night,” I said.
When my feet hit the carpet, I realized we had somehow sailed into morning on our last thin sliver of compromise.

Thinking about making and re-making the bed to achieve large swaths of uninterrupted sleep is one way to measure time.  But there are others.
Sometimes I wonder what happened to Wilson. The thought usually pops into my head as I’m stripping off week-old sheets like birch bark.  After Wilson crept back behind his fence—did he disappear forever?—drowned and forgotten inside that mattress?