Category: Stories

Routines of the Apocalypse

She did the calculations in her mind, lying supine on the bus stop bench by the boardwalk. Nearly six hours would be needed to walk the distance between the seaside city of Perla, where she now lay, and the capital city of Matanzas, where she would replenish her stock of food and shower in a stranger’s bunker. To get there, she’d have to travel the dusty coastal road and then the broken ground of the freeways into the city. Speed equal to distance divided by time. Sweat pooled between her breasts underneath her frayed gray wifebeater.

The summer heat was an orange blur behind her closed eyelids. It was nearing noon but she had little interest in leaving her perch. She scratched at her face idly. After a few hours of communion with the salt of the surf and the bitter tang of her sweat, the skin over the bridge of her nose had begun peeling, flaking off in red ribbons like pencil shavings. Her hand dipped down, knuckles grazing the concrete flooring. Towers of clouds cast uneven, bulbous shadows over the planes of her face.

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Beauty secret

She is twenty-three years old. She is sitting on the subway, gaze trained on the smartphone cradled in her hands. Her biggest problem right now is that her preferred hair salon is closed for the next two days, and her bangs need a trim. Fine, feathery strands flutter over her brow and into her dark eyes like hanging vines.

She navigates to Instagram and progresses through a CAPTCHA, shaking her head gently to shift her bangs out of her vision. Her wrists ache with the weight of her bangles, two on each side, each adorned with a series of tiny gold flowers. The CAPTCHA is a three-by-three matrix of blurry, pixelated red chalices in seas of green. Please click on images with a red rose in a garden. 

The doors open with the sound of recorded bell and a stranger sits next to her. He rests his head back against the frigid glass, discretely watching her fingers fly across her screen. With Instagram unlocked, her feed is a ribbon spooling out: multicolored, endless. Her thumb pulls the forward motion of her feed to a stop on a video post called, tantalizingly, HOT GIRL TIPS. The woman presses play and bows her head over her phone, submerging herself in the world conjured by her AirPods; the stranger leans over, as subtly as possible, to read the parade of subtitles moving briskly in the bottom-half of the clip. His glasses slide down the bridge of his nose, coming to rest at its bulbous tip. The wheels of the subway car clatter noisily as it turns a corner.

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Bliss Point (Full Story)

Writing this was an experiment (on some level, though, I suppose writing anything is an experiment). I didn’t have an end in mind, or even a beginning or a middle, when I started writing. Instead, what I had was a series of images. A larger-than-life tiger, a blue chalk arrow, a suburban backyard. The threat of death, the complication of sacrifice. I had a vague notion that I wanted to recreate Iphigenia at Aulis. That didn’t end up happening, but it will someday.

In the end, I think all I wanted was to capture the sensation of listening to a bedtime story as it is being made up in real-time. I have compiled all part of “Bliss Point” together below and lightly edited it where needed.

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The Fisher Princess VI

He licks his upper teeth, tongue bulging from under the pink skin above his mouth. He shuffles a stack of papers over the tabletop, dull gaze tracking the motion of his hands as blandly as a crossing guard monitoring traffic. He smacks the edges of the paper against the dark green linoleum. Only then—the task completed, its tedium radiating through the room and holding them in bored, expectant thrall—does he look up at Cal and Max, sitting silently on the other side of the table.

Max can’t stop shivering. The room is small, box-like, windowless, and tiled along both floor and ceiling. Only a wilting fern tucked in a corner, its leaves edged in the yellow of old parchment, serves as decoration. She has the distinct impression that the space is kept purposefully cold. All warmth—bodily warmth, emotional warm—that enters is immediately quelled by the chill in the air, the silent devastation of the fern, the cultivated disinterest of the officer.

“I’ve had a chance to look at your testimony,” the officer now says. He is expressionless in a way that is obviously practiced. Nothing in his face betrays his thoughts—not their content, nor their existence. Nothing emerges from the waters of his tone—not even the shadow of a living thing with a beating heart beneath its surface. A man like him serves as an obstacle.

Max shifts in her seat. She’s almost offended at his lack of reaction, no matter how studiously affected. Overwhelmed by a silence that stretches uneasily into its tenth, blistering second, she breaks. “And?”

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Bliss Point (5/5)

Sal swallows hard and squeezes her eyes shut. She pictures her sister’s cool hand on her shoulder, steadying her, helping her first to her knees, and then to her feet. She thinks of all the times she has yanked Mina up from a fallen position: Mina’s tiny feet flailing as Sal hoists her from out of the sandpit, or into the family sedan, or onto a high chair, ignoring mewls of protest. All force of authority, in which a preteen Sal had perversely indulged. She puts one hand on her chest, fingers digging into the fabric. Remorse threatens to topple her and she has to bite back, not for the first time, the impossible desire to re-do their childhood, this time with an adult’s understanding of emotional tenderness, of duty of care, of sacrifice.

The void fizzes out, as naturally and as unceremoniously as the sun vanishing under the gray line of the horizon. The girl’s face returns. Her pride, playfulness, and spirit are gone. In their place is the dun-yellow gaze of a cornered animal. Sal steadies herself on the back of the chair.

When next the girl-tiger speaks, her voice comes out in a whisper. “Do you remember game day, when we were kids?”

Sal freezes. Blood rings in a low, wet tone, in the cavern of her head. The two men immediately turn to look at them. The charade is now over, and they begin their approach with even, measured footsteps.

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Hypervigilant

In the ruins poking over the horizon—sandy yellow, blurred at the edges, pink marble monuments glazed by the greenish sun—lies everything I have ever wanted. I stand on a distant dune, kitted out in a broad-brimmed hat, khaki overalls, and combat boots. I’m waiting for my opportunity to approach. The air is alive with heat, light, and whorls of dust.

Sand turns to worn cobblestone under my feet. The monoliths are tall and rectangular, providing some shelter from the elements in the form of long, cascading shadows. But they are afraid of my encroaching presence and recede from me as I walk by, no matter how slow and careful my steps. I observe one at its base, noting the irregular pattern of its pink-gray stone. But out of respect for its discomfort, I restrain myself from laying a hand on its cool surface. In response, I feel it release an icy breath of relief onto my retreating back.

I don’t begrudge the monoliths their distrust. They have ample reason to fear my visits. At first there are only a few broken monoliths scattered among them, but, as I press forward, I see they have grown in number. They lie in perfect halves, snapped apart cleanly, like toothpicks. Stepping over them feels profoundly wrong—like committing a crime in paradise. Sweat runs down my spine in thin, snaking lines.

There isn’t a whole monolith to be seen anywhere by the time I make it to the swimming pool at the center of the ruins. The broken monoliths here are nothing but piles of rubble, the dusty rose of the stone reduced to the color of spilled brain matter. The pool, lobular and ordinary, its sides bounded in unfinished concrete, is clear and glassy in the light. Palm fronds litter its surface. I shed my clothes and submerge myself, hissing in pain as my bare skin, scraped raw by sand and wind, makes contact with the water. At first, I swim cautiously, crossing sign posts in my mind as each stroke gets me closer to the deep end of the pool.

I almost have my hand on the concrete edge, terror and exhilaration catching in my throat, when I feel her launch herself from the bottom. A sleeve of bubbles, a torrent of force, churning underneath my shadow. I feel her anger before the grip of her hand, grabbing my wrist with her thumb and forefinger. Her nails dig in, drawing blood. I manage to heave in half a breath before she drags me down.

“Does it help,” she hisses in my ear, “to write out hundreds of words of stilted preamble? Does it delay the inevitable?”

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Bliss Point (4/5)

The girl has short hair that sticks to her flushed, sweaty cheeks, bracketing her face like a helmet, or like ribs around a heart. She has a lovely smile, but in Sal’s estimation her beauty is a false coin, just a reflection of her youthfulness rather than real allure. At that, she hears Mina’s plaintive voice in her head: Don’t be mean. Sal twists back to contest the Mina in her mind, insisting that she’s critical, not cruel. Value-neutral. A cool blue temperament: righteous, clear-eyed, candid, uncompromising. She knows the limitations of that argument, and how much it relies on Mina’s generous acceptance of Sal’s own opinion of herself. The truth is that the day Mina outgrows her sister, Sal will shatter into a million pieces.

But even Mina would have to admit that, in this case, the evidence is self-evident. Sal is stating the facts. The girl’s amber-green eyes, while striking, are far too large for her face, forcing her other more finely formed features to crowd together, as awkwardly as poorly spaced digits on a clock face. A defective doll, Sal thinks, letting her powers of observations wax poetic. She’ll ask Mina later if that’s too mean. She decides she’ll apologize if Mina says it was.

The girl is not tied to the chair, but the way she holds her body—her arms and knees pressed to her torso tightly, maybe painfully—still suggests confinement. Not material, but psychological. The two men hover at the edge of the backyard, at the intersection of property lines where the grass changes color from well-tended, manicured green to sickly yellow, conversing in hushed tones under the narrow shade of a maple sapling. They’re standing casually, like chaperones at a school dance, but it doesn’t escape Sal’s attention that one still carries a switchblade in his fist, and is repeatedly flicking it open and closed.

“It’s going to be okay,” Sal whispers to the girl, in her usual attempt at comfort. A big sister even to strangers.

At that, the girl shrugs. It’s a bored, noncommittal gesture, but her eyes glitter with playful intelligence, as though egging Sal on.

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Bliss Point (3/5)

“The tiger,” Sal yells back at Mina, as they run through the stubbly grass of the neighborhood backyards. “That’s what you shot, right?”

Mina nods mutely. Gone is her desire to deny. The scream rings through her mind like a struck gong.

“I get it,” says Sal as gently as their mother, and Mina reels back on the line, hooked and stung, both encouraged and profoundly dismayed by the show of empathy.

It feels good to be understood, but bad to be understandable. She wants desperately to be like Sal: an enigma, a mystery of cold gaze and muscular arms and strawberry blonde bobbed hair. She wants that steely light in her eyes, a torch that never dims, to fall into her possession.

“You’ve never liked cats,” Sal continues, and Mina smiles grimly at the accuracy of that explanation.

She keeps her eyes forward, gaze bobbing jerkily as she tries to match Sal’s pace. Mina had started out like a race horse, flush with adrenaline, but that chemical is quickly receding, leaving her hot and panicked in its wake. But Sal is immune to tiredness, gliding forward with no sign of exertion, her legs pumping with raw, fluid, impossible strength.

“Sal, I have to stop,” Mina pants, her hands coming down heavily onto her knees as she sinks to the grass of a neighbor’s backyard. Sal doesn’t say anything. A twisted magnolia watches as she immediately slides her arms under her sister’s armpits and hoists her back up to a standing position.

“Come on, Mina,” Sal says evenly, “you know you don’t have a choice.”

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Bliss Point (2/5)

Sitting cross-legged on the quilted bed spread, Mina draws out the scene on a fresh page in Sal’s spiral-bound notebook. Sal lies down alongside her, her head propped up by her hand, her feet dangling off the mattress. Outside, visible in the limpid, otherworldly color that streaks through the tiny basement window high above them, the night sky is already slurring into an icy, pinkish dawn. The early light casts them in the touchable, textured chiaroscuro of a painting.

Together, the younger with her hair in her eyes, and the elder with her illegible expression, they communicate with slight changes to posture and diversions of attention rather than words. Sal watches the bobbing of Mina’s bowed head as she carefully recreates the vision, noting her focused, scrunched-up face, the precise movements of her crimped hand. In many ways, Mina behaves like an eternal child—stubborn for the sake of stubbornness—but on the rare occasions when seriousness takes over instead, it transforms her from a girl into something else entirely. Not exactly like a woman, Sal thinks, but like a pendulum finally set into motion.

Mina’s version of the tiger looks less like a beast and more like an oversized house cat, an effect further exaggerated by comically triangular ears and oddly proportioned eyes. Mina’s drawings have always been clumsy, but she never fails to get her point across. The rectangular altar is thrice-outlined in ballpoint pen, ink oozing at its corners, announcing its position as the vision’s imposing emotional center. The heart of the dream. The lumpy oval lies above it, a vaguely humanoid form which Mina is now describing as a sacrifice.

“And, to either side, this guy with a very sharp thing, and an old woman. Like a king and a witch from a story.” Mina draws them rapidly: stick figures with bobble heads and blank faces. After a moment’s thought, she scribbles in a curved dagger in the hand of the first figure, and a hood cloaking the second.

To herself, in her capacity as an interpreter of dreams, Sal thinks: Time, slicing seconds off with a knife. Death, shrouded. That leaves three meanings to elucidate before dream becomes reality: the tiger, the sacrifice, and Mina, the archer.

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