Tag Archives: SUNY Geneseo

Ethan Keeley

 Error and Empathy: A Review of Karin Lin-Greenberg’s Faulty Predictions

I didn’t know what to expect when I first picked up Karin Lin-Greenberg’s collection of short stories, Faulty Predictions. As the winner of the Flannery O’Connor Award for Short Fiction, the collection doubtlessly had literary merit. But the cover—and we all judge books initially by their covers—with its sunny color scheme and playful cursive font, suggested a light summer read, something to flip through beside the pool or on a beach during vacation. This assumption itself was a faulty prediction, as I immediately discovered after reading the first story, “Editorial Decisions,” which deals with social alienation, prejudice, elitism, and suicide, within the walls of a high school. I further understood my error as I continued reading Lin-Greenberg’s humorous, resonant, well-crafted stories. As a writer of fiction, I clung to her idiosyncratic, lovably flawed characters, her various and detailed locales, and her inviting prose style. Despite their differences in length, content, and point of view, the stories collected in Faulty Predictions all cohere under the thematic umbrella of the collection’s title.

Faulty Predictions is filled with characters of all backgrounds seeking to control their situations, suppress their emotions, maintain their worldviews, or change their families. They all seem to know what they want until they are met with the very truths they avoid. As I read the collection, I came to realize that my prejudgment of the book was a reflection of a broader human desire to control and the tendency to make superficial assumptions. There is security in being able to predict the outcomes, and having one’s expectations thwarted is uncomfortable, but usually illuminating. Just as I quickly became aware of my own mistake in superficially pre-judging Lin-Greenberg’s collection, her characters come face to face with their own biases as well, and the consequences that follow. In “Late Night with Brad Mack,” the son of a late-night TV show host can hardly believe his father’s support and sincerity; an older English professor, Pete Peterson, is perplexed by the sight of his own youthful abandon caught on video in “The Local Scrooge”; a disgruntled medical resident in “A Good Brother” instinctively shows deep affection for his sister in a wedding dress shop.

Faulty Predictions is as much a presentation of its characters’ thwarted prejudices as it is a reflection of our own. In the collection’s shortest story, “Bread,” the alleged antagonist Lenny, who purposefully squeezes and ruins loaves of bread at grocery stores, turns out to have altruistic motives. Lizzie, Lenny’s girlfriend, recognizes Lenny’s righteousness. Her Ma, however, does not. She has preconceived notions about Lenny, as we do, and seeing his face plastered all over the local news doesn’t warm her up to him any more. Yet in the end, Ma unknowingly benefits from Lenny’s behavior. We know, however, thanks to Lizzie’s compassionate point of view. This story, though brief, captures the heart of Lin-Greenberg’s entire collection; not only does it explore the importance of perspective in determining our prejudices toward one another, it celebrates the little, often unnoticeable things people do to make life better for others.

“Miller Duskman’s Mistakes” explores these themes of human predisposition and goodwill in a broader sense. The story is told in the first-person perspective of the nameless owner of the Ladybug Bed and Breakfast, whose deeply rooted understanding of the intimate town of Morningstar, Ohio and its inhabitants allows her a sort of omniscience. This inventive manipulation of point of view allows Lin-Greenberg to explore more of what happens in Morningstar than would be possible if it were a more strictly limited point of view. As a result, the nameless narrator becomes the voice of Morningstar as a whole. When the story’s title character moves into town and opens a high-end pizza shop, he is met with disdain. Like an immune system fending off a foreign cell, the people of Morningstar initially try their best to drive Miller out by refusing to buy his food. But they come to realize their reactive behavior ultimately has greater, devastating implications when Avery Swenson, the town’s most beloved and promising individual, leaves indefinitely as a result of the mistreatment.

While Lin-Greenberg ends “Miller Duskman’s Mistakes” on a darker note than some of her other stories, it is still filled with moments of optimism that are characteristic of her writing. Avery and another younger resident, Caleb Barlow, are always looking to help others, whether it be their neighbors or the birds who fatally fly into Miller’s glass building. The humanity with which Lin-Greenberg imbues these characters conveys the vital importance of empathy, which is the remedy for human prejudice: “It might not be kind to say that [Caleb] was slow, but that’s the truth. He was the sweetest boy around, gentle, loved animals…He was the first student in the history of Morningstar to never miss a single day of school…” (124). While this assessment of Caleb comes directly from the owner of the Ladybug, it is, again, representative of the whole town’s consciousness. Whether or not all the individuals in Morningstar feel this way about Caleb, thanks to the omniscience Lin-Greenberg employs through her narrator, we trust her accuracy, and come to know and admire Caleb as well.

These instances of optimism and empathy are potently found in “Prized Possessions.” Lydia Wong, an immigrant from Shanghai, struggles to bond with her filmmaker daughter Anna, who is far removed from her mother’s Chinese values. Lin-Greenberg depicts moments of familial tenderness that highlight Lydia’s true feelings toward her daughter despite their strained relationship: “Surely Anna had to know that Lydia had only wanted the best for her, always. Yes, she’d been strict when Anna was growing up, but all she wanted was for Anna to grow up to be a proper, well-behaved young lady” (39). These revelations all take place within Lydia’s thoughts—they are never stated out loud and never openly discussed between characters. Lin-Greenberg understands that we seldom speak what we actually think, and these repressed sentiments preserve many of our insecurities and faulty predictions about ourselves and others—even our own families.

Indeed, Lin-Greenberg’s stories are ultimately about family, and not exclusively biological families. The high school seniors in “Editorial Decisions” become a family through their shared experiences, as do the diverse students of the “Half and Half Club,” the collection’s final story. The entire town of Morningstar, Ohio collectively raises Avery Swenson after her mother is killed in a truck accident and her father dies in Iraq; Lydia Wong walks “into the warmth of the afternoon to join her family” (49); Pete the professor recognizes “something familiar in the image of himself on the screen,” but can’t quite accept his role as an affectionate grandfather and human being (73). In the collection’s titular story, Hazel Stump, a paranoid elderly woman and self-proclaimed psychic, isn’t yet ready to embrace her multiracial family, only acknowledging them by writing their initials on several chalkboards in a college building. She foresees many things accurately, yet has the greatest trouble facing the most important truths of her life: the futility of her prejudices and a deep affection for her family.

Karin Lin-Greenberg’s collection makes us consider our own families and communities, our prejudices and insecurities. To read these stories is to connect to fellow human beings from many places, to understand their individual and universal struggles, and to reinvigorate the inherent human empathy that unites us all. It is also to understand how our faulty predictions about ourselves and those around us ultimately distract us from this unity. Lin-Greenberg, through her poignant, hopeful, and funny stories, offers redemption not only for her characters, but for her readers as well.


Ethan Keeley was born and raised in Rochester, New York, a significant hub of culture and the arts. When he isn’t writing he is either living vicariously through his nerdy obsessions, or playing guitar. He tours with his band whenever possible in a van unfit for proper sleeping. His fiction has been published in previous issues of Gandy Dancer.

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Devon Poniatowski

Adirondacks

My father bought a lake in memoriam of a glacier:

the tapioca simmer of his dead mother’s hum

as she sieved honey into tea.

I read her kinked hair as a bird’s nest.

If I pawed it, I’d trigger abandon.

She whistled often, the sound of roots inking silt.

My mother would have loved you.

The words that rock me to sleep.

Her moon visage follows me in cycles,

parses slats of light across my pillow.

I dream her underwater: mermaid-finned,

turnkey eyed, liquid. Salt dissolving skin.

She survives: a porcelain bird figurine

lolled on mantle. My father cried

twice: when ceramic met concrete & when

twine & glue couldn’t cradle splinters. Now

it’s him & the lake. In May he rows,

spooning the moon from the water

into a bale jar. The mountains erode to

the rhythm of his metallic clanks while I write

of her hands gardening empty rooms.


Devon Poniatowski is an English (literature) major at SUNY Geneseo. She believes in the power of art, and the importance of observing beauty. If she could befriend a fictional character, it would be Puck (Robin) from A Midsummer Night’s Dream for his spritely and mischievous whimsy.

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Codie Hazen

[Unspecified Endocrine Disorder]

means the Census Bureau pretends

I do not exist—I can traverse

binaries, but not borders.

Larynx clanks how raindrops fall into rusty

wheelbarrows: a workzone marked forever under construction.

Her name is buried in decade-old

attic dust, my mother still trips

over pronouns like leftover shrapnel. Caught

in crosshairs of trauma-patient

dressings that wrap my body: scars

like hidden playground gossip.

They number-chart my time on Earth—

how many years I am post-

surgery, by how many months I’ve barbed-

wire pressed my skin.

Metal is far too good a conductor:

synthetic hormone-altered blood poisons

reproductive organs like tetanus, a cold scalpel.

How lovers push me onto beds

of nails when they ask to flick

the light on. There is a reason soil is most fertile

after volcanic eruptions, gardens grow

in pick-up trucks over years of abandonment.

I cannot help the victim who lives only in family

photographed memories: canonized wanted posters

of eternal makeshift obituaries.


Codie Hazen is a sophomore studying English, Adolescent Education, and Women’s and Gender Studies.  He calls Wilmington, Delaware home. You are most likely to find him in coffee shops, ice rinks, climbing mountains, or longing for the open road.

 << 1 poem by Katryna Pierce   1 poem by Devon Poniatowski >>

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Joseph O’Connor

Review: Panorama Taken While Rolling Down a Hill

I was looking at him & he

was rapt in the sun

leap-frogging over the California valley. A heartless game of king-

of-the-hill: I bury desire with sneaker trampling;

fertilize the green-gold patches.

Hook him

from the armpits. Make him beg

for his uncle.

Headlock & drop

to my knees like two blades

of a crashing anchor:—

Throw ourselves overboard or

to the wind or

whichever he prefers.

We fall head-over-groin-over-

baseball-cap.

Remember: dicks & balls are just things to punch

or be punched in:—or doodle on his notebook when the teacher isn’t looking.

Who was wrapped in who

while we slow-tumbled like yesterday’s dirty

laundry? How will I re-explain

the grass stains & purpled cheek?

The school-scape still orbiting my sunlit prayer:

When:—O when:—will he punch me again?


Joseph O’Connor is a senior at SUNY Geneseo. He is a student of English literature working towards NYS certification in adolescent education with a minor in Women’s and Gender Studies. Next year, he will join the 2015 Teach for America corps as a Secondary English Language Arts teacher in Miami, Florida.  If he were to befriend a fictional character, he would host regular slumber parties with his B-F-F Albus Dumbledore, where the two would paint their nails with magic, share ghost stories, and dish the latest wizard gossip.

 << 2 poems by Jason Guisao   1 poem by Katryna Pierce >>

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Jason Guisao

Fish Boy

They seize it from the wooden house at dusk.

            Their grand pigment

            shoving at darker skin. Body-bound and fettered in tarpaulin.

Pubescent sweat and urine pooling in the bed

            of the corroded pick-up. Under a shadow-blanket, they

batter its coffee cheekbones with steely pistols;

            tear the left sleek-sphere from its gaping socket;

                        wrap a barbed cable around its burning throat.

                                    Shoot the nigger above its right ear and cast

                        it out into the brook.

The good men find it,

scab-legs emerging from the serpentine river at dawn;

            loose-skin, cheeks overlapping onto puckered lips;

                        meaty veins protruding from the socket like stems.

                                                                    A silver ring on its index finger.

                                                                                                                A gift from

                                                                                                                Mother.

Anniston, AL

Grampy said: you were a

                        boy

                        until you were an uncle.

Grampy said: you were a

nigger

until you were   dead.

 


Jason Guisao was born in the village of Floral Park, New York. He writes fiction—and poetry, when he doesn’t feel like undertaking ten-page-long projects. His idols include Raymond Carver, Ray Bradbury, and Cormac McCarthy. He considers himself best friends with Anton Chigurh from No Country for Old Men because deep down, Jason wants to be an assassin and a never-before-seen force of evil.

 << 1 poem by Rachel Beneway   1 poem by Joseph O'Connor >>

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Evan Goldstein

Carlton Hill, November

Still, a kind of rebellion:     night as rain

glassed frozen     grasses. Limp hills

of new-forested     stone

walls all snow     lichen-dusted,

train soughing     winded valley. Over dim tents

you and I intone     in cloudbreak—

we did not watch     for constellations,

but lifted coals     ember light

              to thaw     our boots

Dream in Which Iguala is the Genesee

This is something that should never have happened,

and must never be repeated.

–Jesús Murillo, Mexico Attorney General

They water flowers for the dead while I lay down

tonight—snowmelt river water

stinking in my clothes—my door

ablaze in protest. Students

scream we are not armed—their fists

against riot shields, eyes

water tear gas river

south campus dark green gentle

bends reflect cornfields beneath the bridge—

a desert south stars ruddy

in cloud smoke thick ash

on riverbank. Diesel

on water pearly, languid—

under tide of trash and skin. Their brown

skin, blistered skin teeth that turn

to dust in eddy. Hands in water, hands
pressed through rifle bore—my hands

are white, soft—

dripping red I have turned away

from garbage pyres: 43 students shot

and burned, bones

thrown to water, skin—ash

gathered on this dirt as snow.


Evan Goldstein is a sophomore English (creative writing) major at SUNY Geneseo. His favorite road is Nations Road, and his favorite album is still Darkness on the Edge of Town. Evan is working on his poetry and photography, and figuring out what comes next. He would be best friends with Sam Hamilton from East of Eden, because he was always kind, even during hard times.

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Savannah Skinner

Bluegill

a twist of nicked blade

weighty in palm, quick

& bloody lush of trash-fish

spilt over wet shale:

these delineations of membrane,

of silica spine—sunlit copper

& glint of intestines in miniature.

curiosity in its realization

gains a new layer of nausea,

whispers isn’t it lonely to be god?

how licks from the dull knife

carve in us a deliberate fear.

Our Disillusion in Three Acts

ACT I: THE PLEDGE

examine the ordinary

girl: bluing collar,

her hackneyed legs,

wrists a repertoire

of exotic knots—

tethered bird in hand.

are you watching closely?

ACT II: THE TURN

you subtle shill,

sleight of claw

or nape of neck: clutch

the delicate tarsus.

sternum as trick lock,

heart as vanishing

cage. slip a canary

down my throat,

her punctured lung

up your sleeve

ACT III: THE PRESTIGE

& reveal another from the mouth.

amidst the beat of wings,

canary in the crook grows cold.


Savannah Skinner is a sort-of-senior at SUNY Geneseo. She studies history and creative writing. This is Savannah’s second publication in Gandy Dancer. If she were to befriend a fictional character, it would be Arrietty Clock, in the hopes that together they could borrow many small, shiny things.

 1 poem by Michele Lynn Pawlak  >>

 

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Sarah Steil

Oblivious

She’s so still I don’t notice her until I’m tripping over her. My mother is passed out on our living room floor, her pants around her ankles, the colorful fabric petunias of the carpet soaked beneath her. “Oh, fuck,” I mumble, poking her with an exposed toe as the dogs come over to investigate. “Mom,” I whisper, leaning over her, shaking her, “you’ve got to get up.”

The TV is on and flashing images color her body. Her thin, strawberry blonde hair is splayed out underneath her head, and her lips are slightly parted. Her breathing makes a clucking sound and quickens as her confused hazel eyes open. She is slow to wake, and as she lifts her small, waterlogged body from the floor, a knock on the door interrupts us. Peering through the window that looks out to the porch, I focus on two women in uniform waiting impatiently.

Suddenly, I am running upstairs and my siblings are emerging from their respective rooms as I open the door to the room I share with Alex. Lucas is behind me, bleary-eyed, half-awake, asking, “What is it? What’s up?” Christina, always listening, is silent and watching us. Alex slowly pulls earbuds from her ears, as I explain, “Child Protective Services is here and mom’s dead in the living room.”

“Again? What the fuck do they think has changed in a month?” Alex gets up from her bed, and Christina, Lucas, and I bound down the stairs. My mother kneels before the TV with a butter knife in one hand, my 130-pound bullmastiff’s collar in the other. Leo, bumbling, wags his tail as I approach, clueless as always as my mother slurs, “I gotta take his tail off. It’s gotta come off.”

I am coaxing my mother, slowly, into giving me the dulled knife as Christina coos Leo’s name and slowly leads him into the next room. As I am getting my mother’s fingers to uncurl, Alex is pushing past me, grabbing at my mother with force. The knocks on the door are getting louder. Alex hisses, “Getthefuckup” in one quick word. When my mother refuses, Alex pulls harder and my mother whines like a small child with an even smaller lexicon. “Ouch! That hurts!”

Alex half-pulls, half-drags my mother into the basement. Lucas leads the dogs into the den. Christina drags a chair over the soaked section of the carpet. I open the front door and smile.

Lucas

One year later, Lucas walks into the kitchen with his hand draped across his forehead. “It’s so hot in here I think I’m going through menopause.” I get excited when he walks into the room, where we will sit for hours laughing, while I pour, and promptly forget about, a cup of tea. Lucas has my face, brown eyes, freckles, and the slightest cleft chin. Always walking on the tip of his toes, he will bound into the room twirling the back of his short curly hair into a cyclone, never completely on flat feet. He pulls the string to the ceiling fan, which hums above us, and sits at one of the falling apart, dog-chewed wooden chairs around the kitchen table.

The kitchen has become the epicenter of our house, and since our two oldest sisters moved out, my three other siblings and I spend most of our time there together.

Lucas stares at me as I place trays of cookie dough into the oven. “What are you making?”

I turn to him, tray in hand. “Cocaine.”

He purses his lips, nods, impressed. “Awesome. I just was thinking I’d give cocaine a try.”

I am closing the oven door, shooing away the dogs trying to nose their way in. “You know I would kill you,” I say, picking up my needy dachshund, Bruno, as he paws at my side.

Lucas twists his lips to one side of his face and thinks for a moment, his hands moving about wildly in front of him, punctuating his inner monologue. “There’s this kid in my geometry class and I like him, and he knows I like him, and he’s such a fucking douchebag.” He whines into his hand, bringing his forehead to the table. “Why do boys fucking suck?”

My back leans against the oven door, Bruno sleeping in my arms. “Why do you need to date someone? You’re fifteen. Get a job or something.”

“First of all, you bitch, you were dating someone at fifteen. Second of all, you bitch, I love you, and I’m going to go to college and have sex with as many boys as I want. And third of all, if I didn’t look like a fucking nematode, I would be doing that already.” He claws the skin on his face. “I’m so fucking desperate, I would let anyone use me.”

Lucas has the curse of constantly-feeling-like-shit-about-oneself that has been inherited by all five of my siblings. He will taunt me by talking like this, worrying me, because he knows it upsets me.

I roll my head back in exasperation. “Okay, first of all, you do not look like a nematode. We have the same face, so if you’re a nematode, I’m a nematode. Also, please don’t do stupid shit with boys. Boys are evil.” I pause, trying to keep up with everything he’s said. “Also, you bitch, you always mock me for saying shit about myself but you’re ten times worse.”

I fight with Lucas rarely. Most of the time I am laughing red-faced at something he said, unable to keep up with his fast-paced humor. I’ve seen him get really angry only once before, years earlier, when Alex threw out the V word: our father’s name. “You’ve got such a shitty temper, Lucas.” Alex, the Queen of Comeback, smiled with a venomous tongue. “Just like Vinny.” Comparing someone to Vinny was the hydrogen bomb of arguments, and Lucas, wounded, sputtered curses like a broken engine, eyes wide. While the curses flew, some viscous mess like, fuckingbitchshitheadasshole, Alex merely stood and smiled. “Thanks for proving my point.”

Out of anyone that harbors resentment toward my mother, Lucas is most unforgiving. Often, in a room full of my siblings, we will debate our parents like political issues. “Who do you blame more?”

I, unequivocally, answer Vinny. Lucas is flabbergasted. “You always make excuses for Mom’s shit. Bailing is better,” he raises one finger, “than marrying a shithead,” and another finger, “and ruining our financial aid,” and another, “and being a general shithead.”

I sense, though Lucas will not admit this, that he resents her for being disappointed in him. Discovering my brother’s sexuality destroyed my mother, who then spread the news like a gossip tabloid. “My son is gay. Gay,” my mother would sob dramatically into the phone to random, distant relatives. She seemed to sadistically take pride in the news, as if it were another reason to feel sorry for herself. “On top of everything I have to deal with in my life,” my mother would say, somberly shaking her head, “now I have a gay son.”

Suddenly outed to cousins twice-removed, to friends of friends, and worst of all, to my mother’s husband, Lucas cut off my mother. “I feel like a fucking joke.”

Now, Lucas twirls his hair and looks up as Chris walks into our kitchen. “Hey, Princess. How was your nap?”

Chris, groggy, ignores him. “What are you making?”

“Cocaine,” Lucas answers, smiling.

Chris

Chris, with short dirty blonde hair that he’s constantly brushing behind his ears, is often spoken over by the rest of us, and will sit with a dog in his lap and listen. He has cut his hair short since coming out to us the summer before, and bristles when my mother and her husband refer to him by his birth name or use female pronouns. Chris, sweet and timid, will giggle with the rest of us, interjecting randomly, mocking us and feeding the dogs from the table.

Chris’s quietness unnerved me for a long time when I didn’t quite understand it and associated silence with distance.

Finn, our Australian Shepherd and Chris’s companion, wanders up to his lap, investigating for food. “Hey, baby Finn,” he coos, petting him. I sing to Finn, high and off-pitched, “Oh Finn the Chin, Chin the Finn.” Chris joins in with me, and Finn stands between us, twisting back and forth as Chris laughs.

It seems impossible to me now, to look at this smiling person and see him in a hospital gown. When I think of him then, ashamed with himself and too afraid to tell my mother he wasn’t a girl, I want to raise a vindictive finger to my mother and say, “Who’s fault is this? A bigot’s and her husband’s.”

Christina, my sweet baby I could never figure out. Christina who told her teachers she slept with a knife under her pillow. Christina who wanted to hurt herself so badly, crying with matted hair as we played a supervised game of Go Fish.

We were allowed two hours of visiting time, and we brought heavy, messy Italian food to see her. In one of the aisles of the Children’s Psychiatric Unit a woman in uniform told us where to find her, how long we could stay, what we could bring in with us. I felt protective over Christina, and when I saw her, crying, unshowered, scared, small, asking us to please stay longer, I wanted to weep. Christina-who-was-never-really-Christina resented her name and her body, too scared to tell my worlds-away mother. Christina, who told the teachers she didn’t want to be around anymore. These people, Christina and Chris, seem separated by entire lifetimes. Sometimes I wonder if my mother would rather have had her daughter die with the secret imbedded within her, than have her son live.

Out of anyone who harbors resentment against my mother, Chris is the most forgiving.

Chris, now fourteen, doesn’t think about this past often, doesn’t let my mother’s doubts bother him. When my mother wants to come into his room, crying, “I have lost a daughter,” he will simply close the door.

Chris, my companion, who wants to watch movies with me and walk to the supermarket late at night to get cookie dough, who guards my dogs protectively, who laughs at my dumb jokes, who tells me first when the kids at school tease him.

He will elbow me and whisper, “Should we tell Mom I’m not dead or let her figure that out later?”

Christina, crying as my drunken mother pushed her away. At thirteen, Christina begged my mother to leave her abusive husband, asked, “Don’t you love us more than him? Why are you choosing him?” Christina, who promised her forgiveness the very same night.

Chris will ask for a cookie while Lucas will just take one. He groans. “Mr. Roland called me Christina in front of the whole class.” He drags out the double s in class, letting it drift away slowly. “It was so embarrassing. Now he just calls me C cause he’s too awkward to say my name.”

“Did you correct him?”

Lucas, with chocolate across his fingers and face, chimes in, “Tell him to learn your name, or you’re going to sue him and his family for generations.”

Chris sighs and leans down to place his forehead against Finn’s. “No, I just stared at him awkwardly, and he stared at me awkwardly.” He grimaces, looks away as Finn scurries over to Alex walking in, who slowly removes her earbuds and comes over to the stove to examine the trays of cookies.

She appraises them like a paleontologist uncovering fossil bones, stroking her chin and pursing her lips. Finally, a verdict is reached: “You should’ve left them in longer.”

Lucas, from across the table, mumbles, “That’s what she said,” to which Chris responds with an obligatory, “Heyo,” and a high-five. Alex dismisses them. I am directly between Alex and Lucas in age, eighteen months younger than one, eighteen months older than the other. I am currently seventeen to Alex’s eighteen, though I am still a senior in high school and she is a freshman in college.

Alexandra

For the entirety of this first year of college, Alex will tell us about the wonders of independence, about her friends, classes, professors, grades. At the end of the year, when she transfers, she will tell me she had been miserable the whole time.

Alex, beautiful Alexandra, whose body is that of a crushed baby bird, whose collarbones form a basin for rain. Cat-like, she will pull up her shirt and stretch, stretch, stretch, encouraging her skin to roll along a timid ribcage.

Alex, out of anyone that harbors resentment toward my mother, is most direct with her anger. And yet somehow she grants my mother’s opinions the most weight, will allow my mother’s insults to dig into her skin like parasitic worms that attach to her spine and feed.

Alexandra, who had an eating disorder in high school, continues to shrink during her first year of college. Every time she comes home my mother will gush and beam, congratulate her on the weight loss, comment on how much more beautiful she gets by the day. My mother knew of my sister’s sickness in high school, yet comments on her beauty during that first year of college extensively.

The year before, as her waist thinned, my mother looked down at me and sighed, “When did you get so much bigger than her?” I wanted to ask, “When did she get so much smaller than me?” I dragged my hand across my stomach, twisted extra fat in my hands, watched the way her stomach curved inward.

When she vomits into grocery bags and hides them in the closet so my mother will not see, I try to force myself to leer over the lip of our plastic toilet bowl, willing my insides to unfold. But I’m too scared.

When my mother places her hands on Alex’s hips, and smiles, “Who knew you had such a beautiful body?” I want to place my hands around my mother’s neck and shake until I hear bones crack.

In high school, we’re clothes shopping before school starts, and in the changing room next to me Alex peels jeans on and off. My mother will retrieve the pants she flings over the changing room door, toss them over mine with a hurried, “Try these on.” I refuse, and my mother insists, insists, insists, her voice raising with my objections. Flush-faced, I finally pull open the door and stammer, “I’m not going to try them on because they’re not going to fit.” My mother replies, “If they fit your sister why shouldn’t they fit you?” I run cheese-doodle orange fingertips across my stomach and wonder the same thing.

To blame my sister’s eating disorder on my mother would be unfair, but to deny it would also be unfair. When my mother is sober, and oozing over Alex’s skeletal body, Alex smiles and beams. I wonder if Alex’s aggression toward our mother when she is drunk is a realization of the hold she has on Alex’s body, her perception of beauty. I wonder if, when Alex stops herself from eating, she hates that she wants my mother to see her as beautiful, to sigh contentedly, “Oh, Alex, you have such a nice body.”

My mother’s first realization that Alex had a problem arose in a mall changing room when we were in high school. Alex, at five-foot-five, and a little less than 95 pounds, was too small for any of the clothing the store sold. I whispered to my mother outside the door, “Don’t you think it’s strange that she’s too small for everything here? Don’t you think that’s a problem?”

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Kathryn Waring

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Kathryn Waring is a senior English (creative writing) major at SUNY Geneseo from eastern Long Island. She was recently invited to read at Sigma Tau Delta’s annual conference in Albuquerque, New Mexico, and plans to pursue an M.F.A. in creative nonfiction. Although Kathryn counts numerous fictional characters among her friends (her mother frequently told Kathryn books were her best friends growing up), her literary kindred spirit would be either Truman Capote or Leslie Jamison–if she could, she’d place them both in a room for an enlightening discussion on the roles of research and authorial position in CNF.

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Introducing Our Featured Artist for 3.2: James Mattson

Posted by Britina Cheng, GD Art Curator & Fiction Reader for 3.2

In our upcoming issue of Gandy Dancer, we are proud to introduce James Mattson, junior biology pre-med major at SUNY Geneseo, as our featured artist. His photography captivated the art editors. One, “Bridge to Fall” will grace the cover of our Spring issue, fitting with its bright and welcoming colors. He appropriates color differently in each of his photographs. “Bridge to Fall” emanates an Alice in Wonderland playful and curious tone. “Glow” a gentle photograph of a dock, has a deep everlasting glow that contrasts the bright lights of a city on the right. In contrast, the lack of color in “Nevermore” supports the ominous presence of a lone raven and silhouetted tree branches. Here, Mattson answers questions about his interest in photography and some of his influences.

Nevermore

Nevermore

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