“In the Waking Hour” by Keith Rebec

In the Waking Hour

On Tuesday, after catechism, we took turns holding Jimmy’s Daddy’s gun—a nickel-plated .44 Magnum—that he kept on a nightstand next to his bed.

“You ever shoot it?” I asked, aiming the long-barreled six-shooter at the 19-inch television.

“Hell yes,” Jimmy said. “It’s like a cannon. It’ll tear somebody’s heart clean out.”

I tried holding the handgun steady, but after a minute my right hand shook from its weight. “Can we fire it?”

“Better not,” he said. “Daddy would probably stick his boot so far up my ass it would bust a femur. Besides, we’re in town.”

“Come on. Just once. We can go into the backyard and squeeze off a round. Nobody will know.” I touched the tip of the barrel against the bedroom window. Out on the sidewalk, two girls in white dresses shrieked: one tossed a knotted sock between chalk lines, and the other hopped over the pink squares. “Bang. Bang,” I said, and laughed.

“Be careful!” Jimmy said. “Christ, it’s loaded,” and he stuck his hand out.

“Whatever,” I said, plopping the pistol into his palm. “It ain’t the first time I’ve handled one. What’s the worst that could happen?”

Jimmy laid the gun down gently onto the bed. “Want to see some nude pictures?”

“Of who?”

“My Mom.”

“Sure,” and I flipped on the TV while Jimmy dug in the closet. A plump talk show host was asking a disabled woman questions. The woman leaned slightly to the left in her wheelchair and smiled often at the female host, at the audience who applauded her every word. She seemed young—sort of cute even—as she described the challenges of losing her arms and legs to some flesh eating bacteria, of waking one day to the better part of herself gone. “I never saw it coming,” she said, and raised her hooked hands. “Tragedy strikes when you least expect it, and you’re just never the same afterward.”

“Damn,” Jimmy sighed. “The pictures used to be here.”

“What happened to your mother anyway?”

“She split, left us for a woman, a coworker from the hotdog factory.”

“Really? How’s your daddy feel about that?”

“How do you think he feels? He’s pissed.”

I dropped the remote onto the bed and picked up the handgun. Outside, the girls still screamed and laughed, and one of them yelled, “Your turn.”

I leaned against the bed, spun the pistol’s ammunition cylinder. I cocked the hammer and sighted the short barrel at the TV. The disabled woman was still discussing the accident, how the tragedy kept reaping more and more of her.

“Finally,” Jimmy said and dropped a thin stack of photos onto the bed.

“I want to shoot this thing,” I said. “Let’s go into the backyard, take a quick shot at your mom.”

“I told you we can’t.” He stepped forward and reached for the gun. “Gimme it, bastard,” he said.

“No,” I said. “I will after we shoot it.”

“Screw you,” he said, and shoved me against the wall.

“Fine, take it,” and when he yanked the gun from my hand it discharged.

After the smoke cleared, my ears still rang. We stood in the gunpowdery haze—touching our chests and arms for open wounds—trying to confirm whether or not we’d been hit and would be dead soon.

“Fuck,” Jimmy said. “You about killed me.”

The bullet ripped through the wall in Jimmy’s Daddy’s bedroom; the hole was chest-high and the size of a golf ball, and through it I could see the parched lawn and the gray asphalt of the street beyond.

Jimmy still clutched the pistol. “I’ve got to find another bullet before my Daddy gets home. You figure a way to plug that hole.”

We waited a few more seconds for sirens, for screams somewhere far off, but none came. I moved to the window. The two young girls no longer hopped along the sidewalk. They stood cheek by jowl peeking into the house across the street.

“Something’s up with those girls,” I said. “They’re peeking through your neighbor’s window.”

“What?”

Jimmy moved alongside me. The girls leaned against a small window with cupped hands. Then one of the girls slipped to her knees and pushed the other aside, hogging the glass.

“I wonder what they’re doing,” I said.

“It’s nothing. Probably waiting for ice cream.”

When I stepped outside, the girls remained transfixed, and the rest of the neighborhood was quiet except for barking dogs.

“Hey,” I said, when I reached the street, “you girls.”

The taller one, a redhead, eyed me. She nudged the short one on the hip and that girl stood, then once again they crowded the view.

Before I could reach them, Jimmy caught up and followed me through the neighbor’s yard.

“I need help, dammit,” he said.

I nodded.

When we climbed onto the porch, the girls stepped aside and one said, “Mrs. Denton’s house done been hit with a missile.”

So Jimmy and I leaned against the busted pane. The woman rocked back and forth in a ratty green recliner and a toy poodle lay across her lap, not moving.

“Oh shit, I think we’re done for,” Jimmy said.

“You think,” I said.

The damage, a hole roughly the size of a woman’s fist, was an inch back from Mrs. Denton’s head, and a mound of white plaster particles littered the carpet behind her chair. She rocked and scratched the dog around its ears. McLintock roared on the TV, and John Wayne was slugging a man and rolling in mud—and when John knocked the man cold, Mrs. Denton laughed.

“Christ,” Jimmy said. “She’s deaf as a tire. Look at those aids, man.”

“She’s pretty much already done for. Ain’t much we can do for her now,” I said.

“Yeah,” he said. “Dead.”

So we used our shoes to brush the glass shards away from concrete steps, then headed for Jimmy’s Daddy’s place to patch the more vital hole.

 

 

Keith Rebec resides in the Upper Peninsula of Michigan. He’s a graduate student working on an MA in Writing at Northern Michigan University. His writing has appeared or is forthcoming in Shenandoah, The Portland Review, Monkeybicycle, Hobart, Midwestern Gothic, Devil’s Lake, and The Doctor T. J. Eckleburg Review, among others. He’s the managing and nonfiction editor for the literary journal Pithead Chapel, and you can learn more about him at www.keithrebec.com.

“Pillars of Salt” by Margaret Frey

Nothing But Trouble (Pillars of Salt)

Nina didn’t recognize him at first. He strolled into the dingy ambience of Ott’s Bar—low ceiling, scarred horseshoe bar, vinyl booths hugging a dimly lit perimeter–with a skinny, yellow-haired girl. He was thinner. His hair was shorter, too, unlike his kid-self who would’ve howled at the mere suggestion of a shorn, Semper Fi look. Though Nina had heard about his good-behavior release, she hadn’t pursued the details. Lyle-related news wore her down.

Lyle craned his neck searching the bar and booths. Nina was tempted to duck, crawl out the back exit. The thought evaporated in a loud “Hey!” Lyle pointed then thumped his chest, the way movie stars gesture ‘Gratis, Love You’ to an adoring crowd.

Regulars at the bar swiveled in their seats and gave Nina the once over. Wishing she’d worked through her lunch hour, she polished off her margarita, heavy on the salt.

Lyle and the girl swung into Nina’s booth after Lyle awkwardly took the girl’s sweater and shoulder bag. He held the girl’s scrawny arm while she slid across the vinyl seating. The girl was pregnant, maybe four months. She supported her small, rounded belly, hand cupping the swell like a volleyball server. Lyle slid in beside her.

“What’s happening, Mama Mia?” He grinned and drummed the tabletop.

Nina gazed at the snake tattoo curving playfully around his forearm. “Same old, same old. Ordinary life. When were you released?”

“Few months ago. Wanted to get settled before I dropped by.” His brows knitted. “Jesus, forgot my manners. This is Janine, Mom. Janine, this is my first mother, Nina Evers.

“I’m his only mother, Janine. Lyle’s stepmother lives in Wisconsin. With his only father.”

The girl smiled cautiously. “Nice to meet you, Mrs. Evers.

“Ms. Evers. My maiden name.” The girl blushed.

“Don’t let my mother fool you, Janey. She’s a pussycat at heart.”

Lyle winked. He put his arm around the girl then gave her a squeeze. Smiling, the girl looked down at her hands. She stroked her belly then rested her head against Lyle’s shoulder. He kissed her forehead, the way one might reassure a child.

Nina looked away, caught the leering eye of a middle-aged man at the bar then turned back to Lyle. “Does your father know you’re out?”

“Nah. Don’t think he’s interested after . . . ”

“The fire?”

He scowled. “Whatever. Accidents happen.”

“Particularly when you’re cooking drugs in the basement.” An edge had crept into her voice.

“I don’t want to do this right now. It’s done, finito. I’m a changed man.”

“Hope so.” Nina checked her watch. “Need to get back. Nice meeting you, Janine.”

She picked up the bill. Lyle grabbed her wrist.

“That’s it? I’ve been away for five fucking years and you don’t have an extra ten minutes?”

Lyle’s eyes welled up. A nervous tic made his right eye twitch.

She’d always surrendered to this drama, embracing Lyle, saying she expected better the next time and the time after that. Her willingness to forgive Lyle’s troubles and disasters had been well intentioned. As had years of rehab and therapy. Lyle, always sorry and anguished, promised to change. Nearly twenty years of waiting. A weariness ran through her, a deep, familiar ache.

She slipped from Lyle’s grip but held his hand gently. She recalled his chubby childhood fingers, his infectious laugh. She let go. Glancing at Janine–mouth pinched, eyes blanched with worry–she knew the girl would never last. She’d have the baby’s welfare to weigh against Lyle’s shattering excuses. She’d have her own sanity to take into account.

“Time to go.”

Hurrying to the register, she told the barkeep to pocket the change then pushed through the heavy front doors. She resisted the sharp, burning urge to turn and glance back.

She no sooner arrived in the office than her manager Richard yelled, “You’ve got a call, Nina. Says he’s your son. I’ll transfer him to your office, line 3.”

She mouthed a ‘thank you.’ Entering her office, she closed the door. She let the phone ring several times, longer than normal. Every day she fielded calls from frustrated construction crews and disgruntled homeowners: fix this, change that, get your act together. How do you repair or restore a broken life to anyone’s satisfaction? She thought of the girl then, the way she’d held her swollen belly, supporting then stroking the roundness, a crazy act of faith.

She lifted the receiver. She took a deep breath feeling an unnamed something crumble around her.

“Hello, Lyle.”

 

 

Margaret A. Frey writes from the foothills of the Smoky Mountains. Her fiction and nonfiction has appeared in: Notre Dame Magazine, Camroc Press Review, Kaleidoscope, Foliate Oak, Flash Fiction Online, Used Furniture Review, The Dead Mule of Southern Literature and elsewhere. Most recent work appeared in the summer 2014 issue of The Stinging Fly.

Read an interview with Margaret here.

“Spelunking” by Danielle Collins

Spelunking (lava park)
Lava Park, BC, Chromogenic Print by Karen Bell

We are 30 feet underground in a lava tube named “Catacombs” in the county of Siskiyou. For hours, my husband and I carefully walked and crawled on rivers of solidified lava, exploring the depths. I am cold and tired, and suggest we trace our steps back to the entrance. He disagrees. He reminds me that he is a map man, one who is directionally gifted. My husband leaves to find a short route back to the surface, to the high desert wilderness of junipers and sage.

To conserve batteries, I turn off my headlamp, and with a simple click the cave disappears into darkness. The absence of light is so profound that my eyes do not adjust. I wave my gloved hand in front of my face and see nothing, but in the process my wrist hits the side of the ragged cave wall. Unlike many caves, those in Lava Beds National Monument are covered with ridges of sharp stone.

For a moment, I feel amorphous, disembodied, and a prehistoric fear fills me. I listen for goblins and hear only my beating heart. I breathe in the darkness and feel the cool skin on my forearms. Not a big deal, I tell myself. He will return soon. And there, in the depths, I realize that a part of me wants to be free and alone, to disappear into this darkness — to retract like the lava in these tubes, leaving only a memory.

I imagine that for days, my name will bounce off these walls, called out frantically by my husband and would-be rescuers. “She was right here,” he will say, “I think she was here.”

Then he will stammer with less certainty, “I’m pretty sure I saw her that day.” And then, always the victim, “She was a flicker you know. A shape-shifter, a chameleon. Really, just a ghost of a woman. Sometimes I saw her, other times not so much.”

“Actually,” he’ll finally admit, “I haven’t seen her in months. But that’s normal, right?”

I close my eyes and re-open. Still nothing but darkness. I could meld with these curtains of basalt right now. I cross my arms to soothe myself, and my cool flesh and bent elbows remind me that I am corporal. I am still here. I am still here. I am still here.

 

 

Danielle Collins originally hails from Virginia, but has lived in Northern California since 1994. (Little of her Southern accent remains but every now and then she will gleefully say “y’all.”) Previously, she practiced Africanized beekeeping in Paraguay. She also earned an MA in Communication Studies from the University of Michigan, and enjoyed a past career as a fundraiser for nonprofits. Today, she is pursuing her writing and photography, and lives with her fiancé, Pete, and her wild dog, Boo.

Read an interview with Danielle here.

“Just Enough Hope” by Toby Van Bryce

Van Bryce (Santee Canal Park, SC #6)
Santee Canal Park, SC #6 by Karen Bell

A van from rehab that looks like it belongs to a psych ward takes us to our first outside meeting. Most of us are drugged up on Ativan and Librium to detox and probably look like psych ward patients—drooling and dazed. We get to an old white church with high steps and get out of the van and smoke cigarettes. The general consensus of everyone is that there is no God and we hate him.

We all walk to where the meeting is and see a square shape of tables set up with almost every seat full. I sit down at an empty seat and stare at the people across from me. They don’t look like any of us. The guy directly across is wearing a blue pin-striped blazer with a silk white shirt and black creased slacks. The girl next to him has on a black business suit with a purple blouse and black high heels. I’m wearing sweat pants with sandals and a hooded sweatshirt that says Bong on it. The girl sitting next to me is wearing pajama pants and a hooded sweatshirt. Everyone looks at us like we’re retarded 10-year-olds.

The meeting starts and I get up to get some coffee. Someone begins reading the Twelve Steps. I sit back down and they finish the readings then some guy in a suit and black spikey hair stands up front to tell us his story. He says his name is Dan and that he’s an alcoholic, he starts talking about his childhood. I guess his father used to beat him and he was poor all his life. He has spent years in prison for robbing a store high on methamphetamines. Dan lived on the streets and says he was a prostitute having sex with men to get high. Listening to Dan gives me gratitude I did not know I had.

After he’s done sharing, everyone claps and they pass around a basket for money but no one from rehab has any. The other people pull out their wallets and wads of money. Part of me wants to grab someone’s and take off to get high but I don’t. At least I know these people have money again, and I’m guessing they didn’t when they first came in, which gives me hope that someday I will too.

A blonde girl shares next. She has tan skin with perfect mascara and red lipstick. She’s wearing a tight black tank top and says her name is Carrie. Carrie talks about being addicted to cocaine and not being able to stop and wanting to commit suicide. Every morning she would say she wasn’t going to do coke the next day but by that night she did and hated herself for it. I can relate to this.

In the end Carrie didn’t have money and had to have sex with dealers just to get high. Her family disowned her and she spent a year in prison on a drug charge. This girl looks like a head cheerleader from a Midwest high school, but her past makes her ugly. I can relate to this too.

An older guy who looks like a roughed-up Jack Nicholson shares next and tells us he has done so much damage to his body that he has cirrhosis of the liver and Hepatitis C. The doctors tell him if he drinks again he is going to die, but they won’t put him on the liver transplant list because he hasn’t been sober for a year. He can never seem to make it, always relapsing before the year is up. Dan says his life is on the line and he can’t stop drinking and he is powerless over alcohol and everything is unmanageable.

The next guy stands up and says his name is Gus and that he’s an alcoholic. He looks at each one of us from the rehab and tells us how his life has gotten better. He used to eat out of garbage cans and sleep on the street, but now he has a job and an apartment and his family back. Alcohol consumed him, and since he went to rehab and cleaned up he has been sober for years and is a productive member of society. He points at all of us and says we can do it too and to keep coming back and life gets better.

Hearing that these people’s lives were worse than mine and they’ve gotten them back gives me hope. I see that they have money and are happy and that’s exactly what I need because right now I want to die and I don’t know how I am ever going to live without drugs and alcohol. I don’t know how I’m going to deal with all the problems I have caused myself over the years and all the people I have hurt. I don’t know how I’m going to make money to eat and I don’t know where I am going to live. I am scared and these people have just given me enough strength to get through the day.

After a moment of silence I blurt out, “I’m Toby, and I’m an alcoholic. I just want to thank you all for telling your story. I’m scared as shit, and I don’t know what I’m going to do.”

I pause and take a sip of coffee. “I related to all of you, and I see that you guys are getting your lives back and it gives me hope that I can too.”

Take another sip of coffee. “I have been trying to stop doing coke for years and I can’t. I really related to your story.” I point to Carrie. “Every morning I tell myself I’m not going to do coke but every night I do it again and hate myself the whole time I’m high. I haven’t lived on the streets,” I point to Gus, “but that’s where I’m headed if I don’t stop because I have no money and no one to help me.”

I look back at the group. “Hearing that you guys have gotten your life back from doing the Twelve Steps gives me hope that I can too. Thank you,” I say.

I sit back down in my chair and drink the rest of the coffee in my cup nervously, not knowing what else to do with myself.

The other people from rehab start sharing just like I did. Telling the others how their stories helped them and that they are really depressed and don’t know what they’re going to do. They say all they want is to drink and hearing the stories makes them know things will get better. The meeting ends and we stand in a circle and hold hands and say the Serenity Prayer.

After the meeting guys come up to me and write down their numbers, telling me to call them. Some ask if I have a sponsor which is a person who takes you through the Twelve Steps. I tell them no, and people offer to sponsor me but I’m too scared to accept.

I go outside and smoke a cigarette really fast, totally overwhelmed from what just happened. We all load back into the psych ward van and head to the rehab with just enough hope to last us until we wake up the next morning.

 

 

Toby Van Bryce attends the University of San Francisco’s MFA Creative Writing Program. His work has appeared in Knock Magazine.

“Reassurance” by G. Evelyn Lampart

Reassurance
Damselfly, Chromogenic Print by Karen Bell

The Q train arrives. I get on. I am headed to Brighton Beach for my yearly pilgrimage. My bathing suit is at home. My hands lie folded in my lap as if I am seated on a wooden pew in synagogue on a Sabbath morning. It is Saturday. I feel lucky; I have a window seat. The ocean looms ahead in my mind, replete with acres of water. It will be there, as always, every summer that I return.

I make this trip to pay for mercy with my presence. Eighteen years ago, I emerged from the fathomless waters alive. Now, there is no purpose for me on the beach but to bear witness, as there is nothing left in Poland for Jews after the holocaust. My grandfather’s bones were left behind, but I keep him alive. Every year I make this trip in gratitude.

* * *

The water was liquid of course, but my body did not feel wet. I was aware of people on the beach far away and the bright colors of their bathing suits. It was a sun-filled Saturday morning in August and my plan was to drown.

I stopped swimming and treaded water as I reached the deeper depths, aware of the hectic activity on Brighton Beach, Bay One, far away. It had nothing to do with me. I met the cold ocean waters according to plan. The sky surrounded me, something I had not expected. The water below and the sky above, two bodies with ultimate force. They held me as I had not been held for a long time. The waters calmed me, the heavens breathed into me. I felt an ease, a letting go.

The depression making me relinquish my body was as strong as the tide pulling in. It could swallow me whole. The bridge scared me, neither sleeping pills nor aspirins killed me, and the razor hurt. The ocean was simpler. As I relaxed, I began to consider the possibility of hope. I searched for a reprieve.

My grandfather was a beautiful Jew. He studied the Talmud seriously. He knew Polish and Russian, and translated letters. He was a cripple and had a general store in his shtetel. Even the Polacken, the gentiles, liked him. He didn’t hit his children. He didn’t hit my father. He died of malnutrition during the war. He would not eat horsemeat.

My grandfather, my zaydeh, was more familiar even than my father. I studied his face, and the letter he once wrote to his sister-in-law in Brooklyn, asking for five dollars to make Passover. I read and was comforted by the swirls of his Yiddish letters. A meaningful kindness emanated from the man with his generous black beard, his one photograph sent to America before the war.

I felt him near me in the ocean. As death approached, I knew my zaydeh understood what it meant to give up. Could my treasured and immaculate grandfather sanction me to weather that August, and other months, other years to come? Maybe the merit of his faith could grant my life meaning again. He starved to death with complete and utter faith. I prayed to him then. I told him how much I wanted to live.

A sliver, a smidgen of a chance began to grow. Hope was permission granted to take that chance and to swim back to shore. I relinquished my need for finality. The handbag I had left on the sand with my keys and my money lay undisturbed, as if I had gone in for a dip in the ocean, and refreshed, was headed home.

* * *

Except today, sitting on the Q Train, I feel inexplicably sad. I don’t want to disturb my grandfather’s sprit. I buried him peacefully the morning he gave me permission to go on. My life is at ground level. The summers that followed that fateful swim were a retribution with my full heart. This morning is hollow.

I visualize the last stop on the Brighton local train as a cemetery. I get off at the next express stop. I am free to do so. No one stops me from crossing over the tracks to go home. It is not a cattle car.

I emerge onto the street and buy a hot cup of coffee. The beverage is a benediction in my hands. A benediction for a life, mine, that goes on living. At the front door of the building that I live in, I check for my keys. They are just where I left them, in a concealed pocket.

 

 

G. Evelyne Lampart lived to become a clinical social worker and had clients in hospitals where she was a patient at one time. After 20 years in the field, she happily retired, and now runs an art workshop in the mental health clinic that served to help her heal so many years ago. Her life has turned one hundred and eighty degrees more than once.

“Breezeway” by Kim Church

Breezeway (Kim Church)

Wednesdays we go for counseling in a new white brick building designed by an architect. Every detail has been planned so that patients can come and go in private. A white brick wall hides the parking lot from the street. A grove of wax myrtles frames the entryway, a long, covered walk along the building’s edge, bordered on one side by a trellis of flowering vines—jasmine, to calm. The therapist’s waiting room is accessible only through this breezeway.

Not a breezeway, my husband says. A breezeway connects two structures. This doesn’t. This, he says, is a portico.

Portico: a concealed, fragrant tunnel, immaculate except for thin black tire marks on the concrete. From a bicycle, I’m guessing.

“No,” my husband says, and makes his exasperated sound, the sound of him loving me even less. “From delivery dollies.” He can turn even a word like dollies into something sharp and mean.

I’m sure he’s right. He always is.

But I picture a girl on a bicycle, racing down from the parking lot, skidding past the therapist’s door, exuberant, wheeeeeeeeeee!, all the way to where the concrete ends. Doing it again and again until her mother calls her home. A blue bike with a wire basket and bright plastic streamers on the handlebars. The girl’s eyes blue and daring, full of wonder. Not believing her luck at discovering this hidden paradise, this cool flat slab, this sweet-smelling shade in the middle of summer. For her, per lei!

Every Wednesday, all spring and all summer, there are fresh tire marks. “Look,” I always say, as if to prove some point. My husband only shrugs. I hate it when he shrugs.  There’s nothing I hate more. There ought to be a law against indifference. Lock up all the husbands who go to therapy just to humor their wives.

One Wednesday in late August I ask the therapist. “Those marks in your breezeway, are they from delivery dollies?”

The therapist looks surprised. My husband looks surprised. I don’t usually ask the questions. I don’t usually want to know the answers.

“Children,” the therapist says. “I have to scare them off.”

 

 

 

Kim Church just released her debut novel, BYRD, (Dzanc Books) in March. Her stories and poems have appeared in Shenandoah, Mississippi Review, Painted Bride Quarterly, and elsewhere. She has been nominated for a Pushcart Prize and has received fiction fellowships from the North Carolina Arts Council, the Virginia Center for the Creative Arts, Millay Colony for the Arts, and Vermont Studio Center. She lives in Raleigh, North Carolina.

Read our interview with Kim here.

“People Eat Chickpeas Bathed in Vinegar” by Zarin Hamid

People Eat (Zarin Hamid)

Missing the filigree of dust on every surface and crevice of skin. That’s what we are. Pink roses planted at each traffic circle of Kabul means it is spring and it is summer.

My love is limitless, her skies are limitless, the valley is broken, the valley is mine.

The saying goes: “die, burn, or deal with what you got.” All that’s been done, but
They’re doing it every day: matchstick women, matchstick men, matchstick children, matchstick coffin.
What else is left? The dust, the dark, the original mist.

Seed and sulfur, all this is one.

On that hilltop, where flurries of magenta-purple flowers grow, arghawan lighting up Pir Boland, there is a British soldier buried, and like in all other graveyards people eat chickpeas bathed in vinegar, some with leathery eyelids I would kiss wide open to salute the sun.

 

 

Zarin Hamid is an adopted native of New Jersey, where after some circling she has come back to work and live. She has studied political science and peace and conflict resolution, and in addition to writing works on gender-based violence, militarism, and human rights issues from a feminist lens.

Read an interview with Zarin here.

“Pulled Under” by Amanda Meader

Pulled Under (Meader)

It must have been while my husband scrubbed the blood from his father’s truck that he forgot how to smile. My husband had traveled through life merrily until the spring of his nineteenth year, when his father leaned into a rifle and pulled the trigger. For years I had wished that my father could have died that quickly.

Approaching the second anniversary of my father’s death, I allow myself one evening to remember him. This is a mistake: the pain that rises in my sternum reminds me of a wave that took my feet out from under me when I was a little girl playing in the ocean. Our mother had warned us of the strong undertow, and so my sister and I had ventured into the frigid swells clinging to my father’s knotted biceps, bobbing carelessly in the surf, certain we were safely anchored.

I had let go of my father’s arm for the walk back in from waist-deep water to the beach where my mother waited, hers the one face in that crowd of strangers that belonged to me. The cold waves that licked my backside as I made my way to shore were strong enough to push my slight torso forward, sending me rocking onto my toes, hands slapping against the surface of the water to stay upright. The wave that dragged me under took me so quickly I was upside down and caught in the pull of something beyond my control before my brain registered panic.

Now, sitting in my living room, a grown woman, I remember the taste of the ocean water as tears streak down my cheeks. My husband, who is trying to sleep in the adjoining room, doesn’t know how to cry anymore than he knows how to smile, so I hold my breath and swallow my sobs.

When someone you love dies and all you have left are memories, you must choose carefully which doors to unlock. Become careless and you will unlock the door that leads to the darkest room, the one where you have crammed monsters into corners, chained them to the floor, willed them to obedience, gagged and silenced them.

Children lose parents every day: accidents, illness, abandonment. Suicide is not an acceptable avenue of departure from this earth, save perhaps for the terminally ill. So if your father points a gun at himself and pulls the trigger, or pours poison down his throat until his liver quits, you mourn your loss quietly and with a sense of shame – you are your father’s son, and you are your father’s daughter, are you not?

My nerves are scraped raw from spending my childhood crouched in fear, waiting, knowing most days would be bad ones. A plate thrown, a door broken, a job lost, the purple shadow of my father’s fingertips decorating my mother’s arm. It’s not that I learned not to hope; I simply never learned hope to begin with.

When the ocean finally released me on that summer day so many years ago, I struggled out of the ocean and kept moving forward until I reached dry sand. I’d known enough to hold my breath while under water, and as I kneeled in the warm sand I gulped air into my empty lungs.

Nearly three decades later, I am still prone to holding my breath when I sense danger. But I have learned that hope is not a gift that I must wait for someone to give me – it is something I can make on my own.

 

 

Amanda Abbie Meader was born and raised in Maine, where she returned to practice law after graduating from Cornell Law School in 2004. By day Amanda is a staff attorney for a non-profit organization; by night she is the wife of a very patient man and the mother of two ridiculously spoiled Boston Terriers. Reading and writing infuse her with peace and energy in a way that nothing else can, and she is constantly dreaming up ways to devote more of each day to pursuing her true passion.

“Like Juliet and Romeo” by Kevin Winchester

Rome and Juliet
Romeo and Juliet by Hans Makart, circa 1870

In the fall, I smell the leaves as they begin to turn. The yellows, tart as a lemon wedge. The reds, sharp as cinnamon. The oranges, heavy with the bitter muskiness of saffron. These leaves—even their dying holds a promise.

I could see the coming of the season in you, then. A crispness in the way you walked, a calm in your smile, an easing in the touch of your fingertips against my cheek. I could see it in the few weeks before the first stab of color showed itself on the slight ridge beyond the house, before the thin smoke telling of the hunter’s fire ribboned above the trees, before the first glazing of frost. Do you think somehow that has changed?

Remember that evening at Carlita’s Grill, sitting on the patio, the July air heavy and thick as wool? We were drinking Mexican beers. Flossie and Bill were there. Crutch and that weird girl from Tuscaloosa he dated for a while. Amy and Sean. Mando Dave, too.  Planning the trip to the Keys, laughing. Everything as it should be, the way we imagined it would always be. More beers and the meal came, slowing the conversation. The hot air moved just so as the sun went down and offered a hint of coolness. Remember? I loved the way the buttery light of dusk filtered through the fake palms, the way it settled, not on you, but gathered around you.

You are angry with me still.

On your first trip to Europe, you viewed everything through the harsh, new lens of this country. Soon enough, that disappeared and you drank it in, the aged aloofness, the weary determination, everything. After the sunset on the Arno, walking back to the hotel, we discovered that little basement bar where the German band played American rock and roll. They let you sing “Blue Suede Shoes” and I watched everyone watching you, but you looked only at me. The next afternoon, with the red tiled roofs of Florence slanted below us, snapping pictures from the Duomo’s campinale, I moved near the railing. The wind lifted my hair, I could smell bread baking below, and my weightless stomach felt tethered to the breeze. I could feel it pulling me away from the safety of the Basilica, teasing me, daring me.  “Let’s jump,” I said. “We’ll be famous, like Juliet and Romeo,” I said. You laughed and kissed me. “Easier than all those stairs back down,” you said, “but Romeo and Juliet were stupid kids, they didn’t know what it means to love, not really. Let’s avoid the cliché and buy a bottle of wine.” That bottle of chianti survived three moves, the little apartment on Sutton, the duplex on Ash, and finally, when we moved into our house, we opened it. It was better suited for salad dressing than celebration by then. Remember?

You’ve taken the pictures from the wall, but now the empty space frames your guilt.

We came home that day and your sullenness strained to mask your frustration—with me, with yourself, with the doctors, with things you could not control no matter how desperately you wanted to. I had no words to improve your silence. The screen door slammed when you went out to the porch, sudden and sharp as a surgeon’s knife. From the window, I watched you there. You looked skyward, I followed. There, on the tip of a pine at the far edge of the yard, the red-tail hawk perched, her head tilted downward and fixed, scanning the hedge row on the far side of the road. In an instant, she rifled toward the earth, quiet as a shadow, and disappeared into the thick of the hedge row before rising, a rabbit kicking in her talons. The rabbit squealed and you flinched. The animal shrieked once more, once more you flinched, but you never looked away. I could have gone to you, touched the soft lines around your eyes, told you that I, too, was afraid, that we are all afraid, and I could have asked you to hold me, but I didn’t. It was enough that I knew you’d never look away.

I was angry, too.

I never told you this, never told anyone, but one night, my grandmother came to me in a dream. She sat on the end of the bed, playing the old Maybelle Carter song, “Wildwood Flower,” on her guitar. Her fingers didn’t move across the strings, but the notes rang true and confident. She appeared with such physical certitude—her weight creased and slanted the mattress, she carried the scent of a pound cake baking with her—that I questioned, not the mystery of her appearing, but the how of it. In that moment of forming the question, I sensed a spooling back through time that did not begin or end with me and her. Rather, it threaded beyond that, beyond the world I knew of her, of the world she knew before me, of this place before the trees grew and the rains fell and the mountains pushed up from the seas. Before, and before that, a vastness so deep, so complete it was too much to transcend, to even imagine, and yet there she was. Through it all, Granny Jenkins had come to me. I tried to speak, but had no words. Again the question, how? And then I knew. You were right. Romeo and Juliet didn’t know what it means to love.

Hold fast to those pictures and soon I will come to you. I will come to you.

 

 

Kevin Winchester is a North Carolina native and author of the short story collection, Everybody’s Gotta Eat. His work has appeared in Gulf Coast, Tin House, Barrel House, Storysouth, and the anthology Everything But the Baby. In 2005, the Bread Loaf Writers’ Conference awarded Kevin their Work Study Scholarship. He is currently the Director of the Writing Center at Wingate University where he also teaches Creative Writing. Winchester recently won the 2013 Thomas Wolfe Fiction Award.

Read an interview with Kevin here.

“The Lightning Continued” by Monica Wendel

Dughet Gaspard (Gaspard Poussin)-xx-Landscape with Lightning-xx-Late 1660s
Landscape with Lightning by Dughet Gaspard, circa 1660

II. The Lightning Continued

To make this state God took a great carpet of sod and unrolled it unsteadily over the ocean and then didn’t bother leaving. So now His name appears on signs with metal legs, stuck into grass, and on highway billboards next to pictures of tiny translucent fetus hands. Not to say there isn’t joy. This morning the thunder smelled like wet rope, I said, Dear God, if You love me, let me live. And He did.

 

IV. Hotel Pilgrim

The waterslide was listed on the website of God’s miracles. And billboards along the drive counted down miles until, until … Still, the Hilton barely banked off it. You could even say they pretended it wasn’t God’s Slide of the Drowning Child and Twelve Apostle’s Face. I made my two hands a cross but it wasn’t the right sign. Flipped it over and a waitress came over — do you need anything hun? Lifeguards watched the pool through grey filtered cameras, counting silences.

 

V. Old Sport

How quickly a hotel room becomes “home” as in, I’m frightened, I’m going home. Smoke rises against the sky like skin on skin. Lightning jumps back and forth between clouds without jumping down. I washed the ashes out of my hair, washed sugar from fingers. Who knew that I would wake up eagle-stretched in a warm bed. Who knew that I would dream of the subway painted yellow passing miles underground. A seam of peat underground smolders overnight and the television expects sinkholes to collapse above it. The fingers of Spanish moss are too damp to catch, too full of insects to be brought indoors. I watch it brush against the window, breaking into grey-green spores.

 

 

Monica Wendel is the author of No Apocalypse (Georgetown Review Press, 2013) and the chapbooks Call it a Window (Midwest Writing Center, 2012) and Pioneer (forthcoming, Thrush Press). These poems were composed at the Jack Kerouac Project of Orlando, Florida, where she was the Spring 2013 writer-in-residence. Currently, Monica lives in Brooklyn and is assistant professor of composition and creative writing at St. Thomas Aquinas College.