Category Archives: Writing

When a Poet Passes

I’m not usually one to get affected or upset when a celebrity dies. I reserve my grief for people I actually knew and loved, and who knew and loved me in return. Sometimes, though, we do feel an affinity with people we have never met or known on a personal level, and when I heard of Mary Oliver’s passing, I was struck with the sadness that such a literary light would no longer be shining in our dim world. She’s been featured here a number of times, with a number of her poems, because she put things into words in a beautiful, simple, heartrending way of which I could only dream of approaching. Her descriptive art form distilled the beauty of nature into a palpable human experience, not in a way that was cloying or trite, but in the most profoundly simple and moving manner. She invited her readers to participate without leaving their arm chairs – but she inspired most of us to do that too. Explore, she seemed to implore. Experience, she seemed to evince. Like Auntie Mame, what she wanted most to do was live, live, live! That sort of spirit, and the resulting body of work she leaves behind, is the immortal gift of art. It’s also the mark of someone who made the world a little better while she was here.

I will miss looking for a new collection of poems from her in the bookstore, but I will share her work with my niece and nephew and any other children that cross my path, in the hopes that she will live on like all great artists.

 
It is better for the heart to break, than not to break. – Mary Oliver

 

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Writer’s Profile: Kevin Sessums

There is nothing more moving or poignant than a human being in the process of evolution. Those who dare to make something better of themselves, who fall down and pick themselves up again, over and over and over, will always impress and inspire me. To do so in a public way, and to share that journey no matter how trying or difficult, is the stuff of additional legend. We will all falter at some point. We will all fail. Some of us have done it numerous times – whether in our jobs and careers, or our personal and family lives, or even just in being the best person we know how to be. We trip up and make mistakes, we fall victim to temptation or heartache, we give in to the easy escapes that society so insidiously proffers. What matters is what we do in the aftermath.

How do we deal with everything that this wondrous, frightening, unpredictable life throws at us? That is the true test. Though it is most dramatically answered in how we behave when we are at the pinnacle of our world and our time in it, and how we act at our lowest points, the majority of our lives are decided on a much simpler day-to-day basis: how we act in the quiet moments. All those in-between times that form the brunt of our existence, the moments that lead up to and follow the big momentous events. If you can find grace in those times, if you can conjure beauty there, you might be all right. That’s where our lives are really lived. When I think of how people who have been through a lot make it through those moments, I often think of Kevin Sessums.

As she did with so many other important artistic figures in my inspirational pantheon, it was Madonna who first brought me to Mr. Sessums. Back then anyone affiliated with her gained instant superstar status in my mind, and his bold byline in one of her epic ‘Vanity Fair’ profiles set him upon the same perch as Herb Ritts, Patrick Leonard and Alek Keshishian. He breathed the rarefied air of her presence, but even better than that he could put it all into gorgeously-wrought turns of phrase, working words into gloriously-dizzying heights of fanciful and effective prose. His Madonna piece was one of reverence, but it probed and challenged the subject too. He was not afraid to get gritty, and Madonna, to her credit, was not afraid to let him. It showed me the symbiotic relationship between artist and biographer, when the object of adoration was compelled to reveal a little something more about themselves, and the chronicler of said object turns a story into a work of art.

It wasn’t until a few years later, after his self-professed fall from grace and the first of several redemptive rebirths, that he came back under my radar with his wild and witty ‘Mississippi Sissy’; following that, he went through a few more roller-coasters before pulling himself out of a drug-induced haze with ‘I Left It on the Mountain’. Both books were New York Times bestsellers and critical successes. His writing talent had not diminished; if anything it was sharper, setting things into greater relief. More cutting and concise too, as one needs to be as they get older and wiser. There was something poetic and almost elegiac that informed his work at this stage – a new, hard-won edge that lent things a slightly sinister sparkle. Here was a man who had seen the world – the best and the worst of it – and here was a man who had been beaten down by it as much as he wanted and needed to be buoyed. How strange the struggle we see so clearly in others yet eludes us as it is happening to ourselves.

After that, Mr. Sessums faded a bit from my admittedly-limited view until I started seeing his FaceBook posts through mutual friends. Of course I recognized the name, and as I clicked more and more on what he was posting, I thought I’d take a chance and reach out with a friend request. He was kind enough to respond, and ever since I’ve followed his writing religiously.

His latest quest is a brave beginning that cleaves his California life of the past few years and finds him starting over once again, this time in the cruel winter of almost-upstate New York. Adapting as only a true survivor does, he has taken his mastery of the written word and put it into these parts: the online world of transitory power and influence, the finicky and fool-trapping insidiousness of the internet. He recently started a website that allows us access to his writing – an online magazine assembled by the master himself: the man who first gave me such a thrill with a Madonna-covered magazine thirty years ago. It is sessumsMagazine.com and it is every bit as fabulous and witty and wonderful as one would expect from a guy who once worked for Andy Warhol. Within, he offers a few jewels of his past portraits of celebrities, with modern takes on current culture, and it is curated with the tasteful eye of a practiced pro.

He’s also revealing a glimpse behind the magical curtain, as is custom in today’s social-media-obsessed environs, and as such everything takes on an expressively-urgent meaning. As he brings us along for the ride, we each gain a little bit from our investment. To care about the journey of another human being is the hallmark of compassion; it brings us closer to each other at a time when the world wants to divide everyone into opposing camps. Sessums has a voice that is gorgeously poetic, and that powerful instrument has served him when all else has failed. His tremulous introduction to his new site was eloquent and moving, marked by wisdom, humility, hope, and dignity:

“I have come to the end of the day when I launched an online magazine, sessumsMagazine.com, into the world. I am still trying to comprehend how I feel about it all. Not the magazine. I know the magazine is good. Really good. I know that I am a talented editor and a curator with a keen and careful eye. I know that I can write. I have a voice. This is it – right now – here – in this sentence. I am secure in that knowledge. I am instead referring to how I feel emotionally about it all. I am not a business man. I see myself in artistic terms. And yet I am hopeful this magazine will be a new way for me to survive and navigate the world professionally with the use of talents I have honed over the last three decades. I am secure. I am vulnerable. I am not frightened. I am ready.

The idea for this magazine came to me when I was lying in a hospital bed a few months ago as close to death as I have ever been. In many ways choosing to create this magazine was The Choice That Was Not Death. I am just now understanding that and allowing myself to acknowledge it. I know that sounds rather stark. But at that point my life was a stark one. I began to conjure this magazine as the lifeline that I was throwing myself for I had to find a way to survive once I emerged from the hospital. I have created this magazine by the seat of my pants with no backing and no staff… So in that regard, I have had to prove my mettle yet again. Mettle, in fact, seems all that is left me at so many junctures in my life. This has been the latest one. And yet I often feel stranded in my own life. Creating this magazine was on some level a very lonely endeavor. And yet I knew if I finished it and got it out into the world, the act itself of doing that would be The Choice That Was Not Lonely. It is how the solitary writer feels each time he or she puts their work out into the world. This has been a version of that, but different. It’s that difference I am still trying to discern.

At the end of this day, I will be gentle with myself as we work out the bugs in the technical aspect of the site and the subscription pathways. I am working out my bugs too. I am finding this new pathway… I am grateful. I will make that choice too: to live in the gratitude.”

On a recent wintry night on his new street, he and his dog Teddy walked and frolicked in the frightening freedom of another beginning and the unbearable lightness of having let go of so many things. His loft has turned out to be a grand repository for the light of Hudson – perhaps not as striking as the light of Provincetown, or the often-sunny days of San Francisco – and it carries its own beauty.

For those who keep trying, who have been dealt hand after rotten hand in the impossible-to-master card game of life, I offer Mr. Sessums as inspiration and proof that no matter how dark or tortured your journey grows, there is always – always – another day. There are other bright rooms, there are more charming streets, there is someone who is as kind and generous as you need someone to be. There is beauty in our stark winters, and once you reach spring you will marvel that you ever doubted in the darkness.

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Andy Cohen’s ‘Superficial’

There’s a certain art to the act of seeming superficial, and Andy Cohen masters that art while delving deeper into another diary of a year in show business. The latest (last?) edition of the Andy Cohen Diaries, ‘Superficial’ takes up pretty much right where Cohen’s first diary left off, and continues in much the same vein. The core cast of characters in his NYC family is gloriously intact – a loyal bunch including Anderson Cooper, Sarah Jessica Parker, Kelly Ripa, John Hickey, long-time pal Grac and a possible love interest endearingly emblazoned as #BAS (BrazilianAndySamburg) – and their antics brings the city alive, making it seem both boundlessly exciting yet intimately quaint.

While there’s no real need for extra comic relief in this light but enjoyable read, his parents offer their bit, including MY FAVORITE PART OF EVERY BOOK HE’S EVER WRITTEN: his mother. She offers her own hilarious insight into her son, the funniest of which seems to be ENTIRELY UNINTENTIONAL. Such interactions ground Cohen even as he’s casually texting with Madonna or sniffing up on Dolly Parton’s decolletage.

His one almost-constant companion remains his beloved dog Wacha, who’s undergoing some soul-searching too, to find out what is at the root of his behavioral quirks. It’s a bit of a theme, as Cohen’s diary becomes its own form of therapy. His new apartment is under construction, and his personal life seems ready for improvements too. To that end, we see his restless FOMO syndrome finding some sense of reconciliation as the book concludes. Keeping a diary is hectic business, and, much like our social media output, sometimes it seems to supercede the actual inhabiting of the moment. Cohen becomes more and more aware of this as the book progresses, and though the reader is never given a dull moment, one gets the feeling that he’s already eyeing the next thing. The saddest passages of the book are those moments when Cohen realizes he’s not quite connecting with someone – whether it’s a guest or the audience, a stranger on the street, or even the possibility of a romantic relationship. It’s a striking contrast to see someone still searching for more when they have such an otherwise-enviable existence. While on its surface everything is all glitz and glamour, fame and hard-earned fortune, Cohen delves a little deeper as he reaches the last pages, positing the possibility that his three-year docu-odyssey has come to its close, and that maybe there is more to the unexamined life after all.

On the last page is a message that could be read several ways, and Cohen’s occasional gift for multi-layered meaning comes into beautiful focus: “In this year, as I’ve been going back through what I’ve written to make it ready for publication, I’ve been forced to think a lot about where I am in my life. That ability to reflect does not come naturally to me. I’m usually too busy having fun! But what hasn’t been great about writing the diary is the feeling sometimes at the end of a busy day that there’s still one more thing to do.”

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The Lucky Number

Before my current project, The Delusional Grandeur Tour: Last Stand of a Rock Star, comes to a close (in the next month or two, I promise) I offer a day of reading from my last project, 13. Each link tells a story, each number tells a tale.

1:13

2:13

3:13

4:13

5:13

6:13

7:13

8:13

9:13

10:13

11:13

12:13

13:13

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Bravery, Brevity & Bravado: The World of Ben Kline

There’s a lot of bullshit on the internet, and it just keeps accumulating. Wading through all the nastiness and fluff is a Herculean task into which I rarely delve. If it doesn’t happen across my social media feeds (and often when it does) I don’t pay much attention to it. Once in a while, however, someone comes along to get me to sit up and take notice. It happened the other day when Matthew Rettenmund’s ‘Boy Culture’ blog alerted me to the awesomeness that is Ben Kline. I immediately sent him a FaceBook request asking if he’d deign to be a Hunk of the Day, but upon perusing his site and his work, it was clear that Mr. Kline was much more than the average Hunk.

As a poet, writer, and fellow-seeker-of-the-truth through the imagery of Instagram and Tumblr, Kline and his creative output resonate powerfully with me. He takes the acutely personal and transforms it into something universal, which is at the heart of any work of art. Getting at the core of the human experience and exposing the raw emotional circuitry between the heart and the head is a talent only the most courageous choose to cultivate. The exploration of one’s identity in such a public platform takes a big set of balls, as well as a thick skin. It also requires a certain vulnerability that can be frightening to many people.

Perhaps best-known for his poetry, Kline combines the written word with powerful, personal images. I’ve always held that contrary to popular perception, poetry is the most difficult style of writing. The thousands of words that comprise so much prose (and almost everything you read here) are designed to mask the ineptitude of content and style, whereas in a poem of a few lines there is nowhere to hide. Such an economy of words is terrifying terrain for any but the most talented writer.

 

Kline’™s poetry seeks to further the eternal quest for finding meaning in our lives, in the ways we strive to connect with each other and the attempts we make to get closer to the truth. His first collection, ‘Going Fast in Loose Directions‘ is an examination of those moments. His Tumblr website, Original Content Required, offers similar insight and intimate revelations with its of-the-moment observations. Time and distance can provide a safety buffer for intensely-revealing work, but so can the development of a persona slightly separate from the real person behind it all. That sort of dichotomy is befitting a Gemini like Kline.

“I definitely have created a character in my work on Original Content Required,” Kline explains. “Even though I’m clearly the writer of my poems, stories and essays, as well as the “model” in many of the photos, I tag them The Author. Which draws a line, yet allows the line to blur, because I am the author. Just not “The Author.” I like to say, My work is not me, but of me. Readers do not always appreciate that a poem, particularly in first person, is not about me, Ben, but is a character with or without name. Biographical critique has caused two generations of readers to seek too much information/gossip/context about the writer from the work, instead of just taking the work as presented. Throw that into the social media age, where every detail is scrutinized for real or imagined context…it’s almost too much… I don’t mind the two aspects being separate and also blending on occasion.”

There’s a certain fortitude required when you live your life so openly, and then put it all out there for the world to see. Some shy away from that because they’re afraid to face the truth about themselves – the negative, the raw, and the primal underbelly of basic human drives and needs. That’s never been an issue for Kline. “I have no fear of honesty, especially my own about myself,” he says.

He backs that up with some scorching sexual descriptions that once caused a Creative Writing teacher to advise that Kline back off from so much of the sex stuff. Fortunately, that only fueled the fire, and to this day Kline doesn’t shy away from graphic descriptions of sexual acts. The line between art and pornography is one that he simply doesn’t recognize, and such freedom is a welcome defiance of all the banned FaceBook and Instagram photos that get reported. His is a far more progressive take on sex: “I don’t have or encourage a definition of pornography. I suppose I could be basic and say sex on film? Pornography also suggests something obscene and I find nothing obscene about sex. Now that I think about it, I’d like to have that word stricken from our vocabularies.”

As bold as that may be, and as sex-positive as his work is, nothing Kline puts out there is what I would consider offensive or rude. (Those are subjective terms, it’s true, but this is a subjective blog.) In all of his scintillating photographic work, the photos that reveal the most are the ones that hide any blatant explicitness. The hint of a cock is somehow more scandalous than the exposed member itself. In a way, it’s the perfect embodiment of his poetic intent: “I want to portray a feeling, not the actual circumstances.”

To that end, Kline has managed to make the internet more personal and more resonant in the way he touches the common, tender thread of emotional examination. He also reaches out and interacts with his readers. It’s a vehicle to enhance his message, and he’s one of the wise people who focus on the positive aspects of its power while maintaining a realistic notion of its actual effect.

“The internet is fun to me,” he explains. “I’m old enough to remember life before it existed. It will never feel “real” to me the way I see younger people behave in regard to online interactions. I don’t mind the anonymity and people trolling or acting crazy. Just ignore them… But the comment poems and stories, as well as some of my responses to direct reader questions, are just another way I enjoy taking the mundane and making art with it. It’s really that simple. It engages both parties, the audience and the ideas in play. I love it.”

It’s a love that is rabidly returned, judging from the popularity of his poetry and his photography, and Kline is the kind of authentic artist that reveals the best of this wild and crazy internet world. At a time and place where so many of us try to portray ourselves as something other than who we are, his honesty and openness are an inspiration.

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A Wait at the End of Winter

WAITING

By John Malcolm Brinnin

 

What reasons may the single heart employ

When, forward and impervious, it moves

Through savage times and science toward the joy

Of love’s next meeting in a threatened space?

What privilege is this, whose tenure gives

One anesthetic hour of release,

While the air raid’s spattered signature displays

A bitter artistry among the trees?

 

Thus, in our published era, sweetness lives

And keeps its reasons in a private room;

As, in the hothouse, white hibiscus proves

A gardener’s thesis all the winter through,

So does this tenderness if waiting bloom

Like tropics under glass, my dear, for you.

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Buried in the White Night

“First Snow”

By Mary Oliver

The snow
began here
this morning and all day
continued, its white
rhetoric everywhere
calling us back to why, how,
whence such beauty and what
the meaning; such
an oracular fever! flowing
past windows, an energy it seemed
would never ebb, never settle
less than lovely! and only now,
deep into night,
it has finally ended.
The silence
is immense,
and the heavens still hold
a million candles, nowhere
the familiar things:
stars, the moon,
the darkness we expect
and nightly turn from. Trees
glitter like castles
of ribbons, the broad fields
smolder with light, a passing
creekbed lies
heaped with shining hills;
and though the questions
that have assailed us all day
remain — not a single
answer has been found —
walking out now
into the silence and the light
under the trees,
and through the fields,
feels like one.

 

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The White Stuff

“Early Snow”

by Mary Oliver

Amazed I looked
out of the window and saw
the early snow coming down casually,
almost drifting, over

the gardens, then the gardens began
to vanish as each white, six-pointed
snowflake lay down without a sound with all
the others. I thought, how incredible

were their numbers. I thought of dried
leaves drifting spate after spate
out of the forests,
the fallen sparrows, the hairs of all our heads

as, still, the snowflakes went on pouring softly through
what had become dusk or anyway flung
a veil over the sun. And I thought
how not one looks like another

though each is exquisite, fanciful, and
falls without argument. It was now nearly
evening. Some crows landed and tried
to walk around then flew off. They were perhaps

laughing in crow talk or anyway so it seemed,
and I might have joined in, there was something
that wonderful and refreshing
about what was by then a confident white blanket

carrying out its cheerful work, covering ruts, softening
the earth’s trials, but at the same time
there was some kind of almost sorrow that fell

over me. It was
the loneliness again. After all
what is Nature, it isn’t
kindness, it isn’t unkindness. And I turned

and opened the door, and still the snow poured down,
smelling of iron and the pale, vast eternal, and
there it was, whether I was ready or not;
the silence; the blank, white, glittering sublime.

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The Write Stuff, Baby

Posts for the next few days will be light on content, heavy on links, and hopefully give us a chance to catch our collective breaths. I’ll be out of town for a bit (but would-be-thieves should take note that my retired-police-officer of a husband will be watching the house like a hawk) so I’m pre-programming some nostalgic looks-back at what you might have missed. Newcomers stop by occasionally, and this is for them.

First up is The Writing. That’s where this began. All of it, in fact.

It started way back in McNulty School, where I wrote my first story – a tale of a snake called PG (named after the only kind of movies I could watch at the time) and his family. The slight narrative consisted of a day’s journey in which one of the snakes falls into a hole, and the rest of them have to link together to rescue him. That pretty much sums up the entire plot (and that sort of driving narrative is something with which I still struggle – I’m better at description.)

Much of my written work deals with those topics that inspire me – and no one inspires me more than Madonna. From her Drowned World Tour (the first time I ever saw her live and in person – and it was a doozy) to her latest MDNA Tour, she remains a stimulating force in spiking my creative drive. From her albums (‘American Life‘, ‘Confessions on a Dance Floor‘, ‘MDNA‘) to her tours (Confessions, Sticky & Sweet), Madonna will always be like a muse to me.

As frivolous as some stories may be, there are glimmers of serious prose here, particularly when this tour of jury duty was done, this one night stand was over, the first man I ever kissed wanted nothing to do with me, and a secret that I kept for two decades was revealed.

There are other inspirational topics as well, and no one inspires me more than amazing artists like Paul Richmond and Michael Breyette.

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13:13

It is better for the heart to break, than not to break. – Mary Oliver

 

He told me tales of Russia, and a hundred spiders dancing in his hair as he rode in a little boat, drifting across a lake. I thought of him there, gliding in the vessel, looking up at the night sky, hurtling on the long trajectory that would bring him around the world, across time and space, to where we would one day collide. He’d been born tiny, he said, and had to stay in the hospital for a few weeks before he went home. I wondered if that’s why he could stand to be alone, if that’s where his fierce independence originated. It made me wish I’d been left on my own earlier, so I could deal with it, so my heart wouldn’t ache so when he was gone.

Part of me knew what was going to happen. I’d been here before. It wasn’t the first time. And if I had just a little more strength, if I could have been a bit smarter, I might have put off the whole wretched thing by stopping then and there. I did not do that. I loved him already. I loved him too much. And so I fell.

The fever he inspired lasted a few days. Little by little it subsided, overtaken by the duties of life, until, a few months later, he could be remembered with the slightest of aches, the dullest of pangs, the merest wistfulness. One day I found myself laughing at my silly retail job, wondering how it was possible, then I realized I had been pretending all this time. No one had seen that something was wrong with me. No one had seen what I had lost. The laughter, as it was genuine, felt foreign, and frightening. It felt like I might swerve seamlessly into a crying fit, so I stopped myself. They’re not that much different – laughing and crying – especially when in the extreme throes of either.

The tools were here, the messages, already established, in the code of his written cadence, in the way he wrote, the words he chose, the way he put it all together. I was in love with his mind more than anything else. We could only last that way. And we couldn’t.

I couldn’t give him any more. I didn’t know what else to do. So I gave him this. Words, collections of words, words that conjured memories. They are all we have now. I tell the story to make it present, to make it real, to make it known that it mattered.

The way out of the old hurt was always through writing. Putting it down on paper was a little exorcism of the soul, in the same way that we sometimes felt the need to unburden and confess our feelings to friends. Though it’s often under the pretext of ‘What should I do now?’ there is never an answer to that question, not a fulfilling one anyway, but it’s enough just to lay it on the line and have it out there. Even if it’s just one other person on the entire planet, a shared secret is always better than a solitary one.

I gave him a letter. The story – our story – written out of love, out of a way to remain close, a way to cling to whatever it was we had. Like a favorite book of poetry, bedside and hearthside, waiting to be opened again, complete in itself but never completely done, never completely written, it remains without ending. For my part, I try to close the book, and take away something to sustain through the ensuing years. Mostly, I miss a friend. It’s a feeling of homesickness, for a home we never had, a feeling of missing someone you never met.

I could not regret it. How to regret something like that, how to pretend that each sensation was not welcomed, not wanted, not worthy of going through so I’d always have it to remember? I knew I had the choice. There is always the choice. I could let it pull me down, wallowing in the pain and inconsolable madness that his departure left in its wake. It was tempting to do so, and for those first few days I may have indulged in that. But there was also the choice to go on living, sharing the same world, miles and hours apart, perhaps, but watching the same sky, seeing the same moon, following the same sun. And I could take what he taught me, the enjoyment of the moment, the beauty of what was all around if you looked hard enough, if you examined it closely.

I stole whatever scraps I could of his life before he was gone. A hastily-scribbled note. A spritz of his cologne on a handkerchief. Is that all we are to each other? Symbols of something we need, something we lack? Can he exist in a faded scent on fraying cotton, in the soft, worn paper falling apart from running my fingers across his writing so many times? What was his presence but a nourishment to my soul? In his absence, bits of me – the best parts of the person I most wanted to be – fell away.

My mind goes back to him gliding on a lake. That’s where I think of him now, on a lake at night, looking up at this same sky, coasting along the gently-lapping water, his eyes bright and searching – as they had once looked into mine – and navigating his way through life, as alone as I was… as I am.

—————————————————————–

{See also 1:132:133:134:135:136:137:138:139:1310:1311:13 & 12:13.}

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12:13

He stands in the cold, hidden by the dark. In the early dusk near the end of the year the outside vanishes. His realm, his home, fades into obscurity, because when you have no home the outside is all that’s left. He also knows that inside is not as warm as it looks, not so inviting, and the coldness found there, in a place you are neither welcome nor wanted, is far more cruel than a life of kind strangers.

The ground crackles beneath his feet. Christmas is coming. At odds with the rest of the year, at odds with the rest of the world, it is an incongruous season that finally, after long being hinted at, is sadder and more upsetting than originally imagined.

He moves away from the house, away from the home, and realizes there is no home, not anywhere, not where there is safety. It is a freeing notion, but frightening to be so unleashed, like a floating balloon let go by the careless hand of a child. They always think you can get it back.

You always think you can get it back.

Once upon a time someone else’s balloon floated into his backyard, back when he considered it such. It was a Mylar birthday balloon, sparkling and bright, reflecting the sunlight on its impossibly shiny surface. He held it in his hands, ever-enchanted by the glittering flashiness of certain objects. It was limp, and barely floated along, caught by a trampled rusty fence, too weak to fly any further. He untangled the ribbon and carried it with him for a while. It was probably far from home, just where he would one day end up. He knew it then. He sensed it in the way things were changing, the way he was changing ~ the light gone from the house, the love gone from the eyes, and it would be that way with almost everyone. Almost. And he would be blamed for it. He knew that too.

In fact, he knew too much.

Maybe that’s what scared people. Maybe that’s what made him unlovable. Maybe it wasn’t who he became, but what he represented, and what he made them feel.

He walked around the house, circling, because he had nowhere else to go. Every home he thought he knew had been taken – they weren’t ever his from the start – and the realization stung and burned his eyes. It began to snow.

{See also 1:132:133:134:135:136:137:138:139:1310:13 & 11:13.}

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11:13

“Maybe everyone just misses their childhood… if it was good.”

“What if it wasn’t good?”

The question hung in the air.

“Maybe everyone just misses their childhood.”

 

{See also 1:132:133:134:135:136:137:138:139:13 & 10:13.}

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10:13

‘War Veteran.’ I cringed at the words and the blatant disregard for privacy. Scribbled in pencil across the top of the resume, they’d been written by my boss, who handed me the paper so dismissively that I knew the interview was a meaningless exercise.

He smelled of motor oil, and there was dirt darkening the undersides of his fingernails. His crinkly smile had been stained by the sun – the skin was prematurely wrinkled, giving the grizzled look of someone nearer forty than his actual twenty-something age. As he extended a rough hand, I noticed the tattoo on his forearm – striking against the pale skin there – of a skull backed by wisps of night ~ a black wind.

I’d been informed that he’d had a “rough time of it” during his tour. When caught in a burning tank, he simply froze – had to be dragged out through the flames. So much for privacy. I was also told he didn’t want to talk about his time there, which was fine with me.

The weathered lines of his forehead ~ those deep creases, furrowed by wind and sun and flying sand, will be with him from now on, but they do not mar his face as they might others. Despite these lines, he’s still a kid – barely old enough to sit in a bar, yet he’s seen more people die than most octogenarians. One moment he was sheepish, shy, withdrawn – the next outgoing, outspoken, almost inappropriately exuberant. I wondered if this was an effect of the war.

I liked him immediately – not for his history, nor his open friendliness, but for his mere existence – for having gone there, for having the fortitude – untested or not – to accept and meet his orders, and especially for having been unable to deal with it. There is no cowardice in that. If anything, there is something greater for those who can’t abide.

His earnest hope moved me. Just a few years younger, he retained that hopeful outlook, even after having lived through all of that.

He sat slightly hunched over for the whole of our interview. After giving the introductory spiel, some small talk banter, and a few requisite smiles, my boss launched into his short list of questions. I watched the man work out his answers,

When challenged, he retreats, choosing flight over fight, and killing his chances with the company. I almost cringe at his hasty withdrawal, sensing the otherwise-imperceptible shift in my boss to my left as he quietly ends the interview then and there. The rest is cordial formality. The soldier has sealed his fate, and all of his fighting has been for naught.

He doesn’t know this, can’t read the boss like I can, and that’s the way it’s been designed. This young man, in spite of his possible capability, will never work for us. I know that, the boss knows that, only the soldier is unaware. His fight goes on, his is the only fight that goes on.

When he shakes my hand on his departure, I wonder if maybe he does know, as his smile is sadder, his grip a bit more desperate, and his eyes are wild with hope – ignited fervor from a prayer – and somehow resigned – dejectedly accepting of his fate, as fallen soldier, as failed hero, combat disaster.

A few weeks later I run into him again on the street, shamefully averting my eyes and pretending I don’t see him. The company has hired someone else – a kid fresh out of college, with a sharp suit and tie, and a briefcase that he never opened.

—————————————————————————————————————–

{See also 1:132:133:134:135:136:137:138:13 & 9:13.}

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9:13

They came as a group, surrounding the park and alighting in the trees above me. They were silent at first, moving quietly in tandem, then all at once a dozen different cries sounded loudly, shattering the silence. It was eerie. Some said they spoke words, repeated profanities, whispered street slang, but that wasn’t true, at least I never heard it. I only heard them scream.

These parrots, once pets, had gotten out – had bred and multiplied and now haunted various areas of the Bay, finding food among the trees and traveling in packs. I was uneasy whenever I came to encounter them, their striking red heads reminiscent of blood splotches flying through the air. They were there when I first met him, and there on the day I left.

I couldn’t quite place where it all began, at which exact moment it happened, or what moment anything happened really. Walking along the wharf he was suddenly beside me, walking with me, as though we had always walked together. Nothing much was said, nothing I can distinctly recall, nothing that made me take note of the time or date. When we were together, time seemed to bend, stilling itself around us, morphing the rest of the world into a strange silence. It was just the two of us, and that’s why it would never work.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~

It is the middle of the week as we climb his steep street, together for the first time. It feels like I am being pulled down, gravity reaching up from below and tugging on me, and I think how one day the earth will pull everything down here, and how beautifully futile it all is.

Every inch of my legs hurts – my calves, hamstrings, thighs, even my bony knees – all ache hotly from this walk, but he is barely out of breath. He wears a worn backpack, sagging off his shoulders, and I can tell he carries it with him all the time. The cuffs of his jeans are frayed and dirty, and there are holes in his Chuck Taylors. His building is fronted by an ornate iron gate. The key clangs in the lock, then suddenly we are ascending the narrow stairs. I watch his feet fall before me, and allow my gaze to rise to the wrinkled denim behind his knees.

We reach the top floor, and as he opens the door the light floods the dim hallway. We are high above San Francisco – the Bay rolls out beneath us, the spire of the Transatlantic Pyramid slightly to our right, stark against the sky.

There is something sad about this, as I know it is not the first time he has brought someone back here in the middle of the day. Sad, yes, but incontrovertible as well. We would move in such motions regardless of reason or knowledge or the hope of something better.

It strikes me as suddenly strange, the way we shift into each other’s lives. I don’t think we even spoke, he simply took up his stride beside me and we ended up here, back at his place. How odd such quick intimacy feels, and still how right. We stand there, not speaking, not moving, just looking at each other. The light is strong, this high up. A breeze ruffles through a ratty-edged curtain over the kitchen window. It is this silence that I will remember. The silence and maybe his eyes, watching me, holding me there.

He removes his backpack and takes out a camera. I stand, mesmerized by his deliberate movements, as he brings the camera to his face, closes one eye, focuses the lens, and takes a single picture. The moment before the fall.

We are the only ones who know what goes on in the next few hours. A window of time in which nothing and everything could happen. I often wondered what went on in these apartments during the day, when most people were at work or school. I thought to ask if he had a job, but didn’t want to break the quiet. We both fall asleep in his bed, half-clothed and exhausted.

The afternoon passes this way. Light slants through the bedroom window, in between the slatted blinds. The shadow of a chair leg grows long, ultimately melting into the darkness of evening. Around us the last light from the day on which we first met fades slowly as we slumber, and then the fog arrives, rolling in suddenly, over the hills and valleys. It’s poison stuff, this fog. Makes me do all sorts of strange things, wildly abandoning reserve, flagrantly displaying my body, daring some god to strike me down.

I awaken with a jolt, a sudden fear and a sharp intake of breath. He lets out a sleepy groan and I relax, settling back into the end of this day, not wanting it to end, and knowing the longer I wait the harder it will be.

“I’m hungry,” he says. They’re the first words I remember him saying to me. “Do you want to grab a bite?” The only thing I can do is nod.

The neon-signs of Italian restaurants beckon through the dim night, the sidewalks spilling over with people beneath heat lamps, the breeze coming on stronger now, and then that fog. He leads us down a side street, away from the noise and crowds. It’s late, but he says he knows a good restaurant – the best one in all of North Beach – and it’s owned by a friend. She is wiping down the bar when we arrive, but hurries to unlock the door as soon as she recognizes him. This is how it works. Doors open for him that would be locked to the rest of us, and his charm overrides any of the usual envy.

“Hello, my dear,” she says throatily, a hint of an indeterminable accent on her lips.

“Hello, darling,” he returns, kissing her lightly on both cheeks. “You wouldn’t happen to have my favorite meal on hand tonight for me and my… friend, would you?” The pause before ‘friend’ is faint, almost unnoticeable, but it’s there.

“For you? Of course… sit, sit, sit,” she urges, physically placing us into the tall chairs by the bar. The maternal motion makes me slightly sad, that dull ache of long ago still resonating in the kind, unremarkable act of a stranger. She disappears into the back room and we are left alone again in the dim light of a few flickering candles.

A window opened onto the street

“Well, you are my friend now, aren’t you?” he asks, and he smiles in that infuriatingly disarming way. It was a grin, verging on smug arrogance; he knew it, and I knew it, and there was nothing else to know but that, all in the damn, glorious, all-encompassing half-moon of his mouth.

“Here, some wine… try, try, try,” and she returns, pouring three glasses for us. He holds the stem delicately with his thumb and two fingers, swirling the burgundy liquid beneath his nose and breathing in its unfurling bloom. If done by anyone else, it would have smelled sourly of affectation, but for him it was a natural motion.

His friend brought out two plates for us.

“You’re not eating?” he asks her.

“No, you go ahead,” she answers, smiling at us both and putting her hand on his shoulder.

They talk of the last time they saw each other, and in their easy banter I try to find the cadence of adulthood. She hurries into the back and returns with two plates of steaming food. The smell of it confuses and delights my nose. I was unaccustomed to such a meal, yet this is how he must always eat. Reddish in color, it contains spices not known to me, and thoughts of usual dinners of rice and beans seem already impossibly distant in this new world. He eats his food unabashedly, enjoying every mouthful and extolling the praises of his friend. I smile, relaxing a little after half a glass of wine, but afraid to say too much.

Throughout it all, I remain distant, aloof, slightly out-of-focus. Abstract and obtuse, unfathomable in my quiet. He engages me, more than any other, but he’ll never really reach me, never fully bring me out. It’s sad, how that won’t ever happen, but I will try – I will try more for him than for anyone else.

We find our way back to his place, and though I hesitate at first, I am unable to not go up with him. He likes guys who kiss hard, who take his head roughly in their hands and mean it. I kissed him like that. I kiss everyone like that. There’s no point in a kiss if there’s nothing behind it. Dizzy from the wine, and brave too, we fell onto his bed again. I couldn’t bring myself to leave him, not then. He never asked me to stay, not out loud, but before we fell asleep he picked up my crumpled shirt and hung it on a chair, then found my shoes and placed them beside his. I watched it all through the dreamy fog, then pulled him close.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~

It was quiet in the morning there, a few floors above the street, above the whole city, and so different from my noisy Mission apartment. There the street never stopped. Babies screamed constantly, sirens roared through the night, and the sudden bursts of family arguments tore through the thin walls.

In his loft there was noise too, garbage trucks crushing their carriage at 4 AM, groaning and squeaking and expelling their exhaust. We’d lie awake next to each other, sighing at the disturbance, but I didn’t mind. The sounds of the Mission bothered me more in their relentlessness, merging into one long continuous wail. Here, next to him, there were rumblings and waves that now and then broke through, but there was quiet that followed, and a certain peace, even if my mind never stopped racing.

Outside Stella’s Cafe we sit at a small table, watching the people across the street at other cafes in their sunglasses, reading their morning papers. When he orders us two coffees, black, he looks at me with a sideways smirk. It was okay when he did it. That’s what I told myself, and really it was. Across the street, the sun is shining on Caffe Greco, but we are cool in the shade. He takes off his sunglasses and I study the fine lines around his eyes, wondering how old he is but not daring to ask. His eyes are pale blue, with tiny slivers of green. Lined with wild lashes, they study me as I study him.

It would be sweet if it ended here, I thought. Even then, I knew it would end, certain that this sort of spell could not last. It would be all right, though, leaving now, before I knew his last name, or why he carried his camera everywhere without taking any pictures.

“You wanna go for a walk?” he asks as I stand up, on the verge of saying good-bye because I knew I should leave. Yes, I knew then, but I couldn’t bring myself to do it, nodding instead with a ghost of a smile.

The air is already warming, burning the fog away, as he leads us to Washington Square Park. The grass is green and lush, bordered by dark trees with thick, twisting trunks. Black easels are set up, dotting the expanse and displaying an art exhibit. Paintings and sculptures surround us, beauty within beauty as the colorful canvasses play against the verdant grass and brilliant sky. The artists sit in slim director’s chairs, nodding and smiling as we pass.

He pauses and looks intently at a painting by DeLave, one that shows a fiery embrace of a man and a woman, rendered in seering oranges, salmons, and reds. The couple is entwined in swirls of flames, but the picture isn’t frightening. He is drawn to the warmer colors of the piece – the darkest shades of fire. Faces peer through the flames as the bells of Saint Peter and Paul’s church toll to mark the half-hour. We walk along, passing a bank of furry Spanish lavender flowers and a group of leashed dogs yelping to go their own direction.

He slows and looks up, noticing them first and coming to a stop. They are in the trees. A worried look crosses his face – the first time I see any sort of concern, written on a wrinkled forehead and barely-parted lips. “Shh,” he whispers, pulling me back before we pass beneath them. His grip on my shoulders is firm, both protective and arousing, and I allow him to guide me. We sit on a bench across from their tree. The scarlet caps twist as they twitch their heads, bobbing back and forth, tricky against the green backdrop.

“Look,” he says quietly, pointing to the group of birds that is perched among the many limbs of the park trees. “Do you know what they are?”

I shake my head, looking up at the strange birds, then down toward the pigeons walking in the park, and back up to the crimson-headed flock. They are striking in comparison.

“Those are the wild parrots of Telegraph Hill – cherry-headed conures they’re called,” he explains, as if sharing some sacred secret. “I think they were once pets who escaped, and now they live around here somewhere.” He leans closer to me, whispering into my ear. “I’ve seen them flying over Coit Tower some days – what a sight – that bright green body and flaming red head against the sky – it’s something.” We sit there watching the birds until they fly away, as quickly and quietly as they arrived.

Up the street there is a woman having a garage sale. Items spill out onto the sidewalk and he quickens his pace, eyes lighting up at the treasure before him. Spying a table from the fifties, a gaudy thing that he instantly loves, he begins bargaining in his friendly way until he gets it down to ten dollars. After hoisting it onto his back he smiles and we continue walking.

“Sweet! Where else can you get authentic Americana for less?”

At his apartment building he sets the table on the sidewalk and finds his key. I look around as he nods at the door, beckoning me in again.

“No, I have to go.”

He smiles and reaches around my shoulders to hug me, drawing me close, pulling me into his chest – and there he holds me. A moment of panic as I wait for any signal that he’d like to see me again, any bit of concern that this might be our last good-bye. I give a half-hearted hug back, then turn away, letting the steep street pull me down, towards the only home I know and all of its dull trappings. I want to cry at having to leave his kindness, and I am focusing so hard on simply breathing that I do not hear his soft sneaker-falls catch up to me.

“You didn’t give me a chance to give you my number,” he says, slightly out of breath but beaming, and he hands me a receipt with his phone number scribbled out in pencil next to his name. “I don’t know if you wanted to hang out again, but if you do…” He winks and retreats before I can come up with a clever reply, but my smile is answer enough.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~

When I get home, my brother is waiting.

“Where were you?” he asks, annoyed. “Dad was looking for you before work.”

“A friend’s.”

My brother cuffs me on the head with the back of his hand, on principle more than anything else, and I shuffle into the tiny bedroom we share. I lie down on the unmade bed. The squeaking of worn springs fills the room then subsides.

His phone number is in my pocket and I hastily fish it out, unfolding the thin receipt and studying the way he wrote his name. In the next few days I will memorize his number, wearing down the scrap of paper until it is soft, its fibers broken down into a delicate semblance of filaments. I do not dial it, though I am constantly on the verge. A phone call would not fit into the tenuous world we created for ourselves, and I think that he must have been a little desperate too to have given it to me.

My brother comes into the room, hurrying through the narrow walkway between our beds and picking up his jacket. “I’m going to work, make your bed,” he orders. I donâ’t respond. The lock turns in the hallway and I am alone.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~

There is usually no reason for me to be in North Beach. It’s a foreign land to my family. They stay close to the Mission and never saw a reason to take us further. The day I met him was a fluke. I had some time and decided to walk towards the Bay to see the edge of the city. That’s where I first found him. Like the sea, he represented a glimpse of what might be, and where I might go. Those visions are what drove me forward, and they teased and tempted me so much that I found my way back to the area a few days later.

I walk a different route this time, taking the bus to Union Square and stepping into the center of downtown. After climbing up a few blocks, I find myself at the foot of Chinatown and begin another ascent. A little ways in I stop to watch an elderly woman doing Tai Chi in a canopied park off the main street. She claps her hands together and exhales in short, staccato grunts. In the late morning sunlight, there are people who find peace here. Squeezing into the small shops on the way, my heart aches over the chance encounter with beauty – a rice paper scroll, the raw silk of a woman’s jacket, and endless varieties of mottled jade – or maybe it aches for something else.

I am drawn further upward, pausing among the shriveled dry roots, the pungent herbs and spices – all emitting some stringent smell that’s sharp against the nose. Dried meats are piled high in plastic-lined boxes, alongside the dull orange of dehydrated shrimp, and everywhere the thin skin of red bags, in the arms of buyers and sellers, as they are paraded up and down the street. To find a bit of quiet, I enter a small shop nestled between two bustling restaurants. The door shuts behind me and after the tinkling bells on its handle stop their ringing, it is still and quiet. Incense burns at the sandy base of an altar and the storekeeper sits near the back, not bothering to acknowledge my entrance. Behind him are jars of amber liquid holding the other-worldly shapes of preserved ginseng roots. I find gnarled faces in those tubers – grotesque, scrunched-up mouths and eyes and noses, screaming to be released as they drown in their glass prisons, on display for the world to see. This would have frightened me as a boy.

Back outside, the Occidental notes of an erhu come in and out of focus as an old man languidly moves his bow, watching people idly as he scratches out a meandering melody in which I find no tune – the oddly fitting soundtrack to a scattered dream.

I have almost made it to North Beach. A block of strip clubs flashes its riotous lights. Most are empty at this time of the day. One more steep hill to his apartment. I do not know if it is wrong to just stop by, to ring the doorbell and impose. But I couldn’t stop. He let me in with a smile, like I had been expected.

“I just got back from work,” he says, excusing himself to the kitchen, then returning. “Bit of a mess.”

He walks into the room, covered in a dusty light-gray film – the raw stuff of beauty on his hands, in his hands – in their sinew, their prominent veins, their calloused power.

He is an artisan, and I am his secretive admirer. In the bedroom the afternoon light slants through half-open blinds, the floor a warm amber glow. He walks in clouds of dust.

The sudden beating of shower water and the comfort of someone in the bathroom. The bed in which I lie is not mine. It is a bed to which I have no claim. I remain a stranger here. Not to him, but to his friends, his life, his past.

He has given me a little, he has given me enough. Enough to sustain. I won’t ever ask for more.

Soft from the shower, rough from his work, the hands he proffers are sturdy yet delicate. He is clumsy, too. Scrapes and scratches mar his arms, endearing his body to me, and his vulnerability. I’ve always been touched by the wounded.

When the towel is off he is pale in the sunlight. Before the window, the outline of his body is rosy with backlit blood. Standing there like that he makes me want to cry, then he turns and leans over me, his mouth cool and moist. A tiny rivulet of water spills out of his short hair and anoints my forehead. His body seems to glow while mine recedes into the shadowed folds of the sheets.

He has a bit of a belly but is no longer shy about it. I wonder if I’ll ever find that confidence in my rail-thin figure. To him I must seem an awkward assembly of oddly-bent bones, but he never indicates anything less than pleasure in my body.

He doesn’t like it, but I light a cigarette and sit up on the edge of the mattress. It’s better than his insufferable incense. I catch the ash in the palm of my hand, a momentary sting, barely noticeable. In a world of random chaos, killing oneself slowly is a single solace, something certain and sure.

Sitting there, I feel small and inadequate, my dark skin blending into the corners of the room, where I stand from time to time, trying to ground myself when the earth moves and, more importantly, when it is still.

He calls me his half-breed mutt – only after I say it, only after it’s okay for him to say it. I am Mutt from that point forward.

“Hey, Mutt,” he says in his quiet voice.

“Love you, Mutt.”

Never “I love you” just “Love you.”

Is it an order, an instruction? Him telling me to love myself? I can never tell.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Days pass, and I return there, again and again, and we never talk about it, we never say things that most people would say. If I knew any better, if I’d had anything like it before, I might have found a way to ask about what troubled me. Instead we talk of other things – things that somehow mean more.

“I would love to inhabit your mind,” he whispers in the dim recesses of a cool summer night. “See what you see.”

Both of us elusive, aloof aside from our desire for one another, and then, too, distant, never quite present, neither willing to be captured just yet. Smoke rings hanging in the air – our only promise to one another.

In his underwear, he strums a guitar. Concentration furrows his brow. Even in his missed notes, I find music. Perhaps because of them I find it so endearing. He tries so hard, and I am breathless at the effort.

I should explore more of the city, he tells me. Get out of the Mission. So I head into the Castro, finding a spot he loosely suggested. I don’t expect him to be there, but I hope he is. Sitting at the corner of the bar by the window, I watch the men walking down the street. It is late afternoon but still bright. The bartender selects a small lime wedge and puts it into the neck of my beer. He places a square paper napkin before me and puts the beer down on it.

Another man stumbles wildly into the bar, clinging to the doorframe so he doesn’t fall down. His eyes are already rolling back into his head as he sits next to me, ordering a shot of tequila and a beer. A plastic bag swings from his hands and he plops it onto the bar, retrieving a smelly carton of Chinese food. He dumps the contents directly onto the bar and starts eating the bits of vegetables with his hands.

The bartender hasn’t noticed, and the rest of the crowd cheers the game playing on the overhead television – the Giants versus Arizona. The sun is bright on the television, and brighter outside on the street. In this dim bar I wait for him, knowing that he likely won’t come, but staying nonetheless because he suggested it. He had been here before, he had touched this bar, perhaps even sat in this seat, looking out at the same street. I was going to have to stop soon, but for now it was enough sitting here, close to him in this approximate way.

The man with the Chinese food is dropping water chestnuts onto the floor, laughing to himself, just as the bartender notices the mess. He jumps over the bar and grabs the guy roughly by the coat, tossing him onto the street and throwing the messy carton of food after him. A volley of curse words. The bartender returns shaking his head, then wiping the greasy remnants of food off the bar. My friend never does arrive that day.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~

In the Castro he is known by many. Standing next to him, I am quickly shoved aside for the hugs and kisses of friends. His smile betrays his loyalty, and then I know that everything is wrong, because a smile and betrayal could never reconcile, could not exist together as one, no matter the underlying intent. He would come over and draw me in to his crowd, his arm pulling me close, giving me something to subsist on, and the hope that he seemed to want me to harbor. It would be ruinous to give in to that hope. It would be foolish. I wasn’t there yet, and we were nearing the end. That much I trusted.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~

From time to time he asks about my family, always after we make love.

“I will not sully this bed with that kind of talk,” I tell him again in a mock-dramatic tone, followed quickly by a vicious smile. “I’ve never asked about yours,” I say gently, trying to make up.

“You can. I would tell you.”

“I know.”

A shared cigarette stops the talking, and then I leave.

It might have made some sense to talk now of my place in his world, to ask at least a question or two about what I might or might not mean to him. I did not have that courage, convincing myself it was simply that I did not have the words. And then there was the issue of the bed, and the things we did in it. It was the only way I felt really connected to him, the only chance I had to make him mine, and yet I still felt such distance between us.

When he took his shirt off, his secrets remained hidden. In his underwear and startling white socks he stayed a mystery: unaffected and unknowable, alluring and unavailable. Stripped bare-naked and sprawled face-down spread eagle – he is still unattainable.

No matter how much he is ravaged – and his body promises it will be much –

No matter how much life-juice spurts out of him – and you will draw it all out –

You’ll still never get into him.

You can penetrate his puckered lips, but he will never be filled,

You can enter his inner sanctum, but he will never be had,

You cannot understand this, and so you will fuck him harder.

 

I didn’t know who was ‘he’ or who was ‘you’.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~

The night fog is chilly. It is almost fall in San Francisco. He returns from the store and with a flourish produces a garishly-packaged paper log. After popping it into the fireplace and lighting it, he sits before the little fire and motions for me to join him. An impulse to run out passes over me. It would be so easy to leave now, to hurt him a little, if I hurt him at all, before this ruins me. I stand there and he senses my hesitation.

“I know what we need,” he says, standing up. When he returns he has a bowl and a small plastic bag of weed. “The finest Maui Waui,” he proclaims, packing the dull green leaves into the end of it. I don’t notice its shape as he passes it to me. “Here.” I take a deep drag. “What’s it like having your mouth on my cock?” he asks, bursting with laughter and pointing at the pipe. I look at it – dark wood in the unmistakable shape of a penis, the mushroom head of which I had just put in my mouth – and I roll onto my side in hysterics.

We’re too mellow to make love, cuddling before the fire on a thick, furry rug. The fog is peeking through the windows now, slipping into the warm living room and darting its wispy tongues at the dying fire. I rest my head in his lap and he shifts his hips. The log goes out and he gently lifts my head before getting up to re-light it. The dark band of his underwear peeks above his jeans, stark against his pale skin.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~

In Victoria Pastry, a woman takes orders from a customer, in a volley of shouting, laughter, and smiles. Sometimes the city seemed too much. I felt subsumed by its magic, when its fog-filled beauty shimmered in the cool night, and music drifted from open windows, pouring out humid heat and the sounds of clinking glasses and distorted laughter.

In the middle of this magic was him ~ he who came to embody the city for me, he who represented the gorgeous impossibility of sustaining such magic through the next day, the enchantment that dissipated with the fog – the fog that always burned away – and the equally-rapturous peeks of sun, under which everything should be so clear and transparent, and never was.

The sun made its own mysteries, cast its own white shadow over the ripples of his heart, and it was too bright, too obscure for me to ever see. He made it seem so easy, and once caught up in the wake of his motion it was impossible not to be swept along with him. There was excitement in what he did, no matter how dull or mundane the task. A trip to the market was an adventure; his surprise and joy at the bright fruit, the way he took in the scents, closing his eyes and breathing in the air, the exuberance and yet wholly-prescient outlook on these simple things, all of this delivered me to him.

He brought the philosophy to every day – each moment was ripe for a new sensation – each second was electric. There was astonishment to be found in the simplest of gestures, in the smallest details. It was infectious, and we were all drawn to him. There were others before me, and there would be more to follow. I did not try to last.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~

On our final night together, he brings me into Pearl’s to listen to a chanteuse he knew. Singing a sad ballad, then bowing her head as the band skitters off with the rest of the tune, she comes to our table and dotes on him. As the xylophone rings out its last muffled tones, the song ends. He reaches out and holds my hand, folding it inside of his. It is the closest I have felt to being loved. Our hands stay on the table as a spattering of applause rustles through the room. The band takes a break. His friend sits with us for a bit, then has to go.

“Come on, enough jazz for one night,” he says, pulling me up with him. Up on his roof, we can see the Transcontinental Pyramid rising in the murky light. The Peter Macchiarini steps disappear down the hill. We sit on the edge of the roof and look below, all the way along Kearney. The graffiti of “vinski” follows him everywhere, scrawled over the alleys of North Beach, through Chinatown, and further too. It will remind me of him, as will most things I encounter throughout my life. We do not speak for some time. I can almost begin to trace the trajectory of the moon, barely discernible through the layer of clouds rolling in.

He rubs his hands together, and slides closer to me, putting his arm around my shoulder. In this crazy world, and for the rest of my existence, this is the only moment that will ever make sense. I wish I’d known that then. I would have told him. It wouldn’t have changed anything, I see that now, but I would have said it and he would have known and there would be no question about what might have been.

In the white sheets of his bed, on that last night, I search for him, but he is already gone. I know the dimming of love. I’ve seen it before, and I can perceive it happening now. I can’t tell if he’s aware yet. I will not cry or beg to stay. This was never my place. It will be up to me to stop. The idea of him telling me is too daunting. Even if he did, I knew I wouldn’t be able to bring myself to hate him.

He is asleep. I follow the rise and fall of his stomach in the dim light of a street lamp, listen to the soft intake and exhalation of his breath, feel the coolness of his shoulder against my cheek. In these last hours together, I don’t know how to reconcile myself to leaving.

On that Sunday morning, we rise early. Once the day broke, a shared restlessness beneath the sheets made sleeping-in pointless. Already, we were beyond the stage where it was enough just to be next to each other; at least, he was beyond it.

He did not ask me to leave, but I knew to go, knew sadly of the relief he would feel, and the bit of guilt that would go along with it. I would be happy for both. I get dressed in that room for the last time. With my clothes and shoes on, there is nothing left of me in that space – no toothbrush, no bedside table drawer, no trace that I had been in that bed, other than the wrinkled warm sheets that he was absently smoothing with his hand. I lean down to kiss him good-bye. He smiles sleepily. So he does not know, I think, or he does, and this is the only way he can deal with it.

Walking away from his building, I don’t look back. I will never know if he is watching me go, if he runs to the window and peeks through the blinds, waiting to wave or smile, or hide should I happen to glance back. Maybe he is taking a picture. He was always trying to capture something – with his camera, with his steady, thoughtful gaze, with his stories.

As I reach the cross-walk, I don’t go the usual way, turning right instead, and finding my way to the park where we sat at the very beginning.

The sky is gray, and suddenly I can’t go on. Collapsing on a bench, I heave one lamentable cry, then shudder with silent tears. They start screaming then. There, above me, high in the trees, the parrots cry out what I cannot speak. The silence he brought to me is broken. Their cries suddenly stop and then the birds are gone. I never saw them again.

{See also 1:132:133:134:135:136:137:13, & 8:13.}

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8:13

Barbara liked to throw parties. She was good at it, her hosting skills honed by years of practice, countless gatherings that brought her to this point, where things just ran on their own, like a well-oiled machine that she could manipulate and set into motion with precise, deliberate, and yet seemingly-effortless execution. The key to hosting a good party, according to Barbara, was never letting the guests see the work put into it. She felt that parties, given their nature and essence, demanded a light touch, a host who didn’t bog things down with heavy formality or rigid schedules. Her touch was so light that she even skipped one of her own celebrations in a now-infamous oversight (or so she claimed at the time), missing the date by a week and vacationing in Monte Carlo the night of the event. Guests assumed it was part of the theme (a ‘Grand Guignol’ that they believed Barbara orchestrated and was simply acting as a missing hostess), even when they had to break in, setting off the alarm and already pouring their own drinks when the first cops arrived in confusion. When someone finally reached Barbara, she spoke to the police and the party went on without her.

Now, as her parties ran themselves, she was simply another guest, perhaps slightly more decked out in an Azzedine Alaia column dress, zig-zagging its bold pattern over her still-shapely-at-55 figure, but still only there to have fun and enjoy herself. It was getting harder to do that. When one’s life has been full of rich twists, exotic locales, and extremes of elation and heartbreak, it’s difficult to find a happy medium, and then a moment of happiness within it. She always thought the next party would be the one – the one we would all remember – a party we would talk about for years.

On this night, at her summer party, we are assembled as usual. There are a handful of new faces, and some favorites in absentia, and that always made things interesting. The beauty was that one was never quite like another, due mostly to this changing of the guard. It kept things fresh, and unpredictable. Yet it was not usually the newcomers who caused trouble. Barbara kept a few close friends who did that well enough on their own, and hidden demons that she freed from their cages on certain nights when a darker sparkle was needed. That was her big secret – that she had these things bubbling beneath the facade. You understood that, if you spent any significant time with her. It was a sense of storied turmoil, a vicious patch of the past, something that went deep enough to excuse the glitter and the frilliness of her party persona. She glided through the guests, smiling and laughing and seemingly having the time of her life, but every once in a while you could catch her, if you looked hard and long enough, standing off slightly by herself, or maybe just on the edge of a little circle of people, and her smile was frozen as her eyes searched the rest of the room, sensing if a light needed dimming, or another batch of ice needed chipping. Then she was gone, the problem had been rectified, and suddenly the music was a little louder.

Tonight, she wears a favorite perfume by Creed. She’s managed to hold onto it for all these years because she only wears it on special occasions. What made this evening so special? She herself pretended not to know, but even if she did, she would keep it to herself. That’s the other thing about Barbara: she always acted like she held the one secret you most wanted to discover. She didn’t hold it maliciously out of reach, rather she dangled it seductively in front of you, but close to her heart, like the diamond pendant nestled just above her decolletage.

The bartender was good, but she’d had better, and she was keeping her eye on him just in case. She wasn’t a stickler about such matters, for the most part, but she didn’t hesitate to step in and make the perfect bone-dry martini if one of her friends had a drop too much vermouth. He was young, lingered a little too long with the pretty ladies, and let the gentlemen fend for themselves. If there’s one thing that Barbara despised in a bartender, it was favoritism – even when she was the recipient. That’s the other thing that you had to like about her: she wasn’t swayed by empty niceties. Polite, yes, and nobody accepted a compliment as graciously as she did, but try her patience with one too many fawning episodes and she’d turn on you with a cutting dismissal. It wasn’t so much an outright attack as it was a removal of her focus and smile, and it had the effect of turning your world suddenly colder, like a cloud passing overhead as the wind kicked up.

“If they insist that you refill their glass instead of accepting a new one, you must at least provide new fruit,” she said with a smile, quietly enough so no one noticed. The young man nodded vigorously, with a little too much exuberance. She was not impressed. She turned the bracelet around on her wrist. This would not be the party to remember. That took some of the pressure off, and made for a fine affair, but it would not be the elusive party she had been chasing for years. It happened that way sometimes, the instant she could tell, early on, and then dismiss the rest of the evening. It freed her up, and those nights were often some of the most fun – the ones that don’t promise much, but somehow deliver, as if by taking them out of the running she imbued them with a challenge they rose to meet. This might be one of those surprising parties. She held onto the capability of surprise. It was one of her more irresistible charms.

The door to the backyard terrace was open. Silk curtains fluttered in the breeze. A boozy group of friends laughed loudly in a dim corner lit only by candles and shrouded by a trio of potted palms.

On any other night, at any other party, she would have thrilled at the sight. Nothing gave her more merriment than seeing friends in the throes of hearty laughter. She was always generous that way. It made the less-worthy aspects of her character forgivable, much in the same way her parties did. Proper hospitality masks a variety of drawbacks.

She’d known enough not to have all her fun in her youth, but once you started enjoying life it was difficult to stop, and much more difficult to keep it going. It felt like she’d been coasting on this happiness for some time, and the thrills no longer thrilled her in the same way. New guests and fresh faces could only compensate so much for the lost loves that tugged at her heart.

Back inside, the party is sweeping to its crescendo. It should have been the most exciting part of the night, the moment when everything is in full-swing. It lasts but fifteen or twenty minutes, and then begins to break slowly down. She still gets a little high from it, the joy of being social, of being part of something and, somehow and in a different way, of being loved. For we all did love her, even if we did not know it then.

Tonight, though, she does not become part of it, choosing instead to watch from a distant vantage point. Near the top of the stairs, she pauses. Looking over her shoulder, she surveys the night she has created, the life she has made for herself, and she wants to cry. She pulls her dress over her heels and walks out of sight, down the long hallway that leads to her bedroom. In it, a bedside table throws its soft fringed light over the space. A dressing gown has pooled at the foot of the bed; ripples of Japanese silk, in the palest shade of turquoise and the faintest pattern of cherry blossoms, roll over one another. Barbara thinks back to the start of summer, back to when it all began – the hope of a new season. Every year she holds out for the same miracle. Every year she thinks it will be better. Every year she gives herself another chance.

This will be the last party, she almost says aloud, her lips barely moving along with the words. It is done. The dull roar from below carries up the stairs, along the hall, and into this room. It is subdued, quiet enough so she can make out the ticking of the clock.

When the last guest departs, and her husband has gone to bed, she lingers in the front doorway. It is her favorite moment of the night.

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{See also 1:132:133:134:135:136:13 & 7:13.}

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