for a longer version of this story, check out Fictionade Magazine starting April 21
one hundred word story: Werewolf
for a longer version of this story, check out Fictionade Magazine starting April 21
Writings in the Raw
Burt is a lonely medical student. He spends long hours studying in the library and as many hours at the pub, decoding graffiti on the wall. And then he meets his match: a leggy brunette with fascinating viscera. Her lab report says it was a hit and run. Burt cannot understand who could run from her. They keep her face covered but a single curl escaped below her jaw. He writes her poems on pub walls, leaves notes in biology textbooks. One day he sees a note balled in her fist. Fuck off, it reads. Burt hits her and runs.
Stefan was afraid of money—the leathery, scratchy feel of green in his palms, the metallic smack of coins. He sold artisanal crafts at local flea markets, although he turned away cash-paying customers. His bottle-cap mobiles were a big hit. And then it occurred to him: his cure. He kept his eye on the asphalt for stray dollar bills. He spent weeks weaving bills together, George Washington’s face kissing Abraham Lincoln’s. The result was a patchwork quilt; Stefan’s biggest piece yet. Though a bit unwieldy, the quilt worked: for years it was his bargaining tool. His money never exchanged hands.
Fern was born with a strange ailment. Every word she uttered, she could only speak once. She wished she could say her name, that beautiful way eff curled so easily into ern. Her parents devised a complicated sign language, along with color coordinated flash cards, to get her through each day. Whenever she made up a word her jaw would lock. Then Fern discovered William Shatner. More importantly, she found Esperanto. Because so few people spoke those words, there was enough room in the universe to repeat them. Each night before bed, she whispered dankon, dankon. Thank you. Thank you.
I swore in church and so my babysitter washed my mouth out with soap. Organic, tea tree sandalwood soap, French milled vegetable soap the color and texture of satin. She didn't realize the soap would alter my vocabulary. After I'd choked back the silky suds, the first words I said were por quoi? Shut yer trap, she said. I tried but my lips bubbled. Voulez-vous dansez? Quit yer fooling, she whispered. She didn’t want to dance. Instead, she took me back to church to exorcise the demons, this time with good old-fashioned industrial strength Dial soap. Il n'a pas travaillé.
Ernest never learned to compliment. "Your face," he says to Belinda, "looks like a thousand tiny suns, all converging in a massive eclipse." "Your eyes," he says to Emily, "are like apple seeds, except bigger, and shinier." “You’re pretty and everything,“ he says to his barista, “but really, it’s your insides I’m interested in.” This time it registers. Words don’t work; gestures do. He brings her a cup of coffee at her café. “For you,” he says. “Is this from down the street?” she asks. “This coffee is like my feelings—hot,” he says. “Then keep it,” she says, “please.”
Harriet could not handle the truth. It was so hot it burned her hands. She let it simmer on her stove. And there the truth sat, curdling in her kitchen until the smell drove her housemates away. But Harriet had grown accustomed to the air, which was so thick she had to cut through it with a flashlight to get to the sink. Then the fog grew so strong it sprouted arms and legs and shattered the kitchen windows. It wasn’t until the truth permeated the atmosphere that Harriet was forced to accept it: she never was a good cook.
Her cellmates don't understand. "The thing was mocking me," she says, fists balled under her arms. "Some dude sprays red and black on canvas -- with a trowel -- and they call it art." Carmen paces, shoes clapping the linoleum. “Who’s to say that what I did wasn’t also art?” One of the women says, “Didn’t you piss on a painting?” Carmen isn’t listening. “I had color, shape, form, perspective.” The warden appears. “I was provoked. All artists want to provoke an emotional reaction, right?” He sighs. “Wait til you see what I can do with a trowel,” she says.
Follow me, she says. He sidles up, one hand on his hip, edges inward. Mind the gap, she says. The sunlight splits above her head, a hundred shafts of yellow splintering through blackness. They hear water. A thousand things could happen here, where it’s dark and dank. A thousand invisible, undoable things could happen. He could lose her. He could lose himself. They both could lose the sun. Instead, they trundle forward, grabbing rock when they don’t grab each other. When it’s over, they measure dirt in their palms, grateful they can see. Next time, she says, bring a flashlight.
Let loose the rope and cock your knees. The water won't reach your chin. Watch the egrets hover. See how everything on the river does what the water wants? There's no fighting this. Even when you accept the cold, every moment you sit here, you float backward in time. You shrivel. Your jacket dwarfs you. Hit it, you want to yell, but you’ve waited too long. The boat, too, has morphed. You are tied to a lousy sapling; the engine sank miles back. Don’t panic. You made it to the sea. Surf those waves, and you just might grow up.
The arena's full. Fireworks ejaculate off baskets as the players emerge one by one, unsnapping pants at the knees. We pay these men to play. We hope these games have meaning. When they score, we shout. When they foul, we squirm. When their opponents huddle, sweat beading their brows, we beat our chests, yell Give up--go home. If only we could sweat out our problems on some grand stage. If only we could slam dunk our tiny victories, paid bills and good health. If only our labor strikes were half as fruitful. When we win, they’ll buy our words.
I write.
I doodle.
I'm at work on my first book, a collection of linked short stories that follows a community of expatriates living on the southern coast of Spain.
I care about stuff. Like curing type 1 diabetes. And marriage equality. And rights for immigrants. And public radio. And espanol. And Frank O'Hara and Jennifer Egan and Federico Garcia Lorca and Tony Kushner. You know, cool stuff.
I make postcards that are also stories.
Sometimes I read stories and poems out loud.
Sometimes I go to conferences.
You can find my short stories, essays, poems and flash fictio in a variety of places in print and online. If you Google really hard, you might find the two short radio pieces I produced on a badass NPR affiliate in San Francisco.
This is where you can go to find out who I am.