A Brief History of Ice

The iceberg cuts its facets from within.
Like jewelry from a grave

Elizabeth Bishop

Outside the Tate Modern on Christmas Eve,
everyone is touching the blocks of ice two artists
have shipped from the Arctic so we can feel
their melting: a petting zoo of ancient beasts

we slaughtered by accident, now guiltily
glide our hands along the smooth high ridges
of their incisors in the gloveless sun in this
two thousandth eighteenth year of the lord

(how many of us are believers? and in what?
a future writ in water? enough right people
reading this braille before it melts?)—these
blocks calved off icebergs calved off an ice

sheet, a boy now lifts the smallest chunk of
to smash on concrete—leaping joyous at its
shatter as his mother scolds, although the sign
says listen to it, smell it, look *at it, put your hands on; *

studies show we humans are poor abstractors—
will do more to help 20 starving people than 2,000;
need our own hands to tell us we don’t live
in snow globes with tiny houses redolent with pine

and woodsmoke sheltered by glass poles—
a Platonic Christmas Eve of families trailing
the Millennium Bridge, fur coats and velvet
despite the heat (how many generations

have believed in Santa at the North Pole?
Angerona, Greek goddess of winter days?)
(millennium before, her name warned of anguish
from the too-little-time, before the light falls, to do

what’s noble); fathers taking photos of their kids
with the ice, of light through ice, of the guitarist
playing “Pachelbel’s Canon” beyond the ice, as
my husband slides his hand above a vein of water,

blue-green glowing, trapped, otherworldly
(which is not how I should think of it) and says,
It’s perfect he’s playing the most predictable song ever written
as Rome burns. To which say, yes, but I’ve always kind of

loved it;repetitive, but aren’t our lives variations
on tired themes we are not tired of: hope, child,
house,Christmas morning, love—it feels new:
the old threat of coal in our stockings, candy if

we’re good (in older stories, the Whipping Father
boiled children so Santa had to resurrect them)
(we tried to warn ourselves, didn’t we?) (or have
we confused ourselves with resurrections?):

this ice dripping drains to the Thames until
a miracle freezes another future: positive and clear
as the crystals I wore as a pagan teen channeling
good as I walked the aisle to “Pachelbel” to marry

a boy I believed I’d love forever (so many notes
could be predicted, have been predicted), my hand
tracing one fading fin of ice until its slip to concavity,
a landscape that doesn’t belong to me and does;

a roughened slickness I want to compare to manta rays
I felt once in a shallow pool at Sea World, though
doesn’t this have to be about more than describing
loss as another kind of wonder we don’t deserve?

Periphery

by Bradley Clompus

As though stuck at thirteen,
as though mother were
fixed in mid-forties. Beside,
an uncomposed demolition
of sounds, iron ball slowly
arcing into the top level ruins,
muddled whump of impact, girders
shearing, tumbling, concrete fists,
shoulders, joints staggering
down to cutters and torchers,
massed pushers, haulers. Building
guts spilling from pre-crash fruition
of 1920s: lawyers, insurance agents,
accountants pale from overwork, hopeless
hoarding of others’ assets, plaster
a sickly mint green granulating
from every exposed, torn off
room, secrets mixed with
unaccustomed white, newly
opened to wind, to light.

From one of those half
de-created spaces, floor jigsawed,
dust billowing, paint chips mothing
down, a thin object falls, twists
while falling, hits ground
noiselessly, lost behind a drift
of debris. I say Something just
fell from a building. Mother
doesn’t answer, keeps walking.
Next day the news allots
a name, a past, a truncated
present. He was working
the 11th floor, wore a yellow
hard hat. If we stayed, we might
have seen a crowd assemble,
a few lance-like arms pointing.
There could have been a subsonic
hum of frightened bees, a plea
for reckoning. Try to remember
this, I remind myself. Mother says,
not to me, not to the watchers,
That poor guy, that poor, poor
guy. Rubble is piling on the ground,
a minor mountain, its peak unstable,
sloughing off the hard and soft
stuff we’ve made, the brownish
scarlet rusts, dirty beige, broken
Wedgewood blues. The man waits
for his pickup, his arrangements.
Verging toward mourning,
the crowd might have huddled
a bit, leaned in tentatively,
sheltering an absent core.
And two of us who’d partly
seen, partly known, left it
all behind, kept walking.

Blood Loss

by Philip Probasco

You promised to give blood on this date every year, and when you keep your promises, things generally go all right for you. You drive around for an hour before you find the blood donation bus in a parking lot. It looks about like you’d expect on the inside: a cramped doctor’s office with a nurse who gives you a rubber-foam Earth ball to squeeze. She pinches your arm with the needle. As the blood leaves you, you think about the routine evacuation of vital things. Of fire drills and how you’ve never been able to trust the calm faces on the men beckoning to you while an alarm insists something is wrong. 

     You give quite a bit of blood, perhaps too much.

     “We need as much as we can get,” the nurse says as she sticks a band-aid on your arm.

     You nod without speaking. The band-aid has a picture of fruits dancing on it. A cluster of grapes smiles at you. You should say something. “Thank you for taking so much of it off my hands,” you say.

     You feel faint. Your work takes a lot out of you. You move money into and out of funds. As blood nourishes the body, money nourishes the world. This is how you think about your work. At your office, you prefer to ride the elevator alone.

     You do not need any groceries, so you drive home. You hit traffic past the mall. The sun sets, and you move along for a while until traffic lets up. You get off the highway and begin driving through the kind of neighborhood you always hoped to live in with a family one day. You still feel faint, but then again, you gave a lot of blood.

     The realization that you dozed off will come back to you later, but for now, you hear only the blare of a horn. Your car hops onto the curb, and the woman doesn’t get out of the way, so you hit her. The hood of your car crumples into a telephone pole. Your steering wheel releases an airbag it kept hidden in there for years, and everything is still. Fresh smoke rises outside the windshield.

     You get out of your car. You don’t remember this part well, you will later say to a tired man with papers in front of him. Right now, you need to sit down, so you do. A policewoman crouches in front of you. She has a kind face. She looks you in the eyes with searching concern. She stands and walks away, and an ambulance arrives. A siren fills the air, shrieking It’s not your fault over and over.

     A woman sits across from you. She is pregnant, maybe, and her forehead is smeared with something dark.

     You ride to the hospital with the policewoman whose name you will later forget. She tells you about the wreck your carelessness caused. The woman had a flat tire. She was parked off on the side of the road, and you hit her. You ask her a question, and she tells you that whatever it is, it’s better than being dead.

     You have some tests done and they give you papers to sign and release you. You sit waiting to hear about the woman you hit, though you don’t know how long it will be or if you are in the right room. A nurse comes to tell you the woman wants you to leave if you are here. She has lost a lot of blood. 

     “There’s a national blood shortage,” the nurse says. “People don’t give enough blood these days.” You tell her you just gave. The nurse shakes her head sadly at you and tells you to get some rest. You take a cab to the park closest to your building. It is a pretty park, the prettiest park in the whole city. You find a tree and sit under this prettiest tree, which doesn’t start talking to you, not for a while.

     You open your eyes. An ambulance sits on the street with its lights on. A man advances toward you.

     “You left your vehicle running.”

     The driver of the ambulance doesn’t speak. The path lights are a blue thrill on his face. He drops something into the grass, then gets up close to you. “This belongs to you.” His eyes glisten with tears.

     You don’t understand, but you get the feeling you should say something. “I’m sorry.”

     “Yeah, yeah.” He walks off up the path.

     “It wasn’t my fault!” you shout. This is the side you will always be on, this side of the conversation. You open the towel. A baby reaches a tiny hand out. It wriggles off the towel and crawls toward you.

     It doesn’t seem like anything you should be a part of. You shut your eyes so tight that the blackness begins to bloom. A soft hand presses against your eye and pries it apart. A naked boy stands in front of you.

     “Peek-a-boo,” he says. You don’t respond. You can’t think of a response to that. He is untroubled by your silence. With quivery precision, he opens your other eye. You get the feeling you should say something, but you can’t think of anything. He motions like he is going to run away, then stops and kisses your nose.

     A faint rumble sounds in the distance. You turn around to look. When you turn back, the child has disappeared. You try to stand, but a soft weight falls onto you. “Daddy! Got you!” Your head bumps against the ground. The boy sits on top of you. His blond hair almost reaches his shoulders.

     “What did you call me?”

     “I climbed the tree. I got to the third branch this time.”

     “Don’t call me that.” You push him off.

     He falls away and stands. “Okay. What should I call you?”

     The obedience throws you. You aren’t used to it. You almost fall to your knees.

     And then you remember. This boy has been cast aside by his mother. You recall the details. A car struck her when she was pregnant with him. She must have given up hope. The driver, too.

     “I love you,” you say. The words rush out of you.

     He bites his lip, suddenly serious. He kicks you with his foot. “I love you too,” he says. You hug him. The rumble grows louder. A horn fills the air. You cover his ears, because you know what’s coming. He struggles, but you hold tight. An enormous, drunken rattle passes the park. Only when the noise and light have passed do you let him go.

     Beneath the tree, you try to give him a life. Most of what you need is here. There’s a sandwich shop that delivers across the street, and an ice cream cart that comes by twice a day. You keep up with the news by asking a kind old man for his paper once he’s through with it. He pulls out the comics section and gives that to your boy. You befriend him, and he leaves his paper with you every day, when he’s done with it. 

     You teach your boy how money circulates through the world using red leaves as stocks and yellows as bonds. Greens are cash. The boy asks questions about your job, which you manage by phone. He can’t believe how you keep it all straight, but it’s never felt like a big deal to you. You begin to see yourself as important. Your boss calls one day and fires you. 

     You withhold certain deep regrets. You make him memorize the state capitals, which your father made you learn. He learns them fast. You teach him the rule of threes. A human can survive three weeks without food, three days without water, and three seconds without blood. He is skeptical about the last one. It turns out he is smarter than you.         

     You take out an ad in the paper and sell your condo, and use the money to hire a tutor to stop by the tree. You want to offer your boy enough answers for all the questions he has, but that is difficult. You order a tent online. You’ve worked out a deal with the sandwich shop across the street. They will receive your online orders and bring them to you if, in exchange, you buy two sandwiches every day for lunch. Your job has taught you how to make a deal or two, so it was not a complete loss. 

     You spend a whole day setting up the tent, getting it just right. Years later, you have to buy a second tent, so your boy can have his privacy. He makes friends in the park, and one day he meets a girl he really likes. She wants him to come out with her, but he isn’t allowed to go past the train tracks. You fight about this. You don’t want him to leave this park. Everything is nice here. He has everything. The world is full of careless people. It should be enough for anyone, shouldn’t it? One day he finds a dirty band-aid in the leaves with fruits on it. You name the fruits silly names. Once he would have found this funny, but he is too old now to laugh. You tell him you might build a treehouse one day, so you can live in a proper house. This is not practical, but young boys need to dream.

     “Dad, can I ask you something?” he says one day.

     “Go ahead.”

     “Am I different than everyone else?”

     “Of course you are. You’re my boy.”

     “No. I mean, are there other people who live in parks?”

     “I’ve lived in this city my whole life,” you say. “There’s no place as pretty as this park.”

     “But there are people who pass through here. They go places. We just stay.”

     “Nothing bad has ever happened here, to my knowledge,” you say. “Other places, there are accidents. There are careless people everywhere.”

     “I know,” he says.

     One day he meets a group of young people his age who are playing ball in the park. They ask questions of your boy and can’t believe it when he tells them that he doesn’t leave the park. You are proud of how bold he is with them. They are wearing t-shirts with the name of a college on them, and your boy asks about college. They tell him it’s great. From this day on, he doesn’t talk of anything else. He collects brochures and magazines from the garbage and learns about college. He spends a lot of time in his tent writing. He won’t let you read it, but a week later, he pays the old man with his allowance to mail it off for him. You know what this means. You know he will get in.

     Sure enough, a large envelope arrives at the sandwich shop a few months later. The owner brings it over with two sandwiches and a large grin on his face.

     Your boy is going to leave. There is nothing you can do about it.

     “What did they say?” you say, unwrapping your sandwich.

     “I got in!” he says. They’ve sent him his own t-shirt. He puts it on.

     He leaves at the end of the summer, and you make sure it is the best summer ever. But you are getting older. Your voice is getting weaker. He is becoming too much for you. “How about today we find some timber for that treehouse?” you say, but then you remember that he’s already left to make his train. You can’t wait to call him, but you want to give him his space.

     The old man and the sandwich shop owner come by and get you talking about your boy. You tell them that you hope he will major in philosophy because he loves questions more than answers. You add that if he doesn’t, that will be fine, too. You want him to be happy. He is whom you hoped for but never deserved. You imagine his first visit back from college. You will leave the park with him. You will walk down the railroad tracks. You see it: the mist hanging low, his face pale in the moonlight, pure as an unpicked flower. You will finally share your regrets, the importance of keeping one’s promises. How your first girlfriend fell asleep on the tracks and was killed by a train. There was no blood, she went peacefully. You won’t tell about her arm in the undercarriage, or the beers in the ditch, or how you rolled off in the night. The world is full of careless people. You try to give back where you can. You can’t wait to call him, but you need to give him space. You hear a faint rumble in the distance, and turn to look, but you see only darkness. The pretty tree in the prettiest park finally speaks to you. It says, there was no blood loss. Give him space, you think, but you can’t wait to call him.

Recommendation for Claudia Dey’s Heartbreaker

by Emily Carr

Lately, I’ve been asking writers I respect if they’ve read anything in the last year that they think everyone should read. A book that, given our limited amount of time on this planet, simply Must Be Read—regardless of whether everyone’s going to like it, learn from it, etc. I’ve been asking this question partly because I have an answer: Claudia Dey’s Heartbreaker: a Novel, which broke my heart open in all the right ways.

            Why? To explain why I love this novel so much would be reductive: like saying I love my partner because he’s smart, has a good sense of humor, and is willing to clean up after me. These things are true, but as we all know, you can’t quantify love. For the purposes of this recommendation, however, I will attempt to get specific, and list four reasons you should read Heartbreaker. (But before I do: please, please, just read the novel and see for yourself. I promise it will be better that way.)

#1: A recent LitHub article titled “11 Books for Adults Featuring Talking Animals” inspired me to curate a reading list composed of literary fiction that incorporates an animal perspective in a way that’s nuanced, complex, and three-dimensional—novels that let the animals speak for the animal, that get at what Joy Williams really means when she lists “an animal within to give its blessing” as the fourth essential attribute of the story. Claudia Dey’s Heartbreaker was #7 on Lithub’s list; Emily Temple writes“This novel has three narrators: Pony, a girl; Supernatural, a boy; and Gena Rowlands, Pony’s dog. The three live in the Territory, a place no one leaves—until someone does. It is, as is also true in everyday life, the dog who knows the most about what’s really going on.”

The novel is, indeed, broken into three sections, and told from three perspectives: Billie Jean’s pre-teen daughter, Billie Jean’s dog, and Billie Jean’s teenage lover, who turns out to be her husband’s illegitimate son. The perspectives layer, like a palimpsest or film that’s been exposed twice. We figure out what’s happened—why Billie Jean first fled to and then fled from the Territory—as one perspective builds on another. As Temple explains, the dog’s point of view is crucial, and an important reminder that, while we assume we are alone when spending time with our pets, they are in fact paying attention and we are never, in fact, truly alone.

#2: You might be wondering “what is the Territory?” The Territory refers to the legendary far-northern reaches of Canada, those places you can only reach by driving a hundred miles or so over a frozen lake. The Territory is populated by a cult that settled there in the 1980s. The story takes place as the first generation is exiting middle age; the leader has died (mysteriously, of course); and the cult members have had to improvise to keep the community afloat fiscally (via selling their children’s blood to the outside world). No one comes out. No one comes in. As a consequence, there are plenty of love triangles, love affairs, incest, and illegitimate children. Despite this premise, the people, the place, the compromises, the affairs, and the children have depth and breadth and Dey treats the situation without judgment; she draws us into the community so we can experience it from the inside out.

In a recent Instagram post, Dey writes: “I read many FLDS [Fundamentalist Church of Jesus Christ of Latter-Day Saints] cult survivor accounts when I was writing Heartbreaker. This photograph is from Rachel Jeffs’ ‘Breaking Free.’ The pastel line up of girls, soon to be made wives, under a neutral sun. It is one of the most sinister images I have ever seen. What is left when you are forced to give up your moral and physical agency in the name of God? Lorrie Moore writes: ‘Terrible world. Great sky.’”

            #3: My recent reading spree has also, purely incidentally, involved contemporary fiction that focuses on mothers and their estranged daughters, or mothers who estrange their daughters, or mothers who have, with all of the best intentions, done motherhood “wrong,” or mothers who have, without quite meaning to, failed their daughters. I’ve been suffering from work-related stress and indulging in genre fiction, so most of these plots have all of the melodramatic gracelessness of reality television. Most of these mothers were abused, and in turn, become abusers, often of the passive-aggressive sort. Mostly, I (though my own relationship with my mother is, for reasons both personal and systemic, fraught) empathize with these mothers. Mostly, I get angry because I think that reductive narratives of blame and abuse don’t help us daughters, as we try to be both ourselves and mothers in our own rights. Mostly, what I want is story that turns this narrative INSIDE OUT. 

         The plot of Heartbreaker, for example, hinges on a thirty-three-year old mother who ran away from mostly absent, wealthy parents as a teenager, re-named herself Billie Jean, had a brief but intense love affair with the eighteen-year-old boy Supernatural whose true origins are unbeknownst to her, gets pregnant, has the baby, gives up the baby, deals with some more baby- and lover-related tragedy, and, in utter despair, flees, abandoning her fourteen-year-old daughter, Pony Darlene. (The names! Oh, the beautiful, heartbreaking names!) Later, Billie Jean recounts the story of nearly hitting a bison in the night. “You know the truth when you look into the eyes of something wild,” she concludes.

            Despite this technically accurate yet completely misleading and melodramatic summary, Heartbreaker is, in fact, a nuanced exploration of mother-daughter relationships: all of the ways we get it right and get it wrong and have to be willing to start over, again and again.

#4: Advance praise on the dust-jacket of the hardcover includes Leslie Feist, who writes, “I want Van Halen to write the soundtrack and the Coen brothers to make the movie.” Lauren Groff is a “giant fan” of “Claudia Dey’s wild brain” and Sheila Heti says that Heartbreaker gave her “chills all of the way through. “Also,” Rivka Galchen writes, “it has one of the most awesome dogs in literature…”

All of this is true, and all of it is, necessarily, reductive. If I were invited to write an endorsement, I would say, “this novel is for the heartbreakers and the heartbroken, for the new hearts and the old hearts, the hearts we sometimes have to hold together, and the hearts that hold us together. By which I mean: this novel is for EVERYONE. Please read it immediately.”

Emily Carr writes murder mysteries that turn into love poems that are sometimes (by her McSweeney’s editors, for example) called divorce poems. These days, she’s Visiting Assistant Professor of Creative Writing at the New College. Her newest book, whosoever has let a minotaur enter them, or a sonnet—, is available from McSweeney’s. It inspired a beer of the same name, now available at the Ale Apothecary. Emily’s Tarot romance, Name Your Bird Without a Gun, is forthcoming from Spork. Visit Emily online at www.ifshedrawsadoor.com or on Instagram as ifshedrawsadoor.

Forgetting Everything I Know

by Marston Hefner

Everyone agreed in the neighborhood that she was the best. She was the beauty. How could she let everyone know she was nothing but a pile of shit? Oh, well. Nothing, really. She did everything perfectly. Not a thing wrong with her. No conflicts. Oh, all the men loved her. Her boss especially. She was such a hard worker. How was it possible to still be beautiful at forty years old? How was it possible when you had two children? 

            Everything coming easy to you entitled you to a few things. The first was praise. The second was recognition of your beauty. The third was a small but imprecise aching indicating that one was hungry for something one did not know of and that one wanted to reach this place by the end of one’s life. It was what caused people to fall in love. It was what caused people to go into the present moment. It was that insatiable itch that made her that much more interesting. That much more human. She cried at night. Did you know that? She cried when no one was looking because she was perfect and it was sad to be perfect in your imperfections. The itch could not be scratched.

            She only knew there was something completely wrong. Eventually she cried in front of her husband in the marital bed who handled the situation terribly. Then she cried at the dinner table in front of her children. There were long bouts of silence in the household. She found it difficult to go and be productive. To go to work became a chore. It was just depression. Did that make her more perfect? More human? More down to earth? She was getting older. Her age was taking a toll. She started smoking cigarettes. She wanted to be closer to death, desired for things to be finished. Here. This is your life. Did it make you proud to be beautiful?

            What was it that pained her? Why was she crying now in the bathroom? The only light on in the house. Her husband asleep. Her children breathing light steps in their dreams. The more she asked the less clear it was. She wanted sleep. No. She wanted death. No. She wanted fame. No. She wanted rest. No. She wanted everything. Yes. Everything in the world handed to her. It wasn’t supposed to be like this. Limitless growth wasn’t the answer. She needed a stopping point. Someone to tell her this is enough. Point to her children. This is enough. Point to her husband. This is enough. Point to her house. This is enough. All of it is enough.

            The twins in the bed did not stir. Perhaps they could go to her eyelids while she slept, place their fingers gently on them and announce that everything was OK. There was no need to cry anymore. Everything that would happen would happen. Everything that did not happen was meant to be. All that we wanted was part of being human. The hunger never goes away. The children knew hunger. They wanted As. They wanted to be the best at the sports they played. They knew it. Knew it in their skin. In their genes. They were never happy either. They would touch her eyelids and tell her to rest. Rest for a week. Childhood is not like dreaming, they’d say. Go into a coma. Bang your head against the porcelain sink accidentally and forget all you know. Forget everyone. And rest. Just rest.

            There was a man going down river in a canoe. It was his yearly summer outing. Even though the canoe had gone far, even though its owner had worked his arms to reach what was almost the end, a natural anomaly occurred and stopped him from ever completing the course. A wind pushed his canoe back through all the river he had waded. Back over the rocks and waterfalls. It was the opposite of a miracle. He reached the end which was the beginning, went on the sandy shore, bent down at the foot of the river and screamed.

In his free time, Marston Hefner plays backgammon, video games, and practices yoga. He is 6’4” with a strong jaw line. He has short hair. He has a toned upper body but working the thighs is difficult because of his height.

Post Road Magazine – Issue #36 | Spring/Summer 2019

FICTION:

You and Me Could Really Exist — Marianne Leone
Here  — Jason Namey
Drought — Jensen Beach
Blood Loss — Philip Probasco
Forgetting Everything I Know — Marston Hefner
Single — Genevieve Plunkett
The Day Diana Died — Emily Lackey

NONFICTION:

Kaw-liga — Amber Wheeler Bacon
Moments of Clarity — Eddie P. Gomez
Fun with Peter — George Choundas
Obituary — J. David Stevens

POETRY:

Periphery  — Bradley Clompus

ART:

Karl Heine: No Permission
Mel Rolleri

THEATRE:

Spring Break at the DMV  — Dalton Day

RECOMMENDATIONS:

Claudia Dey’s Heartbreaker — Emily Carr
Gather the Daughters by Jennie Melamed — Brandi Wells
Virginia Woolf and Nicholson Baker — Lewis Robinson
No Country for Old Men — Stephen Markley
Ludwig Bemelmans — Janet Pocorobba

GUEST FOLIO: “Place as Palimpsest”

Edited by Suzanne Matson
Introduction
Beijing — David Huntington
True Abandon — Gretchen Steele Pratt
Six 100-word Memoirs — Paul Doherty
Ilya — Ashley Keyser
Five Ways to Read a Village — Sam Kemp
If In New York Near Torok’s Grave — Cal Freeman
Commute — E. Shaskan Bumas
A Brief History of Ice — Alexandra Teague
In the Shadow of the El (excerpt) — Paul Mariani
City Kingfisher — Marina Richie
I Came Here for Some Answers — Lois Roma-Deeley