“Good Will” by Beverly Lucey

Good Will
“Remembrance” by Mia Avramut, acrylic and paper collage on canvas, 8 x 8 in.

Will might have to kill Candace who works across the aisle from him. She crunches on hard butterscotch sticks whenever she gets an assignment she hates. She grinds them up like a beaver with a #2 pencil.

Still, he’s got to “roll up the sleeves and get to work another day another dollar if a job is worth doing it is worth doing well.” That’s what they say. Except one of the rollers on his ergonomic chair disappeared somewhere between yesterday and today. Will tilts. Will thinks someone on the night shift took his wheel away. He can’t roll up his sleeves to focus on the spreadsheets splayed in front of him because he’s wearing a scratchy-feeling golf shirt from J.C. Penney his wife picked out. Also, working from a tilt makes his eyes focus funny. He should find something in his cubicle that matches the thickness of the wheel.  A deck of cards is as close as he can get.

Some acoustical flaw about the sound-muffling panels in the room amplifies and deposits grotesque noises from odd corners of the large office and funnels them to Will. Hard to tell who is using the Emory board, who has the sound turned up for email alerts, who is trying but failing to suppress farts. On top of the spreadsheets, Will thinks he sees candy-stick  wrappers, fingernail dust, multiplying Betty Boop dolls, and a cloud of flatulence. Will suspects that others in the office add his name to newsletter lists with regularity. He doesn’t want vitamins or discount thongs, or news from Guam. But at 10:00 a.m. with a plunking sound, his inbox receives #082, “Small Comfort.” It’s the poem-of-the day sent from yet another practical joker, the gods, or Billy Collins*…and it saves him. At least from killing Candace.

 

 

Beverly Lucey, a winner of the 9th Glass Woman Prize for Fiction (2011), moved back to western Massachusetts after dallying in the South for a decade. While in Georgia, she learned that “Bless your heart” is not necessarily meant to comfort, and while in Arkansas she learned that every politician must make an appearance at the January Gillett Coon Supper, where deep-fried raccoon is indeed on the menu. She has an extensive fiction presence online in e-zines (in Zoetrope, All Story Extra, Feathered Flounder, Absinthe Review and others), and her short fiction has been published in  print: Flint River Review, Moxie, Quality Women’s Fiction (UK), Wild Strawberries and, most recently in, Twisted Tales. Four of her stories are anthologized in We Teach Them All (Stenhouse).

 

“Walking on the Effing Moon” by Roy Bentley

Life Saver
“We Are Butterflies” by Mia Avramut, encaustic collage, 5.8 x 8.2 in..

The summer night Mark Chapman sat in the parking lot
of the L & K in Heath, Ohio, Tom Kozlowski whispered
that it might be best to leave Mark alone in the car. We
were tripping and Mark had asked to be left in the car.
We nodded. Collected ourselves. Went into the L & K
and ordered coffee. A couple of cheeseburgers. Ate slow.
We were in the restaurant for about an hour. Maybe longer.
And now you need a word: englottogaster. It means to speak
from the belly or the gut. Like a ventriloquist. Why that word?
When Tom and I got back to the Ford and we opened the door:
Guess where the fuck I’ve been? No, not just in the car? I’ve
been to the moon—the fucking moon—and I walked around.
Even tripping, if you hear a friend mention the Earth’s single
satellite as a place he’s very recently visited sans rocketship,
as if the moon is much like late-summer dark, and no biggee,
then you tend to discount what you hear. However, if what
you hear doesn’t seem to be coming from the person you
know to be someone left in a blue Ford Fairlane in Ohio
because he was experiencing some difficulty keeping
himself in check—“maintaining” it was called then—
if the voice sounds disembodied or like it originates
from a blackness dissimilar to the one in the throat,
then you hup-two-three-four back and listen carefully.
Sure, you may recall that Neil Armstrong is from Ohio
and so an American left a set of footprints in that dust.
You don’t need a tab of Blue Microdot to hear assertions
as astonishing, or the voice in which they may be offered
as of unknown or exotic origin, but it helps. It can’t hurt.

 

 

 

Roy Bentley has received fellowships from the NEA, the Florida Division of Cultural Affairs, and the Ohio Arts Council. Poems have appeared in The Southern Review, Shenandoah, Pleiades, Blackbird, North American Review, Prairie Schooner and elsewhere. Books include Boy in a Boat (University of Alabama, 1986), Any One Man (Bottom Dog, 1992), The Trouble with a Short Horse in Montana (White Pine, 2006), and Starlight Taxi (Lynx House 2013). He has taught creative writing throughout the Midwest and south Florida. These days, he teaches at Georgian Court University and lives in Lakewood, New Jersey with his wife Gloria.

 

“at goodwill (radiation, day 32)” by B.J. Best

radiation day
“Pathways in the Sea” by Mia Avramut, encaustic and gouache on wood, 8.5 x 11.5 in.

we wield our squealing cart, ready to rifle
through the detritus of other people’s lives:
the fritzy stereo, the german bible,
baskets, scarves, puzzles, bent butter knives.

our son wants to visit the toys, buried
like a graveyard of childhood. broken parts,
electronics no longer batteried:
o birthday, o christmas, what callous heart

would want to be bereft of you? it is my wife
who finds the vintage cat pitcher made in japan.
we will take it home, let it purr in our life,
now a little brighter than when the day began.

thrift stores, like cancer, serve to remind:
you never know what’s hidden. what you’ll find.

 

 

B.J. Best is the author of three books of poetry: But Our Princess Is in Another Castle (Rose Metal Press, 2013), Birds of Wisconsin (New Rivers Press, 2010), and State Sonnets (sunnyoutside, 2009). I got off the train at Ash Lake, a verse novella, is forthcoming from sunnyoutside.  He lives in Wisconsin.

Read an interview with B.J. here.

“Life Saver” by Mary McCluskey

City Morning
“City Morning” by Mia Avramut, wax on paper, 5.8 x 8.2 in.

The thing about living with a guy who’s just out, who’s done his time and just hasn’t settled back in yet, he jumps and twitches and doesn’t sleep, and his eyes dart left and right and he’s always turning in the street, looking behind him. The thing about living with this guy is that even when his voice is soft, a whisper, the razor blade edge of it seeps through. When he’s saying oh, you’re so hot, you’re special you are, there’s something else.

I hear it, this thing in his voice, but I think – he’d never hurt me. He just wouldn’t.

We’re watching TV late on Friday afternoon when he kicks the wall and says – let’s go out. I jump up and we walk fast, him five yards ahead of me, and right there in town there’s a charity fair. Stalls with hand-made sweaters and jams and pickles and booths with goofy games. He laughs at the old ladies and he has a go at the shooting range, just for the hell of it, and moves the gun to the right trying to whip it around as if he wants to wave it all over the place but the guy looks at him hard, and it’s chained anyway, so he can’t budge it. He wins two goldfish. One boy, one girl. Well, that’s what the old gal said. I name them after him and me – Ted and Jackie, because Jackie has this streaky bit on top, like my hair.

I buy a proper bowl for them. He says it’s waste of money. He says they’ll be dead before you get home. Turns out he’s right. Half right. Jackie dies the next day. All her colors just vanish. She’s fine at first, then there she is, floating on top of the water, her gold bleached out. The boy fish doesn’t seem to notice. Keeps swimming round her.

In the pub when I tell Ted that his fish is still swimming but mine is dead, he gives me a look, picks up his drink and drains it, his eyes all funny and contorted through the bottom of the glass.

At home, I wait until I hear the TV go on, then I pull Jackie out of the bin, flatten her out on the kitchen counter, looking for some deliberate injury. I know he killed her. Then he’s there behind me and I scramble about hiding Jackie’s body in kitchen towel, throwing her in the trash and he wants to fuck now, and he says – you’re different, nobody gets me like you do. And when he says that, as if I’m the only one in the world who does, I give in. I can’t help it. In bed, afterwards, when he seems calm, I ask him, I say – tell me what happened with that girl. Not what you told the jury. The truth.

I expect him to yell at me, say shut the fuck up but no, he wants to tell me.

Saw her in the club, he says. She was hot. Really hot. And gagging for it. I was just fooling around. I push her up against the car and she yells something and then she’s got this thing in her hand, some kind of spike and I grab it, and push it towards her neck, just to shut her up but she moves and – He stops then, turns away from me. Stupid bitch, he says.

It’s when I think of her there, all her colors bleeding out, that something goes click in my head. My body cools. I don’t want him touching me. He doesn’t notice, he’s limp now, relaxed. I want to get up and run. Run away, like she should have done.

And the next night, when he’s gone to the liquor store, I pack my bag so fast and I think – that goldfish saved my life. I don’t know how, but she did.

 

 

Mary McCluskey’s prizewinning short stories have been published in The Atlantic, The London Magazine, StoryQuarterly, London’s Litro Magazine, on Salon.com, and in literary journals in the United States, the United Kingdom, Australia and Hong Kong.  Her novel, INTRUSION, is scheduled for publication by Little A in March 2016. She divides her time between Stratford-upon-Avon, in England, and Los Angeles.

Read an interview with Mary here.

 

“You Belong” by Tina Pocha

You Belong
“Wax becomes fire” by Mia Avramut, wax on masonite board, 6 x 6 in.

She gave me a gift
her disclosure
her addiction
She laid it out
as if to say
here
warm your feet on this
And I do
each time I feel
the world rise up
to swallow me
I remember
I am not alone
on that cold tile floor

 

 

 

Tina Pocha was born and raised in Bombay, India. She is a scientist by training and a writer by avocation. She currently works as an academic in the field of language and literacy, and is a new and emerging poet with publications in Cadence Collective and Eunoia Review and more publications forthcoming in Hyacinth Press and East Jasmine Review. You can find more of her writing at www.tinapocha.com

 

“A Taste of Peppermint” by K.A. Wisniewski

Taste of Peppermint
“Forest of Red Birds” by Mia Avramut, wax on paper, 5.8 x 8.2 in.

Peppermint Harris never walked too far from home; he didn’t like things he didn’t know. Still had his ’72 Gibson standing up in the corner of his daughter’s living room and only changed its strings when its rust and grunge cut through his calloused fingers. He nicked his face that morning shaving and dabbed some peroxide over the cut. He didn’t wash before he left and, as he waited for the light to change at the street corner, he smelled his hands. His black suit and cowboy hat hid a tired, aching body, the purple splotches on his legs, the red in his eyes, the beaten skin hanging onto its face.

And when he crossed the street, nobody knew who he was. None of the neighborhood kids called out Hey Peppermint, how ya doin? No one tapped him on the shoulder and asked for an autograph or sang one of his songs back to him. Not a soul even asked him for a light. After he picked up the pack of Camels, he’d stop at the bar next door for his usual: no famous imported beers, just two Buds and a double whiskey. He’d strike a match from the bar stool and he’d smile, remembering how he once enjoyed being recognized.

 

 

K. A. Wisniewski is a PhD candidate at the University of Maryland, the Managing Editor of Roving Eye Press, and an editor at Calypso Editions.  His creative work has most recently appeared in Toad Suck, the Tule Review, Third Wednesday, the Chiron Review, Genre, the Sierra Nevada Review, and basalt.  He lives in Baltimore.

Read an interview with K.A. here.

 

“Wish Me Well” by Andrew Hahn

Wish Me Well_seattle-asiatown-the-shoppers-7th-ave-s-near-s-weller-stt
“Seattle Asia Town Shoppers,” by Allen Forrest, oil on canvas

I had my first panic attack late September 2012 my senior year of college. I forgot about Spanish homework until I got to class and my friend Kidder asked if I understood a question on the assignment.

“Um, what?” I said.

“We had homework,” she said with a little head nod and a little grace.

I frantically pulled out my course syllabus and flipped today’s date. We did have homework. I hated when the professor called on me and I stumbled through an answer, so I pulled out my textbook and flipped to the back where all the answers were. I started to write the answer to question one, but my hand couldn’t make it past the first word without messing it up—ella.

My body tightened up. My heart raced like I was running.

Ella.

I couldn’t breathe properly. My vision went in and out of focus like apertures. My heart palpitated. I thought it was going to explode. My hands. armpits, and back started sweating. I wiped my hands rhythmically on my thighs. 1-and-2-and-3-and-4-and on top of my skinny jeans. My sweat stains showed through my oxford shirt. The room was spinning, like I spun my head around on a bat, and I realized that I wasn’t okay to be sitting in a classroom for the next hour thinking I’m walking the balance beam of my body exploding.

My belongings thudded in my bag as I sloppily tossed them in.

“I’m skipping class,” I said.

My few friends in the class all scrunched their brows. “Are you okay?”

“I’m not sure,” I said picking up my bag and racing out of the classroom.

~

I made a counseling appointment one day while I was on break at work, walking around the parking lot outside. I kicked all the small sticks and stones I came across to see how far I could send them.

“Thank you for calling Wishing You Well Counseling. How can I help you today?” She was happy and helpful like you’d expect someone at a counseling office to be.

“Hi,” I said. “I’d like to make an appointment.”

“Okay, and have you visited our site to know who you’d like to meet with?”

“Uh, no,” I replied. “Yes, I visited your site and read one of the bios, but no, I don’t know who I would want to be with.”

“Well that’s totally fine,” she said. “Why would you like to make an appointment?”

“I’ve just been very anxious. I’ve felt at the edge of myself for the month of July.”

“Well, I’m very sorry to hear that you’re going through that,” she said. I could hear the threads of compassion in her voice. “I know exactly who to set you up with. How’s Wednesday at noon?”

“Sounds perfect.” I smiled, feeling the pulses of hope beneath my ribs.

~

The counseling office was in a quaint, brick house off one of Lynchburg’s busiest streets. The house itself released an aura of kindness and rest, like I was being hugged by practiced arms. A soft voice inside me whispered, “Everything is going to be okay. Please, come in.”

So I did just that and stepped into the foyer of an old house with a charming staircase in the entryway. To the left was the waiting room with two chairs and a door in view of the foyer and as I stepped in, I saw a sofa and a table with a checkerboard. There was a woman sitting in one of the chairs, so I sank in the chair cushion next to her on the opposite side of a box of magazines that looked like it was from Pier 1.

I browsed Twitter on my phone as I waited. Nothing but rap critiques and quippy rap puns, desperate passive aggressive pleas for love, and a t-rex who can’t do things like wave down a cab and shuffle playing cards. I flipped through pictures of the poor trying t-rex and chuckled to myself. The lady next to me kept glancing over until her counselor called her to her appointment. I signed off Twitter.

The door next to my chair creaks open and a kind-faced, blond haired woman says, “George?”

“Must be me, right?” I say.

“Come on in.” She smiles. Her blue dress brings out the blue calm in her eyes.

There are two brown suede sofas—one along the near wall and one facing the entryway. Each has colorful pillows tucked into the corners like rainbow sprinkles on a chocolate cone.

“Sit anywhere you like,” she says.

I sit in the far corner of the nearest sofa and face the chair in the middle of the room that I assume is where she’ll sit.

“First,” she says, “before we move on, do you go by George?” She shuts the door behind her and takes a few steps toward her chair.

“No,” I say. “I go by Andrew most of the time.”

“Okay. I want to make sure that this is as comfortable a place for you by calling you something familiar.” She takes a seat in the chair and writes notes on a sheet—my “file.” She lovingly brings her hands together like reuniting best friends. “So, what brings you in today?”

“I am anxious,” I say. “For the past month, I haven’t been able to take a full breath. I feel like I’m teetering at the edge of a breakdown all the time. I panic at the most random times, and then I’m on the phone for hours with my grandmother and aunt.”

“Hmm. You find a sense of security in them?”

“My grandmother helped raise me, so I would definitely say I do.”

She scribbles notes. “What else?”

I gaze out the window into the field behind her and thought of how to turn my feelings into words like connecting the dots without the numbers.

“Last week, my friend asked me if I loved myself.”

“And what did you say?” She never looks away from me. And she nods her head and listens with affirming yeahs.

“I said that I do, but she said she didn’t believe me. I spend so much time taking care of other people and making sure their needs are met that I don’t know how to spend time with myself.”

“Do you believe your answer?” She tilts her head like a puppy who’s heard a strange noise.

I shut my eyes. “No.”

“No what, Andrew?”

“No,” I take a deep breath. “No, I don’t love myself.”

“And why is that?”

“I don’t like what’s happening to me and how it makes me. I hate being alone all the time and I hate that I have to spend all of my time with me. And I hate feeling like what I want for my life isn’t good enough for my family, and I hate that I spend all my time talking about how anxious I’m feeling or if I feel safe and not doing things or eating things that have suddenly become triggers for all of it. And I hate feeling like people are annoyed with me because I give so much to meet my friends’ needs and it feels like no one is willing to care for me the way I need to be cared for.” I wipe my eyes. There’s a difference between knowing something about me and speaking it out, but when I say something, it’s true. It’s looking at your feelings saying, “I know you exist.”

“Wow,” she says.

“One more question before we move on if that’s okay.” She leans forward. “Do you feel like there’s something wrong with you?”

I look out at the window again and watch a little girl with a balloon tied to her wrist run around and around in circles.

“Yes, I do.”

“Andrew, let me tell you something. This anxiety you’re experiencing doesn’t mean that there’s something wrong with you. It’s just your body’s way of telling you something’s wrong. Your brain’s function is to keep you alive and do it well. Your brain doesn’t understand that anything would be going wrong inside of your body, so it equips you to handle conflict externally. Does that make sense?”

“So far, yes,” I say.

“The blood rushes to your fingertips in tingles. Your heart beats hard and your breath tightens to get the blood to your feet quicker so you can run away from the danger. The important thing to remember is this—It is not that type of fear.”

“It’s not that type of fear,” I repeat. “I love that.”

“Yeah,” she says nodding and smiling. “And anxiety is fear of something unknown. And right now you don’t know yourself.”

“That’s beautiful.” I feel the cushions beneath me. Feel the air from the vents. Look out across the expanse of the field. I’m grinning, knowing that my anxiety comes from a lack of love and misinformation about my body, my feelings, and what my brain has learned to believe, and all this can be cured with a little love for myself.

She notices me smiling and she bares her teeth and cocks her head. “You love that, don’t you?”

“Yeah,” I say. “I really do.”

I have problems, but it’s nice to know they’re not the kind of problems I thought. I am a house that’s a little messy in all the hidden places. Anne Lamott, in Bird By Bird, says, “[C]lutter and mess show us that life is being lived. Clutter is wonderfully fertile ground—you can still discover treasures under all those piles, clean things up, edit things out, fix things, get a grip.” I am a house that’s been dusted and vacuumed, but it’s been cleaned like a man’s cleaned it. What it feels like my counselor and I are doing is lifting up the sofa cushions, pulling the sofa away from the wall and collecting the trash and vacuuming up the dust bunnies. With each particle we pull from between and underneath the cushions, we examine it and remember how it got there and also try our best to not let it happen again. And we do this in every room, in every cabinet, in every drawer, until I love myself for who I am.

 

 

Andrew Hahn is a graduate of Liberty University and currently lives in Woodstock, GA. You can find him on Twitter @andyhahn1.

“Grip” by Kathy Fish

auburn-ca-poppies-Grip
“Auburn CA Poppies” by Allen Forrest, Oil on canvas

My brother, Mike, is getting solar panels installed in his house. All the materials are laid out on his front lawn. Workers on his roof pulling off shingles. I go inside and confront a small boy in overalls, holding a toy hammer, his cheeks tender and rosy like a picture-book child.

One of the workers couldn’t get a sitter, Mike says, coming up behind me with a cup of dry Cheerios for the kid. Mike works from home. He has three computers in his office, a stand-up desk with a treadmill. I’m afraid he’s going to ask me to stay and watch the kid, but I have things I need to do, funeral errands, like going to Walgreens to have prints made from the old pictures we’ll display, and getting Easter lilies for the chapel. Our brother Tom died a couple of days ago and his daughter requested these things, gave all of her dad’s siblings some tasks. We wanted to help any way we could. He is being cremated as we speak.

The boy sits on the kitchen floor with his Cheerios and his hammer and stares at me. I am suddenly, monstrously angry with this child just for being here.

And why must this be done today, I ask my brother. He sips his coffee. If I cancel it will be weeks before they can come back, he says.

I wonder how it’s possible that a living breathing person can be gripping your hand one day and be reduced to a pile of ashes the next. We all stood around his bed at the hospice, my other brothers and I, and Tom grabbed hold of my hand and gripped it hard enough to hurt. He was smiling, had a gleam in his eye.

Mike said, you’ve still got it, bro. Tom had been a quarterback, a state wrestling champion. My dad used to have the boys squeeze tennis balls while they watched tv. Grip was important. The difference between winning and losing.

Tom had stopped talking the day before. Was given no more fluids per the protocol. Massive amounts of morphine and anti-seizure meds were being pumped into his body, but he gripped my hand like he did those tennis balls of his youth.

Take it easy, you’ll break her hand, my brother Steve said. We all laughed. This was one of those good moments from the last few days. There’d been others. When Tom’s ex-wife leaned in close to him, smiling, and he wrapped his arms around her. When the college buddy showed up, had driven all the way from Texas and sat next to Tom telling all the old, wild stories. The fight they got into in a small town bar and the night they spent in jail there, being fed pork barbecue and corn on the cob and not wanting to leave. The stories made Tom laugh, albeit soundlessly. It was so good to see.

He finally let go of my hand and lay back and Steve dipped the tiny sponge on a stick into the bottle of Crown Royal and dabbed it on Tom’s lips and tongue. There, brother, he said, have some of the good stuff.

 

 

Kathy Fish‘s stories have appeared in The Lineup: 20 Provocative Women Writers(Black Lawrence Press, 2015), Guernica, Indiana Review, Denver Quarterly, Quick Fiction, and elsewhere. She is the author of three collections of short fiction: a chapbook of flash fiction in the chapbook collective, A Peculiar Feeling of Restlessness (Rose Metal Press, 2008), Wild Life (Matter Press, 2011) and Together We Can Bury It, a second printing of which is available now from The Lit Pub. She has recently joined the faculty of the forthcoming Mile-High MFA at Regis University in Denver.

Read an interview with Kathy here.

“My Back Pages” by James McAdams

My Back Pages_seattle-asiatown
Seattle, Asia Town Temple,” by Allen Forrest, oil on canvas

“My life led by confusion boats, mutiny from stern to bow/
I was so much older then, I’m younger than that now.”
—Bob Dylan, “My Back Pages”

When I began working at Pinnacle Community Recovery Center,[1] I was unemployed and squatting at a friend’s apartment located two blocks from Lancaster Regional Hospital, in Pennsylvania, where I’d been born 24 years before. I often remarked then how this symbolized what a waste my life was, resulting in my friends’ designating me with the appellation “Killjoy.” During this period, I slept on a couch in unfurnished rooms all day and drank and snorted Percocets every night, looking for coins under couch cushions to buy cigarettes from friends. I had neither girlfriends nor job prospects, because I had never graduated high school, and had my license suspended for a DUI whose specifics are still too embarrassing to reveal. As a part of the DUI punishment, I was assigned a probation officer who encouraged me to take advantage of her career networking connections, because, as she argued, if I remained unemployed I would keep drinking, get another DUI, and wind up in prison, a prediction I smirked at then.

She found me a position working for an agency in the mental health industry. The job title was Human Health Aide and the job description to model appropriate behaviors and assist clients with Activities of Daily Living, including cleaning, cooking, nutrition, and social engagement, for mentally ill clients. The irony was that I myself didn’t model appropriate behaviors—I dressed in ragged Goodwill clothes, I smoked and chewed tobacco, I lived on gas station hot dogs and, when I met a girl at a bar drunk enough to fuck me, never practiced safe sex. The job paid $8.25/hr. When I told everyone at the bar that night they laughed and asked if I were sure I’d been hired by the agency or committed to its facility.

At that point I was against everything that reeked of success, happiness, or ambition. Since I had been hospitalized for depression at 14, I had developed a romantic vision of suffering, creating a narrative identity around such cultural icons as Kurt Cobain, Sylvia Plath, and Friedrich Nietzsche. In my few cardboard boxes of possessions I humped from couch to couch, from week to week, I stacked depression memoirs by Wurtzel, Slater, Jameson, and Styron, comparing their experience of depression or substance abuse against mine, feeling superior because my dysfunction and negative attitude about the world appeared, at the time, greater, more resolute, and thus more meaningful, than the symptoms and experiences they described. In other words, I was depressed and hopeless and without plans for the future, and never thought for a second that there was something problematic about this, or that there was another way of experiencing the world.

I was in no position then to be a Human Health Aide. Almost daily, I made stupid mistakes or showed errors in judgment so egregious that the Program Director called me into her office and asked if I was “on” something. Often, in the earlier days at least, her suspicions were accurate, and had I been tested for drugs or alcohol I would have been sent to prison, as my probation officer had warned. But luckily this never occurred, and the Program Director slowly acclimated me to the program, giving me permission to drive the facility’s unparkable Aero van, teaching me the “Recovery Movement” philosophy, and encouraging me to read up on each patient’s case history in the massive blue folders locked in the main office desk. Looking back, I suspect she was protecting the clients from me, based on her suspicion my presence around them would be detrimental, that I would behave inappropriately. I had to exhibit appropriate communal behaviors to her before I could be trusted to model them for clients.

Pinnacle Community Recovery Center’s mission was to assist adults with mental illness to transition back into the community and, ultimately, re-learn how to live independently. Usually these clients had been committed for protracted periods in state mental hospitals, and arrived at the facility with diagnoses such Borderline Personality Disorder, Schizho-Affective Disorder, Major Depression, and histories of suicidal acts and ideation. Almost all had co-morbid substance abuse issues, as well. I shouldn’t call it a facility, which implies inpatient treatment or locked doors—rather, Pinnacle was set within a community of small apartments and vinyl townhouses, with our clients living semi-independently next to college students and young married couples in distinct, private units, in most cases 1-bedroom or studio apartments that had stains on the floor and smoky brown rings on the ceiling. Our office was a townhouse located in the middle of this diverse neighborhood, and from the roof, if you went up there to smoke a bowl during an over-night shift, you could watch as all the lights went out early in the clients’ apartments and stayed on all night when the college students partied.

When the Program Director finally let me loose from the office, I felt like I had undergone a seminar in advanced psychology, pathopsychology, and, in particular, the ethos of the Recovery Movement. Although prevalent and well-respected now, the recovery movement was then in its infancy, and most of the support staff at Pinnacle—especially the clinicians, the psychologists and psychiatrists, those with Master’s in Social Work—were wary of its “lax” approach, suspicious that without maximal supervision the clients would decompensate and return to the hospital.

I’d be lying if I said this didn’t happen in some cases. In fact, my first time driving the facility’s massive Aero van occurred when Del M., a paranoid schizophrenic, was accused of attacking[2] a neighbor’s daughter and was committed to Lancaster Regional Hospital’s psych ward. While I was filling out the 302 involuntary commitment report, I realized this was the first time I had been in the hospital since I was born, when it was still called St. Joseph’s Hospital, and my mother and father, proud Catholics, held me in their arms, radiant and flushed, thinking of all the potential that I had, wondering what amazing things I would accomplish as an adult.

In the meantime, I settled into a routine at Pinnacle. In the mornings, I’d heft the canvas bag of medications in EZ-Dose packets and patient folders towards their apartments, walking past kids at the bus stop and men my age kissing their wives good bye in the driveway. I’d ask the clients to identify their medications and initial in the Medications section of their binder that they had ingested their meds; if they did not wish to, they were to sign with an X, which happened about 5-10% of the time. When this happened with a controlled substance like Percocet or Xanax, I’d consider forging the X into an initial and pocketing the pill, which my friends all requested, but by this time my own recovery had, gradually, begun to bloom, like those flowers on the side of my mom’s bed in the picture of her holding me as a baby at St. Joseph’s.

Each client taught me something different, and to this day when I ably go about my activities of daily living (on certain days, that is), I think of what specific client taught me about how to live. Along with another client, Ron R., I had enrolled in community college classes, which we would attend together in the section of town where most signs were in Spanish; we were in fact the only two Caucasian males in the class. When I drove clients to the daytime clinic, or waited outside when they met with their counselors, I would study in the van, and doodle questions in the margins for Ron R., who had an IQ of over 140, to explain to me later.

There was Susan H., an older women with Borderline Personality Disorder and Chronic Fatigue Syndrome, whom I would take grocery shopping. Because of her infirmities, it was my job to split shopping duties with her, her scrawling half her recipe list for me to run around and scavenge while she swerved around in her motorized cart. She taught me for the first time what a serving size was, the differences between kinds of potatoes, and how to use coupons. Before then, my shopping trips were usually split between the frozen food section and the liquor store. She taught me the virtues of vegetarianism, which I follow to this day.

From Sienna M., who suffered from HIV and unipolar depression, I learned how to cook Spanish food, how to clean a kitchen without just throwing water on the floor and wiping it up with paper towels attached to a baseball bat. She had a teenage daughter who would come visit on the weekends, and I would talk to this daughter, herself depressed, about what I went through when I was her age, and how she should be proud of her mom. Sometimes her daughter tried to sneak a boyfriend over with a six-pack and I would have to roll off the air-mattress at the office and confiscate the materials, not telling anyone so Sienna wouldn’t be sent back to the hospital or lose her already slim custodial rights.

After a year I’d saved up enough money to rent a studio apartment. I filled it with community college textbooks, an old Dell desktop from the office, furniture from Rent-A-Center, and started cooking meals on my own and washing the dishes in the sink, appreciating the relaxing, Zen-like motions of manual washing. Every night, while filling out the daily progress notes for each client, I would seek for the right word, the apt turn of phrase, to not just communicate to my colleagues any important happenings, but also finding joy in the rhythms of writing, and began registering for community classes in creative writing and English to improve my writing abilities.

We all still messed up, a lot. This is one of the things we had been instructed to tell the clients, that recovery was a process, not an outcome. I remember so many nights sitting on Neil W.’s couch listening to him cry about his divorce while he injected his insulin, or sitting in the dark humming with Chi T. when it rained, because she had grown up as a little girl in Vietnam and had traumatic flashbacks to her childhood in these cases. I learned that caring is a muscle, compassion is an exercise, and the more you care for other people, the more you can begin to care for yourself, to work for health, to strain for goals—but at the same time, while everything seemed to be going so well, I felt like a sell-out, as if I were betraying my friends, my depression memoirs, my habit of laying in bed all day, my youthful nihilism.

Every Saturday we had a communal meal at the office. Each client would be assigned something based on his or her functioning level. Sienna, of course, would bring some delicious zesty Spanish dish whose names I simply can’t recall, while others might bring a six-pack of diet soda or frozen rolls they had heated up in their ovens, usually with my assistance, although it’s probably clear by now that they knew far more about ovens than I did (I didn’t use an oven cleaner until I was 26). These Saturdays would follow the frenetic Fridays, when they received their minimal SSDI checks and we would hustle to get to the bank and the pharmacy and the store and back in time for 8 PM meds. Most of them spent half their money on cigarettes, which I had quit smoking by then.

Of all my guardians, of all these angels whom life had cursed, whose childhoods were abusive, whose brain-chemistry was dysfunctional, who just never got any help before it was too late, Jason S. strikes me now as my possible double. He was my age, more handsome and intelligent than me, and alienated from most of the group, who tended to be at least 40 years of age. He had an ex-girlfriend far prettier than any girl I’d ever known who would come visit him every week and take him out to a movie or dinner. Sometimes, I found myself being jealous of him, but we quickly became friends. In the space reserved for a dining room table, he’d erected a tiny workout station, nothing much, some dumbbells, a stationary bike, a device he attached to the door to do pull-ups. I began working out with him, the two of us pretty much equal except for our brains, and it was then that I realized that there were two kinds of mental illness, one a cultural performance (as I had wasted my life on) and one a mystery of synapses and tragic incidents, which had been the case for Jason.

My “recovery,” therefore, was a result of working with the clients in the program, who were my models; my recovery was pure luck, my survival pure luck, such that I look back now on that night of the DUI (which I blacked out) as a pivot in my life, a low moment requiring correction, a redemption offered to me by the clients at Pinnacle. And while I still appreciate the music of Cobain, the poetry of Plath, the dark musings of Nietzsche, I see them now not as functions of depression, but something to be respected precisely because these people fought against depression to create something beyond the banality of suffering. In the end, those who were most victorious were the clients at Pinnacle, straining minute-by-minute and day-by-day to stay out of the hospital, to make a new life, to find a niche in the world that makes sense, that works.

Convention dictates, I realize, that I’m supposed to include here an anecdote about meeting an old client over tea, where we discussed how improved we were, but that never happened. The closest to that happening was a client seeing me at a 7-11 and, without recognizing me, holding out a handful of coins and asking for cigarette money.  What I realize now is this: it’s not a lie that people can’t “recover”; rather, it’s that the supposed meaning of the concept is misunderstood.  The nature of recovery is bilateral, trilateral, communal—my clients, in the end, modeled appropriate behaviors for me through their toughness and sobriety and honesty, their dedication to revise their life stories to account for trauma and disappointment, which I never had done to account for my mental hospital stay when I was 14. Even though I’m far from recovered now, when I work on my Ph.D. dissertation about narrative therapy, the concept that telling stories is by its very nature beneficial, I often pause and stare off, out the window into that perched past, remembering studying English with Ron R., and then return to revising my chapters, seeking for the right word, the best rhythm, the most accurate description, the same way as when I started writing in Pinnacle’s office, recording clients’ progress notes in their blue, oversized folders, attempting to find a narrative in those back pages.

 

 

James McAdams has published fiction in decomP, Literary Orphans, One Throne Magazine, TINGE Magazine, Carbon Culture Review, and Copperfield Review, and has additional pieces forthcoming in per contra and Modern Language Studies. Currently, he is a Ph.D. candidate in English at Lehigh University, where he also teaches and edits the university’s literary journal, Amaranth.

[1] In order to avoid possible HIPAA violations, names of facilities, clients, and staff members have been changed, while their characteristics, personalities, and narratives have been strictly retained.

[2] He claims he was trying to help her with her shopping bags, which I still believe, but as a result of his tardive dyskinesia he trembled and often lost balance, seeming then to grab or lunge against people in aggressive or sexual ways.

“Plea” by Rayya Liebich

Plea_capilano-canyon-river-lagoon-low-water
“Capilano Canyon River Lagoon” by Allen Forrest, watercolor

Give me

poetry.

Soak me in

piano sonatas.

Pour my milk in tall

wine glasses.

Spill an ocean

for me to

grieve in.

 

 

Rayya Liebich is a graduate of English Lit. from Mc Gill University and her poetry has been published in “Seasonings” edited by Anne DeGrace. Her play “3 Minutes” was awarded first prize in the Kootenay Literary Competition in 2005.