30 March 2009

where does this mean world cast his cold eye, who's left to suffer long about you?

The following is the first part of a seven-part short story/novella I'm working on. It's not finished just yet, but now that it's no longer tied up in submissions for grad school, it's safe enough to post.


I. All Things Are Full of Weariness

I sat in a diner with my uncle once when I was a kid. I want to say I was 8, but I always say I’m 8 in these things. I’m really not sure. I just know my feet weren’t touching the floor, and my uncle said I wasn’t old enough to have any coffee. So there’s that. Anyway, I sat in this diner, and my uncle was talking to a sponsor from a twelve step program he had joined, or was about to join. And he said he didn’t know about the whole sharing thing, telling other people about his life. He hemmed and hawed, and the one thing I remember being said exactly was, when my uncle told his sponsor he didn’t know where to begin, what the sponsor said. What he said was,

“Begin at the beginning.”

And that was interesting to me then, and it’s interesting to me now. Then because I thought it sounded cool, and I didn’t get what it meant. And now because I’ve thought about it, and I don’t think there is a beginning to much of anything. Not that we can be sure about, anyway. I mean, example. In the story of how a bunch of people got blown up by a rocket in Uzbekistan, there’s a guy pushing a button. And when he pushes the button, the rocket launches, and it goes to Uzbekistan, and it hits and it blows the people up.

The problem with that beginning is, it doesn’t tell us how the guy got there, or how the button got there. Or which one we should be following back. Or how far. Anyway, I’m saying all of this because I want to talk about how I was tired, and how I got un-tired. But I’m not sure exactly how I got that way, or how, when, or even if I stopped being that way. So I’m starting where I was first sure of it.

And that’s all.

Some weeks ago, I woke up in a car lot in a car that isn’t mine to the sound of protesters. It was a surreal wakeup to be sure, but not an entirely unpleasant one. The sun was rising behind the crowd and their signs and it looked an anti-Frankenstein mob. Then someone knocked on the window and yelled at me. I opened the door; it was Bob, one of the sales managers at the dealership whose grounds I was currently trespassing on.

“Mars, what the hell are you doing in there? This is a protest.”

“Fur is murder?”

“Get out of the car.”

I obliged, but Bob didn’t stop glaring. “What the hell do you think you’re doing, sleeping in the cars? This is not the reason you have keys.

“What are they protesting?”

We’re protesting the employee discounts for regular customers. They keep—“

“Wait, you’re protesting too?”

“It was bad enough that they tried it once two years ago. But doing it every year, and continuing to extend it? It’s getting ridiculous. And corporate hasn’t done anything to extend our benefits. So where are the perks to working for GM?”

“Apart from, y’know, your salaries.” At about the ‘ya,’ I realized how stupid this was.

“Listen, you condescending little prick. You and that car wash company your slacker friends started are on thin ice as it is with the dealers’ association. Close the car door, give me the key, and go the fuck home, and I’ll think about not telling Max about this.”

Though his standing in the owner’s good graces seemed at jeopardy from the protest, I didn’t push the issue. I needed some more sleep and breakfast anyway. I took Bob’s advice and went home.

By “car wash company,” Bob meant the business my friends Cal and Jamie and I started. We detail the cars for the dealerships in the area. Cal and I came up with it about three and a half years ago, and ever since we’ve been building clientele; the dealers realized we were cheaper because we were freelancers, and not on the payroll. Also as it’s our sole focus, we do a better job than the guys they had working on it before (usually mechanic trainees).

We brought Jamie in, bought our equipment from the GM dealership I was just sleeping at, and went with it. As of today we have five of the seven car dealerships in Little Halifax. Whenever they buy a used car, or get ready to sell a test driver, we do the detail work. They prefer us to do it at night, or during lunch hours. Hence my access to keys.

***

A short bike ride later and I was home. It was Jamie’s shift, so she had the van today. We’ve only got the one vehicle and set of equipment (wet-dry vac, pressure washer, carpet shampooer, et cetera) between the three of us, so we just rotate shifts by days. Cal, Jamie, then me. We used to rotate it by jobs—admittedly more fair—but it was impossible to plan our lives around that.

I figured Cal would be asleep, so I snuck up the preposterously creaky front steps like I was breaking into my own house. I slid the key in and slowly turned it. Then I braced myself for the inevitable door squeak, and pushed it open. To my surprise, Cal was not only conscious, but there to greet me. He was still wearing his extra-long Jets t-shirt he likes to lounge around in. I didn’t see any boxers poking out below, which led me to suspect that he was bare-assed under there. I think he noticed my disgust, because he instantly tried to grab my attention.

“There is a legend,” he said, taking a step closer to me, now only a few feet away. “It’s about how humans became people.”

“Weren’t they always?” I asked, sidestepping him into the living room.

“No! They weren’t.” He followed, maintaining eye contact. “They used to just be humans. Not people. And they were alone.” He grabbed my shoulders. “Listen. This is very important.” It was clear I wasn’t getting out of this easily. I decided to hear him out.

“Okay, Cal. Finish your story.”

“It’s a legend.”

“My apologies. Finish the legend.”

“Okay Mars. So when humans were first around, they were alone. There were only a few of them, and they each lived on a mountaintop all by themselves. And someone gave each of them a secret to keep that none of the other humans knew. And they told the humans that as long as they kept their secret, they would never die.

“One day, none of them could bear it anymore. They knew there had to be other humans out there. So they all left their mountains, and they met in the middle of the world. They told each other their secrets, and became people. And they died.”

Over the course of his story, I’d managed to inch around him to the couch. I was looking around for something he might be on. “Okay Cal. Jamie gets pissed enough about you smoking pot here. You’d better not have tried acid this time—“ And then I saw it, a few dried up slices on the coffee table: peyote.

“Holy shit dude! Peyote? What the fuck were you thinking?”

“Calm down, Mars! I just had a few buttons. It’ll wear off in like twelve hours or so.”

“Your parents are coming later, Cal. And who knows when Jamie’ll be back. If they come back here and catch you stoned out of your mind, you’re fucked. You’re not even on the lease.”

“Oh shit. I totally forgot about Mom and Dad coming. Dude, you have to help me get straight. Run a tub of cold water! I’m gonna make some tea and get some pants on.” He ran into the kitchen. I went into the bathroom, plugged up the tub and turned the knob all the way to cold. I remember hoping desperately that this would work; aside from its appearance I knew very little about peyote.

It had come up once in a conversation with a few people from my intro to philosophy class; someone threw the “boulder so big God can’t lift it” argument out there; someone else argued that science requires faith. Just when the group was about to die of existential boredom, someone said the following: “If you ever really want to meet God, head out southwest. Hit up an Indian rez down there and find yourself some peyote. Go out into the desert, pop a few buttons in your mouth, and have a seat. God will be with you shortly.”

Back to the bath, this was typical. The thing about us—Cal, Jamie and I—is that our lives are very predictable. We rotate shifts at work. We come home at night. We watch the History Channel. You know that little H in the bottom-right corner of the screen? It is burned into our giant tube TV. We love those damned documentaries, but I swear every one of them is the same: either exposing the bullshit behind the Da Vinci Code, or demystifying the third crusade.

And, just as predictably, about once a month, Cal smokes pot in the house, despite Jamie’s repeated freakouts about it. Lately I’ve been coming home before she catches him, just in time to help him get rid of the smell and clean up the ash and papers. Our world is stuck on repeat.

Cal came into the bathroom. “Okay, you gotta put my head under. I’m too chicken.”

“What? Dude, just stick your head under there.”

“No. Can’t. You have to force me under.”

“Fine.” He knelt down next to the tub, and I grabbed his head with both hands. “Is this even going to work?”

“It has to!”

I narrowed my eyes at him.

“Probably not.”

I forced him under. As I held my roommate’s head beneath the surface of the 65-degree water, I realized what really bothered me wasn’t Cal’s immaturity or Jamie’s high-strungedness. It was our cycle—the reruns. I let Cal up.

***

To my surprise, a few hours later he was coming around. “I’m really sorry you had to baby me like that. I was going to handle it myself. It was going to be cool. I just forgot about my parents.”

“I know, Cal. It’s fine.” And it was. I’d had some of the tea, and he makes good tea. “Still seeing creation myths in your brain?”

“No. They’re gone now.”

There was a knock at the door a few minutes later. “That’s them,” Cal said. “I’ll see you later, all right? Thanks again.”

“Sure. Just try and—“

“I know, man. I’m sorry. It won’t happen again.”

He was about to turn the doorknob, but I had to know.

“Just one thing, before you go.”

“Yeah?”

“The first people. Or humans, or whatever. Who gave them the secrets, Cal?”

He shook his head. “I don’t know.”

***

Cal and his parents went out to shop and grab dinner. They invited me along, but I didn’t go. I never know how to deal with complete sets of parents. I only had the one. My father left when I was three. My only memory of him is a VHS recording. In it, he’s giving a tour of a house. Mom said it was the first house I ever lived in, but I don’t remember it either.

I’ve watched it so many times. My father’s movements are stilted and awkward, as if he were being held at gunpoint. You never get a good look at his face, just a brief profile here or there. He has his back turned most of the time, because he’s gesturing around the rooms at things: the refrigerator; the bed; the night stand. Mom said he was camera shy.

***

Jamie got home around 7. The door was unlocked, so she just came right in. I was on the couch watching something about the French and Indian War. She tossed something on the kitchen table, and took off her jacket. “Hey,” she said.

“Hey. How was work?” My brain was on auto-pilot.

“Eh. All right. Not as much to do today. GM’s sales staff’s on strike.”

“Really.”

“Yeah. Something about a problem with their employee discounts.”

I didn’t respond; auto-pilot can only handle so many topics.

“Mars?”

“Yeah?”

“What did I just say?”

“’Céloron's expedition was a turning point in the war.’”

“No, that’s what Richard Attenborough just said.”

“Oh. Shit. I’m sorry, Jamie. You know these shows suck my brains out.”

“I know.” She plopped down next to me. “Cal out with his parents?”

“Yeah, you just missed them. They said to say ‘Hi.’”

“So about the GM strike. I talked to Bob and Sandi. Bob said you’d been there this morning. That you’d been sleeping in an Astra?”

“Yeah. I went there last night to be alone and think or whatever. I fell asleep in the car. Bob woke me up.”

“You really need to cut that out. We can’t afford to piss off any more of the dealers. Cal’s been bad enough to contend with. I can’t clean up after you, too.”

“You know, a better friend than you would’ve asked why I wanted to be alone and think.”

“You wouldn’t tell me anyway. And you’re deflecting. This is serious shit, Mars.”

“Look, I’m not going to turn into Cal. I’m fine. It won’t happen again. All right?”

“All right. I just…You know, this stuff is important.”

“Yeah.”

“So what’s on? Revolutionary War?”

“French and Indian.”

“Mm. Any good?”

“Eh. Same old, same old. New style of warfare. No more gentlemanly crap. Yada, yada, yada.”

“So I recorded a few new shows this week. Want to watch some animals-and-earth crap?”

“Sure.”

Remember the pigeon that got hit by a baseball? I love that pigeon. I remember the week it was on the news. I watched that pitch over and over. I saw it, and I thought: “That’s something that has probably never happened before, or will ever happen again, ever.” And I couldn’t help myself.

Because for every exploding pigeon out there, you get ten thousand goth kids, a million anti-Republican bumper stickers and fantasy freaks, and god knows how many horror movie sequels. The universe has jumped the shark.

The show began somewhere in the California redwood forests. There was brown and green and a man talking about trees older than Christ. I find comfort in ancient things. Sometimes I go to the library and look for the oldest book. I once found an English literary journal older than the U.S. I read a couple of the stories. I couldn’t tell you the name or author of either of them, but those yellowed linen pages haunt me.

Eventually the scenery changed to the African savannahs. I fell asleep about halfway through the segment. Something about a flock of a zillion locusts is just too calming to stay awake and watch. Then I had my first intrusion.

It was in color, which was strange. Skin was not skin-colored and sky was not sky-colored, but colored they were, and I never dream in color. There was this figure standing on a hill. The hill was moving. Like a wave or something. But it was dirt and grass and made of green, and not at all like water. And I knew: ‘you are sleeping, Mars Jackson. You are sleeping, but this is not a dream.’

I approached the hill, but it was hard to walk on the wave-ground. It was like a cross between a waterbed and a moonwalk. I closed in on the hill and the figure, inch by frustrating inch. Eventually I made it to the foot of the hill. A hard wave hit, and I fell. I looked up.

It was a dog, a black lab I’d gotten in fifth grade. He died just before I graduated high school. Liver cancer. It’s been five years, and I’m still broken up about it. For a moment, I just sat there holding back tears. Dogs aren’t like humans; you don’t have these mixed, complex memories of them. You just miss them.

Then he spoke. At first I couldn’t make out anything he was saying, but I recognized the voice from somewhere. I was struck by a crushing fear of nothing in particular, and soon it became clear: it was my father’s voice. I felt an overwhelming need to be obedient, but not to him. I could not speak; I listened instead. Here is what he said, as far as I can remember it:

“Mars. You’re probably wondering why I am speaking to you now, and in this way. I can’t promise it will ever be entirely clear, but it’s important that you listen to what I’m telling you. I know you think everything has already happened, that the sun always rose in the east and nothing is strange anymore. I know you are tired, but it’s time to get to work. This is the plainsong of the twenty-first century, boy, and you are here to crack the cocoon, and bring a new story into the world at last.”

kester taylor

07 March 2009

I saw this wino eating grapes. I was like dude, you have to wait.

Review what I wrote for Scott Pilgrim, vol. 5: here.

29 January 2009

and now I need some help from the maestro please

poem from high school I hate a lot less than my other stuff from that period. it's called Vanity.

It comes off easily
with bar in hand,
the dirt of a long day’s work.
My slate is clean,
these efforts gone
up, and out.

What good is being vain
with all my glory down the drain?

kester taylor

05 October 2008

il y a tout ce que vous voulez aux Champs-Elysées.

aaaand a script.

Title: Sheet.
Writer: Kester Taylor.

PAGE ONE (Six panels. Break down into four horizontal parts, then make the second and fourth panel into two each).

Panel 1. A city bus; basically like a Greyhound, only it says something like MTA. Specific city is unimportant. We’re zoomed in enough that we can’t see the driver, but can see a few passengers. In roughly the middle of the bus, through one of the windows we see CARRIE. She’s a very attractive, young brunette. I was thinking something along the lines of Norah Jones? She’s wearing a hoodie, and there’s a messenger bag in the seat next to her. Through a farther back window, we can see a young blonde girl with long hair and bangs. She’s on the other side of the bus, so we don’t see her as clearly. Near the front, there’s a young, thin, dark haired white guy in a suit.

Panel 2. Same angle (outside the bus, through the window), but way zoomed in on Carrie.

CAPTION: I hate night buses.

Panel 3. View from the front of the bus; the guy in the suit is foreground, slightly dozing off, out of focus; behind him and to the left is Carrie, looking forward, and farther back to the right is blonde bangs girl, looking down at a magazine.

CAPTION: You can’t call anyone; all your friends are asleep. And don’t even think of the other passengers.

Panel 4. Same POV. Blonde bangs girl is turning a page.

Panel 5. We’re back outside the bus, looking in at all of them. Suit is tossing in his sleep, turning away from us.

CAPTION: You ride with them over and over, but you never really meet them.

Panel 6. Zoom in on Carrie. She’s turned her head to look straight out the window, almost right at us.

[CAPTION: There’s no connection.]

PAGE TWO (Four panels; one “splash,” and three at the bottom, taking up roughly a third of the page together).

Panel 1. A small child with a “ghost” costume, a sheet with eyeholes, dominates the panel. She’s holding out her arms as if to say “boo!” In an attempt to scare someone.

CAPTION: Until I was about six, every year on Halloween I’d dress up as a ghost.

CAPTION: Every year I’d come out of my room in my ‘costume,’ and I’d yell “Boo!”

CAPTION: My mother, opening the candy bags at the kitchen table, would always act surprised. Every time.
Panel 2. Little Carrie left, removing her costume. Her mother an early 30s tall brunette, right, seated, turned toward Carrie, feigning surprise.

CAPTION: Then I’d take off my sheet.

Panel 3. Same angle, but the sheet’s on the floor where Carrie was, and the girl and her mother have met in the middle. Carrie is running towards her mother, arms akimbo, and her mother is bending down, as if she’s about to pick her up. They’re both smiling.

CAPTION: “It’s just me!” I’d say.

Panel 4. We’re back on the bus, looking from the front down the aisle at Carrie, who’s looking ahead again, though not at us.

CAPTION: “It’s just me.”

PAGE THREE (Five panels. Basically, do a six-panel grid, and then have the top two be one large panel instead).

Panel 1. Showing the outside view of the bus again; left is the back, right is the front. Blonde bangs girl is walking left to right, just past Carrie.

CAPTION: She was always so happy to see me.

Panel 2. Aisle view from the back of the bus, behind blonde bangs girl, who’s still walking toward the front. There’s a scrolling LED display up at the top, at the front of the bus. It reads “Shamrock Ave. & 55th street.”

CAPTION: Like she’d missed me.

Panel 3. Same angle, but blonde bangs girl is on the stairs, exiting the bus.

CAPTION: Or she hadn’t known it was me under there all along.

Panel 4. Little Carrie as a “boo!” ghost again.

CAPTION: I wish it were always like that.

CAPTION: That we could just peek through the slits in our fingers, and see each other.

Panel 5. Little Carrie and her mother hugging, the sheet on the floor to the left.

CAPTION: Then we’d uncover our eyes, and just be so happy that we are, in fact, ourselves.

PAGE FOUR (Eight-panel grid this time).

Panel 1. Profile of Carrie in her seat, looking up, alert.

LOUDSPEAKER: Fifty-fifth and Lexington.

Panel 2. Side view again, Carrie walking up the aisle toward the front, now wearing her messenger bag.

CAPTION: I wish so many things were different.

Panel 3. View from behind, looking down the aisle. Carrie is bumping right into Suit, hard. His shoulder and left arm are kind of hanging out in the aisle.

CAPTION: I wish I knew you.

Panel 4. Side view again. Suit is now standing, left, facing Carrie, right, who’s turning around as she speaks.

CARRIE: I’m so sorry!

Panel 5. Same view. Suit’s smiling nervously, gesturing slightly. Carrie is facing him directly now.

SUIT: No, no, I’m fine.

Panel 6. Same angle.

CARRIE: Oh, uh…okay.

Panel 7. Same POV again. Carrie is backing up, waving, and about to turn around to walk toward the front.

CARRIE: Bye!

Panel 8. Same POV one last time (I know, a boring few panels to draw). Carrie is off-panel, and Suit is standing there, looking in the direction she went.

CAPTION: But I don’t.

PAGE FIVE (Splash).

Splash. We’re facing Carrie, who’s in the foreground, walking down a typical metropolitan sidewalk. Tall buildings. A few cars and parking meters. The bus, far behind her, is pulling off to the right. It’s dark out, and a few pathetic-looking street lamps are lit on either side. Maybe one could be burned out. Carrie’s got her hood up, and she’s pulling on the straps to make it close.

TITLE & CREDITS.

06 July 2008

so get thee back to the old truth, July Jones.

So this next one is a "dramatis personae" I came up with once. One of these days maybe I'll write some stories or more poems with these characters in them.

needleville


Jack was a paint-by-numbers kid. Soaks people up like a rag. If anybody needs a proxy to stand in for him, Jack’s your man.

John the Blacksmith makes all the tools of the trade. His older brother invented the wheel; he’s spent most of his life trying to catch up.

Vicki tried to get out of this town to no avail. She’s going to be stuck behind a gas station counter for the rest of her life, and you know it, because she’s bitter about it, and people need something to be bitter about.

Madame M is a kettle full of puzzlement. Some people say she breathes fire. A few of us think she’s a medium or something like that. The rest don’t know why they bother with her.

Little Johnny never lets us down. He’s a real whiz kid, who never had to esplain a thing to nobody. He’s got his fingers in all our dams. We leave him to it.

Old Linus is the cartographer. They say he once drew a line from the courthouse all the way to the tower of Babel. He also says there’s a Man at the Center of the Earth.

The fast runner is living alone down by the docks these days. A few women have their eye on him, but he rarely comes to the meetings. He never believed in our cause anyway.

The Captain sailed on commission for the whole town. We all wanted him to be a pirate, a fisherman, a merchant, and a navy armada. One day he went out, and got lost off the Cape of Common Sense.

Crazy Carly quit our school way back when, but for some reason, everybody still remembers her as the class slut.

Jesse James Sheridan is the town tragedy. Got a little too close to a drunk driver. He’s been gone for about six months now, but I could have sworn I saw his porch light on.

Then there’s Jillian, the preacher’s daughter. She was nuts about this one boy a few houses down. The butterflies got all the way up into her throat. She doesn’t really talk now.

Jamie reads to the kids every week. Sometimes I wonder just what she fills their heads with.

Me? I’m the executioner’s block, the volunteer fire brigade, and the captain of the guard. I’m a believer in miracles, and the lost puppy that nobody wanted. I make paper tigers for the defense of the innocent. Everybody says it helps.

The stragglers are folks who got jobs at the quarry after the occupation forces left.

Good-ol’ Tom isn’t afraid of anything. He works twelve hours a day at the new cigarette factory.

And the sound of the engine lulls us to sleep at night.

kester taylor

26 June 2008

of course we live in a bad neighborhood; we are evildoers! we are what make the neighborhood bad.

This is an "obstructed" piece, which means someone read a poem I did and forced me to make modifications to it. Here is the original piece, followed by the obstructions, followed at last by the obstructed piece:

original:
Your mother probably tells you awful things—
She probably says—
“No, we can’t, baby. He doesn’t want us with him there.”
What she never told you is—
“What’s there?”
‘There’ is my life. You were the last thing I saw,
So I’m not much for Seeing.
You were the last thing I said,
But now my Mouth is empty.
You were the last thing I heard,
So it’s hard to Listening.
The ring-man says “Jump,” and I usually manage.
I don’t know what your mother says.
God says—
God says—
As you know, I don’t say much my self.
I turn the handle on the phonograph, and that’s enough for me.
Because what comes out—

obstructions:
1. A scene from a play, a dialogue between only two people.
2. The last line must be “God says,” and what God says must be filled in.
3. Only up to three lines may be eliminated, but any number may be added
4. One of the characters must have a line that includes the words (from the original poem): never, seeing, empty, and enough.

obstructed:
FADE IN:
DADDY’S CAR DAY
DADDY and HONEY are riding in a car together. Daddy is driving.

HONEY
Daddy, what’s there?
DADDY
There?
HONEY
It’s what Mommy always says when I ask
her where you are, and why we can’t ever
see you.
DADDY
What does she say?
HONEY
That we can’t be with you There. What’s
There?

DADDY
Well honey, ‘There’ is my life now. I’m
afraid it isn’t much. I don’t hear or see
well, and I don’t talk a lot.
HONEY
Why not?
DADDY
I’m not much for seeing anymore
because you were the last thing I saw.
I never speak because you were the
last thing I said, and now my mouth
is empty. It’s hard to keep listening
because you were the last thing I heard.
Nothing else is enough.
HONEY
So what do you do now, Daddy?
DADDY
I turn the handle on the phonograph,
like the Ringmaster tells me to.
HONEY
What comes out?
DADDY
Never mind, kiddo. It’s an expression.
HONEY
So if There’s so bad, why can’t you
come back to be with us?
DADDY
Because of what your mother says.
HONEY
What does Mommy say?
DADDY
I don’t know what your mother says.
HONEY
Well what does God say?
DADDY
God says—
Daddy stops, pretending to focus on the road.
HONEY
Daddy?
DADDY
Hmm?
HONEY
What does God say?
DADDY
God says good children are quiet.

kester taylor

20 June 2008

no, i never answered his letter.

I lied.

The Things We Create // Stories About Myself


Days in the Sun

It was Kate, Jake, and a bag of Gushers that went out to the beach Sunday night. Kate was there to watch the sunset. Jake was there to watch Kate. The Gushers had no choice in the matter; they were only there to be eaten.

Kate stumbled over her foot, and decided to sit where she’d tripped. Jake followed suit. “So what did you think of the movie?” he asked after a long silence.

“It was really cool, but really dense. I feel like I don’t exist or something.”

“Yeah. I wish he hadn’t been brainwashed. I wish he’d got to go with Winona.”

“Really? I thought it was great. It showed how he was really just a piece in the puzzle or something.”

“Oh.”

Kate peeked into the Gushers bag. She pulled out an orange one and a blue one, to match the sunset. She popped them into her mouth, one after the other. Jake looked up at the sky.

“So five more nights here, huh,” he finally added.

“Yeah. I really like it here. It’s so peaceful. Not like Destin.” She popped a green Gusher into her mouth.

“But Destin has all the people; all our friends go there over Spring—“

“Exactly,” she interjected. “The beach and the ocean are really nice. I don’t want to share them,” she said, turning to face Jake. She smiled. “Listen, I think I’ll go inside now. I’d like to get some reading done before tomorrow. The sun is pretty much down anyway.”

“Okay,” Jake mumbled sadly. Kate stood up.

“Are you coming?” she asked cheerfully.

“No,” he said. “I think I’ll stay out here for awhile.”

“Okay. Good night.” Kate gathered her purse and towel and headed for the hotel. She left her Gushers, unconcerned that some curious child might stumble across them and eat them, not knowing if they’d been sitting for days in the sun, collecting sand and germs.

Shoes

“Daddy! Daddy! There’s a monster in the closet!” Kate yelled. Her father came quickly, but calmly up the stairs.

“What is it, kiddo?”

She pointed meekly toward the closet. “There’s a monster.”

Her father didn’t leave it to argument. He walked over to the closet, and opened both doors wide. “Where?” he said.

“I don’t know. It’s in there somewhere.”

He looked around. “There’s no monsters in here, Katie.” And he gave her a big, horsey smile. “There’s not enough room.”

“Not enough room?”

“You see this closet, honey? This closet is where we keep the things that are important to us.”

“Like our shoes?”

“Yes, kiddo. Like our shoes.” He put his hand on her chin. “And our memories. And there’s no room for any monsters with our memories.”

“Dad?”

“Yes, Katie?”

“Why did mommy leave?” And her father’s face sank, but only a little.

“I don’t know,” he said, and held her for awhile.

a malapropism

“This is what you get for giving me pot, Kurt.” Her voice is so soothing. It’s terrible. “You get me high, and I just sit around telling stories about myself.”

I lie. “It’s okay. I don’t mind listening.”

“Oh bullshit. That last one was about driving my dad’s 4-wheeler. Who cares? I didn’t even crash it or anything.”

“It’s just funny the way you tell it,” I say. “It’s all jumbled. It’s cute.” That part’s true.

She blushes a bit. “Thanks.”

It’s now or never. I lean in. I place my lips to her neck. She pushes me off.

“What are you doing?” she yells, as if it weren’t obvious.

“Come on, Kate—I was just—I just thought—“

She gives me a look I know I’ll never forget. Disgust and disappointment and pity have never so powerfully been etched onto a person’s face.

Her blue eyes bore into me like an impact drill. People say color is everything, but it’s how you use ‘em that gets me. Sometimes they’re so wide she looks like a little kitten trying to get you to feed it. Others they just blend right in, and she lets her hair cover her face and do the talking. She could’ve been ugly as bricks if she wanted to, and still have got my attention.

“Kurt, just because I got high with you doesn’t mean I want to have sex with you. If that’s all you were after, you should’ve asked Stephanie. She’s been all over you for weeks.” She storms out. A girl who’s tried more recreational drugs in this apartment than I can count on one hand, and she won’t even make out for a few minutes.

The door slams. I sweep off the coffee table and everything tumbles to the floor. I put my elbows on it, and my face in my hands.

The Living, Breathing

It’s bright outside. Kate sits across from an unframed painting. A floral tablecloth and a picnic basket lie between them. She smiles politely. “It’s a beautiful day, isn’t it?” The painting says nothing. “I’m trying to figure out just what to do with you; how you look out in the real world, you see. You’re not quite finished…Anyway, this is fun.”

She reaches into the picnic basket and pulls out a Ziploc bag full of turkey sandwiches cut into triangular wedges. She gets out some paper plates, and a container of chicken salad. She puts out two plates, and two sandwiches, and puts two scoops of chicken salad on each paper plate; it is only fair. Then she looks over at the painting again. “So what am I going to do with you?

Now she is back in a high school classroom, painting. Her brush drags oil across the cloth, and her mind tries to focus on her mother’s ear. She closes her eyes to help her remember, but it doesn’t get any better, and the woman on the canvas in front of her is someone else.

Now her instructor is doling out advice. Kate listens only vaguely. “Art is a living, breathing thing, Kate. Each piece you create is unique, and each one means something different. Get in there. Find out what it means to you. We are responsible for the things we create.”

Now she is biting into a sandwich, wondering if this strange woman across the tablecloth has anything to say to her. She chews for a long while in silence. Then, inspiration: “So I think, maybe you are my mother. It has been awhile since I’ve seen her, and I’ve never been all that good with faces. Maybe I just remember her wrong in my head, but my hands remember her right. And maybe she’s you.” Kate begins to feel better as she finishes her chicken salad. She decides she’ll add a little bit more red to the painting. She packs away the uneaten food, scoops up the painting and goes home.

kester taylor

16 June 2008

In any case, it makes very little difference who could catch her, because nobody ever did.

Continuing the trend, here's story number three. This'll be the last from that class for awhile.

exposures

Trevor is blond, a saxophone player, and a detective. And he is dying. But before a detective can go to detective heaven, he has a final obligation: he must catch himself. This is Trevor in his final parlor scene.

“So?” he asked.

“I suppose you are wondering what I am still doing here,” he replied. “It is this: music.”

“I don’t catch your meaning.”

“Music, music! Through the backwards head of a backwards universe. You are destroyed by forgetfulness and the passage of time, but I will go on.”

“It’d be nice if you’d speak in plain English,” he said. “I am very tired.”

“You mean you don’t already know?”

He looked off into the corner of his eye. “No, I suppose I don’t.”

“But you made me, so that you might live forever.” He shook his head. “I am you, you fool!”

“I don’t understand,” Trevor said.

“The moment you created something, I was there. I am the reflection of you in all that you have made, small and poor though it is. I am your third exposure, the shred of notes where you left off: the fake book of you.”

“Nonetheless, I must catch you before I go on to what comes next.”

“And caught me you have. Taking me in was never part of the bargain. Let me free, or I will have to slip my cuffs to get away.”

Trevor eased his hold. “You won’t do it,” he said. “You won’t live forever.”

And he smiled an insolent smile. “But I’ll do the best I can.” And he ran. Trevor watched himself until he was out of sight, itching for his saxophone. But he hadn’t brought it with him. He hummed a tune he once wrote, and sang (badly) the words he could remember:

Nothing there, nothing there, it is not for me to find;
Try again, try again, that you may make it out this time.

kester taylor

11 June 2008

besides, I wanted to kill somebody who remembered who I was.

This second one's from the same class; it was an earlier piece, and more heavily revised. I'm still working on it, but I think it's getting there. I'm trying to figger how to inject a little more mystery.

(How I Found Jesus)

Todd is sharing. I thought when I agreed to this, Kelley would get tired of it in a couple of weeks. I’m fine with the services. I even like them, sometimes. I’m fine with giving money. But couples group? Four people have shared thus far, and I’m already planning excuses for next week. Todd. And his sharing. Get a real name, Todd. Get a life.

Fifteen minutes later. Everyone is looking at me. Kelley frowns. “Josh!”

“Hmm?”

“It’s your turn.”

“To share?”

“Yes, Josh. To share.” She sounds upset.

“Yes, Joshua. How did you find Jesus?” Todd jumps in. Ugh.

“Well, Todd, it all started about four years ago. I was a clerk at the county courthouse, and I just felt so unfulfilled.” Unfulfilled. One of Todd’s favorite words. He used it six times. I counted.

“One day, I was sitting at my desk, reviewing office supplies expenses for town hall, and I realized something was missing. So I thought: what did I have? I had a good job, a nice car, a well-furnished apartment, and a beautiful girlfriend.” I gaze lovingly at Kelley, eliciting an ‘aw’ from the group, and a glare from her.

“Then I remembered this Jesus fellow I keep hearing about. All these people talk about how wonderful he is, how glad they are that he’s part of their lives. I don’t have one of those. I don’t have a Jesus.

“So I decided to go and find him. To take a day off and go looking for Jesus. First, I decided to check at the Sears department store. They have everything there. So I went in, and I asked one of the sales clerks.

“‘Excuse me,’ I asked. ‘But do you carry Jesuses here?’

“‘I’m afraid not,’ she replied. ‘You might try the record store.’”

“Come on, Josh. You don’t have to make fun—“

“Now, Todd,” I say. “Your story was very long, and I listened until you were through. It’s rude to interrupt.

“So I went down to the Stop and Go Records to see if they had any Jesuses. They had people singing about Jesus, and stickers and T-shirts about Jesus. But Jesus was nowhere to be found. ‘You might try the bar. I hear Jesus loved parties.’

“So I went down to the tavern. Jesus wasn’t there, but I ran into my friend Paul. He thought looking for Jesus was a good idea, and said I might find him in church, and decided to tag along.

“So Paul and I went to church. There were pictures of Jesus, and books about Jesus, and people talking about him. But still no Jesus. I sat down, disheartened.

“‘Paul,’ I said. ‘I’m not sure I’ll
ever find Jesus.’

“’It is getting mighty late,’ Paul said. ‘Why don’t we go over to the Waffle House and eat?’ I was tired and hungry, so I agreed. So we went to the Waffle House.

“We went in, and sat down, and I ordered an All-Star Special. Looking for Jesus takes a lot out of you. The waitress walked over to another table to take their orders, and would you believe it, there was Jesus, in person and in Technicolor!”

I look around the room, beaming. No one likes my story. Kelley is livid. Some of the other women are upset, but they’re too nice to say anything. Todd speaks up.

“You know, Josh, you really didn’t have to come if you weren’t going to be sincere about this.”

“I am being sincere, Todd.”

“Josh—“

“That’s how I found Jesus, Todd: eating a waffle at the Waffle House.”

kester taylor