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Praxis

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Apr 13, 2014
The Test Begins...

So, I guess this'll be where I come to word dump. You know what they say, about how it's good to write, every day, even if what you end up writing is pure, unadulterated crap? No, you've never heard that? It's okay, it might not even be true for everyone (its definitely not true for people who have zero interest in writing. Then it's just, like, another thing you have to do). For me, however, it's something I've found to be helpful. Simply being able to exercise those muscles, and see what my meaty brain meats comes up with, eases the transition into writing shit I actually care about.

Don't expect much. Don't comment on the thread (unless we're close enough that you know I'd allow it). Don't go against a Sicilian, when death is on the line.
 
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The Way You Move

You come home to an empty house. There, by the door, is a suitcase, unpacked, and a note from your wife who just couldn't take it anymore. The suitcase is more a message than an offering; a reminder that you're the one who's gotta go.

You know this story. You've probably seen it in a movie, or tv show. The cop's wife, strung out and at her wit's end, can't do another sleepless night. Another absentee spouse. Another excuse, for the children, as to why there's only three plates set at the table. It doesn't matter that you're off, catching the bad guy. Preventing a murder. Baying the insatiable appetite of Pavlov's other dog, who only feeds on fresh meat.

All that matters is that you weren't there.

You have to wonder if screenwriters consider the exhausted nature of this scene when they include it, or if it's somewhere in the notes that it must be featured at some point. To humanize our protagonist, maybe. To show that, despite best efforts, it's usually the things you don't notice that bring the whole house down.

The wise man says that we will never know true peace, until three people can look each other in the eye, simultaneously.

I think about that a lot. I wonder what it is we're shooting for. If it ever existed, or even could exist. Or, if it's just another goal we strive for, even if a close compromise will be the best we ever get. The story's still being written, and anyone who claims to know how it'll end is A: selling something, B: an asshole, or C: both.
 
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I Write to Remember

The following comes from a story that is, sadly, no longer in existence. Not sure if I was hopped up on goofballs (I was), or just deep in the throes of that je ne sais quoi that all of us creative types chase. Either way, I've always been fond of this character, and of this particular piece of writing. The story might be dead, but with any luck, my ability to write as bitingly isn't.
a Beautifully Lethal Addition to the Menagerie
There were a few things every girl needed in this world.

One: a simple, black dress. Nothing flashy unless that was her mood. It wasn't the runway or the frontpage you were going for, so long as the right heads turned at the right time. Understated. Streamlined. Something with a plunging neckline and a slit up the side that whispered a bawdy joke to the imagination without grasping desperately at low-hanging fruit that'd just ruin the whole moment. Nothing obscene. Certainly nothing ostentatious. Only that: the culmination of form and contrast, presented with the understated grandeur of a silk sheet over to-be-displayed artwork.

Simple.

Two: a strong, foundational healthcare regimen. The world is commanded by simple creatures. Those that see a thing, desire a thing and – despite all efforts toward reason – must possess a thing. It is chemical. It is fundamental. It is the best and most true indication that, deep down, tucked beneath layers of conditioning and societal restraint, all things must feed. And if the eyes are the window to the soul, then surely the mouth must be the gateway to the heart; the lips and tongue but the modalities with which we experience what we crave most. A bite to assure authenticity never hurt anything of real value. So, why shouldn't those that experience the world, teeth-first, have some authority on the matter?

And, last, but not least…

Three: the acumen to use both to utterly devastating effect.

That part came easily to Lily Mal'roux. True that the blood of the old gods didn't run through her veins. Just as such nothing of sacred or divine beauty had breathed its life into her lungs. No, those marks of pedigree were reserved for creatures of a higher breed. Demons and angels and monsters and things that once filled the pages of storybooks and now graced the covers of magazines or towered, godlike themselves, in dedicated monuments around the world. She'd seen the hind legs of a massive and rumored to be anatomically correct minotaur being erected in New York harbor during her last visit and supposed there was some merit to having one's ancestors – bait and tackle included - commemorated in such a way.

There'd be no such monuments to succubi, however. A crudely drawn comic, perhaps. A live-action, cloak and dagger soap opera from the 70's – when big hair and horns had made a comeback – still existed as reruns. But nothing that carried the allure of, say, elven or angelic blood. Nothing that'd promise her a seat in the lap of luxury while other, lesser, creatures filled in as the supporting caste. Desired, sure. Something exotic and dangerous to be kept in the home as a sort of live-in concubine-slash-pleasure maiden. A beautifully lethal addition to the menagerie the way some eccentrics keep jungle cats or venomous snakes.

Look, but don't touch.

Admire, but never partake.

Well, that was all well and good until one of them realized their constitution was a skosh too shy to compete with the utter bliss of having tasted ambrosia personified. Simple creatures. Dictated by what their eyes see and their hearts desire. Groping and riding themselves to a heart attack and what made for a very rough six months for a struggling actress. Not that anyone could blame her. Man jumps into tiger pit, man gets mauled. A simple equation that even simple creatures could grasp. Next only to the eye roll that usually preceeded a story as old as Hollywood itself.

Still, it was really no surprise that she was harboring a sparkle addiction that edged daily toward problematic and realized just as the penthouse elevator doors slid shut that she'd left a pair of black, suede pumps in the town car downstairs.

Damn.

"Where have you been?!" Steely little fingernails dug into Lily's arm no sooner than she'd stepped into the packed hallway of the penthouse. She was being pulled, quickly, out of view, by an adorable, redheaded thing in a shimmering, emerald gown and bamboo inspired wedges by the name of Claire Goodlight. "And what is all over your face?"

LIly stared back at her in dumb silence for a long while before realization dawned. "Oh, shit, am I all glittery?" She went looking for the nearest mirror, only to be tugged back by Claire, who was much stronger than Lily might've guessed.

"You're the last one to arrive, you know." Claire hissed, digging through a small clutch for a mirror that she handed off. Her eyes went around the room, darting this way and that, settling on a conversation taking place before reassessing the predictable patterns these sorts of get togethers usually took. Somewhere, a champagne cork went sailing while voices shrieked over the mess being made. Heads turned, chuckled at the commotion and resumed. There was beauty in the systematic chaos of it all. Esoteric math just waiting to be rationalized by a keen pair of elven eyes and rapier sharp perception.

Ever the big sister. Even behind the camera. How she'd come to form something like a friendship with Lily was everyone's guess. Opposites attract and all that, one could figure.

"This is a really nice place," Lily mused, squinting at herself in the circular mirror before calling it good enough. "What's it for again?"

Claire sighed and snagged a pair of passing champagne flutes that trotted by on an animated, oak platter. "Nothing gets by you -- thank the gods you're pretty -- it's a wrap party. We all pat each other on the back on what a good job we did, drink too much champagne and let the boss-man foot the bill." Somewhere, a glass shattered followed by more high-pitched giggles. "Speaking of..." linking her arm with Lily's, she'd lead them further into the depths of the party, "he noticed you weren't here. Where are your shoes?"

The succubi's eyes went wide. "He was askin' about me?"

Claire scoffed, "No, honey. It ...doesn't work like that." Sipping, she'd gesture lazily with her glass toward the main audience of the room nearest the large windows. "One of his," she grimaced, "followers inquired a bit ago; asking if everyone had arrived."

Lily blinked and downed a quarter from the brimming flute. "So?"

"So there's a doorman keeping track of who's arrived. You didn't just think you could walk into one of the most elite private residences in the city, did you? No. Guest list, honey. CCTV. Armed guards ready to show party crashers the exit, head first." She finished her drink just as eyes and pointed ears started twitching for another. "Someone noticed you weren't here, and inquired." She shrugged, "kind of a big deal."

"Oh..." Lily whimpered out, finally realizing the scope of what nearly blowing off this party mightve meant, "dang."


"So," Claire announced with a small swat to Lily's backside, "finish your drink, get another, and be social." She leaned in to whisper, "and ...don't embarrass yourself."
Hurricane Lily
Claire was like a life raft.

If one found themselves adrift in a sea of faces, names, drinks, anecdotes and polite re-introductions – there really was nothing better than an elven goddess to latch onto and hold on for dear life until the storm subsided, and the familiarity of land could be seen. Land, in her case, being a California king bed, all to herself, and maybe fourteen or fifteen hours of good, heavy rest. Once the highs of a sparkle rush began to wane, that kaleidoscope of colour and vibrance would start to go dim, she'd get a headache, and the world and she would do best to text back in a few days; see if there was still any magic left and try again later. Adrift, and badly, Lily continued to sip what tasted like overpriced champagne from a glass that had likely been chosen for the riff-raff and their proclivity to break things, and wondered how wise it was to add further libations on top of an already potent cocktail of pre-party hors d'oeuvres.

"Lil'!"

Uh oh, being pulled again. The boney clutch of ordinary, human fingers found her arm and she was being introduced to a large, beastly man that they told her was a producer. He grinned down at her from behind rose-tinted lenses and extended one, meaty paw. Lenses or not, she caught the unsubtle inventory yellow-slitted eyes took: tits, hips, legs, tits, before eventually rounding out somewhere near enough her lips that it could have passed for eye contact.

"Miss Mal'roux. I've heard wonderful things."

"Can you believe it," the human was asking, that same, boney hand finding its way to her hip and inching south; displaying her like some sort of ventriloquist's dummy in silk and victory rolls. "kid's gonna be huge! Huge! What're ya wearin' tonight, darling – you. look. delicious!" He snarled and mimed like he might take a bite of her bare shoulder, treating Lily to a stale waft of perhaps a gallon or two's worth of martini. "Where's your shoes, hun?"

"Ahh-ha, that's – that's very flattering…" she said, forcing a laugh, knowing it wouldn't really matter what she said. Between the din of the party, whatever conversation they were having about her, but not with her, and the strobe like flashing of another sparkle wave, she felt herself slipping gracefully from being grasped and was off looking for another drink.

She'd been carried home before. Claire would keep an eye on her, in that way she seemed to keep an eye on most things.

Grabbed, again, she was pulled into yet another re-introduction/conversation with a gaggle of cast members that'd banded together near a balcony.

"Monument?! It's a forty foot bull cock! How's that any good for -- Oh, hey, Lily! Wow, you look great tonight!"

Tits.

"Oh, that's cute! Sort of a ...hippy-granola-mother earth meets bride of dracula vibe! I like it."

Legs.

"Gods, I would kill for their hair," whispered in passing. From who, Lily hadn't seen. "She can keep the tail."

"I like it. I've heard that if you grab 'em by it, they--"

"Don't let 'em bully you, love." Advice from Alexander "Just Xander" Goodlight -- Claire's older, smirkier, often-late, always-dashing, seldom-demure, brother who'd inherited the bloodline's good looks and bank account that could crack the sky, earth and all involved. He was wearing a three-piece, cobalt number that probably cost more than her entire apartment and silver embellishments at his cuffs in the shape of ivy leaves that jangled as he placed an arm around here. Their semi-circle of partiers included the cast's upper echelon. Those whose names generally drew a crowd, and thus, got top billing.

Her name -- for the minimal, insignificant part she'd played toward the end of the season -- had been tucked somewhere in the credits.

Near the bottom, in fact.

"They're all just blinded by their jealousy."

Lips. Tits. Eyes. In that order.

Twice.

Difference being, she didn't entirely mind when he did it. It was Xander fucking Goodlight.

"So, lady of the hour -- how are your nerves?" He asked, that trademark glitter of gold in his eyes flashing the way it did in his own sister's when she had an especially juicy piece of gossip. They must've made for horrible liars, elves, but Lily found herself grinning quite stupidly despite it.

"Wait, why -- what's he talkin' about?"

"Don't harass her," said Claire. "She'll be in after..." the same as a glitter, Lily recognized the briefest flash of contempt behind expressive eyes, "oh -- what's his face. I imagine they're in there, discussing even now." She took a long, purposeful drink from her flute and set it, once empty, on a nearby table. "I don't know what you saw in him. Didn't he clog your drain when he'd stay over? Do you own a lint brush?"

Lily rolled her eyes. "Don't be mean -- he was sweet. He's just..."

Claire waved her hand in disinterest. "Honey, I don't care. We all make mistakes and there's certainly no accounting for taste."

"Well! That's a nasty rumour to start."

A snap of the elven woman's fingers shut Xander up. Though, he was sure to offer his quick goodbye's as the little cell they'd formed broke apart and sought out other avenues for life. Claire filled her hands with another drink -- she'd moved on to something stronger than champagne -- and gestured toward the back of the elaborate flat. "I'm off to find that Max," she paused and sipped again, "Max ...something -- he's in talks for a sister-series and desperate for capital." She winked. "My favorite."



A bump.

That was all she needed.

One teeny, tiny, little sniff of sparkle and she'd be golden. Better than golden. Prismatic! Able to find joy and beauty in the radiant colour on display all around her. Free to allow herself to be enveloped in the slow, steady thrum of bass for a song that seemed not to end; but to shift.

Instead, she felt her heart pounding and dizziness beginning to set in as she slunk away to a portion of the home she assumed to be emptier. Crewmembers she recognized by face and scent, but not by name, had gathered in a wing of the flat and were discussing a bottle of red that could have been wine when the big, bad wolf himself pushed into the room.

Her face lit up.

Because of course it would.

Because she wasn't aware of just how badly her claws had gotten into him. Because pain, for him, had been silent. Lily, try as she did, had never been especially good at listening beyond what was said.

"Hey! Mikey!" Tiny, dagger-points clutched pleadingly at his arm as he went to brush by. "Hey, no-no-no-no-no -- don't leave me!," she whined, "these people are all high on somethin' I can't afford and this whole place feels like an art museum." Still clutching, she anchored him in place and wiggled out a bit of excitement. "You look really handsome! And you smell amazing, what is that?"

He wasn't a life raft. He was better.

A desert island, rich in the necessities of life and removed from the ugliness of the world. A safe, untapped, sanctuary where only good memories had managed to bubble up from the tide. Someplace warm that'd been her own while voyaging.

She was the storm.

Hurricane Lily. Back again. Scented in lavender and honey, nearly glowing in moonlight.

"Were you just in there with..." head and horns gestured down the darkened hallway from where he had come, "the boss man? Whad'ja guys talk about? It's really good to see you! Clair -- er, um -- yeah, Claire said you might be here." She tittered out a sheepish laugh, "she says 'Hi'."
 
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Would You Like to Have a Breakfast?

There's something appealing about small diners. Somehow, despite recessions, and pandemics, and everything else that preys on small businesses, there they are: existing. Serving bacon, and eggs, and gravy, and all that shit that'll make you happy, and fat, before you even really start your day.

There's people that skip breakfast (my mother, for one). I think it's largely a generational hangup. She also skips lunch, most days (unless you consider some grapes and cashews lunch. Which I, most certainly, do not). Diet culture, and staying thin -- even at the cost of your health -- is something that's baked into the subconscious of many, many people.

This is folly.

Your brain needs fuel to go. You need to go, if you plan to do anything. To do anything, you'll need your brain. Your brain needs fuel.

Eat breakfast!


View: https://www.youtube.com/watch?v=rxJHBewFYos&feature=youtu.be
 
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Mona(r) Lisa(r)s and Mad Hatters

One of my favourite pastimes is listening out for vocal foibles in pieces of media. More often than not, the character with a thick, North-American accent you see in a tv show, or whatever, is actually a British person, who (maybe) took vocal lessons as to how to get it right. Use Twilight as an example. Whatever his name is (let's call him jawbones/frowny-mouth) does a pretty decent impersonation of a non-British accent, save for one scene where he pronounces Been (said like "Bin" for most yanks) as Bean. "Don't you know how worried I've 🐝n?!"

The word Paranoia is another good one to listen for. The most recent example of this is in Queen's Gambit, when Harry Melling (a dude who really latched onto that quasi-Bostonian-with-a-dash-of-Andy Griffith accent, and ran with it) can't help but add that rhotic tail onto the word: Paranoia(r).

This isn't a criticism, as much as it's a little game I play with things I'm watching, or listening, to. Jawbones/Frowny-mouth and Melling are both some of the most entertaining actors in their field today. Both of whom, I assume, have taken lessons on how to sound more convincingly American. Lord knows I wouldn't be able to do a passable English, or Australian, accent in front of a camera. Me even attempting it might start some sort of international incident (remember when they tried to kick Bart with the big boot? Pretty sure botching an accent is a bootable offense, in lots of countries).

Of course, on the other side of the coin, is the hilarious, and universally panned, attempt at sounding British, when you aren't. Kevin Costner, in that really old Robin Hood movie, comes to mind. It's bad, but honestly, not nearly as offensive to the ears as listening to Michael Caine (a dude who can't even say his own name without immediately giving away that he's a Brit) try to do an American accent. Seriously, love ya Moichael, but you're about as limey as Big Ben, and dismal weather.


View: https://www.youtube.com/watch?v=9tRgYfQ48A0
 
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the Story Thus Far (abridged version)

I've never been to Paris.

I've been to Reykjavik, but only as far as the tarmac (we changed planes, out of one, into the other, without ever going into the actual airport. It was windy).

I've been scared, in Toronto.

I've been lost, in Chicago, Los Angeles, Las Vegas, and Denver.

I stayed the night in an airport, after a missed flight, in San Jose.

I found a lightning stone, at Golden Gate Park (I've since lost it. There's a small, to decent, chance I left it back home, and it's sitting in a box that my parents kept).

Skipped the Grand Canyon. It's not going anywhere, and I'm sure I'll stumble upon it one day.

I've seen a rain forest, in North America. This is a bucket list type thing, people. Go and see.

I've visited three different, North American, swamps. On purpose.

And, right now, I'm going for a little stroll. The weeds and Kudzu are starting to wake up from their winter dullery, and it's getting green. Didn't feel like I was going to pull through this winter, like, in the depths of it, but here we are. Only a few more weeks.

Have fun, nerds
πŸ’š
 
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You See a Thing, and You See What It Is...
I don't have anything to say.
> That's not the point. The point was to get something written; out of your head, and onto the page like. Embember?

Yeah.
> So that when you go to write your replies, and other pieces you might find the energy for...

Uh huh...
> ...it comes out more readily. Your brain is a part of your body, like anything else, and every part of your body can benefit from proper exer--

Don't say exercise. I already know this, and platitudes don't help me.
> But sitting here, complaining to yourself does?

A little. Yeah. I guess, like, if you're your own harshest critic, then who better to have as a coach, right? Coach?
> ...

Who knows what you're capable of, better than you?
> A super computer.

Okay, but I don't have one of those.
> There's apps. And websites. And discussion forums. And a close circle of yours closest.

*nose sigh* ...but I don't have anything to say. It was a long day, the emails kept piling up, my left buttpart/thigh/knee/ankle hurts, and I have a busy day tomorrow too. I'm spent. This is when you bench a player, coach.
> Will you at least feed yourself something proper, and plan a little for tomorrow?

Yes, chef.
> It's really hard to love you when you're like this.
But ...like ...this still counts as a post, right?
> *nose sigh* ...in the absolute loosest of senses, you lazy, boring little spud person.
Good enough./Good Enough.
 
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It's Relentless, Invisible, Indefatigable

I've been writing a lot. I have two active stories, and a third little thing I'm doing, just for me. I don't usually mix bread, and butter, like that, but I appear to be in the possession of a lot of mental creativity. I used to really believe in things (myself, mostly), and I think it's time I started letting my brain have a little me time. It, and this carafe of cold brew, says I'll get something accomplished tonight.

No post. Just those words. Oh, and a song...

Bye-ee!
 
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To-Day's Sound

If I stand at a certain angle, on my back patio, there's a grove of trees across the street that I can see pretty clearly. There's a small, surface street, that runs between the vacant lot, and the backyard, so there'll be the occasional passing car, or pedestrian, moving like they're on a track, in the foreground. Aside from that, it's a largely unobstructed view of this little patch of nature, left in a part of the suburbs that's going through a mild gentrification process.

Not every day, but almost, I spend a few minutes out there, watching this grove of trees and the people who walk, or drive, by it, probably never paying it much mind. Will they notice when it's gone? There's tractors, and other heavy machinery, nearby that's ripping up the ground in preparation for what I presume will be expensive condos with a rotating supply of artisan shops beneath. That grove of trees is a holdout; a scrap of nature that's somehow avoided the chopping block this long.

Maybe they'll leave it?

I would love to hope so, but I don't think it'll happen. The more likely outcome is that they'll rip up those trees when they get to that part of the lot. Somewhere, right now maybe, those trees exist as a sort of speed bump on the way to the bigger picture. They're an appointment that needs to be made. A problem that needs to be chewn up into mulch.

I wonder, if some day, I'll stand on my back porch and stare at the Crumbl Cookie that exists where those trees were.

Probably not. I'm thinking of planting something there, and with any luck, will further insulate myself from the world, and its cookies.

View: https://youtu.be/J6T2ZtJuAKI
 
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By Their Fruits You Will Know Them

We all know what a cliche is, yeah? If you were to close your eyes, and imagine one, what would it be? Someone posing next to the Leaning Tower of Pisa, using forced perspective to give the illusion that they've either tipped, or are attempting to correct, the thing? A Punk; egg-white mohawk, and patchwork denim-canvas getup to boot, bumming around a public park, after noon, on a Wednesday? A politician, on the take, when he ought to be fighting for the little guy that elected him?

Or is it more nuanced?

Does your cliche look something more like a mother of three, trying to foist a MLM scam on you? Does it sound like ambulance sirens, headed toward that particularly harrowing intersection, North of your neighbourhood? That same Punk, from before, only now he's shaved the mohawk, and acts, and brays more like a skinhead than the safety-pin anarchy tattoo would suggest allowable.

Are you a cliche? Am I? Would it be such a bad thing, to click into the slot so well?

How much friction does one need in their life to be worn so smooth as to fit a template?
 
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Red in Tooth and Claw
Sometimes I think about going to live in the woods

Go be with the leaves, and the trees

Live by a stream, or bed down in a cave

People've done it:

Christopher Knight, in '87

Thoreau stayed in that cabin, sucking out every fleck of marrow he could

Am I not hungry for marrow? Have I not seen all I can take?

I guess not

Cuz here I am
 
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Sotto Voce

And one day, the music just started.

At first, I didn't know what to think. There's always that small part of you, that'll wonder if what you're seeing, or hearing, is all in your head. The first little whiff of true psychosis that you've secretly been waiting for your entire, cognitive life. I remember laughing; hearing the music, coming from nowhere, and being unable to control a weird blend of sadness, and joy that started pouring out of me. Imagine that: me, sitting in a parking lot, punching in an address for my nav, when out of the literal ether, this very audible, very obvious music begins to play, as if from speakers somewhere in the sky.

They're not songs I know. Though, they are familiar in a way I've yet to be able to explain. Piano, and violin. Background music for an especially significant scene in a film. Something toward the end, when the trouble's overcome and a bright future's ahead. They're lofty, and brief, and for the first twenty or so minutes, I'm still laughing and pecking at a possible explanation for them.

Then, I realize there's only three, and they are repeating.

It doesn't take me long to realize this. I've never been a music major, but like most people, I can recognize a pattern. I can hear a motif, in a piece of music, and relate that as it plays out again, and again, and again. Rise, crescendo, crash. Rise, crescendo, sustain, crash. On repeat. Their novelty, when stretched across a possible infinity, begins to diminish. I'm beyond silly what-if's and could-be's. The likelihood of this being my own invention; a tickle of insanity, looms, but only in the way fear of home invasions and Carrington event fallout realities do. What takes me longer to realize, is that the songs, on repeat, are getting louder. Over time, our mind will acclimate to new stimuli, dampening their notability, in an attempt to keep us focused. The same rule applies to the tip of your nose; your brain kindly edits out the unnecessary information, to give you a better picture of your surroundings.

Still, the world around me seems not to notice. If they hear it, they have no reaction. If they're concerned -- as concerned as me, that is -- then, likewise, it doesn't show in the way they go about their lives. A curious, still playful, part of me considers asking. Finding the nearest person I can, and asking them, very plainly, if they can hear that music. Tearing away the curtain has worked in the past, so why wouldn't it now?

And if they can't? If this really is just for me? If I'm shouting at the closest, sensible person about things that don't exist?

Well, this is how crazy people start. This is how you end up as a snippet on the nightly news. Nobody ever bothered to stop and ask what kind of phantom music those Florida Men were hearing. So, I don't ask. I sit, and wait, and listen for a rest in this music that has yet to come. Though I'm uncertain, I suspect that without inner ear structure, I won't be able to hear anything, music or otherwise.

I am confident in this logic.

Now, however long later, I've forgotten the sound of a breeze. My wounds have healed, and the music is near deafening. I fear what will follow.
 
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Patrick Bateman: a feminist icon and other mindworms the internet will feed you
I saw American Psycho, for the first time, well after reading the book. It had to have been in High School (around Freshman year, probably) that a friend lent me their copy, with resounding praise and encouragement that I read it. So, I did, and thus began my love-affair with who I consider to be one of the more entertaining writers alive, and working, today. I laughed, more than anything (gore, misogyny, and the rest of Bateman's little foibles didn't affect me in any negative way) but mostly, I remember it feeling more alive, and wholly unashamed with its content, than most other fiction I'd encountered up until that point. In a similar vein to Fear and Loathing, this story about a hapless, selfish, nervous, often-overwhelmed, usually-high, always-angry man, living in a world I'd only glimpsed in movies, and television, had me actually laughing out loud.

They key takeaway (and, I guess people miss this? Still, even today), was that Patrick Bateman is a joke; a laughing stock among his peers, and his colleagues. Those who know who he is (and don't mistake him for some other tangential acquaintance), seem to hold a rather low opinion of him. Even going so far as to refer to him as a "dork", and "spineless". I remember being keenly aware of this while I read, never forgetting that this guy: this racist, short-sighted, hateful little creature, wearing the skin of a man, was never as fearsome as the character would hope for us to believe. He's the product of a time, and a place, driven by greed and compelled to conquer. Be that their personal/familial finance, their command of their group of friends, or with the various women who flit in, and out, between cocktails, three hundred dollar dinners, and lines of mid-grade cocaine in bathroom stalls. Creatures of industry, and intent who begat sick progeny, too hindered by the rules set out before them, to ever focus on the broken mechanisms inside. This is a real world problem, and one the novel doesn't need acknowledge, unless we're talking in some broad, pataphorical sense. Which ...I am. Almost always.

Not the point.

The point -- of this rant, and of the source material -- is that our beloved, unreliable narrator, and circumstantial protagonist, is broken. Ashamed, uncertain, and totally incapable of functioning in a world that, not only made him, but crafted him in a very specific image, for a very specific purpose. Strip away the suits, and the expensive haircut, the daily workout routine, and the endless parade of meaningless acquisition, and what do we have? A nobody, in a sea of nobodies, being driven by the whip to make themselves notable. A person, named with the same care, and effort that we name cars, shoved into the market to see how it'll sell. If it's a hit, then it was only made so by the cumulative efforts of those before and around. If it fails, then the amalgam of success is not so elusive as to fade into myth; there will be another.

Put yourself in those shoes, if you aren't already. What sickness, or what sadness, would compel you if all other immediate obstacles were removed? What are you without four thousand words posts, and a lot of RAM at your disposal? What am I, are we, if not the broken afterthought of an idea that's too big to admit its own faults? Are you selfish, afraid, and unsure of how best to exist in the world?

It wouldn't be the worst thing if you were.

No, the worst thing, maybe, would be convincing yourself that you simply aren't there. That all of your confusion, and pain, and discomfort is an illusion, and that you are somehow apart from it.
 
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(made redundant)​
 
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Some Days
Some days, I don't think about it at all

Since I lost it, and since I've tried

the memory of it seems more to fade

Some days, it's right there -- dead center, and red

Waiting for its chance to draw me in

Some days, all I'll do is wait

Wait for it come, come scratching at my door

I'll let it in, like I always do

and ask "How long? How long until the next time?"
 
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The Glassway

The following just sort of ...came out of me last night, while I was idly watching television. Not sure if I'll continue it, or if this will exist as the one piece of an idea I vaguely remember having is a project that I'm, apparently, working on. Fixed some typos, and other omitted words (there may be more; this is why editors exist).
Pt. 1 : Blank Condolences

I can't really explain to you what it's like to be where I am, but I'm going to try...

I'll start with the basics. The who, what, where, when of it all, that'll help situate you in the driver's seat of what's sure to be a real show by night's end. This is scene-setting 101, and the sort of thing you can find for free on YouTube, so forgive me if you've heard some of this before.

The who, this time -- in an all-around, present-as-the-sun in that it's blinding you simply by existing kinda way -- is Jamie Eggars: daughter to publication magnate Gibson Eggars, who -- if we're basing this brief biography on a pending post-mortem that'll be published in this month's issue if Rolling Stone -- not only engineered modern publication, but revolutionized it by very right of being the first to take his rag-mag from the page, to the world wide web. Low-hanging fruit, of course, but as 'ole Gib' might've said himself: world's a race; and nobody remembers the losers. He was found, unresponsive, in his upper east side top-floor, having passed, peacefully, sometime in the night. A magnanimous end to an equally legendary man that'll be added to annals of time, along with Alexander the Great, the Bard of Avalon and whoever perfected the Snapchat live-filter. What Rolling Stone won't mention is the stud-lethal amount of Diprivan in his system. The Ketamine and amphetamine cocktail, in his bedside drawer. The blotter-sheet of lab-grade MDMA. The fact that, when combined, it's really a miracle the man could make a fist, much less rule an empire there, toward the end.

This is the luxury of being able to afford a legacy.

The nasty bits can be edited out, provided they weren't directly instrumental in your death. Provided you haven't captured the hearts of millions through your music and/or shattered the dreams and innocence of many.

There's an art to remaining infamous even in the light of notoriety.

There's practice in presentation.

The what, now -- as in presently -- is the change of ownership of said empire, after said mortem. Once Gibs' gob gave up givin', the mad-dash to coronate the new heir began in earnest. Those in the know -- those with eyes, ears, or a pulse in the matter, that is -- had seen the writing on the wall. While it might've been those closest, who sat idle while the old man had slipped further, and further into the deep-deep dream, it was anyone's guess as to how long things would really stay as they were. Jamie, apple of his eye that she was, had grown, like a dandelion farm, a reputation for certain substance proclivities of her own, and a wake of detritus to match, wherever it was she roamed. The Bellagio (that's the fake one, in Vegas) banned her entirely after she, and an entourage -- that may, or may not have, but almost certainly did, contain yours truly -- befouled the back terrace fountain. She is, personally, not aloud admittance to any Disney, or Disney-affiliated parks, after an especially vitriolic series of Tweets in defense of her "inappropriate" usage of a pair of Mickey Mouse ears. The Tweet, sadly, has since been deleted.

I kept screenshots. PM me for prices.

And that's Jamie. A walking disaster, in a Tom Ford kaftan, stumbling barefoot through a movie premiere. If you catch her before the show, she'll only half-slur through an interview. In 4K, the dried blood around her left nostril is more visible. After, if she hasn't blown out for the next appearance on her docket, it's only the trash-hounds and fame-guzzlers that'll publish what she's selling. TMZ, and Shouter! each hoping to catch an errant nipple-slip or forgone wax. That's Jamie, in a Dolce & Gabana slouch-hoodie, nodding off, on camera, while she's sat beside the prattling rabble of whichever industry piece of arm candy she's wrangled that week. Sometimes a musician, sometimes an actor/director. Once sensible men, by and by fools, and presently beasts for their want to orbit her vortex, none of them seemed to last. None of them ever had much to say around her, after.

I suppose, after, there's not much to say about Jamie Eggars.

That's not a jab, or a veiled criticism of her "between the sheets". We've never "done it", Jamie and I. Though, we did meet in college, and though both of us seemingly did our best to blur our memory of that time, there were never any moments of passion. No lapses into carnality. Sorry, this isn't that kind of story. Rather, as a matter of depths, Jamie perhaps has none. As vapid as the day is long, and about as remarkable as an uncooked tuber, believe me when I say that the girl's appeal comes largely, if not entirely, from the sphere around her. Celestial bodies command the universe around them by sheer size and relevance. So too is it that Gibson, having not devoured his young, had instead left her to forever alter, and warp, the spaces around her.

Here we have them: the devoted remainder, paying their respects to their fallen god. Worshiping at the alter of beauty, and heredity. Leaving a good impression, and kind words to linger on. I'm sitting there, wringing the sleeve of a borrowed Givenchy turtleneck, nursing the tail-end of my last line with Jamie, watching them as they march up what they call the Glassway to take her hand, and whimper out something heartfelt. It's a large room, big enough to comfortably house the seventy or so close friends and acquaintances that've gathered, and are still lingering; abusing an open bar, and nitpicking the selection of finger-foods. Floor to ceiling -- maybe thirty feet from top to bottom -- the walls, and ceiling, are paneled in mirrored glass; tinted, and filigreed over, so the every reflection that dances across their surface, seems tinged in darkness. A thousand, coiling tendrils that make anything clear, dim.

I'd watched, first, as pairs of board members, and their wives, had ascended. Greed, and reliance. Hunger, yes, but glossed with resentment. Obligation. Duty. Patterns, and patterns, and patterns, too familiar to break.

Then, it had been family. Uncles; one a surgeon, and one the namesake of a legal firm. Cousins, and second-cousins; in from Quebec, and absolutely adoring the city, despite everything that'd brought them there. I'd met one of them, briefly, in an upstairs powder-room before the event had properly began. Aside from a pretty clumsy pass he'd made in the hallway, and a wandering eye toward my tits, he seemed like a decently affable person. I'd never met someone from Quebec, but I suppose only a few of them can put away Roxanol like that. I can see just how badly he's sweating, even from my place down on the ground floor. Through the mirror, he's a horrid, writhing mess of jealousy, and want for a life he almost has.

For the life of me, I can't remember his name.

I'm sure I learned it.

I watch them, one after the other, warping and distending. Stretching over the planes of where even perfection isn't perfect, before snapping back, and repeating. Bleak flesh, over withered bone. With gilded crutch and hobbled sway they go, trudging and weeping, weeping and trudging. Paying in grief, leaving absolved, if not uncertain towards their ends. Wretched, and dim, I watch as Jamie absorbs, drinks, and bathes in it all. In these moments -- now as I watch her, from my place on the floor -- she is as radiant as a star. She is flawless, golden hair and massive, oceanic eyes that suggest tears, but never waver in this flirtation. She is softness, and strength; fire and glass, and all things that sing, and dance in glory of the light. I am in awe of both her, and the black, swirling reflection she emits.

I suppose that brings us to the when.

By now, maybe, you've put enough of the pieces together to get something like a picture. Gibson Eggars: glam-rag god, and all-around-rich-man, is dead. In his stead, and ostensibly left to helm the ship, is Jamie Eggars: occasional glam-rag subject, and ever-hungering maw for hedonism. The when, of this tale, understandably involves both of these major players. The rub, as they say, however is where I come in.

See, I've got a problem...

Tomorrow, at around 9AM -- in the fourteenth floor conference room of the offices of Coker and Foss -- when the living will and testament for one Gibson Eggars is read, Jamie Eggars is going to kill me. She's going to realize that, save for a small entitlement account, and a handful of familial items of some sentimental value, the entirety of her father's estate, and holdings, will be transferred to the woman with whom he'd been having a torrid, and fervent, spiritual affair for the better part of three years. Entirely -- or so the eloquently phrased cover-letter would suggest -- his mind, heart, and soul had been captured by a "creature of remarkable beauty".

I'll be flattered, I assure you, but it does nothing to help in finding the words to say to Jamie, tonight.

So, for now, I watch as every filthy reflection makes its trek. I wait, and wonder, how dim my own will be by the time I've made the climb.
Pt. 2 : The Physical Act of Love

I never fucked him, if that's what you're wondering.

When I said what Gib and I had was mostly a "spiritual" affair, I meant it. While there had been some forms of physical contact, the exact mechanics of our relationship were more closely related to what the French -- and the pompous -- refer to as amour fou: mad love, to those uninitiated. A sort of possessing, blinding infatuation that wears finest on wanting sculptors, and balcony-bound Lotharios. It's a matter of infatuation; an urge to craft, coerce, or covet thoroughly enough to finally attain. To rest in the accomplishment in yet another mountaintop scaled, while all creation below is forced sit, watch, and marvel at what you've done.

Of course, for Gibson Eggars, even Everest seemed tame. Given time, and determination, the man could've likely leveled the entire world, so that only he, and his high-back leather chair remained as de facto tallest monument standing. The fun -- or the ardor -- came from the chase. The ceaseless effort, and pointless endeavor to win over that elusive thing that fate's failed to deliver.

Fucking me would've ruined that.

I knew that.

He knew that.

At times, and more and more often, I'm convinced he knew I knew that, and somehow found a way to prefer it still.

Even the word "affair" is a bit misleading in this case; he and the Mrs. had been splitsville since a little before the time Jamie had been born. If that arithmetic seems like it's not quite adding up, I promise you that's only because you don't understand the manifold inner-workings of high society, and how they breed.

Think back to your childhood. Good memories? Mom, and dad, and backyard barbecues? Or maybe it was just mom. Dad went and scarpered before the bomb dropped, leaving her to hold the bag for eighteen or so years, until you were old enough to go off and fuck up your life your own way. Brothers, sisters, older and not. Loving you. Hating you. Flavouring your life so vibrantly that both love, and hate, seem one in the same in a way that only siblings understand. Dinners at Round Table Pizza on Fridays. Report cards, and chore lists. Fights, that begat more fights, and eventual apologies.

Somewhere, in all of that, your parents found time to make it with each other.

This is where the similarities begin, and end, for couples like Gibson, and Lisbeth, Eggars. The barbecues look more like black-tie affairs. The chore lists are delegated out to a small army of personal-shoppers and live-in maids. The fights are of biblical proportions, and the apologies never come. Yet, somehow, they found time to make what I've always assumed is a highly mechanical, perfunctory act of propagation. Fulfilling duty, the same way housewives in the fifties swore to always honour, and cherish, their husband, and to never burn the roast. Promises made, with more than words, that even the most spiteful, detached seed-bearers can appreciate.

So, to say that I was wrecking a home, is inaccurate. Worse, even than that, it's painfully, and blatantly wrong.

To date -- at least until around 9AM tomorrow -- there have been no homes broken. There are no jilted lovers, or old wagons being traded in for a newer, younger model. Beth Eggars -- a pill-popping, pool-boy-hounding, lawsuit-winning beast of a thing -- is a lovely person. Before, when Jamie was a little more stable, we'd regular at Cantino's, for brunch, whenever the three of us found ourselves in town together. The laughs had never been in short supply, and the woman could drop a mimosa like it had burned her. Impressive to me, even now that I'm starting to appreciate what riding the crest of distaster must feel like. Doubly so, when I was nineteen, and the city still felt like a bear-trap, waiting to snap shut around me.

In truth, I'm less worried about how she'll react, than I am the combination of her daughter's wrath when it coalesces with her own, latent, lingering hatreds for her husband.

You've heard that expression, how hell hath nothing on that of a woman, robbed of what was rightfully hers, yes?

Now add a few zeros to that equation; a few properties, and a handful of holdings that range from mostly insignificant, to rightfully life-altering, and you can perhaps get a picture of just what I have in store for me. At 9AM tomorrow, Beth will still be riding the bliss wave of her morning double-shot of Xanax, but Jamie never sleeps. Jamie, now -- as in now, this very moment -- is beside me, going over a rail of finely-crushed, Canadian Roxanol as though she's misplaced something in it. By my count, this'll be her fourth, with no sign of slowing in the future.

Not with Gib at Avery Lawn, cooling off in a tomb.

Not with the world, nipping at her heels, and fate just around the bend.
Pt. 3 : Mirrors
Sometimes, she says, the binding agents in the pill don't fully break down. What's supposed to be a fine powder -- as fine as you can get it -- turns into a boulder-filled tumble down the hillside, with all the cuts and scrapes to prove it. Sometimes, she says, the shit she gets from Milo is like that. She's hunched over a black marble setting, between the sinks, of an upstairs powder room.

Milo.

That was his name.

I'm a little angry at myself over forgetting something so silly.

With switchblade speed, she vacuums up the line in one snort. She's clutching the side of her face that it went in; eyes clenched and teeth bared in a grimace.

"Fuck ...king ...hell," she says, finally, slumping against the wall behind her. She's staring into one of the six by two foot mirrors; through them, through herself, to the other side and further still. Her big, oceanic eyes are dilated, nearly black, and infant-like in their lack of focus. She exhales, stays there, at the bottom of her breath a long, long while, before inhaling again. After the initial pulse has waned, I feel her eyes land, first on the remainder of a pill that I'm grinding down, then on me.

"Is that Cheyenne's?" She asks, in a dreamy, far off voice.

She means the turtleneck. The borrowed Givenchy.

I nod, not looking at her reflection.

Jamie sighs, slumps a little further, and a little further, before she's fully on the ground; a tangle of bare, pale legs, and somehow pristine, glassy hair. Her head thumps against the wall. Her hands wring, and twist idly at her wrists. I can feel her eyes, still smouldering into me.

"It looked like shit on her," she says, after another thump of her head. This is Jamie's version of a compliment. This is Jamie, noticing something specific about a person, and having something to say about it. This is the assumed conflict between what is, and what isn't; the sort of language that an Eggar is most familiar with, and the only way she knows how to say something vaguely resembling praise. If it looked like shit on her, then it must look better on me. Better, of course, is good, next to shit.

Simple.

"She's fat," I say, flatly. Matter of factly. This is how we joke.

Jamie giggles, sort of. The sound that comes out is half-murmur, and half-hiccup. She's stretching out her legs, adjusting the trails of her dress, and still watching as I inhale my own share. It comes on strong. Stronger than the bump Milo had given me. In these moments -- those fractions of seconds, when it's all new, and exciting again -- I always remember the first time. Some day, when this is all through, I'll have to be sure to mention it to my therapist. How Jamie Eggars, restrooms with keyless locks, and narcotics all seem to be telling the same story whenever I stop in for a show.

I collapse beside Jamie; breathing, sweating, and playing over the micro-second glimpse of myself I'd seen -- in the mirror, bathed in sickly, recessed light -- on my trip to the floor.

She tells me, until tonight, she'd never gotten high in this building. That until tonight, she'd never been sure what parts were "bugged", as she put it. That Gib, like the almighty, was always watching, and listening, to what was said in his halls. That be it a prayer, or a curse, he'd know, and dole out his reaction appropriately. That she, Jamie, had always hated this place. Hated the location. Hated the look. Hated the smell, and the people, and the countless hallways, that spawned more hallways, all full of more people.

She tells me that, mostly, she hates that she has to be here, now. Right now, with all of them swarming a floor down, drinks in hand and commiseration to spill. Probably wondering, by now, where she's gone off to.

This is the benefit of virtual invisibility. Nobody thinks to ask where Jamie's shadow went when she's truly shining.

I think about Gibson, and how every time we met, it was here. How I'd, never once -- either on principle, or by nature -- moderated what I said around the man.

I turn -- rather, I shift the direction that my body is slowly melting -- to face Jamie, and say something truly puzzling.

"You're handling this really well." I say, softly.

Her head thumps against the wall. She blinks, shakes her head, and says, "Don't do that." Her eyes close, and in an instant it looks like she's dreaming for how her lids shiver. "Don't ...talk like one of them."

Neither of us say anything for a while. There's footsteps, up and down the hallway. Voices, talking softly. Somehow, nobody knocks, or attempts the door, long enough for Jamie to get to her feet. She studies herself, in the mirror, leaning in to scrape a run of mascara with the point of her nail. Some is fine. Some means she's been crying, and that's expected. Too much is just a show. Too much says she's been losing herself in quiet throes of agony, the way Gib would've hated. Too much is gauche, and the Eggars' always know when the hype's dead. I watch her -- both form and reflection -- still a puddle on the floor, as she uncaps a small, plastic container to pour forth another pill.

"You want one?" She asks, already grinding it down.

I can feel my heartbeat in my fingertips, and in my ears. Each breath feels dragged from my lungs. I hear a voice say "Yeah", and I'm getting to my feet. Whoever she is, looking back at me, as I go for my share, I don't recognize her.

She's a ghost, with dead eyes and a paralyzed heart.
Pt. 4 : You, Me, and the Lamppost
Jamie is pulled away the moment we're back on the ground floor. I watch her go -- stumbling as she does -- arm looped at the elbow of a man I've seen, and have maybe even met, but whose intimates escape me. My breathing still shallow, I skirt around the bar and toward the rear of the Glassway. There's eyes on me; stolen glances, and the rolodexing of my name, or association with the departed. A smile, or two. Twice as many small, solemn nods. One loud, boisterous laugh from someplace in the room, that's stifled nearly as soon as it erupts.

I guess I'm going for the patio. Some hindbrain part of me is screaming for organic air, and the coolness of whatever solitude I can afford myself, but I'm interrupted -- grabbed, really -- by Milo who must've been having the same idea.

"Where are you from?" He asks me. His face is buried between the fabric of a chaise lounge that we've collapsed on, and my shoulder. I can feel the warmth of his breath, through the cable-knit, and it's making me feel more like I'm sweltering than I probably am. He'd gone to kiss me, on the patio, but I'd stopped him. I'd seen him drinking -- not lightly -- and even under the best of circumstances, having a tongue shoved in my mouth isn't usually something I crave. Add in stale whiskey, and what smells like what was probably too much cologne, three hours ago, as a garnish, and a few rounds of heavy petting is about all I'll allow.

A man is dead, after all.

He'd made it as far as fishing a hand up my sweater. Managing a few, half-hearted squeezes at my tit, and what felt like an attempt at full-mast, he'd eventually petered out, and had optead instead to lay, edging a coma, next to me. This happens a lot with the Junk. Even your best laid plans feel like a lot of work, once you're going to lace up your boots. Once robbed of ambition -- and libido -- the mind and body most readily seem to crave smaller, simpler, creature comforts. A warm body, and something else that breathes. Skin, and something like familiarity.

It's probably better this way. I only found him attractive from a distance.

"Why?" I ask, into the darkness of what I think is someone's office.

He lifts his head, sort of watches me as well as his eyes can manage, and says, "Because I want to know." He must be sobering up. I am. "I don't meet a lot of Americans," he says. "We don't come to America much at all, because of..." he gestures vaguely, and I take his point. "So," he says, readjusting. I can feel his eyes peering up at from where he's cozied himself in. "I want to know: where are you from?"

I sigh through my nose, adjusting a bit of my own.

"Casper." I say.

"Like the ghost," he says. "And where is that?"

I don't know why his asking has put me so on edge. Somehow, specifying it, giving it a name, is twisting in my stomach like a tapeworm, and I'm suddenly compelled to be up, and moving. Instead, I fidget against him, and say, "America. You speak French?"

"Mm, oui." I can hear him smiling through the word. Like a charm, getting him off the topic was easy as shifting the subject to that which concerned him. Another Eggars characteristic that took me all of ten seconds to figure out. "Do you want me to speak to you in French?"

I blink. His forearm, and hand, is still fed up my sweater. I feel him feeling, with fingertips, at my ribs.

"Sure."

He thinks a moment, makes a sound that might be a chuckle, and says, "Dans une autre vie, tu serais mariΓ© Γ  ma bite."

"Thanks," I say, squirming away from his hand. He takes the hint, but only enough to let his palm slide down, near my hip.

"Do you want to know what it means?" He asks.

"Not really."

It seems quieter now. Either the event is coming to a close, or my mind is waking up enough to notice. Faintly, through double-paned glass, I can hear the city; humming and squealing.

"Where in Am--" he goes to say, but we're talking at the same time, and he stops.

"Are you going to be at the reading tomorrow?"

He thinks, shakes his head. "No. I don't think I'll need to be. Why?"

I don't say anything. I'm hoping he'll lose the thread, and revert back to something easier to deflect. He moves again, this time taking his hand, and arm, with him. The chaise is wide enough for both of us, so when he rolls, he's only close enough to sense, and to hear breathing.

"Are you?" He asks, maybe putting together that where Jamie roams, as do I.

Lift a stone, and you will find me. Split the check at DuVani's, and I am there.

"Yeah," I say. "I think maybe I should."

"For ...like ...emotional support?"

"Yeah."

"I dunno," he says. "Jamie's kind of a wreck, when she gets going. Aunt Beth too. I just think, like, the whole thing's gonna be, like ...boring, and sad, and just..."

"And just?"

He shook his head. "I dunno. Just, like, you could come fire it up with us. We've got a few rooms at the plaza," he pauses to reach for something that he thinks will sweeten the deal, "and a lot more of those Blue Roxies. I mean, fuck it, why go be around more of that if you had a better offer?"

He sits up. Goes about unrolling, and re-rolling, where one sleeve has drifted below his elbow. At first, I think that he's soured on the situation, the room, or even me, and I'm -- for whatever reason -- backpedaling my mind; searching for something to add that'll assure me that the lure still exists. Then, watching him, I realize he's just itching for another line. His shoulders are tense, where once there'd been not a worry in the world. His body language is stiff, going about rigidly when he stands to readjust himself, and turn over shoulder to offer me some.

"What colour are your eyes?" He asks, seated behind a desk, breaking down a pill.

I sit up, and do a little adjusting of my own. I can see him now; half-lit by a small, underpowered desk lamp. He's thin, long-limbed, and incongruently tan. I can see the resemblance to Jamie.

I lean back, and keep watching.

"Guess."

Pt. 5 : Ghost
You're wondering who I am.

You want to know how I got myself into this situation.

How did a girl, from Casper, find herself soon-to-be in the possession of one of the world's largest multimedia sectors to date? Was it coercion? Could Gibson Eggars -- businessman, and tactician the same -- have truly succumbed so entirely to the graces of a woman whom he'd only sparingly touched? Was it through more direct, tactile, manipulation? Had I been dosing the increasingly old man in my time around their clan; crumbs of opioids here, and drips of blotters there?

You're thinking: god, she must give great head.

You want to know what a creature of remarkable beauty even looks like.

Well, bear in mind that beauty is in the eye of the beholder. What gets your motor running might be considered borderline repugnant -- or, undesirable, at least -- to someone else. That said, for about as long as I can remember, the world has been telling me I'm beautiful. Always with the footnote that the word, however apt, never quite captured the true sentiment as thoroughly as their heart, mind, or other organ, might have wished. In a world full of poets, and songwriters -- both of which I've met, bedded down with, and, yes, even perhaps loved in a way -- each seemed to be unable to specify this beauty, beyond the usual acknowledgement of its existence.

I've been compared to Audrey Hepburn, more than once. I believe this has to do with the size of my eyes, and the real-estate they command. This, and what's been a five-year-long preference for wearing my hair short; it keeps itself straight, and frames the shape of my face nicely. Dark. As close to black as mahogany allows. My natural shade is something much lighter, and wouldn't offset the fairness of my skin nearly as well. The beauty industry always has fun names for these covers: fair meringue, ivory cream, cool bone.

I'm still not sure if that last is a veiled insult, or a gentle warning.

I only feel dead, I shouldn't have to look it.

Ah, but what of the rest? What of the curves, and smooth valleys that surely grabbed the attention of a man like Gibson Eggars, a man some decades my senior? Surely it wasn't my mind. Surely it couldn't have been my ability to converse, unencumbered by obligation, or concealed motivation. Surely it wasn't something intangible, and indefinable, about me that had him so tightly wound around my finger. No. This is real life. This is a story you've heard so many times, that you can safely predict the outcome; every bit, and piece of trim, included. This is a man -- tired, and bored, and disenchanted with what he has, and all that he sees -- who laid eyes on a pair of tits, or a piece of ass, that he just needed to possess. This is an attempt at recaptured youth. A jumpstart to a marginalized appetite.

This is the preying on of a weaker, more susceptible mind, by that of something we assume has more restraint.

Only that ...we know that it's not, remember?

This isn't that kind of story.

This isn't my tits. They exist. They are, sometimes, a source of lust. I go where they go, and sometimes people notice I've tagged along. This isn't my lips, or my delicate figure, or my eyes, or my tongue, or my legs. It's not the aesthetically correct proportions, and arrangement, of my facial features, and it is not the creature you see, at a benefit dinner, or an art gallery, or a garden party, existing mostly the same as armless, Greek statues or tastefully pornographic art.

If you saw me, in the flesh, and you didn't know me, you might think me unapproachable. If you approached me, and you weren't ready to be shot down, you might think me a heartless shrew. One of those pod-people, who seem to exist solely on being perceived, but never interacted with. You know, a bitch. If you thought I was a bitch, and you weren't too sore over whatever mean thing I'd said, you might still find time, later in your day, to reflect on how great my ass looked on your retreat back to humbletown.

Maybe.

Again, this is all beholden to preference.

For Gib, the draw isn't as complicated as you might be thinking. Put yourself in his shoes, if you can, and picture your day to day life. If it helps, envision each new, hourly problem as an appetite, that needs fed. Feeding one means the others need wait. Those with the greatest, most voracious, appetites need more immediate baying than others. That is, your greatest concerns will devour most of your time, and energy. These are financial matters, of an ongoing, and multiplicative nature. This is seven divisions of a company, spread across thirty platforms, and outlets, both in print and online. This is an app, for Android and Apple devices, that's perpetually combing user data, and feeding it back to market data analysts that swear, on the daily, that another, unprecedented boom, is coming. This is a money-guzzling quasi-ex-wife, and an equally envacuuming black hole of a daughter. This is the foundation, that you both act as chair, and facilitate, for your son, eight years gone. It's a million hands, reaching out to you, to be greased, if it's simple, or be hauled up, if not.

It is exhausting.

And not in the sort of way that a "full service" massage will fix. Not in the way that makes you spend tens of thousands on hobby equipment, so you can hang another picture of yourself, and your accomplishment, on the wall, before moving on. Some men pine for the stars, and will exert literal billions to be as high above the rest of us as is financially feasible. Some men retire to private islands, where the cell phone service is non-existent, and the age-limit is negotiable. Some men -- at least one, by my estimation -- chase the whiff of an overdose, and wax theological with their daughter's friend when the stars, planets, or schedules align.

With me, he didn't have to be anything other than the pitiful effigy of a tyrant. With me -- when it was just us -- Gibson Eggars could die, and whatever was left could come crawling out of the carcass, to wallow with another of god's beleaguered own for just a little while.

I'd never needed anything from him.

I'd never wanted what was his.

With me, he was nothing, and so was I.

He may have loved that about me, and I'm sure, if I could, I'd feel something similar in return. As it is, Gibson Eggars is dead. All of his love, all of his hate, and all that couldn't be so easily construed, has gone with him.
Pt. 6 : The Lotus-Eaters

Not that you'd know it, but there's a penthouse, on Central Park West, that's home to more opioid use, and general debauchery, than maybe all of the clubs, and underground brothels in the city combined. Invitation only, those that make it far enough with Jamie -- be that an urge to get between her legs, or otherwise -- most often come out with a version of the same story to tell to other survivors. Knowing her -- the way anyone can -- is something of an endurance challenge itself. Say you were one of them; a guy, or a girl, intent on closing the deal, then you'd be in it for the long haul. There are no quick dalliances with Jamie. All promises -- even those of a purely transactional nature -- are subject to the whims of her, the universe, and any other wrench that might go tumbling down into your machinations.

We share it, the penthouse. Jamie on one half of the space, and I inhabiting the other. We're roommates as much as we're sisters. We're both, in our own way, terrified of being alone once the dust settles, and it's time to sleep, and eat, and bathe, and partake in all of the other trivial, human requirements that don't seem to exist out there, in the wild.

Maybe you're thinking that sounds like a nightmare.

Maybe you've been reading up until this point, and the thought of cohabitating with a creature like her sounds like bedding down in raw meat next to a hungry jungle cat.

The truth is -- and you're free to balk -- that I don't mind the disquiet. I'm largely unbothered by the shouting, and the broken knick-knacks, and the occasional, calamitous fucking that finds a way to pour through what the building manager told us were thrice-baffled walls. I find a way to maneuver around where bodies have collapsed in post-coital slumber. I've even managed to come up with fun, somewhat convincing stories as to why they chose the penthouse's main living space, as opposed to the foot of the bed, or in a kennel, or wherever Jamie sends them after she's gotten hers. I don't care that the fridge is perpetually left open. I've accepted that this -- this place, and this situation, and this level of insanity -- is the way things are. The way I choose to be.

Besides, have you ever watched the sunrise from sixty floors up?

It's worth a few annoyances.

It must be close to dawn, given the lazy, silvery shade of light that's pouring in from floor to ceiling glass, when I hear the first of their stirring.

"Fuck."

I'm on a wrap-around sofa, half curled into the fetal position, somewhere between actual sleep, and the heavy, immobile coma that comes from a night of abating, when I hear another voice join the commotion.

"Oh, fuck. Fuck me. Jesus."

The door to Jamie's bedroom swings open, and there's the sound of feet, pacing in a hurry, crashing into things, moving with the sort of blind, panicked urgency that tells me, whoever they are, they're looking for something.

"Jesus fuck, man. What the fuck are we gonna do?" This from the voice still in Jamie's room.

"Where's..." Comes the reply. Clipped short by another crashing of feet into what I think is the leg of an upholstered chair. There's a curse, more of that quick, nervous searching, and then, "Where's uhh ...shit."

"What!?" I can hear that this other voice is coming closer. Now they're both in the main space of the apartment, and I still haven't moved an inch.

"Her ...fuckin' friend, man. What's her name?"

I sit up.

"What?" I ask. Vacant. Flat. Dead.

He exhales this massive sigh of relief, and moves to the back of the sofa. His tone lower, I can tell by the way his eyes jerk between me, and Jamie's room, that whatever issue they're having, it directly involves her, and I'm the best solution their pair of brains can conjur up.

"She, uh..."

He's fumbling, sweating, and carrying with him an aroma of leftover good-times and the acrid tinge of fear. I don't recognize him, at least not enough to place where he might've latched on last night, but he looks about the type that Jamie typically snares: cute, dumb, and without any of those pesky, moral hangups that'd ruin the night. It never ceases to amaze me how many of them there really are, just waiting for their chance to disappoint.

I'm on my feet before he's even gotten around to telling me what's wrong. Moving, toward Jamie's room, I feel him on my heels, and both of them are flanking me in the doorway. We stand there, the three of us, wordless and still. I can hear the arrhythmic thock, thock, thocking of one of them chewing on, and snapping, their thumb nail.

"She's fucking dead." One of them -- we'll call him Adam -- says.

"Fuck." This from who we'll be referring to as Brad.

"I-I-I," Adam stutters, "I ...I didn't even, like -- fuck, man. She was rippin' all night. How the f--"

"Fuck," says Brad, again.

"I didn't know, man," he's saying, his hand on my shoulder, turning me so that I can see the sincerity on his features. If I had to guess, he's referring to the fact that he'd been, comfortably, sleeping next to what he thinks is a corpse. Or, perhaps, that he didn't know just how difficult this whole affair had been on Jamie. A small part -- the little flicker, that often ends up being right -- tells me he's just lobbing words as they come to him. This is grief, and regret, commiserating with each other the only way they know how.

"So, whadda we do? Like..." This is from Brad. Apparently, when pressed, his vocabulary can grow wings. He must be the brains of the operation.

"We gotta call, uh -- fuck. We gotta call somebody. Isn't there, like, somebody you can call?" It seems like this question is being asked of me. "Like, not the police -- but, like, the police -- but, like, after, like...."

After we clean up the place. After we've flushed what remains of Jamie's stash. After they've hightailed it to wherever it is fucktoys go when they're not in service.

"Yeah. Yeah, right," says Brad. "There's gotta be, like, a hotline, ya know? Like, a number you can call--"

"They're gonna wanna fuckin' know what happened, man." I feel his hand on my shoulder again. "And, like, y-y-y-you'll, like, cover for us."

"She's not dead." I say.

It sounds like there's an attempt to stop me, when I climb up from the foot of Jamie's bed to sit, on knees, beside her. In the defense of Adam, and Brad, this is the worst I've seen her look since we've been chasing an early death. Corpse-white, lips dry, cracked, and slightly agape, eyes caught between open, and shut, she's giving anyone who hasn't danced this number before reasonable cause to assume the worst.

"Jamie." I say, sharply. My vocal chords are still waking up, and it comes out a touch softer than I intended.

Nothing.

"Oh, fuck, man," I hear Brad say from behind me.

I move to straddle her midsection, and try again.

No response. Just glassy eyes, and the greased over, porcelain skin of her face, expressionless.

"Jamie!" I say, louder this time, and tug at her earlobe, hard.

"Mm!" She sounds back, making an attempt to roll away from the sting of pain.

There's a gasp of relief from both Adam, and Brad, as Jamie lifts a wrist, and hand, to lamely slap at where my weight presses against her.

"Jamie, wake up."

"Why?" She asks. Truly, I'm impressed she went for an actual word. Sometimes -- more and more, lately -- I'm reduced to translating grunts, and mumbles when she's like this.

"Jamie! Wake! Up!"

Finally, I see where recognition, and life, spark behind her eyes. She blinks, her throat working in a dry swallow, before she's glaring up at me, probably wondering why I'm sitting on her. I dismount, and lay beside her on the bed, almost forgetting about Adam, and Brad, who are still watching intently from the doorway.

"Bitch," she whispers, rolling onto her side and burying her face into a pillow that's tracked with last night's mascara.

It's quiet for a moment. Long enough to hear Jamie's slow, steady breathing and the sounds of their feet, shuffling.

"So, she's ...okay?" One of them asks. With my eyes closed, and lethargy reaffirming its grip on me, I can't be bothered to figure out which.

"Yes." I say, without elaborating.

"Jesus Christ."

I wish that I could share in the relief they're feeling. If only for a moment.

"One of you needs to go out," I say. "Or ...both of you, I guess it doesn't matter." I find that it's taking more than I would've anticipated to articulate myself. Taking thoughts, and forming them into words, feels like dragging my heels, so I speak slowly, deliberately. The way you might to a child, who can only understand a thing if it's spelled out verbatim. "You need to go to NAVI -- that juice bar, on 83rd. I need you to get a Pink Dream, with," for a moment, it feels like my mind might stall, and I'll be unable to remember the specific string of words necessary for this order. I sigh. "Get a Pink Dream, with the Immuno-Boost. Bring it back here."

"Two." Jamie says in a muffled voice, holding up as many fingers.

"Get two. And bring them back here."

There's no response from either of them. I prop myself on an elbow, and peer to where they're backlit by the rising sun.

"Okay?" I ask.

They nod, almost in unison.

"Don't fuck this up, please." I say, after my head hits the pillow again.

It's not until after they've left that Jamie rolls again, this time to face me. We're close enough on the massive width of the mattress that I can feel her breath on my shoulder. The weight of her forearm lands on my ribs, below my chest; a half-hearted sort of embrace that I feel myself adjusting to accomodate. She curls closer against me. I feel her breathing becoming more steady. More normal.

"He's dead," she says, finally, softly, against my neck.

"I know."

I won't bore you with the details of what happens next. I'm sure -- if it's important to you, and if you must -- there are no shortage of stories where tears are shed, and comfort from a friend is given. There are, undoubtedly, more honest, better-equipped writers out there who can impart just how heartbreaking the sadness, and helplessness of a damaged, lonely soul is.

I did warn you, though.

This isn't that kind of story.
​
Pt. 7 : Glass Ballerina in Arabesque (coming soon ...er or later)
 
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An Offering to the Great Muse Gods

Just like it says. Something that popped in my head. Something I needed to get out.
Pattern Against User (trigger warning)
You're in an auditorium, sitting, just before an event begins. In front, behind, and all around you is the cacophony of a thousand conversations being had, quietly. Trying hard enough, you might be able to pick up on fragments of a few as they pass, but attempting to follow any one thread will just make you dizzy.

On the stage, half-lit by stage lamps, is a plain, black backdrop, with six foot letters, painted a dull silver, spelling out the name of the man you're here to see. You paid for this. You bought the ticket, took the ride, and now here you are: sitting in anticipation with maybe a few hundred other people all with the same prime directive:

Be here.

Listen.

Learn, if you can. Apply, if you're able.

Take these words home with you, and remember them as required; for pain, discomfort, insomnia, delirium or general unwellness.

The lights dim. The audience settles into an anticipatory silence. Save for the creaks, and groans, of old, auditorium seats, and an errant, tightly restrained, cough from someone with bad impulse control and/or impeccable comedic timing, it's quiet enough to hear footsteps, from the wings, approaching center stage. There's a brief, tributary round of applause from the audience, and a casual half-bow/wave from the man on stage. It's a practiced maneuver. You've seen him do it, many times, in YouTube videos and in past performances. It conveys humility, sort of, as well as it imparts something about to be given from the heart.

A gift.

"Hello," is all he says. His hands are folded at the small of his back, and he's dressed like third place in a Steve Jobs lookalike competition. Well groomed. Fuzzy at the face, and atop his head, the stage lights give the illusion that he's glowing. From your spot in the audience, you can see a glint as it reflects like flashbulbs over the surface of his belt buckle. Trim through the middle; a runner's frame, evident at a glance, even if you didn't already know about the countless marathons in his past. From the stiffness of the belt's leather, to the utter lack of even a speck of lint on his black longsleeve, you can tell the entire outfit is brand new. Torn from plastic envelopes, pressed, and put on, maybe minutes before he took the stage.

This level of perfection isn't correlated to the man, or what he's preaching. It's incidental. It's a second-cause effect to what you could be too if you listen.

If you learn.

"Hello," the audience says back, not quite in unison but unnervingly close.

He smiles, starts to pace slowly toward one end of the stage. He's mic'd up so well that you can hear each crease of spittle as it retracts back over teeth when he goes to speak. He's looking at nothing particular when he says:

"When I woke up that morning, I didn't know what my plan was."

It starts just like this. En media res. Anyone who paid to be here knows the lead up. This saves precious time. Time that you bought.

"I only knew that ...it was going to be the last day that I had to worry about it. The last day that a plan would be needed. The last day that I'd have to accomplish first one task, then another, and another, until I found myself returning to bed again. The last time I'd wake up."

Words will never describe how silent the audience is during this introduction.

He goes on to tell you, and everyone else for that matter, about the first time he considered killing himself. How he woke up, to a beautiful day; blue skies, and mid-seventies until evening, to find everything desaturated. The colour, and the joy, and the purpose to even a beautiful day, had once again eluded him. His specific usage of the word "Overwhelmed" will be circled back to, several times, during this oration. Overwhelmed, at life, and its manifold complications. Overwhelmed with his person, and purpose, and place, in the world, with his family, and loved ones. Overwhelmed with everything, and his mind's inability to remember -- truly remember -- what it felt like to be happy.

He tells you, from the heart, that he will never be able to convey the hopelessness of this mindset. Of being unable, or incapable on a spiritual/biological level, to feel, or to even reflect upon fondly, what it meant to feel joy.

He tells you, and everyone, that he thinks some of us feel that way too.

That it's why we're here.

To listen, and learn, and apply, if we can.

"When you're in a depression," he says, "you're not able to consider anything from outside of it." He goes on to explain that depression, or the symptoms of it, have been a part of most of his adult life. That, like a headache, it's not all at once. It's a gradual climb, or descent, from whatever previous "benchmark" state you had to compare it to. That like a proclivity for headaches, or an increasingly bad knee, or a cluster of cancer cells, it can take years -- it can take as long as it takes, and not a second longer -- to fully present itself, and become an identifiable problem. For him, that headache crested on the morning he's describing. He'd simply reached a point where he could no longer handle another colourless, sunny day, and had resolved to do something about it.

That something?

He "Rang his mum."

"Just to hear her voice," he explains. He elaborates, briefly, on his past suicidal ideation, and that how the only thing that stayed him, really, was the damage, and hurt, it would leave behind. How his present, living, guilt kept him on the brink without the drive to take a final step. How hearing his mother's voice, this last time, was essential so that, regardless of how far the plunge took him, she'd know where he'd been standing.

"My mum -- who's a clinically trained psychologist -- must've picked up on something in my voice, because...."

You hear a sniffle from someone, nearby, in the audience. Nobody seems to notice, or care, about his casual inclusion of his mother's, extremely relevant, profession. Without context, and under the right circumstances, its inclusion seems almost hilarious.

"She asked, y'know, are you okay?"

He's moved from the hard stage left, toward center, where he began. His expression is something like vacant; eyes unfocused and mouth cocked sideways. More sounds of spittle over teeth, and he's back in the moment. He explains, after some light probing -- a "benefit afforded to mothers" -- that he admits his emotions, and his feelings of being overwhelmed to her. He says that, in an instant, there's some level of comfort from simply having given these things shape. That naming them, and addressing them in a place of vulnerability, has softened their bite.

Somehow defanged them, if only minimally.

"She put me in touch with a wonderful, wonderful doctor," he says, "who contacted me, and had me come to meet them that morning. We sat -- she had this lovely home, out on the West shore -- on her ...her ...patio/garden area and just spoke, for hours. Three hours had passed," he says, from half-stage right, his emphasis reaching heretofore levels unseen, "and we had simply been talking. Conversing. Not about me, necessarily, or about what had me out that morning, but simply conversing. About hobbies; hers and mine. About a film she'd seen. About my pets, and her first grandchild."

At the mention of this, grandchildren, there's an audible sound from the audience.

"Yeah," he says in response. Smiling, "Imagine that. Her first grandchild, born just two days before we met.

For some reason, they all applaud softly at this.

"And she asked me something -- which, on the surface, is very simple -- she asked me: "Do you want this to be over? Or do you want to not feel this way anymore?"

Stunned silence.

"Yeah," he says. Solemn. No more hand gesticulation. No smiles. "And it was in the distinction -- in that A or B scenario -- that I was able to pierce the shroud." Walking again. Minimal gesticulation. "I was able to see beyond the depression, to what was outside of it. Outside of it, along with my wife, and my mum, and my friends, was me too. The part of me that wanted to not feel that way anymore. That part that still saw the colour of beautiful, sunny day." There's a brief pause here, and a grin. "Day later, I had gone out and bought my first pair of ...really, truly hideous sneakers." Soft murmuring, and laughter. "Maybe some of you have seen the pictures back then," a grimace big enough for the back row to appreciate, "bad. Dreadful, really."

You can't help but notice -- in this moment, as a point of relevance -- that he's wearing a low-profile pair of running shoes, done up in tasteful black, and silver matte rubber, and mesh. They stand out against the rest of an otherwise professional-adjacent outfit, but only in the way a corsage offsets a tuxedo.

From here, and for the rest of the event, he'll divulge the peace, and beauty he was able to find by simply walking, or running, for what eventually amounted to the next year of his life. A year, on the roads, and walkways, and running paths, living and breathing and experiencing anything and everything the world around him had to offer. Sleeping in hotels, at first, before -- by right of the notoriety a stunt like this garners -- in guest rooms of fans, or on pullout sofas.

"The food," he says, with a smile, "that these kind, kind, generous, benevolent people afforded to me -- prepared for me, as I set out again on my travels -- was unlike anything I can describe. The company of these fine, compassionate, enjoyable people was giving really wonderful colour, and depth to the things I'd been unable to see."

And it just goes on like this.

One iteration of an experience after another, that all amount to the buoyancy this man's soul was able to develop when he'd made the conscious effort to choose B over A. To realize that his want wasn't for this all to end, but to be able to be a willing participant in it. To continue, toward another sunny morning with a purpose, even if that purpose was only to be.

And then...

It ends.

There's applause. A half-bow and clasped hands. A meet-and-greet/book-signing/cheese-and-wine serving for VIP ticket holders in thirty minutes, in the atrium overlook. You couldn't afford the VIP experience, but hoped general admission would be enough.

You get up, walk out, and you go home.
 
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Hiding Behind the Light

Have you ever seen a monster?

A real one.

One you could reach out and touch, if only you had the gumption or the drive. One that breathes, and reeks, with claws, that bites. They're out there, you know. Reeking, and biting, and swallowing things whole. Wolfing down the Earth, shitting out the bones, then biding their time until we've built more.

Have you ever seen one?

A monster.

An affront to you, and all those pretty things you hide.

Things you cherish, and things you conceive. Things you count on, and things you need. They take them, you know. They swallow, and feed. They devour, and crack open bone, for a taste of what made you, and anything you might've been.

Have you ever seen?

A monster.

They're out there, you know.

And they look just like . . .
 
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What it Could Be

So, we're doing this again?
> We're doing this again.
Did I miss the memo? I'm not especially at a loss for words or anything.
> I think this is more for me, than for you. Seeing what we can shake loose. Weighing our options.
Options? Like there's another skull you could be inhabiting?
> Living, rent free, in someone else's head isn't as hard as you might think.
I guess that's true. Is that what this is about?
> No. Just a statement of fact. You know how much I love those.
Like the desert craves the rain. Like the back aches for the lash.
> Like the page wants for the words, and like the beast hungers for prey, and bla bla bla. I've read that story. We've seen that movie.

You sound a little jaded.
> I feel a little jaded. Hence this attempt at navel-gazing with someone I can only sometimes tolerate.
Right back at'cha, gorgeous. So: options. What've we got?
> A new hobby. A new project. A new source of engagement. Something to reignite the passion in our selves.
Like?
> Archery? Gardening? I hear there's a lot of peace to be found in growing, and tending, to something that's largely dependent on you. Almost showing your tits on the internet?

How does that help me?
> Well, I think the idea is to almost for free, and then charge dollars for the real show.

I meant the reignition of my passion.
> Oh, I dunno. I'm more of an idea person. I leave the legwork to the meat.

So, what you're saying is, you're largely dependant on me; to grow, and tend to? That without me, you'll wither, and rot, on the vine. And then my salad will suck?
> I don't think I'd ever use an analogy as clunky as that, but yes, that's the general idea.

I like that we're in agreement. I'm'a go tend.
> Take notes, bitch. You know you were never any good at remembering what you typically don't notice.

You get mean when you're bored. I like it.
 
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Bags of Trash

Have you ever seen random bags of trash on the highway?

I don't mean little bits of garbage, or like the used grocery bag that you line your bathroom bin with -- but full on, under-the-kitchen-sink sized bags of trash, just strewn out all over the street.

What happened? Were you on the way to the dump, and one got away?

Do you just drive around with bags of trash in your car, and the highway seemed like as fine a place as any to toss it?

Who does that?

Who just dumps a full-on bag of trash on the road?

What's going on in your life that you felt you had no other options?

Or is it the wind, maybe?

I hope it's the wind.

Otherwise, I just can't begin to rationalize what would bring a person to that.

View: https://youtu.be/AR3b2cSz8r8?si=xLzMPJIZI0GtU1Pn

 
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I Think I'm Disappearing

Lately, and frequently, I've been finding that automatic, sliding, doors (the sort you find at grocery stores and the like) have been ...less than cooperative when I approach them. That sounds insane -- and maybe it is -- so lemme explain:

If I'm approaching the door, as though to enter whichever establishment, they'll often hesitate before sliding open. Not just a brief second. Not something that can be excused away as simple coincidence, or hardware breakdown. No, this is a noticeable, frustrating, amount of time before the door will seemingly acknowledge my existence, and allow me entry.

I've observed this not happening to other people using the same door.

However, if I'm going to leave, again the doors seems to operate outside of their usual parameters; usually racing to close, like they're trying to keep me in. Like the doors know it's me, trying to leave, and they're making a last ditch effort to prevent that. An after-the-clock hail mary, cuz everything else has failed, so why not get cute?

And who's keeping score anyway? Where's the flag on the play? Does anyone else notice this happening to me?

Is it happening?

How would I know?
 
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It Had To Be You

It had to be you, or it wouldn't have happened at all.

These things: floods, and wildfires, and heartbreak. They come, and they bluster, and they take it all away.

It had to be you, or we wouldn't even be talking about it.

If these things never happened, how would you know they exist?

What good is luck, if you never need it?

Of what use is relief, if you've always been safe?

If it wasn't you, it would've been someone else.

If it weren't them, it still would've happened.

So, it had to be you...

...or it wouldn't have happened at all.
 
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Funny Things : an ongoing list

Bird sounds
Costumes
the interior of a Volkswagen Beetle
Airplane seats with ashtrays that are welded shut
Pugs
Boxes of wine
Hamburger patties too small for their bun
Spillage
Bad Photoshop
Foibles
Nose piercings
The sound a wet dishrag makes, slapping onto the floor
Huaraches
Parents having quiet conversations with their children in public spaces
Layovers
Hydraulic press videos on YouTube
Quacking
Antique hats
Foghorn sounds
Arm-wrestling
Sun-faded bumper stickers
That one guy, in a parking lot, who said "hey, where you goin'?" to his shopping cart when the wind caught it
Owls
Ferrets
Human-operated toll-booths
Adirondack chairs
Sculptures of robots
Pleats
Bronzed baby shoes
Cheap hotel coffee makers
Vanity plates
Plaid
Retrofuturism as an aesthetic
the word "Faux"
Squeaky wheels
Crown roasts
Above-ground swimming pools
Confetti
Puns on church marquees

...and more
 
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