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Tell Me Again About Tesseract

I wake up suspecting my horse is dead.

I stand at my kitchen window and drink a glass of water looking out over the front yard.  Everything is bland in weak early morning light. Patches of snow still dominate. It’s April. It’s a consistent miserable.

I know I need to put my boots on and head out the back door and check on Sayre. I need to feed the remaining pony. I need to check his water. I need to wake the kids for school. I need to eat a banana.

But just for now, I stand in the window and close my eyes to the emerging mud of the yard.

Oh, April.

And then, I’ve waited too long, because now I can hear the thudding and knocking and dragging of my middle boy, Teddy, as he steers his 14-year-old body along the upstairs hallway and down the stairs. My boy-turned-man. My scruffy-around-the-edges son.

“Did she live?” he asks instead of saying good morning. He comes right up behind me and rests his head on my back (he has to bend like a willow branch) and breathes me in. I can feel him expand, deflate.

“I haven’t been out there yet.”

“What time did you come in last night?”

“Not sure? It was definitely after one in the morning.”

“Sorry, Mom.”

“Thanks, love.”

He moves off me and heads to the fridge. My back is cold now where he’d landed momentarily. He finds the milk and pours an enormous amount into an old mayonnaise jar.

I don’t want to know if Sayre is dead or alive.

A higher-pitched patter erupts overhead, and soon Boy #3 appears: Charlie. He comes into the kitchen mid-sentence and doesn’t pause for any kind of reaction from his silent audience of two.

“…but I told him he needed to put the arrows on the sides and not in the middle of the paper because then there’s no way for any of the space cadets to possibly overcome the entrancement spell. Mom? Will you make pancakes?”

“Dude, quit,” Teddy hisses at his younger brother.

“What?” Charlie is all wide eyes and forgetting. Teddy makes his jaw hard at him, and understanding blooms on Charlie’s forehead, and he turns to me and is now about to cry. “Mom? Is Sayre? Is she?”

“Sweeties, I haven’t checked on her yet. I’m working up to it.”

“Want me to go?” Teddy asks.

“No, I need to do it.” A third set of footsteps comes down the stairs at a more sedate pace. Jared, my oldest. The most responsible person in the house, I sometimes think. He arrives in the kitchen and doesn’t say a word. His silence is always a peaceful one. He gazes at me over the rim of his coffee cup. I smile at him, and he nods, kindly, quietly.

“And you all need to get ready for school.” I pull my boots over my flannel PJ pants. “No pancakes this morning, just do cereal. Charlie, I’ll sign your reading log if you dig it out of your backpack and pick off anything gross sticking to it.” I slide my arms into my jacket, dig out my wool hat from my coat pocket, and start opening the back door, bracing myself for the rush of cold air.

“Wait, Mom?” says Teddy behind me, and I pause.

 

This Way

I wince at the chill. Jumbo, the orange cat, slips out behind me and together we creep over frozen ruts and crystalized patches of snow.

Roosevelt is waiting for me. Roosevelt is not a clue. That pony could be standing knee deep in wasted bodies of various species and still be focused wholeheartedly on reminding the standing human that breakfast is essential and late. I throw him a flake of hay. He is happy.

I listen for thumps of impatience from the closed barn door. I listen for a whinny. I listen for breath—hers, my own.

The yard is quiet and then a bird whistles from the woods. The first call of spring that I’ve heard.

I slide open the barn door, and there she is. My horse is a mound of flesh gone still on the stall floor, shavings flung over the body and banked around her like she’d been digging herself in. There is no need to check her eyes, her pulse, her gums—her death is evident.

“Oh, Sayre,” I say when my breath gusts out.

I’d had her for fifteen years, and she was the first step I’d made for myself after having my boys. Well, after having two of my boys. And then I got pregnant when I’d thought I was done, and she accepted her partial temporary retirement with grace. When I was back, differently proportioned from a difficult pregnancy and recovery, she was gentle. The plan had been to grow old together.

The plan had changed.

 

That Way

I slide my arms into my jacket, dig out my wool hat from my coat pocket, and start opening the back door, bracing myself for the rush of cold air.

“Wait, Mom?” says Teddy behind me, and I pause. “Skiing today? After school? With Nick’s family? I know it’s not a good time to ask, but I . . .”

My middle boy—the most athletic of the three. And his passion was the wild kind of sport. Skateboarding, extreme trampolining, and now, skiing. Luckily, he had friends whose families were willing to include him in their after-school trips to mountains, because none of the rest of us skied and at 45, I was not taking it up.

“Sure, yeah, you can do that. Let me know how much it will be, okay?”

Their father, Ned, and I were adequately friendly. We broke up when he fell in love with my opposite. But the fissures had appeared long before that and by the time he’d admitted to cheating, I was so far removed from the marriage already that mainly I’d felt relief he’d created a perfect excuse for departure. I think that hurt his feelings. We’ve been apart for six years and besides the occasional logistic bump, we’re doing pretty well at the co-parenting gig.

Teddy turns back to his cereal, happy, I could tell, and Charlie launches into a story about aliens and foreign lands that Jared seems to listen to, and I slip out the door to discover whether or not my horse is dead.

Jumbo, the orange tabby, walks me down the path toward the barnyard, where Roosevelt the pony is looking disgruntled at the fact there is no food in front of him. Oh, Roosevelt. You have no idea how much your life might be about to change. I toss him a flake of hay and am bending under the fence when I hear two things: the first bird call of the new season and a thump on the walls of the barn.

Alive.

She’s standing, even. I slide open the barn door and there she is, no longer a wild creature of sweat and harsh breath, but an exhausted mare who would do well with fresh water and a bran mash. “Oh, Sayre,” I say to her. Her ears prick forward in welcome, and she nudges my hands. Because, food.

And I deliver. Warm bran mash fed to her slowly, in steps, so we don’t have a repeat of yesterday’s colic. Roosevelt too gets a bran mash treat, even though he has the stomach of a . . . horse. And the three of us, four with Jumbo’s silent, slightly judgey presence, watch the day get brighter and even a degree or two warmer before I head back up to the house to deliver the news: my horse had lived through the night.

 

This Way

When your horse dies, not only are you very, very sad, but also there are 2,000 pounds of flesh to contend with, arrange for.

I leave her in the barn and close the door again, so Roosevelt doesn’t have to be confronted with something beyond his understanding. I feel for my phone in my coat pocket. I call Sam Ashley down the road, who has a backhoe and whose wife had offered up his services when I’d run into her at the grocery a year ago. “You know,” she’d told me, waving a pack of Pepperidge Farm rye bread toward me. “My Sam has that digger and he’s happy to do any work that needs to be done up your place.”

I was going to call in the offer. I needed a hole.

“Yup, too bad, sorry ’bout your horse,” says Sam over the phone. “I’ll be up ’round ten, alright? The horse—is it in the barn or in the field?”

“Barn. Is that bad?”

“No, no, we’ll get it done,” he answered.

I hang up and follow Jumbo back up the yard to the house. I open the slider and ease off my boots. A cacophony of kid erupts from the upstairs, the basement where the laundry is occasionally accomplished, the kitchen—sounds of a normal morning because my boys are used to being normal.

“Boys!” I call, and regret it. Let them leave the house and head to school without this in their minds.

But they tumble down the stairs, up from the basement, out from the depths of the refrigerator. “I’m so sorry, but Sayre didn’t make it.”

And they looked at me, three lovely, young, oval faces framed by dark, tightly curled hair. Suffering and slain. Gutted and grieved. My poor loves.

 

That Way

It’s almost hard, when you’re expecting tragedy, to greet the day ahead in all its normalcy. After feeding the horses, Jumbo and I walk back to the house, and I open the slider and shake off my boots.

I can hear Teddy singing in his room. It’s a sound I haven’t heard for a while. Charlie is talking, always talking, and I hope he’s looking for socks at the same time. Jared has his back to me and his head in the fridge. This is not an unusual sight.

“Sayre’s fine,” I call. Jared pops his head and turns to me with a look of surprise and sheer relief. He even, actually, claps his hands together as though he’s on stage in a musical.

“She’s alive?”

“And guzzling breakfast.”

He comes and hugs me. He is shorter than his middle brother, and his chin just barely grazed my shoulder.

Charlie enters the room in a rushing blur and barrels into us, tipping us enough that we all have to reach our arms out to catch ourselves on whatever’s handy. Jared laughs, not his usual response to friendly assault from his younger brother, and I laugh, and Teddy comes bounding down the stairs and for a moment we are all in the kitchen and hugging hard enough that I need to pee but there’s no way I’m going to break the moment.

“Right,” I say when we’ve recovered. “Are you all ready for school? Jared, you good to drive everyone in? I need to get some work done this morning. Everybody brush their teeth?”

It takes only a few minutes for the house to empty of boy. They are here, and then they are driving away, remnants of Charlie’s chatter lingering behind the car as it rolls away, carrying my kids.

The house—whenever I’m alone in it, which is rare, the stillness is what I notice the most.

I could go into the office where I manage a nonprofit, but I’d already let them know I’d be out today. I thought I’d be dealing with 2,000 pounds of horse flesh. The day ahead is a gift, an empty stretch of highway, and I’m the only one choosing songs.

Back up in my bedroom I slip under the covers, telling myself just an hour or so to sleep, to feel a little more human, and then I’ll get something done. I need to sort through the boys’ summer clothes to see what needs replacing—a thankless task that I tend to put off until well into the warm season. But this year, with this free day, I could actually practice some efficiency.

Or maybe, I think, as Jumbo lands besides me and manages to claim half the bed for his own, I’ll eat ice cream for lunch and spend the afternoon ordering seeds from the seed catalogue that came in yesterday’s mail.

But first, sleep.

 

This Way

“Sorry, Mom,” mumbles Charlie into my side. I squeeze hard and then pull away.

“Thank you, men. Are you all about ready for school? Jared, you driving everyone today?”

They look at me with damp faces, and I can see their minds working—is she really sending us to school? Are we going to be kicked out of the day? Yes. This day is going to be hard, and I need one fewer thing to think about—three fewer things.

I see an invisible registration pass through each face and then Jared says, “Of course. Ten minutes until we go, guys.” Darling, responsible first-born boy.

They scatter to finish getting ready. Except Teddy. He waits a moment and then puts his hand on top of my head. Then he rushes to brush his teeth.

The boys manage to organize themselves, Charlie whining about the front seat as they roll out the door toward Jared’s green Honda. And then they’re gone, and the yard is empty.

I pour another cup of coffee. If it were a normal day, I’d shower and head to work. But I’d already called the office yesterday evening when it looked as though I’d need another day to deal with a sick, or dead, horse. I’m a manager at a local nonprofit. I’m infinitely replaceable.

The coffee tastes too sweet, though I hadn’t put any sugar in it. I head upstairs for a shower. I get dressed in jeans and a flannel shirt. I feel. . . swept out to tide. Parallel to the life I was supposed to be experiencing today.

When I get out of the shower, I can hear the backhoe approach. I head outside. Sam Ashley’s wife has come along, hanging off the edge of the backhoe like a cranky, aged Valkyrie, just as fierce but without the range of motion. She climbs down carefully and holds out a covered pie plate.

“Chicken pie,” she states. “For you and your boys.”

“Oh,” I say. I wasn’t sure of the protocol. Is one supposed to pop the chicken pie in the oven to share it with the bringers after the digging deed had been accomplished? Can I safely store it in the freezer without offending anyone? “Thanks so much, I’ll just bring it to the kitchen for now.”

“Put it in the freezer, and when you need it, heat oven to 350 and cook until it bubbles along the edges. It’s hearty, good for your kids.” I’m grateful for the instructions. I notice her husband has a toolbox wedged beside the backhoe seat. “Now,” she asks. “Where do you want the grave?”

“I was thinking over along the edge of the field,” I say, and the three of us walk away from the idling machine, and I point out beyond the snowy flat to where the forest just begins. It’s well away from the barn, away from anywhere I usually walk.

“Yeah, no, you don’t want it there. It’s muddy isn’t it. I can see it from here. You want to be up higher where you don’t have to worry. What do you think Sam? Yeah, that’d be good. Closer. It’ll be fine there, you won’t have to worry.”

Oh. I can’t stand this. I didn’t feel any need to cry when I first discovered Sayre’s body, but now, thinking of the practicalities of a burying a dead body, I’m about to be enveloped.

“Okay, how about you and I bring that pie inside and Sam will get to work.” Without waiting for an answer, she starts toward the house, and I follow, carrying the pie plate, trying not to cry, trying not to think of my horse’s capable body reduced to dirt.

Also—what was this woman’s name? I can’t remember.

 

That Way

I’m dead asleep, but my ringing phone wakes me up because there’s always a chance it could be one of my kids.

“Freida?” cries a voice. Not one of my boys. Not a school nurse, too panicked.

“Yes?”

“Frieda, listen there’s been an accident.”

“Wait. Sorry?”

“Listen, you need to meet us at Trident General.”

“Wait. Who is this?”

“Frieda, this is Sharon Mackenzie. Nick’s mom. Teddy was with us, skiing? Remember?”

“Oh,” I said. But why is she calling me? “Sorry, why are you calling?”

“Frieda, there’s been an accident. Teddy was in a skiing accident. You need to meet us Trident General. Can you do that? You need to come right now.”

“Oh god. Is Teddy okay?”

“No . . .” and here she falls into something unintelligible, as though she’s trying to say many, many words, and she’s underwater and there’s no common language to permeate the membrane.

 

And then I’m driving. There has been a call. Who called me? I don’t know. My brain, my whole being, is doing something strange. There is something wrong with one of my children. I’m driving to the hospital. I’m on the highway. I don’t remember backing out of my driveway. Do I have my wallet? I don’t remember taking my purse. I’m driving. Which exit is the . . . I’m off the exit. I’m at the hospital. The car has stopped, and I’m inside, I’m in a hallway, there are people, I’m in a room, I’m holding my boy and smelling his salty smell, tainted now with something underneath.

Why does he smell like this?

Why are there so many layers to him?

I can’t unwrap all of these layers to see his whole head, his whole self. I want to see his head. I want to smell his hair.

Someone has me by the arms, and I struggle against the tides pulling me away from my son.

He could be sleeping, his face could be swollen in sleep.

His face could be pale with sweat and sleep.

He doesn’t smell right. Teddy.

I’m in a hallway. My ex-husband is there. He’s sobbing, and his face is crumpled like an old map. He’s sobbing and his hands are clutching the front of my shirt as though we were still lovers. He’s sobbing and he’s saying something, choking something, and I can’t understand why he keeps asking me, “Why did you let him go?”

I’m in a room. There’s a couch. I’m sitting on the couch. There’s a box of tissues on the low table in front of the couch, and I don’t need any tissues. Ned is with me on the couch and he has a wad of tissues covering his face. A doctor sits across from us. I can tell she’s a doctor because of the white coat and the antiseptic smell of her hands as they reach for me. She’s holding my hands.

“Your son fell while skiing. There was a drop-off,” she says. “Blunt force trauma to the head. It was quick. Very, very quick. He went fast,” she finishes.

“He does everything fast,” I answer.

 

This Way

I’m looking out my kitchen window at the driveway where two pickup trucks have congregated and behind me, my neighbor is chatting and chatting and chatting, going on about animals they’ve had to bury and how it broke her and how it’s a gift to them to let them go and how someday maybe I’ll feel like getting another horse. “They’re so nice to look at out your window, aren’t they? Noble creatures.”

“Why are all these people here?” I manage to ask when she draws a breath.

“Oh,” she says. “Well, you know, it’s easier when the horse falls outside the barn. They might have to take down the stall door. You know, to make room. But my Sam knows what he’s doing. Oh, the animals we’ve had to bury. . .” and then she’s off again and I’m left thinking about Sayre surrounded with construction debris, how much she’d hate that, how scared those hammers and saws would make her.

 

That Way

Now I’m in the back of a car. It’s not my car. This car smells of hay and dogs and earth. I hear a subtle sob and realize—that’s my neighbor. Sam Ashley’s wife. What the hell is her name? She’s driving and crying. What am I doing in her car? The radio is off. I almost ask her to turn it on. But I’m not sure how long I’ll last here.

Because I keep doing that thing babies do. They fall asleep in one spot and wake in another, through no effort of their own. Just like a tesseract. Teddy loved that book, the one with the tesseract. He explained it to me again and again when he was younger and caught up in the potential science of the fantasy.

“Like this,” he’d say, those brown eyes all wide and wondering. “You hold a string, a bug wants to cross, you put your hands together, you make a wrinkle in the time and the bug, it’s on the other side!”

He’d vibrate with this joy. “A tesseract, Mom! Do you get it? Do you think they really exist?”

I was pretty good, sometimes, at being a mother. I leaned down and gave him a hug. “I know they exist,” I told him. “Moms know how to tesseract because that’s how they catch their kids when their kids fall out of trees!”

And he believed me.

“Teddy,” I whisper, in the back of Sam Ashley’s car. “Explain to me again about the tesseract. I don’t understand. The wrinkle—is it in time or space? How can it be both? I need to understand, my love.”

“Almost home, hon,” says Sam Ashley’s wife from the front. “Let’s just get you home.”

And then her name comes to me. Joanie. Her name is Joanie.

Joanie has no idea that home no longer exists. Yes, we’ll go to the house, and I’ll grieve, and I’ll take care of my remaining boys as well as I can. Maybe we’ll move to a new town, maybe we’ll take a trip to Europe, maybe I will remarry someone kind who can watch out for us. Maybe we’ll continue as we have been. But home has been excised from my experience of the world. Home and I are finished. There is no more home. And then, thinking about home, I cry.

 

This Way

Finally, everything is done. The trucks are gone, my neighbors and their backhoe are gone. It’s late afternoon. The whole day spent in service to this particular death.

I feed Roosevelt his dinner hay and a scoop of grain. “Hey, how’s your day been?” I ask as he eats. I rub his forehead, and he pauses his vacuum function to push up with his nose so my hand quits distracting him from the task at hand.

Roosevelt came from the pony rescue people as a companion for Sayre and now that there’s no Sayre . . .  But that’s a plot twist for another day.

I can hear a car drive in around front and then their voices reach me, shouts and whoops and a deep belly lap, a man’s voice in a place I thought only boys lived.

I walk up toward the drive and round the corner to find them huddled just outside the door. They’re hesitating. Not a crowd that usually hesitates. “Hey guys,” I say, and they all turn toward me as one.

“We didn’t know if we should come in, or maybe come find you in the barn, or maybe you were somewhere else?” rambles Charlie, until Teddy pokes him in the arm and Charlie stops.

“Yeah,” I breathe. “I just fed Roo. I think I’m done out here.”

“Is Sayre? Is she . . .” asks Teddy.

“Over here.” I lead them a short way toward the disturbed earth. There’s no smooth surface. There’s no mound, either. Sam Ashley’s wife warned me that later in the summer I might need to fill in any depression that comes up. She didn’t have to say: from your horse’s decaying body.

“Oh,” says Jared.

“Hey, our neighbors brought over a chicken pie,” I tell them. “Any interest?”

“Chicken pie is good,” says Teddy.

“Chicken pie is very good,” I answer.

Jared and Charlie turn and head toward the house, and I’m about to go with them when I notice Teddy hasn’t moved yet. He stands, not looking at the grave but down the hill toward the barn where Roosevelt is munching his last meal of the day, completely unbothered by any change.

“I wish nothing ever changed,” Teddy says. I take him in my arms and squeeze, wishing I could squeeze all of the inevitable bad things of the future out of him, so they’d never happen. “I wish we could just stay the same as we always have.”

I squeeze harder.

 

The Fine Art of Being Someone Else

When I first started working as a ghostwriter, people (and by people I mean only writers) often asked me what it was like or how it was different from writing fiction for… And they often would struggle to finish that sentence. “Myself?” I asked.

I generally told them I didn’t know the answer to that question. Other than writing fiction and the occasional magazine piece, I never wrote academic papers or otherwise put down my views or thoughts about anything important. I never wrote letters to the editor, had a blog, or published a column under my own name. Before I became a ghostwriter, the only part of myself I put into my writing, other than trying to make it as good as I could, was whatever I was trying to unearth about my own experience by camouflaging it through my fiction. I didn’t feel as if I were expressing my own emotions or philosophy directly, but rather funneling it through characters to be absorbed eventually by strangers.

When I started ghostwriting I was lucky—my ‘principal’ had been published so intensely that any subject I was given upon which to write in his voice had a built-in head start. I could immerse myself in his existing ouvre, such as it was, and emerge fairly easily, pen in hand, and work my way through a first draft. My principal would then take a pass, and after a couple rounds it would be finished. I knew my limitations early when my own expressions would come back crossed out and—in most cases—improved, generally by simplifying the language and emphasizing how it might sound aloud.

As I got a bit more adept, these kinds of edits dwindled but they never disappeared. And partly I was pleased by that, as I felt as though anything that came out under a person’s name should bear the marks of that person’s attention, even if fleeting. I tried in some cases to intentionally leave out scenes or anecdotes that I knew the principal would want to include, and was further pleased when I’d see them scrawled in the margins, and more often than not in a way that I would have done differently.

But what I think the writers were asking me during those times I mentioned earlier was something along the lines of, ‘what do you give up when you write as someone else?’ What essential core ego-driven virgin creative spark is muffled when you take your own name off a piece of writing and put someone else’s name on it (provided you’re not just ghosting yourself)? And I think if someone were to ask me that in such a direct way, I’d answer, “very little,” which is the truth—but only my truth, I should point out. I can’t say, at least without hypnosis, perhaps, if the creative process is any different than it might be if I were writing the same piece under my own name. I suspect it’s not.

There is, however, a narrow scenario under which the above doesn’t apply. Once, when I was in my twenties and about to leave my job as a carpenter to study writing in an MFA program, a dear friend asked me if her brother could use a short story of mine, one I didn’t really like or never meant to do anything with, as a submission in a college writing class. Not for publication, but just to get credit for the class, as he wasn’t able to write anything himself. I was outwardly polite, but inwardly aghast. Who would do such a thing? And how could I let something I wrote go out under someone else’s name, even if only a professor or a few bored undergraduates would read it? I certainly did have several dead stories lying around at that time, so it wouldn’t have mattered to my output. But I, again politely, said no.

And I think I would say no today if I were asked to ghostwrite a serious piece of fiction (I’ve worked on thrillers, and those don’t count). I’m a slow, easily distracted, but very personal fiction writer, and there isn’t a story I’ve written that didn’t take something out of me to put into words. If I haven’t personally made every mistake my fictional characters do on the page, I’ve contemplated it, or been in some other way complicit. That’s what it means to write like me, and I wouldn’t consider (nor would I think myself capable) of doing it as someone else. Luckily, nobody has ever asked me to write a story or novel about whatever I wanted, then let them publish it under their name, and I doubt the situation will ever present itself. But I have an answer ready if it does.

Joseph Cuomo

For many years, Joseph Cuomo was the Director of Queens College Evening Readings (www.qcreadings.org), a literary reading series he started in 1976. He has also debated Jerry Falwell on CNN, interviewed China’s most prominent dissident before the massacre in Tiananmen, and produced an award-winning radio documentary on American Fundamentalism, broadcast in the U.S., Canada, and Australia. His work has appeared in The New Yorker Online, The Wall Street Journal, and Don’t Tell Mama: The Penguin Book of Italian American Writing. Solstice (www.solsticelitmag.com) has recently published an excerpt from his first book, a memoir, which he has just completed. “Fifteen” is an excerpt from that same memoir. www.josephacuomo.com

Fifteen

By the time I was fifteen, I was a regular in a bar. Which, back then, wasn’t all that unusual. It was the late-60s, we lived in Queens, and the bartender was a barmaid, a novelty at the time. Gracie. Black spit-curls, white boots, black miniskirt, white scoop-neck blouse. She called me Hon. She called everyone Hon. This one’s on me, Hon. She was our barmaid, and Foxie’s was our bar. We spent more time there than we did at home. And yet, we played the same song over and over again, nearly the entire crowd shouting out the refrain: “We gotta get out of this place, if it’s the last thing we ever do! …Girl, there’s a better life for me and you.”

There were several sad old men who shared the bar with us, men who never seemed to go home, who sat in the same seats every night, positioning themselves by the ice. When Gracie bent down to fix a drink, the men tried to look down her blouse. I can see them now, angling for a better view, rising up off of their stools. She had the deliberate, buoyant optimism of someone who had been through a war, slightly ravaged, but resolute, willing herself to go on. Her mascara would sometimes seep into the tiny web of cracks around the eyes, like a miniature oil spill. Her eyes had a rubbed look, rubbed and raw, so that you could easily imagine her crying.

She was old enough to be my mother.

* * *

The first time I had a gun pulled on me, it was the night of Christmas day. I’d just dropped off my girlfriend, and was standing at the bus stop, resigned to the long ride home, when two men approached, asked if I was waiting for the bus. I thought they needed directions, which bus went where, but when I said yes, one of the men told me to come around the corner. The other pulled out a gun. I can see it now as I write this, the black revolver, waist high, pointed at my stomach.

At first, I couldn’t believe it. It was about 11:00 at night, we were standing on a busy street, cars driving past, an outdoor mall across the road (though most of the shops would have been closed), a large, busy diner on the opposite corner. And for some reason, I don’t know why exactly, I started arguing with the thieves.

Man, I said, you can’t be doing this to me.

Both of the men were black, and I think I suggested they go to a wealthier neighborhood, mug someone with more money, that it wasn’t right to rob someone who didn’t have very much to take. I went on and on like this—You can’t be doing this to me, I said again and again—until one of the men, the one without the gun, became impatient.

Give me your wallet, he said, give me your fucking wallet!

I gave him my wallet, he fled around the corner, but I was still arguing with the other man, the one with the gun.

That’s all the money I have in the world, I said.

Which was ridiculous, I was still living at home. I had twenty-four dollars in my wallet, most of which had been given to me for Christmas.

Come around the corner, said the man, now more agitated than me. Come around the corner!

I walked with him, pleading my case the entire time.

When we got around the corner, he asked how much money I’d had.

Twenty-five dollars.

He took out a large wad of bills, peeled off two tens and five, and gave them to me.

We didn’t want your money, he said. We wanted your ID.

Which startled me.

Okay, I said, after a moment, but it isn’t real.

I had a phony draft card—maybe it was genuine, but it wasn’t mine—as well as several fake birth certificates, which I’d made for several girls (proof, we called it), to get them into bars. At the time, copiers would print reverse copies, white to black, black to white. All I had to do was take a real one, which was black with white letters, cover the names and details, copy it, fill in the new information, copy it again.

Okay, said the man, absently, thanks.

Hey, I said, as he turned to go, when you’re finished with it, can I have it back?

The man was speechless.

I’ll give you my address. You can mail it to me.

I don’t have a pen, he said, flustered.

Someone happened to be walking by at that moment.

Hey, I called out, you got a pen?

I have a pen, said the thief, with some desperation, I have a pen!

And then, without a second thought, I gave my home address to a man who was holding a gun on me.

When I turned to go, I almost wished him Merry Christmas.

I never received anything in the mail, and, stupidly, I never told my parents. The whole thing was stupid, reckless, wild with risk, a headlong leap into the naked, electric unknown.

* * *

Drinking was like a job I had, a job I was good at, with its own familiar routine, starches (baked potato or bread) before going out, water (a quart of water) before bed. It was only when I opened my eyes that the room would stop spinning. If I turned sideways, it would be worse, my head whirling like a ball off a bat, the darkness swirling like a painting by Van Gogh. Eventually, I knew not to turn, not to move my head. The trick was to fix on one point in the room, like a sailor staring at the horizon.

There is a tendency—in me, my family, in the culture at large—to make a joke out of this, especially in retrospect. But it wasn’t a joke then. And yet, it was. It was a relief from the very fact of yourself, your very pitiful self, a fact that drinking only seemed to confirm. Drunk, you were aware of the misery of it, of the need to get drunk, even as you were free of it, free of the daily, redundant self-disgust, simply because you were drunk, or drunk enough.

We drank in stairwells, doorways, garages, drank behind the funeral parlor. We drank under the windy overpass of the parkway, standing in ankle-deep snow, numb hand wrapped around a beer can, scotch smuggled in a peanut-butter jar, whiskey in a mouthwash bottle. I can see myself passing out on the sidewalk, in a closet, pissing on the floor, sleeping in my own vomit, vomiting green when there was nothing left to vomit. I can remember not remembering, oblivion lingering like a migraine, the previous day surviving only in brief, disconnected flashes, like a landscape made visible by lightning.

In high school, when I happened to come across the twelve warning signs of alcoholism, I was surprised, and yet oddly gratified, to find that nine of them described me.

* * *

My uncles taught me how to drink.

Pace yourself, they said. Pace yourself. Always remember to eat.

At large family gatherings in cavernous catering halls, my uncles and my father would look down on any man who stumbled toward the toilet or his chair.

Amateur night, they’d sneer, it’s amateur night.

The point was to drink without showing it, and I was schooled from an early age. And what is clear to me now (though it wasn’t clear then) is that the first time I got drunk—the first time the room spun around on me, the first time I lost my footing, lost consciousness, vomited—it was at one of those large family gatherings in the Bronx, just after my grandmother’s funeral.

* * *

I can still see my grandmother now, the easy smile, hook nose, the deep creases in her olive face, the scent of garlic on her skin, the flower print dress—she was the first great love, the first great loss of my life. I can still see those endless Sunday dinners in her crowded living room, the small tables crammed together, chairs backed up against the sofa, my sister and parents and cousins and aunts and uncles eating and drinking and shouting throughout the long afternoon into the night.

Now that she was gone, the family began to get together in one of those same large catering halls in the Bronx, as part of what would come to be known as the Cousins Club (one of my uncles actually had letterhead printed up), whose stated purpose was to hold the family together now, in the wake of Grandma Minnie’s death.

The Cousins Club, though, for all its good intentions, would meet no more than once a year.

The selflessness, the devotion, the glue that had held the family together was an Old World glue. None of the women of my aunts’ generation, the generation that had been born here, wanted to take on such a daunting burden. No one wanted all these people in her home. No one wanted all that unavoidable work, the careful shopping, sizeable expense, endless cleaning, the artful cooking, my uncles’ blunt critique—no one wanted to go through all of this even a few times a year, let alone every week. My aunts had families of their own, and these families had other lives, lives outside the life of the large, extended family. And so, we began to see less of my aunts and my uncles and my many cousins.

I’m not sure I sensed this happening back then, sensed my life changing. I’m not sure I felt the world changing around me.

* * *

It was around this time that I stopped going to church. I would leave home each Sunday morning as if I were going to mass, then when I was several blocks away, turn toward the avenue and the diner, where I would meet up with my friends. I can’t remember the name of it now (we called it the Greek diner), but I remember the excitement of it, the chrome tube of a building, like a submarine, the tiny juke box at each opaline table, the selections on flip cards, the round chrome handle, chrome buttons, chrome speakers, the thrill of forcing the rest of the place to listen to whatever you selected, the thrill of ditching church, of ordering coffee, the thick white porcelain cups, the thrill of being treated like an adult. It was almost as exciting as hanging out at the bar.

Eventually, for some reason, I told my mother I didn’t want to go to church anymore. She talked to me quietly in my room, asked me why.

I said I no longer believed.

My mother, hazel eyes, pokey nose, hair permed into curls, inclined her head, considered it, and surprised me. She said I no longer had to go.

My sister called out from her room: I don’t wanna go either!

Why? said my mother

Because he’s not.

That’s not a good enough reason, said my mother. And my sister, at thirteen, was still expected to attend.

This was who my mother was. She listened. She was generous and thoughtful and kind. She was loving and selfless and cheerful. (Unlike my father. Which was one of the dire mysteries of my childhood, how she wound up with him.)

What I didn’t tell my mother that day was that even though I’d left the Church (and wouldn’t go back), I had already made a secret pact: with God.

Late one night when I couldn’t sleep, when the terror wouldn’t let me sleep, I begged, whispering as if I were praying—which, in a way, I was—pleading with Him to spare me, spare my family, refrain from killing us, and if He did this, I promised, I swore, I would never smoke another cigarette, never take another drink, never touch a girl’s breast.

* * *

When I was fifteen and floundering, sometimes I would dream away an entire day, without even realizing it. I might be sitting on the edge of the bed, black sneaker about to swallow my foot, and I would find myself looking at a pattern in the headboard. Sometimes I would see a face staring back at me, a face in the wood grain, and I would try to keep it in front of me, so that if I were to look away, the face would still be there when I looked back. But it rarely was.

When my father came in, I was sitting on the edge of the bed, examining the frayed green laces of my sneaker. It took a moment to adjust to this, the incongruity of his presence in my room.

My father was a man who worked with his hands, wide ears, long nose, trim moustache, reminiscent of Clark Gable. He often worked two jobs at a time.

Joseph, he said almost tenderly, what is it?

Tell me. Is it a girl?

I didn’t say anything. I didn’t know what to say. It was a girl. And yet, it wasn’t. I thought it was a girl. And yet, what it was was much larger than this, larger than I could possibly say. I didn’t see this then. I didn’t see many things (I don’t see many now). But back then I thought I saw what it was. I thought it was a girl.

And maybe it was.

I knew it, my father said. I knew it!

Now I’m grateful for this, the focus my father made of me that day. But I wasn’t grateful then. I was sneering. I was aloof. I was exposed.

Joseph, listen to me. I’m gonna tell you something. I’m gonna give you some advice. The words were strange in his mouth. I’d never heard them when they weren’t attached to a threat.

You listening? This is my advice. Here’s the girl, and he snatched up a knickknack from the top of my bureau, a small ceramic tiger, its glazed stripes reflecting the overhead light.

Here’s the girl, he said again, waving the tiny figurine. You want the girl? You want the girl? This is what you do.

He smacked the tiger down on the bureau. Then turned, and left the room.

I watched his huge mass retreat down the short hallway, then reverse itself, growing large again as it returned. When my father stood in the doorway, he nearly filled the frame.

You want the girl? he said, reaching for the little tiger, squeezing it between his thick fingers. Here’s the girl.

He slapped it down.

Walk away.

And, agile for his size, he spun around, ambled out of the room, and did not come back.

* * *

I’ll marry you, I say, declaring what I believe to be the ultimate declaration.

The bus swerves, its great bulk heaving like a ship, the oblong window swinging out, attached only at the top, opening like a door, then slamming shut.

Kathy stands out of her seat, the floor lurching beneath her feet, penny loafers, knee socks, wraparound skirt. She walks the length of the bus, throws herself into the back row, shoes on the wheel casing, bare knees in the air, face pressed against the window.

She’s the kind of girl who’ll go to a party or a dance with me, then hide until I find her.

I will, I say, sitting down beside her. I’ll marry you.

Are you for real? Where would we go? How would we live?

I’ll do whatever you need me to.

She rolls her blue eyes. I’m not, she says, head shaking, black hair flying, I’m not gonna quit school—I’m not even sixteen!

But what if you’re…?

I know, those blue eyes swimming, I know. I don’t want to talk about it.

I’m the kind of boy who believes in talking. Which Kathy, as a rule, finds pointless, boring.

Look, there’s nothing we can do. We just gotta wait is all.

She’s right. A week later, she’ll call. You can forget it, she’ll say. I got my friend. It’s all right.

But right now, all I know is: it’s my fault.

What I don’t know, what Kathy doesn’t seem to know, is that we haven’t really done what we think we’ve done. All I did was come between her thighs—then the two of us feverish with guilt, her eyes inflamed, mascara running down her face like soot. And a month or two later, the proposal on the bus. It was ridiculous, I could see it was ridiculous, impossible, overblown, but it was no less humiliating when she turned me down.

After calling to say everything was fine, she never went out with me again.

* * *

Half a year later, I was arrested by plainclothesmen for drinking in the park. I was on my sixth half-quart of Colt 45. Even the cops were, or pretended to be, impressed.

I was drunk, but not too drunk to try to get away. The cop was holding me by the arm of my jacket, and I thought I could just run out of it. But before I could slip it off, he grabbed me by the neck.

A few blocks later, I tried to throw up on him, shock him, so that I could run away. He just stepped back, held me at arm’s length.

It was only at the precinct that I started to register what was happening, sitting in a big wooden chair, waist-high partitions dividing the room, the uniformed cops eating ice cream out of a large paper bag, and then the realization: that my father would soon be there. It was summer, the wide heavy windows were open to the sultry night, and it suddenly occurred to me: that I could jump. I actually calculated the drop—we weren’t more than two stories up—and waited for my chance, watching the movement of the cops. At one point, they happened to be busy on the other side of the room, I had my moment, but before I could work up the nerve, there he was, a man the size of a door, glaring at me like a guard dog.

My father had the body of a defensive lineman, no neck, arms like legs, hands like sandpaper. His life hadn’t taken the kind of criminal turn that seemed to define my uncle Babe (who made the Daily News, who did time), but as a kid, my father had run wild. I’d heard the stories, jumping rooftops, riding in stolen cars, hanging out at the track, punching a cop, going AWOL in the Army.

When he got married, he said, he left that life behind.

The moral of these stories was often pointed in my direction. Don’t even think of taking a step sideways, I’ve been there, I know where the risk is in the world, so listen up, do as you are told. But there was another moral that went unstated, implicit in the telling itself, a moral having to do with the very authority with which my father spoke.

This is what a man is, this is what men do.

The trip home from the precinct was excruciatingly slow. My father made me walk ahead of him, his presence behind me radiating like fire, my thoughts scrambling like pigeons, my legs tacking involuntarily, my eyes like a camera that had been tossed in the air.

At one point, when I tried to turn around, tried to explain, he cracked me across the head hard. So hard, I still feel it.

Years later, my father told me why he had done it. He was laughing, he said, and didn’t want me to see it.

* * *

Of course, I was punished. Two months in my room. Two months during which I started to see myself differently. Which is when I came to a frightening realization. I enjoyed it, the silence, the solitude, the time spent inside my head. Contemplation is not a suitable climax in a novel. But it is in life. It changed me, that solitary time in my room, the uninterrupted thinking, the books I was reading—I can’t remember now which books they were, other than that they were stories in which I found people as confused and screwed up as I was.

Which opened my eyes: to the fact that each of us lives with secret fears and doubts and failings. Which, in turn, connected me to my friends in a new way. And yet, at the same time, it cut me off from them. I started to see myself from outside myself. I started to see others this way as well: from a distance. Separated from my friends, I began to see that I was independent of them. Their opinions did not reach me in my room. Their daily rituals, their relentless, competitive insults (a sport at which my uncles and father also excelled), went on without me. I was irrelevant, I was not who they thought I was.

They were Irish, I was Italian, and I had a new name among them (among the friends who would soon become my former friends). I was Ball. Which was short for Greaseball.

(Even though I didn’t look Italian at all. I had freckles and fair skin.)

This is not to suggest that there wasn’t an air of hilarity attached to it. This is not to suggest that it wasn’t cruel. The hilarity itself was cruel. The cruelty was hilarious. And everyone, everyone was subject to it.

I remember one poor girl being laughed at, right to her face. Regina.

You. Are. Ug. Ly! Uhhh-hug-leee!

(It comes back to me now that this girl was Italian, with a large, Italian nose.)

Everyone was attacked. Everyone attacked everyone else. The threat of ridicule, the threat of violence, was always present, always pressing upon us.

Jimmy C. used to tell the story of how he and a few of the guys from the park—Cuban heels, black stovepipes, swirling pompadours—amused themselves at a dance. They would arrive drunk, head straight for the men’s room, where they would comb their hair, then come out swinging—at whoever happened to be standing near the door.

Jimmy C. was older than us, a hitter, as we used to say, and this had been his time, a time of gang wars and ruined virgins and illicit joyrides. I can still see an overturned car in which three had died. I went down to the police station to see it, the blood on the ceiling thick and gaudy, swirling like stucco. I can see a purpled back that had been whipped with chains. And then the gang fight between our park and another. Drunken war hoops, zip guns, bottles and antennas used as weapons. Which was the only world I had known.

Jingle, the older boys would say, before I’d turned ten. You were expected to hop, to make any coins audible, so that they could then be taken. I can see one sly, sad boy, Brian, trying to muffle the sound, holding his pockets while he jumped. They lifted him by the ankles, upended him, shook the money out, like apples from a branch. Brian was often beaten up, and so was I.

But now fighting was suddenly obsolete, men were men without it, women weren’t attracted to men who were violent. A societal shift—having to do, in no small part, with Vietnam—entered my life like a reprieve.

And around this time, I started hanging out with a different circle of friends in the park, friends who sat on the scraggly lawn within the large oval of the track, friends who wore their hair long, played guitar, read books, did drugs.

One of these new friends once told me he was beaten for wearing a T-shirt, a washed-out, rainbow T-shirt with one word emblazoned across its narrow chest: phlegm.

Greg said the men who had beaten him had done so simply because they couldn’t decipher that single syllable, they didn’t know what it meant. In our neighborhood, wearing such a shirt was like raising your hand in class. It was considered arrogant, living beyond your caste, your origins. And when Greg told me this story, there was a kind of knowledge that seemed to pass between us, as well as a kind of sadness.

He made a point of this, that it was preferable to know such sorrow, to know extreme highs and lows, than to live your life in a comfortable, sheltered monotony, never knowing overwhelming despair or blinding delight.

It was an idea that spoke to me then. To lose yourself in raw sensation, fevered passion, heat. There was a new imperative, a new religion in the wind, and it danced in my veins, it sang in my brain, it breathed its sacraments into my mouth.

And yet, the paradox of that time is that my own raw sensations, my own fevered passions, were unbearable to me. I couldn’t live with them.

* * *

After the death of my grandmother, the night frightened me in a way I had never known. It wasn’t my dreams, it was my head—I couldn’t turn it off, couldn’t sleep. I kept seeing what I didn’t want to see. I can’t remember now what it was, what was haunting me. But it seems likely it had something to do with her passing. There were thoughts in my head I just couldn’t bear to think.

The one image that comes back to me now, as I write this, is my grandmother’s colorless face in her coffin—the flesh flaccid on the bone, like chicken that’s been cooked too long—an image, it seems likely, I couldn’t not see, couldn’t shut out. It seems likely there were others like this, torturing me, obsessing me, the dread of my mother dying, my sister, me.

Eventually, in order to fall asleep, I’d tell myself that the things inhabiting my head were a movie. I’d even imagine a literal screen onto which they were being projected, and at first, the movie would be indistinguishable from whatever else was going on in my mind. Then, in my head, I would step back, so that the movie was completely contained within one precise rectangle. I’d step back again and again, so that the rectangle would become smaller and smaller, shrinking until it disappeared, that final, flickering dot just before this would happen, a tiny bluish flash of light, like an ancient television when you turned it off.

But as soon as it got to this point, the point of vanishing, another rectangle would appear, larger than before, showing the same movie, as though my mind were battling back, insisting on its own autonomy. I’d battle back, too, imagine a projector, imagine myself shutting it off. And the screen would go blank. This was always a tenuous victory. I’d have to keep it there, that screen. I’d have to concentrate on keeping it empty, a broad, white, immaculate geometry. But then I was conscious of myself inside my own head watching the blank screen. And this in itself, the image of me sitting there in my own mind, this would become the movie I was now watching. Which would lead me back to places I didn’t want to go.

I was often up for hours.

* * *

Before I turned sixteen, I started doing drugs, largely because my mother couldn’t smell them on my breath. After I’d been arrested for drinking in the park, she’d stop me each night before I went up to bed, leaning in close, inhaling deeply. Whatever she might have been able to smell, she had no idea what it was. Which I found funny, even as it alarmed me. I was always anxious I’d get caught, always amused that my mother couldn’t catch me, the amusement, like the anxiety, amplified by the very thing she couldn’t detect.

Back then, almost everything was funny, almost anything could be frightening. Steve, a speed freak—thin face, freckles, wild eyes—would stand on the same street corner for hours, scoping out each passerby.

Narco, he’d say. He’s a narc.

Everyone was a narc, a hardhat, a suit, an obese woman wheezing as she walked, even a withered old man with a crutch, one leg dragging behind him.

When I laughed at this, Steve laughed as well, laughing at himself, even though he wouldn’t back down.

I know it looks ridiculous, but that’s how they get you, man.

Many of my friends thought Steve ridiculous as well, even though two plainclothesmen had once come out of nowhere, even though we knew the cops by name—they were so familiar to us. I can’t remember those names now, but I can still see them. One was older, black, tall, suit jacket, dark glasses, the other short, white, thick mustache, hair over his ears, long as mine.

They’d lined us up in the park. We were standing shoulder to shoulder on the track. They told us to empty our pockets, but before anyone could, Johnny was flying, arms and legs like pistons, one of the cops racing after him, the older one, belly jiggling, jacket flapping, his gun in the air. All these many years later, I can still see the flash from the nozzle, can still hear the shot, the shock of it. The line-up, the race, the gun going off—all of it was terrifying.

And yet, it was electrifying.

Later, I’d find out Johnny had heroin in his underwear. He was the son of a cop, and knew the officer couldn’t shoot him, could only fire a warning shot. He also knew he could outrun him. Which we found hilarious, that the cop never caught him, was too paunchy, too out of shape to catch him. It was hilarious that Johnny kept running, didn’t stop, didn’t even flinch at the concussive blast of the gun.

We all admired him for this, though not one of us would have admitted it.

* * *

At about this point, my friends in the park began talking about the books they were reading, books I might not otherwise have read, Steppenwolf, The Stranger, The Fall. At the time, I gave myself to these books. I swallowed them whole. And it mattered, mattered profoundly, that my friends were as deeply affected by them as I was. We talked about them without really talking about them directly, as though it were a test of their power, or a sign of respect for that power, as in certain religions where one is forbidden to speak the name of God.

My mother, attentive and, as I look back on it now, generous with her time—she was working full time, managing two kids, a husband, a home, falling asleep to the monotony of the TV—my mother took an interest in my reading, asked to borrow my copy of Demian.

When she gave it back, she wondered what I’d thought of the plot, started to offer her idea of the theme.

My memory of this is that I actually snarled at her. I can see my face twisting around my lips.

It’s not a plot, I said, dismissively. It’s true!

At fifteen, I really did believe this. I thought every novel was true.

I don’t remember my mother’s response, though it seems likely that my words would have left her speechless. In any event, she never brought the subject up again, and after this, I don’t think she ever asked to borrow any of my books.

I’ve reread Demian since that time, and was taken in again by the characters, the urgency, the mystery surrounding them. But I found myself recoiling at certain sentiments, all those ardent sentences about evil as a benign entity, the blind, dark blossoming of your own true destiny.

“Each man,” says the novel’s hero, Emil Sinclair, “had only one genuine vocation—to find the way to himself. He might end up as poet or madman, as prophet or criminal—that was not his affair, ultimately it was of no concern.”

In Hesse’s Steppenwolf, another book of supreme importance to me back then, Harry Haller is a man divided between his two natures, the ordinary man and the free roving wolf. Unlike the wolf, the ordinary man can’t “live intensely.” But the wolf, says Harry, is seething with a “wild longing for strong emotions and sensation.” He is swept up in a “rage against the toneless, flat, normal and sterile life.” He has a “mad impulse to smash something.”

Whether you’re a madman or criminal is of no concern. All that matters is raw sensation, passion, the authenticity of the self.

Somewhere in high school, I had begun to believe that what was real was only what you feel, as long as you feel it intensely. Which was difficult to resist, to see the world as you want to see it, the vivid picture dancing in your head. Soon, very soon, I would be taking almost any pill that was offered, without even knowing what it was. I would soon be hitchhiking hundreds of miles, without even knowing where I was going, walking naked in the woods, doing acid, losing my mind on acid, taking three days to come down. Then doing it all over again. Friends of mine would soon be shooting heroin. I would soon be trying to talk them out of it, out their addiction. Too many of my friends would soon die.

Our world would soon open up like a wound.

But at fifteen, I didn’t really know what was coming. I didn’t really know what I was doing. Back then there wasn’t anything to consider. There wasn’t any hesitation, any ambiguity.

“We are only what we feel,” sang Neil Young, somewhere in those years.

And I believed him.

War Babies

SYNOPSIS

JANICE meets KEUM LEE in a zoom meeting, after discovering through DNA and Ancestor.com that they are half-sisters, and that her father had a Korean family when he was in the Korean War in the 50’s.    They compare stories and find that they had very different fathers, though he was the same man.   Can they reconcile their bitterness and be grateful they have found each other?   Or has the past wounded them both too deeply?

 

 

 

CAST LIST                        INCLUSIVE

JANICE                             Woman,  70ish        American

KEUM JA LEE                   Woman  70ish         Korean American woman

TIME                                 Present

PLACE                              ZOOM, OR BLACK BOX

 

 

LIGHTS UP: KEUM JA LEE, and JANICE PETERSEN,
ONSCREEN, MEETING ON ZOOM

 

JANICE

Keum?

KEUM

Janice?

JANICE

Hi.   Yes!   Hi.

KEUM

Sorry I’m late.   That last zoom meeting went overtime.

JANICE

I know.  This is my third zoom today.    Well.  Here’s to us.  (raises a glass of white wine)  And zoom.

KEUM

What else is there, these days?   (raises her glass of white wine)

JANICE

It’s happy hour, here in Berkeley.  Sauv Blanc.

KEUM

Dessert.  Here in In Boston.  Riesling.   Cheers!  (they toast)

JANICE

(pause)  You look a little different —  than  your profile picture  –

KEUM

It was taken about five years ago – when I first sent my DNA sample in.

JANICE

Annnd — here’s to  DNA.   And Ancestry.com.    (raises her glass, drinks)

KEUM

And  the Human Genome Project!     (raises her glass, drinks)

JANICE

And this — conference?    Again?      What —

KEUM

Oh.  G.O.A.L.   Yes, I’m on the Board.

JANICE

G.O.A.L. —?

KEUM

Global Overseas Adoption Link.   An organization to acculturate  Korean people, who were adopted… and  brought up — well.  All over the world.

JANICE

Oh.  Right.

KEUM

(pause)  You  – look like him.

JANICE

People tell me that.

KEUM

The eyes.    The square chin.  (KEUM holds up  a worn black and white photograph, carefully laminated, to show JANICE).

JANICE

Oh.  (gasps)   He looks so young.

KEUM

He was about thirty-five then.

JANICE

What I mean to say is… he’s laughing.

KEUM

He was always laughing.  Big, loud, laugh.  Booming laugh.

JANICE

Yes.    Booming laugh.  Yes.   When he did laugh.      And this must be —

KEUM

My mother.   Yes.  Kim Sook Ja.   And me.

JANICE

Beautiful.  Woman.    (with some bitterness)   A  happy family.

KEUM

He left us.    Not long after that.    They signed the Armistice.     And he went  —

JANICE

Home.   He came home.   To us.    (pause)   Your mother…?  Is she still alive?

KEUM

I don’t know.   It’s not likely.    My mother and father never married, so –

JANICE

(snaps)  Because he was already married.  To my mother.

KEUM

What I meant to say is…   Unwed mothers… in Korea, in 1965…  and a half-breed daughter.   We were ghosts.    Evil spirits.   I  was “TuiGi”- dust of the street.  Child of the devil.    My mother was Yang Kal Bo,  foreigner’s whore.   No one would help us.

JANICE

(pause)  My god.   Keum.

KEUM

Why so many of us Korean/American babies were adopted, and grew up all over the world.   We were — dust of the street, at home.

JANICE

Did my father… ever  try to  – help you?

KEUM

He left us money.   Enough for a long time.   If we could have  stayed in our village.  But no one in my mother’s village would open their door to us.    Not even my grandmother.

JANICE

What happened… where did you —

KEUM

We stayed near the base,  until the money ran out.  We stayed  with an aunt,  but then she had to send us away.     I think — he –continued to send us money .. but by then we were nowhere….living on the streets.   I don’t know what happened to it.

JANICE

How did you live?  What  — what did you eat?

KEUM

Handouts.   garbage.    My mother  — worked–  for the soldiers.    She could not  take care of me,  so she gave me up for adoption.   I never saw her after that.

JANICE

Oh.   Keum.   Oh.

KEUM

There were thousands of us.   War Babies,  they called us.  The  churches finally set up  adoption agencies.  Thousands of Korean children grew up in America, Germany, Switzerland.
Everywhere but Korea.

JANICE

Where — did you —

KEUM

I was very lucky.  I was adopted by a wonderful couple in Denver.

JANICE

Denver.  Oh.

KEUM

Janice.     Why did you …contact me?

JANICE

The day after I got my DNA results, from Ancestry.com,    I — saw your name.  Top of the list.     My closest DNA  match.   82% match.

KEUM

A Korean name.    Yes.   I imagine you were — surprised.

JANICE

And your profile.  Your age.    Well, I knew…  right away.    (pause)  My father- our father—  anyway.   So.   I wanted to meet you.    I was hoping… we might  become — oh.   I don’t know.  Acquainted.  (pause)   Friends.

KEUM

Our father.   (takes a breath)    Is he… still… alive?

JANICE

Ah.  No.   I – he –  died four years ago.

KEUM

Oh.   (gasps)  Oh!

JANICE

Sorry.   I’m so sorry.   That was  –   abrupt.   I’m so sorry.   You didn’t know.

KEUM

(in disbelief)    Four years ago.

JANICE

Yes.   In a VA hospital.    In Martinez.    He had the best of care.

KEUM

Were you with him when – – -?

JANICE

My mother and I.   Were there.   Yes.   They divorced years ago,  but she and I   took care of him,   in the last months.     She’s gone, too.    Now.

KEUM

How… did he die?

JANICE

Lung cancer.   Liver disease.   He smoked two packs a day and drank  — a lot.     Bourbon.   Johnny Walker Black Label.

KEUM

No.   No.   He drank very little.  And he did not smoke.   He and my mother would share a beer, now and then.  Or a glass of soju.     He never drank whiskey.

JANICE

(pause)  My mother said he came home from Korea… a different man.    Silent.
Angry.  Haunted, she said.    Haunted.    Didn’t talk much.    Didn’t laugh,  much.   Drank. A lot.  And he was a mean drunk. (pause)

KEUM

That does not sound like  him — at all.

JANICE

(pause)   I was very fat, as a kid.   Piggy, he called me.  A pig.   Piglet.   At a restaurant once,  I ordered a triple scoop of vanilla ice cream,  for dessert.  Just to see what he would do.   I sat there and ate it all,  in front of him.  Slowly.    He was livid.    Finished his drink, got up and left us at the table.    Left my Mom and me at the table,  and walked away.    Wouldn’t talk to me for days.

KEUM

That is not the father I remember.

JANICE

Lucky you.

KEUM

But.  (coldly )   He chose… you.

JANICE

(pause)  What—do you remember  — of him?

KEUM

Oh.  We lived near the beach,  we would go there every day.   He would carry me under his arm and run into the ocean and dunk me,  screaming,  into the waves,  then pick me up and put me on his big shoulders..   Tallest girl in Korea!  he would yell.  Tallest  girl in the  world!

JANICE

We went to the beach at Carmel!   On the weekends, sometimes.   He would do that very same thing.  Put me up on his shoulders?  Say that very same thing to me!  Tallest girl in the world!   I thought I was the  tallest  girl in the world.

KEUM

Did he ever … talk about … me?

JANICE

No.  I’m sorry.    He kept you – and your mother.   A secret.   Locked inside.   LIke every other human emotion he had.

KEUM

No.   He was very — loving.  To us.  Open.  Tender.   I scraped my knee on a rock, once?  At the beach?  It was a really bad cut.   I was crying,  when he put iodine on it,  and  he was crying  too,  because he had to hurt me —

JANICE

To us.  He was distant.  Cruel.  Sometimes.   (pause)    Now …I can see  why.  (pause)  He had a family he loved.  A daughter he loved.  (pause)  Why did you agree to meet me, Keum?

KEUM

I hoped… I would  find  my father.   Alive.

JANICE

(pause)   How old were you when … ?

KEUM

We went  to Seoul with him  the day after I turned five years old.  My mother bought me a new American dress.   I thought we were going to another birthday party.    We went to a big American restaurant.   Very fancy.  We had a nice dinner.   My mother and father held hands.   After dinner,  I had my first bowl of ice cream.   Vanilla ice cream in a small glass bowl.  I loved it.   And then, suddenly,   my mother was crying,   and my father was  crying, and we were saying goodbye.  And.  He was.  Walking across the street to the airport,  to go —

JANICE

(bitterly)  Home.

KEUM

Do you have — any— happy memories?     Of him?

JANICE

Well.   After he was diagnosed, after he stopped drinking?    In the hospital?   He knew he was  dying.  It was like he’d been released from prison.   He was.   Happy. Well.  At peace.  We watched old westerns, together.  Every afternoon.  Drank peppermint tea.   He loved Clint Eastwood.  The Good, The Bad, and the Ugly.  We must have watched that one ten times.   Sometimes he let me hold his hand.

KEUM

Do you have children?

JANICE

No.   I never married.

KEUM

I have a daughter.   Roberta.    (shows her a photo)

JANICE

My – niece.    I have a niece!

KEUM

Half.  Niece.

JANICE

She’s beautiful.    (pause)    He  so  wanted… a granddaughter.

KEUM

(coldly)  But.   He chose  you. (pause)   And he  left my mother and me.  To starve.

JANICE

(long pause )  Perhaps.   This was a bad idea, Keum.   I want to thank you so much for talking with me, sharing what you could, and the photo, really, I thank you …. but  — I see  —  I’ve already  taken too much of your  time —

KEUM

(long pause)  I have some photos.    Of him.    And you.   And your mother.

JANICE

Photos?   Of me?  And my mother?

KEUM

And –some letters.

JANICE

He wrote you letters?

KEUM

Well,  I wrote to him first.  I  found his address  through G.O.A.L.  I wrote to him every month.  Every month  or so  I’d get a letter back.   And then, about four years ago–

JANICE

He went into the  hospital.   And the letters  stopped.

KEUM

Would you like to see them?    And the photos?

JANICE

Yes.  Yes.

KEUM

Send me your address.     I’ll scan them and send them to you.

JANICE

Thank you.  Thank you so much.  That would be —

KEUM

And then maybe we can chat again?

JANICE

And meet in person someday, when this nightmare virus   is over—

KEUM

I’d like that.

JANICE

(pause)   We both loved him.

KEUM

Yes.

(KEUM raises her glass of wine to JANICE)

KEUM

Tallest girl in the world?

JANICE

(raises her glass of wine to KEUM)  Tallest girl in the world.

                                         They “touch” glasses on screen

KEUM

Stay well.

JANICE

You too.

BLACKOUT

 

 

Mattress Magic Empire

Cast of Characters

KAY       Mattress Magic Empire receptionist, can be played by any actor

LEE       Mattress Magic Empire customer, can be played by any actor

 

Scene

LEE’s disheveled bedroom and KAY’s office.

 

Time

The present or close to it.

 

Notes

This play is written to be presentable on livestream or in person. In both cases the characters are connecting over the phone and not video call. They should not see each other.

 

Lights up on LEE and KAY. LEE sits at home in a disheveled
bedroom or studio apartment eating takeout. LEE looks
tired. KAY is dressed in a logo-less business polo and wears
a headset. KAY’s location is fully nondescript. LEE dials
numbers on their cell phone. One single ring. KAY answers.

 

KAY

Mattress Magic Empire, we’ve got the spell for a full night’s rest. This is Kay! How may I help you?

LEE

(dropping a bite of food) Oh. Shit. Hold on.

KAY

Hello? Can you hear me?

LEE

One second. Damnit.

KAY

I’m sorry, I didn’t catch that. This is Mattress Magic Empire.

LEE

Yes, hi, sorry! I was eating some – normally places have a wait time and I – well, I dropped my food right in my lap and I –

KAY

Of course, happens all the time.

LEE

Really?

KAY

Yep, nearly every two, three calls. Especially once we get past 3pm. Early dinner, late lunch, afternoon snack – you name it.

LEE

Oh.

KAY

What can I do for you today?

LEE

I recently bought a mattress –

KAY

Congratulations!

LEE

Yes. Thank you. I recently bought a mattress because I wasn’t sleeping well.

KAY

That’s a great reason to buy a mattress.

LEE

It is, I imagine. But there’s a problem.

KAY

Oh no! That’s terrible!

LEE

Thank you for your sympathy, it’s just –

KAY

And what model of mattress did you buy?

LEE

Oh, um… the Penta-Tech Warlock Wonder Cushion?

KAY

Love that mattress. Sooooo soft! And with contact cooling technology that keeps your body comfy all night long.

LEE

I mean, yeah, on paper it looked great, but it seems once I got it home and I –

KAY

Oh! Shoot! Sorry, I forgot to ask. Can I get your name?

LEE

Oh, yeah. My name’s Lee.

KAY

No way! Like the jeans?

LEE

Um, yes. Like the jeans. My… my parents named me after the jeans.

KAY

Oh, well, I’m Kay, named after the jewelers!

LEE

Oh, that’s interesting. How do you… feel about that?

KAY

Well, now I tell people right away when I meet them. That way there’s no time for them to ask. So.

LEE

Maybe I should start doing the same.

KAY

Oh yes. I encourage it. Really helps in the long run for us brand name folks. Anything else I can help you with today?

LEE

Uhhhh, yes. The mattress, you see?

KAY

The mattress you recently bought because you weren’t sleeping well.

LEE

Yes, that mattress.

KAY

The Penta-Tech Warlock Wonder Cushion?

LEE

Right. That one.

KAY

Uh-huh!

LEE

It seems I’m still not sleep –

KAY

Hold on. You know what I just realized?

LEE

Um, what?

KAY

We both have one-syllable names!

LEE

So we do.

KAY

I just think that’s so interesting. It’s not often you meet people with one-syllable names. Can you think of a one-syllable name? I mean, other than ours?

LEE

Well sure, plenty.

KAY

Oh, come on! No way!

LEE

Yeah. Like my dad. His name’s John –

KAY

As in John Deere?

LEE

Yes… as in the tractor. How did you – ?

KAY

Just a hunch. But, okay, sure, John. But beyond Lee, Kay, and John I’m plumb out of more names!

LEE

Okay… Um, Anne? Sue. Tim, Jim, Kim, Prim, Paul, Mark, Luke… Look, I could keep going?

KAY

You’re brilliant! You must be trying to name a baby sometime soon.

LEE

No, I’m not –

KAY

Or a pet?

LEE

No, I don’t have any pets, I –

KAY

Well, for your baby then, might I suggest the name Sears. It’s supposed to be a really popular name in about three years. If you name your baby Sears now, everyone will think the babies three years from now were all named after your baby!

LEE

Sears. Like the company that went out of business?

KAY

Exactly. Brand name. One syllable. Carry on the family tradition.

LEE

I’ll take it into consideration

KAY

I’ve thought about this a lot. My family does that same thing. My mom’s name is See! (pause) As in the candy.

LEE

Huh.

KAY

Uh-huh! Welp, anything else I can help you with today?

LEE

What? Yes! My mattress –

KAY

Is it one you bought from Mattress Magic Empire?

LEE

Yes, it is one I bought from your store, after hearing your ad on the radio –

KAY

(singing the tune)

When your head’s all a mess

cuz you can’t get some rest

And you’re never your best

Cuz your mattress is a pest

Just pitch that mat in the fire

And head on down to the Mattress Magic Empire!

It’s a great ad. Just a great ad.

LEE

Yes, that one. I wasn’t sleeping well and –

KAY

You wanted our magic spell to get you to sleep.

LEE

Right! Well, yes. Or, I mean, I thought something more comfortable could help me-

KAY

Help you (sing-songy) get some rest!

LEE

Yeah, yes, okay. (sing songy) Cuz I was never my best…

KAY

Oh no! I got that little ditty stuck in your head, didn’t I? It’s always stuck in my head.

LEE

Yes. It’s kind of on repeat.

KAY

Oh, is it?

LEE

Yeah, like, nonstop.

KAY

You are so interesting!

LEE

Thank you?

KAY

You’re welcome. Here’s a trick to get that devilish song out of your head… are you ready?

LEE

Um, okay, sure.

KAY

(same tune, with Latin crudely translated by playwright)

Caput dolet multum (your head hurts a lot)

Daemonium habes (you are possessed)

Venit tempus tuam (your time has come)

Serve magni capra (serve the great goat)

Replace that song in your head

A service of the Mattress Magic Empire!

There! Now it’ll be out of both of our heads! Huzzah!

LEE

Interesting. That did seem to work… for now. Thanks.

KAY

You are so welcome. What a productive call. Is that everything for today then?

LEE

Um…

KAY

I’m glad I could help – call again anyti-

LEE

What?! No! Oh my god – the mattress. I’m still not sleeping. I can’t sleep. The mattress didn’t help!

KAY

Really? This almost never happens.

LEE

Well, it happened to me. It’s happening to me.

KAY

Oh dear, oh dear, oh dear.

LEE

Well, I think I’d like to return it cuz, you know, it didn’t work.

KAY

This isn’t looking good for you, Lee.

LEE

Tell me about it. I’m practically having hallucination from how tired I am.

KAY

Lee, you signed an agreement. One that said you would start getting some rest.

LEE

That’s not my fault! Your mattress isn’t helping! I can’t sleep! No matter how I try. It’s like every time I lay down it –

KAY

– it feel a little bit like voices are climbing up your fingertips from the soft, velvety surface of your new mattress and into your bones?

LEE

Wait. Uh, yes. That… that is…

KAY

And no matter how you try to stop them at each joint of the body, which are softly cushioned by the mattress’s three-inch memory foam layer, they keep crawling slowly toward your spine? Relentlessly, one might say?

LEE

Relentless is a good word for it.

KAY

Have you felt them in your spine, which is now being well supported by the Mattress Magic Empire’s dynamic three angle spring design, like a worm chewing its way through your tendons?

LEE

Yes. It’s like they are tracking toward my brain

LEE/KAY

One vertebrae at a time.

KAY

Your lineage was chosen, Lee.

LEE

What?

KAY

The Mattress Magic Empire agreement clearly states that some customers will experience possession at the highest level from our infinite and ancient mattress making secrets.

LEE

It didn’t say that!

KAY

Did you read the fine print, Lee?

LEE

No. No one reads the fine print! It’s all lawyery mumbo jumbo.

KAY

It seems your ancestors were enemies of the ancient ones who helped write the incantation we use in our comforting technology. The curse has found you.

LEE

You mean my ancestor…

KAY

Probably stole a cow or something. It’s usually a cow. Or maybe a pair of shoes. The ancients were very protective of their footwear.

LEE

The voices keep getting more intense. They’re entering my neck as we speak! Make them stop!

KAY

I can’t Lee. It’s too late. You’re being inducted into the Order of the Box Spring Séance. Soon, you will not be yourself.

LEE

All I wanted to do was sleep.

KAY

That’s all any of us wished to do when we bought our first mattress.

LEE

It’s in there! I feel it! It’s like a hot iron on my temples!

KAY

I understand. They took me too.

LEE

And you sell this cursed garbage?!

KAY

What can I say? I’m not myself.

LEE

(shaking) What have you done?!

KAY

I know your instinct says to resist, but the less you fight the faster this will pass.

(LEE becomes fully possessed.
KAY is freed from the curse.)

KAY

(laughing hysterically) I’m free! I’m finally free! I’M FREEEEEEEE! Hahahahaha! (suddenly sober) I’m free. I’m finally free. I… I’m so tired…

(Light fade on KAY as LEE assumes the role of Mattress Magic Empire receptionist. A phone call. LEE answers.)

LEE

Mattress Magic Empire, we’ve got the spell for a full night’s rest. This is Lee! How may I help you?

(pause)

Oh, no, finish your bite of food and then we’ll talk. I’m in no rush.

THE END

Rae Hoffman Jager

Rae Hoffman Jager is the author of One Throne (2017). Her most recent manuscript, American Bitch, was a semi-finalist with Sundress Press and Birdcoat Quarterly. Rae’s poetry has appeared most recently in Juke Joint. She has work forthcoming in The Moth and New York Quarterly. Her work has been described as rambunctious, urgent, funny, and elegiac. Rae holds a BA from Warren Wilson College and an MFA from Wichita State University. For more information, you can visit her website at www.raehoffmanjager.com

Eric Braman

Eric Braman (they/them) is a playwright, poet, and storyteller based in Springfield, Oregon. They were raised in the Midwest where a tenacity for niceties and a deep connection to nature was discovered. Since coming out as Queer their art has shifted to incorporate explorations of masculinities, mental health, and Queer possibility. Their work has been published in the poetry anthology Sh!t Men Say to Me by Moon Tide Press,The Coachella Review, and Nancy Stefanick’s Kaleidoscopes blog. Eric‘s plays have been professionally produced at Oregon Contemporary Theatre, Ghostlight Theatre Ensemble, the University of Oregon and more. Follow them on Instagram @ericwilliambram and on Facebook @EricBramanArtistry

Antartica

CHARACTERS:

PATTY – Female, a faded beauty.
JOHN   – Male, her husband.
POSTMAN  – Male.  Early 20’s, careworn yet idealistic.

SETTING:
A Desert.  Nothing but sand.

 

 

JOHN and PATTY sit on lawn chairs, fanning themselves.

 

PATTY

It’s hot.

JOHN

Mm.

PATTY

Do you remember when we first came here?

JOHN

Mm.

PATTY

We used to dance and laugh and splash around in the …

(sees he is not listening)

… box of knives.

JOHN

Mm.

PATTY

You’re not listening.

JOHN

Mm.

PATTY

John!!

JOHN

Mm?

PATTY

It’s hot.

JOHN

Plenty of people would kill for heat.

PATTY

I know that – I know – it’s just –

JOHN

Blankets are expensive.

PATTY

Yes, John, but –

JOHN

Think of the money –

PATTY

Yes, John, I know, but –

JOHN

It doesn’t cost anything to remove your clothes.

PATTY

Your dignity, perhaps.

JOHN

Mm.

PATTY

John?

JOHN

Mm?

PATTY

Will you dance with me?

JOHN

It’s too hot.

 

The POSTMAN enters.

PATTY

Oh look, the postman has arrived!

JOHN

More bills.

PATTY

Hello Postman!

POSTMAN

Hello.

JOHN

We don’t want any bills.

PATTY

Any news?

POSTMAN

Nothing flashy.  You?

JOHN

She’s hot.

PATTY (to Postman)

No?

POSTMAN

(to Patty) No.
(to John)  I’m sorry to hear that.

JOHN

It’s nothing new.

PATTY

No news at all?

POSTMAN

(agreeing with John) No.

(to Patty) I have the latest weather if you’re interested.

PATTY

Yes, yes, anything – what is it?

POSTMAN

It’s hot.

PATTY

Ah.

POSTMAN

I’m sorry I was delayed.

PATTY

No worries, Postman.  We weren’t really waiting for you.

JOHN

Or your bills.

POSTMAN

I should have been here sooner but – the sun – the sun was so bright that I squinted.  I was blind for a moment and I – I dropped my bag – a postman never drops his bag – but I did, I dropped it down and took off my shirt because it seemed that I should – and just then in the squinted light – I saw her – Love. I cried suddenly; softly, suddenly.  Then the Postmaster yelled, “back to work!” And I begged Love not to leave my side – “Back to work!” he yelled once more – fiercer than thunder, “Back to work!”  Back.  Back.  Back–back-back and I knew I’d never see it again – something so perfect – “No!” I yelled – “Don’t leave me!” I wailed – “You have no idea what it is to always be giving.  Passing out, handing on, dropping off, turning over, sending out, giving – giving – giving and never once having something stay behind in my sack for me.  Never once a folded slip of paper bearing the shy sweet letters of my name.  And here you are – Those who have it, rarely see it and those who don’t are – “Back to work!”  And I knew then I’d lost her – “back to work!” – and somewhere the oceans dried up and somewhere the heat rose and somewhere I – “back to work!” – I – “Back to work!  Back to work!  Back to -” …  went back to work.

PATTY

Mm.  Any mail for us, Postman?

JOHN

We don’t want the bills.

POSTMAN

No bills, today, just a package.

 

The Postman hands a package to Patty.

PATTY

A package?

JOHN

What sort of a package?

PATTY

Who’s it from?

JOHN

What does the return address say?

PATTY

It says –

JOHN

Here, give it here –

PATTY

No, it’s a package for me – the postman gave it to me!  It’s says right here: to Patty –

JOHN

And John – aha! – see?  It says clearly “to Patty and John.”

PATTY

The return address – what’s it say?

JOHN

Antarctica.

PATTY

… Antarctica.

Pause.

Who do we know in Antarctica?

JOHN

Who cares, open the package.

POSTMAN

I’m leaving now.

JOHN

Open it!  Open it!

POSTMAN

Goodbye.

The postman leaves.

John and Patty comically wrestle open the package underneath the following dialogue.

JOHN

I once had an aunt with a fur coat, maybe it’s from her –

PATTY

Or the pen pal from beyond and we never found out where he came from –

JOHN

Those letters stopped coming years ago – careful, you’re ripping it –

PATTY

Yes but this – I am not! You’re the one who’s – this might be the start of a new correspondence – You’re about to –

JOHN

I’ve got it – !

PATTY

I’ve got it!

Rip!  A single ICE CUBE falls from the package and lands on the sand.  It catches

the light, dazzling like a cheap ring.

Pause.

PATTY

What is it?

JOHN

Some sort of light.

PATTY

It looks like a diamond.

JOHN

It’s not a diamond – diamonds don’t sweat.

PATTY

Look!  Look!  Yes, little beads of sweat are building up on its – do you think it’s alive?

JOHN

Nonsense, it couldn’t breathe in the package.

PATTY

Touch it.  See if it moves.

JOHN

No.  It won’t want to move, it’s too hot, look – it’s sweating.

PATTY

Who would send us something so lovely?

JOHN

Someone who loves us.

PATTY

Who loves us?

JOHN

We should – yes – we should put it somewhere.

PATTY

Where?

JOHN

I don’t know.  But we shouldn’t leave it here – someone will take it. Greedy, greedy – Put it in your pocket.

PATTY

No, I want to look at it.

JOHN

We need to hide it –

PATTY

I want to see it –

JOHN (reaching for the ice cube)

It can’t be seen, we’ve got to – ow!

PATTY

What?

JOHN

It burned me!

PATTY

It’s hot?

JOHN

It’s – no, it’s not hot, but . . . it burned my skin.

PATTY

Perhaps it’s magic.

JOHN

No, it’s angry – it’s sweating and it wants to be left alone –

PATTY

John –

JOHN

It doesn’t want to be touched or spoken to or dealt with, it’s hot, in this heat, it’s so hot – it wants to go back where it came from – it’s been tricked and it’s burning with an anger so hot –

PATTY

(overlapping slightly with John’s previous line)

John – John, no John, look.  It’s not sweat.

JOHN

What?

PATTY

It’s tears.  The rock is crying.  Look, it’s smaller somehow – it’s shrunk in sadness – so many tears – they’re – draining it.  Look how it’s shrinking.

JOHN

A flood of tears.

PATTY

It wants to go.  It wants to go back.

JOHN

It hates the heat.

PATTY

It hates us.

JOHN

How can it hate us?

PATTY

I hate us.

JOHN

. . . Patty?

A tear falls from Patty’s eye.

PATTY

Oh god, John . . . I’m shrinking.

JOHN

Patty?

PATTY

Look John – it’s almost gone now: it’s shrunk so much – and now me – I’m leaking, too.

JOHN

No, Patty.

PATTY

I’m vanishing.

Tears now dripping from Patty’s eyes.

JOHN

No, Patty, no –

PATTY

I want to go, I want to go back.

JOHN

Back to what?

PATTY

I must have come here in a package – I don’t belong here, John, some- one’s sent me here and I don’t belong and now I’m shrinking in sadness.

JOHN

No, Patty, no Patty, no Patty no –

PATTY

Who sent me here John – who sent me here to –

JOHN

Patty no, no Patty no –

PATTY

This heat.  This stifling, stifling heat.

JOHN

Patty.

PATTY

Look it’s gone!  The sand around it’s now muddy like a memory and … it’s gone.

JOHN

Don’t go, Patty.

A steady stream of tears now from Patty’s eyes.

PATTY

I can’t help it John – it’s from inside me.  My sadness.  I’m shrinking.

JOHN

Patty!  Patty, no!  Don’t Patty!  Don’t Patty!  No!

PATTY

John?

JOHN

I love you.

PATTY

… John?

(Patty touches her eyes.  No tears.)

It’s stopped.

Patty and John engage eyes perhaps for the first time.

The sun melts into the horizon.

The Bee That Declared a War

CHARACTERS

Tiffany Yamón Upchurch                 23 Years Old. Black.

Joshua Aaron Rosenberg                 27 Years Old. White.

Time

December 2015, Around Midnight

Setting and Context

“The Rochester” is based on a real apartment complex in St. Louis, Missouri. Between late 2015 and early 2016, ownership of “The Rochester” changed hands. During the transition, many members of the primarily black staff were laid off, or had their pay reduced in an effort to convince them to leave voluntarily. Most of the newly created vacancies were filled by white men and women associated with the new corporate ownership.
The residents barely noticed.

Note on Text: A slash ( / ) employed in the midst of dialogue is meant to indicate an overlap in speech. The successive character’s line of dialogue begins at this moment.

 

“The bees had declared a war,

The sky wasn’t big enough for them all…”

– Of Monsters and Men, Dirty Paws

 

December 2015.  St. Louis, Missouri. Midnight. The front hall lobby of The Rochester, a large, upscale apartment complex. The lobby’s décor has a warm, mahogany feel.  Stage right is the front doors leading into the street. Stage left is an elevator which takes residents up to their units.  Center stage is the doorman’s desk, facing the audience. It supports a computer (which displays black and white security footage) and a sign-in registry. The lobby is decorated festively, in anticipation of the holidays. A large, vibrant Christmas tree sits near the front doors. A small menorah and Kinara sit on a side table. YAMÓN, 23, is behind the desk, quietly reading. A few moments pass before she notices something in the security footage, which causes her to jump a bit. She reaches into one of the desk’s drawers, pulls out a turquoise envelope, and places it on the center of the desk. JOSH enters, wearing a large winter jacket and carrying an overstuffed backpack. He immediately unzips his coat, revealing blue scrubs underneath. He’s also wearing a silver Star of David necklace around his neck, which is made noticeable when it frequently catches the light. YAMÓN beams at him. JOSH barely notices at first.

 

YAMÓN

(Laughing) You look cold!

JOSH

Jesus. It’s insane out there!

YAMÓN

Right?!?

(JOSH catches YAMÓN’s gaze)

JOSH

You staying warm, Yamón?

YAMÓN

Yeah, it’s alright…. It’s pretty quiet in here. Door doesn’t open and close as much this late.

JOSH

(Smiling) Sorry about that!

YAMÓN

About what? How else would you get in?

(JOSH crosses over to the desk to sign the registry.
YAMÓN stares expectedly at the card. JOSH doesn’t notice.)

JOSH

(Staring at the registry) Whatcha readin’ tonight?

YAMÓN

Oh, this? (She glances at her book’s cover) It’s “The Shame of the Nation”/ by Jonathan Kozol.

JOSH

Oh yeah! I know that one. That’s… right right! That’s Kozol’s book.

YAMÓN

Yeah. It’s really good.

JOSH

(Looking up, smiling) What happened to (flamboyant:) Living for Love and Dying for Loyalty?

YAMÓN

Hey now! Don’t make fun of/…

JOSH

(Smirking) The literary and rhetorical power of Mz. Lady P? I would never!

YAMÓN

I mean, I’m still reading that one, but one of the other residents has been on me… telling me to read this, and she sort of, well, thrust it at me the other day.

JOSH

Ha! Who was it?

YAMÓN

Marissa(?), I think.

JOSH

Oh yeah. She’s kinda pushy like that…

YAMÓN

But it’s mind blowing. Seriously!

JOSH

Yeah! It’s been a while since I read it, but I remember!

(The two smile at each other. Beat. JOSH glances over at the Christmas tree)

Oh hey! Look who’s back!

YAMÓN

Yeah, we set her up earlier tonight.

JOSH

That was so, like, asinine that they wouldn’t let you put the tree up last year.

YAMÓN

Yeah, I mean, it’s whatever, but I’m glad we got it back. Cheers everyone up.

JOSH

It must be the, uh, the new management, right? (Beat)

YAMÓN

(Uncomfortable) Yeah. I guess they don’t care as much…

JOSH

(Noticing the side table) And there’s a menorah over there too. And a—oh what’s it called—for Kwanza. So everybody’s happy, right?

YAMÓN

Yeah. I mean, I guess.

JOSH

I still don’t understand why we couldn’t have the tree last year. I love it and I/ don’t even celebrate…

YAMÓN

Yeah, I think it was that letter they got from that resident who was offended/…

JOSH

Oh right… No, I’m sorry. That’s just stupid. Like, the whole Starbucks red cup debacle that’s dominating the news? Like, it’s just a bunch of people getting all assholier-than-thou over a great big nothing and ruining it for everyone. (Beat)
Ah well. What can you do? Sorry for the rant. (Beat) Anyway, I should probably head up. I’m wiped out…

(JOSH walks over to the elevators. YAMÓN looks frantically at the card.
JOSH pushes a button. YAMÓN
finally holds up the card.)

YAMÓN

Happy birthday!

(JOSH looks back. He possibly blushes)

JOSH

What? How did you…? I can’t believe you knew!

(He walks over and takes the card)

YAMÓN

Yeah, I mean. Facebook.

JOSH

(Begins opening the card) Oh yeah. But still. This is so nice of you! (Pause) Oh. Uh. Should I open it now or…?

YAMÓN

Yeah yeah! Open it.

(The elevator door dings and slides open. JOSH pulls that card out.
It visibly has Christian imagery on the front. The elevator door dings and slides closed.)

JOSH

(Reading aloud under his breath:) “Dear Josh, May your coming year be filled with endless happiness and the light of our Lord and Savior J—”
(Looking up at YAMÓN) Oh. Um.

(JOSH fiddles with his Star of David necklace. YAMÓN stares at him expectedly, unfazed.
JOSH almost says something, but decides against it.
He quickly reads the rest of the card to himself and looks up.)

This was so nice of you. Thank you!

YAMÓN

Yeah, it’s nothing.

(JOSH glances at the card’s signature)

JOSH

Wait. Your first name is “Tiffany?” I thought it was… yeah, o-on Facebook too it’s/ “Yamón.”

YAMÓN

Yeah, I don’t like “Tiffany” all that much. Yamón’s a family name so that’s just what I go by.

JOSH

No kidding! That’s really cool.

YAMÓN

Really? Thanks. I never thought of it as “cool”…

JOSH

Yeah. (Beat – Josh glances at his watch) Oh man, it. is. late. indeed. I really better get upstairs.

YAMÓN

Yeah. No worries. Goodnight!

(JOSH walks over and pushes the elevator button again.
YAMÓN fidgets a bit, uncomfortably.
JOSH, staring at the elevators, doesn’t notice.)

JOSH

Geez, you’d think since the elevator was, like, just here… it’d open back up super quickly or something.

(YAMÓN wrestles with wanting to say something. Finally:)

YAMÓN

Josh, I think I’m gonna get fired.

(Beat)

JOSH

What?

(The elevator door dings and slides open)

Why?

YAMÓN

New management is tossing everyone.

JOSH

Yeah, but you’re probably gonna be okay…

YAMÓN

They fired Tyrone this morning.

(The elevator door dings and slides closed)

JOSH

What?!? (YAMÓN doesn’t respond) No. Everybody loves Tyrone. He’s been the porter here for… for…

YAMÓN (Overlap)

Fifteen years.

JOSH (Overlap)

Everybody loves Tyrone. It isn’t The Rochester without him.

YAMÓN

Yeah, well. Now it is.

JOSH

Did they say why?

YAMÓN

His girlfriend showed up. Apparently they had an argument in the lobby…

JOSH

So?

YAMÓN

I think they were looking for a reason.

(Beat. JOSH takes this in.)

JOSH

That’s nuts.

YAMÓN

Yeah.

JOSH

But you’ll be fine. Everybody loves you.

YAMÓN

That’s what you said about Tyrone. Twice. (Beat) Stacy told me she wants to meet with me in the morning. They saw I was gone all last week.

JOSH

Wait… but wasn’t that because you were looking after your mom?

YAMÓN

Yeah. But I missed a whole week so…

JOSH

(Putting his hand on his forehead) No. There’s no way—. You’ll be fine. I gotta believe that…

YAMÓN

Yeah. Um. (Beat) I was kinda hoping you could do me a favor…?

JOSH

Of course! Anything!

YAMÓN

I was wondering if you could maybe talk to Stacy for me(?). Tomorrow. Maybe talk me up or something…?

(Beat)

JOSH

Oh. (Long pause)
Um.

YAMÓN

What?

JOSH

It’s just. I’m never here during the day.

YAMÓN

What?

JOSH

Yeah, I’m at the hospital… like, all the time. I’ll be gone way before the office opens and back, y’know, around midnight. Like usual.

YAMÓN

You can’t give the front office a call or something?

JOSH

I mean… we don’t usually have time to make personal calls. I’m like, running from patient to patient to… (He trails off)

YAMÓN

But, I mean… when do you drop off the rent?

JOSH

(Making a sliding motion with his hands) I usually just slide it under the front office door.

YAMÓN

(Mirroring motion) So maybe you could just slide a note or something in tomorrow morning…? (YAMÓN notices JOSH’s discomfort and stops speaking.)

JOSH

Listen. I mean. It’s new management and they barely know me. Like, what’s my word good for?

YAMÓN (overlap)

Probably a lot.

JOSH

And I don’t want to be “that guy,” y’know? The uppity resident causing trouble? Before they’ve even met me? Next thing you know, I’ll be sitting with a clogged toilet or something for weeks before somebody… um.

YAMÓN (Overlap)

I don’t understand.

JOSH

I just want to quietly go about my business, y’know? (Silence) I just make it a practice not to get involved…

(Beat)

I don’t know. What if there was like, this totally valid policy for taking time off and you just sort of…

(Beat)

…Didn’t follow it?

(YAMÓN is silent)

What I mean to say is, I’m probably not the right person/ to…

YAMÓN

(Quiet) I bring you a bagel every Sunday.

JOSH

What?

YAMÓN

(Quiet) Every Sunday when I go shopping before work? I bring you a free bagel. Haven’t you…noticed?

JOSH

Yeah, and I appreciated it…!

YAMÓN (Overlap)

(Quiet) And I told that girl once that you weren’t home, even though you were, like you asked me to.

JOSH (Overlap)

Yes. Yeah, I know…

YAMÓN

(Quiet) And I gave you my umbrella that one time when it was raining.

JOSH (Overlap)

And I gave it back.

YAMÓN

(Quiet) And I chased the mail guy a block up the street that time when you missed him for the day. And I made you soup that time you were sick. And I put in that emergency service request for you after hours even though not having hot water isn’t exactly an “emergency.”

JOSH (Overlap)

I didn’t ask you/ to do any of those…

YAMÓN

(Quiet) And I remembered your birthday.

JOSH

Yeah, well, you didn’t have to do those things…

(Silence. YAMÓN has a pained expression on her face.)

Look…

YAMÓN

And, well…you’ve made your fair share of promises. But I let them all go.

JOSH

What do you mean?

YAMÓN

Last week, when you brought that cake down for a friend(?). On the way back up, you told me you’d bake for me sometime. And before that you told you’d burn me a copy of that new Of Monsters and Men CD. And you told me that you’d grab me a cup of coffee from the lounge that one morning and, what a surprise, you never came back.

JOSH

I… I forgot.

YAMÓN

All three times?

(Long Silence)

(Realization) They’re gonna fire me.

JOSH

No, they’re not! I swear…

YAMÓN

(Growing fear) I don’t know what I’m gonna do…

JOSH

You’ll be fine.

YAMÓN

I’ve gotta help take care of my family. And I’ve gotta pay the rent… It took me six months to find this. I’ve-I’ve gotta have a place to go. I need a job.

JOSH

Slow down. Nothing’s happened yet.

YAMÓN

(Venomously to JOSH for the first time) I killed that bee for you.

JOSH

What?

YAMÓN

When you came down here, all in a panic? A few weeks ago? When that bee got into your apartment? (Beat) You were freaking out over this tiny little insect that probably wouldn’t’ve even hurt you if you didn’t notice it in the first place. I gave you some bug spray but you said you didn’t want to be near it so I asked if you were allergic and you said “no.” You said you were “just scared.” (YAMÓN scoffs) Ringing any bells?

JOSH

Yeah. You were great. Y-you came up to me to my/ apartment…

YAMÓN

I went into your apartment. You stayed in the hall. And you shut the door on me.

(Beat)

You shut me in with that bee.

JOSH

I was scared… i-it might get out. And then it would be in the hall…

YAMÓN

And I killed it for you. (Beat) It stung me, by the way. Did you know that?

(She reaches her palm out and points to the center)

 

Right here.

JOSH

No. You didn’t say anything.

YAMÓN

You’re right. I didn’t. And it hurt. But I didn’t say anything.

JOSH

I…

(YAMÓN puts her head down. She might cry lightly.)

Please. Please don’t… It’s going to work out. I… I… (Beat) I’m sorry.

(YAMÓN looks up.
The two look at each other for a moment, perhaps seeing each other for the first time.
YAMÓN begins to collect herself.)

YAMÓN

No. No, I shouldn’t be unloading on you. It’s not your/ responsibility.

JOSH

Maybe I could write something…

YAMÓN

(Sharply dismissing him) No, don’t worry about it.

JOSH

I mean, I…

YAMÓN

I said, “Don’t worry about it.”

JOSH

Are you gonna be…okay?

YAMÓN

Yeah. No, it’s fine, I’m fine. (Looking towards the elevator) Don’t you have to be…?

JOSH

Huh?

YAMÓN

Up early?

JOSH

Yeah, I mean, I guess.

(JOSH slowly walks over to the elevator and pushes the button again.
The two wait in silence for the elevator to arrive. Eventually, it dings and slides open.)

Everything will look better in the morning. It always does. I promise.

YAMÓN

Yeah.

JOSH

(Stepping into the elevator) They might not/ even…

YAMÓN

Night, Josh.

JOSH

Goodnight, Tiffany.

YAMÓN

(Looking up) Yamón!

JOSH

What?

YAMÓN

You called me “Tiffany.”

JOSH

No I didn’t. (Beat- shock/horror) Did I?

(The elevator dings and slides closed on JOSH)

 

END OF PLAY