by Ann Bogle
In this room, where love was spilled on the oldest bed, there is a draft. I begin the song again, the song about the eye, and I smoke and drink coffee. I am crouching, and I am waiting, because the dream of the clarinet tells me to begin again.
February 20
Daniel Ortega dances the mayfly with women on the campaign trail. He rides in on horseback, Godivas in tow. The week of the election, I do my taxes in North America. I remind myself that he is married, but it doesn't stop me from thinking about him. I blot from my mind the deaths he has ordered. His soldiers are rowdy and young, eager to kill for an ideal.
Violetta Chamorro travels again and again to Washington. She limps in on crutches. She is here for the better medical care and to take our money. There is a dim recollection that she is a martyr. Somoza killed her husband while we were on Somoza's side. The sides change. Her children, her son and daughter, put out the Sandinista newspaper.
March 27
Politics kills romance.
I tear apart the sheets you wrinkled, sleeping with my friend, and I wonder if I can learn to be louder while making love, as loud as you were while I stood on the other side of the wall, in the kitchen, feeding the cats. You're not legally married, and neither am I, as we keep telling each other.
My friend says that you and I are like hands, back to back. She matches you in loudness, and she can forget me and your wives, as she rolls with you in my husband's bed. She says that places mean nothing to her. That it's crucial for self-preservation.
April 3
My taxes are still not done. The documents I need are filed in a box in the closet. I've paid them thousands of dollars, and they want more. I open and close the closet door, and the documents snap at the hem of my robe.
My throat is sore, but I won't quit. When I get the prescription, I'll take two and go out. It's raining. I dance along the street with my headphones on and keep my eye peeled for Daniel Ortega.
I am never alone. The music runs the cord to my ear. The cats sleep at my head. The men call and call. They stay in orbit. I am protected only by gravity, and I am not a planet. I slip. I let them nearer, by turns. I veer toward one then another.
Her letter arrives, printed. She speaks simply, as if I were a child. There are things she won't be telling me. I read quickly for a reference to her betrayal. She writes out of concern for me and out of curiosity. Our week together was refreshing, she says, but not relaxing. We talked so much. We lost the toothpaste. Our visitors were all poor. Maybe one of them took it.
The toothpaste didn't turn up, I tell her. I am seeing the new man, but I don't know what his fate will be. Sorry to hear her new one is trouble. It's worth it only at certain moments, and then what choice do we have? The house is full: three of a kind and two of another.
Finish it, she says. Put it behind you and walk on. Put them all behind you and continue on alone, without these crutches.
March 24
My friend had a dream that she was away when the fire started, and that I was stuck in the upper floors of the building. She waited helplessly on the street for my rescue. They put me in the hospital for smoke inhalation, and three days later, I was shot at in the same building. She stood on the street below waiting for them to carry me down. Again? she said. Again? And she thought that what had happened was her fault.
April 3
The most reliable suitors are the traitors, the ones who come first in their own minds.
The phone rings, but it's not the right caller. I pick among relative evils. One I want is bad for me; one I love is married. There is a hope with the new man that I'll wait for him to catch on to me. I'll take off my clothes in protest of this taxation and get on his back, side-saddle.
March 29
In the dream about the married man, I read his poem. I had let myself into his office and ransacked his papers, looking for an indication. Ours was not a one-night stand because his brow was wrinkled, sadness there like a mark. We read the book about Anna and Levin without being Anna or Levin.
He says that I should be on my guard, that my trouble will be that I arouse strong emotions. In the dream, he climaxed while I read the right side of the poem, the column about Anna. I stopped reading when he came and thought: We missed each other.
April 3
I do not fool myself by thinking death will not come. I plan for it. I kill time until it arrives. Sal says that when he gets sick, he lies in bed, thinking uncharacteristically of death, wanting sympathy. I tell him, not in answer: Death is my constant companion.
When Tom Petty counts squarely, he says foe. One, two, three, foe.
When I come to you, there are two yous, a you and a you. With one of you, I spill my guts. With the other, I stroke your brow. You all have a dog bite above your left eyebrow. Gay men used to wear earrings in their left ears. Now everyone wears earrings in both ears.
Time advances. One space between words, two between sentences. When I'm not working, I rehearse the language of newspapers: teez, pica, reefer, jump, hed, sig.
. . .
On Ash Wednesday we brought the Lebanese man to what I tell myself is a crackhouse. The Lebanese man's mother is from the Dominican Republic, no matter what your understanding was. You said she was from Honduras, but those are the fire victims. His father was the ambassador from Beirut to Santo Domingo. He grew up in Spain. After midnight, he told us about the Jesuit priesthood. He said that until he had been with a woman, he had not known God. He said, pounding his abdomen: Until man knows woman, he cannot know himself.
The man whose house it was had asked for my phone number at a poetry reading. I had known him in the past as a cook at Muther's Kitchun. I had had the impression that he had taken a turn toward stupidity, that he had used up too much acid. He was against tobacco. He let the whole-wheat carob brownies burn in the oven, as the men lit up the ladle with the gray, thickening cocaine. He told me to go outside if I needed to smoke cigarettes.
Jennifer Casolo is caught with weapons in her yard. She went to Central America as a missionary and came back as a chief.
CAST (in order of appearance):
Women:
I (me, my)
Godivas
Violetta Chamorro
Her daughter
My friend
Your wives
Anna Karenina
The Lebanese man's Dominican mother
Jennifer Casolo
The woman who dumped the man with the long hair
The new man's old love
Jean Rhys
Men:
Daniel Ortega
His soldiers
Somoza
Violetta Chamorro's husband
Her son
You
My husband
The new man
My friend's new man
The married man
Levin
Sal
Tom Petty
Gay men
The Lebanese man
His father
The man whose house it was
My old boyfriend
The man with the long hair
Frankie, the mafia son
The Assemblyman
The news anchor
The Texan in the Dewar's profile
Vronsky
Animals:
Horses
Cats
April 4
The new man spends 19 hours in my bed then leaves to buy pot. He wants to come back afterward, but I tell him I have things to do. I remind him that my old boyfriend is coming to town. He says he'll call at eleven. At eleven I'm eating old macaroni, hoping he'll call, planning to ask him over and to kick him out early, but I don't get the chance. He doesn't call.
I put on the headphones. By sheer telepathy, I am not able to make the man with the long hair call, but I think of him.
March 28
The new man spends 15 hours in my bed. At 5 o'clock, I drive him to work, and on the way, the man with the long hair passes us and waves. He has on dark glasses, and wisps of hair escape his ponytail. I drive erratically and let the new man out. In my rearview mirror, I see Frankie, the mafia son. This town is too small. I don't want to live here anymore. I go straight home, with a firm plan to straighten the upholstery.
I realize that the man with the long hair will follow me, but I don't know why he would decide to since we were going in opposite directions. I tell myself to go inside and brush my teeth, when he pulls up behind me in his father's car. I recognize the New York Assemblyman plates.
He meets me in the middle of the street and kisses me. He takes my hand and points me toward the pizza shop at the corner, but we never get there. He walks, and I float beside him. He wants to know how my infatuation is coming: Am I over him yet? No, I tell him, it's still with me. I like to be near him to intensify my suffering. He asks me who the man in the car was, and I ask him if he wants coffee. By then he has walked and I have floated down the street and through the park. He pauses to wave at the news anchor in the intersection. I wave, too, not realizing that I only know the news anchor from TV.
We go inside to two cups of coffee on the table. There are no other traces of the new man. I wonder if the man with the long hair knows that we just got up, but he isn't talking. He's sitting on the couch, waiting for his coffee, reading my journal. He injures my peace, but we flipped for it. I listen from the kitchen to his silent reading and wait for him to ask again if all my sentences are short. He doesn't ask. He says he likes it but doesn't get it.
He tells me about running into the woman who dumped him and that she is cold toward him now. He asks how would I feel if he were cold toward me. I tell him he is cold, though he tries not to seem so. He asks if I'm involved with the new man, and I say, no.
April 4
The new man's old love is in the past. He says her name, and her name means love. I tell him there are things to look forward to, but I'm no more certain than he is. I think ahead to Texas. I think of meeting the Texan in the Dewar's profile. That wouldn't be love, but it could be fun. Perhaps fun is just around the corner.
My husband calls while the new man is fucking me. I'm on the bottom and yelling, "I don't want to hear it." The answering machine is blaring, and I'm plugging my ears. My husband says our name for each other over and over, in a slow decrescendo.
April 5
The new man falls off his horse doing a trick for me. I show no mercy. I leave him in the mud, caked with tears. I want him supple, and he wants merely to be soft. No amount of mercy will change that.
During our druid times, my friend says: There are no other lovers.
April 6
My husband reads Jean Rhys to me over the phone at four in the morning, and I can't remember why I left him. Neither of you rides a horse. Anna Karenina crumbled in the stands when Vronsky fell off his horse.
26
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Written in 1990 and published in Washington Review in 1998.
I wrote a note about the short story in the Art & Responsibility topic thread in matchbook group, December 16 (2009 or 2010):
From premise to tone to form – an amazing piece of work. Blows me away. One of the strengths of this piece – and there are several – is the fresh approach to form in the writing. Great writing, Ann.
Ann, An amazing work. Oops. Sam already said that. Let's see, what else can I say. Astounding? Yes. Inspired? Indeed. I really, really like and admire this.
Intense and absorbing; a voice and style that brings images of a black and white movie, a window above a cobblestone street. I like the voice in particular, it is sensual yet neutral, committed yet aloof. Very nice.
Wow. The intensity here is almost humid in an oppressive way. Such invention. So much in such a small space. It is perhaps my own conventionality that makes me just slightly dissatisfied with the ending, though. I want, but perhaps do not deserve, not denouement but more of a sense of delivery, a final cool wind. Maybe what I want is the narrative to come back, somehow, to Ortega, maybe he is somehow paralleled with Vronsky? Or maybe that's just nonsense.
your attention to the line never ceases to humble me. this is one I will read repeatedly in hopes of learning something about this thing we call writing.
Yo this is fuckin awesome. I want to fav it (April) 3 or foe times. Goodness gracious, Ann. You've done it. You really have.
wonderful. and not just in the "this is so wonderful i love your writing" kind of way but in the "you do something different with every piece you write, exploring, experimenting, inspiring, and this works so well both in the small and in the large."
re-read your commentary in the matchbook group which is fascinating. i really enjoy the exterior dialogue that you engage your different selves in, using many places. reminds me of the 7-dimensional spaces of the string universe.
Ann this is masterful. It is so alive, and I agree with Julie that it is a piece to return to again and again, for it lives, breathes, continues to teach.
ann: of all the things of yours i have admired posted on this site i admire this the most. from the first sentence to the inspired last, you had me. uh huh.
Ann I adore this story. It's magical, whimsical, grounded, sad and original, the form kept pulling me by the neck. Strong
This covers so much territory: time, space, language. Stunning.
Powerful, Ann. Love the format and the language. Actually, my favorite of all Bogles I've read.
Ann, this is an amazing piece. A "beyond fave" for me. You are so original in your writing, in your thinking, in the form of your writing. This is a masterful piece. I love the cast--you putting it just where you put it--your writing makes me want to read more of your writing. You are courageously original and unique. There is only one Ann Bogle.
An old fave of mine. Nice to see other people enjoying it. I'd love to pretend this was a typical product of a Jim R workshop, but alas, it was as rare then as now and wasn't a workshop piece, as I recall.
Ann, excellent writing here. Wide scope to this, with a great use of format and varying techniques. As others have said, amazing, and one to keep coming back to.
I really like the play here, the structural pop.
Thanks for this.
Ann I know I've read that story before but this time through I really enjoyed it. I love how you write. I love your use of words. I love how you construct thoughts without the use of whole sentences, if you know what I mean. For you a single word is enough at times to draw whole pictures in the readers minds. I know you know what I mean.
I like what Bobbi Lurie wrote and I second it.
Thank you for experiencing this story much as I had written it. You get the praise.
LOVE this. Fav. Huge fan of stories and novels in diary form. (My area of scholarship is diaries.) Exceptionally good writing here. Rhythmically perfect. A richly textured work.
CAST (in order of appearance)! Ha! Great!
Brilliant!
"Hey Nineteen" -- thanks, James Lloyd Davis!
Ann, March 29 is perfection. In two short paragraphs you managed to capture all that's good and bad about loving a married man, the insecurity,the longing, the desire and the rejection.
"He says that I should be on my guard, that my trouble will be that I arouse strong emotions." What a great line. I love it!
Very intelligent, creative piece. I like how it covers so much, do deeply.
Brilliant writing.
I agree with Debbie: very intelligent and creative! The title is what got me to read it and I'm glad I did!
Thanks to these readers. Bill Yarrow, especially, for his appreciation at the Fictionaut blog, and Angela, Debbie, and Michelle, thanks.
Amazing piece!
Jen, it's nice that you like this story and thanks for fav'ing it.
I felt a great exhilaration reading this. Just like the first time I read Jean Rhys, I thought, and then there was her name!
You are inimitable!
Love this. Love.
l.e. butler left an interesting comment I missed here about Jean Rhys. Thanks.
Bobbi, thanks!
Alex, so glad you found and love this story. Thank you.