Our Meat

On nights when it’s cool, I carry Mem up to the roof, and she makes a wish on every 11th gunshot we hear. Bursts from automatic weapons are harder to count and are usually an indication that it’s time to go back inside. I’m not superstitious, so I don’t wish for anything.

Right after The Thing That Happened, everyone was so shaken up that it was not uncommon for a man to walk around with a plastic bag stuck to his foot for days before realizing it was there. Some people went around saying only, Everything has changed now. Everyone went a little crazy, each in their own way.

Everything has changed, yes, but things aren’t as bad as some people make them out to be, at least, not in our community. We get all our food and supplies from The WPA, and in exchange I help them out when they need heavy lifting. I mean that literally, I’m the most able-bodied person here. I have a muscular figure, but my best feature is my arms, which are so improbably thick that they seem as if they were intended for a much larger body than my own. But I wasn’t always like this.

Tonight, in the kitchen, Mem tells me to keep my eyes closed so I don’t spoil the surprise. I close my eyes and I hear her walk to the oven and I smell cupcakes. As she walks back there’s a clatter as something falls. I rush over to her. Her knees have given out again. She’s wincing in pain, and I carry her over and lay her on the bed. There are cupcakes all over the floor.

I can still eat them, I say.

No, you know that’s dangerous, she says.

There are words written in icing on the top of each cupcake, but many of them are now smeared and unreadable.

Happy birthday, she says weakly.

I met Mem right after The Thing That Happened, when it seemed like everyone was pairing up in a hurry. We talked about how desperate everyone was acting, and then two days later we were living together. We concluded that maybe there wasn’t time to worry about these sorts of things anymore.

As her knees got weaker, I was there to help her along, and then I was there to carry her. She had been so self-sufficient in her old life and I know she didn’t like having to rely on anyone.

I was changing too. It was gradual enough that I didn’t notice until the day I could no longer fit into my favorite shirt, the one with the cartoon wolf.

This makes sense, I told Mem. She was the brains, I would be the brawn.

As we lie in bed, we listen to the radio. There’s an advertisement that informs us that everyone in the world is falling apart. Then it goes on to describe a new type of knee that has been developed in the Northern Provinces. It is self-installing, and guarantees full restoration of ability. It sounds too good to be true. I look at Mem. She is asleep.

The WPA is great for keeping things from going 100% to shit, but they don’t process Non-Basic Requests. And the artificial knees are most definitely a Non-Basic Request.

In the morning I carry Mem to work in the gardens then return to our apartment to call Yosh for advice. He helped me out with my previous Non-Basic Request, the fish, and even though that didn’t turn out well I call him anyway.

I explain the situation. He takes a severe tone and he says, Yes, I can help you get the knees, but I only know one possible way. I’ll tell you because you’re my friend, but I think it’s a terrible idea.

Yosh explains the plan, reminding me again and again that it’s a terrible idea and I shouldn’t do it. Each time, I tell him I probably won’t.

The next day, I wake up early, while Mem is still asleep, and I leave her a short note explaining that I’ve gone into the city, as if it were still a normal, everyday thing to do. Bus rides are a luxury, but I have a driver that owes me a favor.

I wait for an hour, and finally a bus arrives. It is empty aside from the driver, and every single window is smashed. The doors open and I hesitate. This is not the driver I expected. He steps out and tells me he is aware of the debt owed me and prepared to make good on it, and also, contrary to the sensationalist reports on the news, there have been no instances to his knowledge of psychopaths seizing control of city buses. He says to prove that he is not a psychopath I may ask him any question and he will answer it sanely. I can’t think of one, so he offers to let me punch him in the stomach as hard as I want. I tell him I’m convinced and I get on the bus.

It’s okay. Everyone has gotten a little crazy since The Thing That Happened. Myself included.

As we pass through a long-dead residential neighborhood, a place so dead that some of the buildings are only dust, I see the residents. A man watches television in a room with no walls. A couple fights in an upstairs bedroom that is only sky. A woman takes her dog for a walk, even though there’s no dog. For some people, the end came so quickly that they don’t know they’re dead and gone, and they’ll just keep on reliving these moments forever.

No one else sees them, of course. And the ghosts don’t see me. I haven’t told anyone, just Mem. It’s okay to be a little crazy, she says.

The bus deposits me at the border of the Northern Provinces. I walk along streets lined with medium grey buildings, as if the color departed when people stopped noticing it. I follow Yosh’s directions and find myself standing before a small shop with a sign that proclaims, Unscrupulous Butcher.

When I walk in the door, a bell chimes and a line of gaunt, hungry-looking men turn. They are lined up in front of an empty display counter, waiting. They know why I’m here, but I don’t look at them. I don’t want to believe people like this exist.

The butcher, dressed medical garb, emerges from a back room and signals for me to join him. I follow him into a small room with an operating table.

He explains the procedure and I say, First show me the knees. He exits the room and when he returns he places one in each of my hands. They look like fleshy doorknobs. They’re very easy to install, he assures me. This pamphlet explains everything. I nod, and slide the knees into the front pockets of my coat.

In the past, it would have been impossible to remove most of one’s upper arm muscles without rendering the arms useless. But thankfully, that is no longer the case. It’s a miracle of technology, says the butcher as he raises a scalpel.

The procedure is quick.

And it’s done and I look at my arms, crosshatched with stitches, and so thin that they resemble used-up tubes of toothpaste. Now you’re a poet, says the butcher. I feel lightheaded as I stand, and as I’m walking out, I see an assistant carefully weighing and cutting up what they took from me.

It’s overcast outside and it feels colder than before and maybe I’ve lost some blood and I circle the block trying to remember where the bus goes. I walk and walk and I locate the bus stop, but the search has exhausted me, and I sit down on the bench.

When I wake up the shadows are so long on the ground that I know instantly that I’ve missed the last bus home.

But it can’t be that far. If the ride took an hour, I can probably run it in three. This all seems reasonable. I’ll be in a familiar area before it’s completely dark. Mem will be worried. I will go home tonight.

The thoughts are coming fast as I start to run. It goes well for a while, but my stamina is diminished. My pace falls to a walk.

I am nearly halfway home when I notice something looming in the shadows of a row of gutted brownstones. And suddenly I am surrounded by a pack of wolves, and they are upon me.

In my better days, I could have killed a dozen wolves; I would have seized them by their jaws and pried them open until they snapped. But now they are biting into me, and things are going dim, and time is slowing down, and I remember how Mem once told me that to dream of a wolf biting into your neck was good luck. But everyone is a little crazy since The Thing That Happened.

And then as quickly as they pinned me, the wolves are off, running and fighting over something. I reach down and find my coat is tattered.

They took the knees.

They are chewing on them and fighting over them as they disappear back into the darkness.

I stumble in their direction, and then collapse on the ground.

I am too weak to go home. The wolves will come for me in the night. And then I too will be lost.

Maybe I can find shelter, I think. I enter one of the buildings in front of me, though it is little more than a roofless shell. Upstairs I hear a couple fighting.

The man descends where there was once a staircase, but is now just a wall with a faint silhouette of a staircase. I see his face. And I recognize him. He was a friend, back when we were in school. I haven’t thought about him in a long while. I was sure he must be gone.

He is gone. I guess I know now.

And then something very unexpected happens. He looks at me. He recognizes me. And he says my name. And he asks, What are you doing in my house?

I’m not sure what to tell him. So I say I’m trying to make it home, but I can’t.

He gestures to a couch that doesn’t exist and tells me I am welcome to stay. He tells me I will be safe.

I ask him about the girl upstairs. He says he will introduce me, and he calls her downstairs. But she can’t see me, and they start to argue. Eventually she retreats upstairs, with him following, and their loop restarts.

I collapse. I sleep.

My last Non-Basic Request was for Mem’s birthday. Mem used to love fish, before things were as they are now, before fish became just a memory. Yosh had gotten a tip about a certain market in a neighboring community, and after some heavy bartering I was able to procure a fish. Mem told me it was the best present anyone had ever given her. I cooked it up, and she insisted that I have some. No, I said, this is all for you.

She was vomiting all night. I remember her looking up at me, and her eyes were filled with sadness, not because she was sad to be sick, but because I had tried and failed.

I wondered if this time she would be so forgiving.

I wake up as the sun is rising. I am not dead. I am motivated. I run towards home. It takes less than an hour.

I burst in the door of the apartment. Mem has been sitting within a step of the door so she will be able to embrace me without having to hobble, and when she does I almost lose my balance. I catch hold of her with my ruined arms and I’m reminded that I won’t be able to carry her to the roof again.

I try to explain what happened but the sentence comes out jumbled, as if it was written on the tops of cupcakes that have fallen across the floor. But she’s already put it together on her own, she’s clever like that. She raises a finger to shush me, and we hold each other in silence. The heat from her body is reassuring. With her mouth, she forms the sound of gunshot.

Make a wish, she says.

REVIEW: Made to Break by D. Foy

by Benjamin Rybeck

As a latecomer to Made to Break — somebody who had read reviews extolling its bleakly exuberant language, somebody who had absorbed the author’s dense and absurd “Dispatches from the Road,” a series published by Electric Literature, before reading a single sentence of the novel itself — I felt like I had a pretty clear idea of what D. Foy’s debut novel would be like: foreboding and primal, with language so rich it induces gout in otherwise healthy readers. It was certainly these things, yes, which Foy himself suggests by namedropping Bauhaus, Nick Cave’s “Stagger Lee,” and Hunter S. Thompson (plus a character named “Badalamente,” which perhaps references David Lynch, whose longtime musical collaborator’s name is Angelo Badalamenti). But what surprised me about the novel was how,

cutting through all the dark clouds that crowd Foy’s world, sensitivity and kindness shined through his prose

. I wasn’t expecting to feel so moved by a book in which the earth is “corrupt” and “filled with violence.”

Foy’s plot is simple — almost a chamber play, or a locked room whodunit, in which the culprit is nature itself (both human and otherwise).

Five friends invade a middle-of-nowhere cabin — with a dead lovebird on the floor and clowns on the walls — on New Year’s Eve.

The ostensible purpose is to bid farewell to Lucille, a wild girl giving up her ways to take a corporate job. She was formerly involved with one of the friends, a veteran named Dinky (whose cabin provides the novel’s setting), before cheating on him with another friend, a cantankerous and drug-addled musician named Basil. Then there’s the enigmatic — and pseudonymous — Hickory, who has entranced the fifth friend, and narrator, AJ. Early in the novel, an accident leaves Dinky seriously injured, and a freak downpour floods the roads, stranding the characters at the cabin, unable to get help for their dying friend. Inert and helpless, they pass the time circling old wounds and shooting at one another sophomoric insults — “banana dick,” “poor fuckless fart,” “eat my ass” — while genuine menace gathers outside, not only in the form of the storm, but also embodied by Super, a local man with a Hamlet-obsession and a dead monkey dangling from his truck’s rearview mirror; Super seems to want to help the five friends, but only in the most sinister ways.

If this was all that the novel got up to — shadows, and bickering, and dying — it might feel one-note, a mean-spirited, punishing exercise in depression and destitution. But

Foy has more in mind, shuffling his timeframe in a way that affords the reader not only glimpses the characters’ pasts but also brilliant glimpses into future.

Gradually it becomes clear that AJ is narrating the novel from a calmer future: He now does manual labor “trucking crops” in the San Francisco Bay Area, and relates the events of that New Year’s Eve to his only friend, a man known as Thomas the Tattooed Whiskey Man (if ever a character deserved his own spin-off novel based on name alone…). This glimpse of AJ’s future adds fatalistic poignancy to Made to Break, and the reader watches what happens in the cabin — the fights, the tragedies, and, finally, the celebrations — knowing that loneliness will always lie ahead for AJ, eventually leaving him with nothing but memories: of “the only people [he’d] ever truly known and who for that reason were strangers”; of his friend Dinky’s laughter; of a girl named “Avey,” about whom he mutters in his sleep.

Much has been made of Foy’s language, and deservedly so:

Made to Break sustains its manic intensity throughout every sentence

, a characteristic it shares with many other Two Dollar Radio titles, including Jeff Jackson’s Mira Corpora, Shane Jones’ forthcoming Crystal Eaters, and Anne Marie Wirth Cauchon’s Nothing (I wonder what would happen if the vacant hipsters of Wirth Cauchon’s debut ran into Foy’s characters at a party). These are all short books — at 218 pages, Made to Break is the longest of them — but one gets the sense that if the books were longer, the author would need hospitalization. Sometimes Foy’s language tries out abstraction — for instance, I’m not sure what to do with an early metaphor that claims the “night was rage,” or with a character who “wept into oblivion” — but his best writing has a specificity of figuration that makes it feel like a nightmare you can’t shake — a nightmare whose vivid details to you tell anyone who’ll listen. A passage involving the disposal of a dead body deserves quoting at length:

I took down the blanket and rolled him. He was heavy as a block of steel. And all along his backside, ankles to groin, his skin had mottled up in a swirl of purples and blues. It looked as if he’d been lying for weeks in a pool of wine. The flesh beneath the hair on his legs was cool. I could’ve been holding a chunk of moldy pipe.

Such compressed, lucid writing makes Made to Break always understandable, and a thrilling world to inhabit, no matter how much corruption and violence it contains. “How is it,” AJ asks, “the strangest people we know are nearly always ourselves?”

Foy’s mission is to embody the familiar for so long that it becomes unfamiliar

, sort of like saying a name again and again until it loses all meaning. Reading this novel, I thought of Lawrence Ferlinghetti, who told us “a poem is a mirror walking down a strange street.” Yes, perhaps — but Foy is a kind of poet too, only his mirror walks down familiar streets, making them seem strangest of all.

Made to Break

by D. Foy

Powells.com

REVIEW: My Life in Middlemarch by Rebecca Mead

In the midst of #readwomen2014 — the year of reading women’s books — comes a book about reading one of the most widely respected of women’s books, George Eliot’s Middlemarch. My Life in Middlemarch by Rebecca Mead is a beguiling mixture of memoir, George Eliot’s biography, and close reading of the novel.

It speaks to lovers of literature who may or may not have read Eliot’s work and raises some important questions about why and how we read.

Mead is on a mission to make you love George Eliot’s 900-page novel as much as she does, not only because it’s a great read but also because it can make you a better person. But how, exactly? Middlemarch is an expression of Eliot’s philosophy of compassion and fellow feeling. “We are called to express our generosity and sympathy in ways we might not have chosen for ourselves. Heeding that call, we might become better,” Mead writes.

Such message-driven fiction fell out of favor in the twentieth century, and Mead helpfully traces the ups and downs of Eliot’s literary reputation. Her “earnestness” made her old-fashioned and even the object of ridicule. Critics labeled her novels treatises and determined they weren’t really “art” in the modern sense. Mead argues that Eliot promoted feeling in her readers, not action: “She was more concerned with changing her reader’s perspective than she was with encouraging the reader to contribute to soup kitchens.”

For Mead, Eliot’s seriousness still resonates.

I imagine it will for many readers tired of aloof, detached fiction that analyzes without compassion.

Eliot’s fiction is an antidote to the disease Roxane Robinson identified in her Slate essay “The Cold Heart of James Salter”: “Somehow we no longer require compassion from the literature we admire. We admire writers who celebrate irony, disdain, contempt, who establish emotional distance rather than intimacy. We’ve come to confuse compassion with sentimentality and we’re slightly embarrassed by both. Have people changed, in some fundamental way? Is the human heart no longer in conflict with itself? Is this deep inner conflict no longer important?”

Robinson’s heartfelt rant recognizes a problem that lies at the heart of our reading lives. Do we read to connect — “Only connect,” as E. M. Forester wrote — or for analysis, amusement, or simply making ourselves feel smarter? Such pleasures are altogether different from what Eliot’s novels and My Life in Middlemarch provide.

We are invited to see ourselves in the pages of these books

and to reflect on how our lives intersect with those of others who may be altogether different from ourselves.

Mead believes that Middlemarch “has become part of my own experience and my own endurance.” At different stages of her life, it has taught her how to make sense of herself. In her teens, she saw herself in Dorothea’s yearning for a larger purpose. As a young adult, she recognized Lydgate’s discovery of his intellectual ambitions. As an adult, she empathized with Casaubon’s failure to accomplish his goals.

She argues that identifying with characters is something “even the most sophisticated readers do. It is where part of the pleasure, and the urgency, of reading lies.” Here is where the satisfaction of Mead’s book lies as well as she guides us through her own engagements with the novel’s various characters. There is less satisfaction in her reportage of visits to sites associated with Eliot, largely because they fail to connect her — and us — to Eliot and her novel. Often the buildings have been torn down or have been modernized beyond recognition. An exception is Mead’s opportunity to sit at the same window Eliot had once described herself sitting in front of, her writing on her knees. “I could conjure her more vividly than anywhere else I had pictured her in my travels,” she writes. As a result, so can we.

In her review of the book, Joyce Carol Oates wondered about a person’s obsession with just one book. Indeed, one might be skeptical about Mead’s focus on one novel. Of course, Middlemarch is a sprawling novel with multiple subplots. But as Michael Gorra showed in 2012 in his The Portrait of a Novel, sustained attention on one book, in his case Henry James’s The Portrait of a Lady, can be very rewarding. Both works offer the immense satisfactions of drilling deeply into the complexities of Eliot’s and James’s novels as well as illuminating the contexts in which the novels were written. One difference between the two books is Mead’s greater use of memoir and her own personal interaction with the novel. Gorra writes from the position of a literature professor, while Mead is resolutely a devoted fan.

Mead briefly examines and then dismisses a scholarly approach to reading.

Although it can “suggest alternative lenses through which a book might be read,” she mostly disagrees with the scholarly opinions she cites here and there in the book.

The most important thing Mead’s and Gorra’s books do is bring Eliot’s and James’s novels to life for us again, while scholarly engagements can kill them, as anyone who has been to graduate school knows. Each writer takes a different approach to rejuvenating our understanding of Eliot and James. Gorra takes us into James’s head as he wrote his famous novel while Mead takes us into hers as she read it. Gorra illuminates the book more from the writer’s point of view, Mead from the reader’s. Both are viable and rewarding approaches. One opportunity that Mead’s approach provides, but doesn’t take advantage of fully, is the exploration of other readers’ reactions to the novel.

My Life in Middlemarch would be even more illuminating if it was less narrowly focused on Mead’s feelings about the book. This is particularly noticeable in her discussion of Dorothea, a disappointing character for many female readers. Mead focuses on Dorothea’s yearning for knowledge and experience, with which she could identify as a seventeen-year-old. She helpfully articulates the burning questions Eliot is asking through Dorothea: “Where is a woman to put her energies? How is she to express her longings? … What, in the end, is a young woman to do with herself?” Dorothea, like so many women before and since, channeled her yearning for knowledge into her choice of a husband. He would open for her the book of life. But she is misguided in her choice of a husband, a moldy, solipsistic scholar who lacks the capacity for intimacy. Eliot shows the disastrous consequences of Dorothea’s choice but does not question the motivations behind her decision. Many female readers have lamented the fact that Eliot narrows the possible answers to the question of what a young woman can do to one, namely marriage. The fulfilment Eliot herself discovered in reading, translating, and writing is not allowed Dorothea or her other female characters. Instead, the rewards of intellectual endeavors are granted to male characters, like Lydgate, whose ambition is allowed to find an outlet in a vocation. We might recognize Eliot’s critique of the limitations that are placed on most women of her era, but we can also feel disappointed that her female characters can find no other outlet than marriage, particularly if we are trying to put ourselves into the novel, as Mead does.

Nonetheless, My Life in Middlemarch is a joy to read, especially the parts of the book focused on the novel itself. It is wonderful to watch an intelligent, perceptive mind grappling with and making sense of a literary work. It is surprising how few cogent, accessible readings of literature like this are written. Perhaps it has something to do with the fact that we can no longer assume that a critical mass of well-read individuals have read certain texts in common. Mead certainly makes a powerful argument for including Middlemarch on our list of must-reads.

My Life in Middlemarch

by Rebecca Mead

Powells.com

Scott Henkle’s Not Afraid of Failure

About fifty pages into my second novel, I had a bit of time between meeting friends, and decided to do some quick work in my notebook. The informality of the setting made me take a different tack — writing without worrying about the constraints I’d set for this book. The more I wrote, the more I realized I’d built the constraints not around what I wanted, but what I was afraid of: something that no agent would understand, that didn’t fit into a definable genre (“upmarket women’s fiction,” “cozy mystery,” even “literary”), and so on. Afterward, I decided to try ditching my self-imposed constraints for at least fifty more pages, partly because it was the most fun I’d had writing in months.

I probably wouldn’t have been brave enough to do this if I hadn’t just been talking to Scott Henkle.

Henkle is a PhD candidate at the CUNY Graduate Center, a fiction writer, and an artist, and rather than compartmentalizing these interests, he has a tendency to combine them. There is the illustrated dissertation, the novel that reads a lot like non-fiction, a live theater piece that includes animation, and an upcoming piece in Harper’s, to name a few examples. I first encountered his work at The Off Hours, a reading series I ran for a few years in Seattle. He read from his postcards, which are a hybrid of manipulated found text and Henkle’s own writing and artwork. The images were projected, and I remember thinking that it wasn’t quite like anything I’d heard before. I might have said it was hard to pin down, or maybe even strange, but Henkle would probably call it a failure.

Then again, he’d call Moby Dick a failure, too. Henkle’s dissertation, “The Architecture of Failure,” celebrates literature by writers who seem to struggle with the limitations of genre and even language itself. Henkle uses Moby Dick as an example:

“For 250 pages or so, Melville is writing pretty straight narrative and then it’s like he gets bored, or loses his mind.”

As if you can see him start fighting against the structure he had spent the whole first part of the book trying to create. “The narrative breaks apart, Ishmael and Ahab kind of drop away, and then it’s all essays, plays, meditations on every parts of the ship, parts of the whale, there are big chunks of plagiarism, that kind of thing.”

If the structure of Moby Dick does reflect Melville’s struggle and failure to create a conventionally plotted novel, it’s something a lot of writers can sympathize with — hammering out a plot almost always feels tedious and contrived at some point. Henkle has an affinity for writers who give into that frustration on the page, rejecting traditional narrative in favor of non-linear, collagist, and totally non-formulaic literature.

And here, too, is where the failure comes in: it’s really hard for work like that to achieve traditional, recognizable success. “Especially coupled with the notion that an artist is supposed to be this self-destructive genius obsessed with creating a masterpiece,” Henkle adds.

“Growing up in Ohio, disconnected from any working artists or writers, the only idea of an artist I knew was the kind of person who’d cut off their own ear, Van Gogh-style.”

I grew up in a similar environment and remember thinking that all writers were alcoholics, drug addicts, mentally ill, or some combo of those. It’s kind of funny, in a sad way, to picture a bunch of small-town teenagers spinning a Grimm-style fairy tale about the artistic life. But aside from creating my tragi-comic mental portrait, Henkle argues that popular ideas of the Artist (and his all-consuming Masterpiece) can have a real-world effect on writers and their work — from writers feeling stymied by a one-track, all-or-nothing definition of success, to an overemphasis on the masterpiece in academia. And all of this, in turn, encourages a homogony and stasis in literature as a whole. By spotlighting work that fits into neat, pre-defined boundaries, we leave a lot of the messier, weirder stuff in the dark.

So what do you do if the latter is what you actually enjoy reading and writing? Henkle would probably encourage you to go with that, even if it seems like a doomed road. He says, of his own work: “I started to think that maybe the image of the artist that I grew up with is the problem, that maybe it could be about being a crafter than, say, a genius obsessed with the masterpiece, and that good, small working could be done without the enormous pressures of success, at least not success in the forms it usually seems to take.”

There’s a lot of talk about how books are dying, readers are diminishing, and the whole literature ecosystem is beginning to fail. Whether or not that’s true, things are certainly changing, and much of the old, canonic system is starting to feel archaic. In contrast, Henkle’s genre-blurring work feels utterly modern and arresting. It at once highlights the unique value of literature as an art form, while still remaining adaptable enough to incorporate and draw from other forms. To me, that sounds pretty much like a success — maybe even one worth failing for.

Scott Henkle Photo

Scott Henkle

REVIEW: Misadventure by Nicholas Grider

by Benjamin Rybeck

I knew as soon as I touched the book’s waxy cover, ran my fingers over its grid of blue and brown and white lines making boxes against the black backdrop, felt the thick pages between my fingers, the stark all-black ones separating this book into sections, the red cardstock inside covers bookending the whole thing: A Strange Object would be a press worth following. Of course, the sharp design (done by Rodrigo Corral Design, Rachel Adam, and Amber Morena) would mean nothing if the text itself weren’t equally captivating, but Nicholas Grider’s Misadventure would warrant curiosity if it were photocopied, stapled together, and passed out at a busy Starbucks. This book feels small enough to fit in a jacket pocket, but sturdy enough to survive decades on a bookshelf.

It’s a strange object, indeed.

Grider’s debut story collection is the second book from the Austin-based A Strange Object (its first book being Kelly Luce’s Three Scenarios in Which Hana Sasaki Grows a Tail). Blurbed by Matt Bell, Brian Evenson, and Susan Steinberg, Misadventure features stories previously published in Caketrain, Conjunctions, and Hobart. Reading Misadventure is a bit like wandering through an exhibit of difficult artwork: some pieces make you want to stop and stare, while other pieces produce some puzzlement. Nicholas Grider himself is a photographer who leans toward the surreal.

Grider provides unity to Misadventure by focusing on themes — some content-related, others form-related — that weave throughout this book. His first sentence is “Millions of Americans do strange or extreme things without quite being able to articulate why,” and, in Misadventure, Grider presents a handful of these Americans.

It’s easy to imagine all of his characters showing up to the same party;

it’s equally easy to imagine none of them having any idea what to say to each other.

Few of these stories contain narrative movement in the classic sense of “plot.” Instead, the majority of the stories gain movement by mimicking the obsessive patterns of a character’s mind, as s/he finds him/herself stuck in one location, ruminating on one subject. In one story, the subject is a local news puff-piece about handcuffs. In another story, it’s a fire at an old school. In yet another, it’s the violent beating of a boyfriend. Whatever narrative thrust these stories contain comes from the way a singular subject opens up reserves of memory in the narrator, setting him/her loose in the past even if s/he remains at standstill in the present.

The stories often attempt to navigate difficult shifts in point-of-view.

Sometimes this is stunning, as in “Disappearing Act,” which tells the story of John and Aidan, office soul mates in a sort of “romance” gone wrong. But Grider’s real subject is the telling of the story and, after a few pages, he reveals the narrator, a man in another state, obsessing over the details he knows and doesn’t know, and obsessing over the person relating to him these details (an old friend named Stewart), while breaking the information into categories (e.g., “Conjecture” and “Common conjecture”). Several of Grider’s puzzles are interesting, particularly his two stories in the form of lists, “Formers (An Index)” and “Liars.” On the other hand, one story (called “Clean and Friendly”) about mysterious pools of water that show up in a city’s streets is mostly confounding — one of the photographs in Grider’s exhibit to pass by without much scrutiny.

Like any strong writer, Grider saves his best story for last, called “Cowboys,” about two men named Chris and Dale who have a lifelong friendship played out through bondage. “It’s about power,” they agree. “Not gay at all, but manly.” In other words, they believe bondage — the struggle to release oneself from the rope’s grasp — is about aggression, rather than submission, a decidedly un-“manly” trait (in their view). Of course, this winds up being the most important thing in their lives, and Chris and Dale’s relationship comes to supplant even their own marriages. (Sometimes Grider relegates these characters’ jobs to parenthetical statements.)

I think once again of the grids gracing Misadventure’s cover, those lines that your finger can always trace back to where it started.

In Grider’s first story, he writes, “When George ties Gary to the chair, he promises Gary he won’t get bored.” Throughout the collection, people tie each other to chairs. “Millions of Americans can’t quite explain how they feel or why and don’t know what to do about it,” Grider writes, and, for his characters, bondage becomes a way to stay tied in one place while the world seems to crumble beneath them. It’s not about manliness, or submission, or aggression, or sexuality, or any of that — the bondage is about having a clear problem to solve, and being able to solve it.

To purchase Misadventure, click here to be directed to A Strange Object’s site.

Sci-Fi Books that Predicted the Future

The future is tough to foresee. Ask any stock-picker, or the writers of Space 1999. Imagining it is fun, though, and occasionally fiction authors will get something right. Possibly because the narratives we create about the future go on to influence our vision of it, which we then attempt to make real. And while we may still be famously waiting for our jetpacks, there’s a lot we no longer have to wait for, from solar sails (From the Earth to the Moon, Jules Verne, 1865) to anti-depressants (Brave New World, Aldous Huxley, 1932). This handy infographic, apparently created by some folks to sell printer ink, lays it all out for you. Did they miss something? Add it in the comments.

Science Fiction Predictions

MAY MIX — Illuminati Girl Gang

Sad Girls Mix: Even Moguls Get #Emotional

I always have trouble — or at least a moment of hesitance — when I try to describe what my magazine, Illuminati Girl Gang, is all about. Officially it’s “a publication dedicated to showcasing female perspectives in literature and art” but that’s pretty vague. The best way I can describe IGG is that it’s a great trick. I wanted to make a space for all the teen and not-so-teen feels that usually find their home in the form of unfiltered tumblr text posts. I wanted those blog posts to claim the status of literature and art because, why not. I wanted feelings to be valid.

Hyperallergic critic Alicia Eler wrote, “It offers up a space for girls to share their overflowing emotions, astute visual imagery, and not-so-covert sexual desires… Like a teenage girl who is discovering her emotions, body, and place in the world, the writing in this compilation can seem redundant, even frustrating at times — especially for any woman-identified person, either cisbodied or female gendered, who remembers those feelings and moments,” in her review of Illuminati Girl Gang Vol. 3. Since the last issue, not much has changed. The newest installment of the mag remains an overbearing assault of minor complaints, girlishness, emotions, and a catalog of life online.

This playlist, and the new issue of Illuminati Girl Gang, goes out to all the sad honeys of the internet. Sad songs and slow jams first, club bangers a little later.

(*) denotes song isn’t available on Spotify

1. Girls Love Beyoncé — Drake*

Personally, if a playlist doesn’t start off with Drake, I’M OUT. Although almost every Drake song is about how sad/sensitive he is, I’ve been feeling this one more than most lately.

2. Black Coffee — Ella Fitzgerald

“Now a man is born to go a lovin’ / A woman’s born to weep and fret / To stay at home and tend her oven / And drown her past regrets / In coffee and cigarettes”

3. Hey Boy — The Blow

The quintessential #sadgirl song. Basically the only lyrics are “Why didn’t you call me???”

4. Treat Her Better — Mac Demarco

For the chill, woman scorned.

5. Incompatible — Baths

“First boyfriend / You live in my house and we share a toilet seat / And I am not the least bit drawn / The covers in divisive heaps / Scared of how little I care”

6. Tibetan Pop Stars — Hop Along

The opening line of this song is my favorite. “How content are with ones with simple demands? They meet their fiancés cherry picking out in Canada.” A song for when what you want is wholly too much — something unnamable and impossible.

7. If I Could Change Your Mind — Haim

I’m still scarily obsessed with Haim. My biggest ambition is to quit the lit-game and start a three-piece all girl band with matching middle-parts, leather jackets, and daddy issues.

8. 22 — Taylor Swift

I guess this is me formally coming out as liking Taylor Swift’s music…

9. Everything is Embarrassing — Sky Ferreira

Everything IS pretty embarrassing. Breathing, walking, my blogspot from 2010… *deletes browsing history*

10. Blame Game — Kanye West

Kanye West has a really special brand of aggressive sadness that I admire. Ego tempered with vulnerability. Pro tip: Every sad girl should also be a boss bitch. This song has classic lines such as, “You ain’t finna see a mogul get emotional” and “How did your pussy game come up?”

11. If You Had My Love — Jennifer Lopez

To get the full effect of this song, you need to watch the video, if only for the 1999 cyber-futurism vibes.

12. Lookin’ Ass — Nicki Minaj

For when you’re done being sad and you’re just pissed. You’re over listening to The Blow on repeat for over 48 hours and you don’t even want that guy to call anymore (unless he’s paying for your time).

13. Yankin’ — Lady

You’d never thought you’d hear yourself say this but Nicki Minaj was just a warm up. Now you’re fully on your independent woman shit. You haven’t cried yourself to sleep in weeks. You’ve got men on chain-leashes. You’ve got plates with stacks of money on them and a bomb-ass pussy.

14. Grown Woman — Beyoncé

Each day we have to grapple with the confusing realities of the Sad Girl/Grown Woman paradox. Are we sad girls? Are we empowered women? I’m learning to deal with the fact that I’m both. Sometimes I’m more sad than empowered but most days I try to stay on my Beyoncé grind.

15. Diamonds (Remix) — Rihanna feat. Kanye West

It’s kind of impossible to feel sad when listening to this song.

16. Britney Spears — Circus

Britney Spears: The ultimate sad girl. When Britney Spears had her infamous breakdown in 2007, it was only to be expected. Women like Britney, like Ana Nicole Smith, like Zelda Fitzgerald are cast as the tragic woman figure and are portrayed unkindly. But Britney came back a year later with Circus — in which she sings, “There’s only two types of people in the world / The ones that entertain, and the ones that observe” — an anthem and ode to the spotlight that she couldn’t stay away from.

17. Dirt Off Your Shoulders — Jay Z

TL;DR: ladies is pimps too.

illuminati girl gang

***

Gabby Bess is the founding editor of Illuminati Girl Gang, a publication dedicated to showcasing female perspectives in literature and art. Illuminati Girl Gang Vol. 4 is available now.

Not a Bad Bunch by Anu Jindal

One time, Stigsson, a lumbering, manic Swede, leapt while climbing down from the mast. Fifteen feet, blurred blond beard and soiled bare feet flagging in the air towards the deck, where he landed in a funny way. As it happened, a stray nail had been left behind where he touched down and it entered him through his heel, paralyzing his foot permanently so that he walks always with a kind of slump now. The sound of his hysterics reached me two decks below. When I came up I found him scrambling around, inflamed, raving, smearing bloody curves across the deck with his lame heel. I tried to dress his injury but he refused, reduced to a language of gurgled screams. In the days that followed, he stalked everyone on the ship, demanding to know who had left the nail behind, lacing his hands behind his knee to raise his leg and accuse them with the hideous purple wound. But who’d remember forgetting a nail? Who remembers the nails, crumbs, hair, flaked skin one constantly leaves behind? When no one confessed, Stigsson decided it didn’t matter who it was; he would strike indiscriminately, with the same unforeseen randomness which he’d been struck.

Several days later, as the deck boy was perched on the foremast, sewing a tear in the sail, Stigsson arrived with an axe and simply began to chip away, raging in some meaningless, private dialect. His intention was clear enough: he meant to drop the boy in the water, leaving him to drown, or else axe him directly if he climbed down. To sever a limb, a finger, toes, his head. It took four men to hold Stigsson back, and all the time he was lunatic, frothing. Spittle flying from his mouth, catching in his beard.

But I don’t want to give the wrong impression of our ship. Really this kind of thing did not happen often.

A week or so after Stigsson attacked the deck boy, another boy, the carpenter’s assistant, admitted to having left the nail behind. Who knows why he admitted it? He’d effectively gotten away. No one could have known or found out. Perhaps he believed Stigsson had spent his anger.

The assistant’s second mistake, besides confessing to Stigsson at all, was telling him in private. We found him in the morning, tied high up on the mast, shivering. His body had been scoured raw by the ropes, the rest pecked at by birds. He smelled deathly already; was hypothermic and dehydrated. “You’ll be back to strewing nails in no time,” I told him, though in truth there wasn’t a hope. He lay, platter-like, on the sick bay table and moaned. I asked, just in case, if he had family I could write to.

Without shame, Stigsson came to see what all the moaning was about, then wordlessly returned up to the deck above. At the time we were passing through an arctic place. Seawater flung up by the ship came back down as ice, chattering across the deck. Ice formed on the sails, around ropes, the inner workings of pulleys; on beards, knuckles, sleeves. Icicles made long tooth shadows, in sunlight and in lamplight, at all times, in all lights, against the deck and the sails. Stigsson moved around the ship, collecting, in a sinister way, icicles into a bucket. When he limped down again he pushed me aside, and — carefully rolling up the boy’s shirt — began laying ice down over the weeping sores and burns that deformed his body. The boy sighed each time an icicle touched him. Why hadn’t I thought of using icicles before?

“Goddammit,” I said. “Stigsson, are you a doctor? No — because I’m the doctor.”

Then Stigsson began to sing — his voice soft as serge cloth, his notes clear and musical as falling nails. Someone maneuvering a barrel across the deck stopped rolling to listen. It was the first time we’d ever heard Stigsson sing. Maybe the deck boy would be okay after all.

A certain amount of madness was tolerated on our ship. A certain amount expected. There were daily frustrations, encountered by everyone. Nails, splinters, burns. Boils, abscesses, infections. The constant proximity of others itself was maddening. And anything could be taken as a personal offense. A man breathing too loudly. One bad joke. The particular smell of someone’s natural oils or hair or ejaculate. One distinct, pestering laugh. The sight of yet another beard — somehow one beard too many. All of us were forever at the seething point. Occasionally we spilled over.

To relieve ourselves from the taxations of life, we had ways of peaceably passing the time (aside from the drinking, gambling, and fist fighting). There was fishing, of course, but even that could be taxing. Most of the time when a man fished he wasn’t really fishing, only standing stupidly with a rod in his hand. And the fish themselves were usually not interesting. You could expect the gills to fold and crinkle when you held one in your hand; the downtrodden mouth to puncture and gape, the bladed tail to kick. It was rare that a fish would surprise you. But occasionally — very occasionally — one deep-sea ugly would break the monotony. Something with no eyes, a beak, a lantern hanging in front of its face. Tentacles, an anus for a mouth, no bones. As if the sea were trying to purge itself, this thing would be handed to you, leaving you no choice but to murder it violently. In this way, fishing could become more of a burden than a diversion.

Once, for the sake of fun, the cooks set a cauldron of water to boil so that we could throw in a variety of things and see how they changed, or failed to change. We began with a coiled rope. It frayed apart and turned the water cloudy. Dried-out cheese became molten and disappeared. A tree branch stripped its bark completely. One of the ship’s rats sublimated into gas. We marveled at the cauldron’s destructive power, its hungry biblical willingness to destroy, like the grinding tidal suck of a wave from the dark Atlantic. We gathered around the cauldron like converts, entranced, feeding on its feeding. Inside its open mouth a tiny withered hand — souvenir from a tribe of the Amazon — blistered, before crumbling apart. A candle reduced to a wick and then nothing. Vials of blood turned various shades of black. Someone demanded the swollen fetus I kept suspended in a specimen jar in my sick bay, but I suggested the chemicals would eat through the cauldron if heated. (The fetus was pathetic already and didn’t also need to be boiled, his little body tucked into itself, as if he’d died cornered and beaten.) In his place, I presented to the mob a fold of unopened letters from my sister Josefine, which dissolved, satisfyingly, to nothing.

Drawing together, we finally set upon a whole octopus caught earlier in the day and contained in a live net hanging from the ship. But when we lifted it over the cauldron the animal managed to stop itself, tightly gripping the iron lip at eight points. Its bulbous head collapsed and stretched, beating rapidly, reflective with steam. It held itself high, dauntingly upright, flicking an accusing eye over each of our faces; the sound of the slick monstrous eyes like lips unsticking before speech. Finally, someone batted it over the head with an oar and it fell in, writhing and churning, jetting ink.

After that we threw a few more things into the cauldron, but most of us had lost our stomach for fun. We dumped the wet slurry over the railing — a witch’s brew of ink and fibers and unidentifiable flesh — and watched it all slide uneasily into the sea.

Sometimes we would travel far north, hunting for whales. In those latitudes we quickly got used to breathing ice, seeing ice, icebergs. We became accustomed to feeling cold and hated the thought of the humid tropics. Fungal skins and mosquitoes. Cannibal tribes with bones pushed through the septum. When the air was cold, one never sweat. You couldn’t smell terrible smells, and hardly felt pain. And in every port there were women to keep warm. Cold Prussians, cold Pomeranians and Poles. Volhynians, Scandinavians, Ukrainians, Lithuanians. Icy Jews. Frigid Gypsies. In the universal language they would pull us to their beds, imploring us to keep them warm — well, they didn’t pull me to their beds necessarily, but the other men were routinely pulled. In these lonely towns, where none of the dogs seemed to have a fourth leg, you didn’t have to point at a woman and ask, “How much?” The currency you needed was your burly heat.

Once, we heard the following story, inside a falling-down timber bar in one such lonesome, rat-patrolled northern town: several seasons before, a ship had also traveled far north, hunting for whales. But instead of whales they found themselves surrounded by heavy ice, which closed in, trapping them for the winter. Luckily they discovered a seal colony nearby to keep them fed, and enough wood to keep them warm until spring. But with the unremitting blinding light bouncing off the snow, and the uniform, blank whiteness, they very quickly became extremely bored. They suffered boredom like it was a disease. The seals were no fun to hunt; they just lay there, motionless. You could come up to one and pat it on its shoulder, and it wouldn’t even turn around. After the first month the men ran out of alcohol. After the second month they ran out of card games, and were tired of inventing new ones. With nowhere to spend it, the money just endlessly changed hands. Finally, someone left the ship and returned dragging behind a sledful of snow. The crew then proceeded to have a snowball fight. It lasted for thirty minutes. Once they had run out of snow, another man got the idea to pull out the ship’s supply of guns, gunpowder, and musket balls. The captain himself took up two pistols, and the crew resumed their fight firing loaded guns. Men chased each other through the ship, shooting. They climbed the masts, shot while peeking up from supply holds, from positions behind the pilothouse, shooting between fits of giggles. Eventually, when the ice had thawed away, the ship was found bloodily silent and full of holes. Some of the men were doubled-over as if in laughter, their faces balled-up; perfectly preserved.

This story stuck with us, in the form of a prophetic warning. We turned west, terrified by the idea of what the north could make us become. But our fear of collectively developing “snow madness” didn’t correspond in any way to reality. It was something else we wished to turn from. If a new boundary line is set that goes far out past the old boundary, it’s inherent in animals to occupy all the space that’s been allowed. Madness could not be much different. Our westward turn was in order to relieve ourselves from acknowledging an open question. If one of us went mad, what was there to stop the rest of us from following?

Once, in the middle of the night, a man dragged a knife over the tendons of another man’s ankles, to stop him tapping his feet while he slept. In return the tendonless man ground out the other man’s eye with the heel of a spoon. In retaliation for that, the first man nicked the fingers off of the tendonless man. This escalation continued until, eventually, they found themselves left ashore at the next port, no longer able to serve a useful function. Rolling limblessly from one end of the ship to the other did not constitute a function.

My suspicion about the true reason they were left behind, however, was that they’d made it possible for revenge to be taken that far. Warmed the men up to the idea, so that it might not seem so outlandish if another situation was escalated to the same extent. Once it happens once, it can happen again.

But that all took place on another ship. Not on ours.

Shortly after hearing the story of the ‘snow-mad’ crew and evasively pointing west, Stigsson spotted a pod of whales diving in the opposite direction. Waifishly small but also the first we’d seen in weeks. Despite our dread we turned to follow them, heading back north, where possible psychosis awaited. To combat our terror the captain suggested we give tribute to the crew that had died laughing, perhaps as a superstitious guard against madness.

Our tribute would take the form of a lantern topped with whale oil, lighted, sealed in a waterproof case, and lowered into the ocean by means of depth-marking rope. We waited for the next stormless day to gather solemnly at the side of the ship. Forty bent male heads with caps off in a semblance of respect. The captain began some words — which were promptly swallowed up by splashes erupting from below. Several huge creatures, with glittering white backs, moved around underneath us. They slid up, rose, fully emerged, churned, called out, slid under again. Each the length of a long glacial field, their bellows like a mountain collapsing. One of the creatures surfaced, directly beneath us, rising out of the water with our ship balanced on its back. The thing looked like a vast island. An island of porcelain, with fine hairline cracks and ragged, uneven scars. From this smashable height we could see the earth curving. There was nothing we could do. So far from home, no one would know. The captain loaded his gun and slid the barrel into his mouth, expecting the worst. With no women around, I was going to die in my twenty-third year and be an eternal virgin. The closest to sex I’d gotten was the smell the men sometimes came back with; and one time when, several years before, I asked a woman in my village with exceptionally milky skin and a bust so elevated it stood at her shoulders to marry me. She answered no, that she was already married, showed me the obvious ring, and I impotently had to continue seeing that milky bust for years afterwards around the village, causing me a deathly tight, unejected frustration in the region around my prostate, like a knot that you can’t untie.

I must have said some or all of this aloud, because even in the midst of imminent death some of the men — the captain among them, his gun covered in saliva — turned their faces to me and laughed. I felt the strain of the ship under our feet, and, an inch beyond my pelvis, the continued presence of my bitter unsexed knot. But soon we would all disappear.

Meanwhile, coins, pans, needles decked about — until the creature abruptly submerged again, and we were handed, humbled, back to the water. Despite holding our lives at its mercy, the monster hadn’t even realized we were there.

Once they’d passed, we went ahead with our planned tribute. Olaf, a harpoonsman, lowered the lamp down carefully, grip by grip. The captain resumed saying some words, but no one paid attention. At first, as the lantern crossed the surface, it seemed it might reveal to us the contents of the deep — decayed graves of shipwrecks; spired golden cities; other deeper, more ancient sea creatures. But then it hardly lit anything as it descended. Soon, it dimmed from sight completely.

Eventually, someone cut the rope.

Sometimes, the waters could be teeming with life. Sometimes, really most times, they appeared soulless and empty. Sometimes, in the middle of the night, a creature would call out across the plains of water, and you’d realize that while you slept, other life still carried on.

Sometimes, being surrounded by men didn’t seem that bad.

Once, we watched lightning strike across the water. Where it touched down, branches of light crackled out into the helpless water, blooming electrically. Small underwater fires. Each flash seemed aimed at us, engaged in a painstaking process of finding. Each interval between flash and sound grew slimmer, falling towards nothing at all.

While we waited in arrested panic, the young, still-recovering carpenter’s assistant mentioned an uncle in Gothenberg who had once used a tall rod to divert lightning away from his house. Following his instructions, Stigsson and Olaf lashed a fishing spear vertically to a skiff, and cast it out on the water behind us.

Scornful electric clouds slunk closer. The air felt tensed, alarmed, awoken by banging. Passively, we waited; we remembered tasks we’d left undone, memories we’d buried or forgotten. Memories that had rested, dormantly unstirred for years.

Once, I’d killed a patient out of negligence.

Once, I killed a man who wasn’t a patient, and I can’t say if it was an accident or not. In that instance, someone — for fun or out of the ennui to which fun is closely allied — had tied a long rope from the boom rigging to be able to swing back and forth across the deck. Hanging from the rope, people thrust past like hairy pendulums. I made known how childish I thought it all was, until it came my turn. Then I took the dangling end to the port railing, from where I leapt, pulled forward by gravity — forward and out, over the starboard side, the ship shrinking behind as I reached the apex, the moment where everything is still and joy is maximal, before one is cruelly sucked back. I noticed as I returned that a man stood dangerously close to my path, on one side, icily staring in a way I didn’t like. Why with coldness? Why did they only look at me that way? What happened next I don’t understand. I must have unconsciously aimed towards him, with my heavy boots preceding me. Once I realized, I released the rope, but it continued without me on the same path, the balled and weighted end-knot striking him in the forehead. He fell on the spot, instantly dead. I’d never seen anything like that before. No blood. Like he’d made a decision to be dead. Later, out of medical interest, I tried to write a paper about the phenomenon, but it wouldn’t be possible without detailing how I had come to observe it. Why expose myself to ridicule, further opportunities for the world to look at me unkindly?

As death continued to approach, in the form of the lightning clouds, all the deck became silent, contemplative; not just me. As if each of us inwardly was being confronted.

Once, my sister Josefine confided that she didn’t much like me. We were young, I was younger. But this didn’t stop her from tirading, furiously resenting what she called my obvious weakness, my watered down, white liver, as she held down under her feet a goose I was supposed to martyr for St. Martin’s Eve dinner. I’d gotten used to Josefine complaining how I would go on undeservingly to do whatever I wanted, while she — evidently more deserving — could count only on the narrowness of either a good or bad attachment, robbed of power; of choice. “Our parents say I should pray to god for a good marriage,” she said, the bird struggling under her legs. “But there is no god.” The beak of the goose crackled as she applied her full weight onto it, defacing the innocent bird. Only after leaving home and securing my way onto a ship, posing as a fully licensed doctor — only then did I learn that the world is actually full of Josefines.

The encroaching dread of clouds finally brought our thoughts to a simmering point. Across the deck, there came a collective sound of sighing. When the lightning arrived, it struck the pole instead, setting the skiff on fire. We watched it, blinking, amazed; felt the averted heat. As the skiff harmlessly burned, the lightning moved on. At first there’d been nothing. Then flames, reaching out of the water like a visible pain.

One morning we were standing on deck, the crew performing some duty from their list of mindless routine tasks — counting the number of waves that hit the ship, or something, I wasn’t a sailor, though I liked to see the gliding rhythm of their work being done — when a pair of raised voices clawed up from below. A woman climbed from the hatch, stamping across the deck. It felt like seeing a woman for the first time. I awakened immediately out of my brain-stupor, blood humming, flying distances around the ship while I stood shocked in place. She looked a bit threatening, gnashing the air with her teeth, striding to the starboard side. Skogholm — the steersman and a young cousin of Stigsson’s — climbed up after her. Awkwardly, because his pants were open below his waist, his penis wagging dreamily from side to side. “A man has certain needs,” he was shouting. “Tulla, why are you here if not for that?”

All work stopped. Seventy-eight eyes followed her. Normally, each eye belonged to one single head, the head of the crew. But not in the presence of a woman. In the presence of a woman, the collective head dissolved into thirty-nine discrete male heads again, each with its own ideas. For this reason, women were not allowed on board the ship.

When Tulla reached the far side she climbed onto the railing, twisting her hair into a knot, then dove thirty feet down to the water. A cloud of her smell — bergamot, sweat, honey — lingered behind. Skogholm reached the railing too late to stop her. He stood, unable to swim, watching deliriously as she swam away, his penis stranded mopingly over the railing. Out of a frustration which must have been chiefly sexual, Skogholm gripped his shirt and tore it in half down the middle, then in succession both shirts below that. The hair! So much hair sprung from his body, like a creature driven by hunters from the woods. “A man has certain needs,” he howled. But Tulla had gained a fair distance by then, swimming with one ear pointed down into the water.

Skogholm stuck his finger into the chest of the navigator, Hermansson, who had the helm, and demanded he turn the ship around. Amazingly, Hermansson refused. Reaching into his pocket Skogholm took out his knife — and with a flick, this was the end of Hermansson. We continued to watch as Skogholm grabbed the wheel around the dead pilot’s hands, and forced it starboard — but too vigorously, breaking the control to the rudder. The deck boy in the meantime was trying to mop up the blood, still pulsing out of Hermansson’s neck. “A man has certain needs,” Skogholm shouted, snapping the mop over his knee. “Needs, needs!” The ship continued forward, throwing more ocean between us and Tulla. I could just make out her long, bare legs kicking up from the water, shrinking towards the invisible coast. Skogholm saw too, and reached a new level of hysteria. Veiny and towering, gripping the furred skin of his chest between his knuckles, he rushed to cut the sail lines and stop her from slipping any further away.

It eventually took six of us to hold him down. If we had managed to catch up with Tulla, I’m not certain what Skogholm would have done to her. What any of us might have done.

Little was said about Hermansson, our dead navigator. Little done. To be honest, no one was too sorry to see him go. I’d treated him several times for violent attacks from the crew. All were deserved. He had been a person who greatly enjoyed turning people’s screws. Whenever he smiled you would begin to feel unsettled, sure that he’d wronged you somehow. Physically unlikeable, with a face perpetually oily, and which moved too much. It was probable that he cheated at cards, though no one was certain. If they had been certain, they’d have cut off his hands.

When he was still living, Hermansson had dominated at the card table. Winning hand after hand, then losing, strategically, as if his luck had suddenly left him. Fretting in his chair, grimacing at his cards, shuffling his remaining coins together — before nonchalantly taking a deep pot, exposing as ridiculous the hope that your luck might be turning. He didn’t even care about winning. He only wanted to humiliate.

Once, after Hermansson had staked a large pot — including a necklace intended for Skogholm’s wife — the latter sailor simply pushed away from the table to leave. “I’m sorry, Skogholm,” Hermansson said to his back. “It would have looked nice sitting between those big bulbs of hers.” Hermansson’s eyes were laughing, but his mouth was tight, serious.

“Don’t fucking talk about my wife,” Skogholm answered.

“Oh? She’s a saint? Forgive me I didn’t realize. She’s too saintly for me to imagine?”

Hermansson shut his eyes, evidently to imagine Skogholm’s wife standing before him. “Does she always turn her back when she’s slipping out of her dress, Skogholm?” He clucked his tongue. “She’s no saint at all — just a little coquette.”

Skogholm threw his chair but struck the lantern above the table. Cards, coins, the shining necklace flipped over onto the floor. Men stood back, dipping in and out of the swinging light.

“How does she get her skin so creamy like that?” Hermansson said, still fantasizing. He hadn’t met Skogholm’s wife before, but seemed to have no trouble imagining. Listening with attention, I also began to imagine. “Skogholm! It’s like butter!”

Skogholm shot his arm out like a lance, but the pilot slipped inches from his grasp. “She’s purring Skogholm. You’ve left her alone too long, and now she’s turned from you. She’s out looking for some fun. Well… I’m lots of fun.”

In the process of evasively climbing the bunks, Hermansson turned men out of their hammocks. From one of the berths fell a pair of men, cuddled and sweating: Stigsson and the young carpenter’s assistant, something we’d long suspected and would continue to ignore. “Your wife still only has one breast out,” Hermansson said. “Nice breast. But clearly it hasn’t been getting enough attention. Looks a little sad. How do you leave a breast like that at home; all alone, unsucked?”

Medically speaking, I didn’t know how much more Skogholm could take. Though, truth be told, I didn’t want to intervene. A mystery was being revealed — the actions that a man should take, the reciprocation one should expect to receive.

“Still, I don’t have all day to get her out of this dress. I suppose I’ll have to use my knife… Oops! I cut her a little. There is a little blood. But, don’t worry, she doesn’t seem to mind. Actually, I think it’s excited her a little…”

Skogholm took his non-imaginary knife out, attacking the ropes that held the bunks aloft. The pilot’s hands remained dreamily curled under his chin. “‘There’s so much I’d like to do to you. Where do I even begin?’ she says. Like she took it right out of my mind! ‘Tut,’ I say.‘I’ll show you where to begin.’”

The bunks finally collapsed, like a dream ending. Hermansson landed heavily on the ground, rolled up inside the cloth hammock, harassing in a muffled voice:

“Skogholm, Skogholm! When you come home, and your wife’s all cut up, and pleasantly exhausted — now you’ll know who did it.”

There came the flash of a knife, a long gash along the hammock; blood projected everywhere, across the floor, the walls, the brass lamp, and finally fifty-four stitches. It should have been worse for Hermansson, but he’d managed to dog Skogholm into mental doubt. Although he’d never had actual contact with Skogholm’s wife, the vivid specificness of his descriptions managed to pull up a root. For the rest of us, they made evident that our pilot — so oily, so unlikeable — likely possessed a history of unwholesome fulfillment with a tide of women. I didn’t feel a pressing need to be attentive with his stitches, leaving him with a meandering, hopefully repellant permanent scar.

Afterwards, Skogholm slept unstirring for days, and woke a forgetful man. For us forgetfulness is critically important, vitally necessary. Without it, grudges between the men would sustain perpetually, until death, the chain of revenge pursued without end.

Although, to be honest, Skogholm was never quite the same after that. The business of Tulla aside, he’d also taken to burning, unread, any letters from his wife.

Once, I petitioned to have all the guns removed from our ship. We were basically fishermen, I declared, what need did we have of handguns, long guns, rifles? Our tools were spears, hooks, harpoons. Cauldron, and mop, and knife. Needle; compass; rope; sail. I spoke of a simpler time, appealed to their sense of maritime nostalgia; aimed to put tears in their eyes. Secretly, I felt that gun wounds were just too messy. They left gaping holes, broken suffering organs, ruptured apart by tiny metal lumps that were such a headache for me to remove.

My sound rhetorical argument was met by a wall of shaking heads, crossed arms. Someone shot a gun in the air to emphasize their disagreement with my idea. I was addressing a collection of stunned, immutable minds. “Alright,” I relented. “Fine, fine.”

“No,” they said. “You don’t understand.”

Someone forced a gun into my hands. As if it were a living thing, I held on with nervous concern. It seemed to demand my whole grip, heavier and also not as heavy as I’d imagined. Sharp sulfurous smells emitted from the chamber, stinging my eyes. They said I should aim it at something. Just try it out. They even clapped, chanted my name.

For the past three days we’d been haunted by a frightening bird. Satanic black, larger than a crow, wider than a cormorant. A junk-eater, waiting for us to leave bits of carcass behind. In the carcassless night it let out mournful, extended cries. A crazy wingspan, absurd, needing only to flap once every eight seconds to drift in the air like a ghoul.

I pointed my gun at its massive body, closed an eye. Rather than casting a fog over my mind, lulling me into a trance, I found the gun sharply crystallizing. Standing behind it made things exceedingly clear. Nothing could be more real: Man versus bird. Like a beautiful equation. Man plus gun equals Nature minus bird. The others around me nodded knowingly. Now you understand.

I pulled the trigger. The whole right side of the monster was simply brushed away. Amid raucous cheers, we watched as the spectral whooping bird twirled like a fan into the ocean; to become history, along with the rest of our wake.

Once and only once, while on leave in Frederikshavn, the men invited me to join them on a trip to the local brothel, Madame Stina’s.

Olaf, the two cooks, Jürgensen the carpenter, Skogholm, the deck boy, and I. Walking in loose and excited formation, from the docks, past the fish houses, to the decrepit edge of town. Frederikshavn, always depressing before, now seemed to glow with the anticipation of my unvirigining, the rooftops crowned with slanted light.

While the others graduated to rooms upstairs, I was led around the parlor by Madame Stina herself, following the sound of her apron, her pockets rattling with change. She assured there were many beautiful women to choose from. I couldn’t see them clearly, but I could certainly picture them, deranged with wanting. Their groping hands reached out furtively from the dark, verbally offering deliverance from the pain that was hardening under my belt. Previously the only topless women I’d seen were on the operating table, and they were usually already dead.

I could have been happy just to remain in this room, the center of so much topless attention, but one of the women took my hand. “Call me Elke,” she said, while leading me forcefully up the stairs. Years of anticipation, like the coiled turns of a tourniquet, gripped around my prostate. Finally, finally something that had happened to all the other men — even the deck boy — would lay itself open for me.

Elke’s room gave no indication of what sort of person she might be. A characterless space, presided over by a dirty mirror, reflecting at a downcast angle the top of the dresser, the lumpen bed. I sat down evidently too far from her, and she shifted closer, draping a bare leg over mine. “Do you want to tell me what you like? Or shall I come up with something?” She spoke in heavy Dutch syllables.

“Actually… I never — ”

“You never?” she said. Her eyebrows disappeared behind yellow bangs. “Then you like everything. Lie back… let me show you.”

Very rapidly she advanced towards my pants. In the other rooms loud happenings were already underway, seeming to accost the walls, our room. The horrible bed felt like a fist in my back. I lay sideways; closed, then reopened my eyes. She was watching me, dragging her dirty nails over my legs. “Scared?” she asked. I ignored her and pictured Skogholm’s wife — creamy, pure, being attended to by Hermansson. No, by me. Something in me sat up.

“I don’t have all day for you to get out of that bodice,” I said. “Take out your breasts.”

She hesitated. Surprised? Then she smiled, from one edge of her mouth, conspiratorially, and began slowly unlacing. “No, wait,” I said. “Let me.”

The smile stayed on her face. Encouraged, I bent to the floor and removed a knife from my boot; cutting, in one breathless motion, the laces holding her bodice closed. I nicked her slightly at the top. Oops! A pearl of blood struggled out.

“Ah! Be careful,” she said, suddenly incensed. “What are you doing?” She put her hand over the cut, smearing blood over her protruding breast. “Are you crazy? Little shit. Don’t do that again.”

Cutting her, seeing her blood, I didn’t experience the same excitement Hermansson had while describing it. Elke didn’t seem to like it much either. Unless — she was only being coy? Was I actually meant to keep going? It could be part of the performance; she was a submissive; these were only sham protestations. I would ruin my chance by asking. I listened as someone in the next room — I imagined the deck boy — grunted and finished. Perhaps she wanted more. Perhaps I had not gone far enough, as far as Hermansson or the others would have gone. Perhaps I was being obviously weak, watered down, white livered. I looked at the blade, which hadn’t got any blood on it.

Once, a man stubbed his toe while climbing from the hold onto the deck. His forward stumbling fall looked innocent, but the entire nail of his large toe tore from its nailbed, clattering away over the deck. Before this he had been considered graceful. Others at various times had characterized his grace as salient, hard, liquid, snakey, spidery, clever, unfeminine. He had been admired for his spotless grace while climbing, pulling, sleeping, rowing, eating. While talking, laughing, diving, spitting, coming. But apparently not while falling. While falling he looked just like anyone else: stupid with pain. Those witnessing his fall decided he might not be so graceful after all. Meanwhile the nailless man — in the midst of his pain and irredeemable, lost grace — contemplated whether to cut off the toe, or burn down the ship.

In the end he did both. This didn’t happen on our ship, though it easily could have. It happened on a ship which is no longer a ship. Of which nothing is left, but ashes on a seabed.

One day, Olaf, the harpoonsman, spotted a squat heavy land bird walking over the flat table of an island we were sailing past. I came onto deck to see the whole crew assembled, avidly watching it; Skogholm with a parchment unrolled at his feet. “The island wasn’t on Hermansson’s map,” he said. The captain handed me his telescope, asked in my opinion what I thought the bird could be. “Is it valuable?” someone interrupted. “Valuable? Oh, yes,” I said, collapsing the telescope. “A garefowl. That’s what it must be.”

No one had seen a garefowl in decades. The assumption was they’d all been wiped out, brought all-the-way extinct. As word got around, of its rarity and possible value, the crew went mad — out of scale with its cause. It had been a dull month, devoid of any action or incident. And no whales sighted in weeks. This fact had settled on the ship like a depression. We imagined, in some place far from where we were, fleets of ships glutting themselves on whales, more than they had instruments to kill. Right now, they were dividing up a historic catch; exultant and reveling. Meanwhile our instruments languished on the racks, slowly rusting. I doubt it would have mattered how valuable the bird actually was.

To work themselves up even further, the men rubbed cayenne across their gums, nicked themselves between the fingers. We dropped the boats, leapt down. The crew was never as close as when sharing in a collective rage; angry camaraderie. Once, our ancestors had blown through all of northern Europe this way, a lusty marauding wave, raping and pillaging into old age. Behind us, the innumerable white waves rolled in over the water, like endlessly twisted sheets. Somehow, everything came back to sex.

From the fringe we stood facing a stack of high rock, piled in ancient geologic layers. Even the wind, circulating around the island, sounded ancient; like wise, deep chanting. On one side, a colony of seabirds had constructed homes for themselves, dug into the sheer walls. They stood at the edge of their personal caves, bellies white and reflectively beaming, like solitary lanterns. Occasionally one bird would fly out then immediately circle back, as if forgetting why it left. The pointlessness of their behavior was infuriating. Possibly sensing trouble, they began to make swooping attacks on us, pecking our hands and faces.

This only enraged us further. We used their small caves as handholds to climb up, throwing the birds directly from their holes. I found a nest with a reliquary of small chicks, about ten of them. They shivered, looked severely underfed, asking blindly if I was food. Their insistent, nagging-chattering drove me crazy. I grabbed a handful and threw them down, watching, relieved, as they were silenced in the sea spray.

Topping the cliff, into the heart of a low cloud, it took us a moment to spot the garefowl. The bird watched our approach, apparently unconcerned. So placid, so stupid and trusting, it hardly even resisted as Stigsson lifted it up by the neck and strangled it to death.

After that, not much happened. The wind, climbing up the rock pile and over the island, flipped through its feathers, making it seem more dead.

In the cold dew and silence we shook awake from our collective dream of conquest. Visions of sacking and razing, women we’d hoped to lay bare. Blondes, brunettes, reds. The children we would deposit in them, our seed spraying across Europe forever. I felt a startled confusion as the fog receded, as when you climb down from the deck to your quarters to look for something, and realize you don’t remember what it was, wondering whether there was anything in the first place, more than a desire for something. What had brought us here? What had we been hoping to accomplish? We tried to return to our earlier feeling, the purpose, our certainty. It had left us somewhere; fallen somewhere below the ground. Jarringly recalled to life, we found that we were basically fishermen, orgiastically mobbed around a motionless bird.

I searched for ceremony in the moment. “It’s a garefowl, absolutely, for sure,” I said. Several heads nodded in agreement. “Possibly the last one,” I added.

“What do you mean, the last?”

“I mean, possibly, this is it. There are no more garefowls. There won’t ever be more.”

A chill moved through us. “Really?” someone whispered. We felt it: that the earth had unalterably changed; that we had changed it. In a way it was a privilege, to be present for the passing of something. It was monumental, in its own way.

I had to tilt my head to look at the bird face-on. How did it look to know? Did it know? Someone else stuck his arms out, in a mimic of the bird’s shrunken flightless wings. He flapped them slowly, his elbows folded, to try them out for himself. To feel for the animal; inherit its lost traits.

“That’s it?” he said eventually.

Once the spirit had moved through us, it was gone.

One evening, the sun squatted low over the water. An ordinary occurrence, regular loveliness. Beside us a hundred of points of light swam aimlessly under the surface: a school of sardines, struggling to stay ahead of our wake. They appeared, disappeared, appeared again, like tiny cuts in the water.

By morning we would be home, finally at the end of our whaling season. Two-thirds of the crew were ailing. Twenty with venereal disease, two with colitis, one from an enraged infected amputation. Four consumptives. One overrun case of Norwegian scabies. One slowly drowning from water on the lungs. Most, if not all, suffering from malnutrition. Most if not all from acute psychosis — the result of being clamped together in a too-small space for too many months at a time. And one abused, overworked doctor, hard-pressed to help them.

I had secluded myself in the sick bay for several days, huddled in sick sheets to keep warm, pining for home. Desperate to taste butter, milk, almonds again, to cut into a roast, eat non-dry meat. Smell something that hadn’t just come out of a man. To hold a newspaper. To read it unhurriedly, with coffee, a pastry, among others like me; in a salon or a café, amid conversation — intelligent conversation. Where I could be understood. With people of my class and station. To use a toilet again, a private toilet, freed of the stress of having to go publicly over the railing like the rest of them, animals. To walk and walk and walk and not have to end at a point or prow. To be sane again; civil. Perhaps meet someone. At least to find someone I could visit regularly. I would leave my knife at home this time.

The other men were dressing down the ship, cornering rats, stowing barrels, scouring the deck for our return. Meanwhile I gripped a mop in my hand, motioning feebly at a layer of blood soaked into the floor. It settled in the cracks and fissures and dried there, made a vivid impression in the planks, like bite marks. Like the nick I’d left on Elke’s chest, which she had refused to let me sew up afterwards.

Mopping at the blood, succeeding only in making more blood in the dilutive process, I heard a cry from above. It almost sounded like someone saying, “Hermansson,” invoking the name of our long-dead pilot.

I ascended to find Skogholm, bloodshot, spitting, pacing over the deck, splitting the railings with devastating kicks, meanwhile holding one of Hermansson’s nautical charts over his head, and shrilly screaming, “Hermansson! Hermansson!” like a dog in alarm, finally snapping my last nerve.

“Calm down you idiot,” I said.

He pushed his fist, the map choked inside it, flush against my nose. “I’ve never liked you, doctor,” he said. “With your good breeding. Your trousers pinched up your ass. I’d like to pop off your head right now. But then I wouldn’t get to see you killed along with the rest of us.”

“What the hell are you talking about?”

With escalating volume and blame-apportioning fingers, he suffered to explain: as vengeful insurance against his life, perhaps aware of how unpopular he was, Hermansson had taken it upon himself to redraw some or all of our sea charts, omitting or altering critical details, such as reef placements, ocean depths, whole islands, and other possible dangers. Without him we would have no idea what lay before us. In its sad brilliance, I suddenly felt the loss of Hermansson, his probable loneliness; the conversations we could have had, the possible friendship; and also wished that I had thought of it.

The sails had been shifted aside, the cloth drifting loosely, spilling wind. Perhaps in precaution. And yet somehow we were still moving forward. “I don’t understand. What’s going on?” I asked.

“See for yourself,” said the captain, handing me his telescope. His face looked pale, grim. A moment later he gashed his throat with a knife, blood leaking out between his fingers, as he gripped it instinctively. At this point blood had ceased to have any meaning. I thought of housepaint on houses, rain clinging to windows, sap dragged down trees — general categories.

Through the lens, a dam of obscuring fog rose ahead of us. Past this, the world was still waiting to be finished. It seemed to be aggregating, the fog; racing forward, by a mechanism I couldn’t understand. A whole moving wall — dissipating abruptly, but not in a normal way. It slid into the water, under the water like an endless tablecloth being pulled down. And we were on the table, moving in that direction. I felt the wind sucking towards a single spot. The light, swelling waves that had passed us reversing direction, sliding back. There was a horrible breathing sound, like a stone wheel being turned. The edge of the water simply fell away. The water had an edge, like a cliff. We’d been caught in a maelstrom. A monstrous whirlpool. Hollow, vast — dragging me, us, all of us towards it.

What had I done to make an angry, retributive god loosen the plug of the earth? I was a doctor. Not licensed, but essentially. I healed people, asked nothing in return. At most for gratitude or affection, affectionate devotion, which didn’t seem like much. Once, on another ship, a captain had hacked apart an entire first mate. And instead of being punished, he was practically rewarded. The two men had been friends, served together for decades. They’d planned to retire together to adjacent wooded cabins, visit each other daily so as not to miss their old days too much. Then the captain fell to thinking that his friend was planning a mutiny. Why? No one knew. He was a superstitious man. Sometimes that was all it took. Perhaps he’d seen something; heard something in the night. Out alone in the center of the ocean, sudden fears could make nightly visitations.

At random moments the captain would spring from his quarters, stabbing at the first mate with jerky, bloodless fingers. “I knew it, I knew it! You were planning something. Why now, after all this time? I thought we were friends.” The mate protested but the captain refused to listen, clapping his ears with either hand. At mealtimes he would fling food at his friend, tossing mutton or knuckled bones, fists of butter, hot knives, working through a baseless, undivertible rage. The first mate took it all quietly. He was a solid imperturbable man who laughed easily, and when not laughing, who looked deeply contemplative. Whenever he laughed his eyes would close, as if he were being taken away.

When the crew found him dead his eyes were also closed. His disembodied head lay flat on the captain’s favorite bone china plate, propped in place with several hard dinner rolls, which prevented it from rolling side to side. The mouth had been filled with soup, up to the molars. Fish soup, a semi-clear broth swimming with hacked carp, half-boiled potatoes, and soft, edible bones. A cork jammed in the neck had crafted the head into a tureen. Each time the captain dipped his spoon in, it clinked against the pearly front teeth; and again when lifting it out.

The captain remained leaning over his soup as the crew slowly filed into the room. “I never eat without my friend,” he said, with a chilling lack of emphasis.

Who can follow the twists and turns of the insane mind? They didn’t bother to try. Instead, they remembered times when they’d felt insane, and rather than punish the captain they chose to take pity, leaving him behind on some remote, equatorial island. To live peaceably among the natives there, among savages like him. Savage and free from any sense of guilt. Why couldn’t something like that happen to us? Although I complained sometimes, fundamentally we weren’t such a bad bunch.

We reached the edge of the vortex. Spray flung up was instantly snatched back. Sounds were pulled in along the air. I recognized them from impossibly distant places: from the shore, even from cities. Clopping hooves, hollow church bells, the crying of so many unloved women.

The water circled slowly into the void, a funnel continuing darkly. Crackled with unholy energy. A sail tore away, flickered over the mouth, was sucked down. Then the ship in its entirety: tilting forward, tipping to one side. How easily we could be swept away. How shockingly easy. And when we were so close to home. Among the stars you could almost make out the still points of houses, the lights from the houses. And the people there waiting, perhaps waving. Elke. Tulla. Josefine. They didn’t deserve to be kept waiting. We stood, watched, aware of our ability to do nothing. The prevailing feeling was disbelief, frustration. But this was just the coat our despair wore.

Only Skogholm was grinning, twisted towards me. Wanting me to understand that I would die with his insane smile filling my mind. Then, his grin seemed to weaken. His teeth flew out into the void, one by one, like small birds, disappearing into the water. As we drifted into the dark hole, our eyes braced against their sockets, the hair pulled from the roots, organs lifting. I held my arm to my face, the other hugged around a mast. The terrifying sound grew deafeningly loud. I saw the carpenter’s eyes go hollow, rolling upwards. Then his intestines rose out of his pants like a charmed snake, pulled out of him. Skogholm was entirely lifted, feet loosely swaying as he was plucked away. Without teeth it was difficult to read his expression. The rest of us turned to each other, pointlessly appealing for help. Some of the men held hands. What can we do?, we mouthed. The ocean was empty beneath us. The ship was disappearing under our feet.

PHOTOS: Jennifer Egan, James Hannaham, & Our 100th Issue Party

Last night Electric Literature celebrated our 100th issue of Recommended Reading with a live installation of “Card Tricks” by James Hannaham, who also gave a reading and was later joined in conversation by Jennifer Egan. Plus, there was beer and edible art.

Talking about his conceptual fiction and interest in working outside the lines of traditional storytelling, Hannaham told Egan, “I just want to fuck shit up (in a playful, non-violent way).” You can see an artistic rendering of the moment here.

If you missed the event, you can see “Card Tricks” and read an introduction by Jennifer Egan at Recommended Reading. We’ll also soon start hosting a regular salon series, so stay tuned for more Electric Literature events!

–Photo credit Ian Douglas