Wednesday, September 15, 2010

This is just a little piece of fiction. NOT creative non-fiction. Enjoy.


"The Pear"

The man walked to the farmer’s market shortly after sunup. He bought nothing but a single pear, which he carried home in a paper sack. He placed the pear, still in the paper sack, in the refrigerator. The pear was pushed all the way to the back of the refrigerator, on the second shelf, between the butter and a Tupperware full of week-old stroganoff. The door swung shut, and the tiny bulb blinked off. And all the pear could do was sit, and wait, and get colder.
Through the door floated the muffled acoustics of the man’s day: The throaty gurgling of the percolating coffee. The screeching grate of a chair being pulled out and scooted in. The roll-oll clash, roll-oll hush as the man opened and shut drawers again and again. The swish strik swish of metal on metal as he sharpened each blade in the house. The kuh-lick kuh-lick as he strode about the kitchen and up and down the stairs in his heavy boots, which he was never supposed to wear around the house.
The pear slowly cooled on the refrigerator shelf as the man went about his chores. In the darkness, it incrementally got colder; first the fragile, tender skin, followed by the heartier stem. The dense, grainy flesh took much longer to cool, and it did so slowly.
The center of the pear was still warm as the man pulled open the door and pulled out the Tupperware of stroganoff. The man knocked the pear over as he slid the Tupperware past. The pear lay on its side as the man tore off the lid and opened the microwave, buttons screaming their shrill BEEP BEEP BEEP, followed by the whirrrr-dzuhhhh as the microwave spun slowly into life. As he ate, the man tapped his heavy boots on the hardwood, knocking little bits of dirt onto the floor with every tap of the steel toes. She hated that.
The pear spent the rest of the day on its side, slowly cooling until its center was just as frigid as the tender, green skin. The man settled in his plain, straight-backed chair. It had once been red, but sunlight and the wear of years had faded it to a dry rose color. He leaned forward in it, pulling out his little pocketknife and slowly whittling on a length of birch root. The wet wood shavings fell onto the thick green carpet. That was another thing he was never supposed to do. The shavings never came up, no matter how many times she vacuumed. He liked the feeling of the firm, wet wood falling away under his knife, and he thought there was nothing much better than whittling in his chair.
The seeds of the pear were even cold as the woman’s car pulled into the driveway. The sun was already setting outside, and the sunset was fiery and angry. The man was still whittling as she walked through the door, dropping her keys briskly on the counter. Her words were muffled through the heavy insulation of the refrigerator. She yelled at the man about wearing his boots in the house, about whittling on the carpet, and about leaving his dishes from lunch dirty on the kitchen table.
The man cared about the words about as much as the pear did. He flicked the last piece of loose wood from the end of the birch root. Then he stood up, walked slowly into the kitchen, and drove his sharpened stake into the woman’s throat. She died without making a sound. He let her fall to the ground in a heap then dragged her onto the counter. Through the refrigerator door came the roll-oll clash of the knife drawer. For a time, the man stood and thought, wondering which would be best. Then came the faint clop, clop, clop, for nearly an hour, of a cleaver striking the counter.
The pear had begun to freeze, sitting as it was near the back of the refrigerator where it was coldest. For the next few hours, all that could be heard through the door was the faintest splashing sounds, followed by flush after flush of the toilet.
Finally, the man opened the refrigerator door, wiping his hands in a wad of paper towels. He pulled the paper bag with the pear in it from its shelf. Opening the bag, he drew out the pear. The man wiped a big knife on a different paper towel and cut a big slice out of the thoroughly chilled pear.
It was so juicy.

Who even knows anymore?

I really felt a strong hippie sort of vibe radiating off both of these pieces. I'll talk about Wendell Berry's "Getting Along With Nature" first, since it weirded me out less than Annie Dillard's "Living Like Weasels".
As a country boy, I think Berry hit it dead on in his piece. He could have really gone tree-hugger with it, but he really presented an interesting scope on the issue. As human beings, we both desire some level of the natural and require some amount of the industrial. We can't any of us handle a completely raw natural environment; we simply wouldn't survive. Even those rugged pioneers and Plains Indians living on the windswept plains had some sort of man-made shelter, some sort of weaponry for protection, some little piece of industrialization in their battle against Mother Nature. With the years have come a steady advance in industrialization. And now one is left to wonder: Have we gone too far? I really appreciated Berry's words, "No good thing is destroyed by goodness; good things are destroyed by goodness." No man could have said it better (especially not me. I'm just way off today).
"Living Like Weasels" will get only a small piece of our time. Pardon my gruffness when I say, What the balls? This would be that hippie vibe I was picking up. Whereas Berry touched on the natural preservationist aspect, Dillard seemed to be covering the drug-induced musing aspect. It was like some sort of LSD/marijuana/peyote cocktail. Just too weird. That's all I have to say about that.


Thursday, September 9, 2010

And now, a poem


I wrote this last week at 2 in the morning. I'd like some feedback on it, but if you feel yourself tempted to just say, "It sucks", I'd really appreciate if you could explain why. Or, just enjoy it. Thanks.
I wouldn’t

I wouldn’t mourn me
All shriveled up and gray
Empty and gone in some hospital bed

I wouldn’t guide me
All demented and lost
Confused and scared in a world I don’t know

I wouldn’t help me
All facedown and filthy
Choking and drowning in my own habit in a gutter

I wouldn’t trust me
All hood up and long strides
Walking slow and alone at two o’clock in the morning

I wouldn’t like me
All straight A’s and straight-laced
Too stiff and right to know how it feels to screw up

I wouldn’t notice me
All big glasses and small voice
Lost in the crowd I’m trying to fit into

I wouldn’t mind me
All dirty cheeks and brand new sled
Eating Christmas morning candy on Christmas afternoon

I wouldn’t take my eyes off me
All new and soft
Warm and delicate in blue blankets

I wouldn’t

In reaction to Something something and something else

In my experience, it's either been a wild success or a terrible idea to write anything after midnight, especially on an empty stomach. Either I have reached that perfect balance of fatigue, hunger, and creativity which allows me to 'wow' even myself, or I put word to page and drop out something that can't force much more than an 'eh' from me. Only time and about 300 words will tell.
Neither "Physical Evidence" nor "Return to Sender" changed my life, but I've decided I'm really okay with that. I have managed to appreciate them for what they are, and what they have done right as creative nonfiction pieces.
"Physical Evidence" bled a sort of vague interest which reflected perfectly the author's feelings. For years, she didn't want to know what had happened to her mother. In those times, her imagination showed her mother in a sort of blurry half-light. She was satisfied with the small amount she knew of her mother; she really had no reason to hope for much more. Eventually it became more of an interest for her to discover whatever she could about her mother's murder. At this point in the article, the details start to pick up, reflecting very well the hunt she undertakes.
And then she ends it. Very abruptly, she ends the piece, leaving the audience with the tiny bit she knows about her mother, forcing us to feel the way she does. She knows nearly nothing, and we know even less.
"Return to Sender" didn't really shock or move me in any particular way until the end. The author ends by really struggling with who he is and how that matters in his relationship to his father. He struggles to break free of the hold his father's judgment has on him, while simultaneously craving his love and approval. I think we can, or at least I can, pair this to our relationship with Our Father. We want his approval so badly, but we refuse to turn away from the sin we are. Once again, I could go on and on about this, but I'll leave it open to discussion. I already know what's in my head; what do you all think?






Thursday, September 2, 2010

In reaction to "The Pain Scale" and "Consider the Lobster"

In the interest of consistency, I'll go ahead and examine the piece which just didn't appeal to me quite as much as the other. That, in this case, would be "Consider the Lobster."
I had a teacher in high school who said, "You're only allowed three hates in your life." It is for that reason that I won't say I hated this piece. I know I hate the Devil and underwear that don't fit right; I don't feel like wasting my last hate on this. Suffice it to say that about halfway through, I started checking the side of the road for the exit to the end of Wallace's piece.
I'll give him points for being thorough, but that's all Mr. David Foster Wallace is getting from me. "Consider the Lobster" reminds me of a bit from a comedian named Dan Cummins. Cummins is talking about how Satan-worshippers ruin everything by cheering for the angry, bitter, losing team. "It's like one of your friends says, 'You should come over and watch 'Fight Club', 'The Matrix', and 'Donnie Darko,'" Cummins says. "And you're like, 'Yes! Those are three of my favorite movies of all time!' And then you get there, and the guy goes, 'Psych! We're going to watch 'Garfield: A Tale of Two Kitties'...twice! Go Satan!'"
That, in hyperbole, was how this piece made me feel. Just let the people eat the lobsters, dude. And it is totally okay to go two sentences without a paragraph of segues.
And now that I've ranted and raved, I'll talk a tiny bit about "The Pain Scale". This, I felt, was very well-done. I actually learned something, but at the same time, I was drawn into the story that Eula Biss was telling. Biss isn't complaining the whole time but simply telling the reader what happened to her and how she dealt with it, while simultaneously weaving in random facts which somehow still relate. For anyone who has ever been in a state of pain for long periods of time, these thought processes are exactly what Biss presents in the piece. I thought this was very well done.