“On the Beach,” a very short story by Stephen Dixon

“On the Beach”

by

Stephen Dixon


Eva, Olivia and Eric are on a beach trying to drag a rowboat into the water. “This thing will never budge,” Eric says. “My father could make it budge,” Eva says. “Here she goes again,” Olivia says. “No, let her, what?” Eric says. “My father was so strong he could lift it on his back and carry it into the water. He’d need both arms and it’d be heavy but he could do it.” “I’m sure he could. Or push, even, or at least drag it into the water by himself, but I can’t, honey. I’m simply not as strong as your father was.” “As my father is. My father’s very strong.” “As he is then. As you say. I’ve heard of his physical exploits—how strong he was, I’m saying.” “She knows what exploits are,” Olivia says. “You don’t have to teach it to either of us. I know the word and I’ve told her the word.” “I didn’t realize that. For you see, I didn’t know that word till I was twice your age, maybe three times. How old are you? I’m only kidding. I know how old. I even know how old both of you are put together. A hundred six, right. No. But good for you—both of you for knowing so many big impressive words. Like ‘impressive.’ You know that word too, right?” “Right.” “Sure, just as my father knows all those words and more,” Eva says. “He knows words that haven’t even been born yet. Like kakaba. Like oolemagoog.” “He does? He knows those? Wow. Very impressive. Anyway, I’d hoped we got past that subject. I said that to myself. But if we didn’t, some men are just stronger than others. That’s a fact. I’d be the last to deny it. You both know what ‘deny’ means, I know. And some men are smarter than others. And kinder and nicer than others and have more hair and so on. But I bet no man has more than two arms. Anyone want to bet?” “My father’s stronger, nicer, kinder than others and much much more than that,” Eva says. “He’s taller than most others. And handsome. Much more than any others. His photos say so. Others say so.” “Well that’s a good thing for a man to be,” Eric says. “For an older woman to be too,” Olivia says. “That’s what Mother says.” “Good. She knows. She’s smart. Me, I was never considered handsome. That should come as no surprise to you two, as it doesn’t to your mother. Not handsome even when I was a young man, an older woman, a small piggy, or even now as a fairly not-so-young-maybe-even-old hog. Most of that was supposed to be funny. Why aren’t you laughing?” “Because it wasn’t funny and we’re talking about someone else now, right, Olivia?” “I don’t know,” Eva says. “Daddy. All that he is.” “Okay,” Eric says, “I’ll bite. Meaning, well, just that I’m all pointy ears and curly tail uncoiled and extended snout—I want to know. What else was he? Is he. Sorry. But tell me.” “Funny,” Eva says. “He’s more funny than anyone alive. Sometimes people died laughing at things he said. But really, with big holes in their chests and all their bones broken and blood.” “Yes, that’s true,” Olivia says, “the streets covered with broken laughed-out dead bodies, for funniest is what he is and always was. And liveliest too. A real live wire, our father. You’re excellent, Eric—honestly, this is not to go stroke-stroke to you. And lively and smart, but not at all handsome, and kind and wonderful in some ways and we love you, we truly do, even if what Eva said and how she acted just now, but you’re not livelier than our dad. No sir. Our real dad was live-ly! Oh boy was he. A real live wire. He was also so sad. We shouldn’t leave that out if we want to be fair. A real sad wire. ‘Mr. Sad Wire’ we should’ve called him, right, Eva? If you could have talked then. For you couldn’t even say three words in a row that made sense. No sentence-sense I used to say about her then, Eric.” “I could so say sad wire.” “Hey, stop a moment, for where are we?” Eric says. “Was? Is? Which one is he?” “Is,” Eva says. “Daddy’s definitely an ‘is.’ And sometimes when I hear from him, like I did just yesterday, I say ‘Daddy Live Wire, Daddy Sad Wire, how dost your farting grow?’ Because that’s what he also does best—just ask Olivia.” “That’s right, she’s a true bird, we have to be fair,” Olivia says. “He was probably the world’s greatest most productive farter for more years in a row than anybody and still is.” “Is for sure,” Eva says. “The whole world knows of him. He’s been in newspapers, on TV. People have died from it everywhere, and not happy laughing deaths. In planes and parks. Hundreds of dead bodies in your way sometimes. Flat on the ground, piled ten deep sometimes, black tongues hanging out, their own hands around their necks. Vultures in trees all around but refusing to pick at them the smell’s so bad. And much worse. I won’t even go into it more. Like whole cities dying, dogs and cats too—not a single breathing thing left alive. Maybe that’s an exaggeration. Rats always survive. But ‘Killer Dad’s been at it again,’ I always say to Olivia when we see this, and that time we walked through that ghost city. It doesn’t hurt us because we got natural, natural…what is it again we got, Olivia?” “Impunity. Immunity. Ingenuity. That’s us. We never even smell it when we’re in the midst of it but we can see when we see all this that it can only be he who did it.” “You girls are really funny today,” Eric says. “Inherited from him, no doubt.” “Oh no we didn’t,” Olivia says. “He inherited it from us, didn’t you know? Something strange happened in life when we were born. But everything he’s best at he got from us, or almost. We’re sad live wires or lively dad wires or just mad love wires. That’s because we brought up our father and are still doing it yet. Now that’s a real switch, isn’t it, Eva, bringing up your own dad? How’d we do it?” “I’m not sure, but that’s for sure what we’re doing. We didn’t want to, we had our own lives to bring up, but we had no choice, right, Olivia?” “No, why?” “No, you.” “He was left on our doorstep, right? Came in a shoe box with a note glued to it saying…what?” “It said ‘Feeling blue? Nothing in life’s true? Cat’s got your goo? So do something different in your loo today. Bring up your own dad. But don’t leave him in a shoe box for squirrels to build their nests in on top of him. Take him out, brush him off, give him a good cleaning. Treat him as good as you would your best pair of party shoes.’ Wasn’t that what it said, Olivia?” “Or was it a hat box he came in? ‘Put him on your bean against the sun, sleet and rain and your brain will seem much keener.’ No, that wasn’t it. ‘Treat him as gently as you would your own mentally…’ I forget everything it said. But we did. And I know it was some kind of box.” “A suggestion box. A lunch box. ‘What’s inside is nutritious and suspicious. Open hungrily and with care.’ And when we’ve brought him up all the way, Eric, I’m afraid the sad news is you’ll have to move out. Because he’ll be moving back in, all grown up then. Because no bigamists allowed in our family, right, Olivia?” “Right, Eva.” “So?” “So maybe in yours, Eric, it’s allowed, but not in ours. Family honor. Horses’ code. New York telephone directory. We’re very sorry. Unbreakable rule. But let’s stop, Eva. I’ve spun out and so have you. And we’re not being nice to Eric who’s been so nice to us. Renting this boat. Helping us push it into the water. Doing most of the work. Probably getting a heart attack from it. Dying for us just so we can have some summer fun.” “Hey, don’t worry about me, kids. Let it out. Have it out. Thrash it to me. Money and abuse are no object. Listen, I know how you’re both feeling, but you have to know I also of course wish he had never died.” “He never did, how can you say that?” Eva says. “Whatever. And easy as it is for me to say this after the fact and much as I would have missed if he had lived—I’ll be straightforward with you—I didn’t know him but have heard so many wonderful things about him that I only wish I had.” “Had what?” Olivia says. “That he can’t be replaced. By me. I know that. Never deluded myself otherwise. And that I wish I’d known him.” “So, it can be arranged,” Eva says, “can’t it, Olivia?” “Let’s stop—really. We’re spoiling our day and being extra extra lousy to Eric.” “Okay, he’s dead, heave-ho, hi-heave, what d’ya say, Joe, bury the problem? For what I want most now is to get out there to fish, splash and row.” “Well,” Eric says, “it seems we’ll have to wait for a couple of strapping guys to come along and help us or come back when the tide comes in. Anyone think to bring that card with the tide times?” “Daddy will come help,” Eva says. “Sometimes it only takes one and he’s the one. So hey, hi, daddy of mine, come and pull our boat into the water. You’ll see. I’ve wished. Daddy come now,” and she sits down hard in the sand, puts her thumb in her mouth and sucks it while she twiddles her hair in back and looks off distantly. “Eva, get up, get up quickly, you hear me?” Olivia says. “You’re scaring the shit out of us.”

“The Boat,” a very short story by Robert Walser

“The Boat”

by

Robert Walser

translated by Tom Whalen


I think I’ve written this scene before, but I’ll write it once again. In a boat, midway upon the lake, sit a man and woman. High above in the dark sky stands the moon. The night is still and warm, just right for this dreamy love adventure. Is the man in the boat an abductor? Is the woman the happy, enchanted victim? This we don’t know; we see only how they both kiss each other. The dark mountain lies like a giant on the glistening water. On the shore lies a castle or country house with a lighted window. No noise, no sound. Everything is wrapped in a black, sweet silence. The stars tremble high above in the sky and also upward from far below out of the sky which lies on the surface of the water. The water is the friend of the moon, it has pulled it down to itself, and now they kiss, the water and the moon, like boyfriend and girlfriend. The beautiful moon has sunk into the water like a daring young prince into a flood of peril. He is reflected in the water like a beautiful affectionate soul reflected in another love-thirsty soul. It’s marvelous how the moon resembles the lover drowned in pleasure, and how the water resembles the happy mistress hugging and embracing her kingly love. In the boat, the man and woman are completely still. A long kiss holds them captive. The oars lie lazily on the water. Are they happy, will they be happy, the two here in the boat, the two who kiss one another, the two upon whom the moon shines, the two who are in love?

Read “Report on Heaven and Hell,” a very short story by Silvina Ocampo

“Report on Heaven and Hell”

by

Silvina Ocampo

translation by Edith Grossman


Heaven and Hell, like the great auction galleries, have heaps of objects accumulated in their passageways, objects that will not surprise anyone because they are the same things usually found in the galleries of this world. But it is not enough to speak only of objects; there are also cities, towns, gardens, mountains, valleys, suns, moons, winds, seas, stars, reflections, temperatures, tastes, perfumes, sounds, for Eternity provides us with every kind of sensation and spectacle.

If it seems to you that the wind roars like a tiger and if in the glance of the heavenly dove you see the eyes of a hyena, if the well-dressed man who crosses the street is wearing shameless tatters, if the prize-winning rose offered to you is a faded rag as drab as a sparrow, if your wife’s face is dulled, raw, and angry-your eyes, and not God, have made them that way.

When you die the demons and the angels (they are equally intent and know that you are sleeping halfway between this world and some other one) will come to your bed in disguise and, stroking your head, will permit you to select the things you preferred during your lifetime. At first, in a kind of sample display, they will show you nutural objects. If they show you the sun, the moon, or the stars, you will see them in a painted crystal ball and you will think that the crystal sphere is the world; if they show you the sea or the mountains, you will see them in a stone and you will think that the stone is the sea and the mountains; if they show you a horse it will be a miniature, but you will think that the horse is real. The angels and the demons will distract your spirit with pictures of flowers, shining fruits, and candies; making you think that you are still a child, they will sit you in a kind of sedan chair, called the queen’s chair or the chair af gold, and they will carry you, their hands intertwined, down those corridors to the center of your life where your preferences dwell.

Be careful. If you select more things from Hell than from Heaven, you may go to Heaven; on the other hand, if you select more things from Heaven than from Hell, you run the risk of going to Hell since your love for celestial things will imply mere greed.

The laws of Heaven and Hell are capricious. Whether you go to one place or the other depends on the most insignificant detail. I know of people who have gone to Hell because of a broken key or a wicker cage and of others who have gone to Heaven because of a sheet of newspaper or a cup of milk.

“Conscience,” very short tale by Italo Calvino

“Conscience”

by

Italo Calvino

translated by Tim Parks


Came a war and a guy called Luigi asked if he could go, as a volunteer.

Everyone was full of praise. Luigi went to the place where they were handing out the rifles, took one and said: ‘Now I’m going to go and kill a guy called Alberto.’

They asked him who Alberto was.

‘An enemy,’ he answered, ‘an enemy of mine.’

They explained to him that he was supposed to be killing enemies of a certain type, not whoever he felt like.

‘So?’ said Luigi. ‘You think I’m dumb? This Alberto is precisely that type, one of them. When I heard you were going to war against that lot, I thought: I’ll go too, that way I can kill Alberto. That’s why I came. I know that Alberto: he’s a crook. He betrayed me, for next to nothing he made me make a fool of myself with a woman. It’s an old story. If you don’t believe me, I’ll tell you the whole thing.’

They said fine, it was okay.

‘Right then,’ said Luigi, ‘tell me where Alberto is and I’ll go there and I’ll fight.’

They said they didn’t know.

‘Doesn’t matter,’ Luigi said. ‘I’ll find someone to tell me. Sooner or later I’ll catch up with him.’

They said he couldn’t do that, he had to go and fight where they sent him, and kill whoever happened to be there. They didn’t know anything about this Alberto.

‘You see,’ Luigi insisted, ‘I really will have to tell you the story. Because that guy is a real crook and you’re doing the right thing going to fight against him.’

But the others didn’t want to know.

Luigi couldn’t see reason: ‘Sorry, it may be all the same to you if I kill one enemy or another, but I’d be upset if I killed someone who had nothing to do with Alberto.’

The others lost their patience. One of them gave him a good talking to and explained what war was all about and how you couldn’t go and kill the particular enemy you wanted to.

Luigi shrugged. ‘If that’s how it is,’ he said, ‘you can count me out.’

‘You’re in and you’re staying in,’ they shouted.

‘Forward march, one-two, one-two!’ And they sent him off to war.

Luigi wasn’t happy. He’d kill people, offhand, just to see if he might get Alberto, or one of his family. They gave him a medal for every enemy he killed, but he wasn’t happy. ‘If I don’t kill Alberto,’ he thought, ‘I’ll have killed a load of people for nothing.’ And he felt bad.

Meantime they were giving him one medal after another, silver, gold, everything.

Luigi thought: ‘Kill some today, kill some tomorrow, there’ll be less of them, that crook’s turn is bound to come.’

But the enemy surrendered before Luigi could find Alberto. He felt bad he’d killed so many people for nothing, and since they were at peace now he put all his medals in a bag and went around enemy country giving them away to the wives and children of the dead.

Going around like this, he ran into Alberto.

‘Good,’ he said, ‘better late than never,’ and he killed him.

That was when they arrested him, tried him for murder and hanged him. At the trial he said over and over that he had done it to settle his conscience, but nobody listened to him.

“Football,” a very short story by Richard Brautigan

“Football”

by

Richard Brautigan


The confidence that he got by being selected all-state in football lasted him all of his life. He was killed in an automobile accident when he was twenty-two. He was buried on a rainy afternoon.

Halfway through the burial service the minister forgot what he was talking about. Everybody stood there at the grave waiting for him to remember.

Then he remembered.

“This young man,” he said. “Played football.”

“Frog in Prague” — Stephen Dixon

“Frog in Prague”

by

Stephen Dixon


They stand still. “And Kafka?” Howard says.

“Kafka is not buried here.”

“No? Because I thought—what I mean is the lady at my hotel’s tourist information desk—the Intercontinental over there—and also the one who sold me the ticket now, both told me—”

The man’s shaking his head, looks at him straight-faced. It’s up to you, his look says, if you’re going to give me anything for this tour. I won’t ask. I won’t embarrass you if you don’t give me a crown. But I’m not going to stand here all day waiting for it.

“Here, I want to give you something for all this.” He looks in his wallet. Smallest is a fifty note. Even if he got three-to-one on the black market, it’s still too much. He feels the change in his pocket. Only small coins. This guy’s done this routine with plenty of people, that’s for sure, and he’d really like not to give him anything.

“Come, come,” the man said.

“You understand?” Howard said. “For Kafka’s grave. Just as I told the lady at the ticket window, I’m sure the other parts of this ticket for the Old Synagogue and the Jewish Museum are all very interesting—maybe I’ll take advantage of it some other time—but what I really came to see—”

“Yes, come, come. I work here too. I will show you.”

Howard followed him up a stone path past hundreds of gravestones on both sides, sometimes four or five or he didn’t know how many of them pressed up or leaning against one another. The man stopped, Howard did and looked around for Kafka’s grave, though he knew one of these couldn’t be it. “You see,” the man said, “the governor at the time—it was the fourteenth century and by now there were twelve thousand people buried here. He said no when the Jewish elders of Prague asked to expand the cemetery. So what did the Jews do? They built down and up, not outwards, not away. They kept inside the original lines of the cemetery permitted them. Twelve times they built down and up till they had twelve of what do you call them in English, plateaus? Places?” and he moved his hand up in levels.

“Levels?”

“Yes, that would be right. Twelve of them and then the ground stopped and they also couldn’t go any higher up without being the city’s highest cemetery hill, so they couldn’t make any levels anymore.”

“So that accounts for these gravestones being, well, the way they are. All on top of one another, pressed togetherlike. Below ground there’s actually twelve coffins or their equivalents, one on top of—”

“Yes, yes, that’s so.” He walked on about fifty feet, stopped. “Another governor wouldn’t let the Jews in this country take the names of son-of anymore. Son of Isaac, Son of Abraham. They had to take, perhaps out of punishment, but history is not clear on this, the names of animals or things from the earth and so on.” He pointed to the stone relief of a lion at the top of one gravestone. “Lion, you see.” To a bunch of grapes on another stone: “Wine, this one. And others, if we took the time to look, all around, but of that historical era.”

“So that’s why the name Kafka is that of a bird if I’m not mistaken. Jackdaw, I understand it means in Czech. The Kafka family, years back, must have taken it or were given it, right? Which?”

“Yes, Kafka. Kafka.” Howard didn’t think by the man’s expression he understood. “Come, please.” They moved on another hundred feet or so, stopped. “See these two hands on the monument? That is the stone of one who could give blessings—a Cohen. No animal there, but his sign. Next to it,” pointing to another gravestone, “is a jaw.”

“A jaw?” The stone relief of this one was of a pitcher. “Jar, do you mean?”

“Yes. Jaw, jaw. That is a Levi, one who brings the holy water to wash the hands of a Cohen. That they are side by side is only a coincidence. On the next monument you see more berries but of a different kind than wine. Fertility.”

“Does that mean a woman’s buried here? Or maybe a farmer?”

“Yes. Come, come.” They went past many stones and sarcophagi. All of them seemed to be hundreds of years old and were crumbling in places. Most of the names and dates on them couldn’t be read. The newer section of the cemetery, where Kafka had to be buried, had to be in an area one couldn’t see from here. He remembered the photograph of the gravestone of Kafka and his parents. Kafka’s name on top—he was the first to go—his father’s and mother’s below his. It was in a recent biography of him he’d read, or at least read the last half of, not really being interested in the genealogical and formative parts of an artist’s life, before he left for Europe. The stone was upright, though the photo could have been taken many years ago, and close to several upright stones but not touching them. The names and dates on it, and also the lines in Hebrew under Kafka’s name, could be read clearly. It looked no different from any gravestone in an ordinary relatively old crowded Jewish cemetery. The one a couple of miles past the Queens side of the Fifty-ninth Street Bridge where some of his own family were buried.

The man walked, Howard followed him. “Here is the monument of Mordecai Maisel. It is much larger than the others because he was a very rich important man. More money than even the king, he had. The king would borrow from him when he needed it for public matters. Later, after he paid it back, he would say to him ‘Mordecai, what can I give you in return for this great favor?’ Mordecai would always say ‘Give not to me but to my people,’ and that did help to make life better in Prague for the Jews of that time. He was a good wealthy man, Mordecai Maisel. Come, come.”

They stopped at another sarcophagus. Hundreds of little stones had been placed on the ledges and little folded-up pieces of paper pushed into the crevices of it. “Here is Rabbi Low. As you see, people still put notes inside his monument asking for special favors from him.”

“Why, he was a mystic?”

“You don’t know of the famous Rabbi Löw?”

“No. I mean, his name does sound familiar, but I’m afraid my interest is mostly literature. Kafka. I’ve seen several of his residences in this neighborhood. Where he worked for so many years near the railroad station, and also that very little house on Golden Lane, I think it’s translated as, across the river near the castle. A couple of places where Rilke lived too.”

“So, literature, what else am I talking of here? The Golem. A world famous play. Well? Rabbi Low. Of the sixteenth century. He started it. He’s known all over.”

“I’ve certainly heard of the play. It was performed in New York City—in a theater in Central Park—last summer. I didn’t know it was Rabbi Low who started the legend.”

“Yes, he, he. The originator. Others may say other rabbis might have, but it was only Rabbi Low, nobody else. Then he knocked the Golem to pieces when it went crazy on him. Come, come.”

They went on. The man showed him the grave of the only Jewish woman in medieval Prague who had been permitted to marry nobil
ity. “Her husband buried here too?” Howard said. “No, of course not. It was out-of-religion. The permission she got to marry was from our elders. He’s somewhere else.” The stone of one of the mayors of the Jewish ghetto in seventeenth-century Prague. The stone of a well-known iron craftsman whose name the man had to repeat several times before Howard gave up trying to make it out but nodded he had finally understood. Then they came to the entrance again. After the man said Kafka wasn’t buried here and Howard said he wanted to give him something for all this, he finally gives him the fifty note, the man pockets it and Howard asks if he might know where Kafka is buried.

“Oh, in Strašnice cemetery. The Jewish part of it, nothing separate anymore. It isn’t far from here. You take a tube. Fifteen minutes and you are there,” and he skims one hand off the other to show how a train goes straight out to it. “It’s in walking distance from the station. On a nice day unlike today the walk is a simple and pleasant one. And once you have reached it you ask at the gate to see Kafka’s grave and someone there will show you around.”

Read “Whatever He Sees, He Sees Soft,” a very short story by Julio Cortázar

“Whatever He Sees, He Sees Soft”

by

Julio Cortázar

translated by Robert Coover and Pilar Coover

I know a great softener, a fellow who, whatever he sees, he sees soft, softens it merely by seeing it, not by looking at it for he doesn’t look, he only sees, he goes around seeing things and all of them are terribly soft, which makes him happy because he doesn’t like hard things at all.

There was a time when no doubt he saw things hard, being then still able to look, for he who looks sees twice: he sees what he’s seeing and at the same time it is what he sees, or at least it could be, or would like to be, or would not like to be, all exceedingly philosophical and existential means of locating oneself and locating the world. But one day when he was about twenty years old, he began to stop looking, this fellow, because in point of fact he had very soft skin, and the last few times he’d wanted to look straight out at the world, the sight had torn his skin in two or three places, and naturally my friend said. Hey baby, this won’t do! Whereupon one morning he’d started just seeing instead, very carefully, only that, nothing but seeing-and from then on, of course, whatever he saw, he saw soft, softened it simply by seeing it, and he was happy because he couldn’t abide hard things at all.

“Trivializing vision” is what a professor from Bahía Blanca called it, a surprisingly felicitous expression coming as it did from Bahía Blanca, but my friend paid it no heed, and not only that, but when he saw the professor, he naturally saw him as remarkably soft, and so invited him home for cocktails, introduced him to his sister and aunt, the whole event transpiring in an atmosphere of great softness.

It bothers me a little, I must say, because whenever my friend sees me, I feel like I’m going completely soft, and even though I know it’s got nothing to do with me, but rather with the image of me my friend has, as the professor from Bahía Blanca would say, just the same it bothers me, because nobody likes to be seen as some kind of semolina pudding, and so get invited to the movies to watch cowboys or get talked to for hours about how lovely the carpets are in the Embassy of Madagascar.

What’s to be done with my friend? Nothing, of course, At all events, see him but never look at him: how, I ask, could we look at him without, horribly, risking utter dissolution? He who sees only must be seen only: a wise and melancholy moral which goes, I am afraid, beyond the laws of optics.

“Nail Soup (A Depression Recipe)” — M.F. Beal

“Nail Soup (A Depression Recipe)” by M. F. Beal


Go up to a house which is pretty untidy and look around the back door until you find a nail. Then knock, and when the lady of the house comes take off your hat and ask her could she spare the ingredients for a nail soup. When she asks how you make that, show her the nail and tell her you take a nail and some water and ask her what else she’s got around. Usually she’ll be shamed enough to give you at least an onion and some potatoes.

To finish the soup: Go down to where everybody’s hanging out, and while you wait for your nail soup to cook, read in the newspaper about how they’re shoveling day-old chicks into the local dump, or pouring fresh cow’s milk down the sewer. When you get to the bottom of the pot, take a good long look at the nail and decide what to do with it.

Read “A Sudden Story,” a very short tale by Robert Coover

“A Sudden Story” by Robert Coover
Once upon a time, suddenly, while it still could, the story began. For the hero, setting forth, there was of course nothing sudden about it, neither about the setting forth, which he’d spent his entire lifetime anticipating, nor about any conceivable endings, which seemed, like the horizon, to be always somewhere else. For the dragon, however, who was stupid, everything was sudden. He was suddenly hungry and then he was suddenly eating something. Always, it was like the first time. Then, all of a sudden, he’d remember having eaten something like that before: a certain familiar sourness… And, just as suddenly, he’d forger. The hero, coming suddenly upon the dragon (he’d been trekking for years through enchanted forests, endless deserts, cities carbonized by dragonbreath, for him “suddenly” was not exactly the word), found himself envying, as he drew his sword (a possible ending had just loomed up before him, as though the horizon had, with the desperate illusion of suddenness, tipped), the dragon’s tenseless freedom. Freedom? the dragon might have asked, had he not been so stupid, chewing over meanwhile the sudden familiar sourness (a memory… ?) on his breath. From what? (Forgotten.)

Robert Coover reads “The Fall Guy’s Faith”

“The Fall Guy’s Faith”

by

Robert Coover


Falling from favor, or grace, some high artifice, down he dropped like a discredited predicate through what he called space (sometimes he called it time) and with an earsplitting crack splattered the base earth with his vital attributes. Oh, I’ve had a great fall, he thought as he lay there, numb with terror, trying desperately to pull himself together again. This time (or space) I’ve really done it! He had fallen before of course: short of expectations, into bad habits, out with his friends, upon evil days, foul of the law, in and out of love, down in the dumps—indeed, as though egged on by some malevolent metaphor generated by his own condition, he had always been falling, had he not?—but this was the most terrible fall of all. It was like the very fall of pride, of stars, of Babylon, of cradles and curtains and angels and rain, like the dread fall of silence, of sparrows, like the fall of doom. It was, in a word, as he knew now, surrendering to the verb of all flesh, the last fall (his last anyway: as for the chips, he sighed, releasing them, let them fall where they may)—yet why was it, he wanted to know, why was it that everything that had happened to him had seemed to have happened in language? Even this! Almost as though, without words for it, it might not have happened at all! Had he been nothing more, after all was said and done, than a paraphrastic curiosity, an idle trope, within some vast syntactical flaw of existence? Had he fallen, he worried as he closed his eyes for the last time and consigned his name to history (may it take it or leave it), his juices to the soil (was it soil?), merely to have it said he had fallen? Ah! tears tumbled down his cheeks, damply echoing thereby the greater fall, now so ancient that he himself was beginning to forget it (a farther fall perhaps than all the rest, this forgetting: a fall as it were within a fall), and it came to him in these fading moments that it could even be said that, born to fall, he had perhaps fallen simply to be born (birth being less than it was cracked up to be, to coin a phrase)! Yes, yes, it could be said, what can not be said, but he didn’t quite believe it, didn’t quite believe either that accidence held the world together. No, if he had faith in one thing, this fallguy (he came back to this now), it was this: in the beginning was the gesture, and that gesture was: he opened his mouth to say it aloud (to prove some point or other?), but too late—his face cracked into a crooked smile and the words died on his lips . . .

“Marmosets,” a very short story by Clarice Lispector

“Marmosets”

by

Clarice Lispector

translated by Elizabeth Bishop


The first time we had a marmoset was just before New Year’s. We were without water and without a maid, people were lining up to buy meat, the hot weather had suddenly begun—when, dumfounded, I saw the present enter the house, already eating a banana, examining everything with great rapidity, and with a long tail. It looked like a monkey not yet grown; its potentialities were tremendous. It climbed up the drying clothes to the clothesline, where it swore like a sailor, and the banana-peelings fell where they would. I was exhausted already. Every time I forgot and absentmindedly went out on the back terrace, I gave a start: there was that happy man. My younger son knew, before I did, that I would get rid of this gorilla: “If I promise that sometime the monkey will get sick and die, will you let him stay? Or if you knew that sometime he’d fall out the window, somehow, and die down there?” My feelings would glance aside. The filthiness and blithe unconsciousness of the little monkey made me responsible for his fate, since he himself would not take any blame. A friend understood how bitterly I had resigned myself, what dark deeds were being nourished beneath my dreaminess, and rudely saved me: a delighted gang of little boys appeared from the hill and carried off the laughing man. The new year was devitalized but at least monkey-less.

A year later, at a time of happiness, suddenly there in Copacabana I saw the small crowd. I thought of my children, the joys they gave me, free, unconnected with the worries they also gave me, free, and I thought of a chain of joy: “Will the person receiving this pass it along to someone else,” one to another, like a spark along a train of powder. Then and there I bought the one who would be called Lisette.

She could almost fit in one hand. She was wearing a skirt, and earrings, necklace, and bracelet of glass beads. The air of an immigrant just disembarking in her native costume. Like an immigrant’s, too, her round eyes.

This one was a woman in miniature. She lived with us three days. She had such delicate bones. She was of such a sweetness. More than her eyes, her look was rounded. With every movement, the earrings shook; the skirt was always neat, the red necklace glinted. She slept a lot, but, as to eating, she was discreet and languid. Her rare caress was only a light bite that left no mark.

On the third day we were out on the back terrace admiring Lisette and the way she was ours. “A little too gentle,” I thought, missing the gorilla. And suddenly my heart said harshly: “But this isn’t sweetness. This is death.” The dryness of the message left me calm. I said to the children: “Lisette is dying.” Looking at her, I realized the stage of love we had already reached. I rolled her up in a napkin and went with the children to the nearest first-aid station, where the doctor couldn’t attend to her because he was performing an emergency operation on a dog. Another taxi—”Lisette thinks she’s out for a drive, mama”—another hospital. There they gave her oxygen.

And with the breath of life, a Lisette we hadn’t known was revealed. The eyes less round, more secretive, more laughing, and in the prognathous and ordinary face a certain ironic haughtiness. A little more oxygen and she wanted to speak so badly she couldn’t bear being a monkey; she was, and she would have had much to tell. More oxygen, and then an injection of salt solution; she reacted to the prick with an angry slap, her bracelet glittering. The male nurse smiled: “Lisette! Gently, my dear!”

The diagnosis: she wouldn’t live unless there was oxygen at hand, and even then it was unlikely. “Don’t buy monkeys in the street,” he scolded me; “sometimes they’re already sick.” No, one must buy dependable monkeys, and know where they came from, to ensure at least five years of love, and know what they had or hadn’t done, like getting married. I discussed it with the children a minute. Then I said to the nurse: “You seem to like Lisette very much. So if you let her stay a few days, near the oxygen, you can have her.” He was thinking. “Lisette is pretty!” I implored.

“She’s beautiful!” he agreed, thoughtfully. Then he sighed and said, “If I cure Lisette, she’s yours.” We went away with our empty napkin.

The next day they telephoned, and I informed the children that Lisette had died. The younger one asked me, “Do you think she died wearing her earrings?” I said yes. A week later the older one told me, “You look so much like Lisette!”

I replied, “I like you, too.”

“Ordinary Nudes,” a very short story by Stuart Dybek

“Ordinary Nudes”

by

Stuart Dybek


  She stands before the full-length mirror that’s framed by the bedroom door, observing how her nipples, navel, and the delta of copper hair, which has grown back at the confluence of her thighs, shimmer in the dusky light. Her reflection dimples and ripples like the surface of a pond where fish rise to feed on a mayfly hatch. Imagine his wonder when in the years to come he’ll realize that she was not to be confused with ordinary nudes—not some nymph frolicking along the shore, or goddess ascending from sea foam, or ballerina poised to wade into her morning bath. Those photographs she let him take, kept in a drawer, beneath his underwear as if hidden in the depths, will age as she does.

“The Darlette” — Henri Michaux

“The Darlette”

by

Henri Michaux

translated by Richard Ellmann


The Darelette is found in dry and sandy terrain. It is not a plant but an agile beast, corseted and boned unlike any insect, fat as a rat and long as one, if the tail is included.

If a man jumps on her last segment (there are three), it may well break if the animal has not arrived at adult age.

Since the inside, under walls as thick as a little finger, does not contain any essential organs, the wounded beast continues her walk with her abdomen pounded to jelly and her walls breached. She is a beast who fears no one, eats snakes, and goes to suck the udders of cows which do not dare move.

The ditch spider makes war on her successfully; it winds around her, overwhelms her with threads; as soon as she is paralyzed, it pumps her out completely through the ears.

Her rosy ears and her eyes and her internal organs are the only tender parts of her body.

It pumps her out completely through the ears.

“In the Woods,” a very short story by Ron Loewinsohn

“In the Woods” by Ron Loewinsohn
The woodsman plods up the hill with his axe on his shoulder. He works for a lumber company and never sees the man who signs his checks, but his knowledge of the trees he euts down is their smells in the air become suddenly dusty around him, the squirrels and small birds who live in their branches, the squeak his axe makes as he pulls it out of the tree, the feel of his shoulders and arms as he swings, with his feet planted firmly and widely. This morning he saw the lovers lying on a bed of moss in the clearing behind him, but he didn’t stop. They were fully clothed and as they slept he saw the naked sward between them rusted to a sliver. They have been there forever, he knew, tho he’d never seen them before, with the light coming down thru the branches playing on them there as if they slept at the bottom of a lake. He will think of them once or twice as he climbs into the truck with the others, or just before he lifts a french fry to his mouth. Then someone will speak to him and he’ll answer with his mouth full, while we are haunted by the image, the two bodies filled with repose like a lake in the mountains. The two young people with perfect features fill our dreams, fill them to overflowing, even before we reach sleep, plodding toward it, shaking our heads on the pillow, reaching out to the watch, running our fingers thru our hair again, and hearing in the darkness the sound of our swallowing. And they the two lovers asleep on the mossy bank—what do they dream of? They dream of us. Their dreams are haunted by us straining our eyes in the dim light, our stomachs knotted with anxiety, spilling the drink and wiping it up, sweating and reaching for the branch, feeling the bark and smelling the sap, wanting each other in the empty room and letting our face fall into our hands, aching and hanging on. They dream of the woodsman, the actual woodsman and the dust be raises.  

“Wife in Reverse,” a very short story by Stephen Dixon

“Wife in Reverse”

by

Stephen Dixon


 His wife dies, mouth slightly parted and one eye open. He knocks on his younger daughter’s bedroom door and says “You better come. Mom seems to be expiring.” His wife slips into a coma three days after she comes home and stays in it for eleven days. They have a little party second day she’s home: Nova Scotia salmon, chocolates, a risotto he made, brie cheese, strawberries, champagne. An ambulette brings his wife home. She says to him “Wheel me around the garden before I go to bed for the last time.” His wife refuses the feeding tube the doctors want to put in her and insists she wants to die at home. She says “I don’t want any more life support, medicines, fluid or food.” He calls 911 for the fourth time in two years and tells the dispatcher “My wife; I’m sure she has pneumonia again.” His wife has a trach put in. “When will it come out?” she says, and the doctor says “To be honest? Never.” “Your wife has a very bad case of pneumonia,” the doctor in ICU tells him and his daughters the first time, “and has a one to two percent chance of surviving.” His wife now uses a wheelchair. His wife now uses a motor cart. His wife now uses a walker with wheels. His wife now uses a walker. His wife has to use a cane. His wife’s diagnosed with MS. His wife has trouble walking. His wife gives birth to their second daughter. “This time you didn’t cry,” she says, and he says “I’m just as happy, though.” His wife says to him “Something seems wrong with my eyes.” His wife gives birth to their daughter. The obstetrician says “I’ve never seen a father cry in the birthing room.” The rabbi pronounces them husband and wife, and just before he kisses her, he bursts out crying. “Let’s get married,” he says to her, and she says “It’s all right with me,” and he says “It is?” and starts crying. “What a reaction,” she says, and he says “I’m so happy, so happy,” and she hugs him and says “So am I.” She calls and says “How are you? Do you want to meet and talk?” She drops him off in front of his building and says “It’s just not working.” They go to a restaurant on their first real date and he says “The reason I’m being so picky as to what to eat is that I’m a vegetarian, something I was a little reluctant to tell you so soon,” and she says “Why? It’s not peculiar. It just means we won’t share our entrees except for the vegetables.” He meets a woman at a party. They talk for a long time. She has to leave the party and go to a concert. He gets her phone number and says “I’ll call you,” and she says “I’d like that.” He says goodbye to her at the door and shakes her hand. After she leaves he thinks “That woman’s going to be my wife.”

“Daniela de Montecristo” — Roberto Bolaño

“Daniela de Montecristo”

by

Roberto Bolaño

translated by Chris Andrews

from Nazi Literature in the Americas


Daniela de Montecristo

Buenos Aires, 1918–Córdoba, Spain, 1970

Daniela de Montecristo was a woman of legendary beauty, surrounded by an enduring aura of mystery. The stories that have circulated about her first years in Europe (1938-1947) rarely concur and often flatly contradict one another. It has been said that among her lovers were Italian and German generals (including the infamous Wolff, SS and Police Chief in Italy); that she fell in love with a general in the Rumanian army, Eugenio Entrescu, who was crucified by his own soldiers in 1944; that she escaped from Budapest under siege disguised as a Spanish nun; that she lost a suitcase full of poems while secretly crossing the border from Austria into Switzerland in the company of three war criminals; that she had audiences with the Pope in 1940 and 1941; that out of unrequited love for her, a Uruguayan and then a Colombian poet committed suicide; and, that she had a black swastika tattooed on her left buttock.

Her literary work, leaving aside the juvenilia lost among the icy peaks of Switzerland, never to appear again, consists of a single book, with a rather epic title: The Amazons, published by Quill Argentina, with a preface by the widow Mendiluce, who could not be accused of restraint when it came to lavishing praise (in one paragraph, relying solely on her feminine intuition, she compared the legendary poems lost in the Alps to the work of Juana de Ibarbourou and Alfonsina Storni).

The Amazons is a torrential and anarchic blend of all the literary genres: romance, spy novel, memoir, play (there are even some passages of avant-garde dramatic writing), poetry, history, political pamphlet. The plot revolves around the life of the author and her grandmothers and great-grandmothers, sometimes going back as far as the period immediately following the foundation of Asunción and Buenos Aires.

The book contains some original passages, especially the descriptions of the Women’s Fourth Reich—with its headquarters in Buenos Aires and its training grounds in Patagonia—and the nostalgic, pseudo-scientific digressions about a gland that produces the feeling of love.

“Dangeresque,” a very short story by Diane Williams

“Dangeresque”

by

Diane Williams


Mrs. White at the Red Shop showed me the beady-eyed garment, but I can’t pay for it. I’m broke! I already own a gold ring and a gold-filled wristwatch and I am very uncomfortable with these. My eyes sweep the garment and its charms.

I am tempted to say this is how love works, bury­ing everyone in the same style.

Through a fault of my own I set off as if I’m on a horse and just point and go to the next village.

This village is where flowers are painted on the sides of my house—big red dots, big yellow balls.

At home, stuck over a clock’s pretty face, is a note from my husband to whom I do not show affection. With a swallow of tap water, I take a geltab.

By this time I had not yet apologized for my actions. Last night my husband told me to get up out of the bed and to go into another room.

My husband’s a kind man, a clever man, a patient man, an honest man, a hard-working man.

Many people have the notion we live in an age where more people who behave just like he does lurk.

See, I may have a childlike attitude, but a woman I once read about attempted a brand new direction with a straight face.