Robert Hayden Reflecting on Those Goldenrods of his Childhood

Deborah H. Doolittle


Late summers—when the woods
and fields around about became
suddenly drenched in some degree
of green—took their cue from their
peculiar sulfur-yellow hue:

goldenrod. Spare of flower, scant
of leaf, it towered above him
as he walked through on his way
to school, unappreciative. Bees
and the many little yellow

butterflies somehow knew these blooms
were the last hurrah. What did he
know about such things? Goldenrod
was boiling over like the unwatched
pot, and he, spoiling for a fight.


Deborah H. Doolittle has lived in lots of different places(including the United Kingdom and Japan) but now calls North Carolina home. A Pushcart Prize nominee, she is the author of Floribunda and three chapbooks, No Crazy Notions, That Echo, and Bogbound (Orchard Street Press).When not writing or reading or editing BRILLIG: a micro lit mag, she is training for 5K,10K, and half marathon road races or practicing yoga. An avid bird-watcher, she shares a house with her husband, six house cats (all rescues), and a backyard full of birds.

Howard el-Yasin
We the People, 2022
(Photo credit: Woodruff Brown)

We the People is excerpted from “Reclaimed,” an art folio featuring sixteen works by Mr. el-Yasin. To view the full folio, please click here to purchase Post Road 42.

Rain

Alizabeth Worley

Like many moody souls, I like a rainy day. I like the wet dirt and heavy air, the thick dripping from overhangs and tree branches, the cold. I like feeling the need to pull my sleeves over my hands and wrap my coat around me, and I enjoy walking outside with my kids afterward, their little shoes pattering along a dark, wet sidewalk.

In Utah where I live, however, there is little rain.

Utah is the second or third driest of the US states, depending on which ranking you follow—dryer than New Mexico, not as dry as Nevada, vying for second place with Arizona. It isn’t as hot as New Mexico or Arizona, the states with huge sequoias and scorpions; in Utah, November rides in on a tundra wind, and our winter mountains glint brilliant and silver with snow through May. Cold weather notwithstanding, though, it is dry enough that in church meetings, Utahns routinely pray for “moisture,” an allergy-inducing word for many who didn’t grow up in the area. It is dry enough that when the weather grows hot, fires catch tinder in the mountains and a haze of smoke descends and fills the valleys at least a few days each summer.

I have lived here for most of my life, and perhaps I would not love rain so much if it weren’t so scarce. I remember sitting in my high school physics class one day, staring out the window while rain rattled against the glass pane, disturbing the force field of Utah’s early summer. I thought I was alone in my reverie, but before long, Mrs. Fairchild stopped her lecture and said, both stern and sympathetic, “Oh, you poor desert children.”

We are the driest we have been in over a hundred years—the driest on record. We are in a drought.


Earlier this summer, my husband and I took our boys on a trip along with my sister and her kids to St. George, Utah. The day before we left, my sister took the four cousins (her two plus our two) up Snow Canyon in the morning, snapping photos of the kids crouching down and playing with sand as red and deep as rust. The kids loved it, and Michael and I took the four of them up again in the afternoon.

As we drove in, the beating sun was blistering, the outside temperature at a hundred and thirteen degrees. Before we entered the state park, a kiosk operator asked if we had water, and I said yes—we had packed six water bottles, and I was pretty sure there were more somewhere in the back of the car.

After a few minutes of winding through the canyon, we parked in a lot with a small wooden pavilion that provided shade and an information booth with pictures of the canyon’s inhabitants: hawks and horned lizards and rattlesnakes. Even in the parking lot, the red cliffs and mounds were handsome and enthralling. The rises were smaller than those I had seen in the red maze of Bryce Canyon or the winding slots of Zion National Park—smaller as well as closer—but no less impressive. The sun bore down overhead, the red rock faces close enough that I could shout “Echo!” and hear it call back to me.

It was a short trip, and uneventful, as planned: I set a five-minute timer, during which we walked out on an asphalt trail. When the timer went off, we walked back to the car. We had put sunscreen on, but all the kids were red cheeked and ruddy, a sweaty lethargy stealing over their faces. We buckled the younger two in their car seats while the older two buckled themselves in, and we opened all six of the water bottles.

I couldn’t help but think, as I started the engine to turn on the AC, finishing my own water bottle in seconds, how unreasonably confident I had been. We drove back out, and I realized that we were much farther into the canyon than I had thought; driving in, I was mostly focused on finding a stop that might have something interesting for the kids, and we passed exit after exit. We had all been breathless and thirsty after just five minutes out on the trail and a few more back. We needed the water, every bottle I had packed. What if our car stopped or we got stuck? What if the car’s battery had given out in the heat? We had four little kids, two just able to walk. I don’t remember if we had cell service. In any case, my comfortable security felt suddenly reckless. We’ll be fine, I had insisted, and we were fine. But we were only a dead car battery, a broken AC, a disrupted phone signal away from possible disaster.


Water is a solvent, and this allows for life. Water dissolves substances more efficiently than any other liquid, disrupting the bonds between other chemical compounds and providing free-floating atoms and molecules. These atoms and molecules rearrange and gravitate and hover, catalyzing the complex chemical reactions required for living matter. Over one hundred thousand chemical reactions happen in the brain each second, a whirlwind of dissolution and resolution. Water, and its solvency, is the key to growth and motion, to neurons firing, to cells aligning and dividing.

In the ocean, where life most likely began, water is ubiquitous by definition. Water may disperse an oil spill that poisons a school of fish it once nourished, but still, water is there, abundantly. The presence of toxic waste may hinder life, but the absence of water is an unlikely threat. And, as far as my rudimentary understanding of global warming goes, we will only see an increase of ocean water as polar ice caps melt.

On land, however, water is scarce by nature, and land dwellers can only survive so much of it. Have too much water in your lungs or your stomach and you die. You need the right amount: you need it in the soil and filtering through the air, but not sweeping the ground away beneath you. You need it coursing through your veins and breaking down your food, but not disrupting the acidity in your stomach or interfering with oxygen intake in your lungs.

Even land dwellers, however, begin their lives submerged.

In ovum and in utero, water acts not only as a way to provide life and enable chemical reactions but also as a protector. Amniotic fluid protects a baby from trauma and prevents the umbilical cord from being crushed. A baby can stretch their arms and legs, buoyant and unhindered.

Without enough amniotic fluid, a pregnancy can be jeopardized. When I was thirty-six weeks pregnant with my first son, I had an ultrasound indicating slightly low amniotic fluid—seven cubic centimeters instead of the ideal ten to twenty. “If you fall below five centimeters,” a maternal-fetal medicine specialist told me, “we’ll need to perform an immediate C-section.” I wondered then if my low fluid contributed to Jeffrey being breech, or to having a cord around his neck. I wondered then, and wonder now, if given more room, he never would have become entangled, would have had room to turn around on his own.


As a family, we are trying to conserve water. We are washing less and showering more efficiently: a minute of water to get wet, a couple minutes to rinse off the soapy suds and shampoo. We are filling our laundry and dishwashing machines before running a cycle, and we haven’t pulled out the hose for summer water play.

We have all been instructed to do so, everyone in Utah and the surrounding areas.

Driving around, I see yard signs and billboards urging water conservation, including some signs up in Sugar House with the words THE GOAL IS TO SURVIVE NOT THRIVE. While we were watching the Olympics, an announcement aired from Utah’s governor, warning that if we continue to use water at this rate, our reservoirs will run out. We hear about the shrinking Great Salt Lake, and the arsenic that could poison the air if the lake becomes depleted in the next ten years, which it could.

There are limits, however, to our family’s water conservation: our dishwasher cannot quite do its job without some dishes pre-rinsed; in the era of Covid, we wash our hands more than ever; and, on occasion, we give in to the demands of our little ones to fill the bathtub high. According to the United States Environmental Protection Agency, the average family uses over three hundred gallons of water each day.[1] For every weekly gallon I feel good about saving, I know I use many more.

Throughout most of Utah, this drought is classified as “exceptional,” the highest level possible, with slightly better areas classified only as “extreme.” In addition to taxing water resources, however, this drought has left landscapes in Utah—and in other states—at greater fire risk than ever. In 2021, by June 21 (still early in the season), four hundred and twenty-two fires had burned over fifty-seven thousand acres across Utah.[2]

Between Utah fires and the smoke carried in from California, Washington, and Oregon, smoky skies have started to feel normal.

On a clear day, I can see Mount Timpanogos and other peaks along the Rocky Mountains that hem in Utah Valley. We are only about five miles away from the foothills, and from the right vantage point I can easily see the painted-white “G” on the side of Mount Baldy, as well as the spiky outline of pine trees and craggy rocks. Often in the summer, though, I have been unable to see the mountains at all, as if they aren’t even there. Some days, even the homes in our complex look hazy and faded because the smoke in the air is so thick.

More and more often, I’m just grateful that our air quality is designated yellow, indicating “moderate air quality,” rather than orange, red, or purple—“unhealthy for sensitive groups,” “unhealthy,” or “very unhealthy.” On August 6, 2021, Salt Lake City had the worst air quality in the world at an AQI score of 215,[3] though many cities in California and Washington and Oregon have fared far worse many days, at times reaching “hazardous” air quality levels. I have been more asthmatic lately and have used my inhaler more than before. I am coming to expect a sky of brown, an atmosphere of broken brick.


My second son, Sam, was not breech in utero, unlike his older brother, and my amniotic fluid wasn’t low. I was reasonably well hydrated early in his pregnancy, receiving IVs to replenish the fluids I couldn’t keep down. As we came further along and I didn’t need IVs anymore, I tried to keep my fluid levels high by drinking as much as I could.

Still, he was delivered by C-section. Four days after my due date, he seemed as content to stay put as ever, and my OB worried about the increasing chances of a uterine rupture. So, we went ahead with a repeat cesarean.

I have read that the static hush of white noise reminds babies of the womb and the constant rushing of blood around them. Sam loves white noise, and it seems fitting that he takes to it so well, when he didn’t want to come out of my belly.

White noise lulls him to sleep in the way every mom hopes it will for her child. We have a white-noise machine that we put in his room at night; we press the button labeled “rain.” Sam relaxes and his fidgeting eases. He is more receptive to comfort, more willing to take a pacifier. He is happy to take a hand by his side instead of needing to be bounced or rocked. His breathing slows, and eventually, he sleeps.

When I lay there beside him, I listen to the soft shhhhh of the machine, and I can imagine my baby cocooned and sleeping in utero. I imagine him there in that warm, dark room, perfectly content, surrounded by so much rushing like the ocean beneath a storm.


I lived for less than a year in Florida as a seven- or eight-year-old, the only time in my life I have lived outside of Utah. Since then, I have parted ways with many of my eight-year-old preferences, but I remember loving the rain much like I do now. I remember the sheets of water pouring down, the heavy drops hitting the flooded driveway like sublimating dimes.

After we returned from Florida to Utah, I missed the rain. When the occasional storm did come, I relished it, making dams in the street from mud and sticks and rocks, plugging up the holes with socks pilfered from the laundry room.

Michael’s parents live in Arizona, which is similar to Utah in precipitation and humidity but much hotter, and this makes a difference when it comes to rainfall. While Utah receives significant portions of its water supply from spring snowmelt, Arizona primarily receives water through rain; unsurprisingly, it rains much more in Arizona. I find the heat of Arizona hard, but I do love the rainstorms when they come.

Earlier this year, we stayed at a townhome in Arizona while visiting Michael’s parents. On the last night of our stay, Michael asked his dad if he could get a ride back to the townhome in his dad’s convertible, just for fun, while I took the boys back in our car. Soon after he asked, it started to rain. After buckling Sam and Jeffrey in their car seats, I walked up to Michael and his dad as they stood in the doorway, and I caught his dad saying, “It’s physics. If you go fast enough, the air carries the rain right over your head.”

I laughed and said, “I was just thinking, not sure you’d want a ride in a convertible now, but I guess that’s been addressed.”

We started the drive, and I hoped that Michael and his dad weren’t getting too wet at the stoplights as I drove behind them. On the way to the townhome, Jeffrey was telling me that when we got there, he wanted to take a “rain bath,” because, as he put it, he hadn’t had a rain bath in a long time. But it was well after dark, and the rain pattered on the windows, and the windshield wipers swished back and forth, and the highway thrummed beneath us, and by the time I pulled into the driveway behind Michael and his dad, both soaking wet from idling at stoplights, Jeffrey had fallen asleep in his car seat.


This drought is teaching me. I didn’t know that the majority of wildfires, at about eighty-five percent, are caused by people—though mostly by accident.[4] I didn’t know that relentless smoke can drive you inside just as effectively as rain, can leave you taking shelter indoors for most of a summer. I didn’t know that a turbulent rainstorm punctuated by lightning can start more fires than it puts out. I didn’t know that rain does not always clear away the smoke, that sometimes a storm front can carry in more smoke than it clears, leaving a deep stench far worse than that of a wet sweater hanging out after a campfire.

I didn’t know that if the air quality is bad, in addition to getting a HEPA filter and staying inside with all the doors and windows closed, it can help to wash your bedsheets more frequently—though, of course, this can produce the undesirable effect of using more water to do more laundry, at up to thirty gallons of water per load. I didn’t know that the best masks for preventing infectious disease are also the best masks for reducing inhaled pollution.[5]

I didn’t know that, generally, it’s better to water a tree three to four feet away from its trunk, where the roots are most able to absorb the water. I didn’t know that it is better to water a lawn at night, so as to reduce how much water evaporates under the sun. I didn’t know that, in many cases, it is better to flood a yard or an orchard on occasion than to sprinkle it every night; if you water a little each night, the water stays on the surface, easily evaporating instead of reaching the roots. I didn’t know this, even though Michael’s parents have long done exactly this, flooding their lawn under cover of darkness. When their lawn is flooded at night, lights from the house glisten on the mirrored pool of their backyard, and it is beautiful. I just never knew the reason behind it.


During the drive back home from our trip to St. George, about twenty minutes after we left, the cars ahead of us came to a stop. The roads in southern Utah are usually clear and empty, with long expanses of seemingly deserted highway, but the cars ahead of us stretched as far as we could see, edging forward only in brief starts.

Soon enough, we could see why: a fire, not on the mountains, but in the brush beside the highway. The brush was low, and the fire was low too, but it had spread far.

We had two children in the car—sleeping. It was late and dark. The motion and sound of the car had lulled them to sleep, encased in their car seats. I wondered as I drove, how could I keep moving us toward a fire that only seemed to be coming closer? How could I keep going with these two kids, unknowing and innocent, when the risk felt so palpable? I thought about turning around on the bumpy stretch of shrub between our lanes and the southbound lanes, whatever the fallout might be.

Instead, I stayed in line, easing off the brake pedal to keep up with the cars ahead of me. At moments in our stop-and-go traffic—eerily silent, a mix of bright orange fire and red brake lights in the dark of night—Sam would wake, crying until Michael or I reached back to hold his hand. I kept telling myself, I could always ditch and run the other way, turning our car around through the median’s brush, if the need became clear enough.

Ash was falling on our window, and emergency trucks passed us in the coned-off lane to our right. Firefighters and officers walked along the curb of the road in reflective yellow vests and hats. When we approached the line of fire, it was still several meters from the freeway, stalks of flames illuminating a sky of billowing smoke, silhouetting the small strip of scrub left between us. As we continued forward, the fire grew closer, creeping into the wide ditch that hemmed the road in.

Finally, sometime after all the cars had merged into the lane farthest from the fire, we followed the thinning tail of flames back into the darkness. The flora and fire were short enough, and the asphalt road wide enough, that I suppose there was never any substantial danger, as long as we moved far enough to the other side.


In the years to come, I’m not sure the danger will be so fleeting. Granted, I am not much of a scientist, and there is much I don’t understand; I do not understand the complexities of a global climate that ebbs and flows for reasons ranging from solar intensity to sea floor spreading, as well as decades of human effect. Still, I can’t believe that there is nothing we can do, as individuals and families and countries, to treat our atmosphere better, even if imperfectly.

Every accidental fire, every inch of reservoir water lost, every increase in the global temperature affects the quality of the air we breathe, the water we drink, the safety of our immediate ecosystems and the species within them. Climate change is not an all-or-nothing trend but a slow and cumulative migration across multiple gradients. Even the margins matter, and therefore, so do our small efforts.

Between mishaps and mistakes, I keep trying and hoping. I keep hoping that the fire will spare the road, that the brush will recover, that a gentle rain will shower us again soon. I keep hoping, naively, that if it comes to it, someone will turn us around and let us go back to where we came from.


[1] “How We Use Water.” United States Environmental Protection Agency. www.epa.gov/watersense/how-we-use-water

[2] “2021 Utah Wildfires.” Wikipedia. web.archive.org/web/20210707213022/https://en.wikipedia.org/wiki/2021_Utah_wildfires

[3] Helean, Jack. “Salt Lake City air quality ranks among worst on the planet.” Fox 13 (Aug. 6, 2021).

www.fox13now.com/news/local-news/right-now-salt-lake-city-has-the-worst-air-quality-on-the-planet

[4] Patel, Kasha. “What you need to know about how wildfires spread.” The Washington Post (July 28, 2021).

www.washingtonpost.com/weather/2021/07/28/wildfires-spread-faq-west-explained/

[5] “Will Your COVID-19 Mask Protect You from Wildfire Smoke?” Healthline. www.healthline.com/health-news/will-your-covid-19-mask-protect-you-from-wildfire-smoke#The-best-mask-to-keep-you-safe-from-everything


Alizabeth Worley is a writer and artist who lives near the shore of Utah Lake with her husband, Michael, and their two kids. She has hypermobile Ehlers-Danlos Syndrome, and Michael has Cerebral Palsy. Her work has appeared in Guernica, Iron Horse Literary Review, Tar River Poetry, Brevity Blog, and elsewhere. You can find her at alizabethworley.com.

Continuous Aspect

Julian Robles

Every month or so, late at night around two or three, J sends me stories about a character named V. V is J’s middle initial. V is like J. V has done most of the things J has done in his life, and has thought most of the thoughts J has. V is crueler than J. V likes hip-hop. J likes hip-hop. V tells lies. J tells lies.


I live in another city now, far away from J. This city sits across an ocean; it exists on a continent with rich and violent cultural histories, with sculptures and museums, and many languages are spoken here. Friends tell me I am lucky to live in this city, which, when they visit, they say is like New York—or like specific parts of New York that are considered hip. I don’t agree with the comparison, but I never say so.

In this city I ride my bike anywhere I want, which is often to parks and to art galleries, where I’ll pass entire afternoons. Other days I ride my bike to bars and clothing stores and museums, and to work, of course. On Tuesday evenings I ride my bike to language classes. I’ve become quite proficient in this new language, though I still struggle with the conjugation of certain verbs and with gaps in my vocabulary. The instructor suggests speaking to friends and watching movies or reading books. I do those things, but there’s something else that happens after language classes which I don’t imagine she has a solution for.

Some nights as I bike home I am overcome by a vast loneliness. I feel small, and physically I am small, but more than that I feel reduced, as though my body has slipped into a vanishing point within one of the countless paintings that hang in the museums I visit. I then remember how so many of those paintings were created by artists from this city (or from nearby cities and countries) who have, perhaps thousands of times, depicted the streets I bike on—or an idealized version of these streets. Their lasting achievement: a continent where horizon and linear perspective are laws of nature. And sometimes I wonder if those artists weren’t also anticipating the idealized version of every person who came after them; if, when I am riding home after language classes, I am experiencing what it’s like to inhabit a more perfect version of myself.


Since we live so far from one another, J’s stories reach my email inbox at around eight or nine my time, during my commute to work. These stories always play out the same way: V floats from event to event, a vagabond in a surrealist landscape whose geographies are shaped by the threat of violence. This violence permeates his dreams. It is an inheritance bestowed by the country his family is from. It brushes past his lips like a breeze. But violent things never happen—not to V, at least. V is a writer or wants to be a writer. V is a stranger and a voyeur. He lies and cheats and he hopes his art will absolve him. Literature flows all around him. In some of these stories he encounters—or has long broken up with—a woman like me. Her name is P. Sometimes her name is D, but usually it is P. At the end of every story V is alone.


Occasionally J’s stories are published. More and more they can be found in respected literary magazines, or selected in contests by well-known writers and editors. He sends me links to those stories, too. There is one sitting in my inbox now. It’s titled “Saving Lives,” and I know better than to believe that anyone will be saved in it. And I should know better than to read it.

Recently J has become fond of effaced and nameless narrators, though these narrators invariably resemble V. In this way J is similar to B, who wrote songs about me.


I met B on a friend’s rooftop in the city that I am from. He was interested in my taste in music. He said he was interested in my paintings, too, though he found their abstraction difficult to comprehend. Above all he complimented my taste in music. B was in a band. That was something easy to talk about.

B struggled with erectile dysfunction the summer we met. I never told anyone, only J. B didn’t actually have erectile dysfunction, not more than the usual amount, but I lied to J because he kept pestering me about B. It was clear he wanted to have something over him and I knew that would do it. What did happen that summer was that I watched B and his band perform in small bars. The music was fine, never anything more than that. I think the sex was fine, too, but I don’t remember it. After about two months I never remember it, except if something spectacular or terrifying happened.


B once said that if he could be gifted with a different type of musical talent he would choose to be a rapper; and then he said that if he could choose to practice any art form other than music he would be a painter. He said it’s hot watching painters move their bodies while they work. I told him not all paintings are as big as the ones I was working on at the time. Sometimes you sit in one place and only move your arm. He nodded and said, Your paintings are good. I would make paintings exactly like yours.

Then one day B stopped talking to me. No text messages. No phone calls. He wrote a song about why he’d changed his mind and posted it online.


When J writes about B, he changes his name to A or G, or to names beginning with the letter A. V has gotten into fistfights with A or G. V has imagined cuckoldish fantasies involving himself, A, and P (or D). V and G have had long, pointless debates about music and art at bars and at parties in their friends’ apartments. Sometimes a narrator with a voice like V’s describes the life of a character like B, and in these stories B is doomed to suffer humiliation and irony.


Last month I stopped seeing N, who detests irony. I learned this the first time we met. He had just taken a photograph of me.

I look at that photograph now, and as a record of the dialogue exchanged between us that day—between our voices and bodies—it is useless. I can barely remember what I told him about myself, or where we went to eat, or what I thought about him when I rode my bike home afterward. Instead I remember the banal. All the banal things I’ve never heard N or J or B talk about. I’m not embarrassed to say that I look at the woman in the photo, with her wavy brown hair, shoulder length and tucked behind her ears, and rather than pondering forms of light and shadow, all I remember is that I had gotten a haircut the day before. I remember that was the shortest my hair had ever been, and the night before I had gone to bed worrying that it would be too thick and poofy to fall the way I like. But the next day it looked great.

I admire thoughts like these, because there’s no fooling oneself into believing that they are unique. Imagine the most profound observation; or imagine an insight arrived at during a lively discussion on a first date in a sophisticated city: I think and think for hours each day, and occasionally notice that I’ve done exactly that—think. Now I’ll try claiming credit for what I’ve thought, when, as far as it concerns me, the thought may as well have been thought by anyone. And it is, by anyone but me.

Of course, I didn’t tell N any of that. He took a photo of me at the edge of a river, in this city where I live, and two weeks later he mailed me a print. If I told him the story of the haircut (which is too uneventful for someone like J to call a story), he would say, Oh, obviously I knew there was something new and uncertain about you then. That’s why I took the photo.

N loves uncertainty in people, especially when it is paired with sincerity. One day, out of the blue, he told me to stop him if I ever detected irony in his photos. I don’t know what he meant by that: stop him. I didn’t ask. I said, I’ll try my best.


In some of J’s stories, P is only implied. What this means is that over the course of the story, V’s interactions with P diminish, sometimes over the course of several years, to the point that she begins to resemble a ghost or an illusion. In this way it is my existence which is uncertain. Crucial to this effect is V’s memory of P’s voice, which he describes as sounding not like a voice, exactly, but like an old recording of a voice—a forgotten, heartbreaking sound.


N used to say that he wished he could capture my voice in his photographs (and he once gave me a print in which he claims to have come close). B wrote songs about a girl whose voice fades into a breeze.  


In this city where I live, if I seek the solitude, I can go whole weekends without hearing myself speak, sometimes longer. Then I attend language classes where my voice must bear a certain heaviness as it bends to produce new consonant clusters and diphthongs, where it strains under foreign declensions and rigid syntax. I cherish this labor. There is no literature in the sound it produces, only itself, striving.


There are other kinds of labor I cherish. My work at my office job, for example, which N and J know very little about. Then there are my paintings and drawings. I still paint when I find the time, but I consider the pieces to be modest and trivial, regardless of what L, the guy in the flat above me, believes. L is a filmmaker and a poet. The first time he saw my paintings I was out of town and had asked him to water my plants. When I got home he insisted I sell him one. And later, when we were seeing each other more frequently, I explained that I want my creations to be trivial. That’s the point, I said. I know they’re good—great, even, and I’m not concerned with anything more than that. These days I’m only interested in minor things. No, I don’t believe you, he said smiling. He shook his head and put his arm around my waist.


A line in a short story: Her voice reminded me of my girlfriend’s: small and faraway even with her lips right up to my ear.


During the months we were together I never read J’s writing—he hadn’t been published yet and he was too shy to share the drafts. He said he was writing about childhood. It’s bad, he said after I asked to see a story. I wasn’t sure if he meant the writing or the childhood.

But I do remember the first time he emailed and wrote, You’ll like this one. Now I read those words all the time: if J writes, You’ll like this one, then I know to expect a story about art—what J thinks art is. Although it’s never actually about the art. In the pages that follow V will become obsessed with a performance, an artist, a painting. He will exhaust himself, leave himself half-dead trying to grasp every contour of the experience of it. Of course, it becomes more sinister than that. Through V, J has tried articulating a confusing belief that the fabric underlying experiences of art is a silent dialogue shared between people (What about landscape paintings, P once asked. Even landscapes, V said); so through V, J will destroy every person he knows for even a glimpse at the fabric. Because V and J don’t know what is a picture and what is hope.

In his most recent email J writes, I’m not really sure about this story, is it clear this is meant as a critique? I’m trying something anti-art, anti-narrative, does the form convey that? I don’t know about the ending, can you please tell me? Please, I don’t know. I don’t know.


Obsessions. Each man comes with his own obsessions and with his list of recommendations. N brought me books on architecture after I told him I didn’t know much about the topic. He loves using the term public space. He loves the word more than the thing. B likes pop music from twenty years before we were born or music that imitates that style. We sat in his bedroom and he told me who was bad and who was great and who he wanted to sound like and who wasn’t appreciated enough. I still have a stack of zines L left on my kitchen table. He only respected independent publishers and Third Cinema. L taught me what Third Cinema is. J claimed to have read and reread all the Latin American writers—in English and Spanish. I was skeptical. I told him he didn’t need to impress me: That’s a lot of names, I said. I own a lot of books, he replied. But what most surprised me was his obsession with the writing of religious-minded women from rural towns in the Midwest. Later this fixation on piety would make sense. Naturally V shares in J’s obsessions, which include mirrors, sixteenth-century Flemish painters, and maps.


Last week I heard from N for the first time since ending things. He sent me a text message warning me to stay away from L on the grounds that L is a cut-rate artist. As proof he included a photo of a poem written by L and published in a magazine I’ve never heard of. In the poem the speaker briefly mentions a person named P. Sound familiar? N asked. I didn’t know they knew each other or that L was going to do that, but when I saw N’s message I could only laugh.

I replied to N with a picture of a photograph he—N—had taken of me on my balcony one morning. In the photograph I am wearing a big T-shirt, maybe N’s, maybe J’s from long ago. I’m not wearing anything underneath, but you wouldn’t know from looking at the photo. My legs stretch into the empty chair across the table from me. The trees that shade my balcony are in bloom, which means I would be on the lookout for bees. I’m terrified of bees for reasons that have never been clear to me—I’ve never been stung or anything. N wouldn’t have known that when he took the photo. J never knew either. The table is circular and coated with white metallic paint that has begun to chip. The legs of the table, which at their ends curl upwards like scrolls, are streaked with rust. Apparently it has recently rained: a puddle of copper-colored water has collected near the table’s legs in a small depression on the balcony. My own leg has a rust-colored scab above the knee. I can’t remember from what, maybe a minor bike accident on the commute to work. In the photo my face is turned away from the camera—watching for bees—concealing all but a triangular blur of cheekbone above my shoulder. My hand is raised to shade my eyes from the sun. My hair is still short. I like it short.


Another obsession of V’s: ballet. Ballet and amateur porn.


I still send J nude photos of myself. I send them to B and to N and L too. N messages back saying he wishes he could take the photos himself. He wants to help me get the angles. I wish so badly, he says. B responds by asking if I have time to call and talk about the way he ended things. L asks if it’s okay for him to send a nude back. L always asks permission for the smallest things—and only the small things. J will write about my nudes later, but it won’t be P or D who sent them, because he’s always made P into such a bore. It will be one of his other ex-girlfriends, like M or S or C or T. If you ever read about this, it won’t be my body.

Normally I take these photos while I bathe. I prop my phone along the ledge of the tub and then I pose with my head turned to the side, tilted slightly downwards; other times I look directly into the camera with a mischievous smile. I like to do things with my hands, too. Let one graze my breast or obscure half of my face. Feel the fingers skirt the edge of a nipple. My favorite is when I bend my head back and stare at the ceiling. While I’m gazing upwards, I swallow and feel the flesh in my neck strain against the rings of my trachea. It almost hurts. Then I slide my hand down from my shoulder to my chest and between my legs, and it feels so good that I never want to look down again.


Less than a week after N has sent the message warning me about him, L comes marching down the stairs. He has apparently learned of N’s attempts at amorous warfare. L knocks for five minutes and stands silently outside the apartment door for another ten. I hear the wood floor creak beneath his feet. You’re crazy, he shouts at last. He leaves and immediately comes back, this time playing a song from his phone. It must be a song he and I have talked about loving, but through the door the sound is so muffled that the song is unidentifiable. I know you’re in there, he says. Even his voice sounds different. I sit cross-legged on my couch and close my eyes, and in the stillness between breaths I almost forget where I am. He could be anyone. Is that another of your songs about me, B? I say. Who is that? L asks. Who is B? Another minute passes and he leaves.


So many lives to choose from, but he has reduced literature to two letters standing upright and solitary as tombstones. Is it an insufficiency of imagination, these initials and personas?

“Every man is the same man,” wrote an Argentine whose work J idolizes. “No one is anyone.” In that case, nothing of a need for V. Any letter but J is superfluous—and to write that one letter is already to cleave him, leaving us three: J, a text called J, and I.


Sometimes I imagine all the fragments of my body that are scattered around this city, and around the cities in my artists’ imaginations. At the outskirts of my neighborhood there is a narrow pedestrian bridge beneath which dozens of train tracks diverge and expand. I often walk my bike across the bridge on the commute to work, and some mornings I stop to admire how those simple, brittle lines recast this city into a broad, ancient plain of metal and wood. A playful illusion which some might call order or art, to be seen and unseen. I’ve thought about drawing it. And yet, I would never choose to give my body to this image—give as in the triangle of cheekbone that N’s photograph has smudged across my balcony, and which can never be unseen; or the photographed woman at the edge of the river whose hair now glistens beneath the currents. Give as in my voice, hushed and blue, whipped by the waves of some song’s distant ocean; as in my lips and shoulders abandoned in cities I’ve never visited, in stories J creates.


I wrote something that, strictly speaking, is not true. V is not like J. V is often described doing worse things than J has ever done, as though by convincing people that he and V are one, as though by seemingly confessing his worst impulses, J’s real-life sins will be preemptively forgiven. But maybe that is an unkind interpretation of his intentions. J is, for the most part, kind and thoughtful. He makes an effort to be as thoughtful as possible, and sometimes I wonder if V isn’t a cruel lash he turns against himself.

One night J called instead of writing—only once—and tearfully revealed that he couldn’t imagine sustaining the will to live another two years, another year, in a world in which he felt so disconnected from other people. Even V has never sounded so hopeless.


Or am I misremembering: was it V who said that, after all?


Almost a year after I moved to this city, J sent me a story that I couldn’t look at. I didn’t read his emails for weeks afterward. It was winter, when I take the train to work instead of my bike. After I read the story I got off at the next station and almost vomited on the platform.

The story appears to have six characters, but really there are only four. Here’s what happens: First we are introduced to V. V is a writer. V has written a story and sent it to a woman named P, though it is never revealed whether she actually receives it. V’s story is about two lovers: a man named J and a woman also named P (both of whom, it becomes clear, correspond to their real-world counterparts). So, for simplicity’s sake, let’s begin again: V sends a story to P. This story is about their past relationship. V has fond memories of P, but most of the time he remembers her as though she is a ghost. One day he has a fabulous, cruel idea: he writes a story about their relationship told from the point of view of an actual ghost. The ghost is named X—he didn’t even bother to change her name. X is my dead sister.

Now let’s start over one last time: J writes a story about the life he and I once shared and he sends the story to me. His story is narrated by my dead sister, X. In this story, X’s spirit has followed P—me—on and off for years. One day, X returns to find a different ghost floating near her sister. This other ghost is named U. U corresponds to U—he didn’t bother to change her name, either. U was a friend of J’s and mine whose ghost is now tethered to J for reasons the story only hints at. The ghosts U and X become friends, and that summer they join J and P as the lovers travel across countries with old cities and famous museums. Everywhere they go, J and P discuss art and have sex and talk about their love and their fears. X and U, our ghostly observers, listen to our conversations, commenting on the events of the trip and holding their own discussions alongside us. At one point, after I share a childhood memory of X, J almost tells me about a fight he and U had the night before she died. The details surrounding the cause of the fight are deliberately vague, but it doesn’t matter—in the end J loses his nerve and says nothing. The summer ends and, as planned, J and P break up. J returns to the city they are from and P stays to start a new job in the city I now live in. U is forced to leave with J. X remains with her sister, reflecting on the departure of U and pondering if the dead owe anything to the living. In the final scene, my sister looks on while I water plants on the balcony of my apartment.


L knew of lots of people who had died. In the country his parents fled from things are just like that, he said. He talked about this in his films and poems. In one video, he recorded his mom telling the story about the day his uncle was killed in a bombing. The recording was part of something bigger, he said. She was crying and shaking, pushing her fists into her eyes. I’d never been so mad in front of him. I asked, Why are you doing that? You’re making her kill him. You’re killing her brother all over again.


B didn’t know anyone who had died, not even a grandparent. He knew he should be thankful for that fact, but he believed the absence of the experience negatively impacted his art. He could spend hours detailing the biographies of his favorite rappers and the death that had hollowed out their lives. This one’s mom was shot right in front of him. That one’s best friend was murdered in a drug deal gone wrong. This other saw his dad overdose in the kitchen. Then there are all the rappers who had themselves died, always too young.


When I finally responded to J it was with a photo of me in the bathtub. In that photo—the first I ever sent—the detachable shower head dangles delicately from my left hand, and I stare directly into the camera. My lips are slightly parted, as if forming a letter or uttering a secret. A white blur of teeth is just visible through the space between them. In the background is a bottle of shampoo and a washcloth. My hair was still long then, and it is piled atop my head in a messy bun from which long curls have come undone. I’m flushed from my chest up to my neck. And my heart, which is not visible, is racing faster than ever before. I could feel the blood pulsing into my fingertips; my skin burned at the back of my throat.

The next week I sent another photo. The next month J sent a short story.


I finally got around to reading the most recent email. Its contents were nothing new—typical V: menacing voyeur, mirrors, art, death. It wasn’t until I reached the end of the story, and a wave of relief passed over me, that I realized how excited and afraid I’d been to read it. Maybe that makes me sound vain or as though I’m more messed up than other people, as though I lack self-respect or I’m not angry enough about what he did to my sister. And if I said that sometimes the idea of hearing her speak, even in a voice that belongs to J, is too tempting to ignore—maybe that would make me sound like P. Some nights, when I bike home from language class, I pretend that I really am P:  

I imagine how if I existed in a story written by J, or even a story written by some of the famous women that J admires, then this would be a disappearing city, and I a disappearing woman. I imagine a place where ghosts loom over me and make beautiful observations about the horizon, and these ghosts aren’t my sister, but rather my own voice receding across an impassable chasm in time. From above I appear fuzzy and vague, nameless, not as an act of refusal but as a result of inescapable technocratic erasure and a psyche unmoored from reality. I look exactly like the photo N has taken of me by the river. I mean, I look like the imitation of a photo—I mean, a stray strand of hair curves around my chin in perfect imitation of the lines of the current. And my eyes are made of water. In the story this photo tells, which is the story J writes, my work is rote and mindless. I ride my bike everywhere, which is often to museums and art galleries, where I’ll pass entire afternoons. Here I develop kinships with obscure, minor artists, the ones no one ever cared for—as forgotten and disappeared as me. In this city my life has no beginning or end, except in language.

And on nights that I pedal home from language class, I’ll keep imagining that dream city until it dissolves into laughter. I’ll laugh breathlessly at J’s faith in it, and my occasional faith in it, as its image becomes replaced by a city exactly like this one: where some days I ride buses instead of bikes; and I miss the train and arrive to work late and become frustrated with my absentmindedness. Where I begin to doubt if I can survive this loneliness, so far from home, and then I need to speak to people from my past, even the ones that make the loneliness worse. In this city, I spill coffee on my white shirts and get haircuts every six weeks, and when I chop vegetables in the kitchen I think about art far less often than I do about buying new socks and shampoo. The only language on my mind is this new one, when I listen to children in the park playing and shouting in a grammar that lacks the continuous aspect.

I’ve thought of emailing J back and telling him how wrong he got it—but, no, even the banal can’t remain a refuge. He’d want to write about it. Because V has never let the banal be.


A month ago I saw L for the last time. No screaming or music, that was my one condition. After we slept together, I told him to leave all his zines on the table and asked him to keep sharing his poems with me despite the way things had to end. He thanked me tearfully, he used the word “grateful.”

Some nights before bed I hear him through the ceiling, pacing around his flat. It never bothers me; I’m a heavy sleeper. The next morning I can expect a terrible poem about a girl named P (or D) slipped under my door. I send these poems to J and tell him how much I admire L’s writing. I’m still waiting for a response.


Julian Robles is a Mexican (-American) writer. He lives in Estado de México.

a good man, a sorry man, a bad man

by Ashton Politanoff

My wife was still at work. My son didn’t want to go to the park, but I needed to get outside. He had a fever, so I gave him a glass full of ice cubes and told him to suck on them during the drive. His school wouldn’t take him back until the fever was gone. I drove in a direction until we found a park. The park was one we hadn’t been to. The grass around the playground was tall, uncut, and I followed him down the concrete path. The sky was orange, with only a few clouds as the sun set in the distance. A girl was on the swings. She was self-sufficient, tucking her legs behind her and straightening them forward, building momentum. My son was not self-sufficient. He still needed me to push him. The swing the girl was on was silent on the way up, but it sounded like a bird’s chirp on the way down. It was rusty. The girl was alone. My son climbed some steps leading to a red slide, and I took a seat on a wooden bench with chipped green paint. Directly across from me, behind the playground, were two tennis courts. They looked slick and worn from use, and the nets sagged down the middle. On one side of the nearest court was a young man, a towhead, my guess would be eighteen, and on the other side was an older man, presumably his father. The young man took his racket back for a forehand with a quick shoulder turn, all the time in the world, his feet making tiny little squeaks as he moved. He sent the yellow ball in a clean arc deep to the other side of the court. The father with the sport sunglasses was competent. The rally continued. The constant percussion of the ball being struck with trained perfection by the young man sent a vibration through me. I could feel it inside of me. I found myself walking toward the fence, the sound of the ball, the flick of the wrist, feet stepping forward like daggers, then tumbling back like leaves, the ball hailing and then collapsing missile-like onto the hard court. Then, I heard a cry behind me. It was my son.


I put a Band-Aid on his knee in the bathroom and then turned on the TV. In the kitchen, I peeled the skin of a pear with a potato peeler. Then, I sliced it with a large knife.

I want a peach, he said when I handed him the small rectangular Tupperware holding the fruit.

We don’t have any peaches in this house, I said, walking away.

Where are you going, Dad?

In the garage.

Why?

I’m looking for something.

But I’m scared, he said to me.

Be brave, I said. I held out his blue eiderdown, the one he would disappear under.

In the garage, there wasn’t a kept car. There was a dining table with broken legs, toys my son had outgrown, electronics that no longer worked. I found my old Slazenger somewhere in the back. The overgrip was denim blue, faded and feathered. It felt soft and innocent in my hands. I heard my son calling me. I squeezed it hard. I started swinging, cutting the still air in the garage—whoosh! Forehand, backhand, forehand, backhand. My son. I kept swinging.


When I was ten, I had trouble sleeping the night before a tournament. When I closed my eyes, I saw it. It had girth to it, and my nose would be right up against its shiny underside. I could see the scales. It was taller than me, hovering above me, standing upright, and I would watch something swallowed, something oversized, sink its way down its belly. One time I saw a hand, another time a head—the mold of a face frozen in a silent scream—being consumed, making its descent in the body of this thing.

I didn’t want to close my eyes.

I haven’t seen the snake for a while.


This way, I said, guiding with a flat hand. I could feel his bony shoulder blade under his T-shirt. I put on his backpack for him at the gate of the school. Have a great day.

My son is blond, blue-eyed, fair skinned. I have brown hair, light brown eyes, and I could be described as swarthy. My wife, she is blonde and green-eyed, and although she tans easily, she looks Irish. Sometimes people ask me if my son is my son when I’m with him alone. When I tell them yes, they ask me again as if I’ve misunderstood the question. Don’t they see his chin? my wife says to me. He has your chin, she tells me.

I got back in the car. I had an appointment.


At the entrance of the club, the fountain spat limply. Inside, behind the front desk sat a young woman with a waterfall of shiny black hair. She was wearing a forest-green crewneck sweatshirt with Wind & Sea Tennis Club printed on it.

Good morning, she said. How can I help you?

There were columns on either side of the desk, and a large bowl of flowers behind her. The flowers were stiff, fake. As soon as the name Ken left my lips, a man appeared from behind one of the columns as if he was waiting for me. He was tall and thin and red from the sun and he had thinning brown hair. I noticed the white door of the side office next to the front desk. The door blended in with the wall, and even the knob was painted white, a detail I found tacky. They were trying to hide this office. He shook my hand firmly, and had I had the opportunity, I would have washed it due to the sweat of his grip. He had his other arm in a sling. I asked him what happened. Elbow surgery, he said. Had he had a black eye, I would have been suspicious of this answer.


Ken led the way. We weaved around the twenty-two courts and the groomed grounds. There was a gym, a lap pool, a kiddie pool. There was a bar and lounge, locker rooms with sauna and steam. There was the pro shop where rackets were strung. There was a balcony with seating that overlooked the club, a gazebo for weddings. In fact, not much had changed.

When’s the last time you played tennis? he asked by the jacuzzi. The water had a green hue to it.

Fourteen years, I said.


Back in his office, Ken took a bite of his Long John donut, wrote some numbers on a legal pad, and then ripped out the sheet. The yellow custard inside the Long John oozed out onto a white napkin. I folded the piece of paper into my pocket and told him I’d let him know.

On the way out, I had to use the bathroom, and the urinals were wall-installed at a rather high height, as if made for giants. They made me feel like a small man.


For a time, the club was under a shroud. There were some incidences of disappearances, and the first involved a love triangle. A former tennis star, Larry Schiffer, was married to a Mrs. Schiffer. They were separated, but they both played tennis at the club. Larry more often than not could be found upstairs at the bar while his wife played tennis with their family doctor, a bachelor. Mrs. Schiffer wanted a divorce, but Larry did not. He did not want a legal separation—only that they eventually live apart. One night, after playing in a mixer together, Mrs. Schiffer and the good doctor went to his medical office to x-ray her ankle—she had given it an accidental twist on the court just prior. After careful examination, he wrapped it for her in a support wrap—the ankle was fine—and they proceeded to the gated community he lived in and played more tennis under the lights, followed by cocktails at the pool. She didn’t leave his place until 1 a.m. The next day, the good doctor didn’t hear from her and he grew concerned, so he drove to her home, the one she still shared with Larry. When he arrived, her car was parked in the driveway. Inside the house she was found painting her toenails near the freestanding tub. That’s why she couldn’t hear the phone. She had been in there for a while. Where’s Larry? There was no sign of Larry. A week later, Larry’s car was found abandoned at the edge of a hiking trail, and a murder inquiry was opened. A shallow grave was found at the Schiffer home only to reveal the bones of a dead dog. There was no further evidence and the case remains unsolved.


The second incident involved a set of twins and the club stringer. The stringer was obsessed with natural gut. One day, the twins had observed the negligent disposal of chemical waste when the club was under different management. There were drums of toxic chemicals being poured out into the gutter of the parking lot. The twins weren’t the only ones to make this discovery. The club stringer also discovered these drums before maintenance had disposed of all of them. A few members had disappeared—a teacher, a minister who liked to swim early in the mornings, and the owner of several local knitting mills. The chemicals were lethal, and this stringer smuggled a couple drums and used them for the concealment of murder. He lured the victims to his home. He was convinced that natural gut coming from a human rather than an animal would have optimal performance as a string bed in a racket. It is said that he strung one of Ivan Lendl’s rackets, the one he won Wimbledon with, with this very set of strings. The stringer disposed of the body parts he didn’t need in these lethal chemical tubs, and he was eventually discovered as a murderer. The club naturally tried to cover their tracks and the twins only caught them in the act. Nothing happened to the twins.


When I picked up my son from the after-school program, the light was dying in the west with a sheet of dark clouds encroaching from the east. The field and playground looked doomed in the strange glow. It looked like the end of something. My son’s fingernails were long and caked underneath with dirt. They needed cleaning. They needed cutting. I strapped him into his seat and put the car in reverse.

I really want a toy, Dad, he said.

Dad, he said.

What.

Can we get a toy from Target?

No.

You promised.

I didn’t answer. A few heavy drops of rain splattered against the windshield, thudded against the roof. My son, he began to cry.


There was a parking structure underneath the Target, but I parked outside.

I’m getting wet, Dad, he said outside the car. I made a roof over his forehead with my hand.

Inside, my son led the way. The floors looked like a hospital’s. I followed him to the toy section, and we started in the Lego aisle. He pointed at some things.

Too expensive, I said.

Next was the action figure aisle and then the puzzle and board game aisle. He didn’t point at anything this time. We returned to the Legos. I told him the budget was twenty dollars.

Dad, this Target doesn’t have anything I like. Can we go to another Target?

The other Target is closed.

No it isn’t.

Yes it is, I said.

You’re lying.

They’re remodeling.

I want to go to another Target!

No.

My son, he sat on the ground. He began to whimper, and a store employee, a woman in a Target team shirt appeared.

Can I help you? Is everything okay?

Yes, we’re fine, I said. Thank you—but the woman, she remained. She took a few lingering steps, looking at me, looking at my son, looking at me again.

I’ll pretend you’re not my father again, my son whispered.

Don’t you dare.

Then get me that! he said pointing at a Lego box, a shipwreck and island set that cost $79.99.

I shook my head.

I want my mom and dad!

Stop it right now.

I glanced down the aisle and the woman was still there. I had no choice but to pick him up.

Put me down! You’re not my real dad! I draped him over my shoulder and headed for the exit. The employee, she was on her walkie-talkie. She said something I couldn’t make out as she trailed behind, and there were lines of people in the front with baskets and carts, waiting to check out. The sky was black outside. My son was screaming.

It wasn’t until I made a right onto Artesia that I noticed the cop car behind me. I told my son to calm down. I told him the police were here.

You’re going to jail! he said. The squad car strobed its lights, let out its little tune, and I did as I was commanded. 

The rain was coming down now, and I turned off the windshield wiper. The windshield bled red from the stoplight, from the massage parlor neon, and I lowered my window where I met the eye of a flashlight.

Driver’s license and registration please.

I reached into the glove box and handed over the documents, including a copy of my son’s passport.

I assume you think this is an attempted kidnapping? The officer didn’t respond.

This has happened before, I added. It’s his way of bribing me to get what he wants. My wife and I are working on it.

The officer was blond and blue-eyed. He could have been the father.

I don’t want my dad to go to jail.

The officer studied my license, then me, then my son. A big truck rushed past, and I could feel its draft.


When we got home, all the lights were off, the house empty. From the freezer I removed a package of mac ’n’ cheese. I punctured the plastic cover several times with the tip of a small knife before zapping the whole thing in the microwave.



Ashton Politanoff is the author of You’ll Like it Here, published by Dalkey Archive. He is a frequent contributor to NOON.

To Write or Not to Write

Gunnhild Øyehaug

Translation by Kari Dickson

First published in Draumeskrivar (Kolon forlag, 2016)

Victoria can’t decide if she should write or not write to him. His name is Njål, and she met him at an interiors trade show. She was exhibiting furniture, he was a sound technician. They only spoke briefly to each other a couple of times, over the yellow sofa that attracted so many people who couldn’t decide if they were daring enough to make the statement that having a yellow sofa would be, to have it standing there screaming yellow, yellow, yellow in the living room, but both felt something happen, both times. Something happened inside their eyes. If love at first sight exists, this was it, she thinks. She wasn’t able to talk to him on the last evening, at the last party, she said she had to go home, and he said: I’d hoped you’d stay, and she said: Me too, but I can’t. And that was the last time she spoke to him, and now here she is, sitting staring at the email she’s received, which has all the email addresses of all the exhibitors and all the technicians and all the manufacturers in the email field, and she’s found his email address, and she’s found the tunnel out of her present existence, where she’s married and sells furniture and lives in a house, the tunnel she didn’t know she was looking for, she thought she was happy, she thought life was simple and good, that the problem of convincing people to buy a yellow sofa was the biggest problem she had, but now she sees the light at the other end of the tunnel, and it’s Njål. In Vicky Cristina Barcelona, the Don Juan, Juan Antonio (in the form of Javier Bardem), says of his love for the wild and impossible Maria Elena: “We are meant for each other and not meant for each other. It’s a contradiction. I mean, in order to understand it, you need a poet like my father….”, and that’s how we might understand this sudden tunnel in Victoria’s life, she hasn’t asked for any of it, she’s married to Ottar, he’s a good man, he’s planted a plum tree in the garden, her favourite plums from her childhood so she’ll be reminded of home, so she can smell the plums in autumn and always remember home; she gets up from the computer and goes into the bedroom where her children are asleep, in bunk beds, their bare feet sticking out from under the duvet, she will forever be in this restless state, this state will never leave her, it is who she is, she feels, as she stands there looking at the children, who are hers. She runs back to the computer, she must write, dear Njål, she writes,

I don’t actually know why
I’m writing this to you
and certainly not
why I’m doing it
in the form of a poem
but there was something
about you that made me think
that if I ever were
to write to you
it would be in the form of
a poem,
so there you are.
This is the poem
I thought I would write
if I ever were to write
to you.

She deletes the email. The Dickinson quote is too obvious. She hasn’t written poetry for years now. She suddenly started to question the line breaks, and that was it. No more poems. Two hours have passed. It’s midnight. A deer walks by on the road below, she sees the lonely deer walk down the hill under the streetlights, the clatter of deer hooves on asphalt, its horns turning to the left as its head turns to the left to see a car coming up the hill, it’s her husband, she recognises the car. She hastily writes in prose this time:

Dear Njål,
I have managed not to write to you for six days now, but suddenly my ability not to write has shrunk to zero, frustrating. A deer is walking by my window on the road, as though he were going into town, and my husband is driving up the same road, so I’ll stop writing to you now, after all.

She deletes the email. Downstairs, the front door opens. She writes, furiously fast, as though her language will be lost forever if she doesn’t write something right now:

But dear N,
oh, dearest, dearest N,
how is it possible to meet someone, fall in love, and then never meet again, like a flame tears open the immense darkness for a second only then to let the dark become darker, as dark as all eternity?

She deletes the email, walks down the stairs, feels her nightdress brushing her legs, a cold draft running up the stairs, a blast from the night outside. She hears the car keys being dropped on the chest of drawers, Ottar taking off his shoes, he goes into the kitchen and pours himself a glass of water. She reaches the bottom of the stairs and it’s not Ottar who’s standing there, but Njål, he gulps down the final mouthful of water. He looks at her and smiles, have you not gone to bed yet, no, she says, and tries to hide her surprise, tries to pretend that everything is normal, tries to pretend that this is her life, and that Njål is her husband, not Ottar, no, she says, I wanted to wait, she says and feels a rising panic, where is her husband, where is Ottar, where is her life, for you.


Gunnhild Øyehaug was born in 1975 in Norway, and is an award-winning essayist and fiction writer. She teaches at the Academy of Creative Writing in Vestland, and has an MA in comparative literature from the University of Bergen. Her story collection Knots was published by FSG in 2017 in Kari Dickson’s English translation, followed in 2018 by the novel Wait, Blink, which was adapted into the acclaimed film Women in Oversized Men’s Shirts. In 2022, FSG published her novel Present Tense Machine and in 2023 the story collection Evil Flowers.