Author Archives: Qu Literary Magazine

Every Anonymous City

by Gary L. McDowell

 

I knew a girl who closed her eyes
every time she heard a car horn,

drew koi on the knees of her jeans,
knew what it meant to be anonymous

in a crowd, and now I close my eyes,
step into the street—a reflection of the people

who’ve walked here before me—and know
that koi—a homophone

for love—can live two-hundred years,
but I can’t manage long without a window,

the patterns of streets and corners
when every city has its perfect hour:

moment before the light changes, moment we don’t
know ourselves from those orange or white

or blue fish: the sorrow we feel over traffic.
The shadows when we clench our eyes match

our ground-shadows pushing forward home.

 

 

*This piece may not be archived, reproduced or distributed further without the author’s express permission.

Reservations

A short play

 

CHARACTERS

MAE: A woman in her mid-seventies. Edgar’s wife of many years.

EDGAR: A man in his late seventies. Mae’s husband of many years.

 

SET

Edgar and Mae’s kitchen. A simple set is preferred. A kitchenette set with a table and two chairs, a stove, a sink; perhaps a refrigerator.

 

 

(Mid-morning.

 

LIGHTS UP on EDGAR and MAE.

 

MAE stands at a kitchen sink washing and drying morning dishes. EDGAR sits at a kitchen table, reading a newspaper.)

 

 

EDGAR

Good breakfast, Mae.

 

(MAE turns to him.)

 

MAE

Thank you, Edgar.

 

(Slight pause.)

 

EDGAR

Damn good breakfast.

 

(Beat.)

 

MAE

The secret’s in the skillet.

 

EDGAR

How so?

 

MAE

That’s my secret, not yours.

 

EDGAR

That’s right, that’s right. Your secret, not mine.

 

(Pause. EDGAR returns to reading his newspaper. MAE picks up a skillet. She looks it over. She gently runs the skillet under the kitchen faucet, and gingerly dried it with a paper towel. She looks toward EDGAR.)

 

Mae

You don’t wash it.

 

Edgar

What?

 

Mae

The skillet. You don’t wash it. With soap. You don’t scrub it.

 

Edgar

Why not?

 

Mae

It ruins the seasoning.

 

EDGAR

The what?

 

MAE

The seasoning. (Beat.) The flavor.

 

EDGAR

What flavor?

 

MAE

Maintaining the seasoning improves the taste and flavor of the foods you cook in it.

 

EDGAR

Where’d’ya learn that?

 

MAE

 

(Slight pause.)

 

EDGAR

(Smiling at MAE.)

You and your cookbooks.

 

(MAE smiles back at him. Pause.)

 

Mae

What do you want for dinner?

 

EDGAR

Dinner?

 

MAE

 

EDGAR

I’m still digesting my breakfast, Mae.

 

MAE

I need to defrost something.

 

(Slight pause.)

 

EDGAR

What about lunch?

 

MAE

Liverwurst sandwich, Edgar.

 

EDGAR

Right, right. Of course.

 

MAE

And I have bologna.

 

EDGAR

Right, right.

 

MAE

(Tenderly.)

Edgar. We decided lunch years ago.

 

EDGAR

Right, right. Of course.

 

(Pause.)

 

MAE

What about dinner?

 

EDGAR

I’m thinking. (Slight pause.) What are my options?

 

MAE

(Exasperated.)

Chicken, chop meat, pork.

 

EDGAR

Is that all?

 

MAE

All what?

 

EDGAR

All my options.

 

MAE

(Confused.)

That’s what we got, Edgar.

 

(Pause.)

 

EDGAR

What if I wanted, say, I dunno … fish?

 

MAE

Fish?

 

EDGAR

 

(Beat.)

MAE

We never have fish.

 

EDGAR

But what if I wanted fish?

 

MAE

You hate fish.

 

EDGAR

Do I?

 

MAE

If memory serves me right, Edgar, you do hate fish.

 

(Beat.)

 

EDGAR

But what if I did want fish?

 

MAE

Why would you want fish?

 

EDGAR

Humor me, Mae.

 

(Pause.)

 

MAE

I suppose I would go to the market.

 

EDGAR

Today?

 

MAE

Yes, today.

 

EDGAR

Not Thursday?

 

MAE

(Smiling.)

No. Today.

 

(EDGAR smiles back at MAE. He returns to reading the newspaper. Pause.)

 

MAE (CONT’D)

Should I…?

 

EDGAR

(Looking up from his newspaper.)

What?

 

MAE

Go to the market….

 

(EDGAR looks at her inquisitively.)

 

MAE (CONT’D)

For fish.

 

EDGAR

I hate fish, Mae.

 

MAE

Of course you do.

 

(EDGAR returns to his newspaper. Pause.)

 

MAE (CONT’D)

Chicken, chop or pork?

 

EDGAR

(Looking up from his newspaper.)

What was in that breakfast?

 

MAE

Same thing as always.

 

EDGAR

Something was different.

 

MAE

Three sunny-sides, two American bacons, two links, slice of toast, orange juice.

 

EDGAR

What did you have?

 

MAE

My breakfast, Edgar. (Beat.) Scramble.

 

EDGAR

Right, right. (Slight pause.) Something was different.

 

MAE

(Emphatically.)

Nothing was different, Edgar. Chicken, chop or pork.

 

(Pause.)

 

EDGAR

What if we went out?

 

MAE

Out?

 

EDGAR

 

(Slight pause.)

 

MAE

Out where?

 

EDGAR

For dinner.

 

(Beat.)

 

MAE

Why would we do that?

 

EDGAR

Something different.

 

(MAE crosses to the table. She sits. Pause.)

 

MAE

Where would we go, Edgar?

 

EDGAR

(Putting down the newspaper; with emphasis.)

Anywhere we want to.

 

(Beat.)

 

MAE

I don’t know.

 

EDGAR

(Taking her hand.)

Come on, Mae.

 

MAE

Where?

 

(Pause. EDGAR thinks.)

 

EDGAR

(Smiling.)

Toscano’s.

 

(Beat.)

 

MAE

Toscano’s?

 

EDGAR

You remember Toscano’s.

 

MAE

Of course I remember Toscano’s.

 

EDGAR

I proposed to you at Toscano’s.

 

MAE

Of course you did.

 

EDGAR

And you accepted.

 

MAE

Of course I did.

 

EDGAR

Then, let’s go to Toscano’s.

 

MAE

Are you sure, Edgar?

 

EDGAR

Come on, Mae.

 

(Slight pause.)

 

MAE

Alright. Alright. Let’s go to Toscano’s.

 

(Pause, as they look at each other.)

 

EDGAR

Let’s get us a reservation.

 

MAE

Alright. Alright. (Beat.) When? What time?

 

(Pause. EDGAR thinks.)

 

EDGAR

We eat dinner at five.

 

MAE

Five, then.

(Slight pause.)

 

EDGAR

(An epiphany.)

No. Make it five-thirty.

 

MAE

Edgar!

 

EDGAR

(Confidently.)

Five-thirty, Mae.

 

(Beat.)

 

MAE

Alright, Edgar. Five-thirty.

 

(They look at each other.)

 

EDGAR

You gonna make the call?

 

MAE

Alright, I will.

 

(MAE stands and crosses to a kitchen wall phone.)

 

EDGAR

You got the number?

 

(MAE leafs through an old battered address book that had been hanging on a nail on the wall next to the telephone.)

 

MAE

In my book.

 

EDGAR

You got the number in your book?

 

MAE

Of course I do.

 

(Beat.)

 

EDGAR

All this time?

 

MAE

(Locating the phone number.)

Here it is.

 

EDGAR

(Lower voice; almost to himself.)

All this time.

 

(MAE dials the phone number.)

 

MAE

Hello. I would like to make a reservation for tonight for two people at five-thirty… What?… Is this Toscano’s?… Toscano’s…. Do you have the new number, then?… What?… When?… Oh, my…. Alright, then…. You have a nice….

 

(She places the receiver back on the hook.)

 

EDGAR

What?… Well…?

 

(Pause, as MAE crosses to the table and sits.)
MAE

That was…. That was….

 

EDGAR

(He takes her hand.)

Go on, Mae.

 

MAE

Toscano’s closed, Edgar. (Beat.) More than twenty years ago.

 

EDGAR

Who was that, then?

 

MAE

Some oriental lady.

 

EDGAR

I don’t think we’d like Chinese food.

 

MAE

No. (Beat.) It wasn’t a restaurant at all, Edgar. (Beat.) She was just an oriental lady. (Beat.) She’s had the number for years.

 

EDGAR

Oh. (Beat.) Well, then.

 

MAE

Well, then.

 

EDGAR

 

(Slight pause.)

 

MAE

Now what?

 

EDGAR

Well. (Beat.) We’ll have dinner here.

 

(Pause.)

 

MAE

Edgar?

 

EDGAR

What?

 

MAE

Why Toscano’s?

 

(Beat.)

 

EDGAR

No reason.

 

MAE

Why breakfast?

 

EDGAR

Mae?

 

MAE

Why fish?

 

EDGAR

No reason.

 

MAE

Edgar!

 

(Slight pause.)

 

EDGAR

I’ve been to my doctor. (Beat.) I’m sick, Mae.

 

MAE

What?

 

EDGAR

 

MAE

You’ve been sick before.

 

EDGAR

Not like this.

 

(Pause.)

 

MAE

Oh, Edgar.

 

EDGAR

Sorry, Mae.

 

(Slight pause.)

 

MAE

Bad?

 

(Beat.)

 

EDGAR

 

(Slight pause.)

 

MAE

When were you going to tell me?

 

EDGAR

Yesterday. Last night. This morning. Tonight at Toscano’s. (Beat.) Maybe never.

 

 (Pause. EDGAR and MAE silently look at each other. EDGAR breaks their stare to look at a wall clock. He stands and crosses towards the kitchen door.)

 

MAE

Where are you going?

 

(EDGAR points at the wall clock.)

 

EDGAR

 

MAE

Now what, Edgar?

 

(Slight pause. EDGAR stops at the doorway and turns to MAE.)

 

EDGAR

I don’t know.

 

MAE

Edgar?

 

EDGAR

Yes?

 

MAE

(Smiling.)

Chicken. (Beat.) Chicken. We’ll have chicken for dinner, Edgar.

 

(Slight pause.)

 

EDGAR

(Smiling.)

That sounds real good, Mae.

 

(EDGAR exits. MAE sits silently for several beats. She stands and crosses to the sink. She picks up the skillet. She turns on the water faucet and grabs a bottle of dishwashing liquid. She pauses over the sink. Holding the skillet in one hand and the dishwashing liquid in the other she begins to weep as the LIGHTS SLOWLY FADE TO BLACK.)

 

THE END.

 

*This piece may not be archived, reproduced or distributed further without the author’s express permission.

J. Weintraub

J. Weintraub has published fiction, essays, translations, and poetry in several publications including The Massachusetts Review to Modern Philology, Prairie Schooner and Gastronomica. He is a recipient of Illinois Arts Council Awards for fiction and creative nonfiction as well as the John P. McGrath Memorial Prize for Fiction from the Barrington Arts Council. Find out more at http:/jweintraub.weebly.com.

Judith Skillman

Judith Skillman has published fourteen collections of poetry. Her latest book is Broken Lines—The Art & Craft of Poetry, Lummox Press. Her poems have appeared in FIELD, Midwest Quarterly Review, The Iowa Review, The Southern Review, Prairie Schooner, and other journals. She is the recipient of awards from the Academy of American Poets and others. She has taught at City University, Richard Hugo House and elsewhere.

Claudia Barnett

Claudia Barnett teaches playwriting at Middle Tennessee State University and is the author of I Love You Terribly: Six Plays, published by Carnegie Mellon University Press in 2012.

Jeffrey Fischer-Smith

Jeffrey Fischer-Smith’s plays have been produced at Manhattan Repertory Theatre, The Secret Theatre, Nuyorican Poets Café, The Vail-Leavitt Music Hall, The Ensemble Studio Theatre, The Beckett Theatre, The Hangar Theatre (with The Drama League and Playwrights Horizons), and Cornell University. He is a member of the Dramatists Guild of America and The Playwrights’ Center. Jeffrey is a graduate student in Spalding University’s MFA in Writing program.

Gary L. McDowell

Gary L. McDowell is the author of Weeping at a Stranger’s Funeral (Dream Horse Press, 2014) and American Amen (Dream Horse Press, 2010). His work is forthcoming in The Nation, Green Mountains Review, Prairie Schooner, The Journal, and The Laurel Review, among others.

Susan Laughter Meyers

Susan Laughter Meyers is the author of My Dear, Dear Stagger Grass (2013), winner of the Cider Press Review Editors Prize. Her collection Keep and Give Away (University of South Carolina Press, 2006) was selected by poet Terrance Hayes for the SC Poetry Book Prize. It subsequently won the SIBA Book Award for Poetry and the Brockman-Campbell Book Award. Her poems have also appeared in numerous literary journals and anthologies, including The Southern Review, Prairie Schooner, and Crazyhorse. She has received fellowships from the SC Academy of Authors and the Virginia Center for the Creative Arts (VCCA). She is a past president of the poetry societies of both North and South Carolina.

Jeff Hardin

Jeff Hardin is the author of Fall Sanctuary, Notes for a Praise Book, and Restoring the Narrative, recipient of the Donald Justice Poetry Prize and forthcoming in 2015. His poems appear in The Southern Review, North American Review, Ploughshares, The New Republic, The Hudson Review, The Gettysburg Review, Southwest Review, Poetry Northwest, Hotel Amerika, Meridian, Tar River Poetry, Southern Poetry Review, Poem, Zone 3, and others.

Mary Buchinger

Mary Buchinger’s poems have appeared in AGNI, Cortland Review, Massachusetts Review, Nimrod and elsewhere. She won the New England Poetry Club’s Varoujan and Houghton Awards; her full-length manuscript, Aerialist, is forthcoming from Gold Wake Press. She is Associate Professor of English and Communication Studies at MCPHS University.