Monthly Archives: June 2011

January 4th, 2004–flash fiction #writing #fiction

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January 4th, 2004

            She opened her mailbox and found the latest letter from Sweepstakes forAmerica, promising that she really, really, really, really had made it to the final rounds for the Grand Prize of fifteen million dollars. The raised, bold print on the envelope impressed her with a promise that she could feel under the pads of her fingers as she carried the mail upstairs to her three-room apartment. The calligraphy marked this letter as different from the light bill, the Victoria’s Secret bill, the advertisement for the nearby body shop’s oil change and lube for only $59.95, extra for some import models. She opened her door and went inside, shivering, the apartment nearly as cold as the weather outside. She dropped the mail on her couch and ran to the thermostat. The temperature was set at seventy degrees, yet she could see her exhalations. She stood on her tiptoes and stretched her hand up to the vent, hoping to feel warm air. She felt nothing.

            She turned back to the couch, eyeing the pile of mail. She could see perhaps two inches of the light bill, peeking from under the Sweepstakes letter. She stared at it for perhaps a full minute before walking over to the couch and sitting down beside the mail, her weight causing the pile to shift. The envelopes slid toward her. She felt the Sweepstakes letter poke her thigh. The light bill was now fully visible, the envelope plain white, the postmark nondescript, the print on the envelope plain and unimportant.

Missing Pieces–poem #writing #poetry

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I haven’t put up a poem in a few weeks, so here’s one.

Missing Pieces

Take away the pain
Of sleeping with you
In your shushed absence

Take away the bums
Starving children’s ghosts
And legless warriors

Take away the gnaw
And the sin in their
Stomachs and their hearts

Take away hope of
Waking up with you
Of hungers banished
Of the end of death

And you have someone else’s world

“I Don’t Like Old Movies”–nonfiction #writing #nonfiction

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Has Anybody Seen My Teeth?

2

“I Don’t Like Old Movies”

            When you’re a teacher, sometimes nothing makes you feel older than your students.

            Take the average college freshman. He or she is likely eighteen years old, the official age of adulthood as recognized by the United States military, legal system, voting booths, and so forth. When you reach that age, you assume all the rights, privileges, and responsibilities of adulthood—except, as my students would likely point out, in the eyes of parents who continue to treat them like kids and the local bars who won’t sell them a beer, even though they can fight in a war and be tried as an adult in a court of law.

            Of course, many of these “adults” want all the privileges without any of the responsibilities, but putting that point aside, I face classrooms full of grown-ups every day, even at the lower levels of university education.

            The problem? Given that it’s 2011 as of this writing, these students might have been born as late as 1993. How, in the name of all that’s holy, could that be possible?

            In 1993, I was twenty-three years old. Even with a false start that put me behind by a year, I was only a couple of semesters away from earning my Bachelor’s degree. My daughter Shauna would turn four that year; my son Brendan would not be born for another two years, and Maya, bless her heart, would take another six. Kurt Cobain was still alive, and Seattle grunge ruled the music business. Some hair metal stalwarts kept on plugging, but those with rock-star fantasies had traded in their eyeliner and spandex for flannel shirts, dirty jeans, and cardigan sweaters.

            These days, you can turn on certain classic rock radio stations and hear bands like Nirvana, Soundgarden, and Pearl Jam. And when that happens, I always feel like someone has just stomped on the world’s brakes, the globe’s squealing tires nearly drowning out my cries of indignation. I mean, come on—the early 90s now qualify as “classic rock”? What acne-sprouting, voice-changing, wet-dream-having pubescent punk made that rule?

            Me, I beg to differ. Kids—and if you’re under twenty-five, somebody still thinks you’re a kid, no matter how unfair it is or how loudly you protest—just because something’s older than you doesn’t mean it’s actually old. And even if it is old, it might not be bad.

            Perhaps the disparity between what eighteen-year-olds think “old” means and what’s actually old becomes clearest in terms of their attitudes toward cinema. Plenty of exceptions exist, of course, but in general, people my students’ age seem to demonstrate a lot more patience with CGI-heavy trifles like Van Helsing and the Transformers franchise. And they seem much more willing to eschew minor considerations like a coherent plot, characterization and character development, editing, and understandable cinematography. If it blows up or flies into outer space and looks really pretty, younger folks seem to like it. Me, I want to know how the explosion fits into the story and how it deepens the plot or the character development. If it doesn’t do either, I don’t care what it looks like.

            Beyond the special effects, though, many of my students seem to judge a film’s merit based solely on when it was released.

            Not long ago, I was discussing the film Titanic in class when I realized that most of the students present that day were two or three years old during its theatrical run. Just a few years ago, Titanic was a cultural touchstone, a special effects triumph, a heart-breaking romance loved by people of all ages. Now, many of my students view it as quaint, a dismissible chick flick, a model of how things were done back in the old days. But at least they haven’t started calling it old…yet.

            The Breakfast Club has not enjoyed such a kind fate. A couple of years back, I referenced it, likely to make some point about how it both perpetuates and critiques high school’s clique culture. Much like Glee, it utilizes stereotypes and archetypes of high school existence, sometimes for important cultural commentary, sometimes in ways that seem dangerous. But no one got my point; when I finished making it, I looked out into a sea of blank, bored faces, and realization dawned.

            “None of you know what movie I’m talking about, do you?” I asked.

            “Isn’t that the old movie about those kids in Saturday detention?” one student responded. He was the only one who even tried to join the conversation that had, unbeknownst to me, become a monologue.

            “Old movie?” I said. “It came out in 1985!”

            “Yeah,” somebody said. “Way before we were born.”

            Wow, I thought. 1985 has somehow become ancient history, right up there with the Spanish Inquisition and the birth of Christ and the discovery of fire. If you watch 2001: A Space Odyssey closely, you might see John Hughes cavorting about the monolith with the rest of the knuckle-draggers. I suppose I’m probably there, too, but I’ve shaved since then.

            I had long since gotten used to students’ rejection of movies made before they were born, but I admit that their attitudes about The Breakfast Club surprised me. It is, after all, a film about high school—the triumphs, the pain, the stupidity of some teachers and administrators, the way that parents just don’t understand. Having just come from high school, freshmen should have been able to relate. But because the movie came out way before they were born, they didn’t care. They weren’t even curious. So on that day, I learned that anytime I make a cultural reference, from any period, I have to explain it. I can’t assume they know anything about it, or that they want to.

            I can also tell you that, if you grew up in the 1970s and found yourself afraid even to take a bath because of Jaws, don’t share that with kids today. They’ll laugh at you, as if the idea of a film’s having enough power to affect your real life is just plain silly. That’s a dumb movie, they say, because it’s old. That shark looks fake. It doesn’t compare to what a CGI tech could do. Never mind the courage and artistry it took to build a fake shark and dump it off the shore of Martha’s Vineyard. Never mind the deep emotional impact that the film had on a whole generation, the way that it basically invented the summer event movie, the cultural nerve it touched in terms of how we see sharks (hey, kids, what do you think we should thank for Shark Week?). That shark just doesn’t look right. It’s old, man. Watch Deep Blue Sea instead. Now that’s a classic.

            I don’t know about you, but I remember when imagination trumped special effects every time—when the effects served to jumpstart your imagination, not replace it. By and large, though, my students don’t seem to get it. And so they dismiss Bruce the shark, and Ray Harryhausen’s stop-motion genius, and the way that Charlie Chaplin somehow staged a cabin falling over a cliff. Sure, the cabin looks like a model, but we get the idea, right? And how did he manage to make that little figure jump out of the cabin right before it falls?

            And, of course, Chaplin invokes the black and white era of filmmaking, from silent pictures up to the ubiquity of early color prints. Ask most of my students and any black and white film can be ignored; it’s simply too old to care about.

            Such an attitude leads to a minor American tragedy, as a generation misses out on the great art and cool entertainment that came before. Instead, they have to discover it all later in life, even as hundreds of other films come out every year, leaving them only so much time to catch up. What will they miss because they think “older than me” equals “too old to matter”?

            Of course, sometimes students just get it, like the recent freshman who admitted that Jaws ruined her beach vacation, or the one who ruefully confessed that Psycho scared her silly, so much so that she couldn’t finish watching it alone. On days like that, I smile a little wider and contemplate introducing them to Apocalypse Now, or Nashville, or Manhattan, or Scenes from a Marriage, or The Umbrellas of Cherbourg, or Night of the Hunter, or Bride of Frankenstein, or Citizen Kane, or Casablanca, or City Lights, or even Sixteen Candles. You know, one of those ancient, dusty movies that suck, that have nothing to do with today’s youth, that speak to no one but ancient, dusty people like teachers and parents who were never, ever kids themselves and can’t possibly understand why Transformers 3 represents American cinematic art at its finest.

            On days like that, I dare to hope, and I feel a little younger, in spite of having been born before 1993.

            Follow me on Twitter @brettwrites.

            Email me at semioticconundrums@gmail.com.

 

Nude Sucking Ink–fiction #writing #fiction

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Here’s a short story I wrote some years back. It’s unpublished, previously unseen anywhere, so call it a blog exclusive. A bit humorous, a bit satirical, lots of fun to write…comments welcome, except from trolls.

Nude Sucking Ink

             He was painting a nude woman performing fellatio on a blue Pilot Bettergrip pen when his agent Curly called. Curly, a mousy man with an anemic pencil mustache, said

            Hi, Hamlet. Good news. The gallery agreed. You have a show.

            Hamlet dropped his brush and sat in the nearest chair. The model relaxed, throwing on a button-down white shirt and twirling the pen between her fingers. He looked at the painting, admiring his own work, his bold new style. On this canvas, what might be interpreted as a thin penis was capped, possibly, by a pair of full lips. This image lay at the center of the painting. Dozens of tightly woven lines—spirals, straights, diagonals—emanated from the central figure to the canvas borders. Hamlet said

            Don’t jerk me around today, Curly. I’m trying to finish Nude Sucking Ink, and I’m almost there

            and Curly said

            I’m not kidding. The Kane House in downtownLittle Rock. They’ve agreed to give you the whole second floor

            and Hamlet frowned, saying

           Little Rock. I live in Parkview and drive a Volkswagen Beetle. How am I supposed to get all my paintings toLittle Rock?

            Curly snorted and said

            I’ll send a van. Jesus, man, is that all you have to say? I tell you you’ve got a show in the Kane House, best gallery in the state, and all you do is bitch because I didn’t bring the buyers and critics to your place

            and Hamlet, only half listening, looked at the model and said

            Take off that shirt.

            She stuck the pen in her mouth and slipped out of the shirt. Hamlet felt his erection rising, just as he liked it when he was painting. He said to Curly

            Look, it’s fantastic news. I’ve just had a cruddy day and I want to finish this. When’s the show?

            and Curly said

            Next week. Call me when you finish that one and then don’t start on any more till after the big day. You need to save all your energy for schmoozing.

            Hamlet hung up. He picked up his brush and turned to the model. Her breasts hung down, pendulous, heavy. He took a deep breath and went back to work.

* * *

            One week later, Hamlet stood in the Kane House, surrounded by his paintings and several people he had already come to loathe. Each of the paintings exhibited his new style—a fuzzy image surrounded by tight lines. He called the technique Abstract Soft Focus. The work seemed to interest the browsers, though each of them seemed to have been bred especially to bug Hamlet and assault his sensibilities.

            Curly stood next to Hamlet in front of Nude Sucking Ink. Bob Kane, the gallery owner, stood next to them holding a half-empty glass of red wine. Kane clapped Hamlet on the back and said

            We’ve sold five already, Ham

            to which Hamlet replied

            I hate being called Ham.

            Curly grunted and shuffled in between them, saying

            Sorry, Bob, like most artists he has the social skills of a tree sloth. We’ve sold five so far, Hamlet. Lots of money here tonight

            and Hamlet said

            It isn’t the money

            and Curly said

            Of course it isn’t. By the way. If you only wanted to paint lips, why did you request a nude model?

            and Hamlet said

            Because I like looking at naked women.

            Kane laughed, cleared his throat, and moved on, mixing with his guests and grabbing another glass of wine from a passing waiter. Curly shook his head, frowning. A young man with blonde hair and a horrible bright pink ascot strolled up. He sipped a martini and considered Nude Sucking Ink, stroking his goatee every few seconds. Finally he said

            What lovely energy. A wonderful commentary on the proliferation of sex in the media

            and Hamlet said

            Actually, the sexual image is meant to represent all primal urges that both feed and are in turn fed by language, hence the pen

            and the young man laughed and said

            An interesting interpretation

            to which Hamlet replied

            The true interpretation. I’m the artist.

            But the young man only laughed again, as if such an idea had never occurred to him and in fact now seemed absurd since someone had mentioned it. He said

            It matters little. Your interpretation is still only one of many. You aren’t God, and even His creations have more than one possible meaning. But since we’re talking about your work and what you think it means, let me ask you this: why the speed lines?

            and Hamlet said

            They aren’t speed lines. Their elusiveness represents my denial of all form. It shows my individual vision

            but the young man said

            Ah, but denial of form is also a form. While you use this method, many others have also denied form, meaning that no form is still form, a school in fact. The only true way to deny form is not to paint, and millions of people do that. It’s so cliché

            to which Hamlet replied

            You’re an asshole

            and the young man walked away. Curly cringed and said

            Very nice, Hamlet. You’re alienating the buyers

            but Hamlet said

            I don’t give a damn if they buy. I’m here to make a statement

            and Curly said

            Me too. A bank statement. A financial statement. But I don’t get any percentage if you don’t sell. So, as a personal favor to me, try to keep your righteous indignation under control long enough to make some fucking money

            and he walked away, mumbling. Hamlet shrugged. He decided to stand in a corner, away from the idiots on the floor. Some sort of crappy music was playing over the PA, possibly Michael Bolton. He hated Michael Bolton.

            Curly was running back and forth between guests, alternately fawning over them and the paintings. He would run to someone, throw an arm around him or her, gesture at one painting or another, run to another guest. At a distance it looked like a mating ritual. Hamlet wondered what a zoologist would make of Curly’s particular species. He was saying

            Now over here is a really interesting piece

            sounding, to Hamlet, like used car salesman. Come on down to Crazy Ham’s. Everything must go. A tall man with a comically large cowboy hat strolled over to Hamlet and leaned against the wall. Hamlet said

            Say, aren’t you Toby Keith?

            The man laughed and said

            No, he’s got more hair and better looks. Me, I own some hotels downtown

            and Hamlet thought

            Oh Christ

            and said

            I hope you’re an art lover, mister

            but the man said

            No, but I get a lot of the artsy crowd. They bitch about the paintins in the rooms, so I cruise these shows looking for somethin good but cheap.

            Hamlet puffed out his chest and sneered, saying

            I assure you that this artist would never, in any number of lifetimes, allow any of his pieces to hang in a hotel room
            saying the words as if they were a curse that hurt his mouth, and the man said

            Yeah I heard he was one of those really snooty types. But it ain’t like I’m ask his permission, you know?

            and Hamlet said

            True enough.

            He called Curly over, took him by the elbow, and pointed to the cowboy, saying too loudly

            Have security throw that shitkicker in the Stetson out on his redneck ass

            and Curly walked away, muttering.

            Hamlet pulled up a metal folding chair. He sat down in front of Nude Sucking Ink and rubbed his temples. A monstrous headache was forming behind his left eye. The show was not going well at all. The pieces were selling, but no one was getting him. No one appreciated his artistry.

            A fat woman with enormous breasts oozed over and asked him how much time it took to paint a picture. He said

            Depends

            so she said

            On what?

            and he spat

            Models, funds, inspiration, the availability of liquor, take your pick.

            She considered this a moment before asking

            Do you sleep with your models?

            to which Hamlet replied

            You are one tasteless woman.

            She laughed and said

            That’s a terrible thing to say to someone interested in your art. Tell me, hotshot, why is your style so—what’s the word I’m looking for—goofy?

            Grinding his teeth, Hamlet turned to her and said

            Lady, my style is bold, rebellious, but never, ever goofy.

            The woman let Hamlet stew for a few seconds, just long enough for him to think she was going to leave him alone, and then she said

            I don’t understand rebellion. How do you consider yourself rebellious?

            and Hamlet groaned and said

            Look, both my parents are English professors who named me Hamlet, for Christ’s sake. The very existence of visual art from my hand is rebellion.

            The woman thought about this for a moment before saying

            Still looks goofy to me

            and walking away. Hamlet stared at her, open-mouthed, and then yelled

            I hope your fucking thighs get a rash!

            as Curly made shushing gestures from across the room.

            Goofy, rebellious, traditional, energetic, chaotic—Hamlet had heard them all, had said a few of them himself, expected to hear more. And as bad as the evening had been, he was grateful that he had, at least, not heard the one adjective that he would not abide—derivative. He could not bear that word, not even when applied to someone else. It was the ultimate curse for artists. It tasted dirty, sounded obscene. He dwelled so much on the term that he had almost forgotten the fat woman when he heard the young man in the ascot say

            So I said to him, Steven, you made a zillion dollars with the first movie. And you don’t have any of your original cast for the sequel. So won’t a sequel utilizing the same concept seem, well, derivative?

            Hamlet stood, slowly. A shudder ran through his body. He took the chair by its legs, its metal cold in his hands, raised it above his head, and then brought it down seat first on the young man’s skull. The young man fell into the fat woman, grabbing at her as he collapsed, ripping a strap from her dress and exposing one massive breast. She staggered backward and bumped into the cowboy, who spilled his drink all over a painting. The show collapsed all around him, but Hamlet did not notice. He was looking serenely at the lines of Nude Sucking Ink, thinking of wind-made ripples on the still surface of a pond.

          

“They Grow up so Fast”–#nonfiction

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Has Anybody Seen My Teeth?

1

“They Grow up so Fast”

            Sometimes, nothing makes you feel older than your own kids.

            One day, you’re watching them come into the world. The next, they’re studying for their driver’s exam or asking your advice on mutual funds.

            When my oldest daughter Shauna was born, I was eighteen years old. That same year, the Berlin wall came down, but not before George Herbert Walker Bush’s inauguration as the United States’ 41st president. Stamps cost twenty-five cents. The San Francisco 49ers won the Super Bowl; the Oakland A’s won the World Series. Amy Tan’s The Joy Luck Club was published. Rain Man won the Best Picture Oscar; luminaries such as Lucille Ball, Robert Penn Warren, Salvador Dali, and Laurence Olivier died. And sitting at the top of the music charts? Bobby McFerrin’s “Don’t Worry Be Happy” and George Michael’s Faith.

            In the time since, we’ve already experienced a second Bush’s (so-called) presidency. Stamps have more than doubled in price; don’t even get me started on gasoline. To my children and most of my current students, a divided Germany seems like ancient history, right up there with the Crusades and the invention of the wheel. The San Francisco 49ers can’t even win a division that, in 2010, sent its champion into the playoffs with a losing record. The A’s? Aren’t they that team that keeps dumping its talent for cheaper versions of same? Or am I thinking of the Florida Marlins, who didn’t even exist in ’89? And who the hell are Laurence Olivier and Robert Penn Warren? Meanwhile, both “Don’t Worry Be Happy” and George Michael have become cultural jokes, even though Faith is a damn good album.

            Oddly enough, my son was born in 1995, a year in which San Francisco won another Super Bowl, this time over the San Diego Chargers, whose coach cost me twelve hundred dollars in our local pool by going for two at the end of the third quarter. But that seems like the only holdover from 1989.  The times, they were a-changin’, as Bob Dylan said (I can hear next year’s freshmen saying “Who?” already).

            Brendan came into a world that seemed less certain and more violent than the one we had lived in just six or seven years earlier. Conflicts in Rwanda, Bosnia, and Croatia fractured the globe—except in those regions where nobody cared what was happening to a bunch of foreigners. O.J. Simpson was found not guilty of murdering Nicole Brown Simpson and Ronald Goldman. Right-wing military groups gained national infamy when Timothy McVeigh blew up the federal building in Oklahoma City. Forrest Gump won the Best Picture Oscar; the Rock and Roll Hall of Fame opened. Mickey Mantle and Jerry Garcia died. So did Howard Cosell, leaving Muhammad Ali without a verbal sparring partner.

            What about 1999, when my youngest daughter Maya was born? Well, the world didn’t end, meaning that we could no longer trust Prince as the major prophet in our lives. Nelson Mandela took over as President of South Africa, righting an enormous historical injustice; on the other hand, Yugoslavia imploded. Since Prince was wrong, computer scientists scared us all silly, prophesying that the dreaded Y2K bug would send us all hurtling back to the Stone Age. The Senate tried to impeach Bill Clinton for getting a blowjob in the White House, leaving the rest of us to wonder if they were jealous or just plain bored. John F. Kennedy Jr. died; racist asshole John William King was convicted of dragging a black man to death; and two disgruntled Columbine High School students massacred fellow pupils and teachers, prompting us all to revisit our notions of school security and the roles guns play in our lives.

            Well, all of us except the NRA, which kept insisting that guns don’t kill people; people kill people. Maybe so, but guns sure do help. One wonders how soon Dylan Klebold and Eric Harris might have been stopped if they had been armed with automatic switchblades, or a two-by-four with a nail in it.

            Gene Siskel and Stanley Kubrick died. Jerry Falwell’s homophobia extended to a Teletubby. The Blair Witch Project scared some of us half to death and bored others to tears. Shakespeare in Love won the Oscar that, with all due respect to a fine film, should have gone to Saving Private Ryan. George C. Scott died, meaning that Hollywood had lost one of its most gutsy, individual performers.

            So what does all this mean? Well, in some ways, nothing ever changes. Some guy (and it’s always a guy, and usually a white one?) moves into the White House; a bunch of people celebrate, while others throw tantrums. Great art is produced even as great artists die. Someone somewhere blows something up or shoots somebody; sports teams rise and fall and rise again.

            If you live long enough, you start to notice these similarities, patterns, and cycles. And once you start noticing them, a disheartening realization crashes in on you. “Jeez,” you might say, “I’ve been around a long time.”

            With some exceptions—Byronic teenagers, people with specific untreated mental or emotional conditions, a certain brand of religious lunatic, Wile E. Coyote (who by now has to realize that the boulder’s always going to fall on his head, not the Road Runner’s)—most of us want to be around a long time. But none of us want to face old age, do we? That first liver spot on the hands, the crow’s feet around the eyes, the gray hair, the aching back, the prescription reading glasses that sit on the end of your nose—these things send us running in blind panic to our mirrors, our cosmetic counters, our plastic surgeons. Our bodies function as Age’s roadmap even as it drives its steamroller directly over us, and when we consider all the events great and small that we’ve lived through, it only underscores how long we’ve been here. In turn, these realizations make us wonder how long we’ve got left.

            Our kids remind us of whom we used to be and what we used to look like—young, flawless (except for that zit that always seems to erupt on your nose on school picture day), energetic, idealistic, and vital. When Shauna was born, she looked purple; when I asked why, the nurse said, “Because the temperature in here is somewhere in the seventies. She’s used to 98.6.” That made sense. Then the nurse put her on the scale and said, “Nine pounds, thirteen ounces? Is that right?”

            “How the hell should I know?” I said. “You’re supposed to know how to work all this junk.”

            If you’ll allow me to use a cliché here, I can tell you with all sincerity that Shauna’s birth doesn’t seem to have happened twenty-two years ago; I remember it like it happened yesterday. But the evidence stands in front of me every time I see her. She’s grown, with a life of her own—an apartment, a job, an educational outlook, a political sensibility, a boyfriend, this last even though I told her a thousand times that she’s not allowed to date until I’m dead. Kids today just don’t listen.

            The scary thing is that she’s old enough to have a family of her own, and though she wisely doesn’t seem to be in a big hurry to do so, I know she could change her mind. A note to everyone reading this: I am too young to be a grandfather. Don’t even try to argue with me, or I’ll come to your house and staple your lips shut. Too young, do you hear? Too young!!

            My son’s now almost old enough to drive by himself. I distinctly remember what that was like—the freedom, the sense of adulthood, the deep red rage when I realized that my new milestone had doomed me to “run to the store” a million times. He’s also a football player, just like his old man. Well, not just like me—he’s much bigger than I was. When I played, I was a 120-pound wideout with okay hands and speed. I also had the vertical leap of a professional—professional sumo wrestler, but still. Seriously, I could clear six inches easily. But ask me to snag a pass much higher than that, and we were both going to come away sorely disappointed. And I would probably stagger off the field gasping from that linebacker who planted his helmet in my floating ribs.

            Brendan, on the other hand, weighs about as much as I do now—north of 190, south of 200—and he’s pretty fast, too. He’s currently playing defensive end. If he keeps growing without losing any speed or dexterity, he’s going to be a handful, even for the meatiest offensive linemen.

            So when I look at him, I often see a stronger version of my younger self. More dedicated to sports, too—I loved the games but hated practice. Hated it. When I was his age, I went to practice with only slightly more enthusiasm than a death-row inmate walks toward the electric chair. If somebody had told me that I could play in the games without practicing if I agreed to get publicly flogged and caned, I’d have had to think about it seriously. That’s why he’s almost guaranteed to be more successful than I was. He loves the whole experience. He’s the kind of player I wish I could have been. I’ve done well for myself academically—Ph.D., people!—and that started in grade school. But when I wish I could go back and tell my younger self to shape up in practice, I think of Brendan and know that he’s doing better without all the hindsight I’ve stockpiled.

            Still, knowing that my son’s playing varsity this year—not Pee Wee or Pop Warner, not eighth grade, not junior high, but varsity—I look in the mirror and wonder how it got to be so late.

            Sometimes my kids are quick to remind me about the chronology of my life. When Shauna was graduating high school, I and several other members of my family—Kalene, Brendan, Maya, my mother, my grandmother, my aunt Sandra, my cousin Holly—went to the ceremony. At the hotel, Brendan’s face lit up, as if he had just figured out how to bend the space-time continuum. Then he said, “Hey, Dad. If Shauna’s eighteen, and you’re thirty-six, that means you had her when you were—”

            “Yeah, yeah, yeah,” I said. “Now you decide to use math in the real world? Let’s drop it.”

            Yes, Shauna got her diploma four and a half years ago and is, as of this writing, contemplating a return to college. Brendan enters tenth grade this year. And Maya will be twelve in November. She’s almost a teenager. I have no more babies.

            It’s odd how being around my kids can make me feel so young and so old at the same time. I feed on their energy even as it exhausts me. I revel in their lives even as I shrink in horror at how those lives are moving so quickly away from me. With Shauna’s job and the physical distance between us, we can only see each other a couple of times a year. Brendan is at the stage where his friends and social life seem more important that hanging with Dad; I’ve been there, so I understand, but it’s still tough. I’m glad he still comes for holidays. As for Maya, she spends the summers with us, and that’s always fun, but I’m sure the time is coming when her own friends, and interests, and those fearful romantic stirrings take precedence.

            And when the nest is empty, when the kids have all finished their educations and gone off to live their own adventures, even a non-custodial parent like me will probably feel ancient. It’s a moment that will fill me with pride and regret. And when that moment passes, I will probably sit down next to Kalene in the matching rocking chairs we’ve recently bought. I’ll probably take a nap during the ball game. I doubt I will ever catch her knitting or doing those other typical grandmother things, but I’m sure she’ll be reading a good book as our life enters its early afternoon.

            And when I wake up and stretch my increasingly creaky bones, I’ll probably look around me and say, with a mixture of pain and satisfaction, “Where did the time go?”

            Follow me on Twitter @brettwrites.

            Email me at semioticconundrums@gmail.com.

            Thanks to www.infoplease.com for reminding me of what happened when, especially from the following pages: http://www.infoplease.com/year/1989.html; http://www.infoplease.com/year/1995.html; http://www.infoplease.com/year/1999.html.

January 3, 2004–flash fiction #writing

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January 3, 2004

            This morning I got up early and ate a bowl of Total, not realizing how lucky I was to have made such a decision without the benefit of foresight or research. Not ten minutes after finishing the last bite and drinking down the milk—a habit I’ve kept from childhood—I saw this commercial on TV about how many bowls of other cereal would equal the nutritional benefits of one bowl of Total. I’d have to consume three bowls of Grape-Nuts and more All Bran than you’d ever want to eat in your life.

             Realizing how much time, effort, stomach cramps, and bowel movements the makers of Total had saved me, I decided to phone the home office and thank them. I called their 1-800 number and followed the instructions on the automated menus; I listened to some sort of what I suppose you’d call music, though it sounded more like Mozart by way of the Armpit, Mississippi Glee Club. I finally connected with Judy, a customer service operator.

            I told her that I was calling to thank the General Mills Corporation for the valuable services they had performed in my honor. I told her that I couldn’t imagine eating three or four bowls (I had forgotten which) of Grape-Nuts, which taste like artificially produced hay, and that I was very happy with their method of providing so much daily nutrition. I finished my speech by assuring her that I would buy Total as long as they continued to produce it at high levels of quality and consumer commitment.

            Judy hung up on me. I stood in my kitchen, still tasting milk and small particles of Total underneath my tongue. The empty bowl gleamed dully under the phosphorescent light.

Has Anybody Seen My Teeth? Introduction #nonfiction #writing

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Has Anybody Seen My Teeth?

 Introduction

             On October 26th, 2010, I woke up and realized that I was forty years old. Now understand that I was an English major, so any time I find myself doing math, I have to apologize in advance. But I’m pretty sure that means I’ll be forty-one this year. My fifth decade on Earth has begun. I have three college degrees: a B.A., an M.A., and a Ph.D. I’ve been married three times and divorced twice. I have three children, the oldest of whom is twenty-two years old as of this writing. I first moved out of my parents’ house twenty-three years ago; I got my first job that same year. I’ve been writing my whole life, though only trying to make it good and sharing it with others for perhaps three years. I have taught in colleges and universities since 1996. I’ve stockpiled all these experiences, and now, at what I hope is not even the mid-point of my life, I have found that one question seems to override all the others.

             How the hell did this happen?

             How did I get to be forty years old? Don’t get me wrong; I’m grateful to be alive and healthy. I hope this ride continues for at least another fifty years. But forty? Me? How did it happen so quickly? Just yesterday I had just turned twenty-one! I specifically remember going out to a restaurant and ordering a drink, mentally daring them to card me. But nobody did.

             Heck, only two years earlier, my oldest daughter Shauna was born. I can still remember seeing her come into the world, hearing her first cry, asking the nurse why she was so purple. I remember stepping out into the hospital hallway with her in my arms and spotting my school chum Jennifer Tedder, who was there visiting someone. All that couldn’t have happened so long ago.

             No, scratch that. Only yesterday, I turned eighteen. I did so too late to vote in the 1988 elections, but still, I vividly recall feeling proud when I knew that I could go to a polling place and participate in the Great Democratic Experiment. Yes, Ronald Reagan may have come and gone without having to worry about my voice in the opposition, and maybe George H.W. Bush squeaked his Presidency in before I could do anything about it. But from then on, buddy, you’d better believe that I would stand up for what I believed! Unless, of course, I ever convinced myself that my vote no longer mattered, that politics had become too corrupt and the process too labyrinthine to seem worthy of my involvement. After all, one vote couldn’t possibly make much difference, could it? If only I had been able to foresee Florida in 2000, I might never have gotten so complacent. But back in 1988, I embodied the spirit of American youth—optimistic, fiery, opinionated, and arrogant.

             But wait—just yesterday, wasn’t I actually twelve years old? Hadn’t I just had my heart broken for the first time when my first serious girlfriend (hi, Angie!) dumped me, wrongly thinking that I liked her best friend? Of course, that relationship could hardly be termed “serious” in the context of adulthood, but back then, it seemed like the most important thing in the world. I remember sitting in my parents’ driveway, the gravel warm under my ass, sweat dripping down my face and back as I scanned the rural neighborhood we lived in. I could honestly not understand why people thought that life was so damned charming. I moped so much that my mother tried to intervene, God bless her, stopping my now ex-girlfriend in the street and telling her that I still liked her.

             Boy, was I mortified. When you’re a kid on the cusp of teenagerdom, the last thing you want is for someone to remind you that you’re still a child. And watching my mother stick up for me made me feel like a pre-schooler whose favorite toy had been confiscated by the local bully. She meant well, of course, and as a parent, I honestly don’t know what I would have done in her place. Probably the same thing. And that’s another way you know you’re getting older; you realize that, about some things at least, your parents were right.

             Hang on, though. I can’t possibly be forty because I can still remember the first time I went to tee-ball practice, and my first day in kindergarten, and my first “girlfriend,” a neighbor’s child who often came out to play still carrying her pacifier. All these memories don’t seem so far away, so how can they have occurred so long ago?

             Other things seem to have happened to someone else. The time my cousin broke my leg and knocked me out by running over me with his mini-bike. The time I got shoved into a water-filled ditch and came up covered with welts, some sort of chemical interacting with my sensitive skin—the panic that came crashing in as my body started to change, the feel of my parents’ hands on me as they dragged me to the car for the speedy trip to the emergency room, the look on my best friend Steven’s face as he wandered in the yard to see what I was up to, only to watch me being carted away, screaming like a criminal run to ground. The time I shoved a kernel of popcorn up my nose, just to see what would happen.

             But they all happened to me, and all of them—the good and the bad, the somber and the silly—helped shape me into who I am today. I accept them all; I need them all to be me. But still—forty? Soon enough, forty-one? Where did all those years go?

             Any of the aforementioned events would make a good subject for a reflective essay. I could write a book on what it’s like to be a parent and to have become one at such a young age. I could tell you about my marriages and how I’ve succeeded in some ways, failed miserably in others. I could tell you about my early encounters with racism and religion and sex and alcohol and the searing pain of losing people close to you. I hope to write about it all and more one day, Lord willing.

             What concerns me here, and in the series of essays that will occasionally follow, is the idea of aging itself—the comedies, the little tragedies, the absurdities. Mostly these writings will ruminate on ways that you can tell you’re getting older, even if your body still feels pretty good and your mind tells you that you’re still the twenty-one –year-old kid who can drink all night, work the next day, come home and play video games with your friends, and get up the next morning, ready to do it all again on two hours’ sleep out of the last forty-eight. I’d like to examine the paradoxical attitudes we take toward aging—how as children we can’t wait to grow up so that we can do what we want, the way that our young adult selves strive to break from our role models and build a life of our own, and the later realizations that suddenly we are the role models, the standard that has to be surpassed. How we wish we were kids again, so we could do whatever we wanted.

             Mostly, I’d like to share with you my shock at finding myself forty-plus years old and an authority figure—a grown-up, a teacher, a father—when inside I still feel as fresh as a spring morning.

             What you will read, should you choose to walk through this series with me, is a set of thematically-linked but not necessarily chronological ruminations. And you will read them in early-draft form, warts and all. I will likely engage in one revision and some sentence-level editing, reserving the right to revise much more thoroughly later.

             What this means is that you, reader, can participate in the creation process. Do you have questions that I haven’t answered? Tell me about them and, should I ever revise these works for a book project, I’ll take your advice into consideration (even if I self-publish—I can’t see ever abandoning the prestige and potential benefits of the publishing industry and its passel of excellent editors, agents, readers, and writers, but with some projects, self-publishing appeals to me greatly). Do you find that the organization or sentence-level writing needs some work? Tell me about it and I’ll take a look. Do you really, really want me to write about a particular thematically-related subject? Tell me about it, and, if I think I have something to say, I’ll oblige. In other words, this project in its current stage can be, to some extent, interactive. The writing will be mine; the life I write about will be mine. But you can help shape it if you like.

             If you don’t, I hope that something in the work speaks to you. I hope you find it worth your time. If not, well, maybe my next post, or story, or poem, or book will reach you better than these do.

             As for aging itself, it’s certainly better than the alternative. Besides, forty isn’t old. Heck, I refuse to call myself middle-aged until I’m at least fifty. In this way, at least, I’m an optimist. I’ve got too much to do and see; I can’t get old for a long time, God willin’ and the creek don’t rise, as we say in the south.

             Still—forty? My parents, maybe, but me? Forty? Already?!?

             Ah well. For now, I must finish this little introduction and get on with my day. It’s getting late, and I still have to eat before I take my fiber and cholesterol medication, fire up my C-PAP machine, and get some sleep. Now…has anybody seen my teeth?

 Follow me on Twitter @brettwrites.

Email me at semioticconundrums@gmail.com

January 2, 2004 #writing #flashfiction

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As I’m posting some of my existing short-short work (still avoiding writing new short-short work for the moment), I’ve been going out of order, so I’m afraid I may be repeating myself. If I’ve done this one before and have overlooked it, sorry about that. It’s based on our late cat Judas, though it’s really a fictionalization.

January 2, 2004

            I decided to vacuum because of the cat litter scattered all over the bedroom. Our cat has never learned to operate her litter box. She climbs in and out indelicately, tromping through her own piss, dragging litter out between her fuzzy cat toes. I hate it. It would be like dipping my hand in the toilet and flinging water all over the house. It’s not only unsanitary; it’s just plain rude.

            But then our cat has never had any manners. She likes to sit on your chest in the middle of the night, just when you’ve drifted into the deepest of sleeps, the kind that brings dreams of the pasts you’ve lived through and the futures you hope to see. The sweet images of a former lover disintegrate, fade, and you open your eyes to see a ten pound cat staring in your face, her claws prickling your chest.

            Last night, for the fifth night in a row, she ruined a great dream. She leapt onto the bed and landed squarely on my crotch. I cried out and sat up, instinctively throwing her off the bed. She landed on all fours near the closet, gave me her best go to hell look, and padded away to conduct some other cat business. I discovered this morning that she had ripped the duvet when I shoved her away, three neat holes gaping up at me where her paws had been. I can’t explain why she failed to rip four holes. Perhaps she thought it would be in poor taste.

            So today I vacuum her litter, her shit nuggets, probably her fur as well. I do so with aching balls. I do so with my torn duvet smiling at me like a jack-o-lantern. The litter crashes against the insides of my vacuum like gravel against the undercarriage of a car. From the hall the cat watches me, suspicious, and washes her ears.