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Who Was He Under The Lights?

Stampa

word by Kate Shaw

colour by Giordano Poloni

He was tired, sullen, overweight, but he talked fast. His tongue had become only more capable as the rest of his body (and personality) steadily deteriorated. Sitting in that armchair – indiscernible among the puckered, fading cushions if you just took a quick glance – he looked utterly defeated.

But you could never have reached this conclusion from listening to his show. The voice that danced through the crackles and pops of 880 AM had more vitality than a sugar-stuffed toddler, twisting and bending at the will of the emotions his characters were feeling. Perhaps his voice had sucked all the energy from the rest of him.

Every Tuesday morning he sat in that chair, broadcasting the next segment of his show for the listeners who’d been loyal and invested for years. They couldn’t imagine the wasteland he’d become.

There was a time when Adam was okay. It didn’t make up the majority of his thirty-four years, nor was it an era he particularly benefited from, but it’s something worth noting. He found a niche right after graduating.

Adam had a socially unsuccessful time of the points in his life that were supposed to make that sort of thing easy: high school and college. When everyone in high school subscribed to the highly specified doctrines of various cliques, he couldn’t even make it with the Weird Kids. At the start of the “Best Years Of Your Life!” period – freshman year of college – he and his roommate immediately fell into a pattern of double-edged apathy, neglecting even to acknowledge one another after the first week of classes, and from there Adam went on to seek singles in the dorms on campus. By that point, he’d developed the assumption that he simply was not a social creature.

That’s not to say he didn’t enjoy those times, necessarily. As stated, he dubbed himself an introvert and (almost) never looked back. He’d spent his whole childhood taking things in stride; he was trained in the art of Moving On.

But in college, he discovered that, behind a guise of sorts, he was capable of masquerading as a people person. In other words, people liked him when they didn’t know who “he” was. He could bark and whisper and chortle life into archetypes that listeners rapidly began to follow, and for a while Adam was able to bask in the love directed toward his characters; he was a surrogate.

But the faded, flickering neon signage of the local hotel always cut through any self-acceptance he’d mustered up. He always found himself back, lingering awkwardly in the vestibule while the latest half-hearted hour-long partner ducked out of the rain and into a taxi. Harsh, gaudy lights formed a spotlight, inescapable, revealing to him the only truth he knew: he had no one.*

From the author: “The rain in this art piece was the first aspect to set a negative tone for my writing, but I quickly realized that the bright, garish shade of the light seemed to echo the idea of imperfections revealed by fluorescent lighting. From there Adam was born, struggling not to see his own self-proclaimed identity as a “loner” or “introvert”, but failing under the inescapable lights of the hotel.”

Escaping Loneliness As A Millenial

“In The Kingdom of a Star”

word by Jacob Goldberg 

colour by Mojo Wang

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Hot sand and waters blue unfurled before us. The ground was very warm beneath our feet and our heads hung loose and insecure atop our necks. We wore caps to shield ourselves from the white sun. And below, the beach stretched on. I did not know how long we had to go or how far we had come. Beside us, the rim of the sea surged and retreated rhythmically. It cooled the sizzling sand and left foam upon it. The water washed high onto the shore and sent from itself no longer wanted. Its castoffs were shells and weeds, rocks and jellyfish. 

There was a wonderfully shaded cove, I was told by a neighbor, not a mile or two beyond our lodging. There, we could swim and repose by the waves. If we got there during daytime we could bathe in it untroubled by the locals, who camp there by night. We had set out midday, so we could return by nightfall for dinner and evening prayer.

But each step toward it hurt. I was concerned for my boy, who had not drunk since we had left our cabana. And I was unsure of how much time had passed since then. As the sun continued to climb above us, my only ambitions were for him to be out of its domain.

I had not known it to be this hot. The sun was unforgiving. I stumbled in the sand and looked at my boy. He let out a laugh and I followed. We remarked to another that it was hot. He ran out to the surf and lay in the water. When he stood, his swimming trunks slipped and made his khaki buttocks bare. His exposed back was a deep merlot. I was wearing a shirt that I removed and asked him to put on. 

“I am too hot,” I said. 

“Me, too,” he said.

“But you should wear it.  Drape it about your shoulders, boy,” I said.

“I don’t want to.” He put his hand on his waistline and smeared some blood from his cracked skin. “Pa, I’m bleeding.”

“Oh, that’s nothing, son.  Let me clean it up for you.” I wiped it off.

“I feel tired.”

“We’ll be to the cove soon, and there you’ll rest.”

“I am hot.”

“That is only your imagination, boy.”

I turned around to measure how far we’d come. My son mimicked me. I squinted but could not make out our cabana in the distance. I pressed my hand to my side and when I removed it my boy said he could see my hand as if it were still there. I shifted my gaze toward where I thought the cove was, but as if I were a reflective surface, this direction appeared the same. I did not know where we were and I felt as if cooked. 

“If only it were hotter, then I would be more comfortable,” I told my boy.

“I wish it were hotter, dad,” he said, drooping.

“Me, too.”

I picked him up and we marched toward the cove. The sand blanched my feet. I grew more tired and weak. He twisted in my arms. One or two times, I fell to a knee and dumped him to the sand, smiling at him. I told him I was playing a game, but he did not respond. His squirming had subdued and he slackened amply in my arms. To my left and to my right, behind us and before us, in every tense, I saw the same beach and the same sea, the same earth and the same sky. I walked on in the heat.* 

 

From the author, Jacob Goldberg:

“The man in the image seems plagued with ennui or Weltschmerz.  He’s a millennial; he’s also alone, and there are skulls around him. He looks aimless and appears to have lost something but he doesn’t even know what that thing is or where he should look for it. Interestingly, he’s surrounded by technology. This story is about trying to disengage oneself from the loneliness of the modern world; it’s an attempt to articulate what that thing is that we’ve misplaced.” 

See more colour by Mojo Wang

Finding Who You Aren’t At The Party

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word by Sam Fresco 
colour by Burkhard Müller

Chet looked down at the bushy red fox. The fox looked back.
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You have to get home, Chet – you don’t belong here, said the fox.
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Chet stumbled back: his head was spinning. He ducked out of the crowd, standing over him. He ran past the counter and into the lift. 
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The doors closed. No buttons. It started going up – the lights above the doors showing it near the roof. 39, 40, 41, 42. 
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As he came out on the roof, a man in an ill-fitting brown suit was panting, hands on knees. 
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Celeste, where the hell have you been?
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Why do people keep calling me that, he thought. 
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Here now. 
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The small man lit a cigarette and offered one out. Chet hesitated because he didn’t smoke.
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Johnny, come on, what’s the matter?
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And Johnny now? 
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He took a cigarette although he felt he had never smoked before.
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OK, so we got your little shit. Now you just, y’know, you beat him around a little and we’re all down here. OK?
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He looked down to the short and balding man. No: a teenager. 
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A man held red gloves to Chet. He took them. The teenager spat out a tooth with a clump of blood. He couldn’t help feeling that he himself looked a lot like the teenager.*
word by Sam Fresco 
colour by Burkhard Müller

Lines & Anemones

 

word by Charlotte Joyce Kidd

colour by Burkhard Müller 

Every day that I leave the house I feel that I am leaving it wearing a sign (or maybe an expression? An outfit?) that says “here I am, world. Have at me.” I feel this way even though – when I do leave the house – I leave it also wearing the cozy winter coat of privilege, not to mention an actual, real winter coat. I can’t imagine how hard it must be without these things.

There are these little lines in between everyone’s lives, aren’t there? There’s this space in between everyone and it’s like we’re all just extending these tiny tendrils across it, these little, feeble gooey white groping things with suction cups on the ends, and sometimes we meet someone and we manage to say things that make sense and actually express anything that we really feel or mean, and if they do too and enough of our tendrils stick to enough of theirs, then we feel better for a bit, like someone actually knows us. But even if you do that for your whole life, your whole life with the same person (and that’s problematic, too, let’s talk about that) how many of your little limbs could you extend? How many of theirs could you touch?

I got on the streetcar after spending the night with a boy and on a cold corner I saw a couple walking by and I thought about how he would react if I suggested that we spend an entire day walking around and telling each other every single thing that passed through our minds. We could take turns, do an hour each and then switch. He’d told me in words that were decisive and made sense that we could never understand each other completely, because I’m white and he’s not and I’m a woman and he’s not. I agree. There’s something noble in the futility of trying to understand, though, isn’t there? There’s something beautiful about learning to replace understanding with empathy, about reaching out and touching the tendril even though you can’t stick to it.

Sometimes there are chasms between people. Sometimes the lines yawn. Sometimes two people have pushed enough times that their plates push further and further apart, sometimes one person has made a moat around themselves because of something that happened. Sometimes that moat is not a bad thing, sometimes it is not wrong to require someone to have very long limbs before we let them reach us. 

So we’re all alone, playing a giant game of tic tac toe, reaching out from our separate boxes with words written or spoken or felt, or with devices, these electronic arms with which we send cries into the ether and hope for ethereal responses, echoes in the chasm. And maybe some people are closer to the edges of their boxes than others. It’s all very lonely and very hopeful.*

word by Charlotte Joyce Kidd

colour by Burkhard Müller 

Incline

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word by David Fleming

colour by Burkhard Müller 

On the metro delivering the girls to my ex in a mall.

A young woman close by waves to them. She smiles her surprise at the sight of a man with children. I smile back, upholding her fantasy.

It’s alarming how the mechanics of a city collide and separate us. On the teeth of the upward escalator, I am holding my three year old. Her big sister wraps her limbs around my leg like a koala. I’m a little escalator, here for them to ride up and down.

Down a hallway, another escalator. I am sweating in rush hour.

I wonder how Sam’s managing. Trying to remember if I left her, or if she left us, and who the kids think left whom, and who they feel is still fully present.

 

Daddy, I STEAL YOUR NOSE! says the girl in my arms as she swats at my face.

 

Down a yellow hallway, offices curve into their little corners. We are in the space where underground becomes above-ground, where I sometimes feel myself gasping for air.

Don’t know why she wanted to meet here, this week.

A memory: eating in the food-court up the next escalator. J’adore la poutine? or la cheeseburger? I always goofed her with my fast food Franglish. 

Again, we escalate quietly, a few impatient people pass to the left. For some reason, the toddler shrieks Mommy’s house! in my ear.

A crazy idea: I could ask Sam to have dinner in the food-court. Family hour. Our future, joined somehow, could be pleasant. We’d exchange small talk, remind the girls to sit and eat. We could be like coworkers, sitting in a lunchroom, rolling our eyes at the orthodontist bill.

Can’t you love a person the same from a different building, a different room?

An excited shout from my side.

 

Jess!

 

Sam’s best friend. When we met in college, I liked her first, though she was always mean. I told her once, years later, when we were alone, in a season when we were getting along.

Wearing gym clothes, her hair in a tight bun, her glare scolds and scalds me.

I remember, now, Jess moved into a condo in this building last year, when it was ending.

 

Where’s Sam? I ask. I was hoping to speak with her.

She wanted me to pick them up today.

Oh, I said quietly. What’s she up to?

It’s not important. I’m in a rush, though.

I have some things to discuss with her, maybe I’ll just call.

 

A huff over her shoulder.

 

Look, I don’t know what you have in mind, but Sam’s busy.

 

She takes the girls, one on her hip, one by the hand, and gets on the elevator which, presumably, leads to her home.

Before the doors close, she leans forward intently.

 

Your choice, she whispers. Your choice.*

word by David Fleming

colour by Burkhard Müller 

 

On Art and Relationships: “Extending the Pattern”

for josh

word by Josh Elyea 

colour by Mojo Wang

          Jane knows that compartmentalization is the key to a healthy relationship. She’s put all the little boxes where they belong, and for God’s sake, she’s going to leave them there.

          Jack says the simplest things in life are the most insidious. Comfort, for example. No good can come from comfort, he says. He’s speaking while deftly disassembling a French press that hasn’t been cleaned in months; Jane is only half listening, since she’s just put on Joe Strummer and the Mescaleros and is ruminating on the late singer’s post-Clash career with a keenness she’s not able to summon for the tired lecture aimed in her general direction. Rather, she’s enamoured with the sound quality pouring from their new BOSE Sound System. You really do pay for quality.

          It’s only after a large purchases, like a new BOSE Sound System, when Jack and Jane fight about money. It’s only in those moments that Jane’s chosen profession matters; only after the limited square footage of the apartment has been claimed, carefully cordoned off with a clear presence on either side does it matter what she does for a living. Jack wouldn’t go so far as to suggest she do something else with herself; no, he’s fairly certain art is where she belongs. He’d sure to like to see her make some money from it though, and he’ll be damned before he feels awful for saying so. Or, at least, that’s how this argument went the last time they had it, and the time before, and before…

          It’s not like Jane is overburdened; student loans notwithstanding, she owes a few hundred dollars on a VISA and has an unpaid cell phone bill in collections (she’s only recently stopped receiving calls where a bland, deathly voice asks “Hello, may I speak with Mrs. Jane _____ about an outstanding and quite frankly egregious debt…”). Other than that, she doesn’t owe a cent to anyone. So she’s just getting by right now – so what?   

          Often, Jane wished Jack would try and understand what it meant to be an artist, what it meant to try and create something from nothing. She wished he wouldn’t stare so obviously when she said she didn’t make much progress on her novel that day, and that he wouldn’t move with such reluctance when removing his credit card from his wallet to buy things like BOSE Sound Systems. Hell, she wished he’d stop buying things like BOSE Sound Systems so she didn’t feel so indebted to him, so she didn’t feel like she owed him anything.

          Jane looks towards Jack and sees there’s a torn piece of wallpaper where the counter-top ends; looking behind it, she can see that the little black and white boxes don’t end where they appear to, and the pattern extends far beyond her cursory understanding of it.

 

See more colour by Mojo Wang

 

“Learning to stay gold”

rivet 3

word by Sean M. Hogan

colour by Stephanie Rivet 

I had just turned twenty-three when some friends introduced us at the drive in theater in the summer of 68. The book The Outsiders had just come out and you looked every part the greaser with your leather jacket and blue jeans. I was afraid. Not of you, but what you represented. What loving you meant about myself. When I told you this at the end of our fourth date, I had every intention of breaking things off. You just kissed me, gently, for the first time. You said that we were Ponyboys and we had to stay golden.

You called it, “a place for us,” when in 1976 we moved from our small town in Lancaster to the row house in the Washington Square West district of the city. Before, we had been out of place in those rural backwoods and farmlands. Philadelphia dubbed our neighborhood the red light district, a center for debauchery; but with your Midas touch, you made our run down house a home. The bed I ordered from the Sears catalogue hadn’t arrived in time, so we spent the first night painting the living room blue before making love on the tarp and falling asleep in each others arms.

In 2007, the city painted the street signs with rainbows. You were so happy; happy to be recognized and acknowledged. And we were recognized. When those young men saw us holding hands and their fear and ignorance turned their hands to fists the nurses wouldn’t let you visit me in the hospital because you weren’t family. I couldn’t see through swollen eyes, but I could cry. For nights I was alone until I felt your arms and heard your voice. “Stay golden,” you whispered through a kiss, words strained but forced through your own swollen lips. Through it all, you never lost hope. Even when the judge let our assailants off easy with time served. Even when someone threw a burning trashcan through our bay window, you merely knelt and swept up the broken glass and joked that they at least had given us a bin to place the trash. Then you knelt again and prayed. For them.

            In 2014, we were married in LOVE Park. The iconic statue above our heads could never truly represent how much I loved you. It was a clear day, and the green trees stood still in attendance with our closest friends and family. Beneath their shade, we took a photograph that shows your teary eyes looking into mine, capturing a moment I never want to fade from my aging memory. Today, fresh tears blur my sight as I stare up at the colored signs of the neighborhood you helped to build. The colors swirl, like my dancing memories, like leaves falling from the branches of our seasoned life. The cancer took you from me in June, and I do not want to say goodbye. Of all these colorful memories, I remember to stay gold.

 

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On Desensitized Violence: “Muted Colours”

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word by Annie Rubin

colour by Mojo Wang

There was no one in Bill’s house to turn off the TV when channel four came on. We thought of him as some sort of guru: he told us of kidnappings; of guns and knives and fires and what it meant when there were people on roofs about to jump.

It happened when we were in our sevens and eights that we realized we could press play when mom was in the kitchen. Imaginations were running crazy and fueled by these wild images that kept flashing across the screen.

My brother always liked video games. There was this one where you got to steal cars and ride away, hair all wind-swept. It was cool to be able to drive a BMW even on a screen where his fingers turned the wheel with a flick of a button.

The rest of us were playing hide and seek where the floor was lava. No one ever found out what happened when you touched because maybe your shoes were fireproof, you grew wings, or we just didn’t want to think about the truth. Mom would be in the other room watching the news. We’d ask to sit on her lap and she’d usually put on PBS but that day she was in a trance, eyes fixated on the screen. The television was on mute but you could still hear shouting.

The walls were this grey even though I swear they were melting that day we couldn’t walk outside because of the smoke. They don’t give you a trigger warning on the streets of Manhattan. We were six and eight and felt too much older.

Close your eyes, she said to me, holding a cupped hand over my face to shield from the screen, the same way she had done at the movies when couples started kissing. I held my breath, too.

 

 

From the author: “This portrait of muted colours evoked desperation and frustration. The arms reaching out to grab hold of the figure whose muscles are exposed inspired a piece that targets vulnerability. The story tries to raise questions about exposure to graphic images, and question the idea of whether vulnerable children should be censored from the media. Ultimately, begging the question of whether striking headlines are desensitizing our population and how to cope with horror on the news.”

on depression: “the red door”

joehengst

word by Kate Shaw

colour by Joe Hengst

It has been several days since I’ve left the house. In a significant way, at least – I’ve left to take out the garbage, to buy eggs, to remember that I owned clothes that weren’t pajamas, but it has been several days since I’ve gone anywhere, done anything.

It’s cold. Not northeastern U.S. cold – worse. Wind chill down to thirty below zero. It’s amazing, how cold it can be. Every time I walk outside I re-hear those news broadcasts about Canadian citizens suffering severe skin injuries from five minutes of exposure to extreme cold. Is it cold enough to be dangerous right now? My cheeks feel like they’re turning to putty.

Hour after hour passes by and I pace, I sink into the torn, velvety couch, I heat oil in a skillet but forget what I was planning to make (did I have a plan?). I sit on the ledge by the window and look. See. It doesn’t look so cold out there, I think. There are people out there, walking around, and they’re not collapsed or clutching at their putty cheeks. They’re living despite all this, despite this unbelievably-wind-chilled air.

And then I pace again. Sometimes I pick up a book, but usually the words just end up dancing out of my consciousness before I can understand them and I just read the same lines over and over, absorbing nothing. As hard as I try to focus on the little letters, they blow away.

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I haven’t been seeing anyone. My roommate is gone and I tell other people – friends, I guess – that I’m just overwhelmed with school, just trying to catch up on reading, thanks for saving me a seat but I’m actually not coming to campus today, oops!

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It actually looks lovely outside. If I force my eyes through the grayish haze hanging over the street, I can nearly unearth the image of the bakery with its little orange sign, or the barbershop with its red front door. They were colored once, lovely shades, I know they were. The colors are distorted now. I hope the originals come back.

I’ve decided to start sitting on the floor instead of on the couch. From down here I feel small, and maybe that will make me feel overwhelmed by how big everything is around me, or amazed by how much this new apartment feels like home, or pitiful of what a pathetic spectacle I’m making of myself. Maybe sitting down here will make me feel something.

I lean back against the couch – I think it was green once, but the colors in here are distorted too. I don’t know how long I’ve been sitting, and now that it’s dark outside it could be 5:30 or 9 or 2 in the morning. Now, even if the colors hadn’t disappeared, I wouldn’t be able to see them anyway.

 

 

 

 

from the author: “The shades present in the visual art piece have an eerie tint to me, which is underscored by the dark tunnel in the center that disappears into nothingness. It made me think of the distorted way one sees the world through the lens of depression and other mental illnesses, so this piece deals with that distortion and the inability to pull oneself out of that dark space that burrows its way to the center of everything against your will.”

on substance abuse: “after the nightmare”

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word by Leah Mol

colour by Stephanie Rivet 

I used to have nightmares. The kind of nightmares you never really wake up from. The kind where you think you’re finally awake and then everything starts to melt. I started seeing a psychiatrist who asked me about work and relationships and my parents. I work a lot, I don’t have relationships, and my parents are divorced, which is just more work. The psychiatrist told me Relax, take a bath, have a glass of wine. I tried baths, but my nightmares were flooded. I spent my nights trudging through basements filled with water, swimming towards nothing at all, and I woke up soaked. The wine worked, so I don’t see the psychiatrist anymore.

The first night I drank, I finished two glasses and then passed out on the couch. I woke up with a headache and the vague feeling that I’d dreamed something terrible. But I couldn’t remember what terrible thing it was. The next night, I managed three glasses.

Now when I get home from work, I pull a bottle of wine from my purse and drink a glass while standing at the kitchen counter. The tile floor is cold on my bare feet, even in the summer. I refill the glass, leave my clothes in a pile, and shower until I’m done the second glass, which is when I stop thinking so much.

I grab the bottle of wine and place it beside my bed with my glass. I put on yoga pants and a sweatshirt many sizes too big, forgotten by someone I think I almost had a relationship with. I open Netflix and I watch a documentary about Mount Everest or a comedy about women who don’t know what they want.

I think about dinner but I’m not hungry for food.

I fall asleep quickly and I don’t dream about anything at all. When I wake up in the morning, I’ll know I’m awake and alive and I won’t be thinking about all the ways everything is horrible. I’ll think about drinking instead.

 

 

 

 

From the author: “This piece reminded me of these old drinking and driving commercials, where everything gets blurry as more and more glasses are placed in front of the driver. I think that’s such a perfect metaphor for addiction. Even as everything gets blurry— and often because everything is getting blurry—you keep going. And then finally, inevitably, you crash, but that can take forever.”

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