Nothing Lasts For Ever by Michael Bloor

(Today we are pleased to welcome back Mick Bloor)

In the next seat to Alan on the plane, his fellow-passenger sighed as he replaced his plastic knife and fork in the cardboard food box, he turned to Alan and said, ‘That meal was the worst thing I’ve ever tasted.’ Four hours into the flight, they were the first words he’d spoken.

Alan felt obliged to reply. He thought about it and said, ‘I reckon that meal was only the second-worst thing I’ve ever tasted. The very worst taste was when I accidentally brushed my teeth with a tube of my wife’s hair removal cream.’

His fellow-passenger stared at Alan for a moment and let out a great belly laugh. He turned out to be a guy called Niels, a Dane who worked for Maersk, the shipping company. In turn, Alan explained that he was retired and on the Vancouver flight to visit his sister there, who hadn’t been well. Niels, like a lot of big guys, was tactful in his enquiries: he didn’t ask about the sister’s diagnosis or prognosis, merely observing that it would be a treat for her to spend some time with her brother again. Instead, Niels mentioned that he himself was planning to retire soon: how was Alan enjoying his retirement?

Alan talked about his allotment and also about some family genealogical research he’d been doing. He mentioned that he’d been fascinated by one of his mother’s ancestors, Thomas Bridges, a nineteenth-century missionary to one of the native tribes in the island of Tierra del Fuego, at the southernmost tip of South America. Rev. Bridges had laboured long and hard there to produce a dictionary* of the Yamana language, containing more than 30,000 Yamana words…

Niels was shocked: ‘Wow, that’s a big achievement.’ He smiled: ‘That’s some relative you’ve turned up.’

Alan was playing, distractedly, with the airline plastic fork. ‘Well, the thing is: I’m not so sure about the achievement. You see, over the years Thomas Bridges was there, the native population was decimated, almost entirely wiped out – a smallpox epidemic, a land war with incoming settlers, the local seals that the tribe depended on for food were almost all slaughtered by visiting whaler crews. The last native Yamana speaker died in 2022. The site of his old mission station is now the main departure port for Antarctic cruise ships.’

Niels nodded his understanding. But Alan wasn’t finished: ‘Did you know that in a single day, January 15th, 1965, Bob Dylan recorded the final versions of Maggie’s Farm, On the Road Again, It’s Alright Ma, Gates of Eden, Mr Tambourine Man, and It’s All Over Now Baby Blue? In a single day.’

It was a telling comparison. Niels intuited that his fellow passenger was distressed that his ancestor’s huge labours over the decades may have been utterly futile. Niels was a compassionate guy, and they still had a long way to travel together before they reached Vancouver. He spoke hesitantly:

‘Dylan’s music, like all art, is a form of play – yeah? It involves so many aspects of living – novelty, risk-taking, beauty. But your ancestor’s dictionary wasn’t art, it was a scientific endeavour. It involved concentration, judgement, rigour. Maybe it’s a mistake to compare Mr Tambourine Man and the dictionary? They were both very worthy achievements, very different aspects of living. We should celebrate them both.’

He caught the stewardess’s eye and ordered a couple of whiskies. They toasted each other and looked out the window. The plane was flying up the west coast of Greenland, and something out there was attracting other passengers – something utterly divorced from human endeavour. A Greenland glacier was calving as it edged into the ocean. Several new-launched icebergs were lying offshore. Things of strange beauty, tinged with pink from the low sun as they started their journeys of flotation and slow dissolution.

*Yahgan Dictionary Language of the Yawane people of Tierra del Fuego ms. of Rev. Thomas Bridges (later annotations by Rev. John Williams) dated 1865, text published on line by Patagonia Bookshelf 2004-2013.

The Lonely Voice: The Short Story in 2026 by The Drifter

“The mighty moral growth of the author, during his literary activity, is written in indelible characters in these exquisite short stories.” – Leo Tolstoy on Guy de Maupassant

I recently heard an admirably fired-up You Tuber say that almost all fiction writers do their best work in the short form.

Then he said he didn’t know why short fiction, i.e. short stories, are not more popular right now, in the modern world, since most fiction writers do their best work in this form.

I instantly knew I agree/d with the first thing he’d said (since I’ve said it myself many times before, in many different formats; there are no “original” ideas: period).

I also know that short stories, while they are making a small resurgence, are not money-makers in the mainstream publishing world today and far from it.

I started wondering more about why that is, because of what the You Tuber had said.

And I came to the conclusion that it’s because short stories are where fiction writers do their best work.

In other words, short stories are very often the deepest work out there and readers today (in the mainstream, that is) are not looking for depth or challenging material; they are looking for cheesy reassurance, easy affirmations, boring normalness (because it’s comforting) dressed up as something exciting.

There was a moment in American fiction when short stories were where the money was at.

F. Scott Fitzgerald and Kurt Vonnegut both made boatloads of money writing short stories in the early to middle twentieth century. Fitzgerald made far more money from short stories than he ever did from his novels, including Gatsby, which was a financial and critical failure and flop during his lifetime (like Melville’s Moby Dick, or the paintings of Vincent).

But Scott and Kurt both quickly found out that, in order to make that dough, the stories needed to be romantic (unrealistic) tales, easy to digest, and written with contrived (formulaic, used-before, tried-and-true, but not true-to-life) plots. And no ragged, Chekhovian, ambiguous, challenging, thought-provoking, open endings allowed; nor any Dostoevskyean extremity of atmosphere; nor any out-of-this-world Borgesian thought experiments, either.

The best short stories right now are not hugely popular because they are not hugely easy to read.

The first thing they require is pausing from your daily life, concentrating, thinking, feeling, sympathizing, empathizing, decoding, interpreting, imagining, understanding, challenging your own assumptions, stepping away from it all, meditating, reaching out toward characters who might make you uncomfortable, and being comfortable with uncertainty (which ability John Keats called “Negative Capability”). “Beach read” novels and various kinds of thrillers now dominate the fiction best-seller lists, almost literally without exception, and almost all of them (NOT all, but almost) are, by definition, easy, stereotypical, non-challenging, seen-it-before (many times), simplistic, and unrealistic works.

And yet, short stories are, literally, everywhere in our world. School, the internet, and television all overflow with short stories, and almost all movies are far more like short stories than like long novels. Nightly and daily news broadcasts are now presented as dramatic (and, unbelievably, unrealistic, since it’s supposed to be “the news”) short short stories, one piled on top of another in an endless, ridiculous stream.

The relationship between television programs and short stories is a fruitful study for anyone interested in modern fiction writing for any reason and goes back to the very roots of the TV medium.

The Twilight Zone, Star Trek, and Alfred Hitchcock Presents are all classic television programs with very close connections to short stories in many ways.

The works in the Arabian Nights, the Canterbury Tales, and the Decameron are all early short stories.

Short stories are so closely tied to religion that they ARE religion.

The Good Samaritan, The Prodigal Son, Dives and Lazarus, Buddha and the Flower Sermon, Lao Tzu disappearing into the mountains after he (for free) penned the 5,000-word Tao Te Ching and handed it to the guard who’d asked him to write it, are all short stories in their (eternal) way.

This short little essay now concludes with a short little list of passed-on (but still here) fiction writers who’ve all done their best work in the short story (plus a few crucial after-thoughts afterward).

Arthur Conan Doyle. Franz Kafka. Clarice Lispector. Ernest Hemingway. James Joyce. Flannery O’Connor. Hans Christian Andersen. William S. Burroughs. James Baldwin. Grace Paley. Raymond Carver. John Cheever. D.H. Lawrence. Thomas Mann. Joseph Conrad. Dorothy Parker. Shirley Jackson. Ambrose Bierce. O. Henry. Harlan Ellison. Ralph Ellison. Frank O’Connor. William Gay. Larry Brown. Barry Hannah. Rick DeMarinis. Washington Irving. Jorge Luis Borges. Gabriel Garcia Marquez. Denis Johnson. Thom Jones. H.P. Lovecraft. Nelson Algren. Cyrus Colter. Donald Barthelme. Ivan Turgenev. Nikolai Gogol. Isaac Babel. Isaac Bashevis Singer. Katherine Mansfield. Eudora Welty. William Saroyan. E.T.A. Hoffman. Ray Bradbury. Rudyard Kipling. Guy de Maupassant.

Poe and Chekhov are sort-of left off the official list because their greatest works might be poem/s and play/s; but The Raven is a kind of short story for sure, as is The Cherry Orchard.

Many modern fiction writers who did not do their best work in the short story did their best work in the novella, instead (not the novel), but that is a subject for another (annoyingly opinionated) exploration by THE DRIFTER (sometimes known by local canines and felines, ’coons, squirrels and birds as “Dale the Drifter”).

Almost all of the great nineteenth century novels were published in serial form, that is, as separate magazine or journal installments over an extended period, one chapter at a time.

As just one example, War and Peace, that episodic behemoth, originally appeared as a serial over two years (1865 to 1867) in the journal The Russian Messenger before being, heavily, revised and expanded over the next two years after that, then finally published as a stand-alone volume in 1869.

Frank O’Connor called the short story The Lonely Voice. (Just exactly why he did so is also another subject for a future exploration from: The Drifter.)

The Drifter (Images by The Drifter)

Sun Beams and Alchemy (and Photo Gallery) by Christopher J Ananias

When the world is a dark pit, and you find yourself locked up with lunatics. Sometimes, a person needs a slice of sunshine. So that’s what this series of photos will try to capture, but alas, it’s hard to catch a sunbeam.

Then again, I don’t need my baseball glove or butterfly net. Not when I have this magical weight around my neck. It’s left the dark room behind, this is true, but I have my own just in case.

I try to explain this alchemy, as if to a five-year-old or my giant German shepherd dog, to these folks on the ward, but they just cock their heads. I talk about apertures, f-stops, and blinking eyeballs.

No respondo, Ernesto just gazes away from me and talks to people who aren’t there. All of their heads turn, and I finally have an audience.

I’m free again, on Antabuse, so I’m back with the camera therapy of nature and sunshine. The technology that I couldn’t explain to them—resting in my hands. Like a thousand picture books.

The shutter is eager to slide over its mechanical eye, snapping pictures of the sun and everything under it, but you have to be careful taking so many pictures of God.

I Finally Said Goodbye to All Those Years by Dale Williams Barrigar

(Images by DWB)

You’ve been there since then

since when

the last time I saw you

and you were

standing

there

in out of the rain

under the eaves

with the dead flowers

in your arms

waiting for a train.

It’s been

seven years

since then

and today

was the first day I

finally said goodbye

inside my mind.

You were the start of it all

and I owe you for that

but I looked up today and saw

that time has now flown.

And now I’m going to have to

forget you and now you’re

going to have to

make it

like I always knew you could

all on your own.

Dale Williams Barrigar

(Bonus Image by DWB, Boo on Vacation is Wisconsin)

Tomorrow, Wendy by Leila Allison

(A late happy 133rd birthday to Dorothy Parker, a keeper of the little god of suicide)

Suicide is a big part of art, so I’ve been told. It’s big in my family, I know that much. My father, both my grandmothers did it. My mother could have hung on another year or so but went Bartleby on dialysis. I’ve seen enough. And on the early morning of 21 December 1989, at the age of thirty, I did it. Damn wonderful, really; and such a revelation of freedom; those were the free-est, purest, most honest five seconds of my life. For once I was doing something Big. Fuck boredom and being embarrassed about being alive. But I failed. While blasted, I deliberately aimed my car at a sturdy utility pole, floored it and woke in the hospital. If a spur of the moment thing can still contain the shape of a plan, then there you have it; but of Mice and Drunks and the little devils that protect us, I was chosen to survive. My Colt looked like a crushed beer can yet I survived with a concussion, a bunch of stitches and a DUI. “Could be worse,” I told myself at the wrecking yard a few days later, as I managed to reach in and extract the eightball of blow I had in the glove box. “Yessir, could be a whole lot worse.”

Funny thing is that even though I was in a moderate bit of trouble (DUI, five days in jail and about five grand for messing up the pole), like in The Exorcist the demon inside that wanted to die bailed when we hit the pole. Just like the bastard to do something like that. Cheap fucking 80’s demon. Not like the old-timey grandmother demons who drop from the gallows with you. You could depend on them.

I do not write this for sympathy nor to shock. It’s just something that happened more years ago than I had been alive at the time of its happening. The odd thing is the missing demon-feeling. It felt like it had always been with me, something about death, a weirdly detached point of view that came up in certain situations (especially when blasted–but still, always there). I can trace back to the time, but I cannot remember the actual fabric of the feeling, the touch of being. I only remember that it always felt like night, and a certainty that good times were over, and that I had missed out on something I could never understand.

For me there is only one bit of art that comes close to describing the feeling (which, actually, is an anti-feeling, if that makes sense). It is the song Tomorrow Wendy performed by Concrete Blonde, written by Andy Prieboy. The writer is a member of the Wall of Voodoo, whose artistic respect lies somewhere between that held for the 1910 Fruitgum Company and Aha. But, hey, a job is a job and I completely understand.

Prieboy wrote it about a woman he knew who got into heroin, prostitution and eventually contracted HIV. Instead of waiting to die in the slowest, most agonizing way possible (this was the 1980s, no drug cocktails as of yet), Wendy loaded a needle and found her way to the door. But on her way out she had many devastating opinions to share. The song is a stunner, and I cannot think of a voice keener than Concrete Blonde’s Jonnette Almalfitano to deliver it. The production is first rate and it is one of those rare, perfect pieces of music that cannot exist in the same dimension with the usual pop stuff (both the good and bad) because it is too honest. It hurts too much to hear and it makes Clapton’s Tears in Heaven come off overrated (which, for me, mind you, is. Obviously a horrible situation, but I find it strangely aloof and too neatly done for honesty).

I never told anyone how I was feeling. I had a thought that they did not want to hear about it, plus the idea of confession felt as though I would cheapen something in me that was stunningly complicated and even artistic in its own fashion. I did not tell them because they were terrible people (most were, but I like em just fine), but because nearly every little thing we say and do is designed to either obscure or lessen the truth. Big ticket items tend to create an instant vacuum into which bullshit immediately fills. Besides suicide is something that varies from person to person. I believe that some people can be saved by speaking out, but others need to act out in some way. Moreover, we are still very much in the grip of the old thinking, in which suicide, depression (not always mutually exclusive), substance addiction (for some reason we still normally divide alcoholism from drug addiction, even though they are the same complaint) and fifty other troubles are moral failings, indicative of spiritual weakness. Anyway, it is too big a responsibility for a mortal to tackle. The best idea is to shut up and listen. Leave the “You are needed” tripe for Hallmark cards.

A few years ago a guy went over a land bridge in Port Orchard, Washington. It stands over a creek and a valley and is way the hell over a hundred feet above stark reality. I walk that bridge a lot and I saw the little arrangement of flowers someone left behind and a message of hope left in sharpie–signed “A Stranger.” Yes indeed we sure give a fuck after the fact. But really, I cannot see any message of hope and a Dollar Tree candle stopping somebody determined to go over that bridge. I peeked over the rail. So much shit to hit on the way down–and trust me that is a big down. The type that puts a jittery feeling in your knees to look at. And for a moment I had nothing but love for the man. He made a real statement against all the superficial labors we must endure. He made himself holy. Such courage to do that–A that which is as untake-backable as any that gets. I felt like kicking the cruddy little shrine down into the abyss, but it did not deserve the rapture.

I honestly do not believe that a song or any kind of art on its own can save a person. I also feel that such cannot destroy anyone either. But allowing good things to enter your thoughts, and by good, I mean sincere, can help. One of the few things I do remember was a terrible cycle of repetition in my mind. Certain images and thoughts chasing themselves like Cats after their own tails.

I think Wendy did the right thing for herself. That’s because she had a terminal condition that was not going to end well. Cook, jab, Goosh, sweet speedball, and sleep–the good kind, like when your mom or dad put you to bed after a late night, melting into the sweet embrace of wind dried pillow cases and sheets. And I do not think there is a “perchance to dream” part coming for people like Wendy–as in the inferred rottenness pondered by the Prince. If there was more, I’d rather it be the happiness that eluded her in life.

It is a touchy subject. Unless you spout the “You are needed, take your vitamins, it is always darkest before the dawn (to which I retort “Everything will be at its brightest when the sun explodes”) company line, you risk “causing a tragedy” or the accusation of promoting self murder. That is a lie told by people who have limited imaginations and monochromatic solutions, and it belies an attitude that contributes to pain due to its artificiality. Find someone to talk to, if you haven’t got anyone, find a priest–even if you do not believe in God. But listening to that one voice over and over and over will get you nowhere.

Leila

The Ghost and I by Simon Collinson

(One more by Mr. Collinson.  We look forward to his next visit–LA)

How long do you mourn a ghost?

Is a year or two too long?

Try three, for it was three years ago,

she left me and disappeared,

and now she’s become a ghost that fills the silence,

they say I should move on, forget the past,

and let go of the ghost,

that’s easier said than done, when you’re clinging to a ghost,

it’s like I’m going out with a ghost,

a ghost that’s with me every day,

any where I go I see her, waving and smiling,

she’s present in the laughter and scent of every room i enter,

always there in my memory, the past is real and alive,

the present is an illusion, like a dream of the dead,

they say I need to focus on the present,

but the ghost, you see, she won’t let me,

I won’t let me,

the ghost and I won’t let go of one another,

she’s my shadow,

becoming inseparable,

always the ghost and I,

wherever I go, the ghost goes as well,

together walking through the past,

I hesitate to walk on without her,

I won’t let go of the ghost,

can’t move on, like I’m trapped,

a million times they say it cannot be, it cannot be,

yet the ghost is still here with me,

like I’m shackled to a ghost,

blocking everything, but the past and the ghost,

today I’m here, still with the ghost,

you see there are some ghosts,

you can’t simply shake off and send away,

like the ghost that I haunt everyday.

Simon Collinson

Uneasy Evening by Simon Collinson

On nights like this, when your head’s hounded by bells and hissing howls, watch out, watch out, be on your guard. Tonight it’s out and about, they say something malicious and vicious slithers your way. Is there something wrong with the lights? You’d better make sure all the doors are locked and secure, for there’s something lurking nearby, as close as scissor legs, closer than you dare to think, near enough to nick the hairs quivering upon your neck.

What was that? Have you counted all the knives? Make sure you count them again.

There’s a shadow curling up from the floor, waiting for you to take forty winks as you listen to that muffled scream, it’ll be with you soon. So it’s nighty night, please don’t let the ravenous rats bite, many unpleasant dreams will herald the hour of your doom.

Simon Collinson

Decadence by Simon Collinson

(Ed Note-For the next four days we will be pleased to debut Simon Collinson. We would have sooner but the first five poems he submitted to us were swooped by other publishers before we got a look at them. Poetry can be a cut throat business on occasion!-But we are glad to have four to present. And although they are short, we feel that even the tiniest work–even that shorter than the preceding Ed. Note- deserves its own day, provided such has been earned,. We feel such is the case, and more than once,with Simon–Leila)

Near the year’s ending

like walking past

moss ridden, rotten walls,

that’s withered,

weathered and worn,

so weary, tired,

tottering and teetering,

just waiting to fall.

Simon Collinson