INTERVIEW: David James Poissant, author of The Heaven of Animals

by Jesse Bradley

Heaven of Animals

David James Poissant is the author of the short story collection, The Heaven of Animals. We talked over email about superpowers, the success rate of marriages in literary fiction, and fatherhood.

Jesse Bradley: In an alternate world, you are a horrible father to your children. What ways would your alternate universe self be a horrible father?

David James Poissant: Who says I’m not a horrible father to my children? No, I’m not. I’m not. I hope I’m not. I don’t think I am. Probably I’m pretty good. If I had to make a wager, I’d guess that I rank somewhere in the upper forty or fifty percent. I’m superior to at least three fathers that I know of. I haven’t lost my children yet, if that which constitutes losing is misplacing them for more than an hour or two. And I always crack the windows.

In an alternate universe, the one in which I am a terrible father, I’d give my children everything they want. Because, really, that’s actually one of the hard parts about parenting. Your child wants something, and you want to give that something to her more than you want to do what’s best for her. Sure, have that third slice of cake. Sure, watch another hour of TV. Whatever makes you happy, honey. Then, before you know it, your daughter turns into Veruca Salt (the character from Charlie and the Chocolate Factory, I mean, though, I suppose, given the wrong parenting, there always exists the very real possibility that your daughter could turn into a nineties alternative/grunge band).

JB: What limb or sense would you be willing to lose? What would be the back story behind the loss?

DJP: If I had to trade a sense, I think I’d trade my sense of smell. I’ve heard it said that without a sense of smell, you lose your sense of taste, but I had a teacher in high school who was lifting weights and somehow crushed his nose beneath the barbell. As a result, he lost his sense of smell, but he could still taste things if he made them really, really flavorful or spicy. The side benefit here was that he could ingest extremely spicy foods, the kinds of foods that would obliterate most people’s taste buds. And I think that this would be a very cool power to have. I mean, I’ll never be a bodybuilder. I’ll never be the resident tough guy. But, if I could garner some street cred from being able to eat foods spicier than anyone else, so much street cred that people wouldn’t look at me sideways for using words like garner, then I think that would be pretty bad-ass. As for back story, I’ll happily borrow my teacher’s. Weightlifting accident? Yes, please! Where do I sign up?

JB: Your surviving characters successfully abduct you and try you for all of the characters you killed. What would that trial be like?

DJP: Well, first things first, I live in Florida, so, no matter how the trial goes down, I’m getting off scot-free. (Hey, fun fact: According to Wikipedia, scot-free derives from the Old English scotfreo, meaning “exempt from royal tax.”) But, yeah, given my situation, I think the only way I’m found guilty is if the jury foreperson is my character Joy from “Refund.” In that case, I’m going down. You just do not mess with her.

JB: Out of how many marriages fail in literary fiction? Please cite evidence of whatever percentage you indicate.

DJP: All of them. All literary fiction marriages fail.

No, not really. There was that one, that one time…maybe it was in a John Updike story…no, definitely not an Updike story. No, I’m thinking there was this one really strong marriage in this one story by…hmmm….no…wait…give me a minute…I’ll think of one…um, next question?

JB: What superpower would you like your next child to have? Would you hide the child’s superpower from the world?

DJP: The other day — and this is true — my family was eating dinner, and we got to talking about superheroes. My wife, Marla, and I have twin daughters, age four (and four). One of my daughters, Isabelle, asked if she could be a superhero and if I would be her sidekick.

“Of course,” I said. “What’s your superpower?”

“I can fly,” Izzy said.

“That’s reasonable,” I said. “And what’s my superpower?”

She gave this some thought. “You’re just a really nice guy,” she said.

“What about me?” my other daughter, Ellie, asked. “What’s my superpower?”

Izzy thought about this for a while, then said, “Ellie, you can make food really, really flat.”

Apparently, my wife doesn’t get a power, so it was decided she’d be our Alfred. You know, the mere mortal who keeps the secret hideout fridge stocked with protein shakes and makes sure the electric bill gets paid on time?

As far as superhero teams go, I see my family’s as fairly ragtag. Given our powers — flight, food-flattening, and hyperbolic niceness — I’m not sure just what kind of crime or super villain we’re equipped to fight. In my case, I suppose I’ll be killing bad guys with kindness, literally.

But, to answer your original question, were Marla and I to have another child, I’d vote for a baby with the power to sleep through the night and that could also feed and change itself. Because that’s probably the only way we’re having another child.

JB: What is a dark secret you wish you had? How would having that dark secret influence your life?

DJP: For a long time, I’ve had this idea for a story about an accidental plagiarist. It would be about a guy who writes stories, great stories, thebest stories, only to discover that each story has, in fact, already been written word-for-word by somebody else. I’ve always wondered, if I had the choice, would I want that power? Because, how amazing would it be to compose a story like ZZ Packer’s “Brownies” or Amy Hempel’s “The Harvest,” to have the very real experience of thinking up those stories and knowing how it felt to write them from scratch? But, then, how devastating to discover that someone had beaten you to the punch? To pen a line like “Love slays fear.” Yes. Yes! But, then, to learn that Barry Hannah been there, done that (“Escape to Newark,” Airships). No. No! Still, if you’d written the story, really written it on your own with no knowledge of the forerunner, wouldn’t the masterpiece, in every way — in every way but the fact that it had already been written — still be yours?

The best story you can write is the kind of story that’s better than anything you can write, that’s better than you. If you’re lucky enough to land one or two of these in a lifetime, I can’t help imagining you’d feel just that way, like you were keeping a deep, dark secret, like you hadn’t written those stories at all.

JB: How much of your life do you incorporate into your fiction? Do you warn people that they might show up as characters in an upcoming story?

DJP: My work is almost never autobiographical. What is true to my life is place, or at least my perception of place. The settings in my stories are pulled whole-cloth from my experiences of them. I can’t write about a place I haven’t first been and internalized deeply, which is why I’m unlikely ever to write a historical novel. If I can’t go there now, there’s no amount of research I’d trust to get the place right.

I’ve spent a lot of time in Florida, Georgia, and Tucson, so those pop up in the collection quite a bit. And there really is a Big Bone Lick State Park (though watch your search terms if you Google that one). The novel I’m currently writing is set in North Carolina on a lake that’s very much like the lake my family and I visited most summers during my childhood. For whatever reason, I find that dropping fictional characters into settings that I know well helps me to more easily fictionalize their conversations and behaviors. I suppose it’s the inverse of Marianne Moore’s “imaginary gardens with real toads in them.” In my stories, the gardens are real; it’s the toads that are make-believe.

JB: Where do you see your fiction in five years?

DJP: I see him in a bar. He’s put on a little weight. The gray is coming in near his temples, but he looks good for his age. We shake hands. He buys me a drink. We catch up on old times. I tell him the one about the nun, the rabbi, and the brontosaurus who walk into a bar, and he does the joke with the interrupting cow, except that he messes it up, like Ryan Gosling at the end of Half Nelson. Then we both talk about how much we like the latest story by George Saunders. Probably, after that, I put him in a cab and give the driver his address. My poor fiction. Nice guy, but he never could hold his liquor.

CRAFT THOUGHTS: Why You Should Edit As You Write

Of all the bits of writing wisdom paraded in front of young writers, none are taken as seriously these days as “Every first draft is shit!” and “Never edit as you write!” This may be because these mantras — unlike the vague calls to “write what you know” or “kill your darlings” — have concrete instructions attached: vomit out your first draft as quickly as possible without any revision or editing. Only then, after wiping the words “the end” off your chin, may you edit.

This week Thought Catalog repeated this dogma in a piece called “The Big Mistake Every Beginning Writer Makes.”Never edit as you write” is the most important rule, the author Michael Malice says.

“Editing should be done…not in chunks, but from start to end. No one has a good first draft, let alone a great one. But I’d rather have a crappy, sloppy first draft of a manuscript than, say, fifty perfectly edited pages.”

I don’t mean to single this piece out — there are a million similar articles online — but since this advice is basically dogma in our NaNoWriMo-crazed literary culture, I want to offer a different point of view. Before arguing that this advice is not only not the most important advice, but actively harmful to many writers, let me say that I do agree with the underlying message that writers need to finish things. Plenty of writers fail because they simply give up part way through, whether while writing or editing.

Does anyone ever have a good first draft? There are many famous examples of works written in basically a single session. (In fact, my favorite short story ever, “The Judgment” by Franz Kafka, is one of them.) Virtually every story needs revision, but many writers complete drafts that are close to being done because they revise as they go.

Part of the issue, though, is the very concept of a “draft.”

Many young writers have this idealized image of a writer sitting down and knocking out a story from start to finish (rough draft). Then they pop open a red pen and edit from start to finish (first draft). This repeats (second draft, third, fourth, etc.) until the story is plopped in the mail and the author goes and drowns themselves in sorrow and whiskey at the nearest dive bar.

Some writers do this, especially the last bit, but in my experience the writing and editing processes are far more chaotic that this. A writer jots down a scene in a notebook. A few days later they write down an idea for an ending. They spend a day at the coffee shop working on opening lines. They tweak the opening, finish everything except the last paragraph, which comes to them a week later. The point is that the “first” draft includes sections that have been edited and revised many times. Not only are not all first drafts shit, but most of the time a “first” draft doesn’t actually exist, at least in the sense that many young writers take it to mean.

So why is “never edit while you write” bad advice? There are two reasons:

1) The first is that writers often look for problems that aren’t there. The idea that “first drafts are shit” makes them think that they must make radical edits to every piece they write. Surely there are a multitude of darlings that need murdering in there!

While under editing work is certainly a problem, it is also a problem to over edit it. You do not want to take your beautiful weirdo monster and defang it, clean it, and trim its fur until it looks like every other brown rodent in the park.

2) The second, and more common, issue is that the puke-up-a-draft-then-polish-polish-polish method can leave you with an unfixable draft.

The Thought Catalog article uses the metaphor of climbing a mountain: “Editing while you write is like climbing down the mountain as you try to reach the summit. Get the job done first, and only then should you try to go back.”

This metaphor would make sense if there was one peak you were reaching, but in fact there are near infinite peaks you might end up on. Each path you take — choices of voice, structure, character, setting, etc. — alters your destination. Thinking of it that way, is it so crazy to take out a map and backtrack if you realize you are going the wrong way?

A better metaphor might be building a house. When you build, you want your foundation to be as strong as possible or else everything else is going to be warped and ready to collapse. Sure, it’s possible to just slap up a structure as quickly as possible with whatever materials are around, and replace every single thing piece by piece, but it’s going to take a lot more work. And, frankly, you are going to be a lot more likely to say, “Fuck it, who cares if the floor is at a 20° angle and the toilet is connected to the oven? Let’s call it a day.”

If you are writing a horror story about two brothers living on Mars with a robotic chimpanzee, and realize early on that the story should really be a comedy set in a submarine with an ghost shark, it’s going to be much easier to fix at page 10 than page 100. If you get to the end, how likely is it that you will actually change Mars to the Atlantic and Dr. Weebles into Dark Tooth, the hammerhead poltergeist doomed to roam the sea until the mystery of his death is solved?

And those joke elements may be easier to fix than issues of structure or voice where you might literally need to rewrite every word. The most common roadblock to revising I see is a writer not wanting to throw away the things — voice, characters, setting, plot — that they’ve spent so long on even when they know it’s not working. It’s a form of the sunk cost fallacy. Human instinct is to make what you have work.

The Gordon Lish school of writing believes that your work should constantly pull from and build on the text already on the page. The elements on language in your very first line should resonate through the whole text. Even if you don’t take it to that extreme, good writing is an interconnected whole with the elements constantly playing off each other.

This is not to say that you should spend your time fretting about semicolon use for two hours instead of writing the next page. That’s like worrying about the bathroom tiles before the bricks are in place. It is just that it is often best to get your large elements in line, and make changes when you realize something isn’t working, before completing the whole building.

There are exceptions, of course. Some writers really do spit up nonsense and slowly shape it into something new. But most writers do something in-between that and slowly editing each line as they go. I remember Zadie Smith saying that she always rewrote the first chapter of her books over and over again until she got the voice exactly right. Once that was just right, the rest of the book flowed out like a river. Perhaps you’ll work best spitting out a chapter, polishing it, then spitting out another. Or maybe you spend time honing down all your major elements in an outline, and then quickly write a draft with your scaffolding already firmly in place. The real answer is never some absolute rule, but always about finding what works for you.

Short Story Thursday Presents: Ocean Fiction (Part Two)

by Jacob Tomsky

[DISCLAIMER: The post below involves Short Story Thursdays alone. It is in no way affiliated with any pop-up ads or sidebars you may be presented with on this site also advertizing a free short story a week. If you like the shit below, emailing shutyourlazymouthandread@shortstorythursdays.com is the only way to join. I know it’s a super long email address. Sorry. But I hope you like it. And I hope you do it. Thank you.]

Hello everyone. So, for what it’s worth, and it’s a free service, so it’s worth nothing, I run a weekly non-profit short story organization called Short Story Thursdays. Right? That’s half cool, right? One email a week, containing a lively introduction from me along with a classic short story, pasted right into the email. A tight way to inject classic lit into your 50-mile-an-hour life. Any further information needed about this organization can be gleaned from my first dispatch here at Electric Literature or from these two sources:

1- This super dope article I wrote about SST and why I started it: So You Hate Short Stories?

2- This single-take video where I am sitting in my own apartment and just scriptlessly bullshitting about SST: Video Introduction

But, so, anyway, this is my self-appointed mission, my private hell, my tragic flaw: Getting people to read classic short stories once a week. Here at Electric Literature, in a four-week cycle, I’ll be getting you all, hopefully, familiar with my lazy writing voice (very colloquial, and I say “fuck” a lot) and presenting you with some amazing classic short fiction. Fuck yeah.

About boats. All these classic selections involve boats, and most of them transoceanic travel.

Because, a few months ago, I took a freighter over the Atlantic. With just the crew. I took a photo of the freighter and it looked like this:

Freigher Photo

I was terrified. Because who knows what to expect? We’d only just made it out to sea. And solid land had dissolved behind us. Now I had ten days in the middle of the ocean with a crew of Russians, Romanians, Polish and Filipino shipmen. I had a little cabin and a big bottle of whiskey. This is my face staring out my window that first morning:

Me Scared

Oh, man, look how worried I am! Embarrassingly worried. But no Internet, no doctor, no nothing. Just ocean and madness, clear on around. I took a photo or two of the wide ocean, but that’s like taking a picture of the moon: It’s a dumb thing to do, impossible to capture. Just Google a picture of the ocean or something. And Google a picture of the moon too, if you want.

It was to be a ten-day journey wherein I had nothing to do, except edit the three writing projects I had completed over in Africa, where I’d relocated for the past four months. I’d run away from Brooklyn to Africa in order to write some new books to sell, hoping to, you know, pay for this freighter trip which was cheaper than you’d think, and much harder to arrange that you would imagine.

But all I had now was a belly full of fear and also this odd sausage they served me for breakfast. Everything on the boat was rigid, that’s the first thing you find out. Breakfast, lunch, and dinner all had iron-set time slots and if you missed it: You were fucked. But you weren’t going to miss it because what would you be doing except sitting in your cabin, scared and looking at your watch and your calendar and thinking, “Why, Lord, why did I do this? And what, Lord, what is for dinner?”

The crew was extremely cold to me, at first. I mean, of course. They would all rather be with their families instead of working. They wanted nothing to do with this ocean, or crossing it again and again. But they were paid to do it. And paid well because it’s dangerous work. And here I was, some asshole, paying to ride along! What an idiot! But in addition, these sea-folk were unusually quiet. Eerily silent. Nobody spoke during meals. I mean, wouldn’t that be the time to bullshit up a gale and get some laughs in before going back to the madness of the huge churning rotor, the steady hum of the engine, the glass-smashing crunch of a freighter in high waves, slamming its front face down into an uncooperative and violent sea?

The front of a boat is not called a face, it’s called a bow or something. Or hull. The hull.

But no: Silence. All the time. When I would go to the bridge, where they steer this huge fucker, you would have to be quiet. From there, the topmost perch of the container ship, one could see 360 degrees and there were binoculars in case one wanted to get a closer look at fucking nothing.

But I’ve been in some hard situations before. I know how to shut my mouth and be cool. So that’s what I did. Walking contemplatively through the lower deck hallways, being all cool, until the ship tilted hard and slammed my face into a metal wall.

Freighter fact: the whole thing was metal. You guys are probably like, “No shit, moron, you think it was a plastic boat?” But even the internal walls are metal and you can use magnets to hang signs anywhere, literally anywhere; you could hang a sign from the floor, haha.

But what signs would you even hang? For activities? There are none. Maybe a sign to remind people that talking has no place at the dinner table for some fascist reason?

At my very first dinner; I made a huge mistake. I turned down the ice cream, which was offered to me by the mess staff at the end of my meal.

I said, “No thank you!” and waved a friendly hand, all happy to be making such smart health choices in the middle of the ocean like anything fucking mattered out here in the middle of the ocean, but I looked up to see the Chief Mate glaring at me. They were all sort of glaring at me, in this weird mess room, which was pitching and rocking and would continue to pitch and rock for the next nine days. No one said a word, they just grimaced. And so I left.

I found out later, once I started to befriend these swarthy assholes, that ice cream comes but once a week. And they use it as a time marker. They wait all damn week for this ice cream. They count the passing weeks using bowls of ice cream, like hardened criminals incarcerated in some Baskin-Robbins prison. The Chief Mate, who’s name I would eventually learn was Marius, and who is awesome, and who is Romanian, and who had sent that glacial sea-stare right through me after I turned down my bowl, told me much later: “Ice creams are very important to us. See, I have only 12 more ice creams before I see my wife and daughter.”

But that admission, as sad as it is unhealthy, wouldn’t come till later. Now I was just starting out. Now I had no friends. No ice creams. And the weather was horrible. Heavy storms that plagued me in my bed all night, heavy pitching that had me gripping the safety pole in my shower like the world’s worst wet stripper.

And even if I did pick up the binoculars, which, believe me, at this time I was afraid to even ask if I could, all I could see was dense fog; the first few days the front of the boat, I mean the hull of the boat, was obscured, but you could hear it fighting out there, pushing through the tall waves, smashing forward.

This kind of thick fog, I found out, is called “milk fog.”

This week’s story is about milk fog, though the author, William Hope Hodgson, never refers to it in that way. And it’s a story about the unknown, floating out there just beyond your field of vision. The terrors of the ocean. First published in 1907, it’s called, “The Voice in the Night.”

So I really hope you like it. It’s a great story, I promise. And if you want to read more classic short fiction, 4,000 other wonderful readers and I do this every week. We are doing it right now in fact. I sent out our email this morning because, and I’m sure you got this already, it’s Thursday and it’s called Short Story Thursdays. Oh! That’s tight branding! So if you want to sign up for the once-a-week emails you can email me at: shutyourlazymouthandread@shortstorythursdays.com

Ha! How off the wall is that email address??

But if you type it in you can email me, and I will sign you up.

But no matter what, I’ll be here for the next two ice creams, at Electric Literature, with more freighter facts and foul language, and more lovely, classic, ocean fiction.

Next week I’m going to do a story about love too.

And how love will make you want to die so bad.

Thanks for your time everyone, seriously. And I hope you enjoy the story. See you next ice cream.

Love,

Jacob Tomsky

http://www.jacobtomsky.com

Short Story Thursday Presents…

“A Voice in the Night” (1907) by William Hope Hodgson

It was a dark, starless night. We were becalmed in the Northern Pacific. Our exact position I do not know; for the sun had been hidden during the course of a weary, breathless week, by a thin haze which had seemed to float above us, about the height of our mastheads, at whiles descending and shrouding the surrounding sea.

With there being no wind, we had steadied the tiller, and I was the only man on deck. The crew, consisting of two men and a boy, were sleeping forward in their den; while Will — my friend, and the master of our little craft — was aft in his bunk on the port side of the little cabin.

Suddenly, from out of the surrounding darkness, there came a hail:

“Schooner, ahoy!”

The cry was so unexpected that I gave no immediate answer, because of my surprise.

It came again — a voice curiously throaty and inhuman, calling from somewhere upon the dark sea away on our port broadside:

“Schooner, ahoy!”

“Hullo!” I sung out, having gathered my wits somewhat. “What are you? What do you want?”

“You need not be afraid,” answered the queer voice, having probably noticed some trace of confusion in my tone. “I am only an old — man.”

The pause sounded oddly; but it was only afterwards that it came back to me with any significance.

“Why don’t you come alongside, then?” I queried somewhat snappishly; for I liked not his hinting at my having been a trifle shaken.

“I — I — can’t. It wouldn’t be safe. I — — “ The voice broke off, and there was silence.

“What do you mean?” I asked, growing more and more astonished. “Why not safe? Where are you?”

I listened for a moment; but there came no answer. And then, a sudden indefinite suspicion, of I knew not what, coming to me, I stepped swiftly to the binnacle, and took out the lighted lamp. At the same time, I knocked on the deck with my heel to waken Will. Then I was back at the side, throwing the yellow funnel of light out into the silent immensity beyond our rail. As I did so, I heard a slight, muffled cry, and then the sound of a splash as though someone had dipped oars abruptly. Yet I cannot say that I saw anything with certainty; save, it seemed to me, that with the first flash of the light, there had been something upon the waters, where now there was nothing.

“Hullo, there!” I called. “What foolery is this!”

But there came only the indistinct sounds of a boat being pulled away into the night.

Then I heard Will’s voice, from the direction of the after scuttle:

“What’s up, George?”

“Come here, Will!” I said.

“What is it?” he asked, coming across the deck.

I told him the queer thing which had happened. He put several questions; then, after a moment’s silence, he raised his hands to his lips, and hailed:

“Boat, ahoy!”

From a long distance away there came back to us a faint reply, and my companion repeated his call. Presently, after a short period of silence, there grew on our hearing the muffled sound of oars; at which Will hailed again.

This time there was a reply:

“Put away the light.”

“I’m damned if I will,” I muttered; but Will told me to do as the voice bade, and I shoved it down under the bulwarks.

“Come nearer,” he said, and the oar-strokes continued. Then, when apparently some half-dozen fathoms distant, they again ceased.

“Come alongside,” exclaimed Will. “There’s nothing to be frightened of aboard here!”

“Promise that you will not show the light?”

“What’s to do with you,” I burst out, “that you’re so infernally afraid of the light?”

“Because — — “ began the voice, and stopped short.

“Because what?” I asked quickly.

Will put his hand on my shoulder.

“Shut up a minute, old man,” he said, in a low voice. “Let me tackle him.”

He leant more over the rail.

“See here, Mister,” he said, “this is a pretty queer business, you coming upon us like this, right out in the middle of the blessed Pacific. How are we to know what sort of a hanky-panky trick you’re up to? You say there’s only one of you. How are we to know, unless we get a squint at you — eh? What’s your objection to the light, anyway?”

As he finished, I heard the noise of the oars again, and then the voice came; but now from a greater distance, and sounding extremely hopeless and pathetic.

“I am sorry — sorry! I would not have troubled you, only I am hungry, and — so is she.”

The voice died away, and the sound of the oars, dipping irregularly, was borne to us.

“Stop!” sung out Will. “I don’t want to drive you away. Come back! We’ll keep the light hidden, if you don’t like it.”

He turned to me:

“It’s a damned queer rig, this; but I think there’s nothing to be afraid of?”

There was a question in his tone, and I replied.

“No, I think the poor devil’s been wrecked around here, and gone crazy.”

The sound of the oars drew nearer.

“Shove that lamp back in the binnacle,” said Will; then he leaned over the rail and listened. I replaced the lamp, and came back to his side. The dipping of the oars ceased some dozen yards distant.

“Won’t you come alongside now?” asked Will in an even voice. “I have had the lamp put back in the binnacle.”

“I — I cannot,” replied the voice. “I dare not come nearer. I dare not even pay you for the — the provisions.”

“That’s all right,” said Will, and hesitated. “You’re welcome to as much grub as you can take — “ Again he hesitated.

“You are very good,” exclaimed the voice. “May God, Who understands everything, reward you — — “ It broke off huskily.

“The — the lady?” said Will abruptly. “Is she — — “

“I have left her behind upon the island,” came the voice.

“What island?” I cut in.

“I know not its name,” returned the voice. “I would to God — — !” it began, and checked itself as suddenly.

“Could we not send a boat for her?” asked Will at this point.

“No!” said the voice, with extraordinary emphasis. “My God! No!” There was a moment’s pause; then it added, in a tone which seemed a merited reproach:

“It was because of our want I ventured — because her agony tortured me.”

“I am a forgetful brute,” exclaimed Will. “Just wait a minute, whoever you are, and I will bring you up something at once.”

In a couple of minutes he was back again, and his arms were full of various edibles. He paused at the rail.

“Can’t you come alongside for them?” he asked.

“No — I dare not,’ replied the voice, and it seemed to me that in its tones I detected a note of stifled craving — as though the owner hushed a mortal desire. It came to me then in a flash, that the poor old creature out there in the darkness, was suffering for actual need of that which Will held in his arms; and yet, because of some unintelligible dread, refraining from dashing to the side of our little schooner, and receiving it. And with the lightninglike conviction, there came the knowledge that the Invisible was not mad; but sanely facing some intolerable horror.

“Damn it, Will!” I said, full of many feelings, over which predominated a vast sympathy. “Get a box. We must float off the stuff to him in it.”

This we did — propelling it away from the vessel, out into the darkness, by means of a boathook. In a minute, a slight cry from the Invisible came to us, and we knew that he had secured the box.

A little later, he called out a farewell to us, and so heartful a blessing, that I am sure we were the better for it. Then, without more ado, we heard the ply of oars across the darkness.

“Pretty soon off,” remarked Will, with perhaps just a little sense of injury.

“Wait,” I replied. “I think somehow he’ll come back. He must have been badly needing that food.”

“And the lady,” said Will. For a moment he was silent; then he continued:

“It’s the queerest thing ever I’ve tumbled across, since I’ve been fishing.”

“Yes,” I said, and fell to pondering.

And so the time slipped away — an hour, another, and still Will stayed with me; for the queer adventure had knocked all desire for sleep out of him.

The third hour was three parts through, when we heard again the sound of oars across the silent ocean.

“Listen!” said Will, a low note of excitement in his voice.

“He’s coming, just as I thought,” I muttered.

The dipping of the oars grew nearer, and I noted that the strokes were firmer and longer. The food had been needed.

They came to a stop a little distance off the broadside, and the queer voice came again to us through the darkness:

“Schooner, ahoy!”

“That you?” asked Will.

“Yes,” replied the voice. “I left you suddenly; but — but there was great need.”

“The lady?” questioned Will.

“The — lady is grateful now on earth. She will be more grateful soon in — in heaven.”

Will began to make some reply, in a puzzled voice; but became confused, and broke off short. I said nothing. I was wondering at the curious pauses, and, apart from my wonder, I was full of a great sympathy.

The voice continued:

“We — she and I, have talked, as we shared the result of God’s tenderness and yours — — “

Will interposed; but without coherence.

“I beg of you not to — to belittle your deed of Christian charity this night,” said the voice. “Be sure that it has not escaped His notice.”

It stopped, and there was a full minute’s silence. Then it came again:

“We have spoken together upon that which — which has befallen us. We had thought to go out, without telling any, of the terror which has come into our — lives. She is with me in believing that to-night’s happenings are under a special ruling, and that it is God’s wish that we should tell to you all that we have suffered since — since — — “

“Yes?” said Will softly.

“Since the sinking of the Albatross.”

“Ah!” I exclaimed involuntarily. “She left Newcastle for ‘Frisco some six months ago, and hasn’t been heard of since.”

“Yes,” answered the voice. “But some few degrees to the North of the line she was caught in a terrible storm, and dismasted. When the day came, it was found that she was leaking badly, and, presently, it falling to a calm, the sailors took to the boats, leaving — leaving a young lady — my fiancee — and myself upon the wreck.

“We were below, gathering together a few of our belongings, when they left. They were entirely callous, through fear, and when we came up upon the deck, we saw them only as small shapes afar off upon the horizon. Yet we did not despair, but set to work and constructed a small raft. Upon this we put such few matters as it would hold including a quantity of water and some ship’s biscuit. Then, the vessel being very deep in the water, we got ourselves on to the raft, and pushed off.

“It was later, when I observed that we seemed to be in the way of some tide or current, which bore us from the ship at an angle; so that in the course of three hours, by my watch, her hull became invisible to our sight, her broken masts remaining in view for a somewhat longer period. Then, towards evening, it grew misty, and so through the night. The next day we were still encompassed by the mist, the weather remaining quiet.

“For four days we drifted through this strange haze, until, on the evening of the fourth day, there grew upon our ears the murmur of breakers at a distance. Gradually it became plainer, and, somewhat after midnight, it appeared to sound upon either hand at no very great space. The raft was raised upon a swell several times, and then we were in smooth water, and the noise of the breakers was behind.

“When the morning came, we found that we were in a sort of great lagoon; but of this we noticed little at the time; for close before us, through the enshrouding mist, loomed the hull of a large sailing-vessel. With one accord, we fell upon our knees and thanked God; for we thought that here was an end to our perils. We had much to learn.

“The raft drew near to the ship, and we shouted on them to take us aboard; but none answered. Presently the raft touched against the side of the vessel, and, seeing a rope hanging downwards, I seized it and began to climb. Yet I had much ado to make my way up, because of a kind of grey, lichenous fungus which had seized upon the rope, and which blotched the side of the ship lividly.

“I reached the rail and clambered over it, on to the deck. Here I saw that the decks were covered, in great patches, with grey masses, some of them rising into nodules several feet in height; but at the time I thought less of this matter than of the possibility of there being people aboard the ship. I shouted; but none answered. Then I went to the door below the poop deck. I opened it, and peered in. There was a great smell of staleness, so that I knew in a moment that nothing living was within, and with the knowledge, I shut the door quickly; for I felt suddenly lonely.

“I went back to the side where I had scrambled up. My — my sweetheart was still sitting quietly upon the raft. Seeing me look down she called up to know whether there were any aboard of the ship. I replied that the vessel had the appearance of having been long deserted; but that if she would wait a little I would see whether there was anything in the shape of a ladder by which she could ascend to the deck. Then we would make a search through the vessel together. A little later, on the opposite side of the decks, I found a rope side-ladder. This I carried across, and a minute afterwards she was beside me.

“Together we explored the cabins and apartments in the after part of the ship; but nowhere was there any sign of life. Here and there within the cabins themselves, we came across odd patches of that queer fungus; but this, as my sweetheart said, could be cleansed away.

“In the end, having assured ourselves that the after portion of the vessel was empty, we picked our ways to the bows, between the ugly grey nodules of that strange growth; and here we made a further search which told us that there was indeed none aboard but ourselves.

“This being now beyond any doubt, we returned to the stern of the ship and proceeded to make ourselves as comfortable as possible. Together we cleared out and cleaned two of the cabins: and after that I made examination whether there was anything eatable in the ship. This I soon found was so, and thanked God in my heart for His goodness. In addition to this I discovered the whereabouts of the fresh-water pump, and having fixed it I found the water drinkable, though somewhat unpleasant to the taste.

“For several days we stayed aboard the ship, without attempting to get to the shore. We were busily engaged in making the place habitable. Yet even thus early we became aware that our lot was even less to be desired than might have been imagined; for though, as a first step, we scraped away the odd patches of growth that studded the floors and walls of the cabins and saloon, yet they returned almost to their original size within the space of twenty-four hours, which not only discouraged us, but gave us a feeling of vague unease.

“Still we would not admit ourselves beaten, so set to work afresh, and not only scraped away the fungus, but soaked the places where it had been, with carbolic, a can-full of which I had found in the pantry. Yet, by the end of the week the growth had returned in full strength, and, in addition, it had spread to other places, as though our touching it had allowed germs from it to travel elsewhere.

“On the seventh morning, my sweetheart woke to find a small patch of it growing on her pillow, close to her face. At that, she came to me, so soon as she could get her garments upon her. I was in the galley at the time lighting the fire for breakfast.

“Come here, John,’ she said, and led me aft. When I saw the thing upon her pillow I shuddered, and then and there we agreed to go right out of the ship and see whether we could not fare to make ourselves more comfortable ashore.

“Hurriedly we gathered together our few belongings, and even among these I found that the fungus had been at work; for one of her shawls had a little lump of it growing near one edge. I threw the whole thing over the side, without saying anything to her.

“The raft was still alongside, but it was too clumsy to guide, and I lowered down a small boat that hung across the stern, and in this we made our way to the shore. Yet, as we drew near to it, I became gradually aware that here the vile fungus, which had driven us from the ship, was growing riot. In places it rose into horrible, fantastic mounds, which seemed almost to quiver, as with a quiet life, when the wind blew across them. Here and there it took on the forms of vast fingers, and in others it just spread out flat and smooth and treacherous. Odd places, it appeared as grotesque stunted trees, seeming extraordinarily kinked and gnarled — the whole quaking vilely at times.

“At first, it seemed to us that there was no single portion of the surrounding shore which was not hidden beneath the masses of the hideous lichen; yet, in this, I found we were mistaken; for somewhat later, coasting along the shore at a little distance, we descried a smooth white patch of what appeared to be fine sand, and there we landed. It was not sand. What it was I do not know. All that I have observed is that upon it the fungus will not grow; while everywhere else, save where the sandlike earth wanders oddly, path-wise, amid the grey desolation of the lichen, there is nothing but that loathsome greyness.

“It is difficult to make you understand how cheered we were to find one place that was absolutely free from the growth, and here we deposited our belongings. Then we went back to the ship for such things as it seemed to us we should need. Among other matters, I managed to bring ashore with me one of the ship’s sails, with which I constructed two small tents, which, though exceedingly rough-shaped, served the purpose for which they were intended. In these we lived and stored our various necessities, and thus for a matter of some four weeks all went smoothly and without particular unhappiness. Indeed, I may say with much of happiness — for — for we were together.

“It was on the thumb of her right hand that the growth first showed. It was only a small circular spot, much like a little grey mole. My God! how the fear leapt to my heart when she showed me the place. We cleansed it, between us, washing it with carbolic and water. In the morning of the following day she showed her hand to me again. The grey warty thing had returned. For a little while, we looked at one another in silence. Then, still wordless, we started again to remove it. In the midst of the operation she spoke suddenly.

“’What’s that on the side of your face, dear?’ Her voice was sharp with anxiety. I put my hand up to feel.

“’There! Under the hair by your ear. A little to the front a bit.’ My finger rested upon the place, and then I knew.

“’Let us get your thumb done first,’ I said. And she submitted, only because she was afraid to touch me until it was cleansed. I finished washing and disinfecting her thumb, and then she turned to my face. After it was finished we sat together and talked awhile of many things for there had come into our lives sudden, very terrible thoughts. We were, all at once, afraid of something worse than death. We spoke of loading the boat with provisions and water and making our way out on to the sea; yet we were helpless, for many causes, and — and the growth had attacked us already. We decided to stay. God would do with us what was His will. We would wait.

“A month, two months, three months passed and the places grew somewhat, and there had come others. Yet we fought so strenuously with the fear that its headway was but slow, comparatively speaking.

“Occasionally we ventured off to the ship for such stores as we needed. There we found that the fungus grew persistently. One of the nodules on the maindeck became soon as high as my head.

“We had now given up all thought or hope of leaving the island. We had realized that it would be unallowable to go among healthy humans, with the things from which we were suffering.

“With this determination and knowledge in our minds we knew that we should have to husband our food and water; for we did not know, at that time, but that we should possibly live for many years.

“This reminds me that I have told you that I am an old man. Judged by the years this is not so. But — but — “

He broke off; then continued somewhat abruptly:

“As I was saying, we knew that we should have to use care in the matter of food. But we had no idea then how little food there was left of which to take care. It was a week later that I made the discovery that all the other bread tanks — which I had supposed full — were empty, and that (beyond odd tins of vegetables and meat, and some other matters) we had nothing on which to depend, but the bread in the tank which I had already opened.

“After learning this I bestirred myself to do what I could, and set to work at fishing in the lagoon; but with no success. At this I was somewhat inclined to feel desperate until the thought came to me to try outside the lagoon, in the open sea.

“Here, at times, I caught odd fish; but so infrequently that they proved of but little help in keeping us from the hunger which threatened.

“It seemed to me that our deaths were likely to come by hunger, and not by the growth of the thing which had seized upon our bodies.

“We were in this state of mind when the fourth month wore out. When I made a very horrible discovery. One morning, a little before midday, I came off from the ship with a portion of the biscuits which were left. In the mouth of her tent I saw my sweetheart sitting, eating something.

“’What is it, my dear?’ I called out as I leapt ashore. Yet, on hearing my voice, she seemed confused, and, turning, slyly threw something towards the edge of the little clearing. It fell short, and a vague suspicion having arisen within me, I walked across and picked it up. It was a piece of the grey fungus.

“As I went to her with it in my hand, she turned deadly pale; then rose red.

“I felt strangely dazed and frightened.

“’My dear! My dear!’ I said, and could say no more. Yet at words she broke down and cried bitterly. Gradually, as she calmed, I got from her the news that she had tried it the preceding day, and — and liked it. I got her to promise on her knees not to touch it again, however great our hunger. After she had promised she told me that the desire for it had come suddenly, and that, until the moment of desire, she had experienced nothing towards it but the most extreme repulsion.

“Later in the day, feeling strangely restless, and much shaken with the thing which I had discovered, I made my way along one of the twisted paths — formed by the white, sand-like substance — which led among the fungoid growth. I had, once before, ventured along there; but not to any great distance. This time, being involved in perplexing thought, I went much further than hitherto.

“Suddenly I was called to myself by a queer hoarse sound on my left. Turning quickly I saw that there was movement among an extraordinarily shaped mass of fungus, close to my elbow. It was swaying uneasily, as though it possessed life of its own. Abruptly, as I stared, the thought came to me that the thing had a grotesque resemblance to the figure of a distorted human creature. Even as the fancy flashed into my brain, there was a slight, sickening noise of tearing, and I saw that one of the branch-like arms was detaching itself from the surrounding grey masses, and coming towards me. The head of the thing — a shapeless grey ball, inclined in my direction. I stood stupidly, and the vile arm brushed across my face. I gave out a frightened cry, and ran back a few paces. There was a sweetish taste upon my lips where the thing had touched me. I licked them, and was immediately filled with an inhuman desire. I turned and seized a mass of the fungus. Then more and — more. I was insatiable. In the midst of devouring, the remembrance of the morning’s discovery swept into my mazed brain. It was sent by God. I dashed the fragment I held to the ground. Then, utterly wretched and feeling a dreadful guiltiness, I made my way back to the little encampment.

“I think she knew, by some marvellous intuition which love must have given, so soon as she set eyes on me. Her quiet sympathy made it easier for me, and I told her of my sudden weakness; yet omitted to mention the extraordinary thing which had gone before. I desired to spare her all unnecessary terror.

“But, for myself, I had added an intolerable knowledge, to breed an incessant terror in my brain; for I doubted not but that I had seen the end of one of those men who had come to the island in the ship in the lagoon; and in that monstrous ending I had seen our own.

“Thereafter we kept from the abominable food, though the desire for it had entered into our blood. Yet our drear punishment was upon us; for, day by day, with monstrous rapidity, the fungoid growth took hold of our poor bodies. Nothing we could do would check it materially, and so — and so — we who had been human, became — Well, it matters less each day. Only — only we had been man and maid!

“And day by day the fight is more dreadful, to withstand the hungerlust for the terrible lichen.

“A week ago we ate the last of the biscuit, and since that time I have caught three fish. I was out here fishing tonight when your schooner drifted upon me out of the mist. I hailed you. You know the rest, and may God, out of His great heart, bless you for your goodness to a — a couple of poor outcast souls.”

There was the dip of an oar — another. Then the voice came again, and for the last time, sounding through the slight surrounding mist, ghostly and mournful.

“God bless you! Good-bye!”

“Good-bye,” we shouted together, hoarsely, our hearts full of many emotions.

I glanced about me. I became aware that the dawn was upon us.

The sun flung a stray beam across the hidden sea; pierced the mist dully, and lit up the receding boat with a gloomy fire. Indistinctly I saw something nodding between the oars. I thought of a sponge — a great, grey nodding sponge — The oars continued to ply. They were grey — as was the boat — and my eyes searched a moment vainly for the conjunction of hand and oar. My gaze flashed back to the — head. It nodded forward as the oars went backward for the stroke. Then the oars were dipped, the boat shot out of the patch of light, and the — the thing went nodding into the mist.

The Dirty Kid

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The Dirty Kid

by Mariana Enriquez, recommended by McSweeney’s

Translated by Joel Streicker

1
My family thinks I’m crazy because I choose to live in the family house in Constitución, my paternal grandparents’ house, a hulk of stone and green-painted iron doors on Virreyes Street, with Art Deco details and old mosaics on the floor so worn out that, had it occurred to me to wax them, I could have set up a skating rink. But I had always been in love with that house, and, as a girl, when they first rented it to a law firm, I remember how much it upset me, how much I missed those rooms with tall windows and the interior patio that seemed like a secret garden, how frustrated I was when I went by the door and could no longer freely enter. I didn’t miss my grandfather much, a quiet man who scarcely smiled and never played. I didn’t even cry much when he died. I cried a lot more when, after his death, we lost the house.

After the lawyers a dental office took over. Then, finally, it was rented to a travel magazine, which closed in less than two years. The house was beautiful and comfortable, and in notably good condition for its age; but now no one, or very few people, wanted to move to the neighborhood. The travel magazine had only set up shop because the rent, back then, had been very cheap. Not even that had saved them from bankruptcy, although it certainly didn’t help that their offices were robbed a few months after they moved in. The thieves took all the computers, a microwave, even a heavy photocopier.

Constitución is where the trains from the south enter the city. It was the neighborhood where the Buenos Aires aristocracy lived in the nineteenth century — that’s why these houses, like my family’s, exist. In 1887, the aristocrats fled to the north of the city, trying to escape an epidemic of yellow fever raging in the south. Few, almost none, returned. Some of the mansions were converted into hotels or old-age homes; over time, rich merchants like my grandfather were able to buy up the unoccupied ones, with their gargoyles and bronze doorknockers. But the neighborhood has been marked by flight, abandonment, undesirability. On the other side of the station, in Barracas, the old houses have been reduced to rubble.

And it’s worse all the time.

But if you know how to handle yourself, if you understand the dynamics, the schedules, it’s not that dangerous. Or not as dangerous. It’s a question of not being afraid, of making a few key friends, of greeting the neighbors even though they’re criminals — especially if they’re criminals. Of walking with your head up, paying attention. I know that Friday nights, if I approach Plaza Garay, I may get trapped in a fight between various combatants: the small-time drug dealers of Ceballos Street, the brain-dead addicts who attack one another with bottles, the drunken transvestites determined to defend their stretch of pavement. I also know that if I come home on the avenue, I’m more exposed to a mugging than if I return down Solís Street, despite the fact that the avenue is very well lit. You have to know the neighborhood to learn such strategies. I was mugged twice on the avenue; both times kids came running by and snatched my bag and threw me to the ground. The first time I filed a report with the police. The second time I knew it was useless, because I had learned that the police had given them permission. The kids were allowed to claim victims on the avenue as far as the freeway overpass — three liberated blocks — in exchange for certain favors.

I like the neighborhood. No one understands why. But it makes me feel precise, daring, sharp. There aren’t many places like Constitución left in the city, which, except for the slums on the outskirts, has grown far richer and friendlier — it’s intense and enormous, still, but easy to live in. Constitución isn’t easy or friendly, but it’s beautiful, with all its old buildings that stand, now, like abandoned temples, occupied by infidels who don’t know that praises to the gods were once heard within those walls.

A lot of people live in the street here. Not as many as in Plaza Congreso, which is a couple of kilometers from my door; that’s a real encampment, right in front of the legislative buildings, neatly ignored but at the same time so visible that, each night, squads of volunteers flock in to give the people food, check the kids’ health, and hand out blankets in the winter and cold water in the summer. In Constitución the street people are left on their own — organized help seldom reaches them. In front of my house, on a corner alongside the boarded-up grocery store, its doors and windows blocked with bricks, live a young woman and her son. She’s pregnant, a few months along, although you never know with the addicted mothers in the neighborhood, skinny as they are. The son must be about five years old. He doesn’t go to school and spends the day on the subway, asking for money in exchange for prayer cards of San Expedito. I know this because, one night, when I was coming back from downtown, I saw him in my subway car. He has a very unsettling method: after offering the prayer cards to the passengers, he forces them to shake his hand, a brief and filthy clasp, and sometimes he gives them a kiss on the cheek. The passengers contain their shame and disgust: the kid is dirty and he stinks. No one was compassionate enough to take him out of the subway, bring him home, give him a bath, call a social worker. People shook his hand, kissed him, and bought the prayer cards. He was scowling. When he talks, his voice is hoarse; he usually has a cold, and sometimes he smokes with the other kids in the subway station.

That night we walked together from the subway station to my house. He didn’t talk to me, but we walked together. I asked him a few silly questions, his age, his name, but he didn’t answer me. He wasn’t a sweet or affectionate kid. When I got to the door of my house, though, he said good-bye.

“Good-bye, neighbor,” he said to me.

“Good-bye, neighbor,” I replied.

The dirty kid and his mother sleep on three mattresses that are so worn-out that, stacked up, they’re the same height as a single box spring. The mother keeps their few clothes in black garbage bags and has a backpack full of other things that I can never make out. She never leaves the corner, where she begs for money in a mournful and monotonous voice. I don’t like the mother. Not just because she smokes crack and the ashes burn her pregnant belly, or because I never saw her treat her son, the dirty kid, with any kindness. It’s something else.

I was telling this to my friend Lala while she cut my hair in her house — it was Monday, during a three-day weekend. Lala is a hairdresser, but she hasn’t worked in a salon in a long time; she doesn’t like bosses, she says. She earns more money and has more peace of mind in her apartment. She has less hot water, however, because the water heater works terribly. Sometimes, when she’s washing my hair after dyeing it, I get a stream of cold water on my head that makes me shout in surprise. Then she rolls her eyes and explains that all the plumbers cheat her — they overcharge her, they never come back. I believe her.

“That woman is a monster, girl,” she yells, while almost burning my scalp with her ancient hair dryer and smoothing my hair with her thick fingers. Lala decided to be a woman, and Brazilian, many years ago; she was born a man, in Uruguay. Now she’s the best transvestite hairdresser in the neighborhood. She no longer works as a prostitute; just the same, she’s so used to faking a Portuguese accent (very useful for seducing men on the street) that sometimes she speaks Portuguese on the phone or, when she’s upset, raises her arms toward the ceiling and demands vengeance or pity from Pomba Gira, her personal exú, for whom she has a small altar set up in the corner of her living room, right next to the computer, which is always on and perpetually set up for instant messaging.

“A monster?” I say. “Really?”

“She gives me the shivers, mami. She’s, like, I don’t know, damned.”

“What makes you say that?”

“I’m not saying anything. But here in the neighborhood, they say she’ll do anything for money — that she goes to witches’ covens, even.”

“Ay, Lala, what are you talking about? There aren’t any witches here.”

She gave my hair a pull that seemed intentional, but then said she was sorry. It was intentional.

“What do you know about what really happens around here, mamita? You live here, but you’re from another world.”

She’s a little bit right, but it bothers me to hear it like that. It bothers me that she, so directly, puts me in my place — the middle-class woman who thinks she’s defiant because she decided to live in the most dangerous neighborhood in Buenos Aires. I sigh.

“You’re right, Lala. But I mean, she lives in front of my house. She’s always there, on the mattress. She doesn’t even move.”

“You work a lot. You don’t know what she does, and you don’t monitor her at night either. The people in this neighborhood, mami, are really… How would you say… Before you know it, they attack you?”

“Stealthy?”

“Yes. You’ve got a great vocabulary — doesn’t she, Sarita? She’s classy.”

Sarita has been waiting for Lala to finish with my hair for about fifteen minutes, but waiting doesn’t bother her. She flips through a magazine. Sarita is a young transvestite who works as a prostitute on Solís Street. She’s very beautiful.

“Tell her, Sarita. Tell her what you told me.”

But Sarita puckers her lips like a silent-movie diva and has no desire to tell me anything. So much the better. I don’t want to listen to neighborhood horror stories anyway. They’re all far-fetched and credible at the same time, but for the most part they don’t scare me, at least during the day. At night, when I try to finish up the work I’m behind on, sometimes I’ll remember one of them. Then I check to make sure the door to the street is well locked and also the one to the balcony, and sometimes I go to the window to watch the corner where the dirty kid and his mother are totally quiet, like the nameless dead.

2
One night, after dinner, the doorbell rang. Strange: almost no one visits me at that hour. Except Lala, on nights when she feels lonely, and we stay up together listening to sad rancheras and drinking whiskey. When I looked out the window to see who it was — no one opens the door straight off in this neighborhood if the bell rings around midnight — I saw that it was the dirty kid. I ran to look for the keys and I let him in. He had been crying; you could tell by the clear tracks that the tears had made on his filthy face. He came in running, but he stopped before he got to the dining room door, as if he needed my permission. Or as if he was scared to keep going forward.

“What happened to you?” I asked him.

“My mom didn’t come back,” he said. His voice was less harsh, but it still didn’t sound like a five-year-old’s.

“She left you alone?”

Yes, he nodded.

“Are you scared?”

“I’m hungry,” he answered. He was also scared, but he was already hardened enough not to acknowledge that to a stranger, much less one who had a house, a beautiful and enormous house, right in front of the piece of ground where he lived.

“All right,” I told him. “Come in.”

He was barefoot. The last time I had seen him, he’d had on some pretty new gym shoes. Had he taken them off because of the heat? Or had someone stolen them during the night? I didn’t want to ask. I had him sit in a chair in the kitchen and I popped some rice and chicken into the oven. While he waited, I spread cheese on a slice of sourdough bread. He ate while looking me in the eye, very serious and calm. He was hungry but not starving.

“Where did your mom go?”

He shrugged.

“Does she go off a lot?”

He shrugged again. I wanted to shake him; immediately, I was ashamed of myself. He needed me to help him. He had no reason to satiate my morbid curiosity, but something about his silence angered me. I wanted him to be a friendly and enchanting little boy, not this sullen and dirty kid who ate his rice and chicken slowly, savoring each mouthful, and belched after finishing his glass of Coca-Cola. I had nothing to give him for dessert, but I knew that the ice cream shop on the avenue would be open; in summer, it stayed open until after midnight. I asked him if he wanted to go and he said yes, with a smile that changed his face completely. He had small teeth; one of them, a lower tooth, was about to fall out.

I was a little scared to go out so late, especially on the avenue, but the ice cream shop was neutral territory, muggings and fights seldom took place there. Instead of bringing my purse, I put a little money in my pants pocket. In the street, the dirty kid gave me his hand. We crossed the street, and I noticed that the mattress he slept on with his mother was still empty. The backpack wasn’t there, either.

We had to walk three blocks to the ice cream shop and I chose Ceballos Street, which could be quiet and peaceful on some nights. Certain transvestites — the least statuesque, the plumpest, the oldest — chose Ceballos Street to work on. I regretted not having gym shoes to put on the dirty kid: there were usually pieces of glass and broken bottles on the sidewalk, and I didn’t want him to get hurt. But he walked barefoot with great assurance; he was used to it.

That night, the three blocks were almost devoid of transvestites, but they were full of altars. They were celebrating the Eighth of January, the day of Gauchito Gil: a saint mainly popular in Corrientes province, but venerated throughout the country, especially in poor neighborhoods. Antonio Gil, it is said, was murdered for being an army deserter at the end of the nineteenth century. A policeman tortured him, hung him from a tree by his feet, and was about to cut off his head when the deserting gauchito said, “If you want your son to be cured, you have to pray to me.” Then the policeman decapitated him.

As it happened, the policeman’s son was very sick. The man learned this when he returned home; when he prayed to Gil, the child was cured. So the policeman returned to the body and took Antonio Gil down from the tree, buried him, and, in the place where he’d been killed, erected a sanctuary, which still exists today, and which, every summer, receives almost a million visitors. I found myself telling the story of the miraculous gauchito to the dirty kid, and we stopped in front of one of the altars. There was the plaster saint, with his sky-blue shirt and his red handkerchief around his neck — a red headband, too — and a cross on his back, also red. There were several red cloths and a small red flag: the color of blood, a reminder of injustice. But somehow it wasn’t morbid or sinister. The gauchito brings luck, cures, he helps and doesn’t ask much in return, just that people pay homage to him and sometimes offer a bit of alcohol, or make the pilgrimage to the sanctuary of Mercedes, in Corrientes, with its 120-degree heat. Devotees arrive there on foot, by bus, on horseback, from everywhere, even Patagonia. The candles all around made the dirty kid blink in the half darkness. I lit one that had gone out and then used the flame to light a cigarette.

The dirty kid seemed uneasy. “Let’s go to the ice cream shop,” I said to him. But that wasn’t it.

“The gauchito is good,” he said. “But the other one isn’t.”

He said it in a low voice, looking at the candles. “What other one?”

I asked.

“The skeleton,” he told me. “There are skeletons back there.”

Back there. In the neighborhood, “back there” was a reference to the southern side of the station, beyond the platforms, where the rails and their embankments fade into the distance. Altars for saints less benevolent than Gauchito Gil turn up there. I know that Lala takes her offerings to Pomba Gira — her colorful dishes and her supermarket-bought chickens, because she can’t bring herself to kill a hen — to the embankments. She does this during the day, because it can be dangerous at night. She’s told me that there are altars for San La Muerte, Death, back there, the little skeleton saint with his red and black candles.

But even Death’s not a bad saint, I said to the dirty kid, who looked at me with wide eyes, as if I were telling him something completely nuts. He’s a saint who can do bad things if people ask him to, but most people don’t ask for awful things — they ask for protection.

“Your mom takes you back there?” I asked him.

“Yes, but sometimes I go by myself,” he answered. And then he tugged on my arm so that we would keep going to the ice cream shop. It was very hot. The sidewalk in front of the ice cream shop was sticky — so many cones that had dripped. I thought about the dirty kid’s bare feet, now with all this new filth. He ran inside and ordered, with his old person’s voice, a large cone with custard crème and chocolate chips. I didn’t order anything. The heat had taken away my appetite, and I didn’t know what I should do with the kid if his mother didn’t appear. Take him to the police station? To a hospital? Make him stay at my house until she returned? Was there something like Social Services in this city? There was a number to call during the winter, if someone who lived in the street was getting too cold, but I didn’t know of much more. I realized, while the dirty kid licked the ice cream off his fingers, how little other people mattered to me, how natural these sad lives seemed. When he finished the ice cream, the dirty kid got up from the stool and walked toward the corner where he lived with his mother. I followed him. The street was very dark, the lights had gone out, which often happened on very hot nights. I was able to make him out by the lights of passing cars; every few feet he was also lit up, he and his now completely black feet, by the candles of the improvised altars. We got to the corner without him giving me his hand.

His mother was on the mattress. Like all addicts, she had no notion of the temperature and was wearing a thick sweatshirt with the hood on, as if it were raining. Her belly, enormous, was naked — her too-short shirt couldn’t cover it. The dirty kid said hello and sat down on the mattress. She didn’t say anything.

She was furious. She approached me growling, there’s no other way to describe the sound. It reminded me of my dog when it broke its hip and was crazy with the pain.

“Where’d you take him, bitch? What do you want to do to him, huh? Huh? Don’t even think about touching my son!”

She was so close that I could see each one of her teeth, how her gums bled, her lips burned by the pipe, the smell of tar on her breath.

“I bought him an ice cream cone!” I shouted, and then I backed up when I saw she had a broken bottle in her hand.

“Get out of here or I’ll slice you up, bitch!” The dirty kid looked at the ground, as if he weren’t thinking about anything, as if he didn’t know us, neither his mother nor me. I was angry with him, then. The ungrateful little snot, I thought, and I took off running. I went into my house as fast as I could, although my hands were shaking and it was difficult for me to find the key. I turned on all the lights; the electricity hadn’t gone off on my block, luckily. I was afraid the mother would send someone after me. I didn’t know what might be going through her head. I didn’t know what friends she had on the block. I didn’t know anything about her. After a while I went up to the second floor and spied on her from the balcony. She was lying down, face up, smoking a cigarette. The dirty kid seemed to be asleep next to her. I went to bed with a book and a glass of water, but I couldn’t manage to read or even watch TV. The heat seemed more intense with the fan on, just stirring the hot air and muting the noise from the street.

In the morning I forced myself to eat breakfast before going to work. The heat was now suffocating, and the sun had just barely come up. When I closed the door the first thing I noted was the absence of the mattress on the corner in front. There was nothing left of the dirty kid and his mother. They hadn’t even left behind a bag or a stain or a cigarette butt. Nothing. As if they had never been there.

The body appeared a week after they vanished. When I came home from work, with my feet swollen from the heat, dreaming about the coolness of my house with its high ceilings and large rooms that not even the most hellish summer heat could spoil completely, I found the block in a frenzy, with three patrol cars in the middle of the street and crime-scene tape holding back a crowd. I recognized Lala easily, with her white-heeled shoes and golden bun; she was so nervous that she had forgotten to put the fake eyelashes on her left eye.

“What happened?”

“They found a child.”

“Dead?”

“Get this: decapitated! Do you have cable, honey?”

Lala’s connection had been cut months ago because she hadn’t paid the bill. We went to my house and lay down on the bed to watch the news, the ceiling fan spinning dangerously and the balcony window open in case we heard something noteworthy from the street. I brought in a pitcher of cold orange juice and Lala ruled over the remote. It was strange to see our neighborhood on TV, but we both knew the dynamic well: no one was going to talk during the first days, not about the truth, at least. First, silence, in case someone involved in the crime deserved loyalty. Even if it was a horrible crime against a kid. First, closed mouths. The stories would begin in a few weeks. For now it was TV’s moment.

Around eight, Lala and I shifted over to pizza and beer, and then to whiskey — I opened a bottle my father had given me. Information was sparse: a dead kid had appeared in an unused parking lot on Solís Street. Decapitated. The head had been placed next to the body.

At ten, it was reported that the top of the head had been scraped clean to the bone and that no hair had been found in the area. Also, the eyelids had been sewn shut and the tongue chewed on, perhaps by the dead kid himself or perhaps — and this caused Lala to scream — by the teeth of another person.

The news programs continued giving information far into the night, rotating journalists with live coverage from the street. The police, as usual, weren’t saying anything on camera, but they constantly supplied information to the press.

By midnight, no one had claimed the body. It was also known that the boy had been tortured: the torso was covered with cigarette burns. A sexual assault was suspected, and was confirmed around two in the morning, when a preliminary report from the forensics experts was leaked.

And still, at that hour, no one had claimed the body. Not a family member. Not the mother or father or brothers or aunts and uncles or cousins or neighbors or acquaintances. No one.

The decapitated kid, the TV said, was between five and seven years old. It was difficult to determine because, when alive, he had been malnourished.

“I’d like to see him,” I said to Lala.

“Don’t be crazy, no one’s going to show you a decapitated kid! What do you want to see him for? You’re so morbid. You were always a little monster, the morbid countess of the palace on Virreyes Street.”

“It’s just… Lala, I think I know him.”

I told her yes and started to cry. I was drunk but I was also certain that the dirty kid was now the decapitated kid. I told Lala about my encounter with him that night when he rang my doorbell. Why didn’t I take care of him? Why didn’t I find out how to take him away from his mother? Why didn’t I at least give him a bath? I have a big old beautiful bathtub that I hardly use. Why didn’t I at least wash off his filth? And, I don’t know, buy him a rubber duckie and those little wands to make bubbles? I could have easily done it. Yes, it was late, but there are little stores in the city that never close, that sell gym shoes, even; I could have bought him a pair. How could I have let him walk around barefoot, at night, on these dark streets? I shouldn’t have let him go back to his mother. When she threatened me with the bottle, I should have called the police. They could have put her in jail and I could have kept the kid, or helped him get adopted by a family that would love him. But no. I got angry at him because he was ungrateful, because he didn’t defend me from his mother! I got angry at a terrified kid, the son of an addict, a five-year-old kid who lives in the street! Who lived in the street, because now he was dead, decapitated!

Lala helped me vomit in the toilet, and then went to buy some pills for my headache. I was drunk and scared but I was also sure it was him, the dirty kid, raped and decapitated in a parking lot.

“Why did they do this to him, Lala?” I asked, curled up in her strong arms, once again in bed, the two of us slowly smoking our early-morning cigarettes.

“Princess, I don’t know if it’s your kid they killed, but when it opens, let’s go to the district attorney’s office so you can get some peace of mind.”

“You’ll go with me.”

“Of course.”

“But why, Lala, why did they do something like this?”

Lala put out her cigarette on a plate beside the bed and served herself another glass of whiskey. She mixed it with Coca-Cola, and stirred the ice with her finger.

“I don’t think it’s your kid. The one they killed… They were merciless. It was a message for someone.”

“A narco’s revenge.”

“Only big-time drug dealers kill like that.”

We fell silent. I was afraid. Were there narcos in Constitución? Like the ones who shocked me when I read about Mexico — ten headless bodies hanging from a bridge, six heads tossed from a car onto the steps of the legislature, a common grave with seventy-three bodies, some decapitated, others without arms? Lala smoked in silence and set the alarm. I decided to skip work in order to go straight to the district attorney’s office.

In the morning, with a headache still, I made coffee. Lala asked to use the bathroom, and a minute later I heard the shower and knew that she was going to be in there for at least an hour. I turned on the TV again. The newspaper didn’t have any new information, and the Internet, in times like this, was a roiling pot of rumors and madness.

The morning newscast was saying that a woman had appeared to claim the decapitated kid. A woman named Nora, who had come to the morgue with a newborn baby in her arms and several family members. When I heard “newborn baby” my heart leapt in my chest. It was definitely the dirty kid, then. The mother hadn’t gone to look for the body before because — what a frightening coincidence — the night of the crime had been the night of the birth. It made sense. The dirty kid had stayed alone while the mother was giving birth and then… Then what? If it were a message, if it were revenge, it couldn’t be directed at that poor woman who slept in front of my house so many nights, that addicted girl who probably wasn’t much older than twenty. Maybe the father: that’s it, the father. Who could the dirty kid’s father be? But then the cameras went berserk, the journalists were running in, they all threw themselves on the woman who was leaving the district attorney’s office and shouted, “Nora, Nora, who do you think did this to Nachito?”

“His name was Nacho,” I whispered.

And suddenly there was Nora on the screen, a close-up of her grief and her screams, and it wasn’t the dirty boy’s mother. It was a completely different woman. A woman about thirty years old, already gray-haired, dark-skinned, and very fat, surely the kilos she’d gained during the pregnancy. Almost the opposite of the dirty boy’s mother.

You couldn’t understand what she was screaming. She was falling. Someone was holding her up from behind, a sister, for sure. I changed the channel, but they all had on this screaming woman, until a policeman stepped in between the microphones and the mother and a patrol car arrived to take her away. There were a lot of new details. I sat on the toilet lid and related them to Lala while she shaved, fixed her makeup, gathered her hair in a tidy bun.

“His name is Ignacio. Nachito. The family had reported him missing on Sunday, but when they saw what was happening on TV they didn’t think it was their son because this kid, Nachito, disappeared in Castelar. They’re from Castelar.”

“But that’s so far away, how did he wind up here! Ay, Princess, this is all so frightening. I’m canceling all my appointments, I’ve already decided. You can’t cut hair after all this.”

“His belly button is also sewed up.”

“Who, the child’s?”

“Yes. It seems they tore off his ears.”

“Sweetie, in this neighborhood no one is ever going to sleep again, I’m telling you. We might be criminals here, but this is satanic.”

“That’s what they’re saying. That it’s satanic. No, not satanic. They say it was a sacrifice, an offering, to San La Muerte.”

“Pomba Gira, save us! María Padhila, save us!”

“Last night I told you that the kid told me about San La Muerte. It’s not him, Lala, but he knew.”

Lala kneeled in front of me and fixed her enormous dark eyes on my face. “You, Princess, are not going to say anything about this. Nothing. Not to the district attorney or anyone else. Last night I was anxious to let you go talk to the judge. Now, nothing, no way — we’re silent as the grave, if you’ll pardon the expression.”

I listened to her. She was right. I had nothing to say, nothing to tell. Just a nighttime walk with a street kid who had disappeared, as street kids commonly do. Their parents move out of the neighborhood and take them along. They join a band of child thieves or windshield cleaners on the avenues, or find work as drug mules; the mules have to change neighborhoods constantly. They make a camp in a subway station. The street kids never stay in one place; they may last for a while, but they always leave. They escape from their parents, or a distant uncle takes pity on them and brings them to the south, to a house on a dirt street, to share a room with five siblings — but at least they have a roof over their heads. It’s not unusual, not at all, for a mother and son to disappear like that. The parking lot where the decapitated kid had appeared wasn’t on the route that the dirty kid and I had taken that night. And all that about San La Muerte? Coincidence. Lala was saying that the neighborhood was full of devotees of San La Muerte, all the Paraguayan immigrants and the people from Corrientes were loyal to the little saint, but that didn’t make them killers. Lala was a devotee of Pomba Gira, who has the look of a demon woman, with horns and a trident — did that make her a satanic murderer?

Of course not.

“I want you to stay with me for a few days, Lala.”

“Obviously, Princess. I’ll prepare my bedchamber myself.”

Lala loved my house. She liked to put music on real loud and go down the steps slowly, with her turban and her cigarette, a black femme fatale. “I am Josephine Baker,” she would say, and then lament being the only transvestite in Constitución who had the slightest idea who Josephine Baker was. “You can’t imagine how stupid these new girls are, ignorant and empty as tubes. It gets worse all the time. Everything’s lost.”

It was difficult for me to walk around the neighborhood after that. Nachito’s murder had produced a narcotic-like effect on that part of Constitución; fights weren’t heard at night, and the dealers moved a few blocks south. There were too many police guarding the place where they had found the body. Which, the newspapers and investigators were now saying, hadn’t been the scene of the crime at all. Someone had simply deposited him, already dead, in the old parking lot.

On the corner where the dirty kid and his mother used to sleep, the neighbors made an altar to the Little Decapitated Boy, as they called him. And they put up a photo, which said JUSTICE FOR NACHITO on it. Despite these apparent good intentions, the investigators didn’t entirely believe in the neighborhood’s shock. On the contrary, they thought that, maybe, they were covering for someone. That’s why the district attorney had insisted that so many neighbors be questioned.

I was among those called in to give a statement. I didn’t tell Lala, so she wouldn’t agonize over it. She hadn’t received the notification. It was a very short interview, and I didn’t say anything that could be of value to them.

“That night I slept deeply.”

“No, I didn’t hear anything.”

“There are several street kids in the neighborhood, yes.”

They showed me Nachito’s photo. I denied ever having seen him. I wasn’t lying. He was completely different from the neighborhood kids: a little fat boy with dimples and well-combed hair. I had never seen a kid like that in Constitución — he was smiling!

“No, I never saw black-magic altars in the street or in any house. Just for Gauchito Gil. On Ceballos Street.”

Did I know that Gauchito Gil had been decapitated? “Yes, the whole country knows that. I don’t think this has anything to do with Gauchito, do you?”

“No, of course, you don’t have to answer anything I ask you. Well, anyway, I don’t think so, but I don’t know anything about rituals.”

“I work as a graphic designer. For a newspaper. For the Women and Fashion supplement. Why do I live in Constitución? It’s my family’s house, a beautiful old building — you can see it when you come by the neighborhood.”

“Of course I’ll let you know if I hear anything. Of course, you’re welcome. Yes, it’s difficult for me to sleep, just like everybody else. We’re all really afraid.”

They clearly didn’t suspect me, but they had to talk with all the neighbors. I took the bus home to avoid the five blocks I would’ve had to walk had I taken the subway.

Since the crime, I preferred not to use the subway. I didn’t want to run into the dirty kid. At the same time, I wanted, in an obsessive, sick way, to see him again. Despite the evidence — including photos of the cadaver, which a newspaper had published on the front page, selling out several editions as a result — I kept believing that the dirty kid was the one who was dead.

Or who would be the next to die. It wasn’t a rational idea. I explained it to Lala in the beauty shop the afternoon I decided to dye the ends of my hair pink, a job that took hours. No one flipped through magazines or painted nails or sent text messages while waiting their turn now. No one talked about anything except the Little Decapitated Boy. The time for prudent silence had ended, but I still hadn’t heard anyone name a suspect in anything more than a general way. That day Sarita said that, in her town, in Chaco, something similar had happened, but with a girl.

“They found her with her head by her side, also, and totally raped, poor little soul. She was all covered in shit.”

“Sarita, please, I beg you,” said Lala.

“But that’s how it was, what do you want me to say? This was done by witches.”

“The police think it’s narcos,” I said.

“The country’s full of witch-narcos,” said Sarita. “You don’t know what it’s like there in Chaco. They have rituals to ask for protection. That’s why they cut off the head and put it on the left side. They believe that if they make these offerings, the police won’t catch them, because the heads have power. They’re not just narcos, they also sell women.”

“But do you think there are any here in Constitución?”

“They’re everywhere,” said Sarita.

That night I dreamed about the dirty kid. I was going out on the balcony and he was in the middle of the street. I waved at him to move, because a truck was coming, and fast. But the dirty kid kept looking up, watching me on the balcony, smiling, his teeth dirty and tiny. Then the truck ran him over and I couldn’t avoid seeing how the wheels ripped open his stomach like it was a soccer ball and dragged his intestines down the street, as far as the corner. Nonetheless, the dirty kid’s head remained in the middle of the street, still smiling and with its eyes open. I woke up sweating, trembling. From the street a drowsy cumbia was sounding. Little by little, the sounds of the neighborhood returned: the fights of drunks, the music, the motorcycles with disengaged mufflers, a favorite trick of teenagers. Secrecy had been imposed on the investigation, which suggested that the authorities were totally disoriented. I visited my mother several times. When she asked me to move in with her, at least for a while, I said no. She accused me of being crazy, and we got into a shouting match the likes of which we’d never had before.

That night I got home late because, after work, I went to a birthday party for a coworker. It was one of the last nights of summer. I returned on the bus and got out before it reached my stop so that I could walk around the neighborhood by myself. I felt like I knew how to handle myself again. If you know how to handle yourself, Constitución is pretty easy. I was smoking. Then I saw her.

The dirty kid’s mother had always been skinny, even when she was pregnant. From behind, no one would have guessed she had a belly. It’s a typical build for addicts: the hips remain narrow as if refusing to cede space to the baby, the body doesn’t produce fat, the thighs don’t widen. At nine months the legs are two weak little sticks supporting a basketball. Now, without the belly, the woman seemed more like a teenager than ever. She was leaning against a tree, trying to light her crack pipe under a street lamp. She seemed unconcerned with the police — who were still circulating through the neighborhood — or the other addicts or anything else.

I approached her slowly; when she saw me, there was immediate recognition in her eyes. Immediate! Her eyes narrowed to slits: she wanted to run away, but something stopped her. A weariness, perhaps. Those seconds of doubt were enough for me to block her way, step in front of her, oblige her to speak. I pushed her against the tree and I held her there. She didn’t have enough strength to resist.

“Where is your son?”

“What son? Let me go.”

“Your son. You know what I’m talking about.”

The mother of the dirty kid opened her mouth and her breath — smelling of hunger, sweet and rotten like a piece of fruit left out in the sun, mixed with the medicinal odor of the drug and that permanent stink of burning — nauseated me; addicts smell like burning rubber, toxic factories, polluted water, chemical death.

“I don’t have any children.”

I pressed her harder against the tree, I grabbed her neck. I don’t know if she felt pain, but I dug my fingernails into her. It didn’t matter, she wasn’t going to remember anything within a few hours. I wasn’t afraid of the police, either. They weren’t going to bother too much over a fight between women.

“You’re going to tell me the truth. Until a little while ago you were pregnant.”

The mother of the dirty kid tried to burn me with the lighter, the thin hand moving the flame near my hair. The bitch wanted to burn me. I squeezed her wrist so hard that the lighter fell on the sidewalk. She stopped resisting.

“I DON’T HAVE ANY CHILDREN!” she shouted at me, and her voice, so sick and coarse, woke me up. What was I doing? Strangling a dying teenager in front of my house? Maybe my mother was right. Maybe I had to move. Maybe, as she’d told me, I had a fixation with the house because it let me live in isolation, because no one visited me here, because I was depressed and had made up romantic stories about a neighborhood that, in truth, was a piece of shit, a piece of shit, a piece of shit. That’s what my mother had shouted and I’d sworn I would never talk to her again but now, with the neck of the young addict in my hands, I thought that she might have a point.

I wasn’t the princess in the castle, but rather a crazy woman locked in the tower.

The addicted kid tore herself out of my hands and began to run, slowly: she was half choking. But when she reached the middle of the block, just where the main street lamp illuminated her, she turned around. She was laughing and the light revealed her bleeding gums.

“I gave him to them!” she shouted at me. The shout was for me, she was looking into my eyes, with that horrible recognition.

And then she stroked her empty belly with both hands and said, loudly and clearly: “And I also gave this one to them. I promised them both.”

I ran after her, but she was fast. Or she had suddenly become fast, I don’t know. She crossed Plaza Garay like a cat and I managed to follow her, but when the traffic took off down the avenue she succeeded in crossing back over among the cars and I didn’t. I could no longer breathe. My legs were shaking. Someone approached and asked me if the girl had robbed me and I said yes, in the hope that they would pursue her. But no: they only asked me if I was all right, if I wanted to take a taxi, if I could tell them what had been stolen.

A taxi, yes, I said. I stopped one and I asked him to take me to my house, only five blocks away. The driver didn’t complain; he was used to short trips in this neighborhood. Or maybe he didn’t want to grumble. It was late. It must have been his last fare before returning home.

Inside, I didn’t feel the relief of the house’s cool rooms, its wooden staircase, its interior patio, its old tiles, its high ceilings. I turned on the light and the lamp blinked: it’s going to go out, I thought, I’m going to remain in the dark. But finally it stabilized, giving off its yellowish, old, low-watt light. I sat on the floor with my back against the front door. I was waiting for the soft knocking of the dirty kid’s sticky hand, or the noise of his head rolling down the stairs. I was waiting for the dirty kid who was going to ask me, again, to let him in.

End

About the Author

Mariana Enriquez was born in Buenos Aires, Argentina, in 1973. She has a degree in Journalism and Social Communication from Universidad Nacional de La Plata, and she is the editor of Radar, the arts and culture supplement for Pagina/12. She has published two novels, Bajar es lo peor and Cómo desaparecer completamente, a collection of short stories, Los peligros de fumar en la cama, a novella, Chicos que vuelven, and a collection of travel narratives.

About the Translator

Joel Streicker’s translations of Latin American authors have appeared in A Public Space, Subtropics, Words Without Borders, Zyzzyva, and Epiphany. He received a 2011 PEN American Center Translation Fund Grant to translate Samanta Schweblin’s collection of short stories, Pájaros en la boca. Streicker holds a B.A. in Latin American studies from the University of Michigan and a PhD in cultural anthropology from Stanford University.

“A Country Doctor” — the Weirdest and Thus Best Franz Kafka Short Film

If you love Franz Kafka and you haven’t seen the above 20-minute short film by Kōji Yamamura, you should check it out immediately. Yamamura takes one of Kafka’s best short stories, “A Country Doctor” — read it online here — and uses a sketchy, unstable animation style to evoke the story’s bizarre and unstable reality. The film came out in 2007 in Japan, but you can watch the entire thing online above.

INTERVIEW: Mike DeCapite, author of Through the Windshield

by Pete Simonelli

Through the Windshield

Mike DeCapite’s first novel, Through the Windshield, was first released in 1998 and has been out of print for over ten years. Red Giant Books re-released it on June 2nd. In the late 1980s and 1990s, excerpts of the novel were published in CUZ magazine and developed a cult status. DeCapite has published three other books and has finished his second novel, Ruined For Life!

Pete Simonelli: TTW was written primarily in your twenties, and the narrator, Danny, really resonates with that kind of energy and resilience. He’s almost proverbial. You’re now 50. How different would the book be if you were writing it today?

Mike DeCapite: Well… My first reaction to that question was that there’d be more ironic distance. But who’m I kidding? Through the Windshield isn’t that kind of novel and I’m not that kind of writer. In everything I write, the narrator knows as much as I do. The narrator is me, or some part of me. So the book probably wouldn’t be much different. There are things I’d change, and I had to resist the urge to make improvements when preparing the book to hand over to Red Giant, but the book is its own thing now, it’s like a kid, you know, it goes its own way and becomes its own thing, apart from you. If I wrote it now, it would be less wide-eyed, more self-aware… but I wouldn’t write it now. It’s a young guy’s book.

PS: I can remember you talking about how Danny is a conceit of your own personality or ego, in a similar way that Celine used Ferdinand in his novels. But that “conceit” aspect has always stuck with me and has made me wonder where the line is drawn between a self-aware narrator and the character he/she portrays in the book. What’s the difference between you and the character? Is there any difference at all? I mean, I’d rather throw my troubles, whatever they may be, onto a character than I would onto my “real” self. Is there some kind of catharsis involved in the conceit?

MD: Really? I said that about Danny in Through the Windshield and not [my second novel] Ruined for Life!? It’s certainly true of Ferdinand, but if I was talking about Through the Windshield, it sounds like I was trying to convince myself. Maybe I needed to feel that the book succeeded on terms other than its own. Now I’m more secure in the understanding that it’s all fiction automatically, even if it’s all true, and that I’ve always been more interested in how you put the material together than whether the material is factual or fictional. From this distance, I don’t see much difference between myself and Danny. If there was a conceit, it was whatever I present naturally when talking about myself.

PS: I think that’s always been true of everything you’ve done. I think every writer, even poets, are continually driving further into themselves and just learning how to cloak that more. Kind of ironic, but true all the same. Things like motives or technique just get a little more nuanced as we get older, maybe. The act of “searching” isn’t found so much in travel or drugs or whatever; you can find yourself hitting upon ideas while taking a walk around the neighborhood, in the city, in a park, wherever, right?

MD: Oh yeah. At the gym, wherever. In fact, anywhere but while writing.

PS: Christ, I know. But you hit on something that I’ve always liked (and probably the most) about Windshield: its authenticity to time itself, as if the pages are rolling along in real time with Danny, in the cab especially, which would explain the prose poems included in the novel. All of your writing has that on-hand quality of presence about it. Does a lot of the writing come from a note or thought written down on whatever’s at hand, or do you actually carry a notebook around with you on a daily basis? And does having a notebook hinder you or help you?

MD: When I was writing TTW, I probably wrote things down on scraps of paper and bar napkins like anyone else. Most of it you never use or even look at again. But I wrote the book away from Cleveland, where it’s set, so it wasn’t written as it happened, or even from notes I took when I lived in Cleveland (except the parts called “Summer Journals”). How it does what it does with time is sort of mysterious to me, though part of it is that my first book was all journal entries, and that book — with its alternation of anecdotes and observations of the weather — became a template for this one. It’s how it came naturally to me to write a book. And there was no plot, like TTW. Without a plot, you’re free to appreciate all the things you normally leave out because of the plot. It’s like when you watch a movie for the second time, right? If you’re in no suspense about what happens, you can see everything that’s going on. So the time in TTW seems like the present tense, like you’re just hanging out with these guys. And that’s part of why the book is good when reread. A lot of people who’ve read it have read it again.

The Visual Poetry of Anatol Knotek

by Maru Pabón

Anatol Knotek is a Viennese visual poet and artist who explores the tangibility of language in fascinating ways. In his pieces, a word or phrase is performed by the arrangement of its constituting characters, or by how the language is physically framed. As letters fall, bleed, pixelate, or burst into flames, the visual and the textual seem to fight for the right to create meaning. But, as Knotek seems well aware, meaning is fluid and cannot be pinned down by either of these mediums. The encounter of word with image is much more interesting, since it opens up complex possibilities for conceptualization.

Knotek also shares a concern with the digital; many of his pieces have become works of GIF art in which language is erased or animated through the movement of multiple frames.

You can view more of his work here and here.

“light on, licht aus”
"eaten art"
"mistapes"
"censored"
"just in time"
"love in progress"
"when the sun goes down"
"human rights"
"juggling"
"it only hurts until the painting goes away"
"memories"

REVIEW: The Corpse Exhibition by Hassan Blasim

by Kyle Coma-Thompson

War is good for literature, but bad for trees, and bad for everyone else involved; except, one would assume, and as evidenced by all the books published about the invasion and occupation of Iraq, readers. For the larger portion of two two-term U.S. presidencies, works of punditry, history, political analysis, personal testimony and, with increasing frequency, fiction, have been published in English, the official language of the Occupation. The addition of Hassan Blasim’s The Corpse Exhibition to this body of work could easily get lost in the mix, if not for one important exception: it was written in, then translated out of the language of the Occupied.

Culled from a pair of books originally published in Britain by Comma Press, the stories in The Corpse Exhibition hang together like a series of horror portraits excerpted from the past thirty-five years of Iraqi history, touching on the casual terrors of life under the Baathist regime, the losses of the Iran-Iraq war, and most especially the disorder, mistrust, venality, and injudicious killing during the years of American Occupation.

If there’s a Ballardian ring to the collection’s title, it’s appropriate, but not wholly accurate. In spare, kinetic prose, and an efficiently brutalist focus that rivals the sarcastic, schematic nightmares of Ballard’s work from the late 60’s and early 70’s, Blasim continually pushes the acidic realism of his stories to a point where they warp into instances of confrontational, gritty conceptualism.

In the title story, a faceless narrator coaches a trainee on the proper tactics for carrying out aesthetically pleasing assassinations. Imprecise, messy acts of terrorism are frowned upon. Any display of corpses throughout a city must be achieved purposefully, with subtlety, elegance. His prize example? A woman breastfeeding her child, placed beneath a palm tree in the central divider of a busy street, both dead but arranged to conform to some passing simulacrum of life. Subtlety for Blasim, however, is not a priority. In an emblematic welcoming gesture toward any reader who may be curious enough to pick up his book, the story ends with the trainee taking a knife to the stomach.

“The Hole” describes a man’s encounter with a cannibalistic jinni. In “A Thousand and One Knives”, a paraplegic endowed with a magical ability to make knives disappear is detained by terrorists and punished in a way only they would see fit: crucifying him against a wall, they use his arms for target practice. What’s most important here? The violence portrayed isn’t fun, nor is it employed for purposes of moral instruction. It’s repellent, a zero sum, charmless.

Not instructional, except, perhaps, in one instance. In “The Killer and The Compass”, a boy follows his delinquent brother on his neighborhood rounds to fleece and terrorize the locals. The brother’s boldness and blunt will to power are a source of fear and admiration, even to his victims. “It’s today that matters,” he says, “and whether you can see the fear in people’s eyes. People who are frightened will give you everything.” The story recounts, among other things, his betrayal by a local barber and public execution by the police, but ends with a different order of murder. After forcing the boy to watch the burial of an anonymous, perhaps innocent man, alive, he pats him on the head, explains, “Now you’re god.” From the collection’s consistent standpoint of ugly, vigilant humor, this amounts to a fine moral lesson. Variations on this theme are touched on with more nuance and perspicacity elsewhere in Exhibition’s strongest stories, “An Army Newspaper”, “The Composer”, and “The Nightmares of Carlos Fuentes”. In these, exile, failure of conscience, and survivor’s guilt are depicted eye-level with vanity and human weakness.

Czeslaw Milosz once described Tadeusz Borowski, author of the Holocaust story cycle This Way For the Gas, Ladies and Gentlemen, as an ethical nihilist. “…I do not mean that he is amoral. On the contrary, his nihilism results from an ethical position, from disappointed love of the world and humanity.” The same could be said of Blasim. It is this very quality which separates the work of someone like Milosz from either Borowski or Blasim; their sustained proximity to the worst aspects of human cruelty, and the clarity with which they render it, has trained their nerves to reject any manner of transcendentalism or noble posturing. Kill the easy moral and its attendant pathos. The resulting corpses will more closely resemble what you’re grieving.

The Corpse Exhibition: And Other Stories of Iraq

by Hassan Blasim

Powells.com

One-Star Reviews of Classic Novels

If you’ve ever had the pleasure of reading Amazon or Goodreads pages for classic novels, you know that the best part is the pile of angry, incoherent, and/or contradictory one-star reviews. If you don’t want to spend your time trawling through these, check out Tumblr One-Star Book Reviews. I’ve reposted some of the best (i.e., worst) here:

Shakespeare book

“First of all, the whole thing is almost all dialogue.”

caged bird cover

“I found the messages about racism to be quite one-sided.”

Mark Twain cover

“I believe reading is about relaxing and not straining your mind to understand what’s going on”

Virgil book

“If written today this would be seen as fan fiction.”

The iliad

“You may have seen the movie ‘Troy’ with Brad Pitt as Achilles, but it is quite different than the book.”

things fall apart

“Way too much information about yams”

Truman Capote book cover

“Reminded me of Hemingway’s ‘The Great Gatsby’ which I also didn’t like”

On the Road penguin

“Do you have any feelings, or are you just TOO FUCKING COOL?”

Atwood book cover

“Ever since women (deservedly) got the vote, feminists have had to scrounge for stuff to gripe about. Take Ally McBeal, for example.”

Beowulf book

“Mr. Beowulf should be required to repeat his nighttime writer’s class at the learning annex.”

Ray Bradbury wicked

“the language is too rich and poetic for my liking”

Watching God book

“i had to read this book for class, so i didn’t really enjoy it at all, however it is a good book.”

Read more at One-Star Book Reviews.

INTERVIEW: Sasha Graybosch, author of “Recovery Period,” now on Recommended Reading

by Maru Pabón

This week, Recommended Reading published “Recovery Period,” an original short story by Sasha Graybosch, a writer and instructor at the Fashion Institute of Technology. Before the story’s publication, I talked with Sasha via email about the unique and personable ways she delved into difficult romantic relationships, grief, and otherworldly paradoxes.

Maru Pabón: In “Recovery Period,” Greer is afflicted with keratoconus, a disorder that causes her to see halos and starbursts around light sources. How did you approach writing about this condition? Why did you decide to give Greer a formal diagnosis?

Sasha Graybosch: When I was first putting together ideas for the story, two elements emerged in my notes: phone conversations with a person somewhere very strange and anonymous postcards. I don’t recall at what point Greer’s keratoconus was added, but I knew I needed another event or issue to triangulate the story and ground her emotional journey in something concrete. I had been wanting to write about an eye surgery and my instincts said it would fit.Years ago my mom had a corneal transplant. I remember her talking about the odd fact that she was seeing through the cornea of a recently deceased person. She told me about watching the operation unfold. The whole thing was bizarre and morbid, and sweet, too, the passing on of sight after life, a sort of resurrection, and also disgusting. It stuck with me.

Kc_simulation

There needed to be a reason for the character to have the operation, and I came across keratoconus in my research. I probably googled “eye problems.” The symptoms were fascinating. I have an affinity for writing about unusual physical and mental infirmities, and I enjoyed creating the conditions of her ailment. Placing the character in the midst of a physical disintegration opened my imagination. Greer ended up handling the chaos pretty well, from the first line I wrote, which helped me build her character. The particulars gave me the grain to grip on to climb to other parts of the story.

MP: Can you also talk about the connection between distorted vision and grief presented in the story?

SG: That was an important connection for me as I was writing. I tried not to rely too heavily on the parallel, but I did want an echo. Both distorted vision and grief are their own realities. Both are a disturbance of one’s perceptions, though what “seeing clearly” means differs. Their horror comes from a loss of control, and both are isolating.

In grief you know on some level that the world hasn’t changed, only a tiny part of it, the loss of a person, and yet that assertion is also ridiculous because everything has changed. You’re sitting on the couch, you’re watching a commercial for Sonic — once the most normal and mundane of experiences — and suddenly it makes no sense. The commercial is grotesque. Cheese fries-derived ecstasy is personally offensive. It doesn’t reflect your pain. It represents an alternate dimension you can’t access. Outside, people walk around, smile, go about their day, and you just think, how? Objects are wrought with meaning. You are completely alone. Which isn’t true, of course, people suffer everywhere, but you can’t see that.

On the other hand, both distorted vision and grief are so absurd they’re rife with the humor of perplexity. That’s the space I wanted to inhabit in the story. I wasn’t comfortable with straight tragedy.

Greer’s keratoconus and the communications she receives in some ways make the experience of bereavement tangible. She’s battered by intrusions. I also think the breakdown of her sight is a comfort because it prolongs her emotional recovery. She’s straddling two realities, a past that includes her life with Lucien and a future without him. It’s possible to dwell in two realities but also very painful. There’s hope in the story and maybe healing, but recovery is complex. Her vision will improve and she will learn to participate in the world, but the world she sees has changed.

MP: The relationship between Greer and Lucien is developed with attention to how they relate to parts of their own bodies, parts of each other’s bodies, but also to body parts occupying different spaces around them. I’m thinking about the art exhibit they visit, with dismembered limbs floating around, and about the date they spend eating fish eyes. Are you interested in the body’s fragmentation?

SG: That’s an interesting question, but I’m not sure what it means to be interested in fragmenting the body. The first thing that comes to mind is an ad that uses breasts to sell a car. My focus on parts is most likely an unconscious proclivity as a writer. The language I’m interested in deals with particulars, details, small gestures and how they build a whole, but perhaps not with reducing the body in particular. It could be I don’t occupy a complete body all that well and so my fiction falls that way, too.

MP: The passing of time in “Recovery Period” is fluid since you include very few dates or ages, especially after Lucien’s death and Greer’s operation. How did you maintain the continuity of the narrative while forgoing conventional markers of time?

SG: Most stories deal with layers of time, and conventional markers are handy, but I tend to avoid them. Memory whips the past in and out of the present. I think of a story as: this thing was happening for a while, and before that there was this other time, but now back in the present things are getting really weird and here’s what happens next. I tell my own stories to myself that way. Sometimes I’ll hear someone say something like, “That’s when I was visiting my aunt for three weeks in Tucson in the fall of 1991” and think, wow, that is a sentence I would never say. I’m terrible with dates.

Another response I jotted to this question was “Halimah helped me,” and I think that’s also a good answer. After the story was selected for publication, part of the editorial process with Halimah Marcus focused on forging more nods to the order of events. She suggested I clarify the timeline, especially in the opening pages, and left me to puzzle over how. I appreciate her input and I’m happy I made those changes while maintaining the original fluidity.

MP: In a similar vein, the relationship between Greer and Lucien feels incredibly intimate and complex in relation to the short length of the story. You evidently took great care in crafting these characters both as individuals and as a romantic couple. From where did you draw their personalities, mannerisms and quirks? Had you been thinking about their story for a long time?

SG: I wrote the first draft knowing little about Greer and even less about Lucien. He doesn’t even appear in that version alive. I needed time to think through their personalities once I saw what I had. I usually start from a “what if” scenario, an odd situation or conceit, write a story based on my instincts, and then in subsequent drafts I work backwards to understand the characters, what led them to that place, how their unique qualities and histories brought the events into being. I value the role of time in a story’s creation as well. I came back to this one and revised it once a year over a period of four years. I put in whatever I had in me at the moment, the scenes on the tip of my mind that day.

Lucien and Greer are composites of myself and people I know. I knew I wanted them to be somewhat difficult people, that they would be united in their familiarity with being misunderstood. And at the same time not entirely understand one another. I also liked the idea of a relationship based on a prediction — that they might believe themselves to be “good” for one another because someone else said so. Often in books and movies couples come together in an intense, defining moment of epiphany, but often people blend together and accept each other slowly, barring any major conflict, like mosses growing over a rock.

MP: In the best way possible, “Recovery Period” confounds expectations grounded in earthly, familiar logic. There’s something almost magical about the way the story unfolds, with Greer not really questioning the appearance of otherworldly paradoxes. Were you at all inspired by writers of other genres?

pic1
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SG: I love stories with otherworldly paradoxes, and I’m inspired by them in all forms. In film, the work of Michael Haneke, the classics Picnic at Hanging Rock and 2001: A Space Odyssey, and even some of Errol Morris’s documentaries are examples — they construct questions without answers. Usually there’s a sense of doom that arises from the characters. Their surroundings are oppressive and yet ultimately and mysteriously self-imposed. These works open up a hole and leave it open, and you can put nothing into it or everything into it. You can carry it away and stare at it for a long time. Nabokov’s story “Signs and Symbols” and Charles Baxter’s story “Through the Safety Net” have this effect on me.

I was influenced by many writers who I wouldn’t know how to categorize, but who explore the “unreal” so as to present something true or truly felt. To name a few: Yoko Tawada, Richard Brautigan, Joy Williams, Louise Erdrich, Ralph Ellison, Trinie Dalton, Mathew Derby, George Saunders, Donald Barthelme. My tastes don’t lie in this realm of fiction exclusively, but these writers taught me to follow my imagination wherever it wants to go. I also learned from Mary Gaitskill to not get too caught up in the absurd or surreal without seeking depth and giving fair due to the darkness that lives beneath humor.

MP: As a writer, what would you say is your biggest distraction from your work, or your biggest limitation?

SG: I’m still growing as a writer and I have a lot to learn. I waver dramatically between a state of focus/confidence/energy and certainty that I have no idea what I’m doing. I’m also incredibly picky about where and when I write fiction. If I write at home I end up roasting a chicken. Coffee shops are too stimulating. Evenings are a lost cause. I can take notes and read anywhere and anytime, but recently my official writing time is strictly in the daytime at the public library, alone, caffeinated, on an empty stomach, wearing unplugged headphones. It’s ridiculous.

MP: What are some forthcoming projects for you?

SG: I’ve been writing stories for years and I’m still revising several, but I’ve turned to writing a novel. It started as a story that wouldn’t end. I’ve been amassing fragments and notes and scenes for two years, and I spent a month this summer researching a rare neurological disorder that plays an important role. Currently it’s more a web than a book, but I want to find out what it can be.