Showing posts with label short story. Show all posts
Showing posts with label short story. Show all posts

Wednesday, November 16, 2016

Vonnegut's Last (Published) Story

Since Vonnegut's death in 2007, four volumes of unpublished work have been released, three of which are primarily or exclusively comprised of short stories.  Fans of Vonnegut know that his last published short story appeared in 1972 in the second installment of Harlan Ellison's genre-defining Dangerous Visions anthology series.  In his introduction to "The Big Space Fuck," Ellison claimed that it might be the last piece of fiction anyone would ever get from Vonnegut.  At the time, Vonnegut was working on Breakfast of Champions, but claimed he was abandoning the project. Many reviewers and fans took Breakfast of Champions, published in 1973, as Vonnegut's declaration of retirement.  While fans of Vonnegut know that he published seven more novels, and plenty of non-fiction, they also know that he never published another short story during his lifetime.

Except for "Merlin."

It was published in 1996, and appeared exclusively on the label of a specialty beer in Denver.  (Making Chipotle's cups a couple decades late to the party.)  This wouldn't be worth remarking on if it weren't for the fact that this was the only short story Vonnegut published for the last thirty-five years of his life.  The best background on the beer (called Kurt's Mile High Malt) comes from sports columnist Woody Paige's obituary of Vonnegut for the Denver Post.  The recipe is Vonnegut's grandfather's from before prohibition.  And while it seems the beer is being brewed again, there's no indication that new bottles/cans include the story.

As with the few other blog posts I've found about "Merlin," I'll end by requesting that anyone out there with the text of the story please send me a copy (or tell me where to find it).

Monday, October 24, 2016

The Devil and Daniel Webster (From Page to Screen to Screen)

The Story:

Stephen Vincent Benét, best known for John Brown's Body, had "The Devil and Daniel Webster" published in The Saturday Evening Post in 1936.  The story is presented as an old New England folktale, about the time a down on his luck farmer, Jabez Stone, sold his soul to the devil for seven years good luck, only to regret his decision and ask Daniel Webster (the real life congressman and orator, often held to be one of, if not the, most eloquent and honest men to ever serve in the US government) to represent him and get him out of the contract.  The devil agrees to a trial, stocks the jury with cutthroats and traitors from American history, and sets an unrepentant judge from the Salem witch trials to justice.  Old Dan'l speaks all night and convinces the jury that a man's freedom is too valuable, and the sinners relent, giving Jabez Stone his life back.

The story's themes of perseverance through tough times, and the resilience of the American people (especially farmers), would strike a special chord with audiences in the middle of the great depression.  It's a wonderful story and you can read it here on Gutenburg Australia.


The Films:

Director: William Dieterle
Runtime: 107 minutes


The first film adaptation was released in 1941, with a screenplay co-written by Benét.  The plot is much the same as the story, with some additions, most notably a seductive demon (at least that's what we're led to assume) that supplants Jabez's wife.  There's more time devoted to the plight of poor farmers, and the corrupting influence of wealth is hammered down a bit more, in a way that may seem trite today.  There's a lot of folksy New England humor, like when Jabez's Ma points out that "hard luck - well, we made New England out of it.  That and codfish."

Jabez and Ma Stone

While the entire cast ranges from adequate to great, the standout star of the film is Walter Huston (father of John Huston, Academy Award winner for The Treasure of the Sierra Madre), who plays the Devil, or Scratch, as he's often called in New England.


Unfortunately, the scene I wanted to embed wasn't on Youtube, but if you have six minutes, watch Webster's speech to the damned.



All That Money Can Buy (which was titled as such to avoid confusion with The Devil and Miss Jones) was a flop at the box office, despite receiving an Academy Award for its score (which is great) and a best leading actor nomination for Huston.  A restored version of the film was released in the 1990s, with the intended title, The Devil and Daniel Webster.  While certain aspects have aged poorly, it's nonetheless a great film.




Director: Alec Baldwin
Runtime: 106 minutes


The fact that Alec Baldwin used a pseudonym for his directorial credit should be a sign of how this 2003 film turned out.  Baldwin (who also produced the film) stars as Jabez Stone, a down-on-his-luck writer in Manhattan with a bit of talent but no success.  After a fantastically bad day in which he loses his job, is humiliated by a publisher (whose name is Daniel Webster, played by Anthony Hopkins), finds out a friend of his has sudden remarkable success (making him jealous), is mugged, and later kills an elderly woman by throwing a typewriter out a window, Stone is approached by the Devil, who is played by Jennifer Love Hewitt.  She offers to give him ten years of success (and unkills the old lady) in exchange for his soul.  Jabez agrees.  As opposed to the original story and the 1941 film, in which the deal is made official by a contract signed in blood, Stone and the devil seal the deal by, well, sealing the deal.

fig. 1.1 Contract Law

The first half hour or so of the movie works pretty well, but things quickly devolve from their.  This may be the most over-edited movie I've ever seen.  Nearly every other scene ends with either an iris in/out or with tonally inappropriate wipes, as well as an inexplicable frequent use of slow motion shots, which don't make things more dramatic, as the editor intended, but merely more baffling.

This film has a great supporting cast, including Anthony Hopkins, Dan Ackroyd, and Amy Poehler, although the latter two never get much chance to prove how funny they can be.  Like in the original story, Jabez ends up regretting his deal, and enlists the help of Daniel Webster.  The Webster in this case has no connection to the historical figure.  He's just a publisher named Daniel Webster who happens to have considerable experience in suing the devil.  The courtroom scene is a real mess, with Webster using at least a few different defenses, and no real emotional power like the 1941 version.  Hewitt's devil isn't sure whether to be menacing, erotic, or inscrutable, making the performance none of the above (although this isn't Hewitt's fault.  There's only so much she could have done with the script). One point that bugs me deals with the jury in this case.  Stone has become a massively successful author, though one that's critically panned.  The jury, rather than traitors and scoundrels, is composed of authors.  Only four are named, though many are identifiable by appearance (e.g. Woolf and Joyce).  The four named authors are Truman Capote, Jacqueline Susanne, Ernest Hemingway, and Mario Puzo.  Susann and Puzo are best known for writing books that were massively successful but critically panned, so putting them on the jury doesn't really make a whole lot of sense.  Anyway, Webster and Stone win the case, and time is reversed to before the deal is made.








Wednesday, March 30, 2016

Lucky Alan and Other Stories by Jonathan Lethem (2015)



I really want to like Jonathan Lethem's stories.  I couldn't get into anything from his 2004 collection Men & Cartoons, and I hoped for better luck with Lucky Alan, from which I heard him read excerpts at the 2015 Festival of Books. Of the nine stories in the collection, I'd only feel the need to recommend two: "Their Back Pages" and "The Porn Critic."  The first is a strange story in which a number of invented pre-golden age comic strip characters (a clown, a theater critic, a villain, the king of the phnudges, among others) are stranded on a desert island.  The humor is surprisingly dark, the story is inventive, and it does things I haven't seen before.  The latter is a realistic story of Kromer, a young Manhattanite who gains the reputation of "a Rasputin" or "satyr," eventually becoming the thing he is believed to be.

The problem I have with a lot of Lethem's stories is that, though they often have fascinating imagery, they just feel insincere. They feel like anecdotes that have been told again and again, massaged and perfected, but end up sounding rehearsed.  


Rating: 


Thursday, June 4, 2015

What I'm Reading/Watching

The Signet Classic paperback on Voltaire:  I had already read Candide, but this collection includes a couple novellas (Zadig and Ingenuous) and thirteen short stories.  Some were very topical, dealing with specific Jesuits and Jansenists and their feuds, while others were more broadly philosophical and always witty and insightful.

The Pun Also Rises: How the Humble Pun Revolutionized Language, Changed History, and Made Wordplay More Than Some Antics by John Pollack:  Pollack, winner of the 1995 world pun championships, has a brief (154 pages, not counting bibliography, acknowledgments, etc.) account of the history, popularity, and neurolinguistics behind puns.  Very accessible, but at times a bit disorganized, it's a fun read on the subject.  Its original research is limited to asking questions of comedians, writers, linguists, and and neuroscientists, so it's really more of a summation of existing research.

Ended up seeing Lucy (2014) on DVD.  Holy crap was that movie stupid.  The whole 10% of the brain thing would be okay if Besson didn't try to make the movie seem profound by having characters ponder the meaning of being human his liberal use of nature footage.  Then there's the problem of having an action movie where the main character can manipulate matter and no one else can.  There's never any sense of real danger for Lucy.  That said, I can see this having a cult following.  It has a couple big names (Scarlett Johannson and Morgan Freeman), the plot is laughably stupid, and it has some pretty cool visual effects.




Wednesday, November 5, 2014

Ponies by Kij Johnson

One of my favorite contemporary short stories, and winner of the 2010 Nebula award for the short story, is "Ponies" by Kij Johnson.  You can read it here on tor.com or listen to a reading of it here.  (Sorry, audio player wouldn't embed.)

Friday, August 8, 2014

Review: Sudden Fiction International (1989)





    Is this guy reviewing an anthology?  People actually read these if they're not on a syllabus somewhere?  Why?    

    A good anthology is better than the sum of its parts, and Sudden Fiction International is a good anthology.  The anthology is the follow up to the 1983 anthology, Sudden Fiction: American Short-short Stories (which I haven't read.  I'm a denizen of used bookstores, so when something like the book reviewed here catches my eye, it's not necessarily because of any previous exposure). As the cover clearly states, the anthology contains sixty stories, by sixty different authors from around the world.  This includes big names: Margaret Atwood (Canadian), Donald Barthelme and Joyce Carol Oates (American), Jorge Luis Borges and Julio Cortazar (Argentine), Isak Dinesen (Dutch), Italo Calvino (Italian), and Heirich Böll (German), as well as other famous and lesser known authors from every continent (excluding Antarctica).    

   With any anthology, there will be stories suited to you own tastes, and some that just don't strike home.  In this anthology, those that fall into the latter category are still strong stories, and worth reading.  The variety of style and content allows the anthology to cover a wide variety of topics, everything from cursed diamonds (On Hope by Spencer Holst), race in the Eastern Bloc (An Insolvable Problem of Genetics by Josef Škvorecký), the end of childhood (Iguana Hunting by Hernán Lara Zavala), or the meta-fictional consequences of squashing cockroaches (The Fifth Story by Clarice Lispecter).    

   Anthologies are a great way to get introduced to new writers and styles, and you're practically guaranteed to find at least one story that you'd never have read otherwise that fascinates you (for me, this was Dino Buzzati's The Falling Girl and Peter Carey's The Last Days of a Famous Mime). 

  In addition to the stories, Sudden Fiction International has a section with brief biographies on all the authors, as well as solicited comments on the sudden fiction form (i.e. statements made specifically for this anthology).  Among the bios, there's everything from an additional short-short story, to a brief history of the short-short story in ancient China, to William Weaver explaining the process of translating Cosmicomics, all of which forms an unexpected bonus to an already strong anthology.

  If you like very short stories, or want to get introduced to the form, this would be a great choice.


Book info:    

Shapard, Robert, and Thomas, James, eds. Sudden Fiction International. New York: Norton, 
     1989.

ISBN: 978-0393-30613-2

    

    

Wednesday, November 20, 2013

Interview with George Saunders

If you haven't got around to it yet, check out some work by George Saunders.  He's quickly become one of my favorite writers (In Persuasion Nation is my favorite collection of his so far).  Here's him doing a reading from his most recent collection:


Wednesday, August 14, 2013

Some Ramblings on Borges, Calvino, and Barth

            I just finished reading if on a winter’s night a traveler by Italo Calvino (tranlsated by William Weaver).  A great book, certainly, and one that I would have enjoyed in any circumstances, yet I was fortunate enough to, for no reason other than my own gratification, also be reading the Collected Fictions of Jorge Luis Borges (translated by Andrew Hurley).  The effect is complementary.     

            In the introduction to his collection, The Garden of Forking Paths (1941), Borges writes: “It is a laborious madness and an impoverishing one, the madness of composing vast books – setting out in five hundred pages an idea that can be perfectly related orally in five minutes.  The better way to go about it is to pretend that those books already exist, and offer a summary, a commentary on them… A more reasonable, more inept, and more lazy man, I have chosen to write notes on imaginary books.”   

            And so Calvino has wrote the openings to imaginary books, with their own contexts and authors and influences.  But what struck me was a line from Borges’ story, A Survey of the Works of Herbert Quain, in which the narrator  states: “For those ‘writers manqués,’ whose name is legion, Quain wrote the eight stories of Statements.  Each of them prefigures, or promises, a good plot, which is then intentionally frustrated by the author.”      

            Not only is my reading of Calvino enriched by this, so too is my reading of Borges enriched by knowledge of its influence (or at least reflection) in Calvino’s novel.  Another connection that springs immediately to mind, tying the Argentinian Jorge Luis Borges in 1941, to the Italian Italo Calvino in 1979, is the American John Barth in 1967, who states in his famous essay, The Literature of Exhaustion:  “I suppose the distinction is between things worth remarking and things worth doing.  ‘Somebody ought to make a novel with scenes that pop up, like the old children’s books,’ one says, with the implication that one isn’t going to bother doing it oneself.”     

            This essay (obviously including the majority of which not reproduced here) not only unites these two novels in a particular sense, that of suggestion and execution, but also connects them to that movement we call postmodernism, retroactively or in its future.  Which is all a really long way of getting to the fact that influence and interpretation work retroactively.  Borges himself said, in his essay Kafka and His Precursors: “the heterogeneous pieces I have enumerated resemble Kafka; if I am not mistaken, not all of them resemble each other. The second fact is the more significant. In each of these texts we find Kafka's idiosyncrasy to a greater or lesser degree, but if Kafka had never written a line, we would not perceive this quality; in other words, it would not exist. The poem "Fears and Scruples" by Browning foretells Kafka's work, but our reading of Kafka perceptibly sharpens and deflects our reading of the poem. Browning did not read it as we do now. In the critics' vocabulary, the word 'precursor' is indispensable, but it should be cleansed of all connotation of polemics or rivalry. The fact is that every writer creates his own precursors. His work modifies our conception of the past, as it will modify the future.

Friday, July 19, 2013

Flash Fiction Friday: The Man in the Shabby Coat

            Why would I steal?  Because when you take something from someone else, you take a little bit of their personality, a little bit of what makes them unique.  Some people, most people I guess, steal because they want food or money or another hit.  They either steal or starve.  I stole because it was a way to take a bit of someone else.  I don’t know, sometimes it feels like everyone else is just chipping away little bits and pieces of me, and I guess I’m just trying to get back what they took.  I’m telling you this because I’ve decided to stop, and a confession is supposed to be a good a way to start the healing process, at least that’s what addicts say.  I don’t know if what I had was technically an addiction, but I know I hit rock bottom.  For me, it wasn’t jail or a near-death experience.  Like I said, I take little bits of people.  Yesterday, I met a man on an elevator, and I took all that was left of him.

            You don’t need to know my name.  I don’t mean to be rude, but you can understand my desire for anonymity.  Call me John.  John the data enterer.  I work on the tenth floor of a thirty floor building, my cubicle is the fifth in a row of twenty, my row of cubicles is second in a series of five.  The digits of my employee number add up to thirty-six, which is close enough to my age to seem portentous.  I work with numbers all day, but I have no idea what they mean.  I’m paid by people who don’t know me to input information for the benefit of people I’ve never met, all towards a purpose I can’t understand.  Everyone hear either has a vice or has taken up numerology.  They study the numbers as if, if they can just find the pattern that must course through it all, they can escape onto the other side of, become the ones that the numbers are about.  To the best of my knowledge, no one’s ever succeeded.

            If you looked at me, you probably wouldn’t look a second time.  I’m not ugly, but I’m not handsome either.  The best description I’ve heard is “unremarkable.”  I couldn’t be more invisible even if I were actually transparent.  People notice when chairs and coffee cups and cigarette butts move of their own volition.  I’m seen more as a piece of scenery, like a cloud.  No one notices clouds unless they’re threatening rain. 

            I work in a building in a nice part of the city.  Everyone above the twelfth floor wears a suit.  We have a doorman.  He also wears a suit.  I can get away with khaki slacks and a long sleeve button-up shirt.  I’m supposed to wear a tie, but I never do.  Everyone who works here has a public way of showing how much they wish they didn’t.  We’re not supposed to wear lapel pins of any kind.  Our shoes are supposed to be shined.  Our sideburns are supposed to end half an inch above the earlobe.  They’re kind enough to give us little rules to break, so we won’t get into trouble breaking the big ones.  We break the big ones on our own time.

            The first time I stole was about a year ago.  My physician has a mug on his desk filled with personalized pencils.  They’ve got his name and business info on them, promotional stuff.  I noticed them when he was in the other room, poring over charts.  If I had asked, I’m sure he would have given me one, but what I felt then and have since proven to myself, is that it’s the taking that’s important.  Something that was someone else’s has become mine, and that person had no part in the process, so a little bit of them is left in what’s taken.  But I didn’t know that then.  When I took the pencil, I thought I was breaking a little rule.  If I had said to the doctor, “Hey, I took one of your pencils when you were out of the room,” he probably would have said, “Okay.  So what?”  Just like if one of my coworkers went to a manager and said, “I’m wearing a flag lapel pin.”  So what? 

            But when I walked out of the doctor’s office, I felt a wave of relief wash over me.  I hadn’t even realized how tense the whole ordeal had made me, how hard and fast my heart pounded, how white my knuckles got.  That’s how I knew that this was a big rule. 

            I hope you weren’t expecting me to be an international art thief, or a cat burglar or something extraordinary like that.  I’m unremarkable.  I break a big rule in the littlest way possible.  Pens, spare change, sticks of gum.  It’s the act of taking that’s important, not what’s taken.  It became a habit.  Once a week, I just had to take something or I’d get restless.  Six days since the last time I’d stolen anything, I was getting itchy fingers as I walked past our suited doorman and into the marble and chrome lobby of my office building.  I joined the small crowd waiting in front of the elevator door, trying to tune out the sound of business chatter and the squeak and scrape of shoes across the waxed floor and the thump of dropped suitcases and the rustling crackle of whipped open newspapers.  Usually this quiet cacophony didn’t bug me so much, but I was restless.  The elevator door dinged and whooshed open and the crowd flowed in.

            I was pressed in near the back, a fat man in a nice suit and bad toupee was squeezed in on my right, a janitor on my left.  Directly in front of me was a  man in a slightly frayed and seriously wrinkled coat and slacks that looked like they’d been  through the laundry a few thousand times.  The janitor’s uniform was nicer than this guy’s attire.  I could only see the back of his head; his oily grey-black hair was uncombed.  He didn’t look like someone who would be employed in this building.  The elevator slowly lurched from floor to floor. 

            I noticed a folded sheet of paper sticking out of the man’s coat pocket.   My right hand started to clench.  I looked to either side of me.  The fat man was tapping out something on his phone, the janitor staring into space.  The man in front of me seemed to be staring at the digital readout above the door, announcing that we were now on the seventh floor.  I waited another few seconds and reached out.  Quickly but gently, I took the paper from his pocket.

            Suddenly everything seemed quiet.  I glanced quickly left and right and made sure that no one was watching me, had seen what I’d done.  Everyone was in their own little worlds, and the doors glided open on the tenth floor.  I squeezed past the others in the elevator, keeping my eyes set downward, not looking at anyone, especially the man in the shabby coat.  Once in the hallway and the elevator out of sight, I relaxed and contentedly strolled to my desk, the pilfered paper still hidden in my closed fist. 

            I dropped the crumpled and folded sheet onto my desk next to the keyboard, cracked my knuckles, and logged in to the system.  I kept looking over at the paper.  It wasn’t a receipt; it seemed to be a piece of eight and a half by eleven printer paper.  I unfolded it and read.  In meticulously neat handwriting:

            To whom it may concern,

                        There’s nothing left.  I’m sorry.  I just want to feel the wind in my hair one more   time.  I don’t want to be a burden.
           

            It was unsigned.  By my estimation, a full ten minutes had passed since I left the elevator.  Too late.  I folded the paper into a small square and put it in my pants pocket, left my desk, went to the elevator bank and rode to the lobby.  As I exited the front of the building, I noticed several people running through the alley, towards the executive parking lot in the back.  It would be mostly deserted at this time of day.

            “I don’t want to be a burden.”

            Did he know that the note was missing when he jumped?  If he did, did he care?  Either he knew that it was gone or he didn’t and in either case, this last message of his, the last piece of himself that he had was in my pocket.  I took that from him. 

            I didn’t go back to work the next day.  I haven’t been there for a few weeks now.  One of my managers called me a few days ago and asked if I was sick.  He called me “John.”  That’s not my name.  I guess you could say I’m in a transitional period.  What I’m transitioning towards is still up in the air, but I’m glad to be moving away from where I was, and I think to really do that I need to get everything out in the open. 

            

Friday, July 12, 2013

Flash Fiction Friday: The Hangar

The Hangar

            Harvey was insane, but he wasn’t hurting anybody.  He took up a lot of space, but it was space no one wanted and they were happy that someone found a use for it, even if that use was crazy.  It was a derelict hangar half a mile from an abandoned army base, an empty cracked concrete block with weeds thick as cockroaches and cockroaches sprouting up like weeds.  Say what you will about Harvey, but he cleaned her up.  His first week there, he pulled all the weeds and stomped all the cockroaches under his old cracked leather army boots.  He used a hoe and a hose to mix cement in a wheelbarrow and filled in all the cracks.  He filled in the windows, too, and any openings, except the big hangar door that the planes used to taxi through before the base closed. 

            I only met him a couple of times.  No one in town has spent much time with Harvey, or even visited him in his hangar more than a handful of times, with exception of Ike, who volunteers with the V.A. in his spare time.  No one knows if Harvey was a vet, not even Ike knows for sure, but Ike says that he can tell, deep down in his gut, that even if Harvey never served, he’d definitely seen something like a war.  He told me that when we were on our way to the hangar.  Harvey had been living there for five years by that point, and hadn’t stepped out of that building once.  Every week, someone would bring him food, usually Ike.  I was fifteen, that first trip. I think every teenager was brought out at least once, like some rite of passage.  Some people see a shaman, some see a rabbi, some go on a hunt or a vision quest; we saw Harvey.

            The hangar was five minutes from the highway, out over the hard-packed light brown dirt.  Ike parked his SUV off to the side of the hangar, and we got out.  He opened the trunk and we grabbed a bunch of grocery bags and walked towards the gaping entry to the hangar.  Harvey never closed that door, left it open night and day, in good weather and storm.  The concrete near the door was coated in a layer of dirt.  Dried leaves lay scattered throughout the structure, piled in corners, skittering and clattering whenever a gust of hot wind blew in.  A small campsite was set against the wall farthest from the entrance.  A patched gray one-man tent and a little propane stove.  Harvey crawled out of the tent as we approached, a man at least sixty years old with ghost-white hair and sand textured skin.  His clothes were worn and threadbare, a light shirt that was once blue or black but now seemed a dull gray and jeans sun bleached almost as white as his hair. 

            Ike and I walked to the tent and put the food down.  I noticed several empty grocery bags scattered around the place, some half mulched.  I didn’t say anything, and wasn’t going to until Ike nudged me in the ribs with his elbow and said, “You can ask him.  He won’t be offended.”   Harvey waited patiently as I put the words together.    

            “Why do you live out here?”   

            Harvey told me.  He said he was waiting.  The universe works according to certain principles, certain laws of physics.  Diffusion.  Particles tend to move from areas of high concentration to areas of low concentration.  If he waits long enough, the area inside the hangar will become a microcosm of the world in its entirety.  “Who wouldn’t want their own world?” he concluded.    

            I only saw him twice since then.  Once, a few years later, when I dropped off some groceries because Ike was sick.  And a couple years after that I saw his picture in the local paper, with a brief passage about how his heart gave out and he probably didn’t suffer.  Since then, the hangar’s been torn down.  You can still tell where it was by remnants of the concrete foundation, but even that’s fading now.

Friday, June 21, 2013

Robert Coover's "A Political Fable" or, the Strangest Little Book You'll Ever Read


     
      Novellas don't really seem to get their fair share of attention, often cast out of the limelight by novels and short stories.  In fact, Coover's A Political Fable was originally published in 1968 as a short story with the much more descriptive title The Cat in the Hat for President.  An odd premise, sure, but what you can't understand until you read this is how terrifying that would be in actuality.  The Cat in the Hat is unlimited by the laws of physics or reason.  His antics drive people to insanity.  He can and does anything, seemingly without rhyme or reason (well, not without rhyme), but there always seems to be some deeper, unfathomable purpose to his actions, whether they're flooding a convention hall and having everyone swallowed alive by giant fish or turning hundreds of coon-skin caps into live raccoons.  
      
      The story itself is, as the title suggests, a fable, with a message to be learned about politics and order and society, etc.  Still, the story is very, extremely, and totally weird.  The blend of the mundane (party politics, voter demographics, etc.) and the bizarre (a magic anthropomorphic cat) creates a very unsettling effect which is only magnified by the way the mundane seems to not only accept, but welcome the bizarre.  And that's part of what makes this the strangest little book you'll ever read: the way the ordinary blends with the unbelievable, the way the innocuous blends with the obscene, the way reason meets nonsense until the difference becomes muddled.  It's a short, quick read, but one hell of a trip. 



Wednesday, April 3, 2013


STANDOFF

            Holy crap!  This is a Mexican standoff, isn’t it?  How the hell did I end up in a Mexican standoff?  I only bought this gun to impress that girl from my political science class, I’ve never even fired it!  Oh god, what –

                                              – does this idiot think he’s doing?   He’s a second away from getting his head blown off and… His safety is on!  That little yuppie is pointing a gun at me, and the safety is still on.  That’s great.  I bet the thing’s not even loaded.  I bet the idiot doesn’t even know –

             – he has the code.  It is in his cell phone.  I am to retrieve the code and leave it at dead drop.  Upon delivery I will be paid second half of fifty thousand dollars.  I did not expect any trouble.  The –  
  
                     – FBI has been watching this guy for three years.  Didn’t think he’d be working with foreign powers, especially considering –

                                                                   – I have no idea what I’m doing!  Why is the big guy snarling and glaring at my pockets?  He’s pointing a gun at me; should I point my gun at him?  I have no idea –

                           – how the FBI got their information.  They must have their own sources.  Maybe I will get a chance to interrogate the agent before I leave the country.  Perhaps he will… wait a second.  Is his –
  
                                   – safety on!  My safety is on!  What do I do?  I have to get out of here!
                                         
                                               – click
                                                  
                                                                      –BANG!
                                                                
                                                                                              –BANG!
                             

                                         – click click click
                                                                                                   



































                                                                                     – click?
                                                                                                                                           

Friday, March 29, 2013

I Apologize in Advance



The Birthday Party

            Poor old Mrs. Peters, I thought, smiling perfunctorily as I strapped on a ridiculous cone-shaped party hat and moved to the kitchen in the little suburban house.  These hats are basically festive dunce-caps.  I was always prone to epiphanies, so long as they were self-deprecating.  But poor old Mrs. Peters was wearing one of these stupid hats too, and I didn’t want to seem rude.  After all, it was her birthday. 

            Now, you may very well wonder why a fifty year old woman was throwing herself a birthday party.  That very question was one of the three that popped into my head after I received the invitation.  One of the others was:  Why invite me?  I didn’t know Mrs. Peters very well.  I later learned that Mrs. Peters invited all her neighbors.; I was just the only one to actually attend.  The low turnout was related to my other question:  Why throw a birthday party at noon on Super Bowl Sunday?  I have yet to get a definitive answer to this question.  But nevertheless, there I was, sitting across the table from Mrs. Peters, sipping from a glass of fresh lemonade, trying to overlook the thinly veiled sadness lining her face. 

            Mrs. Peters had no family, unless you count Mr. Fuzzykins, her hairless Siamese cat (which I don’t).  All skin and claws, Mr. Fuzzykins begged (i.e. scratched hashtags into my leg) for some of the cake on the table, a two-layer chocolate disk with a wholly irresponsible number of candles stuck in it.  “That’s a lovely cake,” I said.  Mrs. Peters began to sob.  This carried on for a few minutes, during which Mr. Fuzzykins chewed through my shoelaces in three places.  When Mrs. Peters calmed down, she explained:

            “I’m sorry.  I just remembered something from when I was a little girl.  My parents never had much, and I’d never get birthday presents.  But every year my mother would bake me a flourless cake.”

            “Those are very tough to make,” I said.

            “No, she just didn’t put in any flour.  It tasted awful, but I was always grateful for the thought.  When I was ten or so, my father got a better job, and I started getting real cakes for my birthday.  I just remembered, at my first real birthday party, there was a cake.  Small, nothing special, but to me it was the most beautiful cake in the world and a sign of the great things that were happening for our family.  I promised myself, when I grew up, I was going to have two beautiful cakes for all my birthdays.”    

            Mrs. Peters stood up, grabbed a plate from a cupboard and rummaged through a drawer, eventually emerging with a large knife.  She returned to the cake, removed the top level and put it on another plate.  She beamed proudly at the dishes.  “Now how about that?” she asked.

            “Mrs. Peters,” I sighed:

            “You can’t halve your cake and deem it two.”