Tag Archives: SUNY Geneseo

Ethan Keeley

Fledgling

Jason felt alive. The intense winds tearing at his face brought the eight-year-old to a state of ecstasy. This was his first roller coaster ride. He sat toward the back with no one next to him and imagined he was in control of each movement—the track was mere illusion.

The first drop forced his head against the cushioned seat; one heavy bar held in his slight figure while the ride brought him to a left turn, then a right, jolting him to either side. Unanimous, joyous screams went up all around. Another ascension, then down again, then a flank, which caused the coaster to turn nearly sideways. Jason felt the sensation of floating; his body began separating from the bar’s embrace. Adrenaline flooded his veins. It was all part of the fun—back to a straightaway—he was fine.

They were approaching the last leg of the journey. One final incline, one last push to the end. Jason could see the whole park now: a miniature display. He was utterly detached from the world. The coaster began its final descent. Jason felt himself slipping again as the bar shook looser with each bump. He held on with every ounce of strength he had, but gravity was a ruthless opponent. He was sucked upwards, then pulled downwards. He heard distant screams from above, then only the wind. Fly, it whispered.

Jason was free—weightless. He silently watched the unforgiving earth approach him.


Ethan Keeley is a senior English (Creative Writing) major at SUNY Geneseo. He has lived most of his life in Rochester, NY. His short story, “Half,” was published in Gandy Dancer 2.1. He would be best friends with Huckleberry Finn because of his philosophical nature and adventurous spirit.

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Michael Cieply

Index of a Hypothetical Journal

AMORPHOUS
The shape of the jam jar and its contents, shattered on the tile.

AROMA
Comforting. It clings to you relentlessly. Shared with my childhood blanket after its monthly bath.

BILE
The substance spewing from my throat. Someone laughs.

BREWERY OMMEGANG
Veggie burgers and frites. Where I saw you for the first time in months.

BRUSSEL SPROUTS
Embarrassment at Easter dinner. Retribution by Christmas.

CRY
What I do when you do.

DOG
[run play jump fun dig kick drool mope shit eat pant bark love]

DRESS
Our shared apparel: hand-me-down shirts with mangled necks; woolen socks traded in the February snow; faded mittens, dripping with nostalgia. I sustain these articles like my memories, wondering if they are still yours.

END
Of the night, of the film, of the blanket, of the tea, of the ride, of the walk, of the embrace, of the cone, of the visit, of the fight, of the wait, of the laughter, of the daylight, of the rain.

FEEL
Not the warmth of fresh blood billowing from split lips, not the witnessing of friends diminishing their potential, not the city smog. When your hand finds mine.

FIONA
The three-legged dog I see whenever I drive through that town.

GRAVEYARD
Where I want to walk with you. Where you do not want anything.

GUILT
The entrails of a raccoon staining my tires as I accelerate to reach you. Knowing the necessary words, but not saying them. Taking you for granted.

HARANGUE
Sexist politicians. Ignorant doctors. Wicked preachers.

HEAD
Your face your ears your hair your nose your eyes your cheeks your eyebrows your tongue your lips your lips your lips your lips your lips.

IMMACULATE
[see ‘HEAD’]

JARRING
How much funnier that joke is when I hear it from you.

KATHLEEN
Name between names. From the ones who loved you first. It can never be taken away.

LOVE
Resisting the urge to watch the next Breaking Bad on your own. Feigning laughter to fill the silence after an unfunny remark. Identifying the ways you are willing to change.

MEMORY
Contemplating in bed as I flirt with slumber. Mind’s destination on long car rides, too far for my GPS to navigate. Simultaneous happy place and tormentor. Flexible, changing with time. Easily manipulated. Worst torture of all. Source of all guilt.

NEEDLE
The cross-stitch you brought into this world for no other reason than my contentment. The acupuncturist’s tools that have helped you more than all the Ibuprofen in the world.

OBSERVATIONS
The process of converting your thoughts into text, rearranging into sentences, and escaping your mouth with exactly the right intonation. Insightful. Witty. Unique. Perceptive. Never vainglorious.

PRINCESS QUEEN
Unsure why I started calling you this. Unsure if stolen from a television show. Unsure if you are the queen of princesses or the princess of queens. Unsure which is better than the other. Unsure if I will ever stop using it. Certain that it suits you.

QUIET
Walking in your house at night. Adjusting myself so I can watch you wake. Trying to think of what to say in a fight. Driving home after a weekend with you. The highest attainable volume on Netflix. 4:00 a.m. and 4:00 p.m.

QUINTESSENTIAL
The middle piece of a cheese pan pizza.

RAIN
An anarchical presence that signals the hopelessness of productivity, the cancellation of events, and the stalling of progress. Emancipates behavior otherwise unacceptable during peaceful conditions. Only when we are in the thick of a storm’s pandemonium does time seem to renounce its rigid schedule and take pause.

SWIM
Summertime pleasure. Total connectivity in a body of water. Sensual dancing in 360 degrees. The struggle to stay afloat. You in a bikini.

TRAIN TRACKS
Our early destination. I suppose we were too scared to cross it. I suppose we never had a good enough reason to leave.

TROCHILIDAE
The bird around your neck.

UNDERSTOOD
That quick glance you just gave me. The corner of your mouth twitching. Why you wore that shirt. What you would say if you were here. How much to drink on medication. That joke in Arrested Development. The occupancy of my discomfort. The moment just preceding hatred. That I did not mean to say what I did.

VEHEMENT
My passion for breakfast/your passion for filtered water.

WEGMAN’S
Where all roads lead. Inviting to all with shirt and shoes. Instant satisfaction. Gluten-free macaroni and cheese. Cheddar bunnies and coconut water. Ingredients that we silently agree to not try to pronounce.

XENON
The word that always catches my eye on your Scrabble mug. I imagine something extraterrestrial. Something fantastic.

YESTERDAY
Wanting to go back to relive it/wanting to go back to change it. Wanting that same high. Wanting to forget the consequences.

YOUTH
Never stolen, just misplaced. Never lost, simply prioritized. Release all preconceptions if you wish to retain it. “Oh, to be young forever,” we hear the townies in the bar say.

ZUCCHINI
Yellow and green spread before me. Eaten only after that joke bombed. Your blue eyes are the only confirmation I need.


Michael Cieply is a junior at SUNY Geneseo who studied at Binghamton for two semesters before transferring. As far as fictional characters go, he would be best friends with Sal Paradise from Jack Kerouac’s On the Road.

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Savannah Skinner

On the Ovarian Nature of the Mouth

There are little match girls striking the insides of all our ovaries.
Organs enamel & disintegrate in the sink like baby teeth
umbilical inside our skulls—digest us through an awakening
cathedraled & façaded,
a peristalsis like marbled malá strana.

Hips—the narrowness now waxing—rise so lethargic
from the damp menarche: ulcer a space as solemn.
We pendulum from doorknobs & clot drains with vacancies of incoming molars.

Down the hall, my sister’s mouth brims with cotton fields.

A young boy’s cuspids crown between her jawbones & they’re just bodies
inside bodies inside themselves:
a matryoshka so skeletal, a cavity
so filled & swollen.

O, how our thighs have gaped for them, as if curtains made windows
any less transparent. Rib cages replicate
& nest further within our chests.

We anticipate the hollows of bras to see
if all our areolas swell like first kisses
in some other family’s basement.
Like mouths inside other mouths.

Molars give way to more molars & molt—
removal as an expansion
of the borders of the body. Rust rings

in the satin & ceramic of the little coffins where
my mother cherishes our eyeteeth:

still-fleshed extractions strung up for thirteenth birthdays.
Our ovaries are mimicry, fresh-gummed & released.
As if organs incubating teeth were any less horrific.

On the Places We Have Lived, with Children Not Quite Born

Lust through doors & vibrate screens like humming paper nests.
Say you don’t believe in ghosts
of a before-life
though the bedskirts rustle, & I
have smelled you burning
sage beneath the windows. This is an old house
with no refrigerator
& we can hear them laughing in empty bedrooms.

Imagine life before kitchen cabinets:
My father chewing
jars of pig knuckles, brined & coaxed

sardines between his blunt teeth:
five sisters learning to honeycomb
the anatomy of the absorbed twin
sized beds where we slept—

I emerge from the mouths
of my sisters & become incarnations of all our mothers
: un-fossilization of a firstborn, crowning

of the wasp queen. A father marrows
in your baluster spine—waiting
& your ulnas, they vellum—filmy
as the pregnancy of radiator air,                of me:
Crystallize a hive in my abdomen
& I’ll fill the cavities of my sister’s molars.

You were the wasps living in our walls,
a welcome stinging—
a harvest of clover & carrion:
my ovaries staining the hardwood with a
we’ve been waiting for you.


Savannah Skinner is a student at SUNY Geneseo, and is probably a junior, but maybe a senior. She is currently studying English (Creative Writing) and European History, among other things. She declines to pinpoint her origins beyond “near Buffalo… sort of.” Were Savannah to befriend a fictional character, she hopes that it would be Piglet, an agreeable pal who would also fit nicely into a compact space.

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Nate Pritts

Wake Up Call

All of my dreams get interrupted
by waking up, by the distraction
of having to actually live—
to walk around & bump into things,
to breathe real air with consequence
& weight. Still the basil in the window
quietly getting bigger, the cilantro
brazenly becoming pungent
& filling the house. My pillow
aches with loneliness which makes it
just like the small patch of weedflowers
wanting those deer to come back.
Every morning, your face
right beside mine, & me hidden
under my hair, behind my very own face,
no matter what I dream in the dark.
Most nights I find myself
in situations I can’t get out of,
trapped through celestial mechanics
in some different story while my own
real feelings hover just out of reach
like pollen in the air in summer.
Invisible but with repercussions.
Surrounded by a flurry of questions.
Sometimes you just need to get
belligerent in the face of the whole
universe getting sappy. We fall
the way the leaves fall, slowly.

 

Alarms at Noon

I’m always talking about the soul,
about the divine hovering

like a voyeur outside my window.
But what I’m wondering is how

the early season bumblebee,
size and shape of my fist,

fits into the overall scheme
as it knocks against my window

like a drunk friend jabbing
a finger into my chest

to emphasize how we were done,
really done forever?

Such beautiful armies are gathering
on my hilltop stronghold,

all their armor glistening
like a birthday cake, the mud

turning green under their
aggressive boots. I mean tulips,

of course, & all those stick trees
getting full, baby yellow buds

screaming on the branches.
When the bluebird stared at us,

tiny beak chittering,
we saw the soft white throat,

we saw that it was good.
We guessed there were other things

we couldn’t possibly see.

 

Infinity’s Kiss        (Sunflowers)

My primary habitat is memory

                a space opened up

inside of regular time

                where duration cannot be calculated

because none of these frames of reference

                mean anything        condensed as they are

into a field of stunning engagement

all these different waves of light

                find themselves entangled

some stories move without any action

                devoid of memorable occurrence

nothing happens

but the tension builds

                anyway        clipped reactions

inexplicable to our planet or the inhabitants

                with their complex incompressible souls

we worship geometric figures

we worship remnants

we believe in something solid

                an eruption of sunflowers on the side of the house

in a memory someone is having

                we are all experiencing the thrill of past life

reified & alive now

                a single compact moment

when everything good / every pleasurable memory

                comes back to haunt us

to live ghostly        permeating the present

                & we believe in something solid

                we believe the stories we tell about ourselves
are ourselves

                we believe that everything is lost around us

& we believe everything lost can be found.


Nate Pritts is an alum of SUNY Brockport where he took classes with William Heyen and Anthony Piccione and spent a lot of time walking by the Erie Canal. He went on to earn an MFA in Poetry (Warren Wilson College) and PhD in British Romanticism (University of Louisiana, Lafayette). He has published six books of poetry, most recently Right Now More Than Ever, as well as several chapbooks including Pattern Exhaustion and Life Event. His work has appeared in American Poetry Review, Gulf Coast, Southern Review, Black Warrior Review, The Boston Review and Poets & Writers Magazine. He founded H_NGM_N, an independent literary press, in 2001. He lives in the Finger Lakes region of New York.

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Erin Koehler

Boats Anchored by Mycelium

I peeled like citrus & found a crown
made of shark teeth in a place too deep
for sea divers. Here—
we take our potions for breakfast & breakdown
boxes for lunch.
We search for seeds sown by clown fish, dropped
from the mouths of eel spit grins—we sift salt
through our toothed gills, become fruiting bodies under mushroom caps.

We hop beehives, drip
ourselves in oil & honey—thrive anger into tumbleweeds.
We scrape against champagne
bottles; fear dying in a swarm
like a wasp: is it better or worse to be part of the excess?

My tongue is black licorice: a mechanism
made of traps, mice chasing
tails into my open mouth, cast ashore
by driftwood—

                we ambulance across ice. Asleep, I
record miles of roots on my arms.

The Charadriiform on Matters of State

I am milked out of answers     And fossil
stiff     An affair of seafoam and kelp,
my tongue to test the waters first
—this fire     This fire (chewed through
rigging oil—) strong     Dissonance here,
how to unravel and let drift, the isthmus
flat and pink     Implosions are like that: taut
scars of lights broken and humming open
Open, then a raking through low tide,
carved faces: the horror of reflections: a
gull squawking; goes on squawking

 

More than Receipts & Hollow Pockets

Mama: made of pollen—her body: contained
with anther & dull smudged eyes. She is the lift-bridge
of continents: I cannot find the edges of her, they sprout

daffodils in the woods behind our house. Bulbs drop
like secrets out of telephone calls: Mama

curls herself into cords—I stroke leaves & she strokes
wires. Daffodils keep pushing

up with poison ivy, quarantined from the garden.
Mama wants to play bumblebee—can only wasp

her way among them. I watch her
lift petals & hand them out like flyers—sending them further
than sundial shadows; further than continental crust.

When they finally settle it is the sigh
of a dial tone & scattered powder.


Erin Koehler is currently a senior at SUNY Geneseo studying English (Creative Writing) with a Native American Studies minor. After college, Erin hopes to find a career writing children’s literature and being creative. Bilbo Baggins is her literary kindred spirit because of his love of comfort, good food, and things that grow.

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Lucia LoTempio & Kathryn Waring

An Interview with Erika Meitner

Erika Meitner is a graduate of Dartmouth College and the MFA program at the University of Virginia, where she was a Henry Hoyns Fellow, and also earned an M.A. in Religion as a Morgenstern Fellow in Jewish Studies. Her first collection of poems, Inventory at the All-Night Drugstore, won the 2002 Anhinga-Robert Dana Prize for Poetry from Anhinga Press. Her second collection, Ideal Cities, was a winner of the 2009 National Poetry Series Award and was published by HarperCollins in 2010. She is currently an associate professor of English at Virginia Tech, where she teaches in the MFA program.

Lucia LoTempio: You had me with the epigraph with Copia. Where did you find that definition and example sentence? I was literally giving you snaps after I read it.

Erika Meitner: Lucia, the definition was mostly from the Oxford English Dictionary, but the epigraph includes additional definitions from other dictionaries too—so it’s a sort of amalgamation of everything I could find on the word that seemed pertinent to the book. Believe it or not, that example sen- tence was in the OED, and as soon as I saw it I had to nab it for the epigraph.

Kathryn Waring: I read on your website that you decided to title the collection Copia after seeing a photography project by Brian Ulrich. There’s definitely a striking similarity in images here (I’m thinking specifically of your first poem, “Litany of Our Radical Engagement with the Material World,” though obviously these images threads throughout). How did you discover Ulrich’s photography, and have you ever spoken to him about your collection?

EM: Katie, I’m glad the imagistic connections to Ulrich’s project are clear! I’m not sure what exactly led me to Ulrich’s work (other than possibly Google). I know I became interested in this idea of ‘Ghost Box’ stores and ‘Dead Malls’ first, and found Ulrich’s photos online later. I read and listened to many interview with him, in addition to looking at his photos. And then I got to see his work in museum format at the Cleveland Museum of Art in 2011—which was a few years after I had started writing from his poems online. But I’ve never spoken to him about my book.

LL: The copia of commercialism and material goods are at the forefront of your book, yet there is also a focus on absence and empty space, like with the speaker’s body in “By Other Means.” Similarly, your exploration of Jewish history and the Yiddish language within the collection offer a contrasting discussion of memory. How did you begin to approach these ideas/topics within the collection?

EM: I’m not a project book kind of person—meaning when I set out to write, I just write poems; I don’t usually think about a collection as a whole. It happened that my obsession with Detroit (and its abandoned buildings) coincided with my struggle to have a second child, and those empty buildings (in retrospect) became a really fitting metaphor for my body. At the same time, my grandmother had died, taking her language (Yiddish) with her. Which is to say that life happened, and art became a way to work out the deeper meanings and resonances of things that were happening to me, rather than the other way around.

LL: I know geographic location is important in your other collections, but in very different ways (I’m thinking of Ideal Cities, in particular). Can you talk about the importance of this specific place, and locality in general within Copia?

EM: While poems about Detroit are a big part of this book, when I started the poems in Copia, I was actually thinking a lot about what it meant to be from or of a place. I’m first-generation American. My mother was literally a refugee—a stateless person—as she was born in a Displaced Persons camp in Germany, which is where my grandparents settled after they were liberated from Auschwitz. My father’s family escaped the Nazis in what was then Czechoslovakia by moving to Israel when it was still British Mandate Palestine. I grew up in very Jewish parts of New York, in Queens and Long Island, and my family and friends are mostly still in the tri-state area. But I’ve been living in rural Southwest Virginia since 2007, and trying to figure out how to bridge that dislocation became a central tenet of Copia. So a lot of the poems take place in and around the town I live in now, but some of the poems also go back to the Bronx of the 1950’s and 60’s (which is where my mother spent her later childhood), the Queens of my childhood, and Detroit. While Detroit is an actual place in these poems, it’s also a bigger part of the story of American desire and consumption. And I think that Detroit is a city that’s changed so much in a relatively short period of time, that even the people we spoke with when we were there acknowledged a feeling of dislocation inherent in the dissolution and renewal happening in various neighborhoods around the city.

KW: What was your process like when deciding on the organization of the collection, both throughout the book as a whole and within the separate threads of each section?

EM: Because I was working from series of photographs in many of these poems, some of them share titles (like “Niagara”). I was also really interested in what happens when you approach the same concept via wildly different content (as in “Terra Nullius” where I was trying to explore the idea of ‘no man’s land’). To organize the collection (and to order most of my books), I need wall space. I usually try to go to an artist’s colony (most recently, Virginia Center for the Creative Arts) where they have studios for writers that have giant bulletin boards on the walls. I’ll post all the poems I’m try to organize, and shift them around until I can see the connections between them (which can be both subtle and more overt). I also ask poet-friends to read the manuscript, as often they see connections in my work that aren’t obvious to me. In Copia, the first section is all about desire—often physical desire for a ‘you,’ or desire for objects. Section two deals with domesticity and violence, place and dislocation—desire for a home and homeland. There’s a word in Judaism—“galut”—that means exile; more specifically, it refers to the historical exile and dispersion of the Jews after the destruction of the First Temple in the 6th Century BCE (when Jews were uprooted from their homeland and subject to alien rule). What I was trying to get at, in section two, is not only the harshness/violence of the mountain landscape in rural Southwest Virginia (where I’ve lived for the past seven years), but also what it means to be people in exile, and be in a place that feels wholly alien and Christian, and detached from the Jewish areas in New York where I was raised. Section three has to do with infertility—desire for a child—and includes my documentary poems about Detroit, which function as a metaphor (all those abandoned buildings) for my body, for a hopeful sort of re-birth from the ashes. So desire ties the book together, but the subject material was disparate enough that the book needed sections.

LL: Aesthetically, this book is beautiful. I love when collections have off-beat shapes—and with Copia, this fat square is so necessary considering your fabulous long lines. I felt like it was almost selfish with space, while at other times luxurious in its usage of it, which is awesome considering the subject matter. Did you work closely with BOA with design?

EM: Thank you! It’s interesting—I did choose the cover art for the book (and the amazing book designer, Sandy Knight, made the art on the cover work in really creative ways), but I had no idea what size the book would be until it showed up in a box on my doorstep. I was so happy with the larger format of Copia. I knew when I was looking at the page proofs that none of my lines wrapped—which was something that had happened with all of my previous books—there were always two or three poems where the lines wrapped past the end of the page. But I didn’t know how good-looking the book would be until it arrived, or how big it was!

KW: Another thing I loved: the playlist. I’ve never seen a poet construct a Spotify playlist to parallel their collection before. Is this the music you just happened to be listening to while writing the collection, or songs you think pair well with specific poems within Copia? What gave you the idea to share this music with readers via Spotify?

EM: I actually got the idea from the blog “largehearted boy,” which has a section called “book notes” where authors create playlists for their books. Some of the music is stuff that I was listening to when I wrote the poems, or inspired the poems in some way. Other songs evoked the flavor (time/place) of some of the poems in various sections. I felt like the playlist was one other sensory way to help readers find their way into Copia.

KW: I’ve been thinking a lot about the crossover between poetry and creative nonfiction lately, and if the two genres should always be so black-and-white in their categorizations. In the reading guide you posted on your website, you list quite a few nonfiction books as background reading for Copia— personally, I was super-excited to see Charlie LeDuff’s Detroit: An American Autopsy on that list. You spent a lot of time in Detorit conducting research and interviewing local residents in order to write the poems in section III, correct? Have you ever thought about writing a CNF essay using some of that research? Or are there topics/ideas/images within the Detroit section that you think naturally come across better in poetry versus an essay?

EM: I actually did write a nonfiction essay to go with the Detroit pieces that doesn’t appear in my book, but you can find it online with the Detroit poems, at Virginia Quarterly Review. In this instance, I do think the poems allow me to use some of the language of people and place in different ways than the more factual essay does. But it was important for me that my process for the project was transparent and contextualized in some way, thus the essay.

KW: I know Copia is still hot off the presses, but is there anything we can expect to see from you in the near future? Any ongoing projects you’re cur- rently working on?

EM: I’m currently at work on a collection that’s tentatively titled Fragments from Holeymoleyland (and the title comes partially from my visual artist friend Kim Beck’s piece “Holeymoley Land”). I also borrowed much inspiration and a title and cover art from her for Ideal Cities. Anyway, my new collection has to do with various kinds of violence—and especially gun violence. I’m headed to Belfast, Northern Ireland, in December with my family for six months on a Fulbright Fellowship, where I’ll be teaching at Queen’s University Belfast, and also doing some research and interviews on the conflict in Northern Ireland as part of the project.

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Leandra Griffith

The Divide

“I really am sorry,” Ryan whispers. The bed creaks as he leans toward Melissa. His lips brush above her shoulder blade. Melissa stares at the open closet; the divide where her clothes end and his begin is clearly defined by a yellow blouse. He had promised to be there, promised to see their daughter at her first recital, but work kept him until seven.

Melissa’s fingers fumble for the lamp switch. Moving up the porcelain body, they trace the curve of its hip. Ryan reaches over her and switches off the light. When she feels his weight shift behind her and hears the swishing of sheets sliding against one another, Melissa lies down. Even in darkness, she sees the outline of his spine as it curves away from her.

Melissa hugs her arms to her chest, a boney substitute to Ryan’s thick embrace. He had been apologizing since dinner. Their daughter hadn’t even noticed his absence. He promised to be there next month.

She rests a hand around his hip bone and presses a cheek against his back. Ryan’s hand falls on top of hers. Melissa rubs her nose into his shoulder, leeching the warmth from his body. There’s a strange smell along his neck. It’s fruity. She lifts her nose to his hair and breathes in.

Melissa rolls away from him, pulling herself up against the bed’s edge. She sees that the yellow blouse, the dividing line, is just as visible in the dark.


Originally from Palmyra, NY, Leandra Griffith is currently a junior at SUNY Geneseo. She is a double major in English (Creative Writing) and Communication. She hopes to one day visit Seattle because she is a die-hard Seahawks fan and obsessed with Grey’s Anatomy. The fictional character she would be best friends with is Lord Goring from Oscar Wilde’s An Ideal Husband, because he finds humor in everyday life’s absurdities and she thinks he’d be great company.

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Bianca Döring // Amy Elizabeth Bishop

Allein

Reprinted with permission from Bianca Döring; copyright belongs to the author

Die Nacht ist in mein Zimmer eingezogen
und alles schweigt vor ihrem Steingesicht,
auf dunklen Füßen geht ein Silberbogen:
in Mond, ein Stern, ich weiß es nicht.

Es ist so kühl auf meiner Hand, als schwebe
ein kleiner Vogel immer an mir her—
ach trag mich, die ich kaum mehr lebe
ins Eis, ins Feuer, weiter noch, ins Meer.

Da lieg ich unterm Traum und atme Träume
aus einer Gegend fern und hell wie Schnee
und eß mein Brot mit kalten Fingern—all die Räume
der Liebe sind verbrannt und tun nur weh.

Alone

Translation by Amy Elizabeth Bishop

The night has moved into my room—
all silences before its stone face.
A silver bow moves along on muffled, dark feet,
a moon, a star—something I do not know.

My hand is chilled, as if a small bird hovers—
always with me. Oh, carry me, the one
who scarcely lives any more, into the ice,
into the fire, even further into the sea.

There: I lie under a dream and breathe only dreams
from a home distant and bright as snow—
I eat my bread with cold fingers: all the quarters
of love are burnt up and only cause me pain.


Amy Elizabeth Bishop is a senior English (Creative Writing) major at SUNY Geneseo. She calls Cooperstown, NY home, although she hopes to become a Manhattanite after graduating this May. Her poetry appears or is forthcoming in Gandy Dancer, The Susquehanna Review, and Dialogist. She currently serves as the Editor of the GREAT Day Journal and as a fiction reader for The Rumpus and Wyvern Lit.

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Erin Koehler

The Phototroph

My mother was the first person to teach me about plants when I was younger. She taught me to rotate plants on a windowsill, so the entirety could receive equal sunlight. It wasn’t until I took AP Biology my senior year of high school that I learned when a plant isn’t directly in the sun it leans towards the light—a phenomenon called phototropism. A year later, the summer my biology teacher died, the sun beat down like a fist. When I started working at Welch’s Greenhouses in May, the weather was brutally hot and dry. By July the ground was parched, cracked like the face of an old woman.

 

I arrive at eight in the morning and my water bottle is already dripping with condensation. I unlock the old barn door with the key hidden under a cement block on a shelf holding a variety of flowerpots. The barn’s small interior is illuminated, showing assorted plant fertilizers, antique gardening tools, and a plexiglass case holding collectable toy tractors. Grabbing a thin, white rope, I pull the main barn door open like a garage. After it’s up, I switch the sign on the small door to open.

When I first walk in I can smell the musty garlic, and the dryness of the dirt that has become part of the barn like the walls. The dust is a permanent feature of the cold, cement floors; no amount of sweeping can loosen its grip on the pavement. I quickly find the light switch and flick it on, hoping no spiders have spread webs across the spaces where I need to walk. The barn is connected to a small greenhouse, longer than it is wide. I open the greenhouse doors to let some morning air circulate the humidity. I reach above my head to feel the dirt in the hanging plants. The soil is slightly damp but could use more water. The hanging plants are attached to a water system of tubes and PVC pipes that my boss, Bill, built. I turn the nozzle and soon the rows of well-trimmed petunias, lobelia, million bells, verbena, fuchsia, and geraniums are dripping from a satisfying soak.

Pulling a garden hose out from under a wire bench by the wall, I water each row carefully and diligently. Trays of vibrant New Guinea impatiens and sweet potato vines beg for a drink from my hose, while clusters of pink and yellow lantana stand firm, pleading for their leaves to be stroked, releasing the odd citrus smell that they hold. I pass water quickly over the begonias, which tend to dry out more slowly, and give a little more attention to the gerbera daises and dahlias—their colorful faces spread open like decorative fans.

The summer heat is already causing my forehead to sweat. Wiping it away I wander back into the barn, which, despite the overhead lights, is cool and dark. I take a small drink from my water bottle, the condensation from the ice piled inside dripping down my arm. I glance at the clock on the barn cash register. It’s almost nine; the first customers will most likely be coming soon. I walk outside towards the plants that are left out on the tables overnight.

 

My mother, an early riser, was always in the kitchen when I would come downstairs in the morning to be greeted with a fresh pot of black tea. Not being much of a morning person until I eat breakfast, we habitually greet each other and don’t talk much, existing peacefully within a quiet morning lull. Although I can’t be certain, I’m sure the morning I learned of my teacher’s death was a similarly usual morning. I can see the sliding door in the kitchen pushed open wide—the stained glass my dad crafts in his basement workshop clanging familiarly to let in the morning air before the thick July heat comes in with the rising afternoon. I can see my mother’s mug, steaming before her, despite it being the middle of summer. There is no doubt in my mind that July 29, 2012 was like any other shining Sunday, until my sister came down from her bedroom, her hair tousled from sleep, and her phone brightly lit in her hand.

I continue the process of watering plants in front of the greenhouse and barn, where more plants sit on long wide tables. I give the peppers, tomatoes, cabbage, and broccoli a good drink. When I reach the herb table I rub the soft, thin lavender leaves, smelling the sweet oil left on my fingertips. Next, I pinch the top leaves of the sweet basil to keep them from going to seed and to help them get bushier at the base of the plant. As I water, I pick a mint leaf and pop it in my mouth, tasting it bitter and fresh between my teeth.

As the summer progresses Welch’s doesn’t require more than a few employees a day,and I often work alone, but I don’t feel lonely; I can see the life in each plant slowly bending stems and leaves in subtle movements. I feel responsible for them—a mother of thousands. Being by myself gives me time to think and relax, even if the labor can be arduous: weeding, lifting heavy bags of mulch, moving full trays of flowers. After a few months of working at Welch’s, I start to find that working in the greenhouse is therapeutic for me, giving me time to reflect on myself, a skill I need to focus more energy on. Only the sporadic customer, needing plant replacements or else starting their garden late, breaks my solitude.

This is one of those days where I am alone with the plants. Bill is out in the back fields harvesting corn, cucumbers, zucchini, and garlic to sell at the stand out front. Even this early in the morning I can feel my arms beginning to tan from the heat of the sun. I wipe the back of my neck; thankful I’ve had the insight to pull my thick, curly hair into a bun. In retaliation of my darkening t-shirt lines, I push my sleeves up to my shoulders.

 

 

My sister, Kara, has always been very thin and tall. Her height causes her to naturally slouch her posture often. She did this when she stood in the kitchen, leaning slightly in the doorway, her gray t-shirt baggy over pajama shorts.

“Kayla just texted me, and she said Mrs. Boyum’s been in an accident.”

My mother looked up from her Kindle, while I do the opposite and stare into the last dregs of my cereal floating in warm milk.

“How would Kayla know that?” My mother questioned Kayla’s gossiping nature, thinking she would have heard through the parental grapevine sooner.

“They’re really close neighbors,” my sister continued. “They think she was hit by a drunk driver.”

“What? How?” I asked in shock. “It’s nine in the morning. Was that last night?”

Kara shook her head slightly and looked down to reference her phone again.

“No, Kayla said it was this morning. She had to go help watch the kids.”

In my mind I couldn’t put two and two together. Why would someone be driving drunk in the morning? My mother groaned, ran a hand through her short brown hair.

“From the night before?”

Her question was met with silence. I don’t remember if my sister knew at that moment if Mrs. Boyum had died yet, or if I learned later that day. But I know that when I found out she was dead, I felt nothing but disbelief.

 

A single car rolls from the busy road into the gravel parking space as I finish watering. The entire community was shaken by Mrs. Boyum’s death. My bosses told me they could see the sirens and police tape from their house located next door to Welch’s. For weeks afterwards, people couldn’t stop talking about the tragic circumstances. As I turn off the hose I try to forget a customer who, a week or so earlier, had babbled on about the accident, as if the whole ordeal was idle gossip. It’s such a shame—she was so young—and a mother, too. When she asked me, did you hear about that? I shook my head. I pretended not to know her—my own teacher. I couldn’t tell this stranger about the grief that bounced around my thoughts like a hive of trapped wasps—the grief that I ignored for fear of what I would say or do if it escaped.

My throat tightens as I straighten a tray of marigolds. My mind shifts to the last time I saw her. We ran into each other at Wegman’s. She was with her son and daughter, and she told me she was proud of my AP test results. I had worked hard in her class. Biology was not one of my strongest subjects, and I managed a 4—the second best score on the exam. I push a fat, wet slug from the underside of the black plastic tray as I remember the pride beaming from her round, kind face. Short blonde hair framed her smile—the golden glow I remember of her laugh, her being alive.

I push past the marigolds. I think of her love for her children, how she was absent for a few days of class when her six-year-old son accidentally cut off the tip of his finger while moving a piece of equipment in his karate class. I can imagine her radiance, her enthusiasm shining as she tried her best to explain the complexities of the science of living things to a class of mostly uninterested high school students.

I find myself settling in with the pots that need deadheading—pulling off the caps of flowers where the petals are dying—to make room for new growth. I don’t want to think of Mrs. Boyum’s body being hit from behind; first by the man on his motorcycle, and a second time by the man’s girlfriend in her car. They had both been out late the night before, and they were both still drunk. I fight the thought of how, because of their recklessness, her body was flung into the road—hit by motorcycle, run over by car—and how right after, both fled the scene. I don’t want to think of how she was killed on this very street, not a half-mile from where I stand gently pinching away the wilting, sticky heads of petunias. And even as I fight back the haunting grasp of this knowledge in the blazing, burning sunlight, I cannot think of her as anything but whole.

As the dust from the car in the driveway settles, I wave hello to the small old woman who starts to amble slowly around, looking at the flowers. After about a half hour, the old woman comes into the barn, pulling one of Welch’s worn teal wagons behind her. I smile politely as I start to fill a few discarded boxes with her plants for easier transport home. As I box them up, I can’t stop myself from squeezing one of her snapdragon heads, imagining a toothy mouth opening wide. I note she has two trays of bright scarlet geraniums.

“These are one of my favorite colors that we have,” I offer for conversation.

She nods. “They’re much more beautiful than the ones I had before. The heat’s already killed the ones I planted earlier this season.”

“The weather’s been all over the place this year,” I say in reply.

“Yes,” she agrees. “Like people.”

I’m taken aback. I’m not sure why her response strikes me as so peculiar, but there is something of a cryptic truth to it that makes me feel uncomfortable but equally content, like dipping a foot into an undisturbed pool to break the glassy surface.

“These will look much better,” I say, gesturing to the flowers I’m almost done boxing up.

“Thank you, they’re for my husband’s grave.”

I give her a smile that I hope is sympathetic. This particular comment doesn’t surprise me—many people come to the greenhouse to buy flowers for grave plots. I swallow, and think about how Mrs. Boyum’s family will most likely be doing the same.

“We all age when we lose our mates—you know it breaks your heart and everything,” the old woman continues. “I was in a crowded room but I was alone. I lost him three years ago and it still feels like yesterday.”

“I’m sorry,” I offer feebly. How can I console a woman I don’t even know?

“This would have been our sixtieth year together. That’s a long time; I still miss him everyday. I find myself falling asleep in the afternoons when I never did before.”

I look at her and imagine she has the type of honesty that’s really only found in the elderly. Perhaps she lives alone, spending the remainder of her days giving away parts of her life to strangers, like tart rhubarb pie, one slice at a time. This woman is probably more than four times my age, and yet she is telling me of her sorrows, perhaps trying to make something of them. Or maybe she tells this story to everyone and this moment only means something to one of us.

After I count her change we walk to her car, and I help her load the geraniums into the trunk. The petals are dark cherry red and as silken as thin velvet. I resist the urge to snap a wilted stem that I missed when I was boxing them earlier. I remember to thank her for stopping by and turn back towards the barn, still feeling the old woman’s presence thick like the heat clinging to my sweaty arms, knocking at the buzzing wasp’s nest inside me.

When her car rolls out of the driveway, the dry dust kicked up by the wheels settles in its wake.

 

After my sister told us what she knew of Mrs. Boyum’s “accident,” as I kept calling it to myself, the day passed as usual. I pushed Mrs. Boyum to the back of my mind where I could pretend to ignore it, but where it sat throbbing like the engine of a machine. I called one of my best friends who was two states away at her summer job as a camp counselor, and who had taken Mrs. Boyum’s class with me. Our conversation was short and informational. She was shocked, and towards the end her words caught in her throat. I was still unable to let myself feel the weight of the morning’s events and tried to carry on as usual. After I hung up the phone, I thought of the candlelit vigil my high school had promptly organized for grieving students and members of the community on a place called Angel Hill—dubbed so five years prior, when a tragic car accident killed five girls from my town who had just graduated from high school. I knew a few people who were going there to meet up and grieve together, but I couldn’t stand the thought of sharing my shock and sadness in such a public way.

I was not at Welch’s the day of Mrs. Boyum’s accident, nor did I realize until later that the scene was only a few hundred feet away from my place of work. All I knew at first was that she had been riding her bicycle down Route 250 when she was hit—but that route is a main road, twisting and cutting through almost three towns. I suppose as human beings we view tragedy from a distance, far from our own personal connections and ourselves. So I never even imagined the possibility that she was killed so physically close to where I work, less than ten miles from my own home.

A week or so earlier, my family got the hardwood flooring in our house redone. We weren’t allowed in the two rooms while the lacquer was drying, but the Sunday Mrs. Boyum died we were permitted to go into the rooms for the first time. Kara and I marveled at the new shine, the floors polished and open without the large woven rugs that had covered them since we were very young. The open space was too inviting and I think at that moment my sister and I felt like we were small children again. I lay down across the new wood, smelling the clean fresh tang of the gloss. My sister tottered above me and grabbed my bare ankles. Before I knew it, she was pulling me across the shiny surface.

Kara pulled me in circles on the floor until I was gasping with laughter. I was dizzy from the motion and the childish absurdity of it all. We fed each other’s laughter until I couldn’t breathe, my sides aching. Suddenly, mid-spin, I felt something slowly shift deep inside me, and I was too out of control to stop it.

In an instant, my laughter was distorted into deep, guttural sobs. The spinning came to a halt. Kara stood over me, unsure of what to do. And there was my moment of private grief, sprawled out across the freshly dried varnish of our new floors.


Erin Koehler is currently a senior at SUNY Geneseo studying English (Creative Writing) with a Native American Studies minor. After college, Erin hopes to find a career writing children’s literature and being creative. Bilbo Baggins is her literary kindred spirit because of his love of comfort, good food, and things that grow.

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Ethan Keeley

Straight Lines

The more I think about it, the more I realize that Pearl, Mississippi, the town itself, raised me as much as my mother did. It was no fault of hers; she did her best, and I understand that a nurse’s duty is as much to her patients as to her children, even if it meant spending the majority of the day at the hospital instead of at home. Her work ethic set the precedent for mine, though I hardly had one to speak of at the time. So in the summer of my thirteenth year I begrudgingly went door-to-door around the neighborhood to offer up my lawn mowing services. She suggested I charge ten dollars per lawn, though I was vying for at least fifteen—after all, life was expensive, and I was trying to save up for life’s necessities, which then included a guitar and some video games. I managed to snag a few customers and that was enough for my mother. There was Mr. Daley a few houses over, the Petersons across the street, and Mrs. Crowley at the end of it. One customer in particular, though, actually made me enthusiastic about my new job, and that was Ms. Crespo one street over, whose daughter Giana had been in my English class the previous year.

I was most definitely in love with Giana, and had been from the time she’d read Frost’s “Nothing Gold Can Stay” aloud in class. I didn’t find the poem terribly mind-blowing, but the way she read it—no mistakes, no speed-ups or slow-downs, just steady with a smooth and soft cadence—got to me. She had the darkest hair I had ever seen, and darker eyes. When I came to Ms. Crespo’s house on my quest for employment, Giana came to the door. It was only a five-minute walk to her house, but before that summer I had no idea she and I lived so close to one another. I had always assumed people like her lived somewhere else—somewhere specifically not near me.

The Crespo house had light beige siding, a black roof, and a chipped-white front door. An army of grass and moss infiltrated the beat up driveway, which led to a small garage with a rusty, netless basketball hoop nailed to the top of it.

“Hi, I’m Aaron,” I squeaked when she opened the door.

“Yeah, I know. What’s up?” Her blank stare made me feel twice as self-conscious as I already did.

“Are your parents home by any chance?” I didn’t know yet that parent wasn’t to be pluralized for her. Sometimes I forgot other people had split parents, too. She gave me a look I couldn’t interpret—sideways frown and an up-and-down eye motion. I was oblivious to most things, I would later discover.

“I’ll get my mom.”

Ms. Crespo introduced herself and said that in this heat it was more than worth it to pay someone to mow the lawn, and that she was happy to help a young man earn his keep. She was a short, pretty woman, neither thin nor thick. Her teeth, almost always revealed, were very white and her hair, like Giana’s, was straight and black, but other than that she didn’t look much like her daughter. I assumed Giana’s thin face and lean frame must have come from her father.

The first time that I worked for the Crespos, it was the last week of June and the beginning of a dreadful heat wave. It had reached ninety-five degrees by noon and I felt every single degree, not to mention the humidity that engulfed my pores and lungs, making any movement a slog through thick Jell-O. The furnace that was the air, coupled with my curiosity about Giana’s location, inflicted all sorts of anxiety. Was she in her room watching me cut the grass? Were my lines straight? Was she in the living room, reading or watching TV, where I, all sweaty and disheveled, might run into her if I was invited inside? Was she not in the house at all? I considered asking Ms. Crespo when she came out with a glass of fresh-squeezed lemonade but couldn’t figure out how to formulate the question without seeming too direct. I cut the engine and wiped my forehead.

“I really am a sadist, aren’t I?” She widened her eyes and made a fanning motion with her free hand.

I didn’t quite understand what she meant, but found the gesture appealing. “Thank you,” I panted, graciously accepting the refreshment before absorbing all the liquid with one gulp.

She handed me a generous twenty. “A little extra for the heat.”

“You don’t have to do that.” I knew the things you were supposed to say. She ignored my protest and asked if I could come back in a couple days to help with the garden. We settled on Friday, the last day of June.

I had thought she’d be waiting outside like the time before, possibly already starting her work on the garden, but I didn’t see her. I knocked on the front door and waited, then heard a faint call in the distance.

“Aaron! Over here!” She was shouting from the side door, which took me a good ten seconds to figure out. Embarrassed, I scurried to the side where half of Ms. Crespo could be seen propping the door open.

“I probably should have let you know I might be inside.” “That’s okay.”

The side door opened into a narrow vestibule attached to the kitchen. I couldn’t figure out the Crespo kitchen; it was such a strange combination of broken-in and state-of-the-art: slick hardwood floor, spotless black marble counters, an oven from what looked like the fifties, and scratched-up cup-boards whose handles scuffed the walls when opened too wide.

Ms. Crespo offered me fettuccine alfredo with a side of roasted red potatoes—leftovers, I presumed, but still a much more elaborate lunch than I was accustomed to, and much tastier. It wasn’t that my mom was an awful cook—she just worked so much that my lunch options were normally limited to microwaveable carbohydrates and cereal, and by nighttime she was so exhausted from dealing with the handicapped, injured, ill, and dying that she either resorted to take-out or settled for preparing something simple. But as good as the meal was, the thought of Giana entering the kitchen upset my appetite. For a moment I thought Ms. Crespo was telepathic because she suddenly brought up the subject most urgent in my mind.

“You know, I told Giana to come down for lunch five minutes ago but sometimes I wonder if she’ll ever leave that room of hers. I’ll go call her again.” She got up to leave and the house creaked as she made her way up-stairs. Suddenly I was sitting at the sleek kitchen counter alone, my plate a creamy war zone of potato chunks and white sauce.

She returned with Giana, who was wearing gray sweatpants and a baggy white T-shirt, her hair falling chaotically over her shoulders. Even this look suited her.

“Hey, Aaron,” she said, her back turned to me as she reached into a cupboard for cereal. I loved the way my name sounded in her voice.

“Giana! What are you getting cereal out for? Lunch has been waiting here,” Ms. Crespo said.

“I want cereal,” Giana replied, nearly overflowing the bowl with generic brown oats, then drowning them in milk.

“Are you finished, Aaron?” Ms. Crespo asked, grabbing my battlefield of a plate.

“Yes. It was delicious.”

Giana stood in profile, leaning on the counter and staring out the window while she ate her cereal. The sunlight landed on her hair, revealing the auburn hidden beneath the black. With all my being I wanted to know what she was looking at and thinking about.

“Aaron’s going to help me with the garden. We’ll be outside,” Ms. Crespo said to Giana, who remained in her picturesque pose, chewing but not blinking.

We started on the garden, which ran alongside the walkway leading to the front steps. I knew nothing of gardening, so I merely did what I was told. Ms. Crespo wore a flattering wide-brimmed sun hat that not everyone could pull off. She lent me some gloves far too big, giving me deflated Mickey Mouse hands. As I self-consciously dug some holes for her new azaleas, I worried that they were the wrong shape or size or depth and that Giana, from inside, would take notice and deem me an unworthy human being.

Between the two of us, it only took a half hour to put the plants in place, pull the weeds, and water the whole row. It looked vibrant, though a bit at odds with the neglected driveway and old basketball hoop in the background. I realized there was no car in the driveway or garage. I wondered what Ms. Crespo did for a living. Maybe she took the bus to work. Maybe she walked.

She handed me two fives and asked if I’d be willing to help her clean the house on Monday. Once again I refused the money, which, for thirty minutes of hole digging, I really hadn’t earned. But she insisted, and I told her I’d be over again at noon.

“Have a great weekend, Aaron,” she said, gliding back inside. I wanted to say goodbye to Giana but saw no sign of her.

 

Sunday at ten in the morning was when I took care of Mr. Daley’s lawn. He was an older man who lived alone, had a small, perfectly square front lawn, and always gave me a soda or a piece of candy as a tip.

“Morning, Mr. Daley.”

“Morning, Aaron! My favorite lawn barber!”

This was his favorite line. He had me come every Sunday, so his lawn never really got to be long enough to justify being cut, but I think he appreciated the company. He would, without fail, be sitting on the front steps in his lawn chair reading the paper, glasses perched on his nose, white eyebrows elevated, pale forehead wrinkled.

“Now, get a load of this—they’re postponing the launch of the space shuttle Discovery because of some bad weather!”

“That’s interesting.” This was my usual reply when I wasn’t exactly sure which side of the fence he stood on, which was most of the time.

It was just as hot and humid as it had been all week, but I had begun to enjoy the therapeutic effect of mowing lawns, the way the consistent hum blocked out all other noise. I loved as well the up and down motion, the clear objective: go straight, turn one-hundred-and-eighty degrees, go straight again, repeat. The rhythm cleansed my thoughts, until they too moved in unobstructed straight lines, simple and direct. My consciousness coasted and cut the excess, but now and then I got caught up in thoughts of Giana: Would I see her tomorrow? What did she think of my coming over to her house to help her mom? And why didn’t Ms. Crespo have Giana do the tasks for which she enlisted me? If she needed a man, surely she could do better than a scrawny thirteen-year-old boy who still ate overly sugared cereal and watched cartoons most mornings. Giana was taller than me at the time, and I’d be willing to bet, equally as strong, if not stronger. Maybe she was occupied with other tasks. She could have been practicing an instrument, or writing poetry, or any number of endeavors more glamorous than yard and housework. And perhaps Ms. Crespo wanted to encourage me, a young man, to develop a good work ethic as my mother did. Moms were on the same wavelength that way. Single moms, especially.

After I finished Mr. Daley’s lawn, which only took about twenty minutes, he handed me a ten and a generic orange soda and called my attention to the paper once more.

“Would you get a load of this? The Jews and Muslims won’t stop blowin’ each other up!”

“See you next week, Mr. Daley.”

I didn’t know any Jews or Muslims. All I knew at the time was my town, some of the people in it, and that I was part of Mississippi, which was part of the United States of America. The world was much bigger than I could have imagined, of course, but my world was Pearl, and more specifically my mother, my little jobs, and my school. There was also Madison, where my father lived, but I saw him so infrequently it hardly counted. So the Jews and Muslims may have been blowing each other up, but as long as it remained in a land far removed from me and my town it didn’t concern me. Mr. Daley, however, seemed heavily invested in these matters, though I couldn’t figure out why. Here was an aged man glued to his front steps, boxed in by his lawn, concerning himself with the world at large, as if one day his house might be the target of an air strike. I had to admire his engagement. The man knew more about the goings-on of the world than just about anyone else in town.

When I got back my mom was in her green bathrobe, a Sunday ritual, making a brunch of scrambled eggs, fruit salad, and wheat toast, her hair wrapped in a purple towel. Sundays were her only full days off, and even then she might be called in from time to time. “Being a nurse is more than a salary—it’s a commitment to every human being who’s rolled in those doors, good or evil, night or day,” she would say.

She welcomed me with uncharacteristic vigor. “There he is, my working man. How’s Mr. Daley?”

“Same as ever.”

“Throw that soda in the fridge, Aaron! You’ll ruin your appetite.”

The eggs were overcooked, the cantaloupe and strawberry and kiwi juices congregated to create a discordant flavor, and the toast was slightly burnt.

“So, how was week one?” she asked, sitting down across from me. I told her that Ms. Crespo wanted me back over tomorrow.

“Again? She sure is putting you to work.” She didn’t sound as delighted as I’d anticipated.

It’s not bad. I’m never there long.”

“What does Ms. Crespo do?” she asked after a long intermission of chewing. “Her job, I mean.”

I recalled the car-less driveway. I didn’t know. Tomorrow was Monday and she would be home. Maybe she taught and had summers off. Tuesday was the Fourth of July, too, so she might have been on vacation.

“Why?” I asked, somewhat defensively, to my surprise. She shrugged. “Just curious.”

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