Breakthrough

It sure was jittery, last night.

Nighttime can be a blur sometimes. We hit all the nodes, as well as the notes. Even our discordance felt ordained. Neon. Met with the right groups and at all the right times, but we overindulged. Okay, I overindulged. The pulsation of an intoxicated evening stretched into a long night, like a quasar, something cosmic, like the history of the slowest supernova, a sedate twin galactic waltz: more absorption and sluggish radiance than cataclysm.

Once upon a time, there was an abundance of time.

Now I wake with a dull head and it's a grey morning and I hear no birdsong or much of anything else.

Coffee. Two scorched hilltop scoops of ground arabica beans and a stainless kettle and a french press stolen from a former girlfriend. Organic cane sugar. One percent milk. No food. Just caffeine and a sweet verve.

Without warning or explanation, my mind goes straight to breasts, full and curved, perfect hard nipples at attention. 

Salivate, drink the last of the coffee, dream of women, step into the street.

Where is everything? I hear nothing. See no traffic, no passers. 

A thin yellow disc attempts to nudge its way through claggy cloud, a weak tongue fighting gummy saliva in the mouth of the dying.

Betrayal, I think. My world has betrayed me. Our world has betrayed us. This wasn't supposed to happen. We expect to awake to commuter sounds and morning radio, earworm ditties and ambiguously cheery local stories about homeless people who selflessly aid those who might once have condemned them, upend the narrative; weather updates on downed branches from last night's windstorms, power outages and traffic tales, how a set of lights are down at Marine and Boundary, how there's a stall on the Lion's Gate, and how a visiting dignitary from India is closing down large sections of Surrey, which we're advised to avoid.

Panic. Intoxication. Are there still bluebells? Wherefore schools of dolphin, sleek musculatures undulating through waves? Icebergs calving? LED-lit whores in Amsterdam, dark triangles glistening behind windows? Grief and drama? The Falls and the Shankill? Quickies in department store change rooms? The best jokes ever told by the funniest women? A different woman making soup? A shallow urban stream? Midnight mass with your drunk non-Catholic friends? Premature birth? Courage in the face of bigotry? Ativan or Xanax? The exhaustion following an assault? Your precious story of violation? Where is your limit? What momentous dreams did you abandon?

I stand on the street. Where buses would hiss and whine. Where cabs would whisk and disgorge. Where pedestrians would play a jaywalk dance with the inside lane, with the righteous right-turners, where bicycles would joust with trucks, middle fingers ready like tiny lances, the morning choreography guided and shaped by something invisible, something never seen, barely even acknowledged. Until it books out. Until it absconds.

Silent. Empty.

I take out my phone and call Sophie, the last person I remember from the night before.

Amazingly, she answers.

"Kurt?"

"Yeah."

"Where you at?"

"Home."

"I'm glad you called."

"Why?"

"Not sure. A friendly voice?"

"What makes you think I'm friendly?"

"Fuck off."

"Ha."

"Kurt?"

"What?"

"You hear anything?"

I consider confounding, befuddling, but go with honesty: "Nah. Nada."

"Fucking creepy, huh?"

"Yeah. Yes, it is."

"Can you come here, brother?"

"Sure. I'll hike it. Stay put. Give me an hour."

"Okay."

I think she's hung up, but she adds:

"Kurt? Hurry, okay?"

"Yeah."

When I get to her place she's gone. But I shouldn't be surprised: everyone's gone. I don't know what to do or where to go next. So I go sit in the street.

I imagine a distant sound, like music by Brian Eno: electronic, ambient; swelling and droning. Perhaps I even hear it, but I doubt that. Real or not, it seems to come from the far limits of the sky, where indigo meets ink-black, right at the edge of the world's rind. Right where the frigid and terrifying universe begins.

I lower my gaze to the smudge-grey asphalt and wish for ants, spiders, worms, weeds, anything. But none appear.

I haven't heard a single siren in hours.

Sophie's phone goes to voice mail.

The sun never even breaks through.

After the Riots

© Janet TernoffHard to believe there had been riots here only last summer. The street seemed so ordinary. The pavement still carried the sheen of an earlier rain squall, but was now trickster-bright under the great dome of our planet's sky. A city street, with towering glass buildings, random nodes of pedestrians, and a blossoming row of Japanese maples every fifteen metres or so.

She hailed a cab but no cab stopped. She'd lost her phone in the park, after those one-armed boys had chased her, so Uber was not an option.

A crow on a streetlight glared at her and screeched "cuntlicker!" just once.

She flinched and bowed her head. Tried to recall the transit map in her brain. Bus or skytrain?

Maybe she could walk. She only had to go a couple blocks. Or wait, was it two klicks? She could never remember. Was there even a difference?

The pulsating sun was turning yellow-orange and crimson, swirling like a candymaker in an emerald sky. A man emerged from the knots of passersby, stretched his neck and whole face toward her, looming like a thing from perdition's carnival, and spat in her mouth. She tasted spoiled mackerel and she gagged, vomiting out a small dead rodent on the fur-lined sidewalk along with the pitiful remains of her lunch, a soft taco.

"Help me," she said, although not loudly, and kept walking.

"Cumbucket," said the crow.

A woman laughed in an alley closeby. 

A rusted old Chevy sedan slowed and kept pace with her. She couldn't make out the driver, seeing only a silhouette that suggested a misshapen head far larger than a man's. Ponderous, untamed, hirsute, bovine.

She heard distant music to the west: French horns, glockenspiels, bassoons. As if some ghost parade had been carried on the storm, had become unnerved and had left for the coast, was fading as it passed over the edge of the wide Pacific, gathering in its heartbroken wake only the good things of the world.

Crying seemed appropriate, but she resisted.

"Suck me," offered the crow.

The car tracked her every move; she even stopped to test it. After a minute or so of this dance, something made her suddenly brave, and she opened the passenger side door. An immense shriek so loud it cracked windows and stripped blossom from the maples blared from inside the vehicle, and a voice that sounded like something malignant being boiled alive said, "Get away. Close the door. We will chew off your limbs. We will obliterate everything you've ever loved."

She recoiled and collided with a younger woman, who hissed at her and made a sign with her fingers. "Are you here?" the young woman asked. "Is anyone here? Am I here?" Her faded bluejean eyes rolled into her skull and instead of whites, the orbs were without light and colour, darker than the underwings of the sleek and ribald crow.

"Goatfucker," suggested the crow.

The air was filled with cherry blossom and its fragrance was cloying.

She tried to answer the woman, but her throat was coated in something sweet and gluey. Her mind filled with a roomful of mewling fetuses, their stick limbs waving and clutching like tiny tentacled ocean things, pellucid amphibian eyes mostly sightless, dark stilted beings looming and striding among them and plucking morsels as they trod.

What is all this? What happened to me? she thought, a moment before something impossibly vast and inconceivably dark dimmed out the world and everything truly went to hell.

Bedtime in the 1960s

The boy in the flannel pyjamas finds himself alone and afraid in a room, a cold, dark room.

Not quite full dark, as there is one small lamp on a night table to his left. But drear as old London in fog, the lamp diffuse as nineteenth century gaslamps, impotent before the resounding slab of night.

It should be cheery, its porcelain stand cast in the form of a swirling flamenco dancer, her death-white dress daubed with crimson rose motifs. But its burnt orange ambit is feeble and ominous.

Why is he so alone? Did his family abandon him? Whose room is this?

He senses a bed in front of him, alongside an urgency to reach it, image-conjuring the harsh carpeted floor into a dire terrain bristling with clawed and ravening things covetous of boy toes. He ratchets his courage, glances at the incomprehensibly terrible lamp for the last time, and runs. Something swishes around his legs in the dark. Something wet and sharp and salivating with need.

Without a second to spare, he makes it, almost flipping over the opposite side, just able to hang on. His breathing is animal-like, a bray of trauma.

On top is a scratchy blanket, with a polyester sheet beneath. Some internal imperative insists his only hope of safety lies in plunging his bare feet and flannel-clad legs under these covers forthwith, which he does.

The cool sheet feels good, as his feet descend into the depths of the bed...

...only to sink further into something warm and soft and wholly slime-ridden, releasing from the boy a querulous cry of anguish as he feels a sluglike mass begin to dissolve his flesh like an acid, beginning at his toes and oozing—wretchedly, interminably, unhurriedly—upward.

But what the boy feels before the agony is worse—an infinite hopelessness, awful beyond measure, the colour a ceaseless grey moan marching to the most wretched and endless of horizons.

Headwaters

A story in a single sentence:

Shaky after two days' release from the psych ward, she wants to "put it all behind her," as the genial yet guarded advice had gone, so she takes the Skytrain to go ask about rental costs at a nearby Enterprise office whose bleak geometry squats in a grim patch of stilted highways, loose rubble, and territorial chain link somewhere near where Vancouver borders Burnaby, but she gets cold feet at Renfrew Station, turns around and scurries back to the library near her home on East Pender, where she searches Google Maps and decides Swift Current is the loveliest place name she's ever heard, especially in contrast to that of its province, which is all brittle stalks and wheat sheaf angles (Sask-atch-ew-an), and wants to visit for that reason alone—Swift Current, that is; a name that evokes homecoming sockeye vigorous and sleek as distance runners' quadriceps—although the furthest she's ever driven was Vancouver to Hope, ironically when she'd been at her least hopeful, and even then she'd had a tire blow somewhere near Yarrow, nearly killing her, and the towtruck and repair costs had been so high she'd had to turn back, out by many dollars and by even more self-worth, given all her struggles with what some might call mental health issues yet she chooses to term emotional difficulties, since the former still contains a tiny jab of stigma, and dammit, it's hardly her fault, given her early life with Uncle Giorgio and then those grey-stuccoed group homes and weary, spiteful foster parents, let alone the haunted jaundiced nightscape of the Downtown Eastside and her disaster-recipe life with Gunther, he of the one-part lavish confectionary largesse and two-parts savage fists, but she is free now, aside from the medication she needs to remember, while something about Swift Current calls and calls like babbling headwaters to a downstream eddy, urging her to spawn, to take this step that might mark a new chapter in a thus-far chiefly sorrowful tale, one charged with the possibility of something other than grim nights shivering with cold or dread and warmer nights sleepless with mosquitoes or regret, so she finds somewhere online that calculates the cost of gasoline, which comes to a little over a couple hundred bucks for the three thousand kilometre round trip, and she feels a heartsurge of joy until she sees the carbon footprint she'll be leaving—one thousand three hundred and fifty pounds, to be exact—which sounds so appalling she immediately scratches out this new life at its source—indeed, guilt and eroded morale have long perfected her inner Scratch 'n Lose—erasing the evocative names of Shuswap and Salmon Arm, Golden and Banff, Dead Man's Flats and Medicine Hat from a future that might have held something other than the pitiless tidal ebb of try then turn back, try then turn back, the balance of which has always seemed impossibly, monstrously weighted.

The Mood

Writing. We all struggle sometimes to find new ways of expressing ourselves. I've taken a slightly involuntary hiatus, of late, in that sense. But as short as this piece is, it seems to be a somewhat different angle into story (with story being so crucial and all). I threw words together in a far shorter time than I'm used to and tried to resist traditional or strict punctuation in an effort to follow the rhythms of the speaker. There's a hell of a backstory, no doubt. Not even sure we'll ever be privy to it, but it doesn't hurt to speculate. My sense is, he was haunted by the look his mother gave him and never felt up to the task she set him, a task that seemed simple at first yet grew more complicated the more life unfolded... as things tend to do. Everything else that happened to him stemmed from that. But anyone reading this is free to dream or wish or reluctantly relate their own sweet or curséd version.

_____________

I'm a old man now and dont ever ask me to recall that frail clapboard home dwarfed by the vast yellow prairie that was never warm even when sunny, I oughta be able to remember summers but I dont, only the moan and shriek of many winters, no true windbreaks other than some scraggy poplars, distant mountains a bluish smudge on the horizon, barely even looked like mountains they were so far, pa hurtin momma month in month out and one day momma killin pa with a hatchet when he was passed out drunk, blood the thickness of motor oil dripping still warm from the finger she held to her lips, her huge eyes on me and her tremblin voice sayin, look after your brother now, you hear? be a good boy, while a crackly old gramophone played in the dim corner of a bare room, big band, maybe even glenn miller in the mood, I can almost recall the label in the middle of the disc, blue with a dog listenin to a phonograph, although that might be my subconscious funnin me, we all know what happened to glenn miller after all, although we dont really do we?

Ask me about that, or about what became of little bobby, and I wont tell you, now git away from the bars I been known to react poorly to bein stared at.