Archive for the for-class Category

Reading as Writer (poetry)

Posted in for-class on May 9, 2008 by finepewterportraits

“Waste” by Kay Ryan

Not even waste
is inviolate.
The day misspent,
the love misplaced,
has inside it
the seed of redemption.
Nothing is exempt
from resurrection.
It is tiresome
how the grass
re-ripens, greening
all along the punched
and mucked horizon
once the bison
have moved on,
leaning into hunger
and hard luck.

I don’t know if this is entirely appropriate (this poem wasn’t assigned as a reading in the book/in a packet), but I figure I’m doing pretty much the same thing anyway…

First I have to mention that this poem is very obviously “skinny.” It was a point you mentioned in class, speaking of writers crafting longer or shorter lines, and Kay Ryan was your example, and if it’s true of all of her work, then this is one example, and a good one. Her lines have such a strong economy, and that’s funny, given the content of the first two lines of the poem. “Not even waste is inviolate…” The poem is a vertical line, traveling downward, looking forward to an eventual destination. That Ryan divides her sentences between lines (the first two lines are a short, “shared” sentence) speaks to the flow of it. It is spoken with a quick cadence, and we don’t stumble as we read it, but continue on to the next line all the way to the end of the poem.

Ryan uses internal rhyme to move the piece forward, and also utilizes rhymes at the ends of her lines to bolster ends of sentences. Near the beginning, we see “inviolate” rhymed with “it” (line 5), and later, “redemption” rhymed with “resurrection.” Later, we see internal rhyme dominating more of the soundscape, though it is also present in the beginning of the piece. Some examples are the “a” sound in “waste” and “day,” the hard “e” sound in “redemption,” “exempt” and “resurrection” (three adjacent lines), the “i” sound in “tiresome” and “ripens,” and the “u” sounds in “punched,” “mucked,” “hunger” and “luck.” There is also some repetition (the “mis” in “misplaced/spent”) and a general feeling of consonance, given by words like “punched” and “mucked” and “hunger” and “hard luck.” It’s an elegant construction. The sounds of the vowels are varied (the “ee” in “greening” and the “eye” in “horizon” and the middling “redemptions” and “resurrections.”

Replicating this kind of work is going to be difficult for me, but I’ll post the results below.

Hope is a small
thing, hardly
worth the effort.
It is appalling
how often we
tell these lies
in front of children.
Impressionable minds
want to know,
and this is the
garbage we offer.
We may be tethered
down, but they
shouldn’t suffer
for our years
of controlled descents
to basement dreams.

um…confessional/the other one

Posted in for-class on May 9, 2008 by finepewterportraits

Five years ago
Henry awoke three hours
Before his death.
He was supposed to have been
a good man, or he thought,
But a disagreement between
him and his wife
on THAT point
proved to be
his undoing.

Henry was a bastard
and he got what he
deserved. I’m sorry
that it hurt–he didn’t
deserve THAT. But
Henry didn’t last long
after he knew he
was to die. And really,
The shock of it was
the worst part. For
someone like Henry
The fetal position
is one he’s only seen
in his wife–
never one he actively
Tried himself.

My mother was the strongest
Personality I knew. Sometimes
She said people were bastards
because they weren’t “getting any.”
Henry wasn’t, but not because
I didn’t try. He didn’t love
Sleeping with me. Maybe a roll
in the Hay would have done him
wonders–made him forget his
cold and pinched demeanor, made
him groan and spasm and flop
like the rest of us do when we
do it alone.

I’ll confess that I’m not sure.
But after awhile, you stop asking
questions, and the rote in your life
is the mode of your life, tireless
and final. You expect only that
the next few moments are the moments
you have just endured, spread out
over a timeline of a forward-moving
marker saying “You Are Here.”

I don’t know that the second poem differs that much from the second stanza of the first, BUT I thought it was interesting to include a first-person shift in perspective, and I thought a bit of a confessional within the narrative was…fitting. I like that the first is a little skinny, and the first STANZA of the first is a little glib. It snakes downward, speaking in a language that is familiar and pulpy.

The second poem is more squat. I had a hard time with the form of the “confessional,” because I wanted to include the words “I confess…” or something to that effect. Or for some reason I wanted to delve into melodrama, thinking this was some piece of 1930s thriller trash. Wikipedia calls a confessional a sightline into a poet’s heart (or it means to) and it’s difficult to write in that form when the subject matter is not of SELF but of someone else. It’s supposed to be deeply personal.

And maybe I did it wrong, but I thought “what would I confess if I were her?” and I thought…”what is private?” And sex came to mind, and that (the “not getting any”) IS something my mother would say… of teachers I didn’t like, or rude people she met in grocery stores. So I put it in there, and that’s what began the poem. I don’t know. These are usually the things that spark my stories/poems. These little bits of a character’s personalities and then everything else is a segue.

Poems.

Posted in for-class on April 30, 2008 by finepewterportraits

Bass reverberates against
the slippery white slopes of my spinal column
otherwise rigid: now released
a sweet reprieve from high-backed chairs and
endless dirges of work, work, work…

the trilling of trumpets sounds echoic
against the white chamber of concrete
slabs and human beings,
thousands of teeming vapid dreams,
the scent of popcorn and nachos wafting
through the air to land, ultimately

on the noses of tens of hungry combatants:
Gladiatorially gifted, pituitarily lengthened
beasts.

As for me, the dream is immersion
In the soft fat deposits of rich
Humaneness, cheering
For teams,
Thinking of nothing.
Thinking of nothing at all.

The date that made you limitless.
The date whose fine lines belied her…personality.
The date whose father used to hit her.
The date in which you spilled coffee on your pants.
The date that never ended.
The date you wish had ended.
The date that ended in divorce.
The date that hurt you when she didn’t return your calls.
The date your father died.
The date of your first incarceration.
The date your mother died.
The date who kept looking at a spot on your neck.
The date who was a whore.
The date who was a banker.
The date who was an escort.
The date who stole all your pants.
The date we landed on the moon (20 July 1969).
The date in which you were over the moon.
The date in which you weren’t.

ORIGINAL POEM (Danish):

jeg klamrede mig til luften
imellem
dine druers springende kærner

Jeg klamrede mig til rummet
under
dine spredte ballers fladen

jeg klamrer mig til farven
hvor
den truer hver pixel med et fix

jeg klamrer mig til musen
mens
den sletter safternes nervøsitet.

MY POEM:

the sun bakes the rusks
expanding
under nature’s callow fire

the sun bakes bald heads
glistening
under uncovered swatches of terrace

the sun bakes the solidarity
swarthy
of teeming masses of soldiers resigned

the sun bakes the solid bulk
exposed
of bronzed and buttered naked flesh

Re: Snapshot Poem

Posted in for-class on April 24, 2008 by finepewterportraits

In re: Snapshot poem (Ross)

Cry, cry the jagged whine!
That high pitch of liberated feeling
Wounded animal’s plight.

You’ve earned it from the times you didn’t cry
When in those nights, your
solitary sighs compelled not
tears, but dry eyes—
Tough resolve
dogged, stubborn pride…

Socked with a baseball
Hit in the balls—
When no one can blame you
you let it come to the surface
And peek its ugly head out:
Hurt, for the first time
exposed as a raw and beating
organ;
sand kicked on ends
of nerves,
vessels submerged
Drowned in viscous oil
Made to choke.

All the king’s horses, and all the king’s men…

Posted in for-class on April 24, 2008 by finepewterportraits

Early draft of some Humpty stuff:

I was one of the king’s men who found him
Crazy bastard
Leaping off the top of a too-high wall,
Body bulbous, falling unprotected.

They say he stayed strange ‘til the moment before.
Then his caterwauling ceased
And he jumped into a scene—
A fat projectile mounted on
currents of air
Carrying him down in a graceless arc
To cobbled streets…
Below, Ground Zero.

Split open his innards oozed,
A filmy glaze of organs and booze,
And Humpty’s brain and eyes
Flowed fast
astream the runny
Eggwhite soup.

He lay there, spattered
Over two square blocks of commerce
Disrupted.
And strolling gentleman with
Handkerchiefs in hand,
Covering their noses,
Shielded their eyes.

As for me, I was among
the men who sorted him out,
or tried;
It was fruitless.
For all the king’s horses,
And all the king’s men,
We couldn’t put Humpty together again.

Snapshots.

Posted in for-class on April 22, 2008 by finepewterportraits

First, let me link again to a GREAT COLLECTION OF POETRY (also visible on my sidebar). These are poems a writer from Stanford has collected on her blog. They’re all very good.

I told you I could pop them for you. Your veins. Meaty veins, the color of worms, that when I press against them wiggle in and out of place, navigating a terrain of thick strong flesh. Your eyes go wide and for a moment you fear me, your demented child, sick with curiosity. But your black eyes flash to my mother’s laughing face, and they crinkle like Christmas. You bounce me on your knee, then, and I am putty in your hands.

I hate it when you cry. You cry like a wounded animal does, like a dog does. It’s a keening sound, the hoarse high whine aside the gasping breaths. You let no one see your face, obscuring it from view with interwoven fingers on the sides, blinders from your shame. Socked with a baseball. Hit in the balls. Whatever. You’ve earned it from the times you didn’t cry, the times you watched and didn’t say a word, just let it come near the surface and peek its ugly head out.

You’re like a lobster with its claws clipped shut. An ineffectual lobster. You’re red all over, tears streaming down your face, and you’ve come at me with your fists bared. Karate fists…Secret weapons. You begin to pound on me, and your little frame is coiled tight like a spring, like all the force in the world couldn’t hold you back forever. It doesn’t. A nine-year-old does.

As a note, finepewterportraits is from a Ben Folds Five song (“Battle of Who Could Care Less,” Whatever and Ever Amen). I thought it’d be appropriate to share that here, given it’s from a song lyric (poetical in its own right). The full line goes “Fine pewter portraits of General Apathy / And Major Boredom / Singing, ‘Whatever and Ever Amen.’”

Unit Response.

Posted in for-class on April 21, 2008 by finepewterportraits

Can be found here.

Reader Response (Hemingway).

Posted in for-class on April 21, 2008 by finepewterportraits

First I’ll say what I think is funny about this piece. We were so convinced that the man was the one who held the power in this, and that the woman was appeasing him, but…no. Reading on we discover that, if anything, the dynamic shifts between the power of the man and the woman, with the woman holding most of it. She is the one who is about to have the abortion. She is the one whose language the man hones in on.

The abortion is of course never explicitly called that, and the closest we get to it is “the operation.” What we do have are brief allusions to it in phrases, words and tones. “It’s just to let the air in” is actually what clued me in to the meaning of the subject matter; ironically, the word “operation” did not. That image, of a “barren” woman (something I think I associate with abortion) is both economical and poignant. It doesn’t overstate the meaning, but we imagine a hollow with a wind passing through it, and that is the image that remains. Following that the man peppers the conversation with reassurances, saying everything will be fine, and he only wants the one (her; not the baby), and his insistence and his pleadings are further clues…

What highlights the conflict is the manner of Hemingway’s dialogue. It’s…rat-a-tat-tat? It’s one person speaking and then the other, no real attribution provided, just a starting place (the man speaks) and the variance of the two. There’s something very intimate in that—us as readers observing these two talking…and at a close distance—but also something distant: we don’t see into their heads. We only get what their responses allow. So Hemingway works to make his characters dueling forces. The woman, though she acquiesces to having the procedure done, is tired and unhappy. Her response to his reassurances (“…and they were all so happy.”) is sarcastic, and she follows that by saying “I don’t care about me.” In a way, she’s putting up a fight without putting up a fight at all.

This is all in the second half of the piece. In the first half, we see the dynamic as something slightly different. For though the girl exerts her influence early on (she reigns the man in, and provokes his speech), it has a different quality than later. Here we see the woman who is in love with the man, willing to do something for him and still actively trying to improve his mood. We see that he has power, because the woman would otherwise ignore him and allow him to be surly.

The effect of the scenery around them being so spare, and Hemingway’s minimalist descriptions, seems to heighten the mood of the piece before we even meet the characters. I didn’t expect, upon reading the first paragraph, for the characters to be ebullient. Happiness isn’t economical.

Also, and I don’t think this is a stretch: Hemingway’s two characters are foreigners in this land—or at least the man is. And because the unfamiliar is disquieting, I think it adds to the dampening of the mood. Add to that the aridness of their surroundings—the dry heat and whites and blank horizons—and it seems like Hemingway was constructing a metaphor for abortion.

Beyond that I can’t say. It is a spare piece, and I think I’m already delving a bit into literary theory.

Henry (or “My Short Story”)

Posted in for-class on April 16, 2008 by finepewterportraits

If it’s easier for you to read in .doc format, here that is.

Henry was in a mess, because he thought he was better than he was. From day one, he had told himself he wouldn’t be one of those guys, striking up conversations at bars, lamenting sad marriages and bad jobs. He thought people should make better choices for themselves. Save them the trouble of divorce by never getting married. Not cheat on their wives by…not cheating on them. His equations were simple, because life was simple. Consequence followed action. That was it.

When on a dreary Sunday morning he awoke with no feeling in his face, he began to change his mind about some things.

“What the hell is going on?” he thought. He tried to move his lips, but they seemed locked in place, frozen and drooping downward. His expression was one that dogs give at rest. He patted his face tentatively with the pads of his fingers, and though his fingers encountered stubble, his face felt nothing. He felt pressure, but it was vague. He thought about his doctor warning him of “pressure” after he applied the local anesthetic. “You’ll feel some pressure,” he’d said. Henry hadn’t worried then. Pressure was better than pain. Now, everything was indiscernible; the sensation was alarming.

Henry didn’t panic. He had never had reason to panic before. So when he encountered this barrier to sensation, he thought he’d test it for its source. He’d never heard of a man having a stroke that paralyzed his entire face, so he thought it must not be a stroke. He lifted both arms to be sure, and rotated them in circular motions. He hopped on one foot and spun in a circle and skipped around the room and was finally satisfied that he had not had a stroke, and his brain clicked like a cog moving one turn forward, and he thought about the next thing. He thought, “Maybe it’s a dream.” He knew he could resolve this quickly, so he pinched himself and knew it was not a dream. Henry rarely had dreams anyway. When he was busy sleeping, he didn’t have time for dreams.

Then he stopped and the cog slipped forward haltingly, and Henry had a thought he’d never had before but made sense in that instant, and for the moment it was enough. He thought “Maybe my wife has poisoned me.”

It made sense. Henry hadn’t spoken to his wife in ages. She was taken to fits of shouting and gesticulating. She was often late for functions. Sometimes she was drunk before morning was up. Henry thought she might be the kind of unreliable wife who poisoned her husband. Then he thought how absurd it was, and he tried to smile, but his frozen face wouldn’t yield.

It seemed a reminder to Henry, and he took a moment to think on it before he allowed himself to really entertain the thought. Was it permissible to think of one’s wife in that way? Henry wasn’t accustomed to conflict, and the dueling thoughts were too much for him, and he had to sit down. He approached the bed they shared and noted that her side was neatly made before he allowed his headache to encroach. One thing at a time. He rested his hands on his knees. “It has been one of those days,” he thought, and he was amused. It was a phrase he had heard often at the bar. He had never had occasion to use it, but this seemed a day for new things.

Henry fingered the bedding on the bed. It was smooth between his fingers, and he couldn’t resist bringing it up to rest against his face. He gripped one end of the bedding in his hand, and moved a small triangle of it against his whiskers. He felt nothing but the swatch of bedding in his hand. He heard the brush of his whiskers and he repeated the motion. He was entertained by the sound. He thought it was funny that the sound should seem disembodied when he knew its source. He was reminded of the last time he had gone to the dentist, and when he spoke after his surgery, how the Novocain numbed his words, and there was a disconnect between his thoughts and his words even though he was saying exactly what he thought. When he paid, the receptionist was confused at his absent look, but Henry didn’t notice. He was rarely whimsical, and the thought disrupted much of his activity for the rest of the day. It was only after he got home that his wife startled him out of it.

Henry rarely thought about his wife. She was prone to bouts of childishness, and Henry didn’t have patience enough to deal with her. He thought she was flighty. In another context, he might have thought she was a typical woman. But Henry didn’t know many women, so he’d never really thought about it. Instead, he avoided his wife so he wouldn’t fight with her. “The secret to a good marriage,” he’d say, “is maintaining distance.” He had a lot of phrases to that effect, and he’d tell people at work who were complaining about their wives or girlfriends. He’d say “Women need their space. They don’t like to be coddled. They would rather figure it out without you.” The men he worked with would laugh and think he was being wry. Henry would smile and turn in his chair to finish up his work. Sometimes they would invite him to the bar, and they would smile at Henry’s jokes, and Henry would look bemused and think to himself that these men had an awful lot of problems that could be solved by following his advice. The bonds of his marriage were in silence.

“Henry, you’re an asshole,” his wife said yesterday. Henry was lost in a book on his side of the bed, and it took him a moment to register what she’d said.
“You don’t mean that,” he said. “We have a great marriage.”
His wife seemed taken aback that he’d responded in this way, but she was pleased that he was being so candid, and was eager to get to the bottom of their failed marriage.
“Henry, you don’t ever talk to me. You’d rather I was completely silent. What kind of marriage is that?”
“We have a good marriage,” he repeated, and his eyes stayed trained on the book in front of him. “Silence makes good marriages. Your problems are your problems, and my problems are mine. We don’t bother each other with our personal issues.”
“Don’t you see how that’s a problem?” she asked.
Henry shook his head and began citing a statistic that said over 50 percent of marriages failed in the first three years, and they were clearly long past that; in addition, most marriages dissolved because of “irreconcilable differences.” Henry said they were better off not spouting their differences for fear of divorce. He said they’d stayed together so long precisely because they didn’t talk. “How can you have differences if you don’t talk about them?”

He smiled at her comfortingly, then, just as he had a thousand times before, pleased that he had articulated himself so well, and thinking this brief talk would sustain her for another few years.

He was not concerned by her crying, then, because he knew women were emotional, and when he saw her take her evening pills, he knew she would sleep well that night. She wouldn’t toss and turn as she sometimes did, and the bedcovers wouldn’t get wrapped up in her body, and the air wouldn’t be hot beneath the covers from her motion. Henry would sleep well too.

When she returned from the bathroom with a glass of water, Henry accepted it gratefully, and he took two big gulps before remarking that the water tasted stale.

“Our pipes burst a few days ago while you were at work. I had to call a plumber to have them fixed. I told you this.”

At this Henry nodded, and he said he remembered and he was sorry. In fact, he didn’t remember. He was sure he hadn’t paid attention when his wife had told him. Probably he was thinking of something important and work-related. He couldn’t know for sure.

“The plumber said our water would taste a little off for awhile. Something about the sealant he used to bond them. I don’t really remember, Henry.”

Henry said that’s all right, and he drank the rest of the water to assure her that it was fine and he didn’t mind. He thought it was odd that he was now thirstier than he’d been before he drank it, but he wasn’t a plumber, and he fell asleep thinking about his own job.

When Henry awoke the next morning, his face was paralyzed, and as he sat at the edge of the bed recollecting the previous night, he thought he would call the plumber when he could to see if the problems were related.

When Henry stood up again his movements were more stilted than they’d been before, and he tried to go about the routine he’d established earlier, testing for the stroke, bouncing on his heels and skipping about the room. This time he noted the jerk in his right leg as he lifted it to skip, and how his left leg dragged to strike a balance. His right arm too was moving spasmodically, ripples coming from his shoulder and affecting the movements of the rest of his arm. He watched rather helplessly as it flopped and then went rigid, and he felt a curious sensation as the blood in his veins curdled. He thought he saw little bumps like cottage cheese marching through the prominent veins of his forearm, one-by-one, and he shook his arms to settle the curds, thinking irrationally that this was how one thinned paint. When the flailing motions of his arms eclipsed his balance, he toppled to the floor and shook. The movements were ungraceful, and Henry was, for the first time in his life, helpless. He felt his stomach expand slightly, and the taste in his mouth was no longer neutral, but toxic. He knew, as any beast does, what would happen next, and he rolled to his side as best he could, and retched.

His mouth was open only slightly, and not being able to move it himself, he prized it open with his fingers to let the vomit come out more fluidly, in a bigger stream, to prevent himself from choking. Already he felt the weight of the chunks of vomit, lodged behind his teeth, collecting. Henry felt a mounting sense of dread, and for the first time in his life, he panicked.

Struggling to lift himself up on his forearms, he crawled through his vomit to the door of their bathroom, and he pushed his arms as hard as he could against the ground to come up to a kneeling position. He felt the curdling all over. He gripped the door knob with a shaky hand and pushed the door open. Dawn was rising inside the bathroom. Slivers of light peeked through the window curtains and collected on the floor, and the walls were a dull pink glow. Henry might have noticed that it smelled like summer, but his face was a mess, and he couldn’t smell anything.

He finally stood after gripping the counter as tightly as he could and heaving himself upward. He rested his forearms on the counter for support, and began rifling through the medicine cabinet. He didn’t know what he was looking for. Proof, maybe, of his wife’s disloyalty. Aspirin for his headache. Something magical to cure him of his ailments. He knew he was very sick. He didn’t know what his wife kept stored in this cabinet, but he had always found it fully-stocked, and he was counting on finding something to help.

Instead he found little of use. A bottle of nail polish remover. Foundation. Antiseptic wipes. A jug of hydrogen peroxide. A tube of Zinc Oxide. Sunscreen.

But he did find aspirin. After a few moments of fruitless attempts at opening the bottle, he finally managed it, and several spilled across the counter. He gathered them up and shoved them in his mouth. He placed them on his tongue (he looked in the mirror to see), drew a glass of water, pinched his nose, and swallowed them. He was hoping the curdling would stop. He knew that aspirin thinned blood. He thought he would be fine if the aspirin kicked in.

A little less urgently, he surveyed the rest of the bathroom. He shuffled to the other side of the sink, and he was surprised when the first thing he saw was a faint blue powder clinging to the countertop. He didn’t know exactly what it was, but his heart began beating more wildly, and he felt his dread return.

He thrust open the first drawer he could reach, and he searched within it frantically before he found a yellow prescription bottle with his wife’s name on it.

Henry searched the label on the bottle, and he saw “Prozac (Fluoxetine) 10mg – Take as directed, no more than twice daily.” He twisted open a capsule with his fingers, and the dusty blue-white powder collected on the countertop, next to the powder already there, a trace amount.

His fingers were already wet, and he dipped one of them into the powder and brought it to his tongue. He tasted the stale water from last night, and again he retched, this time into the sink. He extrapolated the amount from the size of the glass, and the concentration of the drug in the water. This was his job. He approximated 150 or 200mg. Ten dosages. One application.

He thought Bitch. Bitch. Bitch. He walked clumsily to the toilet and sank onto the seat. He was helpless. His legs were no longer capable of movement, and the telephone was too far away, downstairs. He could not call for help. He couldn’t even dial for help. He resigned himself to waiting, and he thought of everything his wife had ever said.

The end was near. Henry knew that. And he knew that distance didn’t make for good marriages—it made for death.

Henry’s wife walked up the stairs expecting to find him dead. She was shaking. She hadn’t had a drink or a pill all day.

When she came into the bedroom she saw flecks of blood and vomit on the floor, and spittle strewn across the carpet. She could not help feeling sorry for Henry, who was so divorced from feeling that it must have been a shock to be in agony.

She saw where the trail led and was not surprised to see him fallen on the floor of the bathroom. His eyes were rather glazed, and his mouth was bleeding. His body was siezed into an awkward shape, and way his limbs were bent implied a kind of rigor mortis. The only indication that he wasn’t dead was the way his lips moved slightly with the ebb and flow of respiration, his chest thrumming silently and seeming to reverberate all the way up his throat. She wondered what he was thinking, if he was thinking at all. She was no expert in matters of medicine, and she wondered if this was shock.

As miserable as Henry had always made her, she knew now that he hadn’t done it on purpose. He was the kind of fanatic who believed in all the terrible things he did, thinking they made for a better world or marriage. She knew that now, but she could only be so objective.

She bent down to the floor and sat upon a part of the rug untouched by his fluids. She moved his head to her lap and cradled it there. She clamped her hand firmly over his mouth and nose, and she whispered, “Poor, poor Henry,” for he was about to die, and he had never needed anyone before then.

Class stuff (other stuff, too)

Posted in for-class, in-class on April 16, 2008 by finepewterportraits

He gazed into the landscape under the eclipse. The flight would be delayed a few minutes so the pilots didn’t get blinded flying into the sun. Henry walked up the corridor to do a final count of the passengers on-board. Things had been mostly calm except for a baby screaming and not stopping, and a man who was too big for his seat who complained to everyone within range that he hadn’t paid 300 dollars to sit in a goddamned sardine can. Henry meant to check on the man when he heard the ring of the customer call button. Glancing at the lighted grid on the wall he saw it was the fat man, and he groaned at his impatience. It did not bode well that this man had made first contact. That meant he’d been stewing in his anger for awhile, feeling neglected, and Henry knew he was sure to be on the receiving end of a self-righteous diatribe. Everyone who flew was an authority on in-flight accommodations. He straightened his jacket and strode down the aisle, and he asked the man what he could do for him.
“You could start by moving me to one of those business class seats up there.”
“Sir,” he said, “those seats are filled. I’m sorry, but those customers paid a premium for their tickets.”
“And you don’t think I did?” asked the fat man. His eyes had gone wide, and his bulbous ass bulged over the cramped confines of the seat.
“Well, sir, you didn’t purchase a business class seat. I’m sorry, but we’re very clear up-front about the size of our seats in the Economy section…”

Salt:

I felt slukie sitting on a fucking barstool with a guy who was too old for me sitting next to me, poised to vollow me the first chance he got. I had on my best slitties, wrapping around my breasts like hardened wax, and the way my nipples poked out of them, I felt galivened. What the man didn’t know was when Dr. Connor put the selukilim in me he found those traces of cancer that would punctuate the end of a miserable, superficial life. I fingered the part of my dress draped over my hip and was aware for the first time that it didn’t matter who made it, because when I fucked the asshole sitting next to me, he wouldn’t be paying attention. He’d be grunting and sweating into my metastasized cancer as he rolled a nipple between two smoky fingers.

Also, these were responses to the thing Barbara linked to on our shared page:

I’m not a brave person. So when we flew into the guardrail I was surprised at how…calm I was. Her car skid on a patch of wet leaves on a hard turn down the Hill, and my only thought in the moment before impact was ‘Are we going through this thing?’

My scariest moment?: A movie. How pathetic is that? Prospects of divorce? Whatever. A bad trip? Okay. But the boogeyman pops out behind a wall and suddenly I’m screaming, this long, low-to-high crescendo, my eyes coming out of their sockets. I’m in a stiff highback chair in the middle of the room, and I’m pushing rewind to watch again.