COMPLETE WITH
ILLUSTRATIONS OF
MAJOR
CHARACTERS, SUCH
AS GOD
I was so hungry, at the wine bar, I could hardly think. On my phone, I had pictures of heart valves & plastic hearts & the airbnbs where Farwall took me to recover. This was before heart surgery. The photographs. In some I am a child, shrouded by siblings, & - as you noted - looking, always intently, into an invisible distance, a different decade, maybe.
You ask how I like heist films, when I don’t think anything is free. Because cost is the mystery. Because they often are a little fatalistic or end in the weightless fantasy of taking what living merits. It has, perhaps, to do with making plans, the opposite of dramatic irony, a hiccup, which the master mind, unbeknownst to us, knew would come.
This morning I woke cold and folded my torso into a sheep coat. Three months ago, in a morning just like this - I woke in your arms. My entire body tingling with electricity and desire. This morning - our bed sheets were like a sheet of ice and beneath this gelid blanket of the post-matutinal heat was your radiating body.
I found comfort in sitting next to you: the collar of your blouse was standing straight up. There was a dog named Sesame. You told me that you put your hand in the fur of all three dogs and they were friendly. I believed you but stayed as far from them as possible. Could I easily scapegoat the invasive, abrasive wind for my antisocial proclivity at the MFA party?
In the early early evening, after our trip to the Walgreens, where you delightfully purchased an assortment of truffles, and the walk home where I used a recently purchased snow scraper to scratch you back and pull you from the path of oncoming bikers, you read me a study guide of Milton’s Paradise Lost, complete with estimated reading times and illustrations of major characters, such as God.
In your office that afternoon, you wrapped yourself in an electric blanket. 44 was a hard year, you told me, for Milton who went blind and after his wife’s death was left with 4 children, including an infant. His wife was 17 when he was 35, and they were incompatible, perhaps, due to the age difference. She went to visit her family and did not come back. In response, I think, Milton wrote pro-divorce pamphlets and argued against celibacy in marriage. A husband and wife, he thought, have a duty to replenish the earth. Eventually, she came back and died, in childbirth, shortly thereafter. Milton’s house, which housed a ton of schoolboys, four babies and his wife’s family, was not conducive to his scholarship. His daughter’s sold some of his stuff without his knowledge. He was a Sagitarius which surprised me because he was so arrogant. Meanwhile, or before all of this Satan raped his daughter Sin and she became pregnant with Death, who eventually would also rape her, begetting Chaos. It was all so interesting. I did a wonderful job parallel parking and you told me so. We watched the Ravens beat the Chiefs, because Lamar Jackson played well. The Ravens, you said, are inconsistent. A team can’t depend on one man. We watched David Mammet’s Heist. He seems to win at the movie’s end because he knew his girlfriend would betray him. Her betrayal didn’t seem phase him. He drove away smiling, though his friend, Pinky, died, and he’d pushed his lover into the hands of another man. You thought she’d fallen in love because she said, You shouldn’t have sent me to him, Joe. But I thought she’d bet on the wrong man, or maybe she loved Joe and was getting back at him. There’s a flatness to the women in David Mammet films, a stylized and deadpan opacity. The men in contrast are rarely not acting. Character is desire and function. In bed you whispered that sometimes you don’t want to sleep. I call you Chatty Catty when you talk to me at five am until I wake. It’s so long to be apart, the whole night. I lay on my back and I held your hand and you said, let’s walk into a dream together, Jess.
Chautauqua Park, crowded with dogs and parked cars, is 14 acres of wheat, grass, light, and mountain. It took us appearing clueless and confused before we found the metal picnic tables and benches where Godard babysat the taco containers. Garbo brought a square box of McIntosh apples. I had been cold already, even when you chivalrously switched your blue hoodie with my thin white sweater. Staring at everyone with a mild headache, I wish I had brought a winter coat with me. There were spots under the tree that were sunless and under this sunless, cotyledon defoliate-parasol, I felt cold and out of my skin. You were exquisite at conversing with students. You were natural and unawkward and I loved the way you engaged with these cool white, disaffected girls whose shyness could appear unfriendly. In my hypothermic diffidence, I studied the grass, the trash bins, the way impolite wind forced the plastic knives, the paper plates, the plastic wrappers to immigrate fast into a sea of grass, on a rudderless boat made of light and air. The wind was invasive and I felt deftly quiet and out of my skin.
Our trip into Boulder was short. Everything you tried on - red, white, or blue, or unintentionally patriotic - made you rubicundly sexy. Your red skirt moved like a matador’s cape - which could easily hide a bull. While ironing your serrano pepper blouse, I studied your form as you waited for your skirt and blouse to stop kissing the iron’s face.
Vi Khi Nao is the author of six poetry collections & of the short stories collection, A Brief Alphabet of Torture (winner of the 2016 FC2's Ronald Sukenick Innovative Fiction Prize), the novel, Swimming with Dead Stars. Her poetry collection, The Old Philosopher, won the Nightboat Books Prize for Poetry in 2014. A recipient of the 2022 Jim Duggins, PhD Outstanding Mid-Career Novelist Prize, her work includes poetry, fiction, film and cross-genre collaboration. She was the Fall 2019 fellow at the Black Mountain Institute: https://www.vikhinao.com
Jessica Alexander’s novella, None of This Is an Invitation (co-written with Katie Jean Shinkle) is forthcoming from Astrophil Press. Her story collection, Dear Enemy, was the winning manuscript in the 2016 Subito Prose Contest, as judged by Selah Saterstrom. Her fiction has been published in journals such as Fence, Black Warrior Review, PANK, Denver Quarterly, The Collagist, and DIAGRAM. She lives in Louisiana where she teaches creative writing at the University of Louisiana at Lafayette. https://www.jessica-alexander.com