“Helping,” a short story by Robert Stone

“Helping”

by

Robert Stone


One gray November day, Elliot went to Boston for the afternoon. The wet streets seemed cold and lonely. He sensed a broken promise in the city’s elegance and verve. Old hopes tormented him like phantom limbs, but he did not drink. He had joined Alcoholics Anonymous fifteen months before.

Christmas came, childless, a festival of regret. His wife went to Mass and cooked a turkey. Sober, Elliot walked in the woods.

In January, blizzards swept down from the Arctic until the weather became too cold for snow. The Shawmut Valley grew quiet and crystalline. In the white silences, Elliot could hear the boards of his house contract and feel a shrinking in his bones. Each dusk, starveling deer came out of the wooded swamp behind the house to graze his orchard for whatever raccoons had uncovered and left behind. At night he lay beside his sleeping wife listening to the baying of dog packs running them down in the deep moon-shadowed snow.

Day in, day out, he was sober. At times it was almost stimulating. But he could not shake off the sensations he had felt in Boston. In his mind’s eye he could see dead leaves rattling along brick gutters and savor that day’s desperation. The brief outing had undermined him.

Sober, however, he remained, until the day a man named Blankenship came into his office at the state hospital for counselling. Blankenship had red hair, a brutal face, and a sneaking manner. He was a sponger and petty thief whom Elliot had seen a number of times before.

“I been having this dream,” Blankenship announced loudly. His voice was not pleasant. His skin was unwholesome. Every time he got arrested the court sent him to the psychiatrists and the psychiatrists, who spoke little English, sent him to Elliot. Continue reading ““Helping,” a short story by Robert Stone”

“Rainy Day” — Lucia Berlin

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Will Ferrell on Raymond Carver

Will Ferrell talks to the AV Club about his new film, Everything Must Go, which is based on Raymond Carver’s short story “Why Don’t You Dance?” From the interview—

AVC: Your character in Everything Must Go is a persistent alcoholic who loses his job and his wife in one fell swoop, so the film could have been much darker than it is, especially considering the source. Raymond Carver isn’t known for being quirky and lighthearted.

WF: I probably shouldn’t admit, but I will, that I had never read Raymond Carver prior to this. When Dan gave me the short story, the collection it was in, I read it cover to cover, and I loved the starkness of his writing. But it’s true, it’s pretty dark and alcoholic. It just depends on your filter and where you’re coming from. You mentioned that it could be a lot darker. Other people have said to me, “Wow, this is really dark, especially for you to do.” I was fearful of the shot of the shaky hand reaching for the can, like, “That’s going to come off terrible.” A more skilled actor maybe could do it, but for me, and Dan agreed, we just made sure that everything was underplayed, if anything.

AVC: Actors often say that playing drunk is one of the hardest things to do, and the secret is acting like you’re trying not to look drunk. 

WF: Totally. I actually had a buddy of mine come over and film me getting drunk one night, just as an excuse to drink 18 beers, but also to see if there was anything I could glean from that.

“How Drunkly Sober Un-drunk” — A Passage from Malcolm Lowry’s Novel Under the Volcano

A passage from Malcolm Lowry’s novel Under the Volcano

The Consul dropped his eyes at last. How many bottles since then? In how many glasses, how many bottles had he hidden himself, since then alone? Suddenly he saw them, the bottles of aguardiente, of anís, of jerez, of Highland Queen, the glasses, a babel of glasses—towering, like the smoke from the train that day—built to the sky, then falling, the glasses toppling and crashing, falling downhill from the Generalife Gardens, the bottles breaking, bottles of Oporto, tinto, bianco, bottles of Pernod, Oxygénée, absinthe, bottles smashing, bottles cast aside, falling with a thud on the ground in parks, under benches, beds, cinema seats, hidden in drawers at Consulates, bottles of Calvados dropped and broken, or bursting into smithereens, tossed into garbage heaps, flung into the sea, the Mediterranean, the Caspian, the Caribbean, bottles floating in the ocean, dead Scotchmen on the Atlantic highlands—and now he saw them, smelt them, all, from the very beginning-bottles, bottles, bottles, and glasses, glasses, glasses, of bitter, of Dubonnet, of Falstaff, Rye, Johnny Walker, Vieux Whisky, blanc Canadien, the aperitifs, the digestifs, the demis, the dobles, the noch ein Herr Obers, the et glas Araks, the tusen taks, the bottles, the bottles, the beautiful bottles of tequila, and the gourds, gourds, gourds, the millions of gourds of beautiful mescal… The Consul sat very still. His conscience sounded muffled with the roar of water. It whacked and whined round the wooden frame-house with the spasmodic breeze, massed, with the thunderclouds over the trees, seen through the windows, its factions. How indeed could he hope to find himself to begin again when, somewhere, perhaps, in one of those lost or broken bottles, in one of those glasses, lay, for ever, the solitary clue to his identity? How could he go back and look now, scrabble among the broken glass, under the eternal bars, under the oceans?

Stop! Look! Listen! How drunk, or how drunkly sober un-drunk, can you calculate you are now, at any rate?

“Let’s just say, on occasion, the police were involved and emergency rooms and courtrooms” — Raymond Carver Talks About Drinking

More from Raymond Carver’s 1983 Paris Review interview

INTERVIEWER

Could you talk a little more about the drinking? So many writers, even if they’re not alcoholics, drink so much.

CARVER

Probably not a whole lot more than any other group of professionals. You’d be surprised. Of course there’s a mythology that goes along with the drinking, but I was never into that. I was into the drinking itself. I suppose I began to drink heavily after I’d realized that the things I’d wanted most in life for myself and my writing, and my wife and children, were simply not going to happen. It’s strange. You never start out in life with the intention of becoming a bankrupt or an alcoholic or a cheat and a thief. Or a liar.

INTERVIEWER

And you were all those things?

CARVER

I was. I’m not any longer. Oh, I lie a little from time to time, like everyone else.

INTERVIEWER

How long since you quit drinking?

CARVER

June second, 1977. If you want the truth, I’m prouder of that, that I’ve quit drinking, than I am of anything in my life. I’m a recovered alcoholic. I’ll always be an alcoholic, but I’m no longer a practicing alcoholic.

INTERVIEWER

How bad did the drinking get?

CARVER

It’s very painful to think about some of the things that happened back then. I made a wasteland out of everything I touched. But I might add that towards the end of the drinking there wasn’t much left anyway. But specific things? Let’s just say, on occasion, the police were involved and emergency rooms and courtrooms.