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Courtney Eldridge

Spring Break, Sketch 5

Spring Break, Sketch 5/8: “Where the Wild Things Were,” Collaboration with Alex Simms, Part 4/8. Originally posted March 2, 2010.

(See Alex Simms, Image 4)

Setting: Thea reclines her seat, sitting in the front seat of her mmr’s car, in the Walmart parking lot, late August, 2008.

You know, when I was little, I used to love shopping at Target more than anything. I’m being totally serious, we didn’t go there often, but whenever we did, I used to love to hide in the racks, inside those round clothes racks, where no one could see me, more than anything. To me, it was like, I don’t know, it was just like this whole huge store of clothing forts, you know. So many places to hide, like right in the middle of the day, and just so much better than building a fort in my room, like throwing a blanket over two chairs or whatever. And there were people, everywhere, too, like way more action than my bedroom, you know? Of course my mom used to get so angry sometimes, when I wouldn’t hear her calling me, and she’d freak out that someone had kidnapped me, but it was worth it.

I was just thinking, what is it about hiding and finding hiding places that makes you so happy when you’re a kid? I mean, just knowing that you can see someone who can’t see you, it’s like this little power you have, like you know something someone else doesn’t know. Maybe that’s it, I don’t know.

And then, one day, I quit hiding in the racks. I don’t remember when, but one day I decided Target was trashy. But until I was ten or eleven, even, it didn’t occur to me that Target was trashy, and then, one day, I started noticing how you’d see people there who were obviously really overweight and didn’t make much money. I remember when I’d see these obese women and they’d have this awful permed hair and then they’d curl under their bangs, but then their roots would be showing. I remember thinking, Where do they live? Where do these people come from? Now I know. Live and learn and welcome to Walmart, right.

Still, seemed so strange, sitting in the car, waiting for my mom, that night, like it wasn’t really happening to us. I mean, I was sitting in the car, trying to imagine my mom walking into the manager’s office, smiling a big smile, like she was put here, on Earth, for one thing, to get a job at Walmart. I’m sorry, it was just very strange, trying to get my mind around the fact this is what’s become of us. I mean, what’s next, would she be telemarketing from home at night? I shivered, just thinking about it—no, I literally shivered, because, really, anything was possible anymore.

And then I felt this wave of just, you know, just, like, rage. I blamed my dad for me sitting in my mom’s car in the Walmart parking lot, while she applied for a second job, an even shittier job than her shitty full-time job. I’m sorry, but why couldn’t he just keep his word? Why did he have to be such a, just such a cheat, you know? The man’s a liar and a cheat, and we have to pay for it? If anything, he’s the one who should be working as a greeter at Walmart, not my mom. So unfair.

I sighed, putting my feet up on the dash, even though I knew Mom would yell at me if she saw, whatever. But leaning back, that’s when I noticed the boy walk by in the rearview. It was just a second or two, but I could see his shoulders, and just something about the way he carried himself, too, I couldn’t figure out who it was. Really, you couldn’t see his face, you could just see he looked tall, tallish, and fairly thin, but he had his sweatshirt hood up, so you couldn’t even see his profile. Even so, it was like a siren in my head: Boy? Cute boy? Is there a cute boy in this toy?

I got all excited, and then I turned in my seat to look. I mean, I actually turned around and got on my knees, but the boy, the kid in the sweatshirt, he was gone. I looked, but I couldn’t see around the cars, parked beside us. I thought about opening the door, sticking out my head to look, but it seemed too obvious.

For a moment, I wished I’d brought my sweatshirt, so I could pull it up and hide, and go look for him inside. Indoor hunting, you know what I mean? Then I turned around, thinking about it, whether I should go in or not. I figured it’d just be disappointing, because it was probably just some kid from school who looked good only because I couldn’t see them. Like really cute from a distance, but up close, no way. Still, he reminded me of something.

When my parents were together, when we lived in our old house, we had this neighbor lady, Mrs. Carroll, whose grandson would come to visit for three weeks every summer, in July. I don’t know why three weeks, but that’s how it was, and he was my age, her grandson. His name was Damian, and for a while, there, I thought we’d get married. Not because I was in love with him, mostly because he did anything I told him to do, and that’s all you really ask of a spouse at the age of six, you know.

It’s just funny, you know, how you can have these little love affair friendships when you’re a little kid. I mean, summertime friends are different; they burn brighter in a way, you know what I mean? And there are different rules, too. Like in the summer, you can have best boy friends, you can run away from girls for a while. But as soon as you’re back in school, no way. Summer . . . it just has its own its own laws, you know?

Anyhow, my mom remembers Damian all the time, because he stayed with us one weekend, when we went to the Catskills. My dad’s boss gave us his cabin for a long weekend every summer, so my parents offered to take Damian with us, so his grandmother, Mrs. Carroll, could have a little time off.

We were only there for two nights, but the first night, Damian got out of bed and went downstairs, almost crying. My mom said, Damian, what’s wrong? You can’t sleep? He said, No, like totally whining, practically throwing himself in her lap. My mom said, Why not, sweetheart, did you have a bad dream? And Damian nodded, and then he said, There’s no food in my room: I can’t sleep without food in my room! I think my mom sent him back to bed with a granola bar. But she loved to tell people that story, the one about the boy who couldn’t go to sleep without any food in his room. I don’t know why she thinks that’s so funny, but she does.

What I remember best was that on our way, driving to the Catskills, my dad tried scaring us, telling us there’d been mountain lion sightings near the cabin, and my mom told him to knock it off, that he was just trying to scare us, and it wasn’t true, but we loved it. I mean, it was so scary to think of a mountain lion walking around the cabin, but we loved it. We were going to the woods! The wild! Wilderness, where animals were able to eat small children. Dad said when you see a mountain lion, stop, and don’t look them in the eye, but you’re supposed to huddle together and wave your arms to look bigger. I couldn’t figure out who’d have it together enough to do stand in place, huddle, and then wave their arms, face to face with a mountain lion, but I guess it worked for somebody.

Anyhow, one summer, the year before I started first or second grade, I can’t remember, but Damian came to stay with his grandmother, and we were in love with Where the Wild Things Are. I loved that book so much, and I spent hours and hours tracing each monster, too. And then I’d make some changes, turn the wild things pink so they’d be girl monsters. Like that’s all it takes, right: pink, andpoof! You’re a girl monster.

Seriously, I always wished Maurice Sendak had made a girl’s version, just call her Maxine instead of Max, so it’d be easier for me to imagine being the character, of course, dressing up like a wolf and going into the wild, but anyhow. I rewrote the story, and then Damian and I had our own little book group, and sometimes I’d even show him some of the drawings I did of myself, playing Maxine, going off into the wild.

Damian was so gullible, too. That was the other thing I loved about him. Like how I told Damian I’d brought the pictures back with me, that I drew the pictures in the wild, that I had the monsters pose for me, and I knew how to get there, too, to the place where the monsters lived. And the best part of all was, he believed me every time! So then, in a way, I sort of believed me, too. Really, why not? I mean, we knew for a fact there were wild monsters in the woods, mountain lions and bears, at least, and one day, Damian asked me if I’d take him with me sometime, to see the wild things.

By that point, i’d almost convinced myself it was all true, you know. And I remember being so serious about it, too, like, Hmm . . . I don’t know, Damina. They might not come out if I bring you. Of course he’d beg and beg, Please, oh, please, just take me with you, just once! Please, Thea. I mean, he begged, another endearing quality, right.

So finally, I agreed to take him, no idea where I was taking him of course, but we’d make our plans every morning. We’d plan our food, we’d plan our gear. We turned an old set of his grandmother’s sheets into capes, and then we christened ourselves superheroes. My superpower was drawing, like any weapon you needed, I could draw it and it would appear in my hand or anyone’s hand. So I was a superhero artist, I guess, and I don’t remember what Damian’s superpower was. It wasn’t very super, I guess.

Well, ortunately or unfortunately, since Damian didn’t really have much imagination, I decided I’d be in charge of names, our superhero names, so I named him Zor. I don’t know where I got that, but Damian was Zor and I was  . . . I was a different name every day. One day, I was Svana, and the next day, I’d be something like, I don’t know, Jill. Zor and Jill, yes.

Still, we’d talk about sneaking out of our houses at night, but in the end, it all comes down to one thing. See, it wasn’t just that Damian did anything I said, the best thing about him, besides the fact that he always believed me, was that he was a scaredy boy. I’m serious, Damian thought I was so brave, playing with the wild things, and I loved him for that. Because having a scaredy boy was good for one thing: because he’d always say it first. Like we’d barely make it past our back yard, and Damian would be the first to say, I’m scared. And then, we’d hear something, or we’d imagine we heard something wild, and since he was the first to say it, I’d say, Me, too. And then we run, screaming, realizing we were barely a block from my back door.

That was the best part, though, when you convince yourself a monster is right behind you and about to do terrible things to you, like rip off your arms and legs or just put you in their mouth and eat your whole like a handful of pretzels, but then you barely just escape with your life. That’s what I always told Damian: if the wild things don’t come out, you have to imagine them, and then they’ll let you see them, right. That was the summer I decided adulthood was what happened when you stopped making up superpowers and superhero names for yourself, and wearing old sheets to find or fight or play with all the wild things. Tragic.

So I changed my mind, and opened the door, deciding to go back inside, take a quick look to see if I could find that boy.

Spring Break, Image 5

#4, saccades4-2

Alex Simms. Originally posted March 2, 2010.

April 28, 2010, Day 189/360

Playlist track 4 chosen by guest artist/DJ/collaborator Alex Simms. Originally posted March 2, 2010.

Spring Break, Sketch 4

Spring Break, Sketch 4/8: “The Perfect Dream Me,” Collaboration with Tara Violet Niami, Part 7/8. Originally posted February 1, 2010.

(See Tara Violet Niami, Image 7)

Setting: Thea’s sitting in the dark, at her desk, staring at her computer screen, her face illuminated, flashing, she looks humored at times, but mostly she looks kind of dazed, watching a video.

The thing is, the way I saw us, together, the way it felt to me, really we were just like any two girls, lying in bed, staring at the ceiling, goading on each other’s fantasy lives. But the movie, that was something different altogether. Mel was taking things way further than I ever imagined, and then I had to completely readjust how I saw myself in the equation of our friendship. Because I wanted us to be equals more than anything, with or without her chair, when the time came that not only were we equals, Mel might have better ideas than I ever had, I didn’t know what to make of it, you know?

It’s such a thrill to click with someone like that, too, to connect in that way. It was like there was constantly glass on my shoulders from the light bulbs exploding over my head, whenever Mel was telling me about our movie. And to think that the first time she mentioned it, she was so shy that she didn’t call it a movie, she described it as just sort of a photoshoot. I mean, she had this whole movie in mind, and she was embarrassed to tell me about it? Me?

So, yeah, I mean, I couldn’t really get my head around it, at first. And then, when Mel really started opening up about it all, like how it felt, what it looked like, talking about the girl, I was so blown away, I had a hard time speaking up sometimes. I mean, it was definitely complicated, and I wanted to be sure I understood what it was she wanted me to do. For the first time, I felt like the one who had a hard time moving, you know?

So, wait. What do you mean by you see the pictures and I shoot them for you? I asked, still not quite clear.

Just imagine you’re seeing what I’m seeing, and then you try and shoot whatever that is, that’s all, she said.

How do I see what you see? I asked, scratching my forehead. I really was just like, Huh . . .

Just imagine it, knowing me. Like, pretend I’m the girl—.

The jetset teenage runaway living under a false identity, having traveled back in time to Paris, 1968?

Exactly, she said. See me, right, the perfect dream me, and then, imagine me doing the things I’m describing. Like, imagine it’s the me I dream of. Or at least this one dream of me. Let me put it this way: imagine it’s like Virgin Suicides. Like that atmospheric and moody, right, but singular.

Virgin Suicide, I said.

Yes. But maybe that’s in the past now, too, the suicide attempt.

Violaine’s attempted suicide? I asked.

Just have to wait and find out . . . she cooed, so smug, this one, ugh.

What else? I said.

She has money. I mean, of course she has to have money, somehow. And, like everything else about her, you don’t know how or where she got the money, you just know she has it.

And the apartment? How does she score the apartment?

It’s a movie, Melody said, mocking my cold-blanket reality checks.

No, I’m just curious, I said. Just asking.

Well, if I had to take a guess, she’s got some of those bizarre super rich people connections where she knows of a girl who knows some girl who has some incredible place that she never even uses and she’d love someone to stay in . . . I don’t know. How, logistics, guarantors, it’s not important. This is Paris, after all. It’s about the magic—City of Lights is all about the magic. Have you ever been to the Louvre? she asked.

No, I said, only in pictures.

What’s The Louvre like in pictures?

Very French, I said, nodding. Very arty. Very cool.

And that’s what we want, see? Perfect location, Mel said, like that was that, it was settled.

And why Paris of 1968?

Maybe she’s half-French, for one thing, Mel said, sounding like she was improving the answers as the questions came. And, secondly, she said, because . . . well, come on, Chanel No5 is so much nicer than patchouilli.

Oh, definitely.

But she has both. She just doesn’t use both, she said.

Right.

So, basically, she’s going to become this neo-retro-sexual-revolutionary-time-traveling babe before our very eyes, Mel said, sealing the deal.

So how’s it open, the movie?

Oh, tight shot, naturally. Imagine she’s walking down the street, just hearing how good her shoes sound on the streets of Paris, and you’re following her, very tight, like right behind her shoulders, almost pervy-tight, that close, but not quite, she said.

Black and white? I asked.

Oh, definitely black and white, she insisted. Everything future-past tense should be in black and white, so we’ll know which time period she’s in, see, she said.

Got it, I said, nodding in agreement.

So that’s how it opens, and she’s just walking down some incredibly fashionable street, really cool, right, you can feel the buildings all around you, even if you can’t see them from that angle, over her shoulder, and then, unexpectedly, she loses her rhythm, and stops, after almost tripping. She wobbles, trying to correct her shoe, and then has to bend over, carefully, to readjust her right heel. Camera pulls back, and now there’s something in her eye, and then she turns and starts walking down the street again.

Our girl with the charmed life is not obscenely immune to the occasional misstep, what a relief, I said.

You got it, she said.

So then what happens?

Well, by then it’s mid-afternoon and she’s just getting started, so she stops to get a falafel at this joint in the Marais.

A falafel?

Yes. Because in Violaine’s Paris 1968, there are really excellent falafel joints, Melody said, and I just started laughing.

Falafel joints? I said.

Yes. Like she’s suddenly famished and has to eat something, right away, so she stops to get a falafel, and first bite, she drips tahini or whatever on herself. She looks so damn chic, and then she goes and dribbles falafel on the crotch area of her dress. So she starts looking around, see if any of the guys behind the counter saw her.

Did they?

Of course. They were all looking at her the whole time.

So American, I said, nodding at the morality tale of it all.

Half, yes, she said.

Okay, I said, but I still need to have some idea what she’s running from.

It’s either someone else, or . . . someone else, I guess. I don’t know, Mel said, maybe she made a terrible mistake and the only way to escape it was to go back in time, right.

So what does she do when she’s not hanging out at the Louvre?

She takes a lot of guys home. She gets up late, she spends a few hours getting dressed, and then she goes out to eat and brings a man home with her. Whenever she likes, of course, because she is a the quintessential sexual libertine, in addition to being so entirely neo-retro. Which promises a wealth of clothing options, of course, she said. And of course all the guys fall madly in love with her, because, for one thing, how could you not fall madly in love with her? And secondly, they all fall madly in love with her for the simple fact that she has no interest in them, whatsoever. See, she’s trying to start over, and she is, and she lives the charmed life, she really does. But something inside her might be not working, she said.

And this, too? I said. We’ll learn more about this from her shoes?

Absolutely, Melody said. So, yes, she takes many lovers, she said, sighing melodramatically. I think. I wasn’t sure, actually.

Wait, she doesn’t call them lovers, does she? Because I can’t really handle that word.

Yes, she does, but no, she doesn’t call them her lovers or say things like, I have taken a lover. Come on, she’s American. Half, she said.

And really, I said, if you think about it,, what’s a Prada Marxiste to do but take lovers all the time?

It’s a lot of work, living the charmed life, you know, Mel said.

I’m sure. So tell me this: do we like her or not? I said, and she had to think about it.

I’m not sure, she said. Do we have to like her all the time? Just most of the time, right?

I was liking the new her, totally, I’m just curious if that’s a set up for the life she’s running from, and the things that might have happened to that person. What was her real name, by the way? Before she became Violaine?

I don’t know, Mel said. More secrets, I guess.

No, I mean, I like the whole aspect of it being sort of like she really doesn’t relate to that person at all. That she really is starting over in the past, and this is all new to her, totally different incarnation and karma, I said.

But why? she asked, sounding confused. So you’re saying that we have to like her or don’t like her? That’s kind of bourgeois, don’t you think? Melody said, and at that point, I just looked at her, like, Ohmygod, who are you? Next thing, you’ll be smoking Gauloises.

You aren’t buying it? she said.

It’s just hard to say how I’d feel about her without knowing a possible scenario of how awful she was, so give me one, I said. Like how bad are we talking? I said, Give me an example of something awful she could have done to run away all the way back in time.

Oh, I don’t know. Maybe she screwed around on her boyfriend and got pregnant from another guy and she had an abortion and then her boyfriend found out everything, and he was just completely devastated—.

Okay, okay, easy . . . I said, holding up my hands, not at all prepared.

I’m just saying, she said.

I know, but that’s pretty intense.

Well, there has to be a clear motive why she would give up her entire life an go back in time. I mean, there’s no guarantee she’ll make it back to her old life ever again. There might be no coming back, you know, so it’d have to be some pretty intense stuff going on, back at home, right?

I see what you’re saying, I said.

So she goes back in time because she loves that period, but also because no one would think to look for her in Paris in 1968. It could work, I said, thinking it over.

Yes, just keep up with me. Just imagine this story, starring me, only perfect me, charmed life me, and go with it, she said.

And then the video ended there. So you don’t see the part where I say, I’m going, I’m going, before looking at the clock. You don’t see me telling her I have to go and then giving her a kiss goodbye, and promised I’d start right away, soon as I got home. But when I got home, someone had sent me an email with a video. Which I normally wouldn’t have opened, except that it came from Cam’s email address. Whoever it was.

Someone had posted a video of Mel and me, and the whole conversation we had, that day, not even an hour earlier, with me sitting in Melody’s room. The only problem was that in the video the posted, Melody doesn’t speak. In the video that was posted, I’m just sitting on the side of her bed, looking at her, talking to her like a crazy woman. I mean, I look like a total nutcase, babbling on with her. And the whole time, she doesn’t say a word. Because she can’t speak.

Spring Break, Image 4: Tara Violet Niami

Tara, Recoll, lg

Recollections, Tara Violet Niami. Originally posted February 1, 2010.

April 27, 2010, Day 188/360

Playlist track 7 chosen by guest artist/DJ/collaborator Tara Violet Niami. Originally posted February 1, 2010.

Spring Break, Sketch 3

Spring Break, Sketch 3/8: Eliza Graumlich Collaboration, Part 6/8. Originally posted January 7, 2010.

(See Eliza Graumlich, Image 6)

Setting: Thea’s drawing in her bedroom, early evening, late April, 2009.

I kept drawing in our sketchbook the whole time. Every day I started a new page without him, I told myself Cam’d just have to catch up when he got back, and that he’d have his work cut out for him, too. But the truth is, I just didn’t know how to stop. I couldn’t. It would’ve been like, I don’t know, like signing a death certificate, not even knowing whose name was on it, you know. Not to be melodramatic, but seriously, I just couldn’t let it die.

So I wrote things about school, I wrote down the inside jokes we would’ve shared if he’d been there, with me, that day, anything that came to mind, just like always. I told him things I hadn’t told him, the things I thought he should know that didn’t find their way before. Funny, you know, all that energy you put into keeping the secrets quiet, and then someone finally comes along, and turns out, all yours secrets have lost their voice. I mean, of course I didn’t tell Cam everything. I don’t even know what everything is, really. So I guess Karen was right, everything is relative. Still, plenty of things came to mind that I wished I’d told him, and one by one, I wrote them down, best I could. Sometimes in pictures, sometimes in words, sometimes in stories. All the above, usually.

Like that dream, after I had that dream I had of us on that plane, when I woke up and I knew he was alive, and then, after I saw that video of him and his dad, horsing around, watching Ghost Dog, I got this idea. I mean, when I turned around, like I turned my back for two minutes, and the video disappeared, I started feeling so crazy, and all I could do was draw what I remembered. When I finished, when I stopped moving my hand, it reminded me of something I’d read about the early days of photography. Because there was a time that people believed maybe photography could help treat the mentally ill, somehow. I’m not sure how, but that’s why there are all these huge collections of photographs of different patients at mental institutions in the U.S. and England from the eighteen hundreds.

Well, so my idea was that this handsome photographer is commissioned to take portraits, create a collection of the patients for an asylum. A nice one, though, or at least nicer than most were, back then. And while he’s there, he meets one of the patients or inmates or whatever, this young woman, and of course she’s beautiful and she comes from a good family, but she never talks, and it’s like she never sees him. And when he tries asking around, in his very delicate way, why she’s there, no one can tell him for certain.

So the photographer gets this idea that maybe he really can treat her, heal whatever’s ailing her by taking her picture, draw her out and give her her voice back, but it doesn’t work out that way, really. And turns out, maybe the Native Americans were right, that the camera does steal a piece of your soul. And he knows that myth, because he’s been to the west, and he’s taken pictures of different tribes, he’s been warned, but then he keeps taking her pictures, trying to find her, trying to love her. But most of all, trying to make her love him back. That was as much as I knew, but I started drawing the things I could think of. Like this scene in the hospital gardens, and then, later, this scene in forest, where he’ll takes her, trying to pose her outside the hospital.

But that’s all I know so far, really. I mean, I think maybe he finds out the real reason she’s there, and maybe, whatever the truth is, it’s much better and much worse than he ever could’ve imagined. Maybe she starts speaking, and she tells him her deep, dark secret, and turns out she’s really not crazy at all, and he wants to help her escape or to run away with her. I don’t know, maybe he thinks she’ll love him, that she could love him, and finds out that she can’t; she’ll never love him, and that’s why he keeps taking her pictures, knowing he’s capturing her, frame by frame.

Like in the movie New World, about Pocahontas, and Christian Bale’s character is the good guy, like the one good white guy in the new world, and they end up getting married, and he keeps trying to love her, even though he knows she’s always going to be in love with Colin Farrell, who’s a total dick to her. I mean, he just takes off, can’t commit, same old story, right. And in the end, Pocahontas finally figures that out and she wants to be with Christian Bale and realizes how much she loves him, but then she dies, and that’s the end. So you’re like, Well, that sucks. Guess it’s true, though, that nice guys finish last, especially in the time of tuberculosis. Anyhow.

I was thinking about calling the story Ambrotype, but I’m thinking I’ll just call it Sepia, because it’s easier, I think. Still, I thought it could be a really beautiful period piece, but it could also be about modern photography and all the things we deal with today, becoming obsessed with people we don’t even know just because we have a picture of them in our hands or on our desktop. I felt kind of like, I don’t know, like it could actually work, and I just kept writing everything that came to mind. So one night, I took a break and I went into the kitchen to get something to drink, and my mom looked up at me, smiling, sitting at the kitchen table, and I don’t know why, but I told her my idea.

She asked what I’d been up to, and I said, Hold on, I’ll show you, and ran to my room and got our sketchbook and took it back to the kitchen. Things had been so stressful, and I wanted, I just wanted it to be like it used to be, when I’d show her my drawings, my pictures. I knew it hurt her a little at Christmas, when I gave Karen her present first, and that Mom feels like Karen and I shared things that she and I don’t. And it’s true, I share a lot more with Karen. But I think that’s exactly because she’s not my mom, you know?

That’s an amazing idea, Thee, she said. How’s it start?

Like this, I said, sitting down and opening to the first page; turned the sketchbook so she could see the drawing. It looked like clouds, but it’s actually steam, you see? I said. Well, I think it should start, like the credits start with one of the patients, sitting in a chair, sitting still, staring at the audience. Someone attractive or striking, you know, not one of those crazy men or women without front teeth and just, you know, scary. Because the thing is, I said, turning the page: steam, steam, steam, I said. But back then, you’d have to sit still for five, ten minutes, even, for Daguerrotypes. Like they had neck braces and all this equipment to keep people from moving, because it was so expensive, and you’d have to sit perfectly still for such a long time, right.

Braces? she asked, balking.

Yes, I said, nodding. At one point, I was thinking of circling the camera around, showing the metal braces from behind the sitting models, so you’d feel how uncomfortable it was, just having your picture taken, like the things people were willing to do, but anyhow. Credits don’t take ten minutes, but like a good three, four minutes of this person staring at you, while the names appear in really fine print, you know, like old-fashioned handwriting, and then, at the end of the credits, the model finally blinks, and then a flash goes off, and then there’s a cloud of smoke. And then, I don’t know, maybe cut to another cloud of smoke, when a train stops at the station, and the photographer gets off, carrying all his equipment, all these leather bags and ancient tripods . . . Cam will know how to make it work, I said. He always knows how to fill in the blanks—I mean, that’s geometry, right?

She smiled, not saying anything, and I had to smile, thinking how Cam always says, You’re color, kid, and I’m play-by-play. That’s how we worked as a team, like baseball announcers, you know. One was technical, one was colorful, entertaining. And I liked being color, too.

How’s it end? Mom said, propping her chin with hand. She looked genuinely interested. No, that’s not fair: she’s always interested.

I don’t know yet. But it’s fifty-fifty, you know: it’s going to go one way or the other, I said, and then who walks through the door, right in the middle of the story?

Hey, Raymond said, strolling in, and I just rolled my eyes. Raymond is a human wet blanket. I’m sorry, I’ll just never like the guy. At most, we’ll live and let live, but it’d be so much easier if he go live somewhere else.

Hey, Mom said, smiling, and then he leaned over to kiss her, and I had to turn away, thinking, Is that really necessary?

Hey, Thee, he said.

Hay, I said.

Don’t let me interrupt, he said, heading for the fridge.

Easier said than done, I said, under my breath, and Mom cocked her head at me, even though I don’t think Raymond heard, because he’d already grabbed a beer and was fishing for a bottle opener in the silverware drawer. Mom kept looking at me, though, telling me to watch myself, because Ray’d been behaving lately. She kept saying he’d been trying to be supportive of us, and I was like, I don’t want his support. Anyhow.

Thea, tell Ray your movie idea, tell him about the script you’re writing, she said, and I just looked at her, like, Why do you say that? That was private: this is why I don’t tell you anything, because for some strange reason, you think you have to tell Raymond, who never even gets it and would have me spend the rest of my life painting acrylic flowers and orange sunsets and setting up a stall, selling my paintings in malls. It’s such a great idea, Thea, tell him, she said, not giving me any choice.

I sighed out loud, and I said, I have an idea about a photographer in the 1860’s who falls in love with a girl in this insane asylum in Pennsylvania, outside of Philadelphia, and he’s commissioned to photograph and then he steals her soul because she doesn’t love him back. Or maybe not. Maybe he breaks all the plates, killing her, but freeing her soul, I’m not sure yet.

Wait, a little girl? he asked, furrowing his brow, before tilting his head way back, taking a drink.

A young woman, I said, trying not to clench my jaw so tight I’d never be able to open it again.

This is a movie idea? he said, opening the cupboard and taking out the round can of beer nuts.

Yes, I said. It’s a movie script for a movie, Ray. By the way, did you wash your hands? I asked, watching him shove his hand in the tin and gulp down another mouthful.

Thea, Mom said.

Well, if you ask me, he said, and I was just like, Actually, no, I didn’t, Ray. I never ask you, as a matter of fact, in case you haven’t noticed. If you ask me, he said, you better cure the girl, he said, downing a handful of beer nuts, and taking a seat at the table.

I wasn’t asking you, actually, I said, and my mom cocked her head again.

I’m just saying, it’s a little twisted, is all. Really, who wants to hear about a love story that takes place in a nut house? he said, grabbing another handful of salted peanuts.

Whatever, I said, slapping my notebook shut, and then I got up and left the room. Of course my mom called after me, telling me to come back, and I ignored her, heading for my room, and slamming my door as quietly as I could get away with without being scolded about slamming my door. I mean, I was having a good talk with her, with my mom, and it’s like Raymond has to walk in every time, and it’s just like, Ugh. I can’t stand you.

Anyhow, I fell on top of my bed and opened up to the page again, with the picture of trees, the pictures of everything she sees in her silent world, all the beauty in her mind, no matter what everyone takes for darkness. And I wasn’t kidding, either, you know. Think about it: everyone calls it crazy love. What better place to set a love story than an insane asylum?

Spring Break, Image 3: Eliza Graumlich

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Eliza Graumlich. Originally posted January 7, 2010.

April 26, 2010, Day 187/360

Playlist track 6 chosen by guest artist/DJ/collaborator Eliza Graumlich’s playlist. Originally posted January 7, 2010.

Spring Break, Sketch 2

Spring Break, Sketch 2/8: Laurence Philomene Collaboration, Part 8/8. Originally posted December 16, 2009.

See Laurence Philomene, Image 8

Setting: Thea’s bedroom, the morning of April 15, 2009

Bright: too bright: the light was shining in my eyes. I’d forgotten to close my curtain, and for a moment, I couldn’t remember anything. I mean, I was never what you’d call a morning person, but lately, I wasn’t feeling like much of a person person, either. Seriously. So I covered my eyes for a moment, letting it fill up like a tub, and then, piece by piece, things fell into place: bed; bedroom; morning; sunlight; awake in bed, and then, finally, Thea, my name is Thea, and I’m here now.

Funny how that keeps happening. Every morning, I take it from the top, all over again, asking myself: Where am I? What time is it? What day is it? How do I do this? I took the hem of the curtain and closed them in an angry sweep of my arm, before turning over, hiding beneath my pillow until my mom started banging on my bedroom door again, and I finally got up.

I got in the shower, wincing as the water poured into my face, finally giving in to the day, once again. When I got out, I dried off, and wrapped my head in a towel, before inspecting my skin. When I leaned forward, the light was terrible, and I wiped the mirror. Then I checked again, and my mouth fell open, because I was sunburned. My face, it looked like I’d been sunburned, wearing a mask. And it looked just like it felt, too; the eyes were sort of feline, and the straps were about an inch thick—not like a burn with sunglasses, this was definitely a mask, okay. And my face was definitely burned.

My mom knocked on my door, and I stepped back, behind the door, in case she actually tried to come in for some reason, not wanting her to see me. Just . . . too many questions. I couldn’t, I couldn’t take one more question, because I didn’t understand. I believed it: I mean, look at me, look at my face, of course I believed, but don’t ask me to explain. Please, I thought, talking to her through the door: please just leave me alone and don’t ask. Because I don’t know, okay. I don’t know what’s going on, and if I have to look at the look on your face when you see me . . ..

So I slipped out. I did, I snuck out without even saying goodbye, and I felt badly, but it was that or risk a confrontation with my mom when she annoyed me by asking exactly the question I’d meant to avoid by sneaking out without saying goodbye, you know what I mean? Anyhow, it was overcast by the time I left the house, and somehow, I managed to get to the stop a couple minutes early. I saw the mobile prison unit better known as the yellow bus approaching. The twins weren’t there, which was good. I was in no mood for their stares. Still, seeing the bus, I felt that tiny wave of nausea that’s daily ritual, and my mouth watered with that sickening school feeling, like rock salt churning in my bowels.

I got on last, as per usual, and when I got to the top step, Mason’s mouth fell open. No, seriously, he took one look at me, and then he goes, Dude, what happened to your face? He said it like that, too, Your face? So I looked at him, like this close—this close to raising both middle fingers, slamming them at him, and then I changed my mind. Before he could move, I turned back around, and I got off the bus. And then I started walking: screw you. I swear, despite all the cars on the road, heading in to work, the entire highway went silent.

Ten seconds later, I heard Mason getting out, yelling after me: Thea! Wait, Thea! What are you doing?

I’ll walk, I shouted, staring straight ahead.

You can’t walk to school, he called, and I couldn’t see him, but I knew by teh volume that he’d gotten off the bus. Come back—come on, would you get in the bus, please?

And then, in my mind’s eye, I raised my right arm straight in the air and flipped him off: Can’t I? Just watch.

Please, Thea? Please, he called: think of my children!

I balked, stopping, and turned around: You don’t have any children, Mason!

Let’s pray, he said, pumping his clasped hands, beseeching me, then twirling his right wrist, calling me back: come, come . . ..

I stood there, glaring, nodding, and then I walked back to the bus.

He waited until I reached him to have a word, and then he said, I didn’t mean, like, dude, your face doesn’t look good, I meant—.

I held up one hand, back off, and he nodded. He’d learned that much about the female sex, at least. Don’t ask me what else the man has gathered in his time on earth, but he knew that much.

So I got on, after him, but then, when he got to the top step, he grabbed a couple of the little kids who always sat in the front seat by the back of their backpacks, gently picked them up, wheeling them around, and redistributed in the first four seats, giving me a seat at the front.

Waddle, waddle, he said, shooing the cluster of kindergartners and first graders into their new seating arrangements like they little ducks they were. Of course by that point, everyone was leaning over, heads folding into the aisles; everyone quiet, but only so they could hear for themselves. With that, Mason stepped forward to give a speech: All right, listen up, he said. Now let’s all just . . . he said, raising his hands, crowd controlling: let’s just through this, he said, nodding to himself, enough said, and returning to his seat. The bus made its squeaky exhale, and we were off again.

When I got to school, I called and left Knox a message, and he called me back after lunch.

What is it, Thea?

My face. I’m sorry, but you need to see my face. Like, pronto, basically.

Because . . .?

Because, I said, annoyed: basically, you need to see it with your eyes, pronto. And because I can’t handle the bus again, no way. So if you don’t mind giving me a ride home after school, we’ll kill two birds with one stone, how’s that?

He said he’d be there, waiting after school, and he was. He was even on time, but then, when he saw me, like when I approached the car, he leaned over, looking up at me as I got in, and then he goes: Ouch. What happened, Thea? Did . . . did you go to a tanning salon?

Knox, do I look like the sort of girl who goes to tanning salons? I told you, I said. You didn’t believe me last night, but it’s the mark. It’s the mask I told you about, I said, twirling my fingers around my eyes, demonstrating. You still don’t believe me?

Thea, come on, he said: how am I supposed to believe what I don’t understand?

Knox, I said, running my fingers across my collar line: do I look like a priest to you? Can you see this?

Yes, he said, raising his eyebrows and then tilting his head back, inspecting like it might be a hoax or something.

And tell me, did I have a sunburn last night when you saw me?

No, he said.

And is it sunny out today?

No, he said, peering up at the sky.

No: I didn’t have a sunburn last night; there’s no sun out today; I didn’t cut class; I didn’t fall asleep in any tanning beds, so what? What happened? I told you last night: I was in a field, and Cam was there, and he found Lola, and then my dad appeared out of nowhere, and he took off, like he always does, and now I have the burn to prove it. In other words, I got burned, and that’s the moral of the story. I don’t know how you’re supposed to believe in things you can’t see, but you said it, yourself, right?

Sorry, one second, he said, reaching for his phone, he said, taking the call, switching hands. Whoever it was, was female, and Knox sounded familiar, the way he kept saying, Yes, yes, I understand, let me, I’ll be right there, one my way, and then he hung up.

Melody’s babysitter. The woman’s four-year-old son got a box of raisins stuck up his nose, he said, shaking his head like, kids these days.

The entire box? Like those little lunch boxes, you mean? I asked, squeezing my fingers together in case he didn’t understand.

Who knows, he said, checking the rearview, but she needs to take him to the doctor. Kid isn’t breathing, apparently, he said, completely nonplussed, and I started laughing.

What’s that? he asked, wry.

Kids, I said, nodding no, it’s nothing. So whose Melody?

My daughter, he said, looking over. I thought we’d talked about her?

Uh . . . no, I said, rolling my eyes back, no such talk.

Last night, you asked me about . . .? We talked about this, remember? he said, and I looked at him. Huh, he said, scratching the side of his face. Well, I have a, I have a daughter, he said, shaking his head yes, yes, I have a daughter.

Really? How old is she?

About your age, I guess, he said, shrugging.

Wait . . . she’s my age, and she has a babysitter? I asked, and I didn’t mean to make a face, but I don’t anyone fifteen with a babysitter, you know.

Knox didn’t say anything for like an entire minute, he just sat there, like he was thinking it through, and then, when we reached the next stoplight, he sighed this heavy weight-of-the-world-on-my-shoulders sigh, and then he leaned over the steering wheel and started rubbing the sockets of both his eyes with his thumbs, like he just couldn’t get a handle on this, none of it, and all I could say was: Tell me about it.

Note: in the original story outline, Thea meets Melody on April 16, 2009, but I think I’m going to change that to April 15, easy enough.