Literary as hell.

Tag: literature (Page 7 of 9)

Poetry by Matthew Konkel

So This is What I’ll Do

 

I’m gonna turn that switch off.
Turn that valve and make sure that’s off too.
Then I’ll unscrew this thing over here. (I don’t even know what that is.)
Then I can disassemble that.
Take that thing apart piece by piece.
Just completely dismantle everything that’s around me:

My TV.
My furniture (including the bed and dressers.)
That lamp.
The refrigerator.
Then the walls of my house too. Everything.

Get everything down to its barest pieces until there’s nothing left to take apart.
And once that’s done I can move on to my car and the neighbor’s car and his house and the house next door and the house and car after that and so on. However long that takes it takes.
And once that’s done I’ll start on my toes— take those off one by one.
And then I’ll take out each shin bone. (They’ll make good doorstops if nothing else.)
Remove my feet and disconnect my legs from my hips.
Detach the knees and throw them in a corner somewhere. (Or somewhere where there used to be a corner.)
Twist off my torso and chest and bend away every rib like plastic branches of plastic trees.
Remove every tooth and strand of hair and pluck out each eye and tear away each ear.
And then finally…
I’ll plant whatever is left in the ground.
Cover it up with dirt packed nice and tight and hope that maybe something grows there.
Something different.
Because sometimes it’s good just to start over.
Start again from absolute peaceful desolate scratch.

seminal incident #3

it was early 1981.
alas
the change from the
previous year
had not fully
integrated into my eleven
year old consciousness and I
I still believed it was 1980. so much so
that when
I discovered that
newspaper in
art class underneath our
rudimentary
watercolor paintings
with the
current year I was
convinced with
indisputable certitude that
a genuine
document from the
future
had been delivered
to my hands.
breathless,
I turned to my
classmate, “Jason, look at the date
on this newspaper. 1981.”
“So,” he responded derisively.
“It’s 1980,” I said in the voice of
a fraudulent scholar.
even before he could
contradict me with
words of simple fact, the
true date
finally became realized
in my
brain and
I shrunk up like plastic in a flame.

You Can’t Avoid That Swerve in the Road

The willow in the yard where I grew up is no longer there.
And I am no longer there.
My brothers are no longer there.
The willow was tired of us leaving and got out before anyone else did.

There’s an unopened package from a guy named Schrödinger.

That swerve in the road is there whether you continue to move or not.
It’s unavoidable— like the smell of new painted walls.

There’s a comic strip character walking the streets.
He doesn’t know he’s left his frames.

A child from China digs a hole in his yard trying to reach America.
He’s got one match in the rain.
One chance to get it right.

The devil lurks somewhere in the dark sharpening his pencils.
He’s composing a complaint letter to the cereal company that sold him a stale box.

The phone rings, caller: unknown.

 

Matthew is a teaching-artist, playwright and independent filmmaker from Milwaukee. His latest film is titled Neptune (www.lasthouseproductions.com). You can find his fiction and poetry at the Newer York, Paragraph Planet, Postcard Shorts, Linguistic Erosion, The Eunoia Review, Danse Macabre and Streetcake Magazine. His plays have been produced nationally and internationally by theater companies including Edmonds Driftwood Players, Pink Banana Theatre, Cupcake Lady Productions and Screaming Media Gi60. Pennster Media recently published his short play Walk, Don’t Walk. www.matthewkonkel.com

“Monsters and Kings,” by Rebecca Kirschbaum

Monsters and Kings

Written by Rebecca Kirschbaum

——

The gentle town of Kingsburrow has a handful of stoplights, an unstimulated police force, and an elderly man who tiptoes out of his house every morning for a predictable stroll. On Main Street, there are a handful of unordinary buildings cloaked in unassuming shadows. The town is aged, overgrown with vines and shrubbery, filled with potholes and cracked cement. Grass and dandelions grow up through the cracks in the sidewalks. A few stone fences remain from the Civil War and they line the yards of the largest houses. Children often whack at the stones of the old fences with sticks they pull from old dogwood, oak, and maple trees.

Ironically, or maybe predictably, Kingsburrow is only known for its monsters.

A little after eight, the night descends into Kingsburrow and the lights of the stores begin to go out, one by one. Here, it might seem the most wretched of threats are the feral cats, who roam the broken sidewalks, seeking a miniature victim. Ask that old man on Maple Street, the one who sits on his porch, in his rocking chair. If you sit with him as he rocks, long into the night, you will notice he is at ease as he sips at the end of his pipe. He will tell you, “Lightning never strikes twice. This town’s as safe as it’s ever been.” Continue reading

Cold as Winter by Larissa Swayze

Cold as Winter

by Larissa Swayze

The freshly fallen snow glows blue beneath the Alberta moon and Christopher wades through knee-high drifts. He reaches into his coat, pulls out one of his grandfather’s cigarettes and lights it. He inhales deeply and the winter air mixes with the smoke, biting all the way down before leaving his frostbitten lungs in a puff as thick as ice fog.
He squints in the direction of the subdivision, his cigarette hanging off his lips. His hands return to his coat pockets. His frozen right fingers still curled around the lighter, Christopher flicks the striker to hear the sound. Once. Twice. Three times.
He watches the sky above the distant peaked roofs, breathing in his cigarette and the cold and the car exhaust from the highway. Where there used to be only stars—the streetlights throw a dull haze across the sky. The city has been creeping toward them for as long as he can remember. One day it was going to open its hungry maw and swallow them whole.
The night is strangely quiet. Christopher scans the field for his grandfather’s dogs. They usually follow him around during his evening smoke—bounding about, snapping at the air, barking at him, at each other, at nothing in particular. He inhales once more, then pushes through the snow. Each step invites the cold deeper into his bones.
Twenty feet from the barn, he widens his mouth to call the dogs’ names, but no sound comes out. He drops the cigarette. It melts the small patch of snow that catches it. He stares at the trail of blood, no longer wondering why the night is so silent.
The warmth of the farmhouse burns his cheeks and the smell of baking biscuits invades his nose. Christopher passes through the living room, where his grandfather sits in front of the television—crooked fingers wrapped around a glass of something dark, and enters the kitchen.
His grandmother barely looks up from the stove. “Damn it child, take off your boots when you come in the house. I just washed the floors.”
“What the hell happened to my dogs?”
His grandmother’s voice is smooth. The hand she stirs the pot of broth with steady. “They weren’t yours. And you smell like cigarettes. Go wash up.”
Christopher’s hands tremble. “What the hell happened to my dogs?”
She picks up a knife and begins slicing an onion. “Your grandpa kept saying if they wouldn’t leave the cows alone he was gonna do something about it. Well, guess what? One of the heifers damn near lost her calf because those mutts wouldn’t stop yapping at her. So grandpa called Uncle Joe over and had him take care of it.”
Christopher stares at his grandmother’s lined face, willing her to look at him. She dumps the sliced onion into the pot and moves on to a carrot.
Christopher’s voice is soft and flat. “Uncle Joe did it.” His hands stop shaking, but they remain cold as winter, even in the heat of the tiny house.
“Well, your grandpa sure couldn’t. You know how he loves them dogs.”
From the living room, the voices on the television grow uncomfortably loud as his grandfather turns up the volume.
“He didn’t have to kill them.” Christopher’s voice is lost beneath the laughter of a studio audience. His grandmother adds the carrot to the pot, then buries her head deep in the pantry.
Christopher moves back to the front entrance. He yanks off his boots and drops them on the linoleum. Thunk. He turns to the back of his grandfather’s head for a reaction. The older man coughs and Christopher can see spit spraying from his uncovered mouth. He watches his grandfather’s bald patch a few seconds more before turning away, unconsciously touching the back of his own head.
In the bathroom, he leaves the lights off and stands next to the sink. Through the two-foot by two-foot window he can see a cloud has moved over the moon. Still, the rolling hills on the horizon seem to radiate from within. But Christopher knows that can’t be. The snow is just reflecting the lights from the subdivision.
He turns on the tap and lets it run long enough that steam begins to rise out of the sink. He holds his hands beneath the scalding water until he can wiggle his fingers again. He looks in the mirror. His grandfather’s sharp eyes narrow. His grandmother’s wide nose steadily drips.
In the distance a coyote howls. Christopher’s ears twitch. Here come the dogs. Then, he remembers. He turns off the tap and heads back toward the kitchen. Shuffling his feet like an old man.

The Hands of Our Brothers by Paul Lewis

The Hands of Our Brothers is a short play by Paul Lewis. Click here to read.

Paul Lewis is a Seattle-based playwright, composer and lyricist whose staged work includes musicals, a children’s opera, and full-length plays. His ten-minute plays have been staged across the country, and include Guess What? which won the Audience Choice Award at FUSION Theatre’s short works festival, “The Seven” in 2012; Music Box; Timmy Perlmutter Goes Flying; and Oblivion, which won the Audience Favorite Award at the 2013 Driftwood Players Theater Festival of Shorts, and which is to be published in “The Best Ten-Minute Plays of 2014” (Smith & Kraus)Paul’s musical The Hours of Life premieres in Seattle in December.

“Forever Now and All I Might Have” and “In Paris” from “Love Poems” by Charles Bane, Jr

The Furious Gazelle is continuing to serialize poems from Charles Bane, Jr.’s book Love Poems. Last week’s poem can be found here.

Forever Now And All I Might Have

Forever now and all I might have   been. I have never loved like 
this. Never everything. Never from  town to town, or where I lay asleep;  
or my hand straight and deer watching  
as they take, hollowed before dark  
and venturing to where day breaks.

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Tammy and Tom: A short play by Jonathan Joy

TAMMY and TOM

A short play by Jonathan Joy

Copyright 2014 by the author

joyjonathan@yahoo.com

(Lights up on a visibly nervous TAMMY. TOM is in the background, approaching.)

TAMMY – (to audience) It’s taken me weeks, but I have finally worked up the nerve to ask Tom out. I’ve chickened out plenty, but not this…oh, here he comes.

TOM – Hi.

TAMMY – Hi.

TAMMY – (to audience) He said hi.

TOM – Did you say something?

TAMMY – No…I mean…I was just talking to myself…no…that’s not what I meant to say…

TOM – Okay…bye

TAMMY – Tom, wait.

TOM – Yes?

TAMMY – I was just wondering…if you’re not doing anything…I thought maybe you’d want to get together and get a bite to eat…heck, I could even cook something…I’m a pretty good cook…or we could go out…

TOM – That depends.

TAMMY – What?

TOM – What would we eat? What would you cook?

TAMMY – Oh, I don’t know…

TOM – I’m a vegetarian. I can’t eat meat.

TAMMY – Oh, that’s no problem.

TOM – Good. And nothing dairy based. I’m lactose intolerant, so I can’t have anything with milk or cheese.

TAMMY – Okay, I think we can work around that.

TOM – And nothing wheat based either…my allergies…I’ll blow right up.

TAMMY – What can you eat?

TOM – Not seafood! If there is shellfish within 35 feet of me, I’ll need to go to the emergency room. I could die.

TAMMY – (to audience) To think I was afraid he’d say no. Now I’m afraid of potential manslaughter charges.

TOM – And not Mexican. The last time I had Mexican food I was in the bathroom all night.

TAMMY – Ew. Too much information.

TOM – Fruits and vegetables are okay, but they have to be pureed into a complete liquid form. Even then, no green or orange vegetables and no red or blue or green or yellow fruits.

TAMMY – That’s crazy.

TOM – What? That’s really insensitive, Tammy. I don’t know if this is going to work out, after all. Maybe it’s best that we don’t…

TAMMY – You know, maybe we should just skip dinner. We could go see a movie.

TOM – That would be better.

TAMMY – Good. We don’t have to eat anything all.

TOM – You pick the movie, but nothing R rated, please.

TAMMY – Okay.

TOM – And nothing with singing or explosions…I like to avoid all loud noises altogether.

TAMMY – Okay. Why don’t I pick you up…Saturday?

TOM – No, no, no…I don’t leave the house on days that have the letter “u” in them.

TAMMY – Wait, I’ve got it! You come over…Friday…we’ll dine on tomato paste and cold water…then we’ll rent a movie and turn the volume way down…

TOM – Tammy, that sounds like perfect evening.

TAMMY – It does.

TOM – Yeah…I have a seven o’clock self-imposed curfew, though.

TAMMY – You know what, forget it. I’m sorry I asked. Forget it.

TOM – (to audience) What did I say?

 

 

Jonathan Joy is the author of 25 plays, including “The Princess of Rome, Ohio”, “American Standard”, the “Bitsy and Boots” series, and over a dozen one acts that are regularly produced. His work has been staged in 12 US states, from countless productions in his home state of West Virginia to Off-Broadway and Off-Off Broadway stages in New York City, and overseas in France and Dubai. Publications and features include the New York Times, Smith and Krauss, Brooklyn Publishers, Southern Theatre magazine, Insight for Playwrights, the One Act Play Depot in Canada, and more. He has won several regional writing awards and is the only two time winner (2005 & 2008) of the national “Write like Mamet” award sponsored by the American Conservatory Theatre in San Francisco. His books have topped the Amazon charts in Theatre, Drama, Political Humor, and Christian Literature categories. Mr. Joy is an English/Writing Instructor at Ashland Community and Technical College in Ashland, Kentucky, where he enjoys his dream job and has been nominated for Teaching Excellence Awards five straight years. He is the son of James Edward Joy, a Biology professor once described by a colleague as, “…the conscience of Marshall University for forty years…” and Susan Karnes Joy, a retiree of the Corps of Engineers and the kind of woman that would gladly take her son out of school early to see “Return of the Jedi” on its opening day in 1983. He is married to his best friend, Rissie, who is a successful Scentsy Director (rissiejoy.scentsy.us) and is father to an enthusiastic, playful four year old son, Levi.

The author may be contacted at joyjonathan@yahoo.com for information regarding royalties for production of his work.

Poems from “Conditioned Response” by Gary Beck

Aging Process

Forgetful moments

alarming indicators

of the relentless approach

of deterioration,

subtracting the senses

from continuation,

the short supply of data

rapidly diminishing

ability to function.

 

 

Welcome to Afghanistan

The circling vultures

seeking meals ready to eat

prefer violent cultures

for the caterers they meet.

American troops will provide

modern ammo and arms

to tribesmen who reside

so close to war’s meat farms.

There is a tradition

that tribes sting like vipers

and fight best in position

when they can be snipers.

Loyalties are stratified,

bought, sold, or traded away

after being ratified

by those who prevail that day.

The war for democracy

is an arrogant invention

that deludes our society

in a wasteful intervention.

 

 

Ode to the City

The esprit of a city

expands, contracts,

in dynamic flux,

or is trapped in stasis

as the industrious strive,

exploiters and lunatics thrive,

and do-gooders try to endure

in the peculiar mélange

of the metropolitan hive,

throbbing, pulsing, urban horde,

ambitious, ruthless, kindless,

the frothing ingredients

of juxtaposed existence

indivisible

from its components.

 

 

Departure

Lilacs are the pain

striking recollection

of unintended separation

from a lost loved one,

an unexpected rejection

flowering in shock,

smashing continuation

of rich interludes.

 

 

Premature Signs

After a blanketing blizzard

covered the cowering city

for a cleansing interlude,

warmer weather snuck in,

deluding gullible birds

who began to sing happily

that hungry winter was over.

 

 

Disruptions

Snow clogs the city streets,

wind-blown into high drifts

preventing passage.

Urban dwellers complain

spoiled by ample services,

modern conveniences,

so far removed from nature

that winter’s demonstration

is a personal insult,

unable to conceive

that circumstances conspire

to thwart arrivals

at desired destinations.

Gary Beck has spent most of his adult life as a theater director. Published chapbooks include: ‘Remembrance’, Origami Condom Press; ‘The Conquest of Somalia’, Cervena Barva Press; ‘The Dance of Hate’, Calliope Nerve Media; ‘Material Questions’, Silkworms Ink; ‘Dispossessed’, Medulla Press and ‘Mutilated Girls’, Heavy Hands Ink. His poetry collection ‘Days of Destruction’ was published by Skive Press; ‘Expectations’, Rogue Scholars Press; ‘Dawn in Cities’, Winter Goose Publishing; ‘Assault on Nature’, Winter Goose Publishing. ‘Songs of a Clerk’ and ‘Civilized Ways’ will be published by Winter Goose Publishing. His novel ‘Extreme Change’ was published by Cogwheel Press; ‘Acts of Defiance’ was published by Artema Press. His collection of short stories, ‘A Glimpse of Youth’ was published by Sweatshoppe Publications. His original plays and translations of Moliere, Aristophanes and Sophocles have been produced Off Broadway. His poetry, fiction and essays have appeared in hundreds of literary magazines. He currently lives in New York City.

The Rocket Scientist by Matthew Laffrade

THE ROCKET SCIENTIST

Michael hated going to dinner parties, fundraisers, or any other formal gathering where he’d meet strangers. During introductions and pleasantries he’d always be asked what he does and he would have to reply with “rocket scientist”. At some point in the evening someone would always say “it’s hard but not as hard as what Michael does!” A slew of laughs would follow.
People would always ask him what he does “exactly”.
“So you’re a rocket scientist huh? So are you like an engineer?”
“No.”
“Oh, so more like a physicist then?”
“No. I am a rocket scientist.”

 

At this point he’d always feel the urge to slap people, an urge he came close to succumbing to on multiple occasions after a few scotches. What bothered him most is that people never got so detailed in their employment inquiries with others.
“What do you do?” they’d ask.

“Banker” the person would reply. That would be that. They may get more specific but it never got further than:

“What kind of banking?”
“Oh bonds and such.”

Not much by way of explanation and it really doesn’t say what the sorry sack did for a living “exactly” but it would do. It always did. This went for doctors and lawyers as well.

When Michael shared his frustrations with a friend, the friend, meaning well, told him to just say scientist when asked next. So he did. The exchange went like this:
“What do you do?”
“I’m a scientist.”
“What kind?”
“Rocket.”.
This is when the usual conversation would end. But not in Michael’s case.
“So what do you do exactly?” the person had asked.
Was it because all little boys wanted to be astronauts and that is why they’re so intrigued? Michael was at a loss. He wanted to start making up jobs. Not boring one word answer types but if people really wanted to talk maybe he could say he was a lion tamer or a mime or something.
As it stood he was driving to a fundraiser for some charity that helped provide scholarships to kids who excelled at the sciences. He white knuckled the steering wheel with both hands. Only when he removed his left one to wipe the sweat seeping from his scalp down his forehead did he realize his hands were cramped.
He turned down a side street and parked. The sun was setting and people were shuffling home from work or out for some fun. Michael wondered what they all did for a living. Did it even matter, he thought. Why should what I do be who I am? I am more than a rocket scientist, or much less for that matter. My existence is a constant rally of going to work and enjoying my job and going out and hating everyone who asks me about it. Why can’t I be content with people’s inquiries and describe to them the joys and successes that I experience in my work? Why do I hate them for their genuine curiosity? Why do I feel like some circus sideshow?
He locked his car and started walking. He came across a bar and went in. It wasn’t his usual type of place. Not low-brow or run down but certainly not the high class leather chair watering hole he was used to. It was more middle of the road. What a better place to keep to myself, he thought.
The waitress asked him for his order and not what his employment was. For some reason he expected that for some odd reason she would ask.
He spotted her; Jane was her name, from across the dining room area where he was seated. She was at the bar, drinking something he’d never seen and reading a newspaper. Michael had always been a little intimidated of women. He thought it was an inherent trait of the nerd. And to him the rocket scientist was atop the nerd pyramid, a messiah of all things lonely men cling to. He had had women before but usually other scientists or the like. He had never just approached a woman before that wasn’t somehow linked to his profession. He downed his pint in one gulp and went and sat next to Jane.
“Hi, I’m Michael,” he said extending his hand.
“Jane,” she said eyeing him in his tuxedo. She met his hand and he shook it like you would the father of a date not a woman whom you met in a bar.
“May I join you?” he asked, shocked by his own bravado.
“Sure.”
They sat in silence for a moment, taking each other in.
“May I ask why you’re wearing a tuxedo? Attending a special event tonight?” she asked.
“No, it’s the only thing that fit me.”
“I don’t get it. Was that a joke of some kind?”
“No. Thirteen years ago I lived here in this city. After building up a successful beginning in a career as a pilot I was on a two day break in Amsterdam. I went to a market on the first morning I was there and I met a man. A monk. I was eating a pear and he asked me how it tasted. It was good I told him. He asked me how the crunch was.”
“The crunch?” Jane asked.
“Yes, the crunch. He asked me about the quality of the crunch. It was fine I said and began to walk away. How about the grower, the person who picked it, the person that brought it to the market and sold it to you, do you think about them when you enjoy this fruit? Do you take a bite at a time and enjoy the different textures, the skin, the meat? He was asking me all these questions in the middle of a busy market. I would have thought him crazy if it weren’t for the attire from the monastery that he wore.
“I told him that I didn’t think much when I ate, I just ate to feed my body. He told me that I can feed my soul with food as well. He called it mindful eating. He invited me to the monastery for dinner that night.”
“And you went?”
“At first I wasn’t going to. I was tired as anything and I’d be flying out the next night and just wanted to enjoy my downtime. I thought about it though and figured I had nothing to lose. It’d be a story to tell at the least.
“So I went to the monastery that evening and I really didn’t know what to expect. It was a nice place, not too far outside the city. I didn’t even know they had monasteries there. I thought I’d be the only regular person there but there were other regular people, mostly locals and from speaking with them some of them had eaten there before.”
Michael took an extended sip of the pint handed to him by the bartender. He couldn’t believe what was coming out of his mouth. Where was this all coming from? He felt the dim light of the bar in his bones, he heard the slightest movement of a chair or the clink of a fork hitting a plate. His senses were heightened. He felt so alive. He looked at Jane who was listening intently. She was intrigued and he was so exhilarated. He was beginning to get an erection from it all. He took another sip and continued as much for the woman who hung on his words as for himself who didn’t know where this was going either.
“So I was lead to this great dining hall and we all sat at this grand hand carved table. There was about 30 or 40 monks and about a dozen lay people there. The atmosphere was relaxed and so exciting. It was so new. I was soaring to feelings I had only felt in the fleeting moments of my youth.
“After everyone was seated someone hit a small gong near the head of the table. Another monk, whom I assumed was the leader came in and addressed us. He told us that we were here as their monthly open house to teach people about mindful eating. We were to eat our meals slowly he said. To properly observe our meals we were to put our utensils down after each bite. We must consider our food, truly experience each atom of it. We were to not speak at all unless addressed by him, who was referred to as Sifu.
“A few monks came out from a side room which I assumed housed the kitchen. They placed before each of us a small bowl of a rice and vegetable mixture. It was fragrant and colourful and we were instructed to observe the mixture of food. Think of the farmer who grew the broccoli, the trader who first introduced the spice to this part of Europe, the truck driver who brought the rice to the Netherlands. We were to observe all of this for about five minutes before eating. By the time we were told to pick up our forks I was salivating.
“I took my first bite and swallowed within seconds, without truly appreciating the food. The texture, the flavours, the experience. I sat in anguish looking at my fork waiting for the instructions to take another bite. It was madness I thought and fought the temptation to shovel my food and plow through the meal.
“By the second course I began to get it. I tuned out the world and I believe I ate for the first time in my life that evening. It’s such a reflex, a filling of an urgent bodily need that I never truly enjoyed it before.”
Michael sat silent for a few moments and Jane silently sipped her drink taking it all in.
“That sounds so serene. That is a truly fantastic story. I don’t mean to get off the topic of the monastery but you had said all this was about the tuxedo?”
“Absolutely. I was so amazed by all of this. So absolutely filled with a desire to feel. My whole life up until that point was a series of moments lived to attain a means whether it was social status or career advancement or what have you. What I learned there was I could live for the moment. Live for what I am doing now. I was so preoccupied with living for the next moment I let every single second of my life pass me by. I never left.”
“You stayed at the monastery?”
“Yup. It wasn’t easy to convince the monks let me tell you. These monks were 30th, 40th generation Buddhist monks and here I was a pilot from the western world trying to convince them to let me stay. They thought I was some yuppie trying to do something to impress my yoga class or something. I went for a walk through an orchard that night with Sifu and he said he’d let me stay for one week. That one week got extended for thirteen years.”
“Why did you leave?”
“A few weeks ago I was walking with one of the monks, one whom I had grown very fond of in my time at the monastery and he asked me why I didn’t leave? Now I understand this may seem a tad abrupt and even offensive but it was direct and sincere and real and from the heart. In this city we are so consumed with people’s ulterior motives we look for underlying meanings in everything they say. If someone is direct we see it as rude. What we fail to understand is when two humans have a genuine love for one another, a genuine compassion for one another’s well-being and happiness such annotations and backhanded compliments cease to exist. If we know that every word spoken is thought through with the same intensity we take each bite of our food with then we shall truly hear the speaker and must consider their words with the same thoughtfulness and soundness for which they thought them with.
“So when he asked me that question I truly thought about it. So much so in fact that it took me over a week to answer him and in that time I didn’t utter a single word. What was I doing there? What was I accomplishing in my time and what did I hope to achieve staying there? I awoke one morning and just realized I had accomplished all I could there. I wasn’t a monk, never claimed to be, and never planned to be. I was just a man who wanted to learn to live. I learned how. It was time to go out and practice what I learned. I told Sifu and I left this morning. The clothes I had come with were too big and Sifu had this old tuxedo lying around for whatever reason even he could not remember. The others found it fitting that I would return to the western world in a tuxedo of all things like it was some sort of royal reception.”
“Well that explains the tuxedo,” Jane said with a smile.
Michael couldn’t believe what just happened. What struck him was this was the first woman he had had a connection with in years and it was built on a lie. Very unlike the fake self he had created.
“So tell me Michael what are you going to do now?”
“I don’t know. I doubt I can go back to flying as I’ve been away much too long. I’ve always had an affinity for science. Maybe I’ll become some sort of scientist.”
He waited. With a trembling hand he took a sip of his pint and stared at Jane, waiting with cocoons birthing butterflies in the pit of his stomach for the dreaded follow-up question. She never asked. She didn’t seem to care.
Matthew Laffrade’s fiction and poetry has been published in various publications including The Wilderness House Literary Review, Sassafrass Literary Magazine, Verse Wisconsin, The Coe Review, Hitherto, and Requiem Magazine, amongst others. He is also the recipient of the University of Toronto’s Harold Sonny Ladoo Book Prize for his novella Past Present. He is currently at work archiving his work at www.matthewlaffrade.wordpress.com. He lives outside of Toronto, Canada.

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The Author’s Autopsy by Stacey Lane

Photographer: Michael C. Moore. (2013)

Briana Osborne and Jennifer Royer in The Author’s Autopsy at Changing Scene Theatre Northwest in Bremerton, Washington. Directed by Pavlina Morris and Kyle Boynton. Photographer: Michael C. Moore. (2013)

 

 

Stacey Lane

Lane’s plays have been performed at over four hundred theatres on six continents. Her scripts are published with Furious Gazelle,  Dramatic Publishing, Playscripts Inc., Pioneer, Eldridge, Smith and Kraus, Heuer, Brooklyn Publishers, Next Stage Press, Manhattan Theatre Source, JAC Publishing, Thunderbolt Theatre & Film Productions, Seraphemera Books, San Luis Obispo Little Theatre, Sterling, Freshwater, Poydras Review, The Quotable, Euphony Journal, Germ Magazine, Mock Turtle Zine, Indian Ink, The Other Otter, Monologue Database, Actor Point, Canyon Voices, Whoopee Magazine, Steel Bananas and Scene4.  She is the recipient of the Helene Wurlitzer Foundation Residency Grant, the Montgomery County Arts & Cultural District’s Literary Artist Fellowship and winner of the Unpublished Play Reading Project Award at the American Alliance for Theatre and Education.www.StaceyLaneInk.com

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