Two Poems

Elisa Gabbert


Life Poem 2

Beginnings of years, each random thing
is an augur. I sleep unwell, is that
life now? Make tiny adjustments
to furniture. Poem is a four-room house.

We walk several miles, see many animals
at the zoo. “What the living do”:
they pace aroun d, eat, content enough
to be bored. A moon bear. A Bactrian camel.

This elephant stands there so casually,
one back leg crossed. She’s 39.
She’s younger than me—she
so enchanted/entrenched with time.

I want time that deep. A trench,
an intractable arrow. I want not
to know what I want, I want to
want nothing past tomorrow.

Caravaggesque

There’s a scene in The Hustler
you once heard described in another movie.
There’s a hole in the future, hope
rises up, hope you don’t want.

Years pass. You see The Hustler. The scene
floats out from the screen
like a soul leaves a body, a memory
of someone else’s dream.

Sunday now, train in the mist,
you look at the cars on the other bridge.
Is life always like this—doubled,
removed, and thus understood?

As in a famous painting of
the Magdalen, her candle positioned
to watch itself flame in a mirror,
which also is framed, it also is paint.

Sad in New York

Elise Juska 

The bell had rung an hour ago and I was sitting with the rest of the Scouts in a sloppy circle by the hot lunch line, wrinkled green sashes thrown across our chests. The room smelled damp: damp stacks of plastic trays, damp piles of utensils, damp linoleum the custodian had mopped into dry islands around our feet. From where the fourteen of us were sitting, the cafeteria looked vast and deserted, chairs propped upside-down on tables, spiky metal legs pointed toward the ceiling. Out of sight, I could hear dishes rattling, lunch ladies talking, sometimes unleashing coarse bursts of laughter. At lunchtime, this place was chaos; it felt strange to be there after-hours, like we were privy to something we shouldn’t be.

“Girls,” Mrs. Tedesco, our troop leader, announced. “Time to sing.” 

Mrs. Tedesco ended all of our meetings like this. We held hands, and under the humming fluorescent lights, offered our closing anthem of praise to the trees. Mrs. Tedesco sang with gusto, like always. She was wearing her usual uniform—baggy blue jeans, untucked plaid shirt, and sockless moccasins—her only concession to scouting the red kerchief tied loosely around her head, tail flapping at the nape of her neck. 

A few girls snickered at her, including Carrie, but she was Mrs. Tedesco’s daughter, so she could. Most girls sang along dutifully, earnestly. I whispered the words under my breath. I liked the idea of being a Girl Scout—a girl like the ones on the cookie boxes: cheerful, friendly and fearless—more than actually doing it. I’d struggled my way through gardening and knot-tying. I liked eating the cookies but dreaded selling them, ringing doorbells and standing on people’s porches, subjecting myself to awkward conversations and barking dogs. My strength was rule-following: I liked the sense of accomplishment that came with earning badges, folding down the pages in my handbook and ticking tasks off a list. Some girls (Carrie) were too disinterested to have acquired more than two or three of them. Others, like my friend Aimee, had sashes so heavy with hardware they drooped into their laps. I had ten, the same number as my age. I gravitated toward the less athletic ones: Music, Child Care, Creative Cooking. I’d even managed to complete Wildlife, though I was afraid of most animals (in theory, I wanted a guinea pig, but mostly so I could name it). “Indoor scouting,” my dad said, and I humored him with a “Very funny,” while Mom patiently sewed the next badge onto my sash. 

When the song ended, we rose to leave, but Mrs. Tedesco raised one palm. “Hold your horses,” she said, reaching into her giant tapestry bag. The bag sagged by her feet, and she rummaged in it like a junk drawer, emerging with a stack of pale green composition books. “An assignment. For next week.” 

There was a single, elaborate groan—Carrie, of course. Mrs. Tedesco gave her a warning look, and Carrie blew her bangs off her face, a move I envied. Carrie’s bangs were blunt and choppy, as if cut with kitchen scissors, grazing the tops of her purple glasses. When she aimed an exasperated stream of air directly upward, they fanned out like a wave.  

“Girls,” Mrs. Tedesco said as the books made their way around the circle, “being a Scout means having character, compassion, and courage.” We knew. Not that anyone was really listening. “To build character, you need to know what you think. Express what you feel.” She seemed slightly winded, as she often did, from emotion or exertion I wasn’t sure. “This week, you’re going to keep a Girl Scout Journal,” she said—at this, I perked up: finally, something in my wheelhouse. “Each day, girls. Fifteen minutes. Thoughts and feelings. Cough them up.”


Mrs. Tedesco was not only my troop leader but also my neighbor, which made it even harder to take her seriously. She lived at the bottom of our block of Lyle Road. If I was ill-equipped to be a Girl Scout, Mrs. Tedesco was equally unsuited to be a leader. She could be sarcastic with us, even sour. She didn’t seem in good physical shape, and her hair and clothes were in constant disarray. Her front porch was hung with spindly, dying plants in macramé baskets. She had a bumper sticker that said I’M NOT DEAF I’M IGNORING YOU.  

I understood that Mrs. Tedesco had reasons to be unhappy. Her son, Miller, had “a problem with anger,” according to my mom. Three years ago, he’d been kicked out of the junior high for fighting with a teacher and sent to a special school. Shortly after, he was caught trying to rob a Radio Shack, and went to juvenile hall. Now he was living with an uncle somewhere in—New York? San Francisco? Carrie never mentioned Miller, though we spent enough time together; she was always showing up at my house to play. Which was funny, since we weren’t in class together—I was in fourth grade, Carrie was in fifth—and we never talked on the playground or at lunch. She was in Scouts, of course, though we didn’t interact there either. Our friendship existed apart from school, born of convenience, the proximity of neighbors. She’d show up—after school, on weekends—and hang around my house until five-thirty, when my mother would gently say that her mom must be wanting her home, and Carrie would shrug, fan the bangs off her brow, and wander back down the street. 

We never played at Carrie’s. For one thing, after school, Mrs. Tedesco wasn’t home. This was the reason for the housekey Carrie wore around her neck on a white shoelace, an accessory that struck me as tough and cool. Mrs. Tedesco worked 9-5 as an assistant manager at Thriftway, every day except Tuesdays, when she left work early to run the Scouts. “I told my manager, I need to do this for my daughter,” I’d heard her tell my mother, and it bothered me that she said this—like she was pretending to be a different sort of mother, like she and Carrie were close, like Carrie even cared. That the reality was so different didn’t deter Mrs. Tedesco, or it had escaped her. My mom, of course, just nodded, being kind. I assumed she was thinking about the day Mr. Tedesco died. Eight years ago, he was walking in from work and had a heart attack on their front porch stairs. Miller, six years old, had been watching out the window, waiting for him, and saw him collapse. When Mrs. Tedesco rode off in the ambulance, frantic, it was our house where she dropped her kids—“never dreaming he wouldn’t make it,” my mom said. It was a story she referenced surprisingly often. “No warning,” she said, every time. “Those children—” She shook her head. “Life can change in a day.” 

I had only a vague recollection of Carrie’s brother. I remembered him as skinny, not the kind of skinny that signaled wimpiness but the kind that signaled mischief, bony and lean—or else I remembered him that way because of the trouble he got into later. I felt sorry for Mrs. Tedesco, losing her husband and then her son like that, though I was also kind of glad a robber wasn’t living down the street. At least, though, with Miller around, Carrie had had a partner. Without him, she glued herself to other parents, teachers, kids, me. She was loud and irreverent, her voice perpetually hoarse, as if she’d spent all night screaming at a concert. She knew all curse words and parts of the anatomy and was happy to explain them to any interested parties. Elaborate arrangements of friendship pins clotted the laces of her sneakers, in different meaningful color combinations—yellow for friend, red for crush, green for enemy—even though friendship pins had been way more popular when we were younger. Not that Carrie cared. Her popularity seemed less about being trendy or “in” or having true friendships than other girls wanting to align themselves with her, out of fascination or fear. 

I didn’t like playing with Carrie, and found it confusing that she liked playing with me. I wasn’t bad or cool or popular. To her, I should have been boring, and maybe I was, considering the games we played. Carrie’s favorite was one she’d invented: Sad in New York. In it, she was the advice columnist, Dear Diana, and I was the person writing in with problems I needed her to solve. I assumed the name Diana had been inspired by Carrie’s obsession with Princess Di. My letters were all signed by someone who called themselves Sad in New York (a place, Carrie claimed, lots of sad people lived). Dear Diana: My friends are dying to go to the school dance but I don’t want to. I’m hopelessly uncoordinated! How do I gracefully back out? Anti-Socially Yours, Sad in New York. Or: When my boyfriend and I argue he always wins. It isn’t fair! How do I get my way? Desperate, Sad in New York. Or: Everyone has designer jeans but my parents don’t believe in labels. What do I do?? Feeling Uncool, Sad. 

Carrie always traveled with her purple backpack—overstuffed, festooned with rabbit’s foot keychains—in which she carried the notebook we handed back and forth. I put sincere effort into my letters. I was trying to capture the tone of advice columns I’d seen in the paper, an over-punctuated bounciness that seemed at odds with whatever the letters were about. Carrie would always read what I’d written and frown, as if impatient with these “problems,” then dash off her reply: Dearest Sad, Lighten up. Don’t you know how to have fun? Or: Sad, Get a new boyfriend and then get a clue. Or: Tough luck!!! When we weren’t doing this, we were playing Queen, in which I was the servant and she was the queen. 

I was always relieved when Carrie went home. Still, I felt an obligation to play with her. Maybe it was because my mother always referred to her with an oblique sorrow. “Why don’t you have Carrie over?” she would say, meaningfully, sometimes adding: “It would be nice.” 


I took my Girl Scout Journal seriously. That week, I worked on it every day. If Sad in New York’s letters were moody and depressing, the Girl Scout Journal was hopeful and earnest. I listed boys I had crushes on. I mused about what it would be like to someday kiss one. I wrote about worrying my period would never come, my chest would never grow. With the exception of one crush (Paul Shin) none of this was true. I was in no rush to grow up; the prospect of my period terrified me. I was attempting to sound like a dreamy girl in a novel, the kind who confesses her secret thoughts and worries and they’re private and embarrassing but also somehow girlish and charming. I’d had a similar experience when I made my First Confession, inventing sins I’d committed because I couldn’t think of any real ones. 

“What have you got there?” Dad asked. He was sitting on the other side of the dining room table, pencil scratching in his sketchbook. Dad and I could sit in a room together, serious but quiet, which I liked.   

“Homework.”

His chin was bent over his sketchbook. “More specific?”

“A journal,” I said. 

“Huh.” Dad made an approving sound. “For what class?”

“It’s not for school. It’s for Girl Scouts.”

“Scouts assigns homework? Don’t you already get enough homework?” My father, unlike most parents, felt I was being overworked by our suburban public school system—“plenty of time for being chained to desks,” he would complain. Mom usually ignored comments like this. She was going back to school to be a guidance counselor; she was good at staying calm. Dad was an insurance broker but, at night, was working on a children’s book. In it, a girl named Juanita Bonita boards a magic carousel and ends up roaming around Philadelphia having eye-popping adventures. For reference, Dad sometimes had me pose like Juanita, pretending to gaze out windows or stare at tall buildings. Occasionally I caught him studying his own face in the mirror above the living room couch, wearing exaggerated expressions of confusion or horror or surprise. 

“It’s not like regular homework,” I said. “It’s fun.” I paused. Fun wasn’t the word. “It’s a scouting diary,” I told him.  

Dad frowned. He wasn’t a fan of the Scouts. “‘To serve God and my country,’” I’d heard him say, quoting the pledge. “What is this, a cult?” During the Vietnam War, Dad had been a conscientious objector. A year ago, he’d stopped going to church. My mom still went every Sunday, dragging me with her. I missed having Dad there, but also felt proud of him. Confusingly, between my parents, Dad was the more outspoken, but from what I could tell it was Mom who called the shots.

“Is that different from a regular diary?” he asked. 

It was, though it was hard to describe exactly how. A scouting diary required an extra openness, candor, and girlness—but I hesitated to explain. “I guess not,” I said. Dad returned to his drawing, and I returned to my journal. I don’t understand my parents, I wrote, with a deep internal sigh. And my parents don’t understand me


That Sunday, when I heard a knock on the front door, I was upstairs journaling about how I wished I were more popular, and Mom was in the office, studying. Dad was doing yard work. It was possible neither of them had heard. I hoped the person—Carrie, I was certain—would just go away. Then I heard a longer, harder knock, followed by the doorbell, the creak of the office door, and Mom’s footsteps on the stairs. “Oh, hi, Carrie,” she said, and my heart sank. “Jess! Carrie’s here!”

I pressed the tip of my pen into the page until it left an inky blot. I am not in the mood to play with Cathy—but alas, I wrote. Grudgingly, I made my way downstairs. Mom was by the front door, chatting with Carrie, who had assumed her usual pose—eyebrows raised slightly, hands folded, as if gracing me with her presence—even though it was her who had showed up at my house. As usual, her bulging backpack was hooked on her shoulders, as if she were prepared to move in. “There’s fruit in the kitchen,” Mom said, then retreated upstairs, shutting the office door. 

“Guess what?” Carrie greeted me. 

“What.”

She smiled. “I’m going to visit my brother.”  

“Really?” Carrie was prone to exaggerating, but this seemed too important. 

“Easter vacation. My mom and me are going to Florida,” she said.

“Neat,” I allowed. “Where is he?” 

“Um, Florida?” Carrie said, drawing out the word to underscore my stupidity.

“I know, but—where?” I didn’t want to spell out the alternatives: special school, uncle’s house, jail. I was trying to be nice. “I mean, where’s he living?”

“With my aunt,” she said. “Aunt Mimi. She’s not really my aunt. She’s my mom’s friend. She lives in Miami.”

Aunt Mimi from Miami—it sounded potentially invented. 

“She’s really cool,” she said. 

“I thought you said you never met her,” I replied, then felt badly. Carrie never talked about her brother, and she seemed genuinely happy. 

“I talked to her on the phone.” Then she scanned the room and frowned, as if dissatisfied with her options. “We can play queen, I guess.”

Like that wasn’t a game we always played, the game Carrie always wanted to play—but I let it slide. Through the bay window, I could see Dad trimming the forsythia bushes, listening to his Walkman, and thought how much I’d rather be out there with him. 

Carrie got right into character, plucking the afghan from the back of our couch and perching it, cape-like, on her shoulders. “Fetch me my tea,” she commanded. Playing queen, Carrie’s caustic streak came in handy—she could level a servant with a single verbal blow. She was equally skilled at berating her royal subjects, who assembled in the backyard outside the living room window. “Once again, you all disappoint me,” she proclaimed, with a flick of her hand. Then she lowered herself to the couch and slid off her glasses, the better to drape one hand across her brow. I carried around a tray on which I served her tea and cookies, occasionally fanning her cheeks with a TV Guide

After about fifteen minutes, the back door slapped and Dad came in, stopping in the living room doorway. “Hi, girls.” 

I glanced up. “Hi, Dad.”

He was looking at us with a funny smile. “Hi there, Carrie.” 

She blinked at him from where she lay on the couch. Without her glasses, her face looked younger. “Hi, Mr. Seward.”

“How are you doing?” 

“I’m doing fine,” she said. Then she smiled and added: “I mean, great.” 

My dad lingered another minute, looking toward the window. Finally he said, “Have fun,” and went upstairs. A minute later, I heard the door to the office open and close. 

Carrie sat up, rubbing her elbows. “That was weird,” she said. It was a little weird, but I wasn’t giving her the satisfaction of agreeing. She let the afghan slump from her shoulders and pushed her glasses back on. Then she looked around the room, blinking, as if it were a store where she’d been considering shopping but changed her mind. “I think I’m done,” she said, which was a first. 

“Okay,” I said, but Carrie was already gone. The front screen door slammed. From the couch, I saw her cut diagonally across the front lawn. The entry practically wrote itself: Cathy was acting weird. She wanted to go home, which she never did—secretly, I was overjoyed. I picked up the afghan and wrapped it around my shoulders. Then I heard Mom’s office door open, and both my parents came downstairs, Dad saying, “Was that Carrie leaving?”

“Yeah,” I said. 

Mom sat beside me on the couch. Dad stayed standing. They wore the looks of a serious conversation: Mom concerned, Dad mildly annoyed. 

“We need to ask you something,” Mom opened. 

My first, panicked thought was that they’d read my journal. Mentally, I went flipping through the entries, looking for anything potentially inflammatory. My parents don’t understand me—I didn’t even feel that way, not really. I’d just written it because it felt right.

“What?” I said.  

She looked at Dad, and sighed. “We think Carrie might have stolen something—”

“We know she did,” Dad said.

This news was startling, but felt immediately possible. I believed that Carrie had done it, could do it. I was more confused about how and when she’d pulled it off. “When?”  

“Dad saw her,” Mom said. 

“When I was in the yard. She stuffed it in her pocket. And now—” He gestured toward the window. “It’s gone.” 

“What is?”

“Just—” Mom shook her head. “One of the bells.”

Mom’s bell collection sat along the narrow ledges of the bay window. She had twenty or more: antique brass schoolbells, hand bells, sleigh bells, a copper dinner bell from an eighteenth-century farm. She’d been collecting her bells since she was a little girl. I could see where the stolen one was missing: a small one made of etched crystal. It was one of Mom’s favorites. That this was what Carrie had stolen—something belonging to my mother, who was only ever nice to her, something she couldn’t have really wanted—made me furious. I cycled back through the past half-hour, thinking of times she might have had the chance to take it—when she was facing the window to dismiss her subjects or I was in the kitchen making her an imaginary cup of tea. 

“You didn’t see her take it, did you, Jessie?” Mom asked.  

“What? No!” I said, offended. “If I had, you don’t think I would have stopped her?” 

Mom studied me, and nodded, as if deciding to let me believe this. “Did anything happen between you two today?”

“Like what?”

“I don’t know,” she said mildly. “Anything unusual? An argument?”

“She told me she’s going to visit her brother.”

Mom’s eyebrows rose lightly. “Is she?”  

“Supposedly. But it’s possible she was making it up,” I said. “And then she bossed me around. But that’s not unusual.”

Dad interjected, “What does that mean?”

“We play this game. She’s the queen and I’m her servant.”

He frowned. “And you agree to this game why?” 

I didn’t say anything. It hadn’t occurred to me I had a choice. I looked at Dad. “Why didn’t you say something to her when you came in here?”

“I—” he began, then stopped. “I thought I’d better talk to Mom first.”

“It’s complicated,” Mom said. 

“Why is it complicated?” I looked at her, at both of them. “You’re telling Mrs. Tedesco, right?”

Neither of them replied, but both their expressions seemed to deepen. Dad’s grew more indignant; Mom’s face looked traced with pain, like it did sometimes in church. I knew what had happened: Dad thought they should tell, Mom didn’t. Mom won. Of course. Carrie had stolen from us and was getting away with it. 

“I really think you should tell her,” I said. “I think she’d want to know.” 

Mom paused, then gave me a sorrowful smile. “Carrie’s been through some hard things,” she said. “We’re going to let this one go. But if it happens again—or if you see anything—we will.”


Tuesday before the meeting started, I watched Carrie like a private eye. She was laughing and joking around with the other Scouts like nothing was different and I felt a seed of resentment growing in my chest. I couldn’t imagine doing something so blatantly wrong and just carrying on, guilt-free, unaffected. I thought about how lucky she got that my mother had decided to spare her. How she’d been caught in the act and didn’t even know it. Aimee was talking to me about the spelling homework, and I pretended to listen. I hadn’t told her what happened, not because I was protecting Carrie but because I didn’t want Aimee thinking less of my parents for letting her off the hook. The night before, I’d vented my frustrations in the final four pages of my Girl Scout Journal, a storm of emotion, cursive loose and sprawling. Cathy is a THIEF. She stole right from under our noses and I have no idea why mom let her get away with it. Nobody even likes her. I for one despise her and her stupid friendship pins. I only put up with her because my mother makes me. What choice do I have???  

“Girls,” Mrs. Tedesco said. “Journals, please.” 

Talking slowed to a dribble as the Scouts reached into their backpacks and retrieved their pale green books. It was only then, handing mine to Aimee, that I felt a simmer of nerves. I wondered what Mrs. Tedesco would think when she read it, if she’d know who Cathy really was. I watched my journal travel around the circle, hand to hand, stopping at Mrs. Tedesco, who shuffled the book to the middle of the pile like a card in a giant deck, and dropped it into the big tapestry bag that she would carry out of the cafeteria and into her car and Carrie’s house.


Carrie didn’t come over that week. I tried to let myself enjoy the hiatus, but I was worried. That she’d found my journal in her house and read it. That she was mad at me, or hurt—but so what if she was? I tried to tell myself the likeliest scenario was that she was afraid my parents had figured out she’d stolen and was lying low. 

Then, on Saturday, there she was: a measure of her boldness, or obliviousness, or maybe desperation. “Carrie, hi,” I heard my mother say, inviting her inside. Her tone, I thought, was way too generous. When I appeared in the living room, Mom was smiling like everything was fine. “It’s a beautiful day,” she said. “Why don’t you girls play outside?” 

It was true that, outside, there was nothing much for Carrie to steal from us, though I doubted that was motivating my mother. It was nice out, the first day that really felt like spring. Carrie and I filed out to the backyard, where we sat on the lawn by the forsythia bushes. She pointed out that she’d rearranged her friendship pins again. 

“I don’t know anyone else who still wears friendship pins,” I replied, picking at the grass.

Carrie merely shrugged. She seemed no different than usual, and I resented the time I’d wasted assuming anything different.

“Queen?” she said.  

“I’m not really in the mood,” I said. “I kind of hate Queen, actually.”

“Since when?” 

“Since always.”

She shrugged again. “Suit yourself.”  

We sat in silence for another minute. I shredded a blade of grass into confetti. But we had to do something, so I proposed a few rounds of Sad in New York. Carrie dug the notebook from her backpack and offered me a pen.

Dear Diana, I scribbled. I had a dinner party and my guests stayed forever. Is there a polite way to make them leave? Feeling Annoyed, Sad in New York. 

I passed it back to Carrie then waited. Another kid might have seen the letter as a cue to leave, but Carrie wouldn’t notice. Carrie didn’t notice anything. I stared at the living room window, picturing her picking up that crystal bell and stuffing it in her pocket. Today, the sun was too bright to see inside the house; the light bounced off the glass.

Carrie handed back the notebook. 

Dear Sad: Every party has a pooper and that’s you! 

I stared at the page, my face growing warm, and grabbed the pen. 

Dear Diana: I did something very very wrong and no one knows. Should I tell??? Feeling guilty, Sad in New York.

I shoved it at her and waited. My heart was skipping lightly. But Carrie returned the notebook instantly, saying, “I can’t answer this.” 

“Why not?”

“It’s totally lacking in detail,” she said, in the same haughty tone the queen used to address her subjects. It occurred to me that the queen and Dear Diana were essentially the same person. “What wrong thing did she do?”

Carrie squinted at me through her glasses. In truth, the question was not unfair; the letter was too vague. But Carrie never critiqued my letters, barely seemed to read my letters. She must have been wondering if I knew about her stealing. I wanted to blurt out: My dad saw you do it! Then the back door opened—my mom, coming out to water the flowers, like she had some of tension radar. 

“I don’t know,” I said. 

She laughed. “How can you not know?”

“I meant, I don’t care. I didn’t even feel like playing.” I swiped torn grass from my knee. “Just make it up. Whatever you want.”

Carrie thought for minute then declared: “Kidnapping.” She huddled back over the page and scrawled: You stole someone’s kid? Return them, you sicko! 

After one more half-hearted round, I told her I didn’t feel good, and when my mom called after me as I ran upstairs, I didn’t stop.  


The next week, the air in the cafeteria was still and stuffy. The wide brown shades were yanked down halfway, blocking the sun, but the windows were sealed. The heat was amplified. Everything felt amplified. The smells of fries and burgers from that day’s hot menu. The buzz of the fluorescent lights. There were shadowy spots on the linoleum, damp patches where the mop water hadn’t dried. 

“Girls,” Mrs. Tedesco said. “I read your journals.” She heaved a heavy sigh. “Most of you really dialed it in.”  

A few girls, Carrie included, rolled their eyes. Mrs. Tedesco lifted the stack from her bag, wrapped in a thick rubber band. 

“But there was one journal that was exactly what I was looking for,” she said, peeling one green book off the pile and waving it in the air. The journals were identical, so it was impossible to tell whose it was, but I knew that it was mine. I felt a mixture of pride and dread. “This,” she proclaimed, turning to give me a wide toothy smile, “is what a Girl Scout Journal should sound like.” Then she opened up my journal and began to read. 

It was so terrible, so incredible, that it didn’t immediately sink in: Mrs. Tedesco was reading my private thoughts out loud. That they weren’t true, for the most part, didn’t make it any less humiliating. Everybody knew the journal was mine. My shock turned to something like repulsion as I watched Mrs. Tedesco’s mouth moving. “Sometimes I wonder if I’ll ever kiss a boy,” she was saying. She was smiling. I could tell she thought my journal was harmless, sweet, like a little kid who’s naked and dancing.  

The other Scouts were gracious enough to be mortified on my behalf. They understood that if her intent was to praise me, and shame them, the opposite was true. “Will my chest ever grow?” Mrs. Tedesco continued. Some of the girls were looking at me with awe, or pity. Aimee mustered a supportive smile. Other girls wore expressions of mild disbelief. None of them had been dumb enough to take this seriously. 

When I glanced at Carrie, she was watching me from behind those purple glasses, wearing the smug look she always did, and I wanted to explode. Why did she get to sit there with all her secrets hidden? Real secrets? Actual, wrong things? That I was being exposed but she wasn’t—I was filled with a shaky rage. 

Meanwhile, Mrs. Tedesco was still reading. Maybe she was going to read the entire thing. I cared so much I almost didn’t. I stared hard at the cafeteria windows, at the deserted playground. Eventually, Mrs. Tedesco would get to the part about Cathy stealing. Even if she was clueless enough to not recognize her own daughter, the other girls no doubt would. Good, I thought. Let them. I hoped Mrs. Tedesco read to the end. “I don’t understand my parents,” she was saying, and I fought back a sudden well of tears, for my parents getting dragged into this, for writing about them in the first place. They struck me then as the greatest people in the world. 

Then Mrs. Tedesco abruptly shut the book. “That,” she said, “is a Girl Scout Journal.” She scanned the circle, her expression chastising, triumphant. I stared furiously at my knees. I’d been spared the last few entries, but so had Carrie. Aimee leaned over and wrote in pen down my forearm: NOT THAT BAD ☺. But this was Aimee. She was always positive. She was the perfect Scout. 

Meanwhile, Mrs. Tedesco had hoisted herself from the chair to return the journals. When she held mine out, I snatched it from her hand. She was saying something but I stood and ran out of the cafeteria, down the wide damp aisle and past the empty tables, out into the hallway and through the lobby doors. Aimee’s mom was supposed to drive me home, but I ran the seven blocks in the purpling dusk. When I reached my house, I was breathing hard. My chest burned. At the back of the driveway, I opened the metal trashcan by the garage and untied a bag of kitchen garbage. Awesome, it said on the cover of my journal, thick marker with three underlines. I stuffed the book in the trash, along with my sash, and jammed the metal lid on top. 


Carrie hadn’t been lying about her vacation. She and her mother went to Florida over Easter break. I knew this not because Carrie reminded me—she hadn’t been over since I ran out of the meeting, and we hadn’t spoken at school, not that we spoke there anyway—but because my mom said Mrs. Tedesco had stopped by.

My head snapped up from the couch, where I’d been watching TV since getting home from Aimee’s. “Why?” 

I had skipped the last two Scout meetings and hadn’t told my mom. My dad, I thought, would have applauded this act of rebellion, even though it didn’t feel that rebellious. The two hours I should have been in Scouts I’d spent wandering around the neighborhood near the school, staring at strangers’ houses, reappearing just in time for my mom or Aimee’s to pick me up.

Now, though, I worried that Mrs. Tedesco had told my mom about my absences. About my journal. Maybe she’d finally figured out I was writing about Carrie—it occurred to me that may have been the reason I’d done it.

“She wanted to know if you’d feed their cat,” Mom said. 

“What?” I didn’t even know Carrie had a cat. 

“They’re away for a week, in Florida—”

“Yeah, yeah, I know.” 

Mom paused, surprised at me. 

“Sorry,” I mumbled. “It’s just that Carrie already told me.”

“Well. Okay.” She nodded, as if that meant we were on the same page. “So they need you to feed the cat while they’re away.”

“But why me?” 

“They must think you’re trustworthy,” Mom said, as Dad walked in asking, “Why me what?”

“June Tedesco asked if Jessie would feed their cat while they’re away.”

“And I don’t want to,” I said, childishly. I was hoping Dad would take my side. 

“Maybe it was that Wildlife badge,” he cracked. 

I was too upset to laugh. Mom was looking at me closely. “Well,” she said finally. “They already left. And I said you’d do it.” She fished in her pocket. “They dropped this off,” she said, putting Carrie’s key in my hand. 


I walked down Lyle Road with Carrie’s shoelace tied around my neck. It was officially spring. Flowers were popping up beside neighbors’ walks and fences. A distant lawnmower droned. Cardboard rabbits and Easter eggs were stuck on people’s doors and windows. The key felt warm against my skin.  

Carrie’s house was identical to my house—same shape, same layout—except hers was geranium blue. It had no Easter decorations. The porch was covered with sagging wicker chairs, sickly-looking plants. As I climbed the steps, the wood creaked and sagged. I thought about the fact that these were the very steps where Mr. Tedesco collapsed, how strange it must be for Carrie and Mrs. Tedesco to walk up them every day. To the right of the door was the window Miller must have been looking out of when it happened. A heart-shaped suncatcher was suctioned to the glass.

I pulled Carrie’s shoelace from around my neck and ground the key into the lock. The door needed a little extra push to open, the rubber flap on the bottom stuttering against the rug. Inside, it was dark. The shades were down, the curtains closed. When we went away on vacation, Mom left lights on timers so it looked like somebody was home, but the Tedescos’ house was so lightless it felt like stepping into the cave. I pulled the screen door shut behind me so the cat didn’t escape. An indoor cat, my mom had relayed. Be sure not to let her out. I tried to get oriented, feeling for a lightswitch, and when I found one I gasped. 

The couch, chairs, and living room floor were all piled high with junk. Stacks of mail and magazines, mounds of clothes and books and records, cat’s toys and baskets of yarn. The coffee table was covered with dirty dishes, stained juice glasses, mugs with dried teabags inside them. The curtains looked like heavy brown tweed. For a minute I stood paralyzed, then I stepped gingerly around the piles, not wanting to disturb them. In the dining room, chairs and table were buried in the rubble. Some of the junk at least belonged in a dining room—candlesticks, placemats, dishes—while other things were random: a crate of mason jars, a rolled-up doormat, a guitar with broken strings. 

I was shocked, and also nervous, to realize people lived like this. To realize that Carrie did. As I neared the kitchen, I could smell it. I turned on the light and found two open bags of garbage sagging in the middle of the floor. One had leaked something brown; ants swarmed the puddle. Unwashed dishes crowded the counter, crusted with dried spaghetti sauce, drips of jelly, pizza crusts, an icing-covered fork. It occurred to me then that Carrie never had birthday parties. On the window, dead fruit flies stuck to strips of sticky tape. I spotted two empty bowls on the floor beneath the telephone and realized I hadn’t seen the cat.

My heart was thumping close to my skin. I didn’t want to go upstairs—was tempted to just fill the bowls and leave—but I needed to at least set eyes on the cat first. What if it was crushed under something? Or I’d let it slip when I opened the front door? As I climbed the stairs, the heat was thickening. Things were crystallizing: No wonder we never played at Carrie’s house. No wonder Carrie never wanted to be there. No wonder she carried that getaway backpack. And, less clearly, no wonder Mrs. Tedesco had loved my journal so much. 

The hallway upstairs felt swollen with the heat and the quiet. I walked on tiptoe, because it felt like I was trespassing, even though I’d been invited inside. It was shocking, actually, that Mrs. Tedesco had knowingly asked me in there. Maybe she felt bad for humiliating me at the meeting. Maybe she was making some kind of amends, trading one private embarrassment for another. I crept down the hallway, carpeted in dirty orange, until I turned into a doorway and flipped on the light in Mrs. Tedesco’s room. I tried skating my gaze across the surface, poking at cat-like lumps in the bedcovers and toeing piles of clothes on the floor. From somewhere, a clock was ticking. It occurred to me that staying so quiet wasn’t actually in my best interest so I called: “Here, kitty!” My voice sounded hollow and strange. 

I cleared my throat, trying again—“Kitty, kitty!”—as I continued down the hall. The next door was plastered with decals: a skull smoking a cigarette, the Pink Floyd rainbow prism, the words KEEP OUT. Miller’s room, I thought. The door was shut, as if he’d died or something, and I didn’t open it. I at least knew the cat couldn’t have walked through a closed door. “Kitty!” I called again. My heart was banging. I felt something like fear as I approached Carrie’s room. Guilt, too—I’d hate it if I knew Carrie was poking around my stuff without me there. But when I snapped the light on, the room was just messy, normal messy. Clothes were tossed on Carrie’s bed and carpet, shorts and T-shirts I recognized from last summer, things she must have rejected when packing for her trip. On her bedpost hung the Girl Scout sash with its three measly patches. Puffy pillow letters spelled CAROLINE on the wall above the bed. I’d never known this was her real name. On her dresser, piles of friendship beads were stored by color in one of those plastic pill counters. It was the most organized thing in the whole house.

I felt a deep, dizzying sadness, and walked quickly back out to the hallway, drew a teary breath. I needed one of my parents. Needed my mother. My impulse was to run home for her because I didn’t want to use the Tedescos’ phone—but this made no sense. I forced myself back down to the kitchen and the phone by the refrigerator and dialed my number. “Mom?”

“Jessie?” 

“Yeah.” My voice trembled. 

“Jess? What is it?” 

“I don’t know,” I said, suddenly on the verge of tears. I started to say more—that something here was wrong, that people didn’t live like this unless there was—but I didn’t know how to explain it. “I can’t find the cat,” I said. 

“Hold on,” she said. “I’ll be right there.”

The living room felt like the safest place to wait, so I stood on an exposed square of carpet by the door. I stared at the mantel above the fireplace, a row of pictures in cheap-looking gold frames. One of them was Miller as a little boy. He was smiling, but distantly, with his mouth and not his eyes. I wondered if it had been taken before or after his father died. There was Mr. Tedesco, holding one kid in each elbow, like sacks of groceries. He looked like Carrie, I thought. I didn’t see Mrs. Tedesco. She must have been the one taking the pictures.

I heard footsteps rush across the porch, then Mom shoved open the front door. Her eyes went to me first, as if scanning for injuries, then she paused and looked around the room. I watched as her gaze moved over the piles, resting briefly on the mantel, and resettled on my face. We stared at each other for a long minute. Her expression was grim, close-lipped, but she said only, “Cats are good at hiding,” and shut the door.

Without discussion, Mom took the lead as we picked our way across the living room. I noticed she, too, refrained from touching the mess, as if out of respect for whatever awful thing was at its root. In the dining room, she made a kissing sound, but the cat stayed hidden. When she reached the kitchen, she stopped for a minute, taking in those leaking trashbags, but her expression wasn’t pained, like I’d expected. She looked almost angry. She ventured into the kitchen and made the kissing sound again, then her face changed, softening with affection as she leaned toward the window and picked up her bell. 

The crystal bell had been sitting on the sill with other random trinkets, vases and bottles and seashells, tooth-shaped bits of green glass. Mom held it up, peering at it closely, as if confirming it was hers. Then she raised it above her head and rang it—the sound was high, long, jarringly loud. Within seconds, the cat was scampering down the stairs, sliding past my ankles and tapping across the kitchen floor, where it hunkered by the bowls. 

“There,” Mom said, with a single nod. There was sweat on her nose. She set the bell on the counter. I wondered if Carrie had stolen it to help find her cat. The cat was yowling now, looking at me as if it knew I was the one in charge. “Better feed the beast,” my mother said. 

I poured out some dry food, swapped out the hairy water for fresh water, opened a tin of wet food with a rusty can opener left in the sink. Mom washed and dried the opener, which seemed absurd, given everything. She looked around once, as if considering doing more—would it be insulting, I wondered, for her to clean up after them? Maybe she was asking herself the same thing, because she just dried her hands on her jeans. She bent to pet the cat, two quick strokes along the spine, then picked up the bell and returned it to the window, and I knew that we were leaving it, not just knew it but understood it, even if I couldn’t have said why.

Mom snapped off the kitchen light. Silently, we retraced our path, back through the stifling dining room and living room and out onto the porch. I took the shoelace from my neck and pulled the door shut, locking it. Mom put a hand on my shoulder and gave it a light squeeze.

As we started back up the street, I kept Carrie’s key in my hand. I didn’t want to wear it. The air was light and cool and I felt like I could breathe again but there was a heaviness in my chest. Mom and I didn’t speak. The sun was setting. Smells of dinner drifted from the neighbors’ windows. As we approached our house, I saw that all the lights were on downstairs. There was my dad, standing in front of the living room mirror. He had his head thrown back, mouth gaping, trying to capture exactly how it looked when the girl in the story stepped off the ride and looked up.


Elise Juska‘s short fiction and nonfiction have appeared in The Gettysburg Review, Ploughshares, The Hudson Review, Prairie Schooner, Electric Literature, The Missouri Review, and several other publications. She is the recipient of the Alice Hoffman Prize from Ploughshares, and her stories have been cited as distinguished by the Best American Short Stories and Pushcart Prize anthologies. Juska’’s novels include The Blessings, a Barnes & Noble Discover Great New Writers selection, and If We Had Known.

Hope

Rebecca Pyle

Nothing would save her except a long sleep. 

Hope? There was a place on their way which looked as happy as sleep. Large gold-framed paintings were on its golden walls. The floor was laid with alternating black and white porcelain tiles. The lamps in the ceiling made the light of captured suns. 

A river, which she had not seen yet in this town, ran below somewhere. There would have to be persisting and hopeful boats. A long-held belief persisted also in her that a person could throw herself from a bridge into a boat and that boat might merely bob up and down a little, she would be fine, perhaps even landing on her feet, and people on the boat would immediately decide she was the person they had been waiting for, who would draw wry sketches of all the people aboard, somehow suggesting, in the drawings, their life stories. Their destinies. 

In every town and city near a river she imagined this. She was already also thinking of paintings she could fashion from memories, just memories, of how the surface of water keeps splitting and resplitting like silk. The Seine was made of green silk and intricate shrubbery and trees at the borders of the water, and the best boats had simple and large panels of insulated glass, cooling systems for summer, and a captain who could take you down to the Musée d’Orsay, with its grand clock at the front, and back again, at twilight. He wouldn’t talk to you unless you felt like talking. There were musicians who would come on board and play for guests and you knew they were good because they also were not interested in talking at all, only sensing how the music sounded near water, and looking for swans in the summer; the sudden sight of them could almost make them break away from the music. But they played on. And as they looked at you as they played you could tell they knew that nothing you would say to anyone would make much difference, but people had to pretend there was a chance of a difference. Speech did not do much; unless exceptional, it was weak, meandering. Only great or good paintings, music, writings, preserved well. Her underwater career, however small it would ever be, would require a pen name, at least for a time, till she was done with the niceties/horrors of a career in government. Today she would think of a pen name, and she would proceed to write as a person with that pen name would write, if she had the right to a boat. A writer should have her own boat, which she had paid for herself: she still dreamed of dropping onto a boat on which she knew no one but would be listened to and cared for and on which she could be given that magic new name.


Rebecca Pyle’s forthcoming work is “ A Frost Fate” (fiction) in Scarlet (Jaded Ibis Press); “River” (fiction) in Writer’s Block Magazine (the Netherlands);  “A Record” and “For the Falling” (poems) in Kestrel, and The Hungarian Apartment with the Red Nespresso Machine (a drawing) in Silk Road Review. Rebecca studied art and lit at the University of Kansas. Over the past two years she has been living in Europe, mainly in France and the United Kingdom. See rebeccapyleartist.com.

I’m Tom Hanks

by Mark Leidner

Once, while traveling alone to see family, I saw Tom Hanks at the airport. He was also alone, just walking with a coffee, and it was definitely him.

I love movies, and I even love most of Tom Hanks’s, so I was flooded with an urge to run up to him and ask what he was doing, where he was headed, and maybe what movie he was working on.

But the moment passed. I was too shy, and he kept walking, and I looked down. By the time I looked back up, I’d lost him to the terminal.

After boarding and finding my seat on the plane, I began beating myself up for my cowardice. I should’ve been brave and struck up a conversation with him or something. After all, Tom Hanks isn’t an alien or a god; he’s just a human being, and I’m a nice guy, and there’s no reason we couldn’t have had a perfectly normal conversation. Hell, maybe he’s lonely.

Maybe it’s like when there’s a car crash on the highway and everyone assumes someone else has already called 911, so no one does, resulting in no one coming to help the people who need it. Maybe Tom Hanks is so famous that most people are afraid to speak to him because they assume everyone else is always approaching him, resulting in him never having anyone to talk to.

Maybe what Tom Hanks longs for more than anything is a simple, friendly conversation with a fellow human being, assuming the person didn’t overstay their welcome, and since it was me, I knew I wouldn’t have. I would have bailed at even the slightest hint of his discomfort or annoyance. I should have risked it, but I didn’t, and now he’s gone, and when I tell people about seeing him, they’ll only ask if I went up and asked him for his autograph or something, and I’ll have to say no. I’ll have to look them in the eye and say nothing remotely interesting happened.

My thoughts circled thusly as the plane filled with passengers. To try and take my mind off my missed opportunity, I searched the in-flight movie selections for a Tom Hanks movie, but none were available.

That’s when I saw him again—Tom Hanks, the real Tom Hanks—walking down the aisle of my own plane, coming right toward me.

I had a second chance. Sure, it would be awkward. There were people behind him who wouldn’t have wanted to be delayed by our conversation, and I’m sure Hanks himself would’ve hated to be the one whose detainment increased the annoyance of those behind him. But maybe it was worth it. I’d just convinced myself I’d missed a big opportunity for me and for Tom Hanks by not engaging him earlier. What if the concerns about holding up the line of boarding passengers was just another excuse to chicken out?

I quickly tried to think of something better to say than simply asking him what movie he was making next, hoping I could come up with something that would seem like a valid item of conversation between any two passengers—maybe something practical and related to flying, like a question about frequent-flier miles or seating assignments, so the people behind wouldn’t feel like I was just fawning over a celebrity—but I couldn’t think of anything, and once again, and as soon as I’d seen him, he was gone, having walked past my row, into the depths of the plane.

You can imagine how my self-flagellation escalated in the next few moments, realizing I’d missed the same opportunity twice in a row. I wondered how I’d ever gotten anything done in my life at all, given my obvious predilection toward paralysis at the moment when the hand of fortune presented me with an opportunity to do something actually memorable and interesting. Had I lived my life in such a way as to specifically avoid having to do anything memorable? Was there anything memorable about me at all? It was going to be a long flight . . .

Or so I thought . . . until Tom Hanks sat down beside me, having returned from placing a bag of his in the overhead compartment two rows behind. 

He didn’t even ask me if he had the right seat. He just sat down, and a moment after I thought my chance to prove something vaguely significant about my life by interacting with him proactively had flown me by, here he was a third time. Inches from me. I could smell his musk. I had the measure of the man in ways few do. Now there would be no excuse for me not to act.

The flight was three-and-a-half hours long. I had that long to come up with something to say to him, and I already suspected that a simple “Hello” and “I’m a big fan of your movies” would be sufficient. For me, there was no better feeling than to already have a good plan and then, on top of it, to have tons of time to come up with a better one.

Ironically, due to Tom Hanks’s own proactivity, I never even got the chance.

As soon as he saw me looking at him in a way that told him I recognized him, he smiled warmly and asked me if I’d seen his latest movie. I gave my honest answer—I hadn’t—though I did assure him that I’d seen most, if not all, of his other movies, and in the theater, too.

“It’s just that I haven’t been to the theater in a while,” I explained. “Just busy, I guess.”

He absolved me with a wave and told me not to worry about it whatsoever. Then he asked me if I wanted to see it.

“Your movie? Sure. I’ll see it as soon as I get a chance.”

“No,” he said. “Do you want to see it right now?”

I must have looked stunned.

“I’ve got the final cut saved right here on my phone.” He lifted it. “Want to watch it with me?”

“You . . .  want me . . . to watch . . . your movie . . . with you . . . right now . . . on this flight?”

“Only if you want to.”

“Oh my God. I would love to.”

We watched the whole thing.

I’m not a movie critic. I neither loved nor hated it. It passed the time, and it made me think, if only a little. Maybe it made me feel a little more than it made me think. But it was unquestionably thrilling to watch it on the phone of its star, with that star right beside me watching it with me. They say movies are best experienced in the theater, and until today I would have agreed. You’ve never really watched a movie until you’ve watched it with the star, almost touching, as they hold up the screen, tilting it toward you slightly so that you get the best angle, as if their whole performance is personal and meant for you.

After the movie ended, I still hadn’t gotten over the coincidence of Tom Hanks himself taking the seat next to mine on a flight and showing me his latest project.

Is this the greatest day of my life, I wondered, or just the oddest? Or is something exactly this odd simply something everyone experiences eventually? Lots of people have strange celebrity encounter stories. Maybe they’re just statistically destined to happen every now and again, even to people like me?

Just as I wondered this, I awoke—alone—in a comfortable bed in an extravagantly appointed apartment. 

The transition was so jarring, it made the comfort of the bed almost feel like a trap. Where was I?

I went instinctively to the bathroom, and looking in the mirror, I saw that I wasn’t me at all, I was Tom Hanks—the real Tom Hanks himself.

Of course the apartment was mine. This was where I lived when I was on the East Coast.

I took a piss and brushed my teeth and thought about my dream and what it was about—me fantasizing about being someone who was afraid to meet me, and then thrilled to meet me, and even more thrilled to watch me act in a movie with me beside them, holding up the little screen. Whatever it had meant, it wasn’t flattering. Was I too obsessed with my own career? My own self-image? Did I not have friends? Real friends that weren’t business partners or filmmaking collaborators? Did I secretly pine for random people to approach me and tell me they love my movies? After a career of playing different characters—from the comedic to the absurd, from the ordinary to the neurotic, from the stoic and heroic to the doddering and sad—was I anyone at all?

And after waking, had the fact that I hadn’t even remembered who I was until I saw my reflection in the bathroom mirror meant that I was no one at all until I was being looked at? 

And were the only eyes I trusted enough to tell me who I was my own?

Or was my slippery self simply proof of my talent as an actor? 

With no one around, with no prestige attached, with no consistent sense of self to accept it, was this moment of liminal amnesia the only awards ceremony that mattered?

As I finished brushing my teeth, I shook all these thoughts from my head and left them swirling away down the drain with the suds of toothpaste. I went to the kitchen and brewed some coffee. I sliced open a grapefruit, poured vanilla granola into a bowl of plain yogurt, and opened my laptop. I had several emails to review from various producers and agents regarding the project that lay before me.

By the time the coffee finished brewing, the dream was more or less forgotten. First, you become someone else; then you become yourself again, only to find you’ve forgotten who you are; then you finally forget that you forgot, and you’re yourself—I can think of no better distillation than this of the actor’s miraculous burden.

The upcoming movie was particularly exciting to me. Even though production was months out, the bulk of financing had already fallen in place, per the first email I read.

The script, too, which was already tight, was getting tighter, and the theme it explored was something I had no small amount of personal experience with. Best of all, the character I was to play was unlike anyone I’d ever played before.

Alternative Education

by Abigail Carl-Klassen

 “You’re going to school?” he scoffed, overhearing the word high school

He clenched the steering wheel as we sat in the 1990 Chevy Lumina van, back windows forced open with PVC, the exhaust from all the other cars hoping to cross back into El Paso from Juarez sinking in around us. Abe, his wife Mary, and their daughter Leah, my best friend, travelled the four and a half hours to Juarez for doctor visits and cheap medications once a month. Over the years I went with them more times than I can remember.

“Well, I went to school too—the school of hard knocks,” he grumbled into the rearview mirror. When I said nothing, he turned his attention to the young man scrubbing the windshield with a dirty rag and promptly turned on the windshield wipers.

In his mind, at fourteen I was best suited for hard work and, in a couple of years, a husband. That evening when we were alone, Leah—who had left school the year before, after finishing the eighth grade, to work as a secretary in her father’s well-drilling business— approached me, eyes low, and said, “Don’t listen to him. He’s just a grumpy old man.” 

His moods, mere shadows of what they were twenty-one years before, when he was an alcoholic (“I was a drunk. I am an alcoholic. That’s why they call it alcoholism, not alcoholwasm,” he would always say, correcting us), were still unpredictable, and I knew that. And I knew that in a few hours he would slap us on the back, laughing at some ridiculous joke. An old man joke, the kind that was only funny because he wheezed and snorted when he laughed. Because we laughed at him, not with him. Sometimes I still feel guilty.

I did not question him—his fourth-grade education in a Mennonite colonia in Mexico, his conversion to Pentecostalism that left him strict but sober. His unrelenting willfulness and stubbornness that allowed him to survive as the youngest of nine children in an abusive family. He made sense. What didn’t make sense was my own education. “Yeah,” I thought, “high school is important, but what about the school of hard knocks?” 

As far back as I can remember I had been told by my parents—high school teachers and Bootstrap University graduates themselves—that I was going to college. Though I grew up in a county where the sale of alcohol was prohibited and church was the primary social activity (besides getting completely wasted in a caliche pit), my parents were not religious people. The Baptists and Church of Christ preached fervently against dancing, the Methodists said everything in moderation, the Mennonites fought with each other about what was considered worldly, and the Catholics and Holy Rollers danced, one in the flesh, the other in Spirit, but as for our house, we worshipped education.  

My parents grew up in the Midwest during the steel strikes and riots of the 1970s and fled the Rust Belt for the Sun Belt in the early 1980s. My dad’s father was a “mill rat” while his mother raised five children in a fog that we now know as postpartum depression. My mother, on the other hand, didn’t meet her father until she was in her twenties after having been raised by a single mother with schizophrenia. My family legacy, together with the fact that I was the daughter of government employees in a blue-collar community where illiteracy was not uncommon, reinforced my understanding from an early age that I was in a position of privilege. Education, my parents maintained, made all the difference. 

My friends’ fathers were truck drivers, oil-field hands, farm laborers, and carpenters, and their mothers were homemakers or worked long hours as home health aides, LVNs, gas-station attendants, Walmart associates, and as maids and school janitors. Their kitchens became like holy places to me, places not only of love but also of education.

Around their tables is where I learned the words “WIC,” “CHIP,” “free and reduced lunch,” and “Indigent Adult Medical Coverage Program.” We ate red and green birthday cake in July made from expired mix with Christmas trees on the box donated by the grocery store to the local food bank. While we ate, drank, and laughed, one of the favorite topics of conversation was rich people who didn’t know how to do shit. Lawyers who left their dirty underwear in their dry cleaning. Foremen who didn’t know how to hook up jumper cables. Doctors who didn’t know how to put on a sling. Bankers who insisted that their maids roll up the Persian rugs before dinner parties so they wouldn’t be stolen. Teachers who—well, they never said anything, at least in front of me, about teachers.

In the summers when I was a teenager many of my friends worked hoeing cotton with their families, and later, after they turned sixteen, they got jobs on spraying crews. They said they probably could hook me up if I wanted to come with them. They knew somebody who could talk to someone else who could talk to the boss. I asked my parents, but they said I couldn’t because the work was dangerous. I think they were ashamed that I wanted to work in the fields after all their hard work and education.

Sometimes at night I lay awake, afraid that I would grow up and not be able to do shit. 

But before my insomnia and the incident on the border, I sat in an assembly at Seminole Junior High, in my hometown, Seminole, Texas, population 6,000. We squirmed in the oversized auditorium seats because we were about to register for our middle school electives, which meant that after the summer was over we would practically be adults. But before we could mark an X on choir, band, or art, we had to listen to a bald, thick, administrative type talk to us about success and education. He launched into some platitudes about us becoming “young men and young women” and “thinking about the future.” I don’t remember much else because after his introduction he made a comment that still ranks high on my list of most ignorant statements I have ever heard, even after all these years. 

“Success,” he bellowed, before pausing for dramatic effect, “isn’t just something that you fall into. You have to work for it. As a matter of fact, you can tell who has been successful just by driving around town and looking at people’s houses.”

I was ten years old and I already knew it was bullshit. 

I slunk down in my retractable chair, narrowed my eyes, and crossed my arms across my chest. Who was this over-educated asshole, who probably didn’t know how to turn off the water when his toilet was overflowing, telling my friends that their parents were unsuccessful? Thus began my contentious lifelong relationship with authority and institutions—my activist education.

Now, a substitute teacher in El Paso, I sometimes walk into a classroom only to be greeted by a poster that showcases several luxury cars parked in front of a mansion with the caption “Justification for Higher Education” plastered across the top. The same poster that hung in my classrooms growing up. Each time I see it I want to rip it up ceremoniously and give students, teachers, and anyone else in the immediate vicinity an education that they didn’t ask for. But, the bell rings, I look into the spectacled eyes of an owl perched beside the chalkboard over a placard that reads “There’s no substitute for a great teacher,” and I know my place.

Some days when I sub, students stab each other in the face with needles, throw rocks at windows, and get up in my face and ask, “What are you going to do about it, bitch?”, giving me an education that isn’t pleasant but that I still want…most days. Growing up middle-class makes me shrink back sometimes, but dammit, I press on. I know my blood is lined with white trash women who can survive! I find the ability to go back to the classroom again and again when I am able to make a connection, an enemy, a friend, and sit down together to talk, to laugh, and to listen.

Last week I subbed at a GED center for students on probation. When I asked the room monitor if the teacher had left anything for the students, he pointed to a table of sixteen-year-olds with buzzed heads and white T-shirts and said, “These gentlemen have been socializing instead of doing anything productive. You can sit down if you want to hear about the gang life—who jumped who, who got busted by the police, and what party was the best. But, you know,” he sighed into his newspaper, “it’s whatever you want.”

I looked back at him and laughed, “Maybe I can get educated, right?” 

He smiled, shook his head, and returned to the morning’s headline: “Nine More Dead in Juarez.” I grabbed a social studies binder and pulled up a chair next to the boys.

I’ve come to understand that the most important moments in my life, the ones that shaped my values, my goals, and my day-to-day decisions, seemed to be about getting the education that I missed. The education that my parents tried to shelter me from but inadvertently propelled me toward. I can’t stop knocking on the door of the school of hard knocks. To see if I can make sense of what I see around me and to ask if I’m seeing the right things. To see if I can find my mom and dad, grandma and grandpa, aunts and uncles. To see if I can find my friends who stayed behind when I went to college. To see if I can find my friends (Leah among them) who said, “Fuck this shit, I’m going to college.” To see if I can find everybody who never came back and everybody who never left somewhere inside.

Chan Marshall, Author of “Visions of Johanna”

by Rick Moody

  1. My pretexts for the following are: Bob Dylan, The Bootleg Series Vol. IV: Bob Dylan Live 1966, known informally as the Royal Albert Hall gig.
  2. Cat Power, Cat Power Sings Bob Dylan: The 1966 Royal Albert Hall Concert.
  3. Both titles are unwieldy! As though history and context, the secret and slippery ingredients of each release, are indicated by the sheer density of language.
  4. And my other pretext: “Pierre Menard, Author of the Quixote” by Jorge Luis Borges, first published in 1939, in the dark days before the last world war.
  5. Throughout these notes, remember: the theory of appropriation in the modern and especially postmodern or conceptually driven context of contemporary art. Sherrie Levine’s After Walker Evans series of photographs, which rephotograph the images of Evans (from out of a catalogue of the same), “exactly” reproducing them.
  6. Or: the borrowed Marlboro images of Richard Prince’s work, or the borrowed text of The Catcher in the Rye of Richard Prince’s work of the same name, or the borrowed Instagram images of Richard Prince, etc.
  7. It bears mentioning that some work of appropriation has been committed by the artist Bob Dylan himself, for example in his paintings, which closely adhere to the composition of other artists’ photographs, retaining all the elements of the original—see, e.g., “Bob Dylan Accused of Painting Plagiarism,” by Matthew Perpetua, Rolling Stone, September 28, 2011, etc.
  8. These charges of pastiche and mulching and collating orbit around Dylan’s memoir as well. See, e.g., Scott Warmuth’s elaborate notation of “intertextualities” in Dylan’s Chronicles: Volume One,which include unfootnoted borrowings from sources both sacred and profane, including passages from Kerouac, Hemingway, Thomas Wolfe, and a travel guide to New Orleans. These unquoted quotations run, it is said, into the hundreds of instances.
  9. Others have also noted the substantial similarities between Bob Dylan’s Nobel Prize acceptance speech and a SparkNotes discussion of Melville’s Moby Dick.
  10. (If he were writing the speech today, he would probably just use AI.)
  11. Two of Dylan’s best albums from his wilderness period of the early nineties are uniformly fashioned from covers, viz., other people’s songs, and in some cases, Dylan borrowed particular arrangements without entirely crediting the original, as in the controversy surrounding “Canadee-I-O” on the Good as I Been to You album, which is very strongly associated with British fingerpicker and preservationist extraordinaire Nic Jones.
  12. Nic Jones’s version of the song is a truly powerful and deeply moving thing, a milestone of the early British folk period.
  13. Nic Jones’s version is additionally poignant because: after Jones’s car accident of 1982, he had injuries significant enough that he could no longer play the guitar professionally. And this was one of the extraordinary players of the era, up there with Nick Drake and Davey Graham and Bert Jansch. (Circa 2015, he did occasionally sing in public while his son played the guitar in accompaniment, but he has since retired from that work too.)
  14. There was, back when Good as I Been to You came out, considerable discussion about whether Dylan’s recording of “Canadee-I-O” was so reliant on Jones’s arrangement that royalties might be just and fair, especially in light of Jones’s condition.
  15. The most recent editions of Good as I Been to You do credit Jones, indicating that the discussion produced results.
  16. (The appropriation discussion almost always seems to find its most passionate debates when it closes in on: who got paid.)
  17. Of course, Dylan’s early songs were also famously reliant on preexisting folk melodies, which, for publishing purposes, like A. P. Carter before him, Dylan claimed as his own. The cases of this are numerous, but one obvious example is:
  18. “Ballad of Hollis Brown,” which tracks very close to the melody of folk standard “Pretty Polly.” (See, e.g., the Dock Boggs recording thereof.) Thereby transforming a murder ballad about sexual exploitation and violence against women into a murder ballad about economic privation and rural isolation. While the melody does exactly the same work.
  19. There are other examples, in the work of Bob Dylan, in abundance, and he has even commented on it: “That’s songwriting.” (I can’t find the source for this quotation anywhere, which may mean it is a vision I had, or it may mean that I have appropriated it without citation, for which, forgive me.)
  20. Therefore, my argument is thus: if the Chan Marshall recording of the Dylan Royal Albert Hall concert, which was not originally performed in the Royal Albert Hall, is a reperformance, and thus a de facto appropriation, then one thing it reperforms and appropriates is the tendency to appropriate on the part of the original performer.
  21. I am not now nor have ever been a member of any religious cult that takes as its constitutive principle the works of songwriter Bob Dylan, nor do I engage with the work of Bob Dylan as though this work is hermeneutically encoded, nor do I believe that it otherwise conceals in superabundance the wisdom of the ages, nor do I believe Bob Dylan is touched by God any more than you are, nor do I believe that he has special access to God or to God’s intermediaries, nor do I think he knows something special about love.
  22. He’s just an occasionally incredible songwriter.
  23. I own certain Dylan bootlegs but was a child at the time of Great White Wonder, and likewise at the time of the original Royal Albert Hall recording and its early bootlegs.
  24. Like many, I incline toward the view that bootleg recordings by Bob Dylan are often superior to “official” releases, though the differences between the two may now be insubstantial.
  25. In public, on one occasion, I advanced the theory that Blood on the Tracks was the single best record ever made. That occasion predated the release of More Blood, More Tracks,which catalogues the New York sessions that Dylan later re-recorded for the finished album. I do think that More Blood is in some ways better (see, e.g., the acoustic version of “Lily, Rosemary and the Jack of Hearts”—it’s really so much better).
  26. My criterion for preferring the original New York recordings is: vulnerability.
  27. And the sound of Dylan’s cuff links, or, perhaps, the buttons of his sleeve, on the side of his acoustic guitar.
  28. I learned about the 1966 not–Royal Albert Hall gig in earnest when it was released on compact disc in 1998.
  29. Say what you will about the compact disc! Arguably, the obscene profit margin on these plastic objects incentivized a great wave of archival releases, which in turn had a significant impact on popular music—for example, the 1997 CD release of the Anthology of American Folk Music and the subsequent release, soon after, of many volumes of The Alan Lomax collection, etc.
  30. The Bootleg Series Vol. IV by Bob Dylan, featuring the not–Albert Hall recordings, was such a release, a release of significant impact. (The guitarist and songwriter Steve Gunn is among others who have spoken of the revelation of this particular album for those who didn’t already know about the gig.)
  31. Cat Power, which is the band name used to denote recordings made by Chan Marshall, was, at about this same time (the later ’90s), emerging from a period of early independent obscurity, which is to say that the Dylan “official bootleg” was released the same year as Moon Pix, the first mature, fully realized work by Cat Power.
  32. Moon Pix is a bit of an indie rock masterpiece.
  33. The following release by Cat Power, The Covers Record, appeared two years later, and this includes two tracks originally recorded by Bob Dylan. The Covers Record replaces some of the indie rock psychedelic drone of Moon Pix with vulnerable and idiosyncratic solo performances of a variety of relatively canonical tunes.
  34. The most electrifying recording on that album, The Covers Record, a spooky and memorable thing, is the recording of “I Found a Reason” by the Velvet Underground.
  35. What does vulnerability mean?
  36. It means humanness.
  37. What does humanness mean?
  38. It means poignancy and openness and wisdom and bearing witness and seeing things as they are, not as you wish them to be.
  39. It means thrownness.
  40. There are many such things on The Covers Record—for example, “Naked, If I Want To” by Moby Grape. Also electrifying. (Written by Jerry Miller, but Marshall’s recording nonetheless also has about it a perfume of Skip Spence, the troubled member of Moby Grape, whose Oar, his only solo album, was also a memorable CD re-release circa 1999.)
  41. The Bootleg Series Vol. IV by Bob Dylan is a very striking collection of songs.
  42. It seems to be recorded by a songwriter who has no real limitations, who can incline in whichever direction he likes, who can spellbind at his quietest, and at his loudest, and for whom performative confidence is no issue.
  43. He knows how good he is.
  44. And he is very good.
  45. Those songs are, well, just about as good as any songs anyone had written to that point. They are immensely powerful, and recalcitrant, irritable, outraged, vulnerable, and moving, and shrouded in some fairy dust of the obscure, in a way that causes one to wish to unlock them.
  46. They are anticonfessional in a way. Both vulnerable and impregnable. Sung with studied melancholy and also a certain ferocity.
  47. I should make clear an unpopular opinion here and say that I don’t really find the electric set on Vol. IV very compelling.
  48. Is it the recording?
  49. Did he have a monitor for his vocals? The general supposition would be that there were not wedges onstage till the late sixties (the Buffalo Springfield and the Grateful Dead were early supporters), and thus the performers in the early and midsixties didn’t often use them (monitors) and thus they sometimes could not hear themselves onstage.
  50. Is it possible that Bob Dylan and the Band could not hear themselves?
  51. Perhaps there was also crowd noise, legendary crowd noise, the supposed booing, the outrage of British folk enthusiasts, who weren’t bothered by an electric public address system or a microphone during the acoustic set, but for whom some amplifiers in the second set caused feelings of betrayal.
  52. Betrayal!
  53. Judas!
  54. Or was that just one uptight guy who really felt like the music had to come from the dust bowl or from the Mississippi Delta and had to be played by the rural poor and had to render their discontent, preferably African American discontent, had to oppose certain geopolitical adventures, had to stake out a position against Cold War oppressions, had to sympathize a little bit with large-scale redistribution of wealth, had to look the other way on some Stalin-era famines, had to think the Cultural Revolution looked shiny, new, and pretty legitimate, had to redress social injustice, had to be on the right side of a generational divide, had to hate Lyndon Johnson, and so on?
  55. Wasn’t he, this one guy, this one audience member, a guy everyone moved a couple of seats away from at the pub?
  56. Anyway, it should be, of course, the legitimate right of Robert Zimmerman that he should play the electric guitar, that he should add a chorus to the song, and some drums, that he should change and grow in any way he sees fit, play the bouzouki, play songs that Tony Bennett sang better. So the feeling-betrayed guy in the audience, the guy booing or shouting Judas!, is the equivalent of the Twitter or Instagram troll who is mad Billie Eilish isn’t wearing baggy pants this year. Just another sadist itching to pounce, for whom the pouncing is nearly carnal.
  57. However, all of this doesn’t mean the electric set is good.
  58. It’s not.
  59. It’s invulnerable, somewhat angry, a bit distant.
  60. Except for “Like a Rolling Stone,” of which more below. By then they knew they were about to leave the stage.
  61. The acoustic set, in contrast, is luminous, spooky, indelible, obscure, magnificent, hushed, urgent.
  62. The two unassailable gems on the album, or so it seemed to me in 1998, were “Desolation Row” and “Visions of Johanna.”
  63. The original studio recording of “Johanna,” from that year’s album Blonde on Blonde, features a band, and in doing so, it puts an extra layer of varnish between you and the words. That boring, tinny drum kit, on the studio recording, doesn’t add very much.
  64. I knew the song in 1998, but it was as though I had never heard it till then, until Vol. IV. Sometimes it takes decades to get a Bob Dylan lyric. So it was in this case. In 1998, I suddenly understood about “Visions of Johanna.”
  65. (Here’s a related case: I always disliked the endless, slack digressions of “Highlands,” from Time Out of Mind, until I heard “Murder Most Foul” in 2020. Now I think “Highlands” is mordant and sharp in a nice way.)
  66. That said, despite the clarity of purpose on Vol. IV, I do think that, in some interesting way, “Johanna” is abstract. It will not tell you directly what it has to say. It is veiled to the seventh degree. This has been much discussed, and I will not unravel what wants to stay knotted.
  67. Except to say:
  68. Yes, the song seems to be “about” two women, Louise and Johanna, and one is there in the room, is fleshy, and real, with a lover entwined.
  69. The other woman is fogging the mind of the narrator, perhaps in memory, but if in memory, why is “visions” the right word? Why not “Memories of Johanna”? Harder to sing?
  70. The envisioning here is not mnemonic but spiritual/ecstatic.
  71. “Johanna” scans like “Jehovah,” which is another way of saying “Yahweh,” which is a name that should not be named, because the way that can be named is not the true name, and thus Johanna, a woman’s name, stands in perhaps for a spiritual/ecstatic name that cannot be named, because, once named, the vision crashes to earth and becomes actual.
  72. Two women.
  73. So: womanhood is under scrutiny, and that is a thing that “Visions of Johanna” indicates, an intensity of feminine power, feminine iteration, by naming the power of being and grace, the source of creative power Johanna.
  74. Look, everybody knows Bob Dylan occupies all the cultural positions with respect to the feminine, and everybody knows that Bob Dylan is sometimes confused about the woman, the woman in his songs, and we might point to a song like “Idiot Wind,” which features the irredeemable line: “You’re an idiot, babe/it’s a wonder that you still know how to breathe,” which Dylan nonetheless attempts to redeem in the end by converting it to the first person plural: “We’re idiots, babe . . .”
  75. As distinct from “Oh, Sister” or “Sara,” both from Desire,both of which try harder to understand.
  76. The redemptive image of the woman as victim of history in the West appears in the Dylan songbook (“Sad-Eyed Lady of the Lowlands,” let’s say), yes, but we also know the line of images that depict the woman Dylan is impure, and that the language is occasionally ambiguous, or even retributive, that a feeling of being misunderstood is there too.
  77. It’s all right out there, in the Dylan concert from 1966, in the opening song “She Belongs to Me” and in “Just Like a Woman” further in, in the acoustic set, and then of course in the concluding number, one of the few successes of the electric set, the screed-like “Like a Rolling Stone,” certainly one of the greatest songs ever written, and one of the fiercest put-downs ever. And what did she do to merit that song exactly? Did she simply fail to require him?
  78. All of these images of the woman pass through the 1966 concert, but “Visions of Johanna” is of a different cast. Different in ambition, different in execution.
  79. How urgent is a rendering of the feminine in this time, the time that these lines are written, a time when contested discussions of gender create an anxiety of representations, especially, perhaps, an anxiety of the feminine, an inability to understand “woman” as a lexical unit, as a signifier. An enormous number of people, a majority of people, are walking around today being woman or presenting as woman, with feelings thereof, longings pertinent thereto, and yet how infrequently (still) are they anxious about discussing/representing, about the word woman. Above all, now, there is the anxiety, which is a thing of categorical instability.
  80. I can well understand if you don’t trust Bob Dylan to be a portraitist of the feminine; I can well understand if he is perhaps ruled out, but my contention for the purpose of this essay is: you very much should consider trusting Chan Marshall.
  81. “Visions of Johanna” addresses this “feminine” exactly.
  82. And, to speak of the feminine, let’s speak about the “visions” of the “Visions of Johanna.”
  83. In particular, let us speak to the words “visions of Johanna” when sung (embodied)(interpreted) by a woman (and I use this word woman because Marshall has used this word to describe herself (see postscriptus no. 1, below).
  84. First, a particular ambiguity adheres, in this song, in this lyric, to the preposition “of.”
  85. In one configuration of the phrase “Visions of Johanna” the lyric is depicting Johanna. This Johanna is object of the lyric. This Johanna is perhaps imago Johanna, male-gaze Johanna, a glimmering-of-romance Johanna, but with a bit of icon Johanna included, a Johanna who has about her a bit of immemorial femininity, a consoling image of the feminine for a masculine subject in some crisis, let’s say, or for whom desire exceeds the earthy and sensual desire vessel known in the song as Louise.
  86. This is the triangular Johanna, triangular-vertex Johanna, the one who perhaps demonstrates and/or participates in a tradition of woman reifying heterosexuality, though that is not a component of necessity, but not reifying it in the way Louise, not an eros of the feminine, but an agape of the feminine.
  87. And yet: the “of” in the title might be possessive, indicating possession or belonging, so that the visions of Johanna are a feature belonging to Johanna, they are hers, and they are her narrative deployment system, one that runs parallel, nonidentically, to a conventional reality-testing narrative of the routine. This is perhaps the Chan Marshall interpretation of the song, an experiential one.
  88. I have no wish to diagnose or pathologize these visions.“Ain’t it just like the night/To play tricks when we’re trying to be so quiet.”
  89. Visions are what the night does.
  90. Visions are what call “mind” into question, that call forth the ghosts of electricity, that can in fact replace the narrator, take his/her/their place, rendering subjectivity or subjecthood inert or perhaps small-minded, they are what salvation feels like, they cause Johanna both to be there and not there, a shimmering of being and nonbeing.
  91. Like in Heidegger’s celebrated translation of Heraclitus: disclosure loves to hide.
  92. Visions, let’s say, are calibrated rhetorically on a larger scale, are what is taking place in the testaments of the prophets; visions animate the Book of Revelations, in the manifold refractions that postdate it; visions are the engine of the Qur’an; visions are, for our purposes, the ancient things, the sublime things, the liberated things, not the things to be pathologized.
  93. In the lore of the nineties, meanwhile, the time of music from “outside,” noncanonical music, a music opposed to the industry, it was said that Chan Marshall had visions (also called nightmares in some reports) before coming to write the songs on Moon Pix.
  94. Chan Marshall went to Australia to record with members of the Dirty Three, and some weeks went by and no songs were getting recorded, and then Chan Marshall had these visions, or nightmares, and the album emerged, composed itself.
  95. Maybe the lore is itself a vision.
  96. A vision is a compositional romp.
  97. There has always been a lot of diagnostic language that hovers around Chan Marshall, assigning to her this or that illness. All the accounts of the early performances of Cat Power were quick to note the fragility of the performer.
  98. This diagnostic language is inhumane and doesn’t suggest the full subjectivity of the artist.
  99. The purpose of diagnostic language is to wrest control from the sublime.
  100. The purpose of diagnostic language is to reconfigure the sublime so that it requires treatment.
  101. Such is the lot of other possessors of visions (like Holderlin, John Clare, Sylvia Plath, John Berryman, Artaud, Darger)—they must be diagnosed so that the power of the visionary can be constrained, leaving interstate commerce unmolested.
  102. The visionary who is a woman presents a particular vexation to interstate commerce and is consigned to the visionary in the way that Freud consigned her to the category: hysteric.
  103. And thus Chan Marshall was and is a necessary, perhaps even inevitable, performer of “Visions of Johanna,” performing it in the way that Artaud performed in The Passion of Joan of Arc, near to the visionary, perceiving the visionary, sympathetic to the visionary, having had the experience of the visionary, and so on, arguably in ways that Bob Dylan did not achieve himself until his collapse, just prior to the evangelical period, when perhaps he, too, had visions.
  104. I mean that a great many of these songs, the Royal Albert Hall songs, need to be sung by a woman in order to be understood, and, additionally, “Visions of Johanna” needs to be sung by someone having had visions, who inhabits the visionary, in order to be rendered profitably, and thus Chan Marshall is the most appropriate singer of “Visions of Johanna”; indeed, it is almost as if the song was written for her, though she wasn’t even born until somewhere between New Morning and Planet Waves.
  105. Chan Marshall is so appropriate to her act of appropriation that, well, her vision of Johanna’s visions exceeds Bob Dylan’s recording of 1966.
  106. Her version is better.
  107. Some reviews have indicated that Marshall’s recording of the Albert Hall songs duplicates Dylan’s down to identical harmonica breaks and identical arrangements and identical fingerpicking patterns and so on, that Marshall somehow changed nothing. This is utterly dim.
  108. As if duplication were actually possible.
  109. There is, as noted, the fact that Marshall is a woman, and I use this word as though it were easy at this moment. But her being woman is not the only difference.
  110. There are stylistic differences having to do with the ways these two singers sing.
  111. Chan Marshall has almost nothing of the blues singer about her.
  112. For example, Marshall really loves a suspended fourth. She goes to the fourth before hitting the third or the fifth a lot. She passes through there. To my ears, it gives the melodies a mild psychedelic quality that they never had before. In this way, Marshall summons, e.g., a bit of Janis Joplin that has been effaced by history, the Big Brother version, perhaps.
  113. The other influence that feels relevant in Marshall’s singing is Nico, the Nico who was briefly a member of the Velvet Underground, or perhaps even more relevantly, the Nico of the extraordinary sequence of solo albums beginning with Chelsea Girls, which of course has a very good Dylan cover on it (“I’ll Keep It with Mine”).
  114. There’s a clear, lucid, contralto-ish tone that Cat Power shares with Nico, the Nico of the solo albums.
  115. And I summon Nico because Nico was in and around the milieu in which “Like a Rolling Stone” was composed, and if it’s not about Edie Sedgwick, why not about Nico, each of them, in that time, doomed examples of femininity, struggling through the male gazes, struggling to gaze back in reply, incarnating a constrained femininity, and in the process (in Nico’s case) casting off the blues (the flatted seventh, the flatted third), the legacy of West African music, in favor of the psychedelic (Indian) fourth, which invokes a non-Western mysticism as a replacement for the blues.
  116. (More and more it seems to me that Bob Dylan’s genre is the country blues.)
  117. Thus: despite the logistical rigors of “duplicating” an arrangement vocabulary from sixty years ago, though that duplication is in most ways impossible, these two singers, Marshall and Dylan, could not be more different. One of them is, arguably, a country blues singer recently (at the time of the original live recording) recovering from an obsession with Woody Guthrie, while the other is an indie/psychedelic punk who really knows her Velvet Underground.
  118. They’re both walking past the Chelsea Hotel but seeing there completely different scenes.
  119. This comparison of melody and timbre (and gender, perhaps) leaves out the most important argument, for which I have been preparing myself, and that is the argument pertaining to context.
  120. Chan Marshall’s recording is from 2023, and Dylan’s is from 1966.
  121. Marshall’s recording is from the year of the Israel-Hamas War, Dylan’s is from the Vietnam War; Dylan’s is from the space race, Marshall’s is from the time of Space X; Marshall’s is from the time of the social network, Dylan’s is from the time of social realism; Dylan’s recording is by a secular Jew with gospel leanings, Marshall’s is by a lapsed Southern Baptist with millenarian leanings.
  122. Maybe both singers now only understand God through song, the song as an evocation of God, a being with God. But from different moments in history, and thus with vastly different nuances.
  123. History means differently in them.
  124. When the narrator of Borges’s story “Pierre Menard” advances the argument that Pierre Menard’s Quixote text is superior to Cervantes’s, he quotes from a passage about time, as shown here:
  125. “. . . truth, whose mother is history, rival of time, depository of deeds, witness of the past, exemplar and advisor to the present, and the future’s counselor.”
  126. (My assumption is that James Irby, who translated the Borges story in Labyrinths, did his own translation of the Cervantes passage cited here, from I, IX, but one assumes that Borges himself had opinions as a fluent speaker of English. And naturally we could imagine the effect on this colossal passage, this red line in the history of literature, if Borges’s story had a different translation, for example the translation coeval with Chan Marshall, the excellent Edith Grossman: “. . . truth, whose mother is history, the rival of time, repository of great deeds, witness to the past, example and adviser to the present, and forewarning to the future”)
  127. Forewarning!
  128. You remember, of course, you reader of these lines, that in the Cervantes original this is the passage wherein Cervantes (or the narrator in his stead) alleges to have found the manuscript at a certain market, that it, the text, was in Arabic, that he would need to have it translated, etc. In other words, in a passage of greatest bunk, in a book full of wondrous bunk, sheer invention and play and frothy simulation, we find this passage about truth and time.
  129. Clearly, Borges chooses the passage with care for what he says next in the fictional account of Pierre Menard.
  130. You know about Pierre Menard, correct? He who wishes to spontaneously reproduce the composition of Don Quixote? Not by copying it down somehow? Not by making a modern approximation? Not by using a lesser character or two, Sancho, e.g., and letting this lesser character have their own book? He wishes to compose the exact contents of Don Quixote but in a different context! (In France, e.g., at the turn of the 19th century, with one eye on Verlaine and one, we might suppose, on Poe.)
  131. Menard failed to complete his chef d’oeuvre, as described in Borges’s pseudo-essay, another work of frothy simulation, and only a few short passages remain, including the passage I have quoted.
  132. The narrator of Borges’s story quotes the passage twice, once each from Cervantes and Menard, and, of course, the passage are identical.
  133. Then he, the narrator, pronounces (in my assessment) the passage by Menard as vastly superior, more wise, more knowing about truth and time, more improbable, more arresting, more original.
  134. And note that truth is the “mother” of history, not the father, a distinction that can’t fail but to remind us of the line from Nietzsche, at the outset of Beyond Good and Evil: “Supposing Truth is a woman?—what then?”
  135. If Borges’s story, which pretends not to be a story, is not the very first rationale, the very first full-scale “defense,” of appropriation (notwithstanding its being very funny, even satirical, at the same time), it is the surely a most vital early document, nearly coterminous with the R. Mutt sculpture, which was, according to some, appropriated twice over.
  136. Chan Marshall’s performance of “Johanna” in the Dylan Royal Albert Hall concert in a sequence of songs identical to the original, with very similar arrangements, appropriates key strategies of Pierre Menard’s attempt to reproduce the text of Don Quixote. She does not, like Menard did not, attempt to duplicate the historical context that produced the producer of “Visions of Johanna,” as Menard did not try to reproduce, for example, the war record of Miguel de Cervantes.
  137. Chan Marshall did not, that is, convert to Judaism, move to Hibbing, Minnesota, or obsess over the works of Woody Guthrie, meeting Guthrie in the hospital during the terminal phase of his Huntington’s disease, nor did she play exclusively acoustically (on the contrary) on her early albums, trying to learn Dylan learning Guthrie, nor only (or mainly) in the “engaged” folk genre, nor did she take up with an illustrious folk singer of the opposite sex, prior to performing the Dylan songs from the midsixties in an attempt to produce the exact historical context of the songs and their composition. Indeed, Marshall seems to wish to inhabit the songs while painting her identity as a younger woman from the American South whose early work was primarily in punk and indie rock, albeit with a pronounced interest in the work of Bob Dylan and other precursors.
  138. To go further, as in the passage that the narrator of the Borges quotes—“truth the mother of history”—is there a passage in “Visions of Johanna” that most transparently demonstrates the differences between the version recorded live by the original composer of the song and the much younger woman from the American South, in the process demonstrating the vast superiority of the Chan Marshall recording?
  139. I choose the following couplet: “The ghost of electricity howls in the bones of her face/where these visions of Johanna have now taken my place.”
  140. I need to confess here, in order to proceed, that there is one stanza of “Visions of Johanna” in which I find the lyrics unsatisfying, even a bit juvenile, namely the verse about the museum, “when the jelly-faced women sneeze,” etc. I mean, every now and then in the midsixties you can hear Dylan’s dalliance with Beat methodology, with the first-thought-best-thought model, where an image goes untransformed straight into the song and does not get altered at any later date, with, perhaps, the idea that the subconscious meaning will emerge in the fullness of time, and that is as it should be. 
  141. The “museum” verse seems to lob some darts at art culture in general, finding it (the Art World) a bit wanting. There’s the stiff breeze of judgment in “jelly-faced women” and surrounding lines, and the less said about this verse the better. Or: it appears that we have here carping about the Art World from a guy who now shows at Gagosian, the gallery of occasional appropriation artist Richard Prince.
  142. “The ghost of electricity howls in the bones of her face” seems, when Bob Dylan sings it, to come from a similar place as the “jelly-faced women” sequence, a Beat place, a neosurrealist place, a first-thought-best-thought place.
  143. Let’s look at this couplet closely. First, there’s a mixed metaphor in effect here, in “ghost of electricity,” which to me overcooks the image slightly. Saying “electricity howls” would be, in truth, nearly as effective as “the ghost of electricity.” I become confused by “ghost of electricity” because electricity is already a metaphor for what the narrator perceives in Johanna (I think she is the “she” in this line, though this could perhaps be debated at some later point); “electricity” already says what needs to be said about the primal energy of creation, electromagnetism, so why, then, is a ghost required?
  144. Certainly a ghost “howls” better than electricity howls—well, maybe, but then you might argue that the electricity is merely supplemental. The combination of ghost and electricity neutralizes the figurative language somewhat. They make the image slippery, hard to grasp.
  145. And why “in the bones of her face” but not in her face generally speaking? Metonymic? Strictly speaking, how does the narrator verify what’s happening in the bones of Johanna’s face? Are they not hidden from view? And why are the bones preferential to a wholeness of face?
  146. (And compare this image with the clarity of the line: “She studied the lines on my face,” from “Tangled Up in Blue.”)
  147. The second line in the couplet poses even further problems. “Where” would seem to append the second line to the first, as a modifying clause, attaching specifically at “bones” or “face.” But if that’s the case, then the first-person narrator seems himself to inhabit the bones or face of Johanna (or Louise), at least until the visions of Johanna replace him.
  148. (I’m just reading this couplet literally here, which, by way of reminder goes thus: “The ghost of electricity howls in the bones of her face/where these visions of Johanna have now taken my place.”)
  149. The abbreviated summary, where the second line is concerned, would suggest that the narrator has been “replaced” by visions. There is no perceiving self there. Only an onslaught of visionary material, as indicated in the first of the two lines.
  150. That is, the first line in the couplet is a frankly visionary line. It’s precisely its syntactical ungainliness, its homely nonliterary weirdness, its St.-Mark’s-Poetry-Project-meets-the-decadents quality, that helps to sharpen its visionary impact.
  151.  So: the second line is an indicator that the visions have in fact done the replacing. And yet:
  152. How can the narrator narrate if he has been replaced by visions? This utterance of the nonself, the unselfed self, is sort of logistically impossible, but also, as such, kind of profound.
  153. As we have said, the “psychedelic” in music didn’t quite exist in 1965, didn’t quite yet have a name, though “Eight Miles High” was about to come out, in March of 1966. But this couplet by Bob Dylan, not a noted contributor to the psychedelic idiom, in its complex evocation of the subjectivity of the narrator, feels protopsychedelic.
  154. The Beatles first ingested LSD in April of 1965.
  155. (Some accounts hypothesize that Bob Dylan took acid in 1964.)
  156. Nevertheless, there’s an aspect of Bob Dylan’s performance of “Visions of Johanna” that preserves a schizoaffective or permeable subjectivity that might in theory correlate with period-specific hallucinations on the part of the original composer.
  157. (Dylan rarely, if at all, writes lyrics with this hallucinatory quality in the 21st century. Now he is more about a certain tragicomic historical clarity.)
  158. (“Early Roman Kings” is a good example of a 21st-century Dylan song—all slippery jokes about the mafia and death and decay.)
  159. The permeable subjectivity of the couplet we’re looking at closely serves two functions.
  160. First, as it does not identify a specific “her,” whether Johanna or Louise, it leaves open the possibility that the “her” in the couplet is a third feminine character, thus making room for a Chan Marshall–like presence in the song.
  161. Second, because the visions replace the narrator, leaving only Johanna’s subjectivity behind, specifically her visions, the couplet demonstrates the necessity of a feminine-presenting interpreter of these words, in particular.
  162. The couplet is premonitory.
  163. For all these reasons, these lines, in the Chan Marshall performance are superior, indicating a truth that singer Bob Dylan cannot quite manage, truth being, after all, the “mother of history.”
  164. This moment of greatness on the album Cat Power Sings Dylan is nonsingular. There are others. Is it not obvious how much better “Just Like a Woman” is when sung by a woman, and when sung specifically by Chan Marshall, with her specific life experiences and episodes of anguish and visionary possession, her specific permeable subjectivity?
  165. And “She Belongs to Me,” a song all about the male gaze, possessive qualities thereof, is so substantially better when sung by Marshall that it constitutes a different song—
  166. As when Richard Prince cropped slightly those photos of cowboys and made them his own aspirational vision of the masculine.
  167. As noted above, in general, I am not interested in questions about Bob Dylan’s “going electric” during the second set. Those are just songs, and they are not Finnish death metal or Minnesotan hardcore. The Band, his backing group, was not Vanilla Fudge or Cream.
  168. Accordingly, Cat Power’s second set is sort of midrange.
  169. It sounds like The Wallflowers a bit.
  170. As Marshall is a singer of nuance, she has to fight to preserve subtlety and gestures of restraint in the second set even though the band is electric and has multiple guitars and keyboards.
  171. That said, she improves “Ballad of a Thin Man” and seems to enjoy the polysyllabic sprawl of “Leopard-Skin Pill-Box Hat.”
  172. (With “Thin Man,” the song seems to benefit a lot from Marshall’s greatness at singing vowels too—the sign of a singer who knows her craft—like on the word “Joooones.”)
  173. However, the gem of the electric side is “Like a Rolling Stone,” where, in a way, the electricity howls through the bones of her face.
  174. Now, we have no reason to suppose that this very well-known song, this overexposed song, is confessional.
  175. We have no reason to suppose it is not.
  176. We have no reason to suppose that the protagonist is Edie Sedgwick.
  177. We have no reason to suppose it is not.
  178. As noted above and elsewhere, the original composer denies that he is a confessional writer (in this way, I think, disavowing his single greatest album, Blood on the Tracks),and we have no reason to doubt him.
  179. Or: we have every reason to doubt him.
  180. Every work of art is autobiographical.
  181. Every work of art expresses. Even Donald Judd’s industrial-inflected sculptures. Even Richard Serra’s “Tilted Arc.” Even Carl Andre, e.g., when he says, “There are no ideas in those steel plates.” Even language poetry expresses. Even field recordings. Even surveillance cameras that have no operator. Even the plates that record the movements of tectonic plates or the subatomic particles in the colliders of the world.
  182. Every work of art expresses, and the implications of this expression belong to the audience.
  183. Somehow, oddly, even appropriated work expresses, and sometimes it expresses even more.
  184. When I have made collage poems (which I have done for many years), I often feel they tell more truth about me, no matter how randomized the collecting strategy, than when I attempt to express myself directly.
  185. It is not, then, the artist who expresses in the medium. It is the medium that expresses in the artist.
  186. Music creates Van Morrison, music creates Bob Dylan, music creates Joni Mitchell, or Marvin Gaye, or Smokey Robinson, music creates James Hetfield, or Yousou N’Dour, or Keith Richards, or Taylor Swift, or Kendrick Lamar. They aren’t there, the artists aren’t there, until the songs are there.
  187. Language expresses the user, creates the user who was not otherwise there.
  188. So: “Visions of Johanna” created Bob Dylan.
  189. And: “Like a Rolling Stone” created Bob Dylan, and in the process, Bob Dylan created an idea of Edie Sedgwick, even if he didn’t intend to, or even if he never had a relationship with her, or just imagined he did, and yet his idea of Edie Sedgwick never felt complex, like a human being does. It always felt a little bit like an Old Testament prophet was ranting about some woman who didn’t sit quite right with him, until, that is—
  190. “Like a Rolling Stone” was sung by Chan Marshall.
  191. Chan Marshall incarnates “Like a Rolling Stone.”
  192. As she likewise incarnates the visions in “Visions of Johanna.”
  193. It is true that when Bob sang “Like a Rolling Stone” he knew the privations depicted therein.
  194. But he was never a woman knowing these privations.
  195. Marshall sings “Like a Rolling Stone” as both narrator and protagonist, she who sits in judgment and she who is judged.
  196. All the judging in her version is: very gentle.
  197. Second person as first person by other means.
  198. In the live recording from The Tonight Show, she stays in the groove, constantly hinting at the epiphanic moments in the chorus, but backing away from them, like she can feel the enormity of the song, its reputation, but also like she doesn’t have to belabor this reputation, like it’s a bit of fun, or like it’s confessional and merely interpretive at the same time.
  199. And yet, to conclude:
  200. It is on “Visions of Johanna” that Marshall, like Pierre Menard before her, spontaneously recomposes the song, and becomes its author in the present moment.
  201. By present moment we might point to: a post-Roe United States; a United States with a massive drug crisis in the cities of the fentanyl-xylazine variety; a United States teetering from the moral vacancy of the shipping north of refugees by southern governors; a United States somewhat unmoored from the world war on multiple fronts; the specter of authoritarianism and domestic violence in the American body politic, heading into a rather terrifying election year.
  202. We can see her becoming author by possessing the visions of the song “Visions of Johanna,” and by visions we might mean the “numen,” through which she passes on the way to expressing the moment now.
  203. Or we might mean that she means according to the discipline of metanoia, which is both a crisis in material being, a kind of spiritual aspiration and a rhetorical stance, depending.
  204. In this reading, the reading associated with metanoia, the line “where these visions of Johanna have taken my place” has an especial meaning that Bob Dylan can never inhabit exactly.
  205. Bob Dylan can’t mean the same line in the same way, contextually speaking, and thus Chan Marshall has reauthored it, and by extension, like Pierre Menard, has become its truest author.
  206. It took sixty years for this context to appear.
  207. What a transportive event to see this composition made anew.
  208. It’s true of course that the reperforming gesture is quite common these days: Rufus does Judy, VKB Band covering Tom Waits, Pussy Galore covering Exile on Main Street, Taylor Swift covering her own albums, The Beatles attempting to release new music as The Beatles, Roger Daltrey and Pete Townshend pretending to be The Who, Van Morrison covering all of Astral Weeks. Obviously, sample culture in hip-hop comes from a similar place, where appropriation is a basic compositional building block.
  209. And don’t forget the guitarist in Japan who has devoted his whole life to performing every note played by Jimmy Page in the exact same way on the exact same equipment.
  210. Most of these other acts of appropriation do not rise to challenge ideas of authorship, but Chan Marshall’s does.
  211. It makes her record exceedingly powerful.
  212. Postscriptus 1: a paratext or premonitory prefiguration of “Visions of Johanna,” a vision of those “Visions,” is to be found on the woefully underrated Cat Power album called Wanderer in the case of the immensely powerful song called “Woman.”
  213. Postscriptus 2: Recently, in the episodic sale of books by the estate of Tom Verlaine, I purchased a two-volume collection of paperbacks previously owned by Tom Verlaine (and I’m holding one of these books right now, previously held, at one point by the man himself), The Visions Seminars,by C. G. Jung, a relatively free, discursive collection of dream interpretations, which imputes to dreams the value and importance of visions, rather than consigning them merely to the materialistic “dream work” of Freudian psychoanalysis. Here’s a bit: “So here the peacock assumes the role of a sort of ghost that possesses the man. But we might cling to our original hypothesis that this is the animus again, that this is the man in her [in the dreamer], and now this vision is that behind her man, behind the animus, is a new principle that possesses him. It is his genius that sits behind him like the king’s hawk, or the eagle of Zeus. This is the peacock-ghost of unfolding, of beauty, of spring—of everything that is symbolized by the peacock. It is an almost prophetic vision” (p. 11). A prophetic indication, in case you still needed one, of what we mean by “visions,” in this case from a copy of a book owned by the guy who wrote: “Last night a moon came out / she replaced my eyes.”
  214. Postscriptus 3: I have written most of this essay from the deepest, loneliest part of the night, where the morning star appears each day just before dawn, Ain’t it just like the night.

Rick Moody is the author of six novels, three collections of stories, and three works of non-fiction. He writes a frequent column on music called “The Home Key” for Salmagundi magazine and teaches at Tufts University.