Verge (revisited)

My body and the clocks say different things.

Last night I poured my vodka down the sink and fell asleep on the bathroom floor. I fall deepest when the sun comes up, and wake disoriented from my morning travels. Everything is the wrong way round here, or I am. So much corner turning, so much emerging from below, and it creates a kind of alert exhaustion, an expectation that something is about to happen today if I just get up and in it.

It all feels so possible, so utterly and entirely possible, this living on the brink.

“I did not belong there,” Joan Didion said of this city. And I recognise her words, because I know I do not belong here either. I do not know the rhythm and the rules. I am a step out of time, backwards dancing across these cracked pavements and sticky stairwells.

And like Joan Didion, I am in love. I am in love with this grimy, swollen, stinking city. With her teeming masses, and the bare-bone trees of winter, waiting.

They are anonymous, quiet like me.

And I too am on the verge of blooming.

underground subway staircase

Photo by Jamie McInall on Pexels.com

My first blog post from New York, back in April, 2015. And now …

Stay Tuned!!!

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Can you imagine

Do you trust your instinct, Elliott?

Sue’s question feels as large as the room, and all three women pause to consider it. Thinking about the nights they’ve crossed the road to avoid a parked car with its lights on, or pretended to make a phone call as someone walked too close behind them. Remembering the longer routes taken to avoid unlit streets, and how they automatically take note of who gets off at the same station or stop they do. The way they would never leave a drink unattended at the bar, and how they always check who’s there before unlocking the door. Self-preservation as a replacement for instinct, because being right would be the real danger here.

Elliott feels her body arch toward this sudden realization, a shudder that almost lifts her from the floor.

I’m afraid to be right, she says, holding out her arms to examine the tiny hairs standing up from her skin. I would argue away the most obvious signs, if it meant I could be wrong about him.

Because if I’m right – my god, can you imagine what that means?

~ What We Have Left

What We Have Left

The first time your heart shatters, you become one woman or another.

The first can only ever love the broken after that. She sees damage as her canvas, and she spends the rest of her life trying to make it beautiful. Cobbling together the lost and fragmented, soothing their sadness and their grief. She creates a mosaic from their stories and their sorrow, mends the pieces into something whole again. Because if she can love something back together, it means nothing, no one is too far gone for saving.

The other starts to sees damage as inevitable. So she strikes first, destroys anything that comes too close. This kind of woman will sabotage her own happiness, snap it clean in two, rather than let someone or some thing surprise her again. Her heart inured, she will be the one to lay siege from now on. For her, it is obvious people were never meant to stay whole. And to survive this world, we must learn to live with what we have left.

What We Have Left (A Novel)

grayscale photo of padlock

Photo by Paweł L. on Pexels.com

 

The quiet rage of women

Someone organizes a candlelight vigil at the park. News of the intended gathering is shared on social media, and on the night, more than 3,000 people make their way south, down to the fields near the pier. Mostly New Yorkers, but some women come from other cities, from their own dark places, called forth to memorialize one of their ilk, one who didn’t, couldn’t make it. The crowd is punctuated by these survivors, their pain red-tipped, fierce, as the faithful from many denominations hold forth, one grasp at comfort after another offered into the night. Candles quiver, wave, and when the talking stops, someone steps forward and softy sings Amazing Grace into the silent, head-bowed congregation.

From a distance, 3,000 candles held high is a beautiful thing to observe. A glow of stars drawn down into people’s hands. Faces are soft, warm, as people lean one lit candle into the wick of another, connecting each new flame until the whole field flickers. Until the crowd appears to breathe light, a collective inhale-exhale of grief and prayer.

There is no name for the girl they mourn here, but she is known to every woman present, clasped around their lifted hands, heavy on their hearts. She is their fears, and their lucky escapes, and their anger, and their wariness. She is their vigilance and their yesterdays, the shadow version of themselves on all those nights they have spent looking over their shoulders, or twining keys through their fingers. A man speaks to the crowd, entreats his fellow men to do better, and people clap, cheer, but it is the silence of the women that binds up the candlelight, sends it skyward, a flare in search of every sister who never made it home. So that when the politics and passion are spent, it is the quiet rage of women that lingers, can be seen glittering from above. Long after all the little fires have been snuffed out, and the people moved on.

Elliott does not attend my vigil. She sits in her studio a few city blocks from the park. She has lit her own candle here, one lone flame weaving, pulsing in the dark. Cross-legged on the bed, she stares at this candle and feels nothing. Grief, she is learning, can be as quiet as a whisper when it wants to be. When it all roils inside her, when it spills out like a swollen river breaching its banks, or when the waters still and she floats upon the surface, numbed – it is all the same feeling in the end. One of utter helplessness. Knowing that so little is in your control, knowing that you cannot claw your way back to the ignorance of safety. Sometimes she rages against this loss. Tonight she acquiesces. She is alone in a lonely city, and – this part Elliott is ashamed to admit – lodged in her stomach, nearly as deep as her sorrow for an unnamed dead girl, is the realization that she herself might just as easily lay unclaimed one day. Because no one will think to miss that she is gone.

~ Alice, What We Have Left

art blur bright candlelight

Photo by Hakan Erenler on Pexels.com

Spinning closer every second

Later, at the beach house she and her friends have rented for the weekend, Elliott takes a pillow and blanket and quietly pads out to the balcony. It is 3am and everyone else has passed out, couples curled into each other, or positioned back to back. She is, as usual the only single person here. Not that she thinks of herself as single. There needs to be some other word to describe the state she has found herself in.

Alone.

That would do it, she thinks, folding herself down onto a damp, wicker sofa. Someone has removed the spongy seat cushions, Elliott can see them stacked near the balcony railings, but she does not have the energy to drag them over. It has started to rain, and Elliott is glad for the discomfort, for the wet on her face and the unyielding sofa base, pressing into her hip. Back in her room, the world had started to spin. Now, she can see the black of the ocean, hear the inky water slapping against the sand. The sound feels as if it is coming from inside her, it is as if she is the one cresting and falling, and it takes a moment for her to realise that she is crying, out here on this balcony, alone with the rain and the waves and the starless sky. Soon she is crying as hard as the weather, all the accumulations rising up out of her. This is not where she intended to be.

Life, she understands in this moment, has stopped happening to her. She has stood in the middle of too many summers and winters, too many dance floors and other people’s parties, and simply woken up the next day older than before. For so long, nothing has happened. She has been on pause, while he went about making his life. Making the tiniest of spaces for her to fit into, asking her to make herself small so that he could keep her right there.

Here.

She doesn’t want to be here anymore.

The plan does not fully take shape this early morning, waves and rain and tears saturating everything around her. Elliott won’t even really know, days later, as she books her one-way ticket, as she scrapes together her savings, just what she’s doing, or why. She only knows that she can’t stay here anymore. That she needs, desperately, for some thing to happen to her.

In this way, our worlds are spinning closer every second.

~ Elliott, What We Have Left

WWHL

Safer in the end

Very few people are all bad. Hardly anybody at all really. Maybe an irredeemable handful who were born with their wires muddled, missing. But the rest of us are works in progress. Reacting to our environments, growing or shrinking according to whatever light gets shined on us. It’s no excuse. Cruelty and ignorance cannot always be forgiven. But I guess, if we want to, we can understand it. We can look at it up close, we can examine all the ways there are to hurt someone. And we can decide what we will not do.

Perhaps the rest is all chance. You really can be in the wrong place at the wrong time. All those things they say when they want to blame someone for the bad things done to them. But not in the way of it being your fault, let’s be clear. A chance encounter, by its definition, cannot be your fault. And here’s the thing. What if you do change your behavior to avoid those chance encounters. What if you alter how you live in this world because there are those who would do to you what you would never do to someone else? It doesn’t make anyone safer, in the end. It really doesn’t.

Because let’s be clear about one more thing. If you change your behavior, and he does not, then you are safe.

But she is not.

~ Alice, What We Have Left

First draft done. Now to make everything better!

When they know who you are

Here’s what happens when they know who you are. It changes. Everything changes. They begin to dig into your life. Because ‘Dead Girl’ needs a bigger story to keep it interesting. The fact of her loss could never be enough. So they pick through my past, sift through my bones, the reporters and editors who don’t get this kind of treat nearly enough, the shock and tragedy of pretty, dead, white girls.

I have made some things easy for these storytellers. No mother (suicide!), no father (where is he?), and there is a predictable small-town history to snack on. Enough people who went to school with me, or knew me when, to keep the theories coming. But most revelations come as a disappointment, no matter the digging. Good student. No record of trouble. Scant evidence of running around with boys. Not a single scandal of my own, until-

And here, Mr. Jackson sits in his studio, waiting for the knock. Charcoal fingers twisting, a package of photographs in a locked box under his bed. Knowing he can’t throw the package away, considering burial or burning, but never quite able to bring himself to unlock that box, open it up. Afraid to look at me the way he used to. To see me alive and vital, and to remember the way I used to look back at him. He knows these pictures are a ticking bomb, a catalogue of his errors, and he knows, inevitably, the knock will come.

Still, when they show up at his door in their blue suits, with their notebooks and guns tucked into belts, he is unprepared.

~ Alice, What We Have Left

Riverside Park