I WISH I HAD A HEAD FOR NUMBERS

no I don’t
I’ve seen what those heads look like
the special instruments required to clean them
how hard it is to keep flowers alive in them
how little effect Debussy has
I wish I didn’t even have a head
so much as a floating pyramid
with an inner incandescent furnace
where tiny robotic scarabs tend
the cocoons of wonderous future concepts
here drink this you’ll glow
this spray can make anything invisible
free money comes in balloons
the various agatizing processes
providing myriad translucence
to what’s usually crushed
but actually it’s my heart that needs help
it don’t cry right
punch me in the gut I feel it in my ear
none of it adds up
not the machete and the mouse
not how everything’s made of broken glass

VOICEOVER

When I tell you I don’t sleep
I hope you’ll take me seriously.
I really am a walking shroud
most days. The undead in me
is the life of me, but not
for the life of me, however hard
I may try to make myself depend on it.
My clothes are mud and grass and mud,
or no, they’re really not. But you aren’t here
to see, and I wish you were, like I wish
a lot of things, including for more wishes.
So the genie inside me is a tracksuit,
red or blue with white stripes.
You get to decide what it means
when the philosophers say things
like “either Beauty is a real property
of things in the world or when we speak of it
we gibber.” The problem is nobody speaks
about Beauty anymore, and even if they did
I’d be staring into a mosh pit with my nose
bleeding all over the floor and trying
to find my way back into the Tsunami.
As far as I can see, neither the sky
nor any ocean has definiteness, order,
and symmetry, so Aristotle was wrong
about a good many things. Just so.
It was a different time and a different place.
Context does matter. And I should explain
the Aristotle reference, but I don’t feel like it.
I am wrong, too, about almost everything,
even in this context. Have you seen the Shasta daisies?
They aren’t Shasta daisies. They’re daubs
of white paint that any addict might snort.
O monotony! O too tired blinking outer space stars!
My addictions are too numerous to list,
but they’re always coming out of my fingers
and mouth, my nostrils and ear holes
and assholes and dick holes. You don’t need
to be embarrassed, the shroud shrouds all.
And the fact that I remember my mother
in the snow probably isn’t germane
to any of this or beer soap or succulents
or a skin bag full of hooks. Sometimes
my gill slits don’t work like they’re supposed to.
And when I hear my own voice, it reminds me
just how stupid I really sound and am, but
maybe everybody feels a little off
in the devices of their own associations.
I feel like running water where the running
never ends. That really is a pipe dream.
No pun intended.

AARON THE MOOR

Believe me, Queen, your swart Cimmerian
Doth make your honor of his body’s hue,
Spotted, detested, and abominable.
Titus Andronicus, Act 2, Scene 3

When we bring others into our lives,
we bring all their life into ours: not only
their family, their secrets, their dirty socks,

but also the warmth of their body next to ours,
which allows us to accept all the challenges
of our lust to belong. Aaron understands,

embracing the blood beating
between him and Tamora and the blood
hammering in his head between him and his foes.

But what’s the deal with this brother?
Jumping in bed with a Goth girl like that.
Running around in a country not his own,

beating his chest like that. He acts
like he doesn’t know those Andronicus boys
would kill him just as soon as swat a fly.

Aaron, who walks through their starlit lives
like a black hole filled with every desire
they ever desired, knows the snares of life

and, so, chooses to live his life with a vengeance.
There’s power in not apologizing for being
in the world, for embracing the legacy revealed

through, and adorned with, your skin. Yes,
coal-black is better than another hue.
When every doorway opens to another closed door,

why should he behave like a welcomed guest?
His body’s hue holds many colors,
and with the gift of his tone, he speaks

his mind through a prism of words. Yeah,
for this alone he could do prison time.
Next thing you know, every crime committed,

even crimes committed by their own hand,
gets blamed on the new brother in town,
and they’d just as soon chop off their own hand

before admitting their own wrong; they’d
cut out a tongue, before allowing someone
to tell the truth, but let’s be real:

These people can’t be trusted
because they can’t trust themselves.
But Aaron knows he’s not a traveler

in a foreign land but himself wherever he lands.
And all the water in the ocean
can never turn the swan’s legs white
.

Andronicus may try to narrow
his choice between being a villain or a slave,
as the executioner’s blade raises,

but Aaron the Moor, the man, chooses
to lift his truth above the blade,
which can’t swing true enough

to silence the cut of his tongue.

OTHELLO THE MOOR

Only a Black face throwing light could cast so many shadows.
Only a Black man in charge could garner so many foes.

When only a Black general, when only a black lover,
when your only black friend is only yourself . . .

when your Desdemona’s so white she doesn’t understand
what went wrong. When you’re the only Moor, white men

say things like, “Were I the Moor, I would not be Iago.”
Desdemona looks for you with a candle in the daytime,

but you still don’t see her. You can’t see her
when you can’t see yourself. Only the whites

of the eyes of the whites see behind you.
Only the eyes of the Moor eyes the shifting of the day.

When proof appears, who appears behind the man?
Even a handkerchief, dyed in mummy, the color

of your own hand, reveals a foreign touch.
You want to touch the truth with your eyes,

so you can see the magic in the web of your wife.
But even your body, begrimed in beauty, can’t be trusted,

if you don’t trust your own life.

The Amon Liner Poetry Award BROKEN SHOWERHEAD

 

Water pleas mercy before landing at the bottom of my shower. A loud smack announces contact with the black paint my landlord swears is waterproof.I put a blue towel down when Momma calls to ask, what was the best thing about your childhood? I breathe in before saying, it was my sweet sixteen party. Momma, clad in captain’s hat drove a decked-out school bus so me and friends could watch Titanic at a secret location. It’s my second favorite movie. I loved that Momma and Mama T smiled in sync. Two sisters reunited after the fault of addiction collapsed. Mama T made nachos and Momma made powdered sweet tea. In that moment, we were all teeth and all together. Back then Momma ain’t have to enforce Mama T to take her Skittles. Mama T danced my conception with a man I’m afraid to know. Momma took me in her arms at age one and changed my name. She said your name means dominion. But where is the kingdom I rule, if I am stuck on this bathroom floor watching the towel disintegrate? I can still hear water knock its head against the shower floor. Although I can’t sleep, I must say I enjoy that it doesn’t call on my birthday and vanish when I ask about lineage or loss or cause. Momma asks instead, what is the best thing I poured into you? I mosaic light bulbs and forgiveness and violins when all I meant to say was gratitude.

QUESTION FOR MY BROTHER RE: WARP DRIVE, THE SPEED OF LIGHT

Imagine an ant, you say
      as we eat sandwiches
at the table, windows already December
      dark. Imagine it at the end
of this placemat, the way it
      would look out over warp
and weft and see an eternity—

      its insect brain unable
to untangle each ridge of weave
      or envision an end. You
brush crumbs off the brown fabric
      square, which is now
space-time, and fold it so its edges
      touch. We watch

the invisible ant step from end
      to end. Then you let go,
and the cloth sprawls open.
      Younger sibling of physics
and logic, of the universe mapped
      out in ten dimensions,
you say that this is how we might
      move faster than light, say
did you know black holes
      would sound like static
between radio stations if we
      could hear them? You

explain that scientists saw matter
      squared and knew it could be
negative, anti, ready to annihilate,
      its other. Is there easy
math for the world—
      casually violent, reeling
up on the TV in the coffee shop,
      scrolled over, regular
enough to warrant the usual how
      did we let this happen? Alone
in my new city, I often feel far
      away from everything,
a soft pang stuck somewhere
      in the back of my throat
like the throb of prodding burnt
      skin with my tongue. Tell me
again that darkness hums

      static while it drinks fistfuls
of light. Say there’s evidence
      that we might pass over
fields of life woven too wide
      to cross. And, when we can’t
move, who is it that bends
      to fold up the space beneath us?

STATE OF SORRY

My mother and I drive to the Blue Ridge mountains
listening to Bruce Springsteen and the fruit stand
in the flash rain becomes the last thing you said to me,

its red soggy arteries. I turn the song up, oh, thunder
road, oh, thunder road until I cannot feel myself turn
away from you shouting along with big helium eyes

last summer in the karaoke light. I look out at the range,
turning the furnace in my brain away from sorrow
level flames. They’re always blue, says my mother

and it’s true, they’re beautiful—these massive hills.
On a hike, she reads the brochure of George Vanderbilt’s
life—how he came here on doctor’s orders, fell in love

with the landscape and died soon after he built his
empire. All his focus on health didn’t help him
in the end, Mom explains and a passerby tells us

how silence cured her, expanding from her ears into
the lake. I hear a piercing when I hesitate so I apologize
for the noise we do not have in common. After you

died, my mother said depression and I hear myself
count the letters in goodbye—their shrinking. I want
to tell you how I’m filled with defunct rage, a gutted

socket people flick their sorry matches out in. I want
to tell you thunder gives me a false sense of shape
but I am stuck in a state of windless need. Give me

your most electric morning, brand me warm like
the cold Biltmore horses. Give me your silence
but don’t let me keep it. Show a little faith,

there’s magic in the night. I dream of setting fire
to the barn where goats lay sleeping. Not one
wakes for me to tell him, hey, it’s alright.

 

SKEPTICAL ANIMAL

The second time the rat returned, it hadn’t even been gone five hours. I was working on my machine, tying a rope around a bowling pin’s neck. I planned to adjust the hoisting cord until the pin swung at the correct velocity and height to hit a matchbox car waiting on a wooden slope without bashing anything else. The process was repetitive—tie, drop, pick up pieces, reset—but how else could I get it perfect?

Also, I was sexting Boy #53. My phone buzzed with a photo of his upper thigh. When I first met him on the subway, he’d joked that I only wanted him for his body.

“Guilty,” I’d said. “You have such sensual ankles.”

So, it wasn’t sexting yet, but based on the rate at which the photos moved up his leg plus process of elimination, it would be in three to seven minutes. From the kitchen, I heard a faint but grating gnawing sound.

Mainly I was distressed because it was my fault the rat came back. A website I found, Rats Are Clever Creatures, had highlighter-yellow Comic Sans informing me, “Freaky Fact: Rats can find their way back to the nest from several miles away!” This tidbit was positioned above a Looney Tunes-style banner saying, Rat’s all, folks!

I should’ve taken the rat farther away the first time I disposed of it, but I didn’t want to leave my apartment twice. It was the kind of Hallmark-gorgeous fall day that nature shoves in your face sometimes. The crunchy sidewalk leaves were a jillion unbearable shades of red and orange, more colors than the Paint by Number kits I did as a kid. I spent so many weeks on them that my parents started calling me “little hunchback” and asking if it ever got lonely in the bell tower.

The rat’s return complicated things re: the boys I brought over. They’d all ask me the same questions: What is it? How long have you been building it? Why are you building it? How will it end? I’d give my autopilot answers: A Rube Goldberg machine, about ten months, I don’t know, I don’t know. At that point, I usually hustled whichever boy was over straight into the bedroom without turning on the lights, but now, even that didn’t work. My apartment was shadowy and cluttered; occasionally, pools of blue light from the streetlights outside seeped in through the barred windows, glinting off the milky-white marbles set atop their slopes, shining on the ribs of the little metal pails poised to slide down their miniature wires. Only, since the rat was around, I had to keep the lights on because I was petrified it’d skitter over my bare feet.

With the lights on, the boys thought they had license to linger. They’d inspect the pulleys with the worn interest of a retiree docent. They’d crouch by the PVC portion, say, “What’s a, uh—”

“Rube Goldberg machine. Chain reaction.” I’d point to sections of my project. “A ball rolls through the pipe into a cup, which weighs down the cup, which lands on a seesaw, which flips to release a string, which is attached to a pulley . . . it just keeps going.”

By then, I’d be fading fast, so hyper-focused on spotting a flicker of tail or a ripple of grimy fur that when I saw a flutter over by the windows or heard a faint clicking, I’d nearly lose it, but it’d turn out to be the curtains moving in the wind or something. Meanwhile, the boy of the night would mime stumbling into the machine or tunneling his stubby beef-jerky finger through the air teasing, “I’m gonna knock it over!” I’d be exhausted at the mere prospect of having to pretend these men were remotely original in reminding me they had the power to destroy everything I’d built.

I’d say my usual, which was “No touching!” Except, I said it sexy, like a porno prison guard slapping handcuffs shut. Or, what I imagined such a woman would sound like. The porn I watched didn’t do plots, and the women definitely didn’t speak.

Then, I’d look at the boy hard, trying to recall what about him I could have found attractive in the first place. Without fail, nothing leapt out at me, and I’d know that if I didn’t act fast, I’d lose even more interest, and then I’d lose my nerve. I’d grab his belt and tow him toward the bedroom like a sled, but it was inevitable: at some point, we’d both hear it. The rat. Bustling in paper bags or flicking its wormy tail around the baseboards. I’d re-clench my fists, suck in a deep breath, and drag the boy into the bedroom, blinding him with scattershot kisses so he couldn’t see the rat and leave before I’d gotten what I’d invited him here for.

 

I decided to send Boy #53 back a pic of my tits for efficiency’s sake. I rearranged my lamps to create three-point lighting and flattering shadows, arguably the most practical use of my art degree yet. Usually, I avoid any evidence I have a body, slug-pink and raw like a fresh scar, but I feel weirdly peaceful after sending nudes. I’m suddenly French-braided, holding a hot chocolate mug with both hands. It’s like those olden times people who shut themselves in crates and mailed themselves somewhere far, only I’m doing it piecemeal. Actually, it’s more like the ones who climbed into barrels to careen over the edge of Niagara Falls.

I mentioned that to a friend once, when I still had them.

She said, “Didn’t they die though?”

I mean, yes, they died. Of course they nearly all died. But I can imagine a moment after waving goodbye, clambering inside, inhaling fresh wood, hugging shivering knees, and closing the lid on the world. That moment was maybe kind of nice.

I was unbuttoning my shirt when the rat shot past me like a screeching hockey puck. Truth be told, I was kinda impressed. I’d taken it six subway stops away. I held it inside a trapper cage, which I’d stuffed inside a big, yellow-striped gift box I’d been saving for a special occasion that didn’t seem forthcoming. I was so honed in that the rat’s every move inside its glittery container was amplified. I felt its scuttling. Every whisker twitch reverberated in my lap.

I only intended to take the rat a stop or two away, but this guy wouldn’t stop staring. I’d stared first because he had long, dangling earlobes like he’d taken out gauges, and it inspired me to consider incorporating embroidery hoops into my machine. But he must’ve thought I was ogling. He, future Boy #53, made a whole show of giving me elevator eyes, all the way up, all the way down. We had the not unfunny exchange re: ankle objectification, and he suggested I join him on a coffee date at the stop after next. God knows why I almost agreed—I don’t do coffee, and I certainly don’t do dates—but the rat shifted a millimeter and startled me out of my seat. I said I couldn’t, that I had an important errand, but I gave him my number.

And now the rat was back. How many miles had its spindly feet traveled to find me? Haunt me? It reminds me of that kids’ movie. Since I can’t sleep, I’ve re-watched them all: Matilda, The Parent Trap, the one where talking pets embark on a cross- country adventure to reunite with their owner. Homeward Bound, it’s called. In my favorite scene, these menacing wild dogs try to flirt with Sassy, a Himalayan housecat who takes no shit, and she’s like, “Oh, great, catcalls.”

That line. It makes me so happy. Not because it’s funny, but because I imagine the screenwriters banging this script out at 3:00 a.m., absolutely dying laughing at each other’s stupid jokes. I bet they collapsed into each other giggling hard enough they struggled to breathe.

Moments like that, and all the movies, actually, make my chest tighten. They never did when I was little; I’m not sure what’s changed. All I know is that when the owner, Peter, hugs his dog before leaving him behind and says, “I’m gonna miss you so much,” and his golden retriever, Shadow, says, “I know. I know you’re sad. I just wish I knew why,” I have to pull my comforter over my head, mash my face into the pillows, and slow-breathe until my own stale exhales swaddle me into a half-asleep state.

These quicksand moods overwhelmed me more frequently those days. I thought maybe it was because I kept accidentally walking past the good deli. I didn’t mean to, but I looked up while passing it and saw the familiar candy advertisements, sun-faded into newspaper comic tricolor, and the smiley sign saying, We appreciate your patronage, and the jangly door I used to walk through. I felt a twinge beneath my breastbone, and I sped on by.

Boy #53 texted again, because I had ignored his text asking to grab dinner.

“IDK,” I texted back. “Are you a murderer?”

“Care to find out?” he wrote, which indicated either homicidality or plain horniness. I didn’t have enough context yet to know which.

I put my phone down. Picked it up. “Not really a dinner kinda girl . . .”

I tightened the noose around the bowling pin. Swing, miss, reset, repeat. I tried to stop imagining the rat’s toenails scrabbling over delicate sections of my machine, scaring off the boys I did manage to bring back here. My phone pinged, “Pinebox tm? 8:00? [not dinner].”

I knew that bar. Their gimmick was that they were a former casket factory. All the cave-like booths were made of casket wood.

“Casket, coffin, what’s the difference?” I asked the bartender once, while out trolling for a Boy #21. I pretended to stir my drink even though he knew perfectly well it was straight gin because he’d poured it.

“Not a lot,” he said. “A coffin has a flair outwards at the top, like old vampire movies. A casket doesn’t. It’s just a rectangle.”

I said unless you were Superman-level jacked up top, a coffin was just excess real estate. I told him I enjoy coziness and don’t have much muscle mass, so a casket would be perfect for me. He said I was weird as hell, but he was into it, so I should call him when his shift ended. I killed time with a truly underwhelming Boy #21 I met in the bathroom line, then stumbled out of his place at 2:15 a.m. to make the bartender Boy #22. I thought two in one night would feel special in some way, but it was just more of the same.

 

I sidled around my apartment searching for a clearing with no machine in the background—my tits couldn’t take the upstaging— but there wasn’t one. I hadn’t realized how much of my apartment it had swallowed. The water wheel section commandeered the entirety of the kitchen counter space and was encroaching on the stovetop. Black suspension cords from the unfinished pulley systems hung down, tentacle-like, from the ceiling. I had a mini portrait studio in the corner with a stool and soft, cloud-printed background fabric, but I dismantled it to make space for the particle board that held up the dominoes, tin can pyramids, and glittering paper pinwheels, the most precarious parts.

Maybe it would be good to get out.

“You’re a funny one,” Boy #53 said, and based on his accompanying hairy knee picture, he was too. Maybe I’d visit Pinebox, for a little while.

I’d gotten the pin to hit its target seventy-five percent of the time, but chance wasn’t the same as inevitability. It had to be right every single time. I let the pin go again and it slammed the car’s slope so hard the pieces scattered, sliding beneath the couch, where I suspected the rat lived.

I got down on my knees to peer underneath, ready to leap away at any sudden movement. I snaked my hand through the dust, but instead of pulling out a scaffolding chunk, I extracted a glossy pink postcard featuring a beet-faced baby with a pair of silhouetted heads, my college best friend and her husband, bent to kiss its pudgy cheeks. The card had come six months before. I kept meaning to respond, say congratulations, but then too much time had passed and reaching out would’ve been weird. Except, then I couldn’t call to talk in general, because she’d remember I’d never acknowledged her baby’s existence, so I ignored her texts altogether. Now we don’t speak.

On the card, a stork clutched a banner: Welcome To The World, Baby!

I’ll never understand how people feel like they belong enough to this earth to be its ambassador. I’ve been here twenty-eight years and I barely feel welcome myself.

I sat back on my heels, inspected my machine. I couldn’t go to Pinebox. There was still so much to do, everything so far from perfect. What if the rat terrorized it while I was gone? I dug my fingertips into my thighs until they whitened.

I texted Boy #53 my address, along with a question: “1:00 a.m.?” I added a purple devil emoji.

 

When the rat returned a third time, I lured it into the cage with a peanut butter smear, shoved it into the gift box, and took it to Times Square. The place was intolerable—all that jostling and obnoxious wonder. I knelt on the gum-spackled sidewalk. I figured if I let the rat go underneath a hotdog cart, it’d either be so bewildered by the bright lights and big city that it couldn’t find its way back, or it’d gorge itself on wiener crumbs until its arteries exploded. I was no killer, but I was okay with being an accessory.

Unfortunately, it reappeared while I was in bed with Boy #56, a cinematographer from work who sulked when I joked that his whole job was pointing a lens in the right direction. He seemed hurt, kept muttering, but then I took my top off and he got over it. We were mid-kiss when I sensed the rat’s return. He couldn’t hear it, but I knew. The rat and I were basically one. I could feel it rustling even from afar.

After Boy #56 finished and I shooed him away, I crept barefoot into the living room. The calm I felt after sex with strangers lasted for less and less time with each visit. By then, it wore off completely before the door closed behind them.

I focused on the machine’s problem section. The ball should’ve rolled down the ramp and bumped the lip of a suspended pitcher so that it poured into a waiting cup, but I couldn’t get the pitcher to pour everything out. I tried fifteen times before I got frustrated and slammed my tools around. I texted the subway guy, Boy #53.

No Repeats was one of my rules—too much possibility they’d get attached—but Boy #53 worked coat check at a gentlemen’s club, and who else would be awake at this hour? I granted myself special dispensation.

I described my problem: “Bouncy ball not heavy enough. Tried 15x. V frustrated.”

He responded immediately, “Aw, don’t despair champ, you’ll bounce back.”

I snorted and sunk to the floor to draft a response. “For real tho, you a murderer? Kinda want u to be so u can mercy kill me cuz ur pun = v bad.”

 

The rat was back from Times Square in under twelve hours. I barely rolled over upon hearing it root through my trash, just grabbed my phone. My first search yielded an exterminator’s site explaining, “Rats are skeptical animals!” I pictured my rat as a tweed-coat-sporting professor complete with tiny pipe, but it just meant rats are good at skirting obstacles. Nothing breaks their patterns from x (food) to y (foraging area) to z (nest).

I had to respect the rat. I went from x (less-good deli, for dinner) to y (machine work) to z (sex with laundromat guy/laundromat guy’s roommate/the super of their building). When I ran into the super after leaving the first two guys’ apartment, I thought it’d be satisfying, like a game—sex Pokémon, gotta catch ’em all!—but it didn’t feel like the conquest I’d hoped for. The high wore off before I hit the subway platform, and by then it was late and the LED screen’s estimated minutes remaining kept scrolling backward in time and I could only wait and stare at the empty tracks.

When I finally got home, I was tired but not sleepy. I got so wrapped up in taping the hammer to the seesaw that when I glanced up and spotted the rat blinking back at me from the countertop, I jolted backward and hit my head on the couch. I didn’t scream, people only scream when we believe someone might hear, but I was shaken up. Being scared without a witness felt strange, like the gesture you would’ve made with your hands—The rat was thiiis big!—got lodged in your body somewhere. I texted Boy #53, “mr. rat is getting v cocky.”

Boy #53 suggested I’d failed to put myself in the mind of mr. rat. He proposed I show it the world—had I considered Paris? I said I could never do that to the city of love, and he said he was appalled, clearly I hadn’t seen Ratatouille, surely the rat possessed innate talents I wasn’t recognizing. Boy #53 was funny enough to merit a half-smile, which calmed me enough to set up the peanut butter trap and catch the rat again.

Instead of Paris, I opted for the Botanical Garden. Maybe I just hadn’t given the rat a good enough alternative to life with me. When I got there it was early and the gardens were empty. I shot a wedding in the Azalea Garden this summer. The bride was very woo-woo, kept insisting the flowers were “evocative of softness and femininity,” which made me gag, but it really was gorgeous, painfully so.

The ground was dewy enough to soak my jeans when I crouched to open the cage. The rat wandered out slowly, like he was equally happy inside the box and outside it. I hovered there until he scurried away into the trees.

 

The rat took longer to return from the gardens, nearly forty-eight hours, like it appreciated the effort. While it was gone, I got out of hand. Those days are pretty jumbled. There was Boy #56 with the enormous “Be vulnerable” tattoo. I recognized the quote from clips old friends had shared, and told him nothing turned me on like a good, informative TED Talk. He got huffy. He said there was nothing wrong with being earnest and he wouldn’t let me make him feel bad.

There was another—Boy #59?—who asked to sleep over, so I yelled, “Keep the change, ya filthy animal!” I was quoting Home Alone to soften the blow of kicking him out, but I guess he didn’t recognize it.

Then, Boy #60 who yammered about his American citizenship journey and didn’t take my hints. He said his visa labeled him as “an alien of extraordinary ability,” so I tried to pivot with “Show me your extraordinary abilities, alien.”

My jokes were rusty. I was tired. I couldn’t stop envisioning the rat toppling my machine. In the end, Boy #60 stood, kissed me lightly on the forehead, and didn’t come home with me.

On non-work mornings, I couldn’t distinguish the days. It may have been longer than forty-eight hours. It was either two days, or it was nine. I fixated on the pitcher problem. My brain was on laser mode and I was so sleepless and shaky that when the rat returned, I was almost relieved. We had our routine now.

I took him to Asbury Park Beach, reasoning that New Jersey was surely far enough away. I hoped the freezing water might shock me into getting back on track and waking up refreshed for my machine.

But immediately after releasing the rat on the sand, he scampered off in the direction we came from, like he was gonna catch the next train back. I waded in the water but it didn’t work. I was inordinately deflated. I couldn’t do a single thing right. I considered hiring an exterminator, but I read a Freaky Fact explaining that exterminators don’t physically remove rats. They gas your whole place and leave you to clean up the carcasses. The rats rot in the walls around you, turning into shriveled bone sacks, little tumors behind your mirrors. But isn’t that the whole point of having someone else there? The prospect that they’ll take away the bad and leave you with an empty home in which to start over?

 

On my return from the beach, I entered the good deli instead of walking past like I should’ve. I was hungry, but also, I maybe wanted to punish myself. For what, I was not sure. I spent a while running my hands over the crinkly snack packets. Eventually, I grabbed the closest item, took it to the counter, and there he was: the nice deli man.

“She’s back!” He calculated my total. “We thought you were dead.”

I hadn’t seen him since summer, before I stopped coming. I’d been obsessed with this machine step where a knife would jut forward to pop a balloon. It was impossible to get the knife to jab the balloon with the correct force. I spent weeks, months, went through endless balloons. I kept returning because the good deli sold fifty packs and the nice deli man was always there. He started recognizing me, which made me shifty, even though he was only ever kind. It’s just so hard to let people know you, like floating atop a sea of stinging jellyfish.

One day, he pointed to the balloons and said, “Gotta beat the heat!”

I wasn’t sure what he meant. He gestured out the window at a pair of kids who’d busted off a fire hydrant cap to play in the water. They were six-ish and running, arms pumping, not afraid to want something and show it. The deli man, I realized, thought I was making them into water balloons. I let my gaze linger on the children. The little boy hug-tackled the girl in her frilly one-piece, pulling her down into the water while she screeched and laughed and clawed at him. What would the deli man think if he knew why I really wanted the balloons? That I was doing the same pointless thing over and over, alone? I snatched them from the counter and speed-walked past the hydrant, careful not to get a drop on me, though August was sweltering. And I didn’t go back to the good deli. The gap between the life the deli man imagined for me and the one I lived was unbearable.

 

Leaving the good deli after Asbury Park, I took stock. I was still carrying the cage, I was scatterbrained, and my apartment would be empty when I got home. I squared my shoulders; I’d invite Boy #53 over. Sure, I never saw the Boys more than once, but I figured the rat would come scare him away eventually anyway. Boy #53 negotiated. He agreed to come over only if I’d let him take me to breakfast at the nearby diner. I accepted his terms. Once he got a dose of me, it wouldn’t be hard to convince him he didn’t want more time in my presence.

When he arrived, I tried waltzing him into the bedroom, but he dawdled in the living room. His eyes tracked the machine’s planned path from its start.

He turned toward me. “How does it end?” I was too aware of whatever my face was doing. Was I acting strange? Mean? Needy?

“I don’t know,” I said.

He nodded at the machine’s sprawl. “At this rate, it’ll eat you alive.”

I frowned, but he was entranced by the machine. “This must’ve taken you a ton of work.”

Making my machine didn’t feel like work to me. It was just something I had to do, had to get right.

Moving to show him the pitcher problem, I tripped over the rat cage next to the particle board with unsteady pieces, and though I caught myself quickly, I felt idiotic. I set the bouncy ball atop the incline and we watched it roll down to knock the pitcher. As usual, it poured less than I wanted.

“It’s still half-empty,” I said, pointing to the partially-tilted pitcher.

“Maybe it’s half-full,” he said.

“What? No.” I looked back and forth, touched the hook the pitcher turned on. “The problem isn’t the glass, it’s the pitcher, I—” The corners of his lips turned up just a little. “Oh.” I raised my hands to my cheeks and they were warm.

Boy #53 squatted by the couch to open his backpack. I warned him, “Oh, I wouldn’t. That’s the rat’s territory.”

He shrugged, continued rummaging. “Rats are a part of life. You just gotta get him to pay rent.” He found whatever he was searching for and cupped it. “Come here. I have a gift.”

I walked over to join him. “Close your eyes and hold out your hands,” he said.

I shook my head. “I’m the eyes-open type.”

He placed a smooth sphere in my outstretched hands. It was heavy, cool to the touch. I traced my fingertips over its orange surface, turned it slowly. A billiards ball. I sensed his eyes on me, gauging my reaction. He pointed to the thirteen on it. “I brought you bad luck.” I opened and closed my mouth like a stupid guppy. He continued, “Maybe it’ll be heavy enough for the pitcher.”

He half-stepped toward my machine. “Can we try?”

I was unused to people requesting permission. It was easier when they didn’t. “It’s not that simple, fixing things.”

“I’m a patient guy,” he said, moving another step nearer to the machine. I took one too. I could swear a few dominoes wobbled.

“It might be unfixable.” We moved closer in tandem, marionette limbs tied to the same string. “I know it won’t work.”

“How do you know if you won’t let me try?” Another step. Our footfalls were sure to make the particle board buckle. Collapse.

“You don’t think I’ve tried?” The church nearby began its chiming. The grates over my windows let in slices of sunrise. “It won’t work,” I said loudly. I only meant to speak over the bells, but it came out several registers too high. It was jarring. He stepped back, I stepped forward. If we were anywhere else, we would’ve been dancing, hips mere centimeters from the particle board. If he wasn’t careful, the board would cave in. The whole machine would come crashing down. I couldn’t take that. I just couldn’t. I wanted him out of the way. Where was the rat when you needed him most? I quieted my voice and reached for the ball. “It won’t work.” He stepped back, I stepped—

I couldn’t say which happened first. They felt simultaneous. He reached over the cage on top of which I stored the parts I hadn’t yet integrated, and at the same time, I pushed him. Hard. He was taller than me and didn’t fall, but he stumbled back, his head slamming into the wall. After his shoes squeaked against the hardwood, there was a long, long silence. He didn’t break eye contact. He refused to look away as he completed the motion he started, showing me I misjudged the arc of his arm. He set the ball down gently on the cage. It made no sound.

I was suddenly desperate, reaching out for his forearm, “I didn’t mean—” and clutching his sleeve, “I thought you were going to—”

He’d meant to leave the ball for me to solve the pitcher problem on my own.

I tried to catch his hand, stop him from leaving, but he moved aside. He spoke to me how you’d speak to a little kid, low, too- calm. He said he was gonna go.

And then he walked out.

 

That fucking rat. I’d never been angrier at anything in my entire life. I was on my knees behind the couch searching out its nest before the door slammed behind Boy #53. When I found it, I’d destroy it. Dump bleach on the shredded bags and hair strands it curled into at night. Smash it. Leave no home to return to. It was the rat’s fault I came back from the beach on edge and visited the good deli. I ran my fingers along the floor trim feeling for holes. It was the rat’s fault I had to store the cage there so close, hence the confusion of Boy #53 not threatening the machine like I’d thought. My fingertips’ frantic journey around the floor seam returned only dust and splinters.

Standing offered a better vantage point. Seeing the machine in its entirety, I understood how fragile it really was. The slightest wind would decimate the dominoes and a minuscule nudge would spill the water and the tiniest floor tremor would scatter the marbles and the balloon knife could easily slip and any teeth could rip the cardboard tubes to slivers and any bump would warp the strings the buckets rested on and the tracks I laid were unstable toys and the miniature cars were constantly liable to roll away and everything I built could be destroyed so quickly and I knew one thing for certain: I needed to kill that rat.

I called the exterminator. I called nine exterminators. I left messages that made no sense.

“I need somebody who’s okay with killing.”

“I can’t get it far enough away.”

“I’m a special case. Don’t want somebody ordinary.”

“My place has a precious thing; you need to be careful.”

“It’s urgent.”

“Are your guys careful?”

“I need it gone.”

“Send me someone careful.”

“Somebody help me?”

“Call me back. Call me back. Call me back. Call me back. Call me back. Call me back as soon as you get this message.”

I threw my phone down. I had to be practical. My first concern was guaranteeing the machine’s safety. Who knew if they’d send somebody careful. I needed to defend it myself. I hustled to the dollar store and bought nineteen plastic laundry baskets. I grunted and sweated hoisting the stack of them upstairs. None of the exterminators had called back. They would soon. I grabbed scissors to cut two sides off each basket to make a protective tunnel covering the machine. My scissors weren’t strong enough to saw through plastic. I walked to the hardware store. I came back with scissors strong enough to saw through plastic. I set to work.

I stared at the neon baskets so long my vision warped. The room was uber-bright. Sickly bright. My apartment was covered in the rainbow blind spots you get from staring at a light too long. I slashed the laundry baskets with increasing speed. The washing machine in the basement churned and the old building creaked as it settled and the sirens wailed toward the hospital twenty blocks away: I could hear everything. I felt powerful, like those women who get super-strength when their kids are in danger, who flip trucks barehanded and pry their babies free. My hands pulsed and itched. It was energizing to have a singular purpose. I finished cutting baskets and got to my feet. Now no one could knock over my machine, not the exterminators if they ever called back, not the boys who came over, and certainly not the rat.

I had to hurry. The exterminators would call back soon and my machine had to be safe. I raised a basket a few feet above a domino section and carefully, so carefully, lowered it, creating shelter, then another basket for another area, this time higher, lowering it slower over the pulley part, then another over the seesaw section, the safe structure covering most by now, another basket shielding the machine, though I had to speed up before the exterminators arrived, so I put down another basket, was almost done, placed another basket, covered another section, one more basket, another, I grabbed the second-to-last basket and held it tight in my hands ready to cover the pitcher problem which, yes, the pool ball seemed like it’d solve when I had the time for testing and I lowered it bit by bit over the machine and then—

And then, such a little thing, the basket’s jagged edge brushed a marble on the way down. And the machine started to fall. The dominoes chased each other. The levers flipped. The hatches swung closed. The seesaws clattered. The machine had been hit in the center, so it fell in two directions, from the inside out, like two velvet curtains. The pitcher poured and halfway filled the cup. The bouncy balls hurtled down their slopes and pinged off the walls. The miniature cars rolled away. The knife lunged blindly. The pulleys released. It was all over in a minute.

 

I sat surrounded by my shattered machine and waited for the rat. It took hours to come back. The sky darkened outside, then got light again. My sit bones went numb. I tried counting how many days it’d been since I’d slept. I wanted the rat to come back so I could kill it for good. Also, I thought I might be lonely.

When the rat returned, it slipped under the door like its bones were liquified and, once inside, cocked its head at me. It walked right into the cage. I hadn’t even set the peanut butter trap. I stuffed the cage in the gift box and took the subway to Pier 11 on Wall Street. There was a ferry that looped between the docks and IKEA, and it was free on weekends. I stood waiting to board the ferry, clasping the box to my chest. Inside, the rat was still. I shuffled forward with the line.

My plan was to leave the rat in IKEA. It needed a real home, and maybe somewhere in that legion of cushions and curtains and lights it could find one. But edging closer to the ferry’s entrance, trying not to bump into anybody, I realized the stupidity of my idea. It was futile. The rat would just keep coming back. If I wanted it gone, I’d have to kill it myself.

We boarded the ferry and I headed for the outside deck portion even though it was freezing and the water smelled putrid and the wind whipped my hair in my eyes and it stung. I perched the box on the railing for inspection. All the glitter had rubbed off in the course of my many trips. The once-crisp edges had worn down, exposing the pulpy cardboard underneath. It was covered in dings and scratches.

A loudspeaker announcement crackled. I turned to face the direction the voice came from, though the speaker was clearly inside. I could see him through the tinted window. A skinny guy with pockmarked skin and an utter lack of interest in his own spiel.

“Floatation devices are stored and available for your safety,” he said, pointing lazily at the windows where it was clear the floatation devices were not stored. I stared at his curly hair, the way he shifted from foot to foot. If I wanted to, I could’ve taken him home with me. It wouldn’t have taken much. I could’ve made a joke about life jackets and needing somebody to save me. Mouth-to-mouth. Etc. I watched the idle flex of his jaw as he ran through safety policies. I could’ve fucked him. It would’ve been easy. I turned my back on the cabin and looked out over the water.

The metal railing had triangle patterns. I hooked my pinky around a vertex. It reminded me of something someone, Boy #14 or #32, maybe, once said. I was describing a house of cards I saw in a store window, how it stressed me out. If I were going to make one, I said, I’d tape the apexes together for a stable hinge.

Whoever it was, he laughed so hard that little spittle projectiles flew from his mouth. He kept choking with each inhale until he finally got out the words: “That doesn’t count.”

I wanted to know why. He was laughing, but I was dead serious.

By then he was pounding his fist on the bar like a cartoon character. “Because the whole point is that it might fall.”

I looked around the ferry. Inside its cage, the rat wriggled a little, causing the box to bump gently against my arm. The only others outside in the weather with me were a little boy and his shih tzu. He had a package of green votive candles, probably something his parents hoped to return, and he was rolling them across the deck for the dog to chase. The boy pitched candles left, right. The dog pounced again and again, wild, thrilled. I felt the rat nuzzling the box’s inside corners. The candles the dog had already caught and abandoned littered the deck like lily pads.

The ferry trundled toward the docks where customers stood laden with hefty blue bags and creased mouths. The bored guy got back on the speakers to drone instructions for safe disembarkation. The water below was choppy and gray and seemed so far away. The other passengers shouldered their bags and trudged toward the ferry doors. The deck where I stood was nearly deserted now and the cabin was rapidly emptying. The metal railing was cold against my forearms. I had never been good at getting rid of things.

I felt something wet and looked down to see the dog nosing my ankles. It looked up at me and its smushed face was ugly-charming, like a snooty little Persian cat.

The cat in Stuart Little has a similar face. I just re-watched it. The Persian initially hates that Stuart is his master, but near the movie’s end he comes around. He even saves Stuart when he’s threatened by some cats perched in a tree overhanging a lake. He breaks off the branch holding the rival cats and they plummet, yelping, into the water.

“Just doggy-paddle!” an enemy cat calls to one of his comrades.

Doggy-paddle?” the other cat cries. “I’d rather drown!”

What a stupid line. I love it so much. I bet the screenwriters who thought it up pissed themselves laughing, that they play-punched each other over such a complete eye-roller. Maybe one held the script in the air and yelled, “I went to film school for this?” and everybody fell out of their chairs laughing. Imagining it made my eyes well up, it made it hard to swallow, it made me start to cry.

 

The Robert Watson Literary Prize Story THE MYSTIC MARRIAGE OF SAINT CATHERINE OF SIENA

It’s a shock when David Sampson says that Salome is the most beautiful girl in our class. Of course she is, by far, with long, thick hair the color of honey wheat, a tiny face with vulpine features, slim, wide-set eyes, and enchanted skin. But it seemed as though no one else—none of the boys, that is—had noticed. She’s so quiet it’s easy to miss her. But we see her. We know.

Sampson is the class stoner and should be the class clown, but he’s usually too stoned to finish his sentences. He was, until senior year, a large, soft boy, almost cuddly, if he hadn’t reeked of weed and stale cigarettes. He wore the same oversized navy hoodie every day, covering his close-shaved head like a robe, and he spoke in a drone so soft he might have been praying. But if you listened, he usually wasn’t saying anything good. He liked dirty jokes, dead baby jokes. He told sexist jokes, too, but since we shot him dirty looks, we mostly assumed he was telling them just to get a rise out of us. Besides, the ones he told were the kind with no teeth. His favorite was a silly inversion of a clichéd directive: Get in the sandwich and make me a kitchen. We have to admit, the first time we heard it, we laughed.

His mom is a feminist historian who came to our social studies class to give a talk one day. We’d never seen Sampson slump so low in his chair or pull his hoodie so far down over his face so that only his angular chin showed. His mom gave him a hard time that day, asking him questions that, shockingly, he knew the answers to. “‘I will everywhere make humanity more than sex.’ Words spoken by . . . David, can you tell us?” His mother extended a long, manicured finger in her son’s direction. A long pause, and then from beneath the hoodie came a mumble. “That’s right: Lucy Blackwell. Now, in the 1850s . . .” We all felt kind of bad for Sampson that day. He made more sense to us after that. He became softer in our eyes. He didn’t seem to mind.

 

In the fall of our senior year, we come back to find Sampson transformed. He’s dropped probably forty pounds. He wears the same oversized sweatshirt that truly is a robe now, draping off his frame, and his face is gaunt. He has let his hair grow, and the curls on his head are a shock of gold. He looks older and harder, but delicate, almost beautiful.

Then we learn (we don’t remember who told us first) he’s been sleeping with Salome all summer. At first none of us really believes it. The pairing seems inconceivable. Besides, so few of the rest of us have had sex—we who are more solid and vibrant and interesting than Salome; we who, even if we aren’t exactly gorgeous or cool or beloved, at least have a presence, a reputation, skills that we put on display in English and choir and theater, teachers who like us more than the others, we who go to nerdy summer programs in college dorms that make us seem sophisticated each time we come back in the fall.

Salome is one of the quiet girls, would be indistinguishable from the rest if it weren’t for her beauty. We see her set her notebook and pencil case (she still carries a pencil case) neatly on her desk in French class; we see her put her hand up in Trig. We watch her chew salad with her mouth closed at lunchtime and staple her English papers parallel to the top edge. We are aware of her the way you’re aware of the mechanics behind every clock and inside every wristwatch: astonishing when you look at it, but you don’t often look. But it’s nice to know she’s there.

Anyway, it’s just not fair. Not that we want to have sex with Sampson. That would be absurd. But we want, at least, to be desired, to be found beautiful—to be discovered. We want someone unusual to push past all the powdered and curled and well-dressed girls in our grade, drawn by our own unusual magnetism, and find us.

But we’re also afraid of exactly this. For as unusual as we secretly hope we are, we’re also terrified that someone will discover we are not. Better to remain a compelling mystery than become a corporeal disappointment.

 

In a move that none of us expect, Sampson turns up to audition for the high school play. The play is a big deal for those of us who have elected to take theater every semester and showed up religiously for every single rehearsal for every single production. Sampson walks in like it only occurred to him to come five minutes before auditions began.

And we are even more surprised to find that he is, somehow, good. At first, we can’t tell if maybe we’re just thrown by the body he inhabits that we barely recognize. Its movements are quicker, its gestures finer, its angles sharper. It becomes apparent that in this new body he is inventing movement, is creating its own idiosyncratic language before our very eyes. He is a new animal, a species we can’t identify.

When the casting sheet is posted on the bulletin board outside the auditorium, we are not surprised to learn that he has landed the lead. With Sampson at the helm, the usual dynamic shifts; the game has changed. An outsider has joined us, and we get to show him our world.

 

In French class, Salome has taken to sitting in the back corner. We don’t notice until Madame calls her out. “Tu es moins sérieuse cette année, Salomé?” she says, too confident in the response she’ll receive. To everyone’s surprise, though Salome squeezes out a small smile for Madame, the instant after she turns back to the whiteboard Salome rolls her eyes. We are stunned and impressed. We are just a little bit jealous. Before, when she made herself small and quiet, Salome’s power lay dormant. Now she holds it in her hands, admiring its every facet, and it glows.

 

In rehearsals, Sampson is his usual goofy self, but when he gets to work he is utterly sober. This is the first time we’ve seen him go quiet immediately when a teacher speaks to him. It’s partly the hypnotic power of our director, whose elvish qualities and spritely energy are impossible not to fall in love with. We watch her give him direction and see him really listen, spinning her instructions in his head, making something private that we can’t see. It’s the first time it really occurs to us that Sampson has a secret self, just like the rest of us—one where he gets to be the person we have not yet let him be. But something is reeling him out, little by little. Or maybe we are actually, finally seeing him for the first time.

 

Salome’s friends were two mousy girls with interchangeably forgettable names. One of them liked to tell anyone who’d listen about her aspirations to become a dermatologist, because of how much she loved securing a pimple between her two fingernails and slowly applying pressure until the pus burst. The other seemed to become nervous beyond reason whenever we spoke to her, so we generally didn’t.

But we don’t see Salome with these girls anymore. We see them sitting together at lunch, business as usual, but Salome isn’t there. We don’t know where she goes. We don’t see Sampson, either, but we’ve never known where he goes when he’s not around. We’ve never particularly cared, until now. Now we find ourselves not only aware of his movements, of his orbit around school, but curious about them.

One day, leaving school, we see him and Salome across the street at the gas station. He’s leaning against a car—her family’s—and her reedy body leans against his, standing between his legs. It strikes us how beautiful they both are. It’s almost striking enough to keep us from feeling the jolt of something like betrayal. But that’s silly. We are only borrowing him. Someone else got to him first.

 

Sampson still makes jokes that make us cringe. But at Saturday rehearsals, he makes sure there is enough pizza for everyone when we break for lunch. He lets us know when there are crumbs in our hair. He teases us, but he never pushes too hard. He recognizes that some of us are more delicate than we used to be. He is more delicate than he used to be.

When we ride the late bus home from play practice, Sampson is one of us, joking and laughing about all the same things. But in the morning, on the regular bus to school, Sampson either talks to his non-play friends or is quiet. He doesn’t talk to us.

 

Late one night at a long rehearsal, we sit with Sampson at the side of the stage during a break. He has taken to wandering over to us between scenes, striking up mundane conversations that we wouldn’t have the energy for if it were anyone else. The mundanity of conversations with him is imbued with something that makes us smile and smirk and fidget. We want to hear every dull syllable that comes from his lips.

“We should get food,” he says.

We laugh. We tell him we’re surprised: it doesn’t look like he eats much these days. We’re trying to tease him, or maybe compliment him, but our concern slides out headfirst.

“I was too fat,” he says. “Now I’m too skinny. That’s why we should get food. I’m going to waste away.”

Then he looks at me and says, “You’ve gotten skinny, too.” He takes my hand, its back facing up, and tells me to lift my fingers up by the knuckles. “See?” He taps each one of the long, delicate bones that protrude in response. “You don’t have any meat on you.”

“Neither do you,” I say.

We look at each other. Our director calls us to attention. But I can hear his mind still purring next to mine, like he and I are by ourselves in an adjoining room.

At the end of rehearsal, Sampson asks me where I live. “I ride your bus,” I say. “Every day.”

“No way,” he says. “How didn’t I know this? Why didn’t you tell me?” He faces me. “We should go get food. Let’s get food sometime.”

“Okay,” I say. “Let’s.” And I know that we won’t, but I’m praying we do.

 

We talk about it, how Sampson wants to get food with me. One of us says, “He has such a huge crush on you, Catherine. He gets so flustered when he’s around you.”

“I don’t think so,” I say, with a laugh. “He has Salome.”

“I mean, yeah, they’re fucking, but he likes you.”

“It’s like, he wants her, but he adores you.”

I don’t understand the difference, but we laugh it off. It’s sweet that he likes me, that he’s trying so hard. It’s funny, to think about getting food with Sampson. We can hardly imagine it!

But Sampson doesn’t mention getting food again for a long time. We assume that he was joking, or was stoned and forgot about it, or maybe he changed his mind. Maybe he was just hungry.

 

In French class, we match verbs with appropriate objects. The verbs are acheter, aimer, oublier, adorer, saluer—to buy, to love, to forget, to adore, to greet. The objects are abricots, devoirs, amis, cahiers, Dieu—apricots, homework, friends, notebooks, God.

We go around the room. “J’achète les amis,” says a boy in the back, snickering before he’s even finished his sentence. We would be amused, but it’s like this every day, and we are tired. He looks to Salome for approval, who does not look at him. She seems tired, too.

When it’s my turn, I say, “J’adore les abricots.”

Non, non,” says our French teacher. “On aime les abricots. On adore Dieu.”

 

We’re in class when we hear commotion in the hallway. The door to our classroom is open. One of the English teachers is walking briskly down the hall, trailed by a lanky, smirking Salome. Our teacher pauses slightly to watch, but the trouble falls from his face just as quickly as it landed, and we resume.

When class lets out, we walk to the cafeteria for lunch and hear whispers that Salome, noticeably addled in class, was suspended for being stoned at school. As we’re digesting this, we see Sampson cut through the crowd in the hall, his bag dangling from one shoulder. The head of upper school is close behind. “Mr. Sampson,” he calls, “please don’t let this turn out poorly for you, too.” But he’s already gone, the door swinging apologetically behind him.

We’re stunned. Some of us are impressed. Some of us feel like Salome has gone too far. We frame it in worry—we’re concerned for what’s happening to her; we wonder if everything is okay— but we’re not worried. Secretly, we’re a little relieved. The awe we’ve felt for her has been tempered by consequence. No one’s burden is that light.

 

Performances begin. We’re nervous and excited and our energy spills off the stage, literally: in the first performance, someone accidentally knocks a plate into the orchestra pit, where it shatters to the sound of laughter and applause. Fortunately there was no orchestra in the pit, or things might have ended differently.

As the shows go on, we watch each other, really watch each other. We’ve all grown so much since we each slipped timidly into our roles like a chrysalis at the start of rehearsals. Now we are magnificent. We speak our lines like they’re our own words, as easy as thinking, as easy as hope. We will miss the intimacy our characters share when this ends. We will miss the close physical space the play has forced our bodies to inhabit together.

We’re thinking about this onstage and off, in the wings while we’re waiting for our cue. We’re thinking about it just before our final entrance, while we stand alone in the wings. Then there is another presence, a breath, beside me like a ghost, but this is a ghost I know. Two slender hands alight on my waist, and when I don’t move away, they encircle me, and the body that belongs to them nests itself behind me. I have never been touched this way. I can feel every curve of his body even though he barely hovers behind me, his touch so light. I feel so light. I thread my fingers through his and I feel, for the first time in a year, more than the thrill of the stage or the draw of Salome’s beauty or the divinity of an empty stomach. This is adoration.

He and I stand there in the dark, our sad, hard edges locked together to make something larger than ourselves, until we hear our cue. And so he and I break apart, and he and I drift onstage, and we resume our roles.

The play ends. Things go back to normal. We go back to riding the four o’clock bus home. We’re relieved, but a little sad. It feels like a larger kind of ending.

The season changes, and so does the light. It streams long and late through our classroom windows onto our desks. It shoots and bends through the bus like a prism. We are illuminated. We feel, however fleetingly, like we’re coming alive.

Here at the end of the year, all of us about to go our separate ways, everyone changes. It’s sort of sudden, but when it happens it’s like we knew it would happen all along. It’s like the curtain has fallen at the end of the play that has been our time at this school, and we’re leaving the theater, freed from the characters we have played for so long. We are finally ourselves.

People talk to us who have never really talked to us before. People do things they’ve never done before. Some of us get wasted at the graduation party and find ourselves embracing people we thought we hated. Some of us are a little drunk, leaning against a wall at the graduation party, watching our friends, when Salome appears.

“Come to the balcony,” she says. Then she takes my hand, and we thread through the throng of all kinds of people I suddenly don’t care about as she leads me there.

Waiting on the balcony is Sampson. He smiles, then exchanges a look with Salome.

“So,” Salome says, “we heard you wanted to try this.”

I stare. Then Sampson produces what looks like a skinny, hand- rolled cigarette.

“Oh,” I say, “it’s really okay.” But Salome has already taken it and lit it, and she puts it to her perfect lips, inhales deeply. Then she passes it to Sampson, who takes a drag, and then offers it to me. Hesitantly I take it, lift it to my lips as they watch.

“I don’t know how to do this,” I admit.

“Just breathe,” says Salome. I expect her to be impatient with me, but she’s smiling, eager, like we’re all in on something together.

I inhale and then cough. Sampson pats me on the back, and when I can finally take a breath, I see they’re looking at me expectantly. I’m about to give them a smile, to signal I’m okay, when it comes over me: the lightness I’ve been chasing all year, that I’ve only found onstage or in an empty stomach, or just one other time, when Sampson held me in the dark.

We pass the joint around as the sun sets behind the city skyline, until I can’t take anymore. Salome and Sampson talk a little, but I’m content to just listen to the sound: the music of two voices that know each other so well they’ve become seamless.

“I’m going to miss you guys,” says Salome. For an instant in her voice I hear the old Salome, the shy, quiet one—the one I thought everyone had missed but me. Then I think: Maybe there is no old Salome. Maybe she never really changed. Maybe it’s us who started seeing her differently. Then I remember we’re all high.

“You won’t miss me that much,” I say with a laugh. “We didn’t really hang out.”

“I always thought we might,” she says. “Anyway, it’s been nice to know you’re there.”

We’re quiet again. “You feel okay?” Sampson says to me.

I nod, but in the dark he can’t see the motion. The lightness rolls in waves. I take a breath and reach my hand out, and as I do I feel his reaching out toward mine.

 

 

The Robert Watson Literary Prize Poem THEORY WHEN A WESTERN LIGHT GOES OUT

Tonight, the wind plucks leaves from their branches.
A coroner, it drops

the near-dead
in front of my door. I rise to the porch, gather the halfway

bodies. Pressed between dictionary pages, their veins
leave brown stains

like blood.
Little souls stamped between faucet and fog, dead and dreaming,

alive and alone. I hang their imprints on the wall.
As a girl, I played

a silver harmonica
that I swore would sound without a mouth to it,

a wind made by those mouths locked in meadows,
their teeth gone.

Once, I saw a stag
set to be buried in a coffin, satin-lined. His antlers sleeked,

his muscles glistened slick with embalming fluid.
Even then I thought

how strong
the animal poised to leap in a different life.

In a different life, the invisible would not just be visible
but more beautiful.

Every past
wrong, undone: the stag not dead, but awake

in a green meadow; a hole in the ceiling not for a leak
but for rain,

warm rain,
to clean the interior; my father, not buried

but sleeping
the peaceful sleep of a body in love with the earth.