Sunset Beach Recropped
chiaralily via Creative Commons

Flight is easy once you learn the trick. The trick is you have to believe against gravity. Not stop believing in it, not believe it can be conquered, you have to believe against it. It’s like making yourself sink in a swimming pool, in reverse, a subtle series of muscle shifts and positioning; it’s a particular exhale.

We flew along the beaches, Shauna and I. The salt in the air made us faster, the roar of the ocean drowned our cries of joy. If we got too daring, we’d fall on sand or water instead of rock or concrete. She used to soar, frightening the gulls and shedding her clothes. I drank the air and I drank the sight of her as free as anything has ever been.

At sunsets she would fly far over the water, a black spot against the inferno of twilight. She used to say, “Someday I won’t come back.”

Flying is actually work. It’s fun work, but it takes effort. “You have to come back,” I’d say, “you can’t fly forever.”

“You watch. I will.”

The day she left I knew. She kissed me on the lips before she went. She sank with the sun.

Inside a neighbor’s house: a bug, recording,
always hearing others’ conversation.
Two next door in this apartment complex
and one below never know I’m list’ning;
the one above, though, I think may suspect.
The extent of it, only mine to know.

They’d think me invasive with what I know,
the algorithm churning, recording.
I must confirm my fears, which I suspect
contain me in all their conversation.
And so my lovely digital list’ning
ears make simple what can be so complex.

To hack the social world is not complex.
The power is information; to know
others’ minds when they think you’re not list’ning;
to find the pattern in the recording,
dissects people like no conversation.
As long as they never, ever suspect.

Others do this naturally, I suspect.
For me those waters are far too complex,
I drown, thrash in failed conversation.
But now that I can truly, surely know,
charm oozes from me; playback recording.
I say good-bye, I go back to list’ning.

Someone out there is forever list’ning,
this is something I will always suspect:
Another spook, another recording
military-industrial complex.
People paid to listen, to hear, to know,
to break us down by our conversation.

The lie they know of all conversation
is we presume the only one list’ning
is the one we want to hear and to know.
Behind closed doors we can only suspect
the whole truth, so bitten off and complex,
unsure what the other is recording.

We make conversation and we suspect
the other isn’t list’ning, too complex
our minds to know. I can’t stop recording.

2009-01-10-FFeed100-10 Headphone
Michael May via Creative Commons

Burnt Lip
Mark Cato via Creative Commons

Lovey, age 3: His parents still think the name is adorable, have no regrets, and tell neighbors if it doesn’t work out, they’ll switch to his middle name, Leroy.

Lovey, age 5: The speech impediment lingers, Ls and Rs becoming Ws, cursing both “Wuvey” and “Wewoy.” He is oblivious, but his parents fret.

Lovey, age 7: Speech therapy has corrected most of the problem, but he comes home in tears from the teasing.

Leroy, age 10: Teachers report he is reluctant to speak in class; his grades begin a slow decline.

Leroy, age 13: The speech impediment returns, and he requests private tutoring.

Leroy, age 14: His parents tighten their belts and enroll him in private school.

Leroy, age 16: In spite of tutors, he is not able to meet the minimum academic requirements for his school.

Leroy, age 19: He earns his GED online. He hasn’t spoken in eighteen months. His parents blame each other.

Leroy, age 19.7: His first words in over two years are, “Call me Wuvey.”

Lovey, age 21: His girlfriend’s name is Lacey. He pronounces it, “Wacey.”

Lovey, age 24: Six weeks after his parents separate, Wuvey and Wacey marry in a simple ceremony.

Playground
souho via Creative Commons

Anny’s teardrops hold a single sun each, reflecting the steel sky and the ice-crusted landscape. The cheek the salty drops traverse before falling in slow motion are cherub smooth and dark, soft the way nothing in the world save young skin can be. On the way down, one drop in particular wobbles in and out of perfect spherical roundness, taking on the details of a blue calico dress, a brown and pink parka, a pair of white tights dirty only at the knees, puffy boots.

The splash of liquid on frosted concrete curb is, to a particularly attuned ear, audible in a light blip. Touching on the thin wafer of snow, the warm tear burns through to the drab half-foot wall beneath as if it were molten. It can’t darken the already damp surface of the curb, so instead it shimmers there, a sparkle reminiscent of the evening star.

A crystal city erupts from the pit formed by the falling saltwater meteor, spires of ice and glass, slick roadways of frozen sorrow winding up and around each minute, elaborate library or factory or tenement. A glisten of cold starlight glares across the tiny landscape and from this golden glow emerges a silken horse with wings of silver fire, soaring upward. The boy on the bare back of the beast clings to a smoky mane, his tightly curled hair ruffling in the frigid air, a loose tunic snapping behind him. He flies the horse in a looping arc upward, spiraling to the highest peak of the city, glimmering hooves moving in long leaping strides as though sprinting on an invisible path. The horse strains as it rises, diamond flecks of foam sparkling against translucent hide.

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Leave only tracks
Sarah Elizabeth Simpson via Creative Commons

The mist is thick in the pre-dawn gloom, and the commuters on the platform at the train station are huddled into overcoats and thick hats, wishing it were still Christmas. The depth of winter has yet to arrive; by the standards of the month to come today’s chill is moderate. But by the standards of the long Indian summer recently past, it is frigid and the workforce waiting for their diesel powered railcar avoid each other’s gaze, each locked in introspective longing for the warmth of their homes and beds.

Within these clusters of non-interacting, space-sharing humans, there is a peculiar silence that permeates gathering locations with shared purpose but no shared engagement. It is a silence typified by a buzz of accepted background noise: Car tires rumbling over the tracks at the edge of the station; hollow chatter from ticket machines stamping dates and times onto counterfeit-proof sheets of pre-paid cardboard; indignant wails from ravens engaged in a dangerous dance with stray cats over a discarded bag of fast food scraps. But there are few conversations, few droopy-eyed attendants who wish to unwrap the scarves from their mouths to exchange pleasantries with strangers.

The cry that escapes the suburbanite-approved pseudo-silence commands immediate attention. Through the bluish fog that obscures the tracks as they curve away from the line of sight, a repeated phrase echoes:

“Help! Help!”

Again: “Help!” It is a woman’s voice.

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