Power in the Blood of the Lamb by Phoenix Frank

Prose Editor Phoenix Frank shares an excerpt from a larger piece: It's the late 1970s when a surely not-cult named The Flock rolls into the small southern town of Willow Brook. Its two primary members, Father John and "Little Miss Suzie," take a liking to Mrs. Merriam Anderson, a once promising woman turned burnout.

 

It was July when Merriam first spoke properly to Susanne Lewis.

The girl sat on a stool beside her, wearing a baby-blue A-line skirt that some of the girls often wore to church, the ones with the puffy sleeves. They sought refuge from the sun on the balcony of the house, the air smelling of heat and the damn-near burning wood of the patio. Merriam had made some lemonade when it became obvious Susanne had no intention of soon leaving. Susanne didn’t so much as glance at the pitcher.

“You read a lot, don’t you?” Susanne asks abruptly. When she sees the confused look Merriam sends her, the girl elaborates: “I saw your bookshelves inside. They didn’t seem like nothing Mr. Anderson would read, and you don’t have kids, so… I figured they’re yours.”

Merriam hesitates. Her fingers drum on her thigh, and her breathing goes shallow. “They are.”

“You went to school, too, didn’t you? One of the nice ones. Out of state.”

“I did.”

“I bet it’s because you read a lot. That’s what everyone says, right? You get smart reading. That’s what my mama told me. I was never good at reading. Only thing I ever read was the Bible, and then I got tired of that.”

“The Bible isn’t something you tire of reading,” Merriam says.

“Yeah. Well, I did. I got bored. It’s boring.” Susanne stares at Merriam, as if daring her to object. “The only stories I liked were the love stories,” Susanne says. “But I never read them myself. My mama read them to me, instead. When I was little. The ones with the princes and grand weddings. The happy ones, though, not the sad ones. I didn’t like the sad ones.”

Merriam suspected Susanne had an exceedingly shallow understanding of the word like.

“But then you get married, and it’s never really like that, is it?” Susanne muses. She stares at nothing, eyes glazed over as she strokes her chin. “All you hear married people do is complain about the other. They always say they’re joking, but everyone knows they’re not.”

Susanne’s brows furrow, and then she’s turning on the stool she’s perched on to look at Merriam.

“Have you ever had that, Mrs. Anderson? That kind of sweet love in the stories and songs?”

“No.”

“I think it’s possible. Maybe. I mean, it has to be, right? Where else would they have gotten the inspiration to write them in the first place?”

Merriam says nothing. She taps the ash off her cigarette instead, licking at her gums. 

“The Flock has it, I think. Love,” Susanne murmurs. She traces the lines on her palm as she thinks. “I know you all don’t think we do, but we have it.” Susanne looks at Merriam. Merriam looks at Susanne. “The Flock could love you too, you know.”

“Don’t,” Merriam mutters. The last thing she needs is to join some hippie cult consisting of runaway teens and middle-aged burnouts. And even if Merriam has reached a point where she’s desperate enough to throw her life away in favor of wearing white linen religiously, it’s not to join a flock. 

Merriam doesn’t want the love of a lamb. It’s too soft. Too delicate. She craves something with teeth to devour her whole and without scrutiny. Something that makes her feel better about her own rottenness. And maybe that’s why she ended up with Winston in the first place. Maybe she’s always known better. Maybe she likes how much better of a person she’ll  always seem in-comparison with him.  

“Were you and Winston ever in love?” Susanne asks. “Any kind at all?”

Merriam doesn’t look at her when she asks that. Susanne has those wide eyes, bambi-eyes, the kind that make someone’s skin crawl at the sudden awareness that comes with being perceived by something so innocent. Merriam can’t stand that feeling, can’t stand the expectant expression that comes with it. Susanne only asks questions that she already has a desired answer for, and Merriam fails to answer correctly every time.

“No,” Merriam says, finally. She goes quiet for a moment—sucks on her lipstick-stained teeth—and then she continues. “Winston doesn’t know how to love. Just obsess. And even then, that ain’t for anything living. Craving a bottle of whiskey is the closest he’s ever come to wanting for something, and that’s just for keeping the aches away.”

Merriam doesn’t include that she liked that about him when she first married him. Liked knowing he didn’t love her. Because then, it meant she didn’t have to love him, or even pretend to. 

What she didn’t like, however, or even know about at the time, was his passion. The part of him that wasn’t detached. The part of him that asked to see his brother’s ruined face at a closed-casket funeral.

“Did you know that when you married him?” Susanne asks. “That he was like that?” Her voice comes out pinched. Tense. It makes Merriam’s spine straighten as she watches Addler’s Bakery close up for lunch across the street. 

“I did. Not everything, but I knew.” 

Hunger. That’s the best word for it. There’s a hunger in Winston. One he doesn’t know how to quell. Or maybe one he just doesn’t want to.

Merriam takes a drag from her cigarette, leaving a ring of Avon red on the filter. Her fingers pinch it like it’s something delicate, elegant, her crimson nail polish gleaming in the midday sun. Winston had his vices. She had hers. At least she could look decent while doing it.

“So why?” Susanne asks.

“Why what?”

“Why marry him? You could’ve gone anywhere. Done anything. You got out.”

Merriam snorts. She snorts, and she’s not even bothered to try and cover it up with the back of her hand or to look away demurely. Instead, her lips curl back in a self-repulsed sneer. How does she begin to explain it? How does she give an answer to Susanne that doesn’t make the girl find her repulsive? Merriam herself can’t even stare into a mirror herself without wanting to break it, and even that’s a poor replacement for what she truly wishes she could do to herself.

“You were married once,” Merriam says, avoiding the question entirely. Susanne blinks, and then her brows raise, and the corner of her lips twitch. 

“How’d you know?”

Merriam says nothing. Instead, her concealer-caked eyes flicker down to where Susanne compulsively rubs circles near the knuckle of her ring finger, even in its bareness. Susanne stiffens, then stops.

“Did you know?” Merriam asks. “When you married him?”

“Did I know what?” Susanne snips. Merriam’s eyes narrow as she takes another inhale from her cigarette, the smoke tickling the back of her throat before she blows it out through the nose. Susanne pouts, crossing her arms stubbornly as she looks the other way. “Smoking’s bad for you, you know.”

“Father John smokes.” Merriam shrugs, and takes another drag. That makes Susanne shut up quickly. Merriam takes the chance to enjoy the sound of the buzzing cicadas in the brief silence—the wonderful quietness that comes when Winston is away.

“I didn’t have a choice,” Susanne whispers finally.

“Mm,” Merriam hums, and that’s that. Susanne fiddles with the fraying stitching on her dress, and the ice cubes in the lemonade shift in the sweltering heat. Even the Jackson’s dogs are quiet, too miserable to bark at their own shadows.

“You know, Father John says that men are just animals,” Susanne says, staring at the beasts where they hide in their rotted-wood houses. “He says that we’re just as hungry. Just as desperate. We just pretend not to be. He says that some people know better than others, though. The ones who embrace it.”

“Yeah? And who’s that.”

“People who take what they want. Do what they want.”

Merriam’s lips press together, and then they purse, like having tasted something sour. 

“And who would that be?” Merriam repeats. “My Winston? Your husband?”

“I’m not married. But yes.”

“You were.” A pause. “So what does that make us, then?”

“It makes you a coward,” Susanne states simply. She stares at Merriam, unblinking, expressionless.

Merriam’s eyes narrow in response. 

“But we were all cowards once,” Susanne adds. “That’s why he calls us The Flock. We enter unknowing and blind. But eventually, we come to see the truth. To lead our own path. And then, we become like Father. He’s not like us, you know—not one of us. He’s our Shepherd. He shows us the way. Shows us the truth we’re too blind to see.”

Merriam lets out a breath she didn’t realize she’s been holding, and finds she’s pinching her cigarette so tightly that the filter’s crushed. She snuffs it out on the ashtray on the balcony’s railing, watching the smoke die out slowly.

“You hear yourself when you speak, don’t you?” Merriam asks. “Are you too dense to be offended?”

“Father John says only a fool becomes offended at their own reflection. I know what my nature is. I welcome it with grace. But I’m not a lamb anymore, either, you know. Father John says I’ve graduated.” Susanne pauses, head tilting like a curious pet. “I think you could, too. Become something greater.”

Something cold grips Merriam’s gut at those words. You could too. She frowns, and starts picking at the nailpolish on her finger to busy herself. Susanne takes it as an invitation to keep talking:

“You’re pathetic, sitting there, letting that man do as he wishes to you. I’ve seen it, and Father John has, too. You’re not like them. Not weak. So why do you let him treat you like you are?”

“What would you have me do?” Merriam mutters. A wry smile crawls onto her face, a hoarse chuckle sneaking past her lips. “Kill him?”

Would it be so wrong to confess she’s thought about it?

Susanne’s right eye barely twitches, and then she wipes her nose with her thumb as she sniffs. “That’s what I did,” she says. Merriam blinks. “It’s not hard,” Susanne continues. “You think about it for a little while, afterwards, but it’s really not so bad. And you don’t even have carpet flooring. That was the worst part, you know, the cleaning.”

The corner of Merriam’s lift twitches upwards. Her shoulders tremble, her chest shakes, and something akin to a grimacing grin crawls onto her face. Susanne smiles, too, but it’s not the same.

“What?” Merriam asks. A laugh escapes her, and her cheeks hurt from how much of her teeth she bares. But Susanne doesn’t laugh with her. She just keeps on going.

“Plus, you live on Main Street,” Susanne says. “Everything’s closed up when it’s dark. No one would hear you if you’re quiet enough. And even if they did, you can lie. Everyone knows what happened to William. Would it be that odd if it happened again?”

“Don’t talk about William.”

“I’m simply saying, Mrs. Anderson, no one would wonder. No one would talk. Even if the truth came out, no one would blame you.” Susanne’s eyes flicker between hers, her expression unreadable. “Aren’t you tired of pretending to cower? You’re not surviving,” Susanne says, “you’re acting.”

Merriam’s lips part, but no words come out. They get jumbled up and caught in her throat instead, keeping her from taking in a full breath. “You’re insane,” Merriam croaks. “I would never—I could never—”

“If you won’t, he will.” Susanne whispers. She hesitates then, wets her lips, and then she’s reaching out to clasp one of Merriam’s hands in her own. “Trust me, Mrs. Anderson. I know.” She squeezes Merriam’s hand, leans in closer—close enough for Merriam to count the freckles on her still baby-cheeked face. “I know.”

But Merriam also knows: Winston’s no killer. He’s a scavenger. The vulture that comes after the fact to slice open carcasses and eat their innards, leaving hollow-shelled-bodies behind. He’s too cowardly to be the one to make the kill himself. Always has been.

Slowly, Merriam pries herself from Sussanne’s grip. The girl’s hands are sweaty from the summer heat, a hangnail scraping Merriam’s finger as she pulls free. 

“You need to learn to keep that tongue of yours in line,” Merriam says. “Not everyone in this town will be so willing to listen to your tall tales and instigating. No one else will find these jokes of yours funny.”

“It’s not a joke.”

“I’m not going to kill my husband,” Merriam snips, seething. Susanne’s eyes widen like a child being told no for the first time, and then she’s looking away, hands wringing the fabric of her dress. The conversation ends there, quickly, like that. The bells of the Church would soon ring, and the congregation of The Flock would soon head up to the white building on the hill to hold hands and speak of things like inner peace and transformation. And while Winston would end up dead in a month’s time, Merriam really hadn’t lied.

She wasn’t the one to do it.

Snooki of Coney Island by Lauren Stanzione

Managing Editor Lauren Stanzione shares a short story following the timeline of a young Italian-American couple's relationship in their hometown of Coney Island, Brooklyn, NY. Themes of young lust, anger, and violence.

 

Brandi looked like Snooki. 

That’s what the principal said. You gotta stop dressing like Snooki. We don’t like you dressing like Snooki. Brandi didn’t care. She lived by the beach. She would be Snooki if she wanted to be Snooki. No pleasure was more abundant than a cheetah-printed push-up bra bought by her mother. Rico would come up behind her, cupping her like a vase that was not delicate but was rather handmade, sturdy pottery. Etruscan pottery. Rico called himself that, an Etruscan. Brandi didn’t know what that meant. Nor did it bother her. She didn’t care about that much. Besides the boardwalk. Coney Island. Rico. And her look. She very much cared about her look. 

If an Estrucan was Rico, they must be beautiful, sculpted by something out of this world, and work the clam bake. Tall, tanned from head to toe, gentile locks smelling of his father’s guido hair gel and rough comb. Big smile, big laugh, big hands, she knew what that meant when she saw him at the register two years ago, with the boardwalk noise and the guns; there were always guns. When he had given her a sideways look, those arms, shoulders, and said ciao bella. She hadn’t looked him in the eye; she was Snooki in Brooklyn, why would she. But she knew. Under the hours of festival upkeep, Brandi knew her heart was molten, gooey within an urn. She desired to look into him so deeply, her fingers would be rooted in his ribs, caught in the webs of bone until she died. 

Rico gave her a free granita from the back, crafted by his father in his old Italian age. He told her to come back when everyone was gone, around twelve. Brandi didn’t like hanging around too long. Her Dad was dead. She didn't want to see him anytime soon. 

Brandi ate her clams. The other neighborhood girls clicked their toes, false eyelashes irritating their lids and spurring on crankiness. Let's ride the Ferris Wheel, said Brandi, holding onto bleached hair from the box, one of her friend’s new looks. No, the girls said. We’re going home. 

She and Rico made out on the metal grate against the Cyclone. Had sex in the empty gelato parlor. It wasn’t great. But held potential. He was big. And strong. He liked to hold her face, tracing it in swirls of sweat and peppermint spit. It was the first time anyone had touched her cheek, jaw, chin, hair. Rico left covered in tan foundation. He stopped wearing wife beaters around then. 

After that was a lot of hand holding, jumping from one side of dislodged planks to the other, and sharing chicken tenders on the sand. Brandi became a scooper in the summers. Ice cream sweet, decadent, which Rico would lick off when the children all went home. Clam boy Sicilian, Scooper Snooki. College-aged non-college-goer sweethearts. 

*

Rico’s Dad, who was almost eighty, needed money. Rico’s mother was just shy of her forty-first birthday. Their inherent distance created odd tensions. 

But Leonardo, Rico’s dad, he made very good fish. Especially on the feast of the seven fishes, December 24th, Christmas Eve. Brandi attended with Rico one year; everyone forgot her name and looked at her weirdly. Why'd they look at me like that? She asked, undressing. Rico watched her. Swallowed. Looked out the window, which was frosted over. It’s all that shit on your face, he replied. The fucking lashes. And the tits, did you have to keep the tits for my family? Clasico intonation, ragey with a smile. That was Rico. 

Rico boxed her against the wall and fucked her. It was really good. Angry. He didn’t touch her face, just the cheetah bra, this one was red. For Jesus. For Christmas! She would never put the tits away. She liked them too much. 

A summer. Two. Twentieth birthday, Rico still needed money. He started doing cheap shit, selling his father’s things. Stealing. Rico was incredible at stealing. His smile, trusting, that's how he reeled them in. He would find a watch, or diamonds, or both, he was smart like that, scouting out rich goers and offering services of cleaning, plumbing, air conditioning assistance; Rico was as handy as a father. Once, her sink broke, and he had taken his whole hand, that gargantuan Sicilian hand, and shoved it down there with the dirtiness; it reminded her of when he would try to finger her. But more erotic. Way more. He was sweaty, his black shirt straining his organs, his gentlemanly mouth, his laugh which refracted from the metal to her ears. The sound reminded her how much she loved him when he would watch her in the morning, her back against his chest, his hands playing her spine like an antique piano. He was, of course, very good at the piano. Billy Joel, but more sightly. And Rico’s creations, one can not forget: tomatoes, bread, cheese, olive oil; he was lean and ancient and Mediterranean, an Olympian in a poor man’s body. And always, the boardwalk. He would point oddballs out, jowly men. He knew what to say to make her laugh, always. Sitting on the sand, forgotten towel, melting makeup. He always brought his mother’s makeup wipes in his bag for her on those days. He knew she would forget, with the makeup doing, bikini choosing, shoe walking, jewelry selecting, how was there time and space to remember? 

Rico got caught. Eventually. But this time, it was someone in the neighborhood. Witler. Brandi told Rico not to steal. What do they tell you, Rico, they tell you not to; she nagged and nagged and nagged, went through vanilla bean and rose petal and pistachio sunrise and orange cream, these were all the body sprays she went through in the three months before Rico died. The last one. Cherry. He loved cherries, tearing the stems from the body and swallowing them whole, pit and all, lips stained red, laugh dark and fragrant. She bought it for him, but he never inhaled it. He never knew she cared that much, that she would scoop to buy things for him, that she would scoop for him, and that night, she stole, she stole her mother's watch and had six hundred dollars, enough for Leonardo’s medicine, she should have said more. She should have told Rico to fuck off when he said that thing about her tits on seven fishes. She should have said goodbye then. The Cherry body spray wouldn't be sitting here, on her dresser, red, bloodied. 

Rico wanted to take her to the fair. They had fought. Just about Witler. Don’t go stealing from Witler, Brandi commanded as she pressed her magenta acrylics deep into his bicep, leaving little moons. Fine. Fine, I’m not going to steal from Witler. I hope you're happy when my dad fucking dies. Brandi just rolled her eyes, watching the reflection of her fake eyelashes in her peripheral vision. She should have worn more lashes, an indication to Rico to fuck off. They went to play some games. She huffed and puffed, rolling her eyes: pink heels, pink skirt, white tank, pink tits, khaki skin. Hair crackled and straightened until it fried. Bubble gum, sweet, she moved it between her teeth. She told Rico he didn’t have to win her anything. Really, he didn’t need to. But he insisted. Don't tell me what to do, Rico said, his arms and hands playing a game with the air. But he laughed. I’m getting you that penguin. I’m gonna get you the fucking penguin. 

Even when she was angry with him, and he was being his Siciliani stubborn self, she loved to watch him. His neck was sugary and burnt. His back, curved, croissant-like, flaky, tan. Legs, long, so long. Laugh, deepest thing... A joy so palpable, something she wished she recorded and could play on a loop. I don’t care, she had been repeating this as a mantra to herself. I don’t care. I’m Snooki of Coney Island. I don’t care about Rico. I don’t. Fuck him. He tossed the rings. One ring. Two. Six. One away. He was one away. 

Witler, up behind her. "Hey, sexy," he whispered, hand on her lower back. He had pimples, blond hair, and blue eyes—the dead kind. He reminded her of the Hudson. He was always sunburnt, even in December. He was a heavy breather, Irish, used to bring beef jerky to lunch, and had a powerful handshake. Everyone knew not to mess with him. 

Witler slithered past her. He dug into his pockets. Tapped Rico on the shoulder. Rico turned, expecting Brandi. Witler shot him. Rico died. 

At the funeral, she kept her tits away. That was the last time anyone saw her, Brooklyn graveyard, Avenue U. Her mascara blackened her face, charcoal toothpaste reminiscent. Her lashes in the grass. Heels, muddied. Tan melted away. There was no Rico to provide wipes. Rico was dead.

From our Editors: LGBT Novel Recs from Allen Fulghum

Hi all, I’m Allen, one of West 10th’s prose editors. I’m a senior in Gallatin studying modernism, homosexuality and the First World War. When I sat down to make a short list of my favorite 20th century LGBT novels to share with you all, I realized that I’d chosen at least one representative of each decade from the 1910s to the 1960s—so here are six decades of LGBT literary history, condensed. 

Six decades, six brilliant LGBT novels

Maurice - E.M. Forster (1913)66ce77a8-5861-4597-ad54-795fc667828eWritten in 1913 but only published posthumously in 1971, Maurice was well ahead of its time in its nuanced depiction of a young man discovering and coming to terms with his sexuality. While Forster carefully examines the difficulties of identity and love, Maurice is ultimately founded on the belief that same-sex relationships have the capacity to be profound, beautiful and happy—a radical thesis for a novel written when men were still routinely arrested and imprisoned for having sex with other men.   
Orlando - Virginia Woolf (1928)d43caa20-84a8-4de0-81e5-6746f1f1a21eSubtitled “A Biography,” Orlando was written as a paean to Woolf’s friend and erstwhile lover, the aristocratic Vita Sackville-West. With typical élan, Woolf transforms Sackville-West into the novel’s eponymous protagonist, a sex-changing immortal who begins as an Elizabethan nobleman and ends as a successful female author in ‘the present day’ (that is to say, 1928). Traversing three hundred years of Orlando’s life, Woolf relentlessly questions conventional notions of history, authorship, gender and sexuality.   Nightwood - Djuna Barnes (1936)dc0d6d65-ee3c-4182-b604-469e86106307Contained in a deceptively slim volume, Nightwood is a superbly stylized portrait of a doomed lesbian relationship in the bohemian Paris of the interwar years, explicated through the head-spinning speeches of Dr. Matthew-Mighty-grain-of-salt-Dante-O'Conner (who is just as campy as his name suggests). This modernist masterpiece was lauded by T.S. Eliot as “so good a novel that only sensibilities trained on poetry can wholly appreciate it.”    Notre Dame des Fleurs/Our Lady of the Flowers - Jean Genet (1943)b9f2103a-0cad-446a-9298-e28f205ea50bSimilarly to Nightwood, this novel renders the Parisian underworld in prose so rich and revelatory it practically creates a new class of literature. The lives and loves of its central characters—sex workers, trans women, and teenage murderers, all bearing charming monikers like Divine and Darling Daintyfoot—are unspooled by a capricious narrator who creates the world of the novel while masturbating in his prison cell (!!!).   The Charioteer - Mary Renault (1953)Renault, having worked as nurse at a British military hospital during the Second World 938fdf19-6cb0-4cac-8085-f7edca07323fWar and later emigrated to South Africa to live with her female partner, was uniquely equipped to write this novel, which follows a British soldier who falls in love twice over as he recovers from a combat wound. With equal measures of heartfelt psychological insight and cutting social observation, The Charioteer struggles with the tensions between idealism and reality, individualism and community, and innocence and experience.  Another Country - James Baldwin (1962)An earlier novel of Baldwin’s, Giovanni’s Room, is often hailed as a masterpiece of gay literature, but while Giovanni’s Room is a claustrophobic investigation of one man’s psychology, Another Country seems to encompass an era. 2dedb81c-2e50-4c36-8d58-de261d3251ceThe characters are gay, straight, bisexual, questioning and in denial; white and black; working-class and middle-class and destitute and wildly successful. In a rhythm reminiscent of jazz, the novel traces the cast as they move in and out of each other’s lives, coupling and splitting up and getting back together, rising and falling in fortune—but always circling around the specter of a character who commits suicide at the end of the novel’s first act.

Review of "Sweet Talk," by Stephanie Vaughn

"Every so often, that dead dog dreams me up again." And we're there, at attention. A bravura opening line, full of pulls, secrets. I get chills reading it. That dead dog dreams me up. We're going back in time, we're going to experience everything after that line in a backwards frame dreamed up by a dog. He won't be the narrator, though - just the spirit guide, if you will.

That's not the opening line of this collection of short stories, originally published in the early 1990s and recently re-released by Other Press. But it is the single sentence that best captures Stephanie Vaughn's astonishing, Grace Paley-like facility with the technical construction of the short story, and with the artistic achievement possible when a novel's worth of emotions and relationships are compressed into brilliant, diamond-like stories. It also shows how she does it without showing off. No big words, no strained punctuation. None of the flailing that all of us, the lesser talents, have to resort to. 

Many of the stories are about the often-unwritten world of children growing up on military bases - four of the stories, including "Dog Heaven," from which the opening quote is taken, are narrated by Gemma; whose father works for the US Army and who travels with him around the country as he takes new posts. The transience of these lives, their brief connections, the way these children are planted and ripped out until they grow thick emotional calluses, are brilliantly explored. 

For the last few months, I've been traveling - I'm currently studying in Berlin, and over the summer I worked in western Massachusetts. This is the book that I've brought with me, wherever I go. 

-Ben Miller, Assistant Prose Editor

-----

An Excerpt from "Able, Baker, Charlie, Dog," from Sweet Talk, by Stephanie Vaughn. Copyright 2012, by Stephanie Vaughn. Sweet Talk is in print and available from Other Press.

I went downstairs and put on my hat, coat, boots.  I followed his footsteps in the snow, down the front walk, and across the road to the riverbank.  He did not seem surprised to see me next to him.  We stood side by side, hands in our pockets, breathing frost into the air.  The river was filled from shore to shore with white heaps of ice, which cast blue shadows in the moonlight.

“This is the edge of America,” he said, in a tone that seemed to answer a question I had just asked.  There was a creak and crunch of ice as two floes below us scraped each other and jammed against the bank.

“You knew all week, didn’t you?  Your mother and your grandmother didn’t know, but I knew that you could be counted on to know.”

I hadn’t known until just then, but I guessed the unspeakable thing—that his career was falling apart—and I knew.  I nodded.  Years later, my mother told me what she had learned about the incident, not from him but from another Army wife.  He had called a general a son of a bitch.  That was all.  I never knew was the issue was or whether he had been right or wrong.  Whether the defense of the United States of America had been at stake, or merely the pot in a card game.  I didn’t even know whether he had called the general a son of a bitch to his face or simply been overheard in an unguarded moment.  I only knew that he had been given a 7 instead of a 9 on his Efficiency Report and then passed over for promotion.  But that night I nodded, not knowing the cause but knowing the consequences, as we stood on the riverbank above the moonlit ice.  “I am looking at that thin beautiful line of Canada,” he said.  “I think I will go for a walk.”

“No,” I said.  I said it again.  “No.”  I wanted to remember later that I had told him not to go.

“How long do you think it would take to go over and back?” he said.

“Two hours.”

He rocked back and forth in his boots, looked up at the moon, then down at the river.  I did not say anything.

He started down the bank, sideways, taking long, graceful sliding steps, which threw little puffs of snow in the air.  He took his hands from his pockets and hopped from the bank to the ice.  He tested his weight against the weight of the ice, flexing his knees.  I watched him walk a few years from the shore and then I saw him rise in the air, his long legs, scissoring the moonlight, as he crossed from the edge of one floe to the next.  He turned and waved to me, one hand making a slow arc.

I could have said anything.  I could have said “Come back” or “I love you.”  Instead, I called after him, “Be sure and write!”  The last thing I heard, long after I had lost sight of him far out on the river, was the sound of his laugh splitting the cold air.

Gilded Ink Writing Contest

To all you fiction writers: want to enter a short-story contest judged by acclaimed author David Rakoff? Here's your chance!The College Group at the Met and Selected Shorts, a short story performance series at Symphony Space and on public radio around the country, co- present another student writing contest.  Students are asked to write 500 words or less about a “private paradise,” in celebration of the upcoming exhibition, The Emperor’s Private Paradise: Treasures from the Forbidden City, opening on February 1, 2011.  Four winning entries, selected by the CGM committee, Symphony Space, and special guest judge David Rakoff (author of  Half Empty and  Don’t Get Too Comfortable and frequent contributor to NPR’s This American Life), will be read aloud at The Metropolitan Museum of Art on Friday, February 4, 2011, recorded, and possibly aired later on Public Radio International.  The special event will be hosted by David Rakoff.Download the submission form here and start writing! GildedInk

It's... it's...it's the start of---of what?

I, sadly, can't write poems that will leave everyone gobsmacked. I enjoy writing stories; I'm sure some of you like prose more than poetry as well. Well, I'm going to make your day if you do. I'm starting a  round-robin story; that  means you should all add lines (yes, as much or as little as you want. I would recommend writing more than a line everyone.) to the story to make it successful. Try it; make the story as grim, wacky, dramatic, etc... as possible. Later, we can post the entire story and see how great it is.Here we go:Marybelle huffed in annoyance as she hiked up the never ending material of her white gown. Blocks ago, she had thrown  her matching heels away. Grumbling under her breath, she crossed the street to the bus stop. A man walking by stared at her oddly."What? You've never seen a lady walking in her wedding dress?" She shouted at him. Eyes widening, he crossed the street hastily."Jerk," she muttered under her breath and rudely gestured at his back. So, what if she was walking barefooted in her  wedding gown? Who the hell cared if her hair was no longer in a stylish high bun and that her mascara was dripping down her face?Marybelle silently cursed at the people who stared at her like a zoo animal as they passed by. Finally, the bus came. Patiently, she waited for people to get off and ignored their curious faces.  Grabbing her ballooning skirts, Marybelle stepped into the bus.Well? Why don't you all continue and let's see where this goes?

An Interview with Yannick Murphy

Rejoice, young ward! Author and NYU alum Yannick Murphy has graciously agreed to a brief  interview via email with W10th. She is the author of the novels The Sea of Trees, Here They Come, and most recently, Signed, Mata Hari. She has also written several children's books and story collections. I can safely say that Here They Come is the novel that inspired me to start seriously writing on my own. Yannick's writing style borders on prose poetry, and she evokes beautiful images and haunting emotions, even while plumbing the darker depths of the human experience. So, without further ado- the interview:

 

W10th: Which is harder– writing children’s books or "adult" fiction?Yannick: It depends on what you mean by harder.  Is it hard to come up with a good idea for a children’s book?  Yes, it is.  Is it hard to come up with a good idea for a novel, yes, for me it is.  Is it hard to sit down and do the physical writing once that idea is in place?  No, that’s when the fun starts.  Maybe they are both hard and both fun, but since children’s books are shorter, the fun doesn’t last as long, whereas the novel lasts longer, but it also challenges you to sustain the fun in a longer piece.  What’s really fun is when, in a longer piece, you have the control and at the same time you are open to where the writing is going and not where you want it to go.  What’s really not fun is when you have a lot of words strung out with no meaning in sight and no way to get back to the meaning you thought the first sentence had before you even wrote it.W10th: Has having children affected your writing?Yannick: I like reading them my stories, and they are honest critics.  When you have children you are exposed to lots of children’s books because you’re reading them to your children all the time, so you get familiar with the style and form of children’s books and it ends up inspiring you to write children’s books, or it ends up making you angry.  Being angry helps you write the books too-- you just can’t believe someone wrote such a bad book for kids, so you try and do it better.W10th: Since this is for an NYU blog, of course I can’t ignore the fact that you attended NYU and studied under Gordon Lish. How was your experience at NYU? Do you ever keep a Lishian mentality while writing?Yannick: A Gordon Lish mentality is the best kind to have when writing.  Hemingway said every good writer should have a built-in, shock-proof shit detector, and having a Lishian mentality is like having that detector on at all times.  A Lishian mentality includes never forgetting that you’re trying to write your best sentences possible and that those sentences answer back to your very first line.  If you forget, then you’re just typing, not writing.  When I catch myself merely typing, and not creating, I know my Lish detector’s on.W10th: Can you tell us a bit about your early writing career when you were fresh out of college?Yannick: I don’t think I really ever had much of a writing career.  I went straight to NYU graduate school after college.  Gordon Lish published my first collection of short stories at Knopf (Stories in Another Language). Most of those stories were written while I was in Gordon’s workshop at NYU and while I was working day jobs at the same time. I had an “I’m working trying to make money at jobs and writing when I get home and on the weekends career.”  So that’s what it was like, and what it’s still like, always trying to find the time to write.  Isn’t that what all writing careers seem to be?W10th: What is your writing process? Do you have a specific time or location? Have your habits changed over the years?Yannick: Before I married I would write at night.  When I got married, my husband would wake up early in the morning to go to work, and so to be on the same schedule, I changed mine.  I started writing early in the mornings, and when I started having children I would get up before they were awake and try to write as much as I could.   At times, it was humorous, because when my husband woke up I wouldn’t want him to wake the children, so I would have a fit if he closed the door to the bathroom too hard, or if he made too much of a racket getting his cereal bowl out from the cupboard.  I turned him into a nimble tip-toeing six-foot tall, 190 pound, bleary-eyed man.W10th: What are your thoughts on MFA programs? Do they produce higher quality prose or generic, predictable writers?Yannick: It all depends on the teacher you have.  That’s the bottom line.  If a student is seeking out a good MFA program, I wouldn’t suggest looking at anything except the quality of the teachers, and by this I don’t mean the success of the writers on the faculty either.  Some successful writers may not be the best teachers, they may also not be the best writers just because they’re successful. I was lucky that I had Gordon Lish as a teacher.  But I had to make that luck happen.  When I first heard Lish was going to teach at NYU, I was determined to take his class.  I had read Amy Hempel’s article about him in Esquire where she described what a great teacher he was.  What I understood from that article was that he would test me and make me question my writing like no other teacher had, and I craved that kind of discipline and the benefits I knew my writing would achieve from looking at myself that hard. For too long I had had writing teachers who said of my work, “That’s nice. Very nice.”  I knew that I could be more of a writer than I was.  When I went to register for Lish’s class, the head of the NYU program told me I couldn’t because it was only open to second year students and I was a first year student.  Tearful, I told him I really wanted to take Lish’s class, but he still wouldn’t let me.  I found out in what room Lish was teaching his class and I went before the class started that evening.  I approached Lish in the hall (he was unmistakable in a canvas cloth coat cinched with a leather belt, and a sort of outbackish style hat worn at a rakish angle) and I said to him “I’m Yannick Murphy, and I’m not supposed to be here.”  Lish let me in after that.  Everything valuable I learned about writing at NYU I learned in Gordon Lish’s class. I don’t think it would have mattered if I had gone to Kalamazoo University; so long as I had Gordon Lish as a teacher, I was well on my way to engaging myself in my writing more and seeing the possibilities of prose in a way that I had never imagined before.Yannick Murphy is releasing a new novel, The Call, forthcoming in 2011- keep your eyes peeled! And seriously, read Here They Come- it's gorgeous.