What I'll Miss

Rebecca Grossman-Kahn

One summer when I was a teenager, my mother planted three ceramic teacups in our front yard.
They were pink and yellow with a floral design and gold around the rims. Each cup sat centered on
its own saucer, hot glued onto long green stakes that my mother pushed firmly into the earth.
Elegant and shiny, they hovered a few feet in the air, among the roses. “Did you see my teacups?”
she asks when I come home one day. “Aren’t they great?”

I didn’t understand, then, why anyone would plant teacups in a garden. “Are they for holding
candles?” I ask my mom. “Aren’t you supposed to put bird feed inside?”

But she bought them for their form. For the same reason she loves bowls and pitchers. She likes the
feel of her palm around something so delicate and so curved. She collects teapots that sit proudly on
a shelf above the cookbooks. “They have such a great shape,” she reminds me often, when she
pours from their round, fat bottoms. Somehow even at eighteen, I sense that her unbridled delight
in pitchers is what I will miss about her, some day.

Winter comes and the cups gather pools of rainwater and eventually, greenish fuzz. When I come home
from college I tell her it is disgusting. She laughs. Many years later the garden teacups make the cut in a
cross-country move. They get stuck purposefully into new dirt. I see them when I visit, the colors
muted. They are both dirty and half-filled with yard debris. Yet they stand resolute, firmly placed in the
small city garden, calling me home



Authors Note: I wrote this flash nonfiction piece after a trip to visit my parents. I suddenly noticed the garden teacups I grew up with and I saw them in a new light as an adult. I hope readers can relate to themes of growing up, adolescent-parent relationships, home, simple delights, and maybe reflect on the idiosyncrasies of their loved ones that make them smile.


Rebecca Grossman-Kahn is a writer and physician based in Minneapolis, Minnesota. Her essays have appeared in Bellevue Literary Review, The Examined Life Journal, The New England Journal of Medicine, and The Intima. You can find her on Twitter @rebecccacgk or at rebeccagrossmankahn.com.  

Acrobat

Joe Baumann

     Everything my brother Moss does makes him grow.  When he picks up a glass of water, his biceps bulge.  Standing up from the couch, his quads pulse.  Placing groceries on the high shelves of the pantry activates all three heads of his deltoids.  Actual physical exercise—pushups, jumping jacks, dips—makes his body swell, monstrous and powerful.  He’s the size of a linebacker.  If he’s not careful, soon he won’t fit through doors. 

     I can’t fall.  I dance along the back of the couch, leap up onto the banister along the basement stairs, tumble across the porch railing.  I don’t even have to check my balance.  My toes are sure.  My hands are nimble.  My mother still flinches when I leap from one tree branch to another in the density of the silver maple in the front yard, but I barely buoy. 

     This all started after Daddy died standing in front of a row of fryers where frozen filets of cod and catfish roiled.  He was working the fish fry and his heart gave out.  No one could really say why; he was in his thirties, healthy.  He’d just won a 5k.  I blamed church, even though technically he was standing outside the grade school, squashed between the entrance to the cafeteria and the dumpster bay, in a little brick alcove where the men fried everything that would go on plates: fish; French fries; hush puppies; even greens.  Mom only took us up there to avoid having to do the cooking herself on those nights when Daddy volunteered.  We were sitting in the gymnasium, surrounded by pitchers of lemonade, water, and empty single-serve tubes of tartar sauce, when he collapsed.  I’d just chosen my dessert—a chocolate cupcake—when a woman came running in, right past me, to our table.  She bent over, as if the quick jog from the kitchen had winded her.  I watched from a few feet away.  I couldn’t hear what she said because a live band was playing Irish music on the gym stage, but I saw my mother’s heartbreak.  At that moment, I felt something in my feet: instead of the world swaying away from me like it should have, I was the most assured I’d ever been.  I watched Moss grab up his tray of food, half eaten.  His forearms flexed and grew right there, in the middle of tragedy.

*

     Daddy wanted to be a Michelin chef; he had dreams of living in France, mastering the mother sauces, learning to flambe and poach from great chefs with impossible-to-pronounce names.  When Mom got pregnant with Moss when they were just finishing high school, he turned to a business degree instead and became the marketing manager for a community college that wanted to improve its image with suburban white people whose kids were smart enough for four-year universities but didn’t have the money to pay the ever-growing tuition and fees.  He was good at what he ended up doing but, according to Mom, the itch for the kitchen never quite left, even when I was born halfway through both of their degrees and really sent those dreams sailing away.  Daddy was part of a big Catholic family that rallied around he and my mother’s mortal sin of premarital sex, and they made sure that both of them were still able to finish college while Moss and I were growing up.  It took a long time: Mom didn’t finish her biology degree until Moss was already in first grade.  She’d always wanted to be a botanist, growing up in a tiny bungalow surrounded by houseplants: croton and lemon lime dracaena, pothos and snake plants and peace lilies and ponytail palms.  Her mother had an obsession, was always coming back from errands with another pot in her hands instead of whatever she’d gone out to buy, lining the kitchen and living room windows with Boston ferns and succulents and Chinese evergreens.  I spent my early days surrounded by those plants and the smell of freshly-wetted soil, my grandmother serving as my care provider while my mom pursued her studies.  Instead of traveling the world discovering new plants, she took a job at the public high school across the street from our house teaching sleepy fifteen-year-olds cell division and overseeing dissections of fetal pigs.

     After Daddy dies, Moss starts going to the gym.  No one asks if he’s eighteen; he’s too big not to be.  He brings me along and I marvel at the way the other meatheads stare at him, my brother loading weights onto bars and heaving them up with ease.  Moss doesn’t even grunt, not the way the other titans do with hundreds of pounds draped over their backs at the squat racks, the metal cages rattling when they dump the weights down.  Where many of them wear disemboweled t-shirts, strings of fabric barely covering their swollen torsos, my brother dons hoodies and long-sleeves, as though he’s ashamed of his bulk.  Sometimes, when he does too many reps, the fabric tears in the middle of his sets, veins and muscles bursting into public view.  I bask in my brother’s glow, but then feel sheepish when strangers’ eyes land on me, so much smaller, normal, the weights I struggle to hoist up so light and unimpressive.

     In grade school, the other boys liked to pick on me, giving me little shoves to see how far I would tumble, cuffing my noodly arms and laughing at my thinness.  They made fun of my name, Mise, after mise en place; after my mom got to name my brother after her passion, Daddy insisted when I came around.  Boys called me Mice, or said my name with too much French, nasally and dismissive.  They ruffled my hair, gave me wedgies, tried to steal my clothes if I didn’t scramble into the locker room fast enough at the end of gym.  Most of that stopped in high school, though every now and then as I walked through the crowded halls I’d feel a hand press against my back and give me a little push and I’d clatter into the wall or the person walking in front of me. 

     But after Daddy dies, no one can push me down.  I start leaping up onto the metal handrail outside the front steps, backpack heavy on my shoulders.  I hop on one foot, up and down, up and down.  The administrative secretary from the front office starts watching, joining the scrum of staring students.  Then so does the principal.  One day he publicly scolds me but privately extols my skills and asks me not to sue if I fall.  I tell him I can’t.  To prove the point, I leap onto his desk, balanced perfectly on just the toes of my tennis shoes.  He doesn’t yell at me again, but I earn some credit the next time I cavort out front, a rebel who doesn’t listen to the school’s highest person of authority, and so brazenly.

     My only friends at school are a trio of boys who play video games at each other’s houses.  They all live next door to one another at the end of a sad-looking cul-de-sac of slouching ranches with weedy front yards and speckly windows.  One owns a Nintendo Wii, another a Playstation 3, and the other an X-box, and they take turns hosting.  Their parents are the type who hole themselves up in their bedrooms after dinner, watching old episodic tv shows like Law & Order or CSI.  We are all in the same freshman history class and one of them invites me to join them after we get our first test back; we’d been set together as a team when we reviewed, and I recalled enough facts about the Roman Empire for us to win, which meant five extra credit points, which vaulted all three of them from Cs on the test to Bs. 

     Seth, the boy who invites me, is the tallest of the three, and the one with whom I fall in love.  He has a deep voice and broad shoulders and even, despite being only fourteen, a tattoo on his upper left arm: a simple band of black that wraps around what turns out to be a more muscular bicep and triceps than one would expect from a video game kid.  Seth is placid as a lake, barely moving his controller as he plays.  Where the other two boys rock their bodies back and forth, yelp, raise their controllers and yank them every which way, Seth is still and calm, his eyes hooded like he is being put to sleep by the on-screen hijinks.   

     After Daddy dies, Seth starts inviting me over without the others.  Instead of playing video games, we sit on his back porch that overlooks a steep hill of a yard.  Well, he sits.  I leap up onto the railing and stand with the tiniest slice of my foot holding me up.  He throws things at me, a softball, a Frisbee, a dinner plate, and I reach out, leap up, squat down and catch them without a wobble.  As long as some part of me is latched onto the cedar rail, I don’t fall.

     “Wicked,” he says.  Seth has buzzed his dark hair down to a quarter-inch thicket over his scalp.  Sunshine glimmers through the black.  He smiles, his lips lazy in his grin.  I want to lick them, eat them.  Have all of him.  “You should, like, go on television.  One of those talent shows.”

     I nod and leap down, then sit in the chair across from him, on the other side of the glass-topped table where a pair of Coke cans are sweating.  Seth doesn’t say anything.  Part of his appeal is that although I show off for him he never complains or demands I continue when I’m finished.  I can share my talents on my own terms.

     “You really think so?” I say, lifting the can to my lips.  The sugar pops against my nostrils.  My mom doesn’t like soda, says all that refined garbage is bad for you, but she’s stopped dictating much of anything since Daddy died.  She doesn’t want to seem like a bad guy, as if there isn’t any room left in our lives for villains.

     “Hell yes.  I mean, you could, like, find the tiniest thing and balance on it.  I bet you could work in Vegas.”

     “Vegas?”

     “And I could come visit.  Hit the casinos.”

     “I think you have to be twenty-one for that.”  I drain the can and belch.  Seth laughs.

      What I don’t tell him is that my brother and I have talked about this kind of thing.  We still share a bedroom, too small for the two of us even before Moss started growing exponentially.  For the longest time I slept on the bottom of our wooden bunk beds because I was afraid of the height of the top bed, but one night as Moss climbed up the ladder whinnied under his weight and I traded spots with him.  When he asked if I was sure I nodded, then launched myself up the ladder with ease, balancing one toe on the lowest rung.  He laughed and said, “Of course.”

     We spent many nights right after Daddy died talking to each other without seeing one another, our voices sounding distant with the slats and a mattress between us.  After his growth and my balance bloomed, he started talking about striking it rich, maybe joining a circus or something.  Moss told me I could too, thumping a meaty fist into my mattress above him.

     “What about Mom?”

     “She’d be our manager.  Booking agent.”

     “Maybe she could have a plant show or something.”

     “She’d like that.”

     After six months, neither of us has acted on this talk.  Where to go, what to do?  Kids have taken video of me on the school railing, and some of those videos have gone viral, but likes and views aren’t money or fame.  There are too many people out there with strange talents; the world is full of freaks.

     That last part I say to Seth: “The world is full of freaks.”

     He shakes his head, finishes his Coke.  “You’re not a freak, man.”  Seth’s voice is soft, the word freak like something precious laid out on a velvet cushion.  He crumples the can and sets it on the table, looking at the dented aluminum like it is a crystal ball telling the future. 

*

     I start getting stronger.  My body doesn’t balloon like Moss, but I can feel muscle growing where it hasn’t before.  The few boys that still like to knock me around have stopped, mostly because my feet remain steady beneath me, like I am made of stronger material: lead, iron, gold.  I can tell, after a few months of heaving and grunting at the gym with Moss, that my muscles are fuller, stuffed with blood and fibers that can do more than before.  If Moss cares that I can’t gift him anything of myself, transfer or help him with acrobatic balance, he doesn’t show it. 

     Guys come up to him in the gym and ask questions about his routine, his nutrition.  They start talking about protein shakes and pre-workout powders, boiled eggs and chicken breasts and macros, and Moss just nods, eventually shrugging when it is supposed to be his turn to talk.  They never have anything to say to me. 

     One night, he tells me he signed up for a strongman competition.  He asks me not to tell Mom, and I ask why.

     “I think she doesn’t like people knowing.”

     “Knowing what?”

     “What Dad’s death did to us.”

     I think about this, sucking in air between my teeth, staring at the ceiling, its popcorn texture close.  I reach out a hand and brush the surface, which tinkles down white flecks of paint on me like snowfall.  The difficulty, for me, was figuring out what, exactly, Daddy’s death has done to me.  Of course I was torn apart by it, the image of him collapsing in front of those fryers, the men around him laughing at first like he’d played a joke and coming to slow realization that something was horribly wrong.  The picture makes my stomach roil.  His absence makes my jaw ache.  But these are physical things, just like the surety in my feet and hips, the way the world snapped into strange alignment right after he died.  When I try to think about what it really meant to lose him, I am left with a gaping, blank void.

     I go with Moss to the strongman competition, which is held in a small, smelly gym at the back of a grade school nearly an hour away.  The bleachers have been partly rolled back to make room for the various apparatus: a fat bar for squats, heavy sandbags, balls of concrete, gargantuan tires.  The crowd is thin, and I sit by myself in a corner.  The men wear singlets and knee and elbow braces, their bodies wrapped up in heavy supports so they don’t snap under the strain of pushing and pulling and lifting.  Their bodies bulge, heavy and thick, forearms hairy and bellies distended with muscle and fat.  Moss looks different from them, lacks a certain swagger that comes from years of sacrifice and effort.  For him it’s all happened too fast, his physical shape too quick for his brain to catch up.  He is wearing a t-shirt and a pair of swishy green athletic shorts.  His shoes are plain Nikes, ragged from use.

     Of course he wins.  It isn’t a question of whether but by how much.  Instead of straining and tiring with each event, Moss’s body grows, absorbing the effort and transforming it into more strength.  I am surprised that his clothing doesn’t rip apart right away, the new swell of his shoulders and chest bursting the fabric’s weave.  By the end, the scattered spectators are all watching him as he heaves and twists and practically prances with ever-increasing weights in his hands or dragging behind him.  If someone had actually managed to bring in an F-150 for a truck pull, I’m sure he’d yank it across the floor like all he was doing was pulling a child in a Radio Flyer. 

     His prize isn’t much: a thousand dollars and an entry into the next level of competition if he wants it.  I watch Moss stand atop the three-tier podium for the finishers, looking bashful.  I wonder about my brother’s ambitions, what he dreams of when he thinks about the future.  Does he, too, want to spread his wings and fly into the wider world like Daddy and Mom? 

     And what of myself?  I try to imagine my future, out in the bright, wide world.  But the thought of the years ahead are the only thing that can leave me unsteady, because I have no idea what I might want.

     After the award ceremony, I hug Moss.  Where the other men are slickered with perspiration and effort, Moss is dry, perhaps the slightest crack of sweat on his forehead; he holds me tight, my face against his shoulder, and I can smell the slightest whiff of salt on his body.  He is like an ocean, deep, unexplored, dense and unknowable.

*

     Seth and I are sitting in his basement, the lights out so the only illumination is the ancient television on which we are playing his old Super Nintendo.  Neither of the other boys ever wants to play it, but Seth loves Super Mario RPG and A Link to the Past.  Tonight we are playing Mario Kart.  The pixelation hurts my eyes, but I don’t say anything.  Seth’s basement smells of vanilla from incense sticks dotted around in one too many diffusers, and I’m not sure if Seth or his mom has planted them here; as far as I can tell, no one but him comes down here, where the artificial aroma works hard to mask the wet smell of the concrete walls that are hidden behind bright white paint.  The basement is unfinished, but Seth has arranged a pair of green throw rugs and some old furniture, couches saggy in the middle and a recliner that has been torn up by a cat on the edges, to offset the dankness. 

     “That’s cool,” Seth says when I tell him about Moss.  “Do you think he’ll go pro?”

     “I’m not sure.  I don’t think so.  Is there money in that?”

     Seth shrugs.  “He’d know better than me.”  He raises his left arm and flexes, laughing at himself.  “Not so strong like bull.”

     I laugh, too, but I do think Seth is strong.  He is the right kind of muscular that shoots hot saliva up my throat.  I want to reach out and squeeze his arm but we have never touched like that.  As we reach the end of a close race in Mario Kart, Seth grows excited and leans into me.  When I beat him he gives me a playful shove, forgetting that I won’t topple over.  He laughs again and pushes me harder, but I don’t budge.

     “Dude,” he says.  “You’re like a rock.”  He shoves me again, this time leaving his hands on me, one on my shoulder, the other wrapped around my ribs, his fingers a tight coil of warmth.

     “Moss is the strong one,” I manage to say.  I keep my eyes on the tv screen, where Toad is celebrating first place, his little balled fists pumping in the air.

     “I mean, sure,” Seth says, taking his hands off me.  “But so are you.”

     “Not really.”

     “Maybe it’s a different kind of strength.”  Seth presses a button on his controller and the game cycles to the next race.  A countdown to the start begins on screen.  “Maybe yours is inside, and his is outside.”  He glances at me.  “It’s just yours is harder to see.”

     I open and close my mouth, unable to think of anything to say.  Seth turns his attention back to the television, his regular calm concentration restored.  The game screams for us to go, but I can barely move.

*

     Moss wakes me up one morning nine months after Daddy dies by shaking the bed frame.  I jolt awake, thinking that an earthquake is sending everything crashing down.  Of course, my body isn’t jostled by my brother’s antics.

     “There’s a circus,” he says, holding out a flyer.

     I blink at him.  The light through our bedroom window is gleaming and hard-white: snow on the ground, on the bushes, ice encasing the gnarled, empty branches of the trees.  I shiver; Mom keeps the heat down, likes to wrap herself in blankets and sweaters, and with Daddy no longer around to complain about the chill, this was how we live.  Moss and I can’t bring ourselves to fill his shoes whining about the cold.

     Moss holds the flyer out, garish red and yellow and blue.  An announcement of a traveling circus of sorts; a trapeze artist’s body is caught mid-swing in the center of the paper, a dark silhouette against all that light.  The address for the show is a convention center not far from our house.

     “You want to go?” I say, voice still croaky with sleep.

     “I want to join.”

     I sit up, careful not to bash my head against the ceiling.  My brother is wearing a tight gray t-shirt and dark shorts.  He looks wider than ever, practically a car stood upright in the room.  I feel my breath constrict.

     “Why?”

     “Why not?  I could be a star.  We could both be.”
     “What about Mom?”

     “What about her?”
     “We can’t abandon her.”  Our mom had been afforded bereavement leave at the end of the school year after Daddy died, and she spent the summer wandering through the house, clucking at Moss’s bulging body and my balancing acts.  When the new year began, she trudged off to school but came home each day even more tired than usual, tossing her bag onto the sofa and throwing herself down next to it.  Half the time her bag wasn’t closed and student papers, loose pens, folders full of administrative paperwork—she had been asked, before Daddy died, to head the sciences department and hadn’t backed out afterward—and she didn’t bother gathering up the mess.  On weekends she barely pulled herself from bed; we had to remind her to eat.  Moss had taken to cooking meals, towering over the stove with a spatula in his hand, staring down at blocks of beef spitting grease or chicken searing, moisture screaming as it boiled off.  She would eventually emerge, looking sleepy, as if she was the teenager and not us, slouch in her chair with a wet, loose smile on her face, saying thanks and then eating in silence, vanishing before either Moss or I was finished.

     “Mom’s basically abandoned us,” he says.

     “I don’t know that’s fair.”

     He blinks at me, eyes blank.

     I draw in a breath.  “Could I invite someone?”

     My brother’s face lights up.  “Yeah.  Sure.  Yes.”  He lays a meaty hand on my shoulder.  “Please.”

*

     Seth, Moss, and I go on a Tuesday night because the tickets are cheap and my mom has end-of-quarter parent-teacher conferences, which she drags herself to, pulling on boots and complaining about the weather, which is slushy and blustery and unpleasant to drive in.  When I introduce Seth to Moss my brother grins and snaps up Seth’s hand in a tight squeeze; I can see the tiniest bit of pain on Seth’s face, a grimace he tries to hide.  We trudge through the convention center parking lot, Seth and Moss slipping on a few patches of black ice as we dodge through side-falling snowflakes. 

     The convention center is toasty as if warmed by a fireplace.  The air smells of hay and the sweet-sour of manure.  Though there is seating for several thousand, only the lower bowl is open, and even then the stands are filled intermittently, like a mouth of half-lost teeth.  The floor is covered in a bright tarp the colors of the flyer: screaming red, ocean blue, saffron like hearty wheat.  I sit between Seth and Moss in the front row; we can see everything up close: the crisp of the ringmaster’s peacoat; the glistening muscle of the acrobats; the smeared trenches of paint on clowns’ faces.  We say little as lions and elephants are trudged around, as performers dance with flaming sticks.  When the Strongman comes out, lifting huge barbells, I can feel Moss tensing, can practically hear his thoughts of comparison.  I glance at Seth.  His shoulder brushes mine and neither of us moves apart.

     During an intermission, Moss stands and says he is going to the bathroom.  I hear something tight in his voice but think little of it.  But when he hasn’t returned by the time the lights dim and a trio of aerial cyclists appear, my gut starts to stir.  Twenty minutes later, Moss is still gone.  I tremble in my seat, feeling off-kilter.  Seth sees and leans in, whispering, “Are you okay?”  I shake my head.

     When the show is over, he is nowhere to be found.  I have no idea what to do; every step I take, leaving my seat, walking out to the concourse, making, at Seth’s suggestion, a full lap past the various concession stands cinched up for the night and the bathrooms around the lower level, feels hitchy and uncertain.  The balance that has sunk deep within me is suddenly gone, vanished along with my brother.  I imagine him skulking around the building, trying to find his way to some secret tunnel behind an employees-only door, where he can march up to a ringmaster or, more likely, some manager in a business suit, and show off his prowess, make his body grow by performing a pushup or lifting up a trash can.  How he probably didn’t manage to find anyone and, instead, decided to leave on his lonesome, off toward what, I have no idea.

     We tumble out into the frigid night.  Halfway across the parking lot, I slide across a patch of black ice, invisible, and my feet go out from under me, but Seth catches me, fingers digging into my forearm, before I hit the ground. 

     “You’re okay,” Seth says.  He pulls me into a hug.  Through the puff of our coats I can feel his body, his weight, muscular and sturdy, maybe not as muscular as Moss or as sturdy as me—or as I used to be—but enough.  I squeeze tight, and he squeezes back.  My breath crystallizes in the air and flosses along his ears.  I want to shift my face, turn my mouth to kiss his chilled skin, but I am frozen.

     Seth detaches himself and we trudge toward where we parked, even though Moss drove.  Our parking spot is blocked by a hulking SUV, a gigantic black Escalade that seems to stretch on forever, the kind of thing I imagine my gargantuan brother might dream of driving one day.  I try to picture him finding the ringmaster, securing his spot in the world of the circus.  I try to picture my mother, what another lost family member will do to her.  And then I try to picture myself, me with Seth or me with my impenetrable balance, steady and capable, and that is the hardest thing.  I can’t see myself hanging on, spinning through the world with certainty, not when so much has been taken away so fast, the ground beneath me porous and slick.


Author’s Note: Oftentimes, my work is inspired by an image or phrase--something that finds itself popping up in my head. This story, in particular, I found myself imagining someone who couldn't fall--and that's where things began. I often don't know where the story is going, and didn't here until I landed on an exploration of grief; from there, the story unfolded fairly quickly and smoothly. 


Joe Baumann’s is the author of three collections of short fiction, Sing With Me at the Edge of Paradise, The Plagues, and Hot Lips.  His fiction and essays have appeared in Third Coast, Passages North, Phantom Drift, and many others.  He possesses a PhD in English from the University of Louisiana-Lafayette.  He was a 2019 Lambda Literary Fellow in Fiction.  His debut novel, I Know You’re Out There Somewhere, is forthcoming from Deep Hearts YA.  He can be reached at joebaumann.wordpress.com.  

Manual for an Underwater Tour Guide

Elisabeth Strayer

You, too, can be a tour guide of a drowned place: scuba certification in hand, equipped to lead a family of four through the submerged areas of the city where your great-great grandparents once lived out their dream in a windowless third-floor walk-up.

When the family arrives, you will unfurl a timeworn map, creases rubbed pale and soft from countless uses. Beside this, you will display another map — a newer one — which the family’s two children will recognize from school: in this map, the coasts of the world have been nibbled away, blue supplanting green. The shapes signify either erosion (if you are pro-land) or abundance (if you are pro-water). You must not make clear your own stance on the great land versus water debate.

With the topographical overview complete, you and your charges will slip into scuba gear and then the water, the children slashing and sloshing joyfully through the waves. Their parents will hush them and turn to face you, their expressions reverent as they lilt in the surf. As you tread water, your flippers bending lazily back and forth, you will point to the remnants of a fast-food chain (location #435) directly below. Back in the day, you will explain, this was the place to go for a cup of coffee and a breakfast sandwich.

You will continue speaking of submerged places as if you knew them in their heyday, all the while encouraging the family to peer down into the water and revel in their godlike aerial view of these streets and structures. A few feet at a time, you lead them along — above — this flooded block and its remnants of a lifestyle so mundane that you ache for it: a roller-skating rink, a café, a bookstore, a sports bar. They may ask questions, in which case you have the liberty to shape your answers, weaving together a perhaps-unreal tapestry of this haunted ocean. Then, you will let the family loose to explore this abandoned, skeletal city: to delight in its novelty and to unveil its specters for themselves.

Meanwhile, you will swim past salt-eaten steel and rotted wood, dodging rubble and swarms of sediment, searching for traces of your great-great grandparents. You will drift into hundreds of waterlogged apartments, thousands of aqueous rooms, during your years as a tour guide. You will gain entry however you can: propelling yourself through shattered windows, gaping door frames, caved-in roofs glazed with barnacles. You will wonder if this, here, or that, there, was the place your family once called home.

After the allotted period for exploration, the family will be ready to resurface, and you must see them out. The searing sunlight will melt the water droplets off your wetsuit as the parents thank you and fold a tip into your moist hands. As they wander off, their easy return to land will distance them already from the sunken city. But you — you will linger, taking tentative gulps of the burnt air, awaiting your next tour group so that your search may continue.


Elisabeth Strayer is a writer and editor based in upstate New York. Her work appears in The Coachella Review, The McNeese Review, Paperbark, and elsewhere. She is also a co-writer/co-producer of the audio drama Burgess Springs. 

Kafka’s Typewriter

Adam Cheshire

Let me mimic the great Czech writer; it’s what I’ve been doing most of my adult life, anyway. I imagine he’d refer to the three main characters of this story as simply the Proprietor, the Barman, and the Novelist. The Proprietor owned a little known cafe in Prague where the Barman worked as a boy, clearing away ashtrays and making sandwiches. It was there, the Barman told me, the Novelist, that he first saw Kafka, and where Kafka “wrote stories only two people have ever read.”

I had no reason to be overly enthused by the Barman’s letter regarding “a handful of typewritten pieces by Kafka that you, and only you, will be privy to upon engaging with me at my establishment,” but I had a reading scheduled later that month in Prague, and I only knew too well the treasures one can miss out on in allowing reason to completely consume childish curiosity. If anything, I expected the old man—for he had to be ancient if, as he purported, he’d been a boy in the early 1920s—to have come into possession of a handful of ephemera, reports from his job at The Workers’ Accident Insurance Institute or official records of even less interest. Mainly the deflating word was “typewritten.” Kafka’s art was produced in feverish ecstasy, pen in hand, notebooks and journals containing tiny worlds in elegant ink. He’d even remarked pejoratively at one point on the anonymous, detached mechanism of the typewriter. Some scholars have gone so far as to analyze “In The Penal Colony” solely as an elaborate metaphor for the false revelations produced by such a machine.

But once I had acquainted myself with the Barman, his tavern located in a corner of another corner of a dark alley that I felt certain only I had traversed these last few days, he alleged, in a whisper that turned out to be his highest register, that it was on the cafe Proprietor’s own typewriter, in a back study, that Kafka wrote these tremendous, unseen stories.

A keener reader of literature than many of those folks who frequented his establishment, the Proprietor took to Kafka and his writing with an eagerness that some reported—but never Kafka himself, the Barman emphasized—bordered on the obsessive. The Barman, being so young at the time, said that he never truly appreciated his propinquity to greatness. Both in regards to the writer as well as the Proprietor, for he also considered the latter exceptional in his own way. He’d let the Barman into his back study for frequent breaks and serve him candy out of a large dish. In this elegant room was an equally elegant typewriter that sat on a writing desk in the corner. The boy kept his distance from the machine, admiring it as one would a lion across a thin cage. The Proprietor bolstered the boy’s courage a few times and showed him how to use the typewriter, and stood over him with a hand on his shoulder to let him type out his name. “I walked home with tears in my eyes. There was that much joy in me.” As he spoke, the Barman would often seem to peer into the distant past, into the soul of the city itself, as if searching again for that kind old man from his boyhood.

The Barman said the Proprietor, after having surely to bolster his own courage in solitude, offered Kafka the room and the typewriter to use in the evenings when he saw fit. His only request was that Kafka keep all his writing there until he had a completed final draft, and also that he should never speak of what he produced while in the room to anyone. Kafka, the Barman claimed, agreed without hesitation. He remembered staring up at the two while they shook hands on it, gnawing on a gooey glob of sweets.

Here again I wondered, this time aloud to the Barman, enumerating Kafka’s self-lacerating diary entries, the psychologically brutal but creatively fruitful oppression of his father Hermann in the next room, the long euphoric evenings birthing his inimitable stories and fragile, beautiful fragments, hovering centimeters from the flowing script—why would the great writer find anything enticing about this stranger’s room, and the impersonal device planted in it?

“We want to believe we know every facet of Kafka,” the Barman said. “Maybe even Kafka himself felt this; that is, sensed us trying to read him in ways he never wanted to be read—if he wanted to be read at all, on certain nights, when his exaggeratedly dramatized diary was left blank and his room empty as he slipped through the night to the back door of the cafe. This place where he was offered a pure solitude he never knew anywhere else. And it’s true that he had a general aversion to typewriters; they were the machines of drudgery, after all, of the insurance company, big ugly things that seemed to grunt and groan at him. And forget the false suggestion in a German museum that Kafka kept one in his room. At least not to write fiction, in any case. Just imagine him bringing one into the home for the purposes of literature! It would be like carrying a massive black tumor into his room and expecting no comment. He would wince at every keystroke, knowing they knew when he composed. It was worse than love moans through thin walls. It was bad enough that even when he was scratching his pen quietly in the night that Herman’s eyeballs were only too close for comfort. Everywhere, in fact, that Kafka ever wrote seemed bound by a familial charity of some sort, whether the family home, the sanatoriums, or his sister’s cottage. Many scholars—and, apparently, a young novelist currently here in a Prague bar—might propose that these claustrophobic bonds were integral to Kafka being Kafka; that his art thrived because of those very conditions. In this they would be incredibly wrong. All you have to do is read what was written in the cafe study, the typewriter’s keys receptive to every thought as Kafka emptied himself out. Nothing, not even influence, left that room with him when morning came. Just as those chains that bound him to his life didn’t follow him in. What he produced in there were pieces of the highest order, by a writer already existing on the highest echelons of narrative genius. What he produced was a limitless imaginative literature that
transcended even his own best work.”

Whether I believed his story at that point (I mostly did not) was somewhat irrelevant. The prospect itself had me trembling. My heart beat uncomfortably. I took a deep breath and steadied myself, and asked the Barman the obvious question: “So just when can I see these impossibly secret stories?”

The Barman’s long-winded and at parts incoherent answer requires some synthesis. It was a label-warning of sorts, providing, I realized later, much later, ample opportunity to walk away.


Those mornings after Kafka had used the study, the Proprietor, unabashedly eager, eyes watering at the fresh paper on his desk, sat there and read until lunch time. The Barman vividly remembered the Proprietor—who was not typically an angry man—berating a cook for knocking on his study door about a lost biscuit saucer. The Barman and staff had actually attributed this uncharacteristic outburst to the cause of the Proprietor’s illness later that day, when the doctor was called in after a slight palpitation. He recovered quickly enough, it seemed. Maybe a little too quickly, for as soon as he felt up to it he returned to his study to lose himself again in the great writer’s words. And again, just as swiftly, he was laid up once more with trembling. He was too old to be taking on so many responsibilities, people remarked. The doctor demanded bed rest for a month. The Proprietor acquiesced, if only because his heart’s weakness prevented him from much protest.

The Proprietor kept a room across the hall from his study. He would keep the door cracked that first week to see if he could catch Kafka coming to write. The Proprietor still hadn’t the strength to read the papers he had stashed in the bottom drawer of the study’s desk. The Barman said that he could tell the man was debating about asking the boy something when he would make his intermittent visits to sit by The Proprietor’s bed and tell him of the day’s
customers. The only one he seemed eager to hear news of never materializing.

Only one night did Kafka make his way to the study, and this when the Proprietor was fast asleep. It was the last time he ever came to the cafe, the Barman said. “Having met Dora by then, it’s possible he no longer had the need for that space and solitude. There was his health, of course. Which they chalk up to tuberculosis, mind you, as if that solved all the questions. But he did return briefly to Prague, at this point with less than a year to live. The last thing he wrote on the typewriter was a simple thank-you note. A beautiful note, it goes without saying.”

The Proprietor, it turned out, had less time left on earth than Kafka. He would hemorrhage and die a few months after that first episode, while the Barman was reading to him in bed from those sacred papers.

“He had finally worked up the nerve to ask me to read to him,” the Barman said. “If I had known I was killing him, I of course would’ve stopped. But the old man would never have allowed that anyway. He must’ve, on some level, known at some point too. A beautiful type of suicide after all, don’t you think?”

The Barman claimed that because he’d just been a boy then, robust and resilient physically but not cerebrally developed enough to fully absorb the brilliant enigma of Kafka’s words, that he only ever suffered a minor panic attack while reading to the man, this quickening of the heart attributed in his mind to the fact that he had forgotten to feed the family dog that morning. “It wasn’t until years later,” the Barman said, unbuttoning his thin shirt as he spoke, “after the papers had been bequeathed to me and stored away in my closet that I reached for them again and felt for the first time their full effect.” By now he had pulled his shirt apart and exposed a finger-thick scar that traveled from clavicle to his blade-like hipbone. “This came as a result of my first few readings. I was too eager. Didn’t know when to stop. I limit myself now, of course, to one page a month, just to be safe.” He shrugged and buttoned up his shirt. “As safe as one can be. My time, too, is nearer than I’d probably like. Hence my invitation.”

As delicately as possible, with, I hoped, a genuine show of appreciation in thinking enough of me as a writer, and reader, to trust me with such a secret, I outlined my simple reasons for my disbelief in his implications. Both the Proprietor, and now certainly the Barman, were old. Strain of any sort, particularly that of owning a business in a precarious economy, had the potential to cause heart trouble. As far as the panic attack as a boy...well, I told him, I used to succumb to them on a daily basis just at the thought of facing the next day at school. And, the final point I had to make clear to him—because I so desperately wanted to believe him about that one thing, that there were unseen Kafka stories waiting for me somewhere close—that there exists no art that can kill a man.

The Barman again looked not so much agitated as disappointed. He nodded slowly and whispered his delicate whisper, as if still holding out hope to a dim child that he might recognize his error of deduction. “I will concede that the Proprietor was old and I was an anxious boy; however, I was in my thirties when I gorged on the secret stories and debilitated. You might say, then, well this is proof that the stories aren’t fatal because look at me, I’m practically ancient. No no, it’s ok, I have mirrors in this bar. And a calendar. And it’s true, I’ve made a long life of things. This is due only to another piece of the puzzle here. The other item, along with the papers, that was bequeathed to me. The typewriter. It is a regimen of mine, twice a day, to type on the machine. Doesn’t matter what. Letters, receipts, my own dusty thoughts. I even sent off some attempts at fiction to publishers. Slavishly derivative, without a doubt. Still serviceable. I will only say that it’s funny to me how all these publications claim to love Kafka so much, and yet when presented with a story that is almost a carbon copy, they reject it on sight. They like the idea of Kafka more so than the fiction they allegedly revere. But no matter, I keep typing. For the simple reason that it keeps me alive. It’s probable that the exquisite irony of this is an even larger factor for my longevity.

“And for the final point of yours, that art can’t kill—well, simply put, there has never been art like this. Undiluted, pure creativity from a sun-like force. It’s like staring directly at an eclipse. It’s something, I daresay, no one should read. And yet here I am, having called you here for that very purpose. A cosmic court might very well convict me of murder. Murder-suicide. And I should be willing to accept the charge.”

I felt I could trust this man; that is, I didn’t think him dangerous, just slightly delusional. And though I didn’t completely buy into the notion that great unseen works lay in his back room (which he now led me to, his grisly limp almost too much to bear) I could foresee a few notes of Kafka’s, the beginning threads of possibility, which was still an exciting prospect. But what he took from a safe buried beneath a floorboard under another safe, was magnitudes beyond mere possibility. It was—it is—the single greatest collection of writing, of art in any form, to ever exist.




If my friend The Barman were still alive, he might admonish me for writing about any of this, even here, in my latched journal. About those stories now kept tucked beneath my own floorboards, in a safe beneath a safe. If it still worked, I might’ve had the audacity to tell the story of Kafka’s typewriter on the machine itself, passed down and into the hands of the least deserving between the four of us, after all these years. I kept meaning to get it repaired, and unlike the Barman I always had a scattered, unreliable approach to a writerly timetable. Like most novelists, I’m a much better reader than I am a writer. It shows. Not only in the quality of my work, but the quality of my body as well. Approaching 41, one might mistake me for an old man. Indeed, my health has taken a turn for the worse. My only solace: if someone should care enough about me—and, more importantly, about Kafka—to tear the lock off this thing and then peel the floorboards up and crack the safe—to sit quietly, with complete attention, not moving, and read. That person—you, you are that person!—deserves everything that’s coming.

 

Author’s Note: I wouldn't dare attach my own rigid interpretations to the story of the Barman and The Proprietor, much less attempt a deconstruction of Kafka, but I've always been fascinated by the idea of this writer we claim to know so much about, and attempt to interpret in seemingly infinite ways, as having a writing life that existed completely outside of our knowledge. Intertwining this notion was Kafka's own descriptions of how the external pressures of our world can cause tragic maladies--both physical and psychological--to manifest in the artist. In "Kafka's Typewriter," there's a type of reversal to this concept, as well as another Kafkaism of the machine as an object of terror, where the art itself is the cause of the malady, and the machine its purest delivery system. Then again, that's only one interpretation.



Adam is a writer living in the small town of Hillsborough, NC. He has been published in multiple literary journals, and is the co-creator of the literature and arts collaborative Flashes of Hillsborough. He is the author of 90s Kid Plays Games, a collection of prose pieces published by NiftyLit. 

Pre-Employment Personality Assessment

Suzy Eynon

Select any words that
you feel
describe the way you are supposed to act:

◻ Patient
◻ Responsive
◻ Social
In your late teens, you work the register at a big-box pet store for a month. Someone checking out with an urgent, angry desire for lizard food tells you to hurry up. Your manager explains to you, their poor planning is not your emergency. You quit after being asked to speak more enthusiastically over the loudspeaker as you announce wet cleanup, aisle five.

◻ Rational
◻ Discreet
For years, on and off, you work at a small urgent care center. You fetch the mail, drop the daily deposits at the bank, sign medical forms and checks with the doctor’s name for his wife, who runs the center. You work closely with the wife, even going to her house to assist with filing their personal documents. One time they ask you to watch hours of black and white video footage on your home VCR to identify who has been driving behind the center at night. You are so good at putting things where they belong, moving papers from one container to the next. She asks you to file that letter away under assholes, and you are unsure if this means the trash can or an actual file, so you carefully print assholes onto a vanilla-colored folder and slip it into the cabinet.

◻ Persistent
◻ Resilient
◻ Efficient
The maid service requires you to sign a waiver that if you don’t return for the second day, you are not paid for the first. This must be illegal, you realize years later, but at the time you are young and don’t say anything. The crew lead shows you how to rub olive oil into a stainless-steel refrigerator to make it shine. The homeowner works on a painting in the next room, her easel set up in view of the work. This is the strangest part to you, that she watches the crew while painting, creating art while you scrub. You have contamination obsessive-compulsive disorder and cry while you wipe a urine ring from the base of a toilet. A terrible Adam Sandler song plays on a loop in your head – you’re not to listen to the radio and this was before everyone had cell phones – the one about a piece of shit car. You don’t return for day two.

◻ Responsible
◻ Trustworthy
You work at a mall bookstore for a season. Your ex-boyfriend comes through your line as he buys gifts for neighborhood children. He once impersonated you to your beeper provider after you’d broken up, to ask them to reset your voicemail password, so he could record your outgoing message for you to find the next time you called in as a gotcha. Before you quit at the height of the season, you swipe a copy of Jewel’s poetry book from the shelf, a Christmas gift for your
little sister.

◻ Secure
◻ Dependable
◻ Loyal
You have a temp job where your only task is to sit at a word processor, which is on a little table, and type information into medical forms. The forms spit out the back in an endless wave. The company mentions they would like to hire you, but that the temp agency’s fee is high. You quit the temp agency but are let go from the job the next day. You ride the elevator down with the team one last time, the radio in your grip the only item that needs removal. One of the managers tells you, as a parting sentiment, word of advice – don’t work for temp agencies, get a real job.

◻ Careful
◻ Aware
◻ Assertive
For a year, you have a job as a marketing assistant which means you copy-paste contact information into spreadsheets to share with the financial advisers you serve, clean the coffee maker, wipe off the long glass meeting table on the sixteenth floor before their client meetings under the gaze of bloody bear and bull paintings. One afternoon, after your shift ends, you wait to catch the bus back north of the city. You decide to treat yourself, buy a book at the shop near the bus stop. When you imagine working in the city, you picture yourself walking down the street with determination, coffee cup in hand, so you buy a plastic tumbler. After, as you step up to the rear door of the bus to climb aboard, a man thrusts out both arms, his hands palming your breasts through your business casual shirt. You look up in alarm, taking in his face, but are so caught off guard, you don’t yell or knock him away or react in any way. You don’t scream. Your body is already in motion, propelled toward that closing back door. You can’t pivot mid-leap to change course. You weren’t created for such graceful redirection. On the bus, you look around. Did anyone see what just happened? You’re vibrating. No one gives any indication they’ve just witnessed anything. The bus hurtles up Third. You’re already on your way home. You don’t know who to tell. Your face feels hot. Ten miles away, you call the non-emergency number from your kitchen. The man is kind, suggests that you learn a martial art. You took karate as a teenager, but you don’t say that. You feel as if you’ve done something, at least, by reporting the incident, so you might appear as a number in a transit crime report. You tell your mother, hoping for sympathy, and she advises you to take a shower, wash that right off. When you were young, your mother would relocate items that caused emotional distress to the garage, where they couldn’t reach her mind. You throw the business casual shirt in the trash.

Select any words that you
yourself
feel describe you:

◻ Shy
◻ Quiet
◻ Emotional
◻ Nervous
◻ Avoidant
◻ Smart
◻ Flighty
◻ Disloyal
◻ Empathetic


Author’s Note: I was recently asked to complete a personality assessment while interviewing for a job. I stumbled over the questions because the assessment is a kind of game. Does it require being good at playing the game, or knowing how others see you versus how you see yourself? I wanted to play with the contrast between what the assessment and employers ask of you, and with your lived reality.


Suzy Eynon is a writer from Arizona. She has an MFA in Writing from Lindenwood University. Her work has appeared in X-R-A-Y, South Dakota Review, Rejection Letters, Variant Lit, Monkeybicycle, and elsewhere. She lives in Seattle with her cats.

 

Thursdays, 2 p.m., A Room in a Tall Building

Max Kruger-Dull

2 p.m. on Thursdays. My therapist sees me at my best. With a dog on my lap. Genteel emotion. My arms close to my body. My head right there with my body. 2 p.m. is for sleepiness. For cracking knuckles. For nodding off in a La-Z-Boy. For the dentist. Movies are more affecting at midnight. My therapist yawns at 2 p.m., and 2:05, and 2:13. His nose hairs need trimming. I want to water his aloe vera. The world is innocuous at 2 p.m., and 2:13, and 2:50. I talk mosquito bites and fashion week. Haircuts. Museums. “Everything will be fine” at 2 p.m. I wasn’t mugged at 2 p.m. Fist to my temple. Knife near my throat. Knife near my Achilles tendon. They shoved my face in a pothole. 2 p.m. is made of white noise. Salads. At 2 p.m. I am full of lunch and dazed. My therapist sees the serene in me. I used to bully kids at 2 p.m. But that was high school. After the last bell. Full of lunch and pissed. Energy, energy. I wanted to laugh at 2 p.m. Wedgies and swiped calculators. Trips to the principal. Fancy talk. Me: the “I’M STEALING YOUR HOMEWORK” kid. 2 p.m. is when time acts rationally. Seconds are equal at 2 p.m. But night is always slow or fast. Morning is always fast, fast. My therapist says to leave my dog at home. 2 a.m. and 3 a.m., my dog sees my worst. I cover my eyes. The world is scary. I am hungry, on edge. Nosebleeds are for 2 a.m. I talk tears and exploitation with whoever’s up. Whoever’s up is usually Dad. Dad fucks with my head at 2 a.m. I give to charity at 2 a.m. More than I can afford. Should I quit therapy? A hiatus? Searching, searching at 2 a.m. My house feels smaller at 2 a.m. The shower: a torture device. Sitcoms. Jeopardy! reruns. My veins look too full. I call for the vampires. Confused at 2 a.m. I want to exist outside of time. I ask my therapist for a midnight appointment. I’ll pay extra. I say, “Maybe my tears will glow in the dark.” 10 p.m.? 8 p.m.? Phone call after dinner? His schedule is fixed. I’ve never missed a session. 2 p.m. on Thursdays. My therapist so confident in his role. A cough is all I can muster.


Author’s Note: When writing this piece, I focused on creating a paragraph that had a sense of speed. I also enjoyed attempting to subvert a time of day that's typically considered mundane: 2 p.m.


Max Kruger-Dull holds an MFA in Writing from Vermont College of Fine Arts. His recent work has appeared or is forthcoming in The MacGuffin, Litro Magazine, Hunger Mountain Review, the tiny journal, The Broadkill Review, and others. He lives in New York with his boyfriend and two dogs.

 

The Lightning Rod (or, The Celebrity)

Izzy Ampil

Before all this – before this record-dry high desert summer you’ve spent couchbound, before the funeral, before the crash, before you learned how to brew moonshine in the basement cupboard with your neighbor’s brother’s friend – you were really good at tennis.

I’m thinking about it as I watch you nestle in your easy chair. Sitting knees-to-chin, you look like Mom, especially with your big hair and purple nightgown. You’re still young, which – forgive me – it seems like you forget sometimes. You’re young enough to have a second life.

You tell me lately you’ve been watching The Masked Singer. You watched all five seasons last month, and then you watched them all again. I believe you, but you scroll through your DVR to show me anyway. I can’t tell if you’re proud or guilty that you have all 58 episodes saved. You tell me it’s pathetic, watching aged-out no-names grasp at the last dregs of their celebrity, and I decide that means you’re feeling guilty, so I start suggesting shows we could watch together instead.

I don’t have Netflix, you mumble, so I offer my account.

I like the colors, you tell me. You’ve started playing an old episode. Your eyes are on a rainbow seahorse belting “...Baby One More Time.”

When I drove here yesterday from L.A. I saw the billboards a few times, telling me The Masked Singer: Season Six comes out tonight. I remember giant eyes and cacophonic glitter, a bloated cupcake perched on skinny legs. I didn’t think much of the colors when I was sitting in the city, that sea of traffic lights and glossy cars blistering my vision. But in your house in Arizona, in the quiet pale of evening, the colors erupt from your TV screen. You’ve fallen silent, almost reverent. I’ve never seen you so believing. Jenny McCarthy is laughing. Ken Jeong is laughing. Have there ever been two people more desperately expressive in their laughter? A gape-mouthed, unibrowed broccoli is dancing. Its unblinking red eyes hold my gaze.



You love color like you love yourself – in excess. It’s the first thing that made you famous; you never wore the tennis uniform of fluorescent, fake teeth white. Instead, Mom handmade your dresses: pink and lilac, teal and chartreuse, shades of citrus Florida-bright. You played and won and played and won, and people noticed. Tennis aristocrats were skeptical. The critics called your outfits gimmicks. One opponent got in trouble when she said you dressed low-class.

But everyone else loved you and your psychedelic outfits. There were TikTok trends about the clothes you wore, Facebook videos Mom overshared, montage after montage to the tune of “She’s a Rainbow.” An Instagram account about your Spandex. A vlog about your visors. Once, a viral tweet comparing your blurred body to Kandinsky.

I think you’d say now that was your peak in life, the five months people loved you. You say you weren’t built to be alone, which you didn’t know until you never had to be. Now in the drought that follows fame, that lustful flood, you’re suffering.

If you ask me, you’re at your best alone: when nobody is coaching you, nobody is waiting for you, nobody needs you to do anything but love the game you’re playing.

You think about it, shake your head. No, you don’t think so.

But I was there the whole time, watched you play and watched you grow. I know what makes you tick and what derails you. We played together, once, remember? You outpaced me pretty quick. Six weeks of practicing your serve, and you slew aces half the time. One winter on the indoor courts, and you’d sprint from net to baseline in two strides. You’d slam a volley down, which I’d impress myself by saving, but then you’d barely break a sweat running back to sling me with a backhand, and I could only watch with my mouth open as it hummed beyond my racket strings. All that May you left me speechless, sliding around, desperate and bleak.

After I made myself your part-time manager, I’d film your training at high speed and slow it way down, watch the strength of your slice zing through your forearm, up your triceps, ripple in the round amazement of your shoulder. Silk in the wind; your muscles made for painting.

You didn’t know I loved you like that, which I admit is my fault. When you threw your racket at the ground so hard you took its shrapnel to the eye, you didn’t call me. It was a week after the tabloids caught you drinking, and you and Mom were barely speaking. I should have been your next in line, the remaining family you trusted. But you told me in the ER, bloody gauze taped to your face, you thought I’d yell at you. You had a red stain where your eye should be. You had a list of reasons I might be mad, and you recited them to me. For breaking courtly etiquette. For losing all control again. For letting the world see that you were struggling.

I couldn’t believe that’s what you thought of me. I admit I thought it was unfair. But by then I managed your PR, not just your playing, and we spent every minute breathing each other’s air.

We’ve watched three episodes by now, and you’re still pretending not to like this show. I don’t see how you can maintain this contradiction, much less why. Do you really think I’ll buy that you’ve watched five seasons twice in a row just for the irony? But you keep sighing like you know something I don’t, rolling your eyes and slapping at your chair’s understuffed arms.

Eventually you speak.

Here’s the thing, you say, about The Masked Singer. It’s never someone interesting underneath the glittering mess. It’s someone you’ve forgotten and are happy to forget. By the time they take the costume off, you’re not surprised to find it’s someone who’s acquired too much time, someone rich who once was famous. So, what I want to know is, who would surprise you?

I don’t know, I say. You’re the one who’s watched it all.

You tell me I’m not being helpful.

Well, who’s been on it? I’ve never seen them with their costumes off.

You tell me: Jackie Evancho, Nick Lachey, Jesse McCartney, LeAnn Rimes.

Wait, it’s just singers? Like, real singers?

Oh, it’s stupid. I haven’t told you? It’s the worst damn part of this whole show. They just hire back singers whose careers crashed years ago. People we didn’t care about the last time we saw their faces. They come back singing with their faces hidden to, what then, be reborn? It’s a cheap trick. An ego trip. And I always care less about them than I did before.



You were still in stitches when you competed for the last time. I don’t remember why we let you play with that gash over your eye. The swelling was still purple the morning you arrived. You walked on with your head bent low, visor tucked down past your nose, but when you squinted up at the skittering clouds, the cameras swerved in. I was standing on the sidelines when the crowd’s noise got sucked away. The sight of your face. The drooping warmth of your split eyelid. The commentators murmured about last time, how you lost in two straight sets and screamed for mercy. Their voices hummed over the silent seats like thunder in the valley. I tried to catch your eye, but you ignored me.

You played great the first twelve games; you were up 6-3, 3-0. The crowd was in a hopeful mood, happy to see you calm and sober. Your service toss was perfect, the ball rising in a thin green string; you pressed the game up to the net with the certainty of homecoming; you pulled no faces, took no breaks, wasted no time dribbling. When you served, the sun retreated, smoothing the sky grey as a blessing. The watch face on your inner wrist cast flares of crystal where you stepped.

Game thirteen, unlucky number: rain from a freak storm came down hard. The ball went dead, the hard courts bristled. Couples on their Sunday dates fled, holding sweaters overhead like cashmere kite sails. You stood in the tunnel chewing on your lower lip. I handed you a Clif bar. You spit blood out with the wrapper.

The last match you ever played got delayed twice in two days. The rain wouldn’t let up once it began. You were on a hot streak and then you weren’t. The third morning we woke up in New York you didn’t. I found you on the hotel floor breathing sweet, fermented breath. And it was over.



You nearly jump out of your chair when you realize season six already started. You’re crushing buttons on your remote, trying to get there. I’m looking at my watch, remembering the long drive home I have tomorrow, wishing I were sleeping on your old, cracked leather couch. When the new episode comes on, you’re rapt, hair raising. Your face reflects light from the screen like a red moon.

You’ve been sober a whole year today. We’re meant to celebrate; it’s why I came. The last time we were together you were holding Mom’s grey hand. You wouldn’t leave her. You spent the whole night draped over her still body like a prayer. You wanted her to see you now; she would have known how to show you she was proud. I think today I was supposed to be a better sister, take you out instead of letting you waste the day on The Masked Singer. I’m relieved I didn’t think of this until now that it’s too late.



The first time you drank alcohol, you went through every bottle of Mom’s liquor by the capful, swilling whiskey, gin, and Cointreau in a little plastic cup. You were twelve, you told me, and got scared after thirty minutes. You threw up in the sink and retreated to the driveway, where you spent two hours doing drills: high knees, suicides, karaoke steps, butt kicks. You liked it. Not the drinking but the whole thing. It felt religious: sinning and regretting, then atoning through self-discipline. You didn’t mean to, but you got really good at exercising drunk. You came to practice buzzed and no one noticed. You couldn’t get a ride one day, but you knew the roads were never crowded.

I didn’t tell Mom this, but I get it. You were used to being good at everything. And tennis was, for you, its own religion. The divisions get porous. You live and play and drink and pray. You climb into the driver’s seat. You start the engine. You can’t remember if your failures will be wholly or not at all forgiven.



You wake me up five minutes before the season six premiere ends. Look, you say, they’re unmasking him. I still don’t get the difference between being unmasked versus eliminated.

Onstage, there’s a fuzzy purple octopus in a three-piece suit and glittering glasses. He towers over the people. He must be eight feet tall. He bobs his enormous, woozy head, and I worry his glasses will fall off. The octopus has dozens of tentacles, coming from everywhere – his cape drips with tentacles, his head is crisscrossed with tentacles, each of his fingers is a bejeweled, gilded tentacle.

A room full of grown adults starts chanting “Take it off!” like it’s their first time at a frat party. It’s incredibly disconcerting, but never more so than when Robin Thicke chants it while wearing a snakeskin suit. The octopus needs help taking his head off. The octopus is Dwight Howard. I guess that busts your whole theory about how the only people on this show are washed-up singers from the mid-aughts. Your eyes dart across the screen; you’re calculating.

In the unfurnished guest room, you put me to bed. You thank me for coming to see you this weekend. You tell me not to worry, you’re not lonely, only bored. That makes me worry more. You pat the quilt flat around me, speak directly to the sheets. I admit I’m falling back asleep and can’t quite listen.



It’s morning. I’m driving home from Chino Valley when you call me, which you never do. I’ve been wondering what to do with you, how to lure you from the house you haven’t left since last September, when you offer me an answer you’ve come upon yourself. You’re auditioning, you tell me, breathless, and you’re angry when I ask, for what?

You make me turn around and get you. The drive from your house to mine is 6 hours, 40 minutes. With the part I’m now repeating it will be closer to ten. You don’t have a license, so I’ll have to drive it all myself, even though I told you twice over the phone The Masked Singer doesn’t audition. They only take celebrities, who probably negotiate through agencies, and even the people who have forgotten you wouldn’t fill up half their seats. How would you even talk them into taking you? Who do you know who works at NBC?

It’s on FOX, you tell me. Under the gritty cell phone static, I can’t tell if you’re smug or disappointed. I wait for you to say something. When it comes, it’s one question broken into three: Didn’t I do your PR? Don’t I live in L.A.? Don’t I know anyone?

I can’t believe you’re hinging these absurdist dreams on me. But this whole weekend – this whole summer – I’ve been a shitty sister. I turn around and drive back east.

You’re waiting on the front steps with a duffel bursting at the seams. I’m in the driveway but haven’t put the car in park yet; you’re already tugging open the backseat. This is when I know you mean it. In the rearview mirror your face sharpens to a point, the skin under your cheekbones sucked hollow. Sweat seals a shock of hair to your left temple. The sockets of your eyes are shadowed blue and deep.

The whole drive to California, you say nothing. You slink low, keep your eyes level with the window’s dusty rim. You make no comments on my fusty music, make no moves to dominate the stereo. You count the passing tips of the saguaros. You watch the canyons erode, become flat sand, regrow. The yellow hills roll, studded with cedar, pines, low oaks. You wonder why the mountains look purple from a distance, and also gold. You squint to decipher them. They’re shot through with sage and blue and the occasional streak of vital red. You squeeze my fingers on the steering wheel and sigh. Along the highway, windmills lope their long, white arms all through the air, slicing up the diffuse colors of the desert sky.



Because you’re good at everything, even redemption, that steepest path to bliss, you find a way to try out for a show that doesn’t audition. You get to be onstage and everything. I get to sit with a test audience. Your hand wrapped around the microphone looks like it belongs there. You hold it like a racket, an extension of your arm. You stand with your knees bent and ready like the athlete you are.

When you open your mouth, at first, I think it’s a different person singing. I’ve never heard you do this or even mention practicing. Your face is bleached under the spotlight. I see the sweat run down your neck and the breath fill up your cheeks. I see your lips tremble and part. They catch in the middle where the gloss has made them sticky.

You sing “At Last.” It pours out lush and windy. Your voice is deep and tastes of maple, a touch of sweet. I’m eyes and ears and hands gone sweaty. I’m watching until there’s no more watching, and there’s just you, standing, panting, all alone up there, your forehead glazed with effort. And I’m standing, I’m the only one, I’m clapping. I’m feeling the cool, dense flesh of my palms smacking. I’m crying and I’m shrieking. I feel our loss add up to victory in the pink innards of my scream. You’re smiling when you look at me– no, you’re even laughing. I’m calling out to you – from so far away, can you hear it? – that I’m with you, I love you, that I know already what your costume should be.

 

Author’s Note: I wrote this story in the fall of 2021, as I was getting back into tennis for the first time in years. In September, I watched the U.S. Open final between Emma Raducanu and Leylah Fernandez, which was the first time two teens had played in the women’s final since 1999. When Raducanu won, she became the first qualifier in the history of tennis to win a Grand Slam title – i.e., she’d arrived in New York ranked No. 150, an underdog without a guaranteed spot in the tournament, and she clawed her way up in a feat of wonder. She dominated sports coverage for about a week, but by October, when I moved to LA, she’d started losing again, and the triumphant headlines of a month before became taunting. Fame and its fickleness and its falls from grace are of course always swirling around LA, and as I drove down streets lined with billboards, I was always struck by their transient glamor, the way everything glossy was scheduled to fade and come down. Around the same time, I read Emily Adrian’s “Brawny, Brainy, Good,” and I loved the story’s frank admission of the pop cultural landscape we live in, the way the story’s plot cohered around the Friends reunion that was being heavily promoted by HBO at the time. Reading that story gave me permission to use real, peripheral details of my life as anchor points in my fiction. Not only that – it also showed me how to elevate background elements of a collective cultural consciousness into meaningful character study. I’d already begun a story about a tennis player by the time I drove by a billboard for The Masked Singer, and I knew I had to use it. All the pieces were ready to fall into place. 


Izzy Ampil is a writer living in Los Angeles. She is the current Culture Fellow at BuzzFeed News. In her free time, she climbs, designs, and blogs about music & entertainment at izzyampil.substack.com. You can find her on Twitter @izzyampil or at izzyampil.com