navbar

Wednesday, May 22, 2013

Shakespeare’s Vendetta by Angela Natividad



Two households, both alike in dignity.

All the world's a stage.

There is no spotlight where she stands. All the flamboyant costumes and the glittering dresses are cast aside. The heels she once donned on her delicate feet are thrown off backstage. There is no make-up on her face, the ridiculous rogue wiped violently from her cheeks, the powder put away and the lipstick faded. Her eyes are cast outward to her audience, the opera house lifting her spirit. The seats are empty and so are the booths but, she sees her audience; they smile at her, sickly-sweet curves of their lips urging her on. Tsk tsk, she hears them speak, cruelly judging her lack of poise. Ghosts of this opera house watch her as she executes pirouettes across the wooden floors, laughing to her own melody.

Frailty, thy name is woman.

Thoughts descend from the sculpted ceilings; flickering in her eyes as she spins and her effervescent nature shines through - beaming in the reality of the sun in the stained glass windows. Her face twists in pain, smudged like a destroyed Bellini, a broken Botticelli. Her body falls to the ground, shrieking. The body twists, distorted and broken (much like the remains of her heart) and she cries out, aching, groping at the dappled sun rays. Reality unconsciously blurs as the audience begins to walk away, much like the rest of the world. Cruelty molded into the shapes and silhouettes of people, laughing, hurting (thinking). She begins to bleed and then she smells like aphrodisiac, creating a tempest with the aromas of femininity.

So wise, so young, they say do never live long. 

He enters; his one-two-three steps are evident with the sounds of the stage. He arabesques himself into her thoughts, dancing gracefully as her mind reels, pulling the dreamer’s dimension into their false reality. He holds up the strings of fate, urging her to tug on them, pushing her to change the world as she sees fit. He lets her create their (crazy) little world where nobody is harmed and hearts are never ever broken. When they do say that the two are too young to love and too old to make-believe, they reject the idea, sharing kisses underneath the merciless rain and feeling heat on skin when winter turns over the sun. They forever redesign the concepts of tragic stage love, manipulating it to seem more real than it is. His eyes demand hers to waltz with his and she acquiesces, the drip-dropping of her tears only adding to their beautiful music. She wears a twisted smile as she lies against his chest, his lips capturing hers without fear, without hesitation. A secret rendezvous shadowed by the cowering night, cloaking their little engagement.

“I love you.”

One that loved not wisely but too well.
She, like the perfectly crafted Renoir he remembered, disintegrates in his arms. The wind picks her up and carries her away, her tears no longer staining the ground she acted on nor the white satin of his opera shirt. She withers away, her sweet disposition disappearing from his lips; her doll face wiped from his memory. He desperately holds to this dream, the dream where they are too young to love - much too young. He grips his playbill tightly before gasping in heartache. She has finally spread her wings - she has finally risen above the clouds. He kisses her ring languidly before standing, proceeding to walk slowly and silently out of the opera house, exiting a final time.

Poison by Joseph Ledesma


SNAKES aren't difficult to keep. They just sit there, and the owner's job is to clean their cage when they take a crap and change their water every day.
I live with forty-three snakes of eleven different species. I also care for a large colony of rats and mice. For my largest snake I buy a rabbit every couple of weeks.
It can be a profitable hobby. The local pet stores don't pay the most for snakes, but they're the most reliable clients and snakes tend to give birth in clutches of 20 to 50. When you live alone in some quiet corner of the world, such company can be a lifesaver.
Every once in a while I expand my collection and today, I introduce a new member to our happy family. This new one is so far the most expensive addition; being my first venomous snake I took the advice of some more experienced keepers and bought a few bottles of polyvalent anti-venom at a hundred dollars apiece. Allow me to introduce to you the West African Gaboon Viper.
Gaboons are the largest subspecies of puff adders native to almost every region in Africa. This one is about three feet long and as fat as a Pringles can. Its distinguishing traits are the triangular shape of the head and the horn perched on top of its nose; half of what's in there are the biggest venom sacs of any specie of snake. Even though they don't have the most potent venom, the sheer quantity they are able to inject in a single bite is enough to kill a man 150 times over. Impressive, isn't it?
But the most attractive quality of Gaboons is their generally docile temperaments. I was very adamant against keeping venomous snakes until my friend let me carry his Gaboon. It felt just like holding one of my boas or pythons, except without any of the erratic movements that gave me little heart attacks when I handled them. It even talked to me, just like my other snakes do:
“Do you know where my favorite place to lie down is?” he asked me. “In the grass. I wish I got to go out more often.”
The voice reminded me of Meg. Once again I came to the possibility that I will never get over her.
My new Gaboon, I decided to name Matthias.
*
I purchased my first snake a few weeks after Meg died, a Boa Constrictor who I named Empress. Now she's my largest snake, around twelve feet long and as thick as a man’s arm. The decision to get a snake was a little more than a means to cope. They're the animal that reminds of Meg the most.
It happened one night when I got really drunk. Meg confronted me and we argued about my drinking. It'll get you in trouble one day, she said. I'll be fine and I can control myself, THANK YOU, I said. The memory has lots of blank spots. I don't remember everything else that happened, but I remember I hit her. I blacked out.
It was five in the morning and the telephone woke me up. It was the police. They asked me how I knew Meg. I said I was her boyfriend. They told me they had bad news and to come to the station. They had my car.
“She's dead.” They told me when I asked what happened. “Come to station, we can give you all the details.”
I called in sick for work, and it slipped my mind to tell my boss that my girlfriend just died. Without my car, I had a long walk to the station. I kept my hands in my pocket and kept my head down as I walked past a hundred others who were doing the same.
When I got to the station I was introduced to Police Chief Delaney who oversaw Meg's case. I saw shifty eyes on all the cops, but no charges were pressed against me and for that I was slightly relieved. The whole time I crossed my arms in front of my chest and kept my head hung low.
What officer Delaney told me was this. At around one in the morning a Red Toyota crashed into my BMW on the Cleveland / Monroe intersection. My car was thrown off the road and flipped upside-down. Meg, the driver, and a passenger of the Toyota were killed on the spot. Eyewitnesses appeared an hour later and that's when the police were called.
They kept my car in the garage and told me they had to keep it a few more days for analysis. The doors on the driver's side were dented, paint scratched off where the other car hit. The hood was bent and a wheel had been de-attached leaving a spool empty.
Blood stains lingered on the front seats, and that was the last I ever saw of Meg.
*
When I got home that day the first thing I did was open all my cabinets. All my beer, vodka, wine, gin, and whiskey stared back at me. In any other circumstance they were companions in sorrow, but now I took them out and placed them all in a cardboard box, later a second cardboard box when the first got full. I taped the sides of the boxes shut.
The next day I called my friend and told him what happened. Asked to borrow his spare pickup for a few days. Told him I'd pay for gas and he said it was alright. Called the boss and asked for another day off too after I told him about Meg. He gave me the rest of the week.
I drove to the outskirts of the town, the two boxes strapped to the back of the pickup, a trip which took me two hours and ended up on top of a cliff facing opposite the town. I threw the boxes off there. I could hear the sound of glass break every time a box glanced off the side.
The rest of the week I travelled. The next day I went to beaches and stared at the ocean. The day after it was the edge of the woods and I watched insects scurry about and fly. I looked at a beetle and saw how small it was compared to my shoe. At that point, only one word seemed to make sense of the universe: relative.
*
I got Empress when she was small enough to fit my hand. That was five years ago, at the advice of my psychiatrist to help me deal with loneliness.
At that point, I had been fired for poor job performance and was living off the pensions in my contract.
Initially a snake wasn't what I had in mind, but when I went to the store that day I realized something: dogs were loud, dirty, clingy, and demanding. Cats were less loud, less dirty, but clingier and way more demanding. I looked at hamsters in the little mammal section when I saw her close by, skin yellow as sunglow and eyes of electric blue, and she saw me. Then she talked.
“I know what happened to Meg,” she said. She had a deep, seductive, feminine voice. “You have my condolences, Steve. It must be hard to have the instincts of a warm-blooded animal.”
“Hey,” I told the clerk. “Can I see this one?”
Sure he said, and in a moment I held her. My hands trembled a bit, the first time I held a snake, but in this dance she did all the work, slithering on my hands, up arms, around my shoulder. At one point, she handcuffs both my wrists together and brings her face halfway up between mine.
“This feels nice,” she says while her tongue, also electric blue, shot in and out. “Mind if I take a nap here?”
“No I'm going to need my hands in a bit, but thank you very much,” I said, which made the pet store guy shoot me a funny look. “By that I mean, I'll take her.”
At that point I thought I'd be over Meg in no time.
*
I didn't tell my psychiatrist my snakes spoke to me, or that I spoke to them. I did tell him I was getting more. I also told him that I took up painting, and showed him some of the stuff I did. Mostly natural shots since I was no good at painting people. There was one of a seagull with a nest atop the ruins of a crashed yacht, and another one of a swimming pool where crocodiles were basking on top of the blankets instead of people.
There was another thing I didn't tell him.  It was already months after Meg's death, and since then I'd been spotlessly sober. I didn't think much of it until one of my lemon pastel ball pythons mentioned it.
“It's a real achievement,” she said. “Most people who go cold turkey get crazy by this time, and here you are painting a row of houses without so much an inkling of thirst. I think you deserve a little treat.”
“I think I've treated myself enough this week Sunny,” I said. “But you're right. I do deserve a little treat, and a little indulgence now wouldn't do any harm. In fact, I think it might even help me stay on the path of sobriety, don't you think so?”
So that day I went to the store and bought a bottle of Johnnie Walker Blue Label. In opinion, the most delicious drink one could get without mixing, although the price tag separated me from its taste outside of three different occasions. In all of those, I had finished half the bottle by myself.
When I got home, I placed it on top of my cabinet. To be honest, when I left I didn't plan on getting a bottle, but I saw it on display and got the image of a hunter who hung the head of his latest kill on top of the fireplace.
“Well that doesn't look so good,” I heard a voice say.
“Don't worry Empress,” I said. Her gaze had fixated on the bottle. “I’ll be fine.”
To that she just stuck her tongue out and turned away.
*
Now today also happens to be feeding day.
I took out the snakes and placed them in a separate bin for feeding. This is to condition them so that they associate dinner time when they're in the feeding bin and not when I take them out for the occasional exercise.
It's a misunderstood act of mercy that I kill all their prey myself. I get called "heartless" or a "monster" a lot, but the way I kill is painless, as opposed to slow suffocation in the limb of one of my dears. I would place the rat down with a grip on the cervical part of the vertebrae somewhere in the neck, and with my other hand on the tail I pull taut. This was followed by the snap of life and sudden paralysis of death, without so much a struggle or a whimper from the deceased.
The most important bit would be to avoid looking at the creature's face as I killed it.
There were a few times that I had to feed baby rats for one of smaller snakes. The rats had these little beds which they'd dig out of their chips, and the babies would sleep there together, still pink and furless. Whenever I stick my hand into the rat's cage and reach for a baby, the mother would wake up and try to fend me off with her teeth.
She would always watch, even as I carried her baby out of their home. She’d look like a prisoner with both paws on the glass and both eyes trailing my hand as I put the little rat on the table and killed it.
*
It calls to mind the one and only time Meg and I talked about religion. She lay on my bed and I was hunched over the laptop doing some work.
We heard church bells toll, and I saw her roll around like a cat playing on its back. “Do you believe in God?” She asks me.
“Do you?”
“No,” she mewed, and got up. “If God were real, you'd think he wouldn't leave it to us to find our own meanings. Answer the question.”
“Yeah. I believe in God,” I said, typing away and away. “I believe in many gods.”
“Really?” She sat next to me and laid her head on my shoulder. “That's interesting. Hindu?”
“No, pagan. My own pagan.”
“Shit.” I felt her hands reach over to my shoulders, squeeze. Then she asks: “Do you sacrifice animals to your gods?”
Oh Meg. She was a very stupid girl, but sometimes she had these moments of sheer brilliance which I was completely blind to. I had laughed so hard I thought I offended her, but I kept laughing anyway. It wasn't just that she called them 'my' gods, but the judicial undertones in her voice, the very same reason I don't talk about my religion.
She knew me, then, for four years. I tell her I'm a pagan and all of a sudden I'm an animal killing freak. Hilarious.
*
The thought repeats itself for every meal I prepare for my darlings. It starts with Meg's voice as I kill the rat, and ends with the sound of my laughter as the snake swallows the rat's bottom and slurps the tail like spaghetti.
Thirty times I feed the constrictors and watch them wrap around their prey, their grip precisely aimed to allow the optimum surface area coil. Twelve times the colubrids, who no longer strike the prey but just swallow them whole. Forty-two times I heard Meg's voice ask me the silly question.
When I got to Matthias, I did something different and brought a live rat to his feeding pen just so I could see him hunt. The rat fell into the bin and wandered around, sticking its nose in the air and placing its paws around everywhere. Matthias didn't seem to care even as the rat touched the upper side of his belly, but a whick of his tongue later the Gaboon tensed himself, raising his head from the floor.
Gaboons are ambushers. They lay dormant in the grass as they wait for an opportunity to stumble by. They can wait for days in perfect stillness, a shotgun rigged to blow at the behest of a tripwire. 'God's machinery' is an appropriate term to describe their anatomy.
There was no grass here, but Matthias kept still with the impression that his camouflage still hid him inside the olive green Rubbermaid. Then there was a bang as his underscales threw his head off the plastic, baring the fangs with lightning speed precision into the side of the rat.
There was a struggle, but the largest fangs of all snake species held strong. The bite was angled such that the rat couldn't claw or bite his assailant at all. After around ten seconds the rat’s eyes popped out and blood leaked out of its eye sockets while its limbs continued to thrash around the plastic. I watched with a hung jaw.
The rat was dead, without a doubt, and there was a puddle of blood left in the bin. Its legs still twitched against the emptiness of its eyes, and this was when I realized that pain can still follow you after death. I coughed once, twice, and looked back to see the Gaboon had turned his gaze to me, rat still in mouth.
Something fascinating about Gaboons: they use their fangs like fingers. Unlike boas or pythons which have muscles on the edge of their jaw which maneuver the prey down their throat, a Gaboon’s fangs can spin in their sockets and so their fangs turn the prey and pull it down their mouth. Matthias was in the middle of moving the rat around when he turned to me, and his fang stuck out in my direction, venom still dropping from the tip.
 “Sorry,” I told him. He regarded me with no response and finished his meal, while the rats in their cage filled the rooms with their cheeps and squeaks. It seemed they were watching the whole thing, so I tapped the side of their cage to make them all disperse.
Blood smudged every surface of the container. Some had seeped and stained the edge of his mouth; by now it had surely dried and would be impossible remove until the next time he sheds his skin.
Once the mouse had completely disappeared, he turned to me and spoke. Something about the bloody mouse.
*
Sometimes, Meg would say the stupidest things and I’d do my best to erase them from my memory. Of course, this was after I clenched my fists and grit my teeth listening to them.
I learned, because of Meg, not to hit people because they were stupid. I learned only after she died for that's when the revelation came. That psychological mumbo-jumbo that talked about humans adopting preferred behavior from pleasure and pain stimuli? Bullshit. People never learn that way.
Meg was still the same stupid girl, no matter how many times I hit her. The core of the lesson was it was never the pain that motivated me to change. It was the drive to get better, and the drive to survive.
*
“AAH!” Matthias had launched himself an impressive distance, one I thought was safe. The fangs felt like two nails driven into my arm, hitting the sweet spot between both of the bones.
Not a second later searing pain had spread in my bloodstream, like my blood had been replaced with burning oil. The Gaboon held on, every second I could feel the tips of both fangs deposit more of the fluid.
I screamed again.
There is a proper way of detaching a snake once it latches on to you; it involves slowly pushing the snake out following the curve of its fangs. Fuck that. I tore Matthias from my arm and his fangs made a bloody laceration through my flesh. He smacked against the wall and landed on his side.
One of his fangs stayed dislodged in my skin, locked in the gap between my bones.
I screamed once more as I extracted the rogue fang. Clear drops of liquid made its way down the tip as I held it between my fingers.
The pain found its way to my heart and it started to beat so fast I thought it was going to explode. My legs felt like they were going to snap and I sunk to my knees. Blood spurt in little bits from the two cuts in my arm. The hemotoxin took effect fast.
I sometimes wonder what the point of everything was, and where I'll be by the end of it. Meg would say that there was no point, and that's the lesson she never learned: the drive to get better, the drive to survive.
My legs wobbled their way to the table with the anti-venom, and I took one bottle, careful not to drop it in the numbness of my arms. My vision was starting to blur.
I filled a syringe with the anti-venom - it was green or yellow, I think - and stabbed my arm just below where one of the fangs pierced my skin. I stifled another scream through grit teeth as the second fluid seemed to freeze my blood. I took more deep breaths before standing up and emptying another bottle. Two bottles later my head was filled with pain, the temperature in my blood fluctuating between boiling and frozen. I passed out.
*
I had a dream while I was down, but I can't remember much of it. What I do remember was that Meg was there, and I woke up feeling a new sense of purpose.
Matthias had disappeared, but he was no longer my concern. There was a scarlet stain on the carpet beside me though my arm was no longer gushing blood. I placed my wound in a bandage and went to Empress's cage, where she was curled up into a ball, probably having slept through the entire ordeal.
My hands wobbled as I unlocked the cage and brought her out. She was heavy and I was weak, so I fumbled and dropped her on the floor and she woke up.
“Steve, what's the matter?” Her head turned up to meet my face.
I smiled at her, and held both my hands behind my back. I realized at that point that I loved Empress, so much, such that my body grew warm and my blood resumed normal circulation. Out of all my snakes, she was the only one to have never bitten me, and she reminded me of Meg's embrace whenever she'd wrap herself around my shoulders.
I stamped her head with my boot. It was odd to see a giant 14-foot snake writhe in agony; she resembled a worm, squirming as they do when you pick them up and squeeze their heads. I wiped my foot on the floor and spread her scales all around.
She went limp. Her head was as flat as a pancake, but cracks of blood had formed between her scales and one of her eyes hung from a sinew of flesh. The other one had burst into mush mixed with the remains of her brain.
One look at the rest of my collection and I sighed, resting both hands on my hip. Then I looked down and saw her fangs, which had torn through the roof and floor of her mouth. Unlike viper fangs, a boa's was a serrated edge that grew taller at the back, like the outline of a mountain ridge. I smiled.
*
I watched the rest of my snakes disappear into the cracks along the cliff-side face. The last one was a fake coral milk snake, and he bid me good bye as I opened his cage and set him free.
I took a deep breath and a seat by the edge of the cliff. With one hand I took the bottle of Blue Label and twisted the cap open. With me all alone the drive back would be difficult, the twists and turns of the mountainside on the forefront of my mind. But that's okay, life is meant to be hard.
"Love the view," I told the bottle of whiskey as I took it up to my lips and kissed, savoring the taste of someone who died long ago.

______________________________________________________________ 

Joseph Ledesma is a Senior BFA Creative Writing student. This literary piece was previously published in Heights (2nd Regular Folio, SY 2012-2013).

Ph102 T - Phenomenology of Studying by Izo Lopez


         I will admit to a secret of mine. It is a hack. It is one of the many cheat codes to life, but I imagine this particular hack is of significance in a school setting. What I am saying is that I have discovered the foolproof method for getting good grades.
         Now, I’m not sure how many of my fellow students have stumbled upon this secret as I have but I have kept it under wraps because of the sheer potency of it. This kind of a thing could destroy the very foundations of our education system so it’s only right that I wield its power with utmost prudence.
         I am talking about the mystic art of “studying”. Using this long-forgotten ritual, any student could conceivably achieve any grade desired with impunity. What is incredible is that the act is simple. To perform “studying” one needs only listen to the teacher, understand what he says in class, and then review what was learned. Three easy steps to a bloodless instant A+.
         There is no more need to spend long arduous hours writing bonus papers. Say goodbye to the stressful and life-shortening act of cramming. No longer is there a need to fear tests. All the traditional ways of getting high grades (cheating, praying to various dieties, psychologically manipulating the teacher’s leniency) need no longer be used because I have found a method that is a hundred times more effective and easy.
         The act of “studying” is physically very mundane. There are only three senses involved: the eyes, the ears, and the mind. There are only two processes involved: the acquiring of information, and then the understanding of information. There is only one requirement: will.
         I will demonstrate a specific instance of me applying the method. Take for example that I am sitting in a history class. My eyes perceive the teacher and what he has written on the blackboard. My ears receive information about the pre-Hispanic Filipinos. I am being told information on how the pre-Hispanic Filipinos measured wealth in slaves. My teacher explains that land and resource were not considered a measure of wealth because they were in great supply. Later at home, I will deliberately recall fragments of this information. I will try to remember what I learned today, and the concepts of slavery and wealth come to mind. In my reviewing, I apply my own critical thinking, aided by my memory of the class, and piece together that pre-Hispanic Filipinos measures wealth in slaves. Why not land or resources? Because they were abundant at that time. The information spoonfed to me in class, is remembered in fragments, and then because the information is sensible I am able to re-connect the dots on my own later.
         This is studying. This is a man who knows how to fish as opposed to being merely given a fish. That I know how the dots connect is now with me forever because it is not a bit of knowledge that I have merely been lent and will degrade in my memory over time, but a process of critical understanding that for all my intents and purposes I discovered myself. I figured out on my own, and with only a little help from what was given to me directly in class, that pre-Hispanic Filipinos measured wealth in slaves because land and resources were not in demand. By taking the step further from being merely shown how to do something, and figuring out how to do it myself, the “studying” has caused me to have a claim on my conclusion. That the pre-Hispanic Filipnios measured wealth in slaves is not something I was told but something I figured out all on my own and so I am less likely to forget it. If in case I do forget it, I know I am capable of simply figuring it out again during the test.
         Objectively this act of “studying” is nothing more than a retention of data by way of processing it to a higher degree-- a function of memory that is understood fairly well in psychology and neuroscience. What makes it magical, what makes it an almost mystical power then is not in the sheer method of it but in its essence. The very heart of studying is not the flow of data and the eventual analysis of data. It is in the personal.
         My claim is this: the power of “studying” comes from the claiming of knowledge as opposed to the owning of knowledge. We cannot see the significance of this from an objective point of view so I have to take it from my point of view, and how I personally am able to claim knowledge by studying.
When I say the knowledge is claimed as opposed to owned, the difference is in how the specific piece of knowledge matters to me specifically. When I own knowledge, it is mine, sure, but it is merely this separate thing that resides within my jurisdiction, my mind. When I claim it however, like when I discover it myself or understand it in a way that is meaningful to me, the knowledge is not just something in my hand but a part of me. I have a stake in this particular bit of knwledge because a part of me- my analysis- is in it.
         It’s like how a mother who babysits will never love another mother’s child as much as her own. For all intents and purposes they are both children. Objectively nothing is significantly different between them-- they have the same relative size, needs, behavior. But the mother has no real emotional stake in the baby that’s lent to her. Yes she has to take care of it but beyond that really there isn’t any obligation to care about it. On the other hand with her own child the mother instinctually does care about it. It came from her, it is the product of her literal blood, sweat, and tears and so this investment even without any emotional description is an undeniable bond between mother and child. It is exactly the same as with information.
         There are many people who claim to “study” and yet still not get good grades but I will vow that the method is foolproof (intelligence ceteris paribus). What people are familiar with is not “studying” but merely an act that mimics studying in only the physical sense. There is information received by the senses, and then it is repeated later until it sticks to memory. This completely ignores the personal involvement that real “studying” requires. It is a mere parroting of information. It is studying without the “I”.
         When I study I am aware of how I am claiming the knowledge I am given. I specifically involve myself in the process that makes the information make sense. What the teacher does is lay a lot of groundwork for me to discover for myself the same things that Einstein, Darwin, Dumbledore and etc. discovered for the whole world.
         To conclude, this method of “studying” is the ideal way to get grades, but it is not about grades. This is the kind of studying that doesn’t just help you know something but really allows you to learn, and the fact that you can get whatever grade you want is merely a consequence of really understanding the material that’s in your readings.
         It’s a dangerous weapon only because the world is not prepared for something as revolutionary as this. No one would volunteer to be teachers knowing that they no longer are capable of failing a student every now and then. Everyone getting A’s would cause the grading system to collapse and schools will not be able to carry out their primary function: to print report cards. People would actually learn the things they are taught.
         No, for now True Studying will have to be something used only by the lucky few who are able to discover it themselves. That is what the method is all about after all.

Mornings on the Kostka Benches by Dyanne B. Abobo


         Today is the ninth day.
         She is sitting in front of me again with all of her wonder. Her hair softly slithers beside her neck and curls playfully on her collar bone, a spout of waterfall caressing the smooth rocks as it falls downward, downward, and makes a splash on her chest. Her face is as ruddy as always, her skin peeking through the gaps on her clothes.
         Now and then her eyes dance around to watch the morning break. In her head there must be a story; a certain glimmer of imagination creates projections in her eyes: a cat that prowls as it brushes onto her skin, desperate for attention, a myriad of butterflies in orchestraic flight, a boy wearing a blue striped shirt, watching, every morning, for nine days.
         I’m forced to look away as she turns her head slightly towards me.
         As she turns away again to gaze at the misty morning, she smiles. It’s the most beautiful, most enticing sight in the world—perfectly drawn as Mona Lisa’s smile, serene as the Starry Night On The Rhone, so perplexingly well-crafted, yet to me it’s more devious than a devil’s inward chuckle.
         She must have recalled a memory: perhaps a hot summer day in her vacation house by the open shore. On the scorched sands she sits with her friends, on towels and under explosively decorated beach umbrellas, tall glasses of lemonade delicately situated on the small slopes of sand, in danger of toppling over. Her friends are wearing tiny, brightly colored bikinis while she is wearing a thin, white sundress, showing a little and hiding yet less in her veiled obscenity. One of her friends gets up and runs into the water, and invites the others over. They splash and swim and splatter, wet and glistening in the sun, but she, in her attempt to hide her splendor, plays the lead role in my fantasies with her body’s conjured mystery.
         I’m forced to look away as she turns her head slightly towards me.
         She opens her bag and pulls out a heavily decorated notebook, as she always does a few minutes before the strike of seven. I reckon she’s writing about the cat. I continue watching her as the hands of my watch tick and tock. In my mind I can see about a dozen men stampeding towards the shore to watch her play with her friends, gazing intently, all but rubbing themselves in front of her trying to catch a glimpse of what lies underneath the soaked sundress, gazing at her like she’s on display, like pornography… shameless.
         I continue watching her; her eyes always know where to look. Always dazed at the misty morning. Always deep into her seemingly alien notebook. Always away from me. This morning, though, it’s different—she makes the mistake of passing my eyes with her gaze. I’m caught off guard—she looks intently at me from underneath her lashes, inviting something inside of me, something powerful, something eager to burst out and jump around, something I don’t understand…but I’m strangely familiar with.
         I smile awkwardly as she holds my very core, magnetizing me, solidifying me, until I feel that a slight breeze would crumble me and blow me with the wind. I can’t look away. She smiles back—that Mona Lisa smile unparalleled by any mortal being.
         On the ninth morning she smiles back.
         But that’s not how it really happened.
         She opens her bag and pulls out a heavily decorated notebook, as she always does a few minutes before the strike of seven. I reckon she’s writing about the cat. Slowly I melt into a haze of illusion, and I’m caught off guard—something inside of me stirs, something powerful, something eager to burst out and jump around, something shameful and oh so familiar. I stare at her with wooly eyes, mouth slightly open, while the hands of my watch tick and tock, a tugging heat right below my navel. The bell rings seven thirty.
         I’m forced to look away as she tilts her head slightly towards me.

Go back to the mountains, Au Co by Stefani Tran


i.
North of here lies a hollow
in the earth,
your old sleeping-place.
Your first memory, that space—
moss rolled into pillows
time a faraway
trickle of water.
Deep breaths, dark air growing
around you—gently
tracing night
in the spaces between
your fingers, in the caverns
of your eyelids.
The pebbles you collected,
for building the places you found
in your dreams—
morphing towers, winding paths—
uninhabited cities, left
in the wake of bare footsteps,
the bats whispering soft
concave songs
through their streets.

ii.
He filled your lap with pearls  
when you first met—a startle
of chattering white, a sudden cascade
of light, overflowing
from your palms. Your eyes were wide.
Your hands, full.
They trembled—perhaps because
you thought you held the teeth
of his foes, or perhaps only from
the weight. And even afterwards
you couldn’t really understand,
what reason there would be
to make a gift
of the sufferings of small,
dreamless shells.
But his eyes were stormy pools,
deep and strange and
shining,
and for that, you told
yourself, keep still.
Look! he cried,
how the moon-beads gleam
in the gold off the waves!

iii.
You remember this—
The lee of a rock that stood
alone, against sun and wind.
Breathless laughter. Taking shelter
from creatures with no names.
The shadows of crabs,
wispy sketches in the sand. 
A song like the throbbing
of the tide. Slow turns,  
fingers twining, heartbeats
in the undertow.
The scoop of a bone,
and how smooth, how easy it was
to fill.
Salt on tongue,
warmth beneath skin.
A gull winging away
over the sound.

Somewhere overhead, lost to the moment—
the faint echo of a lightless place.

iv.
When you were a child, sometimes
you stood where the walls curved
towards eternity, and spoke
to the silence.
You knew well what it was
to let words go
and have them drift back only
as mouthings, as the outlines
of what they had gently folded around
where your gaze could not wander.
That was enough.
It had to be.

v.
He spoke often of how beautiful
your hair was—like the long
sea-grass, snaking
round the mouth of his palace,
in the green canyons below.
On warm nights, you lay on the shore
and he guided your hand
towards where,
when the moon drew back the tide,
a spire broke the surface.
You will never have to worry again. I know
we will be happy there, and after all—
one kind of darkness is very much
like another.
Words that lapped, ceaseless,
at the edges of your waking.

You remember this—
Silver light
across a bedroom floor.
Silk sleeves, tucked into
each other like lovers.
Wingbeats of a curtain, descending
upon your throat.
The clockwork rise and fall of a chest, the ocean,
a cocoon of twined breaths and a binding of arms and here
you were, always warm and safe and so
near.

vi.
One day, you tried to stack the pearls and make a tower.
They were too smooth to build with. They rolled onto the floor
and lay there, quivering.

The stones cried out
in your bones.

vii.
He has already gone.
Now you move shiftless, shift-
less, through the hallways,
etching roads
in the dust on the windowsill, carving
ruts in the wood
of the walls. You do not want
for company—you have
the taut seams
of close-fitting tunics,
the forgotten lips of swollen
teacups.
Lute strings, bloated
with music, aching
to be heard.

The ghosts, Au Co,
have left this place—
for houses less
haunted, for thinner
sky.
So do this now.

viii.
Take the lute by the neck.
Loosen the strings.
Let the notes
run off them
as beads of rain.

Swirl the cups
and watch
as what has settled
at the bottom
rises,
to cloud the surface.

Find a knife
and cut through
the threads.
Hear the cloth sigh
as it opens,
as the stitches forget
their purpose.

Then pour it all—
elegies, dead leaves in water,
memories of being worn—
into the sea
until your hands

are hollow. North of here
is home. Do not worry—
you will never
have to worry
again.

_______________________________________________________________

Stefani Tran is a Sophomore BFA Creative Writing student. This literary piece was previously published in Heights (LX Folio SY 2012-2013).

Countdown by AJ ElicaƱo


 “—really nice of you to offer me a ride going all the way back—”
 “—pass this way all the time; I promise, it’s really not a big—”
 “—swear I’m not usually like this, you must think I’m such a—”
 “—thought it was cute, actually, so different from how you usually—”
 “—the office and everything, I just needed a break from—”
 “—needs to relax sometimes; just didn’t think you liked—”
 “—like being driven home by cute boys too—” 
 “—wow I um um um so um—”
 “—God, can’t believe I just said—”
 “—uh, it’s okay, really, it’s—”
 “—only told one other—”
 “—wow, who else—”
 “—my boyfriend—”
 “—oh.”

_______________________________________________________________
This piece was previously published in 2012, in the UP Writers' Club's 100: The Hundreds Project.

A Black Umbrella by Izo Lopez


Emerging from a black cocoon,
eight spiny legs extend.
The joints and folded limbs stretch out
clicking as they bend,
to grow ten times as long-
a large and looming spider.

The web it weaves is silky smooth-
by spindly legs stretched taut-
yet paper-thin, spread large and strong
for every victim caught.
Stretched twenty times as long,
the web grows ever wider.

Then the noise of wings approaches:
a thousand tiny flies.
An army of wet-winged bullets
the spider's web defies.
A flimsy shield of thread
catches fifty times its size.

When finally the assault ends-
the spider’s worth fulfilled-
it then withdraws, tired and limp;
fatigued from every kill.
Fang still dripping venom
or at least until it dries.

A hundred times more deadly
Than its tiny size belies:
An umbrella like a black spider
beneath dark and rumbling skies-
always at the ready
because everybody dies.