Breadcrumb #590

JOE DEMES

With the hand not cased in honeycombs of plaster and bandage, my sister takes pictures of herself crying in our bathroom mirror. This has been happening regularly: crying, capturing, choosing, posing, editing, captioning, waiting, responding, repeating. My parents say it’s hormones; they think this is a good sign. Recently it’s become audible—her crying—hence their now knowing she is crying, hence thinking her body is recalibrating, hence a good thing. She has been gaining weight again but her bones are still frail; this is the sixth break in a few years since she left the pro circuit, or the let her go—depends who you ask.

When I pushed open the door her face was streaked; along her jawline, tears hung like cherries. I was caked with sweat and whatever the grey stuff on my legs from puddles I couldn’t avoid was, and said I needed the shower, that it wasn’t a rush but could she come knock on my door and let me know when I could use the bathroom, because I needed a shower and to stretch. This was my second workout of the day; I was looking to hit 120 this week, which meant two-a-days of at least ten miles. My shorts and shirt stuck to me grossly, wet scabs that needed to be peeled away. 

“You rot,” she said, leaning at me, “Like drain water and horse shit.” She turned back to the mirror and click click click went the artificial noise of an aperture snapping shut. “I hope you left your shoes outside.”

“It’s some kind of farm animal, yeah,” I said, peeling off my socks.

“Run on the pavement instead of the trail then.” Click click click. “Don’t bring that in here.”

“It’s slick. I’d slip. That’s how that happens,” I said, pointing at her arm.

“Then don’t.” Click click.

“Right.”

“At all.” Click.

“One more time?”

“It’s gross, the smell, and if it’s too dangerous to be out on pavement, then maybe just don’t run.” She turned to me. “At all. Do you really need to hit one-twenty? What are you trying to prove?”

I fiddled with my watch, the plastic band slick with sweat and ridged. I looked through my mile splits, each time another reason why I’d be going pro once I graduated. Our parents were out somewhere, probably taking my grandfather for another doctor’s appointment. I looked gross, but I felt high from the pace I’d kept. It was cool out, finally; the dry season had passed, and pushing myself this hard didn’t feel like a workout. It had been fun. It had been fun and I had been having a good time, and now I was home and here we were, doing this little dance. “Check out mile six,” I could say. “That’s where I broke your indoor record, again.” 

I heard it in my head, coming from a voice like but not mine, its tongue near my ear. It spoke in the way I wanted my voice to sound, not the way it came out in interviews and video footage. It was an easy voice to listen to and I knew it, so I turned around and grabbed the head from which the voice came and held it under mental water while its arms thrashed and slapped until it wasn’t slapping and thrashing any more, and then I dragged its body to a deeper part and pushed it off to let it sink away. I reminded myself of the word amenhorrea. I reminded myself that this was the sixth time she’d broken a bone and that it doesn’t hurt any less the more times you break them. 

It was cool out, finally; the dry season had passed, and pushing myself this hard didn’t feel like a workout.

There, barefoot, in an oversized hoodie and track shorts, her hair in two tight braids, my sister looked more like the girls I ran with than someone twenty-five and living at home again, indefinitely resting, taking record of what had happened to her, had been done to her, and trying to recuperate.

“Can I have this?” I asked.

“I’m leaving, I’m leaving.” She tucked the phone in her sweatshirt pocket and made a sweeping gesture. “The shower is yours.”

She went to leave but I stood in her way. “If I sign with a team, will you hate me?”

“Oh sure, let’s unpack all this while I’m in short-shorts and my face is a balloon.”

“And even if it doesn’t happen, even if I keep working for it—”

“And why do you want it? Why would you, after what it did to me?”

“Why is it bad to want it?”

“The same reason it’s bad to wear their gear, like you do, and let sites profile you, like they do, and consider letting them pay you to wear their uniform, let them pay you to use your face in ads just like they did mine—”

“You know I’d send money home. Home includes you.”

“—which what does anyone do with so much of it? What must that be like, to know you can’t be touched up there in that castle you’ve built because that’s what a castle is: a money fortress. And the king’s crown is made of gold—”

“I can’t follow—I—look I just ran really hard and—”

“—and gold shines and shine distracts, it grabs our eye and soon we forget to ask who mined that gold and who forged that crown, whose hands made the castle—”

“Seriously, I can smell myself and I can feel my stomach eating itself.”

“—no one’s talking about my hand, this one right here,” she said, shoving the cast in my face, “or the other parts of me that they broke, because you’re the one they can focus on now, you’re the heir apparent, the future sub-4 miler they can call their own, to call away attention, when all I want is for attention to be called to this, to me, and everything you’re doing doesn’t make it seem like you’ve ever cared.”

The part of me I thought I’d drowned bubbled up from the surface and stared at me across the lake.

“Say that part one more time.”

She stops. “Say what one more—”

“Say the part again where you think I’ve never cared.”

“Easy: I don’t think you ever did.”

It glided along towards the shore, towards the forefront of my mind, no trace of a wake, no arms stroking or legs striking the water.

“Please let me shower before I really say something to wreck you.”

“Oh,  I want to hear.” She got her face right up in my facespace but her eyes couldn’t focus on one thing, couldn’t hold my gaze. With siblings born close it might be uncomfortable, but besides her being so much older, this is athlete posture. It’s easy to read: the one who initiates is always compensating. Getting in your face is tryhard and sets you up to really look as small as your dick seems. She’s just another body at this point, another sack of meat that I can outrun. 

Soon that part of me was swimming faster, serpentine, but when it reached the shore its stride was calm as it stepped out of the water and lay next to me on the rocks of the shore to dry. “Remember when she told you when you were twelve that she wished you had been twins?” it asked. “How she would have taken the chance to eat you in the womb? Taken all your life for herself? You remember.”

I asked her if she remembered, and it threw off her posturing. I could see the same part of her inside shrinking back into its own lake, trying to find something to dredge up from the bottom, but I started before it could get itself underwater.

“You knew it then and you know it now so I’ll say it now: I’d have eaten you. I probably already did eat a part of you. Maybe that’s why I’m so close to sub-4 and you only ever set that indoor record, which guess what? I fucking crushed on mile six today.” And this was too much but I said it anyway because it felt good, because I was heated and a hundred yards ahead of her and still had gas in the tank to kick: “Maybe that’s why your bones are frail.” 

And I knew I’d gone too far because she didn’t say anything back. She went to leave the bathroom and I all but just stepped aside to let her. The tile was colder than I remembered it being when I got home and my sweat had already dried; the salt felt like a second skin, and I a snake ready to shed it.

I turned the water too hot once I had gotten in, then adjusted it to just south of room temp. I figured this must be what the lake in my mind felt like. Thick steam like a city crowd left runs of condensation all across my body. 

I understand what has happened to her, and all the damage it has done. No one should have to work so hard just to have their body fail them and their feelings publicly executed on repeat, their career brought back down to square one because of it all.

“Except no one sees this” the voice I want to sound like mine said. It finished drying and began heading back towards the lake. On the shore, I was drenched. “No one sees how she is. And from day one she’s seen you as competition.”

When bad things happen to good people, sympathy comes easily; when they happen to bad people, the thing that comes easiest is to turn one’s back, or mock. My sister isn’t a bad person, but she’s become like this ever since she came home. Arrested development isn’t a good look on anyone, and gone are the days where I couldn’t keep up with her pace in workouts and in thought. We are more each other’s rivals than we ever were; I no longer look up to her, and she looks down on me for being guilty of wanting a thing at someone else’s expense, which is exactly what it means to want, or at least is a consequence of it. 

Her door was closed. It sounded quiet, so I didn’t risk anything by knocking. The room to my door was loud as I opened and shut it; medals hung from the knob and clanged like cowbells. On the wall there was a poster that her old sponsors sent me ages ago, when I’d started making news in the junior circuits and she’d just gotten signed. Prefontaine stands in front of a trailer made of corrugated metal, looking past the camera; his shirt reads in red, USA MUNICH TRIALS, EUGENE OREGON; in blue, underneath the arch of MUNICH TRIALS is the year: 1972. The trailer’s curtains are red and its door is open but not inviting; the car next to the trailer is powder blue, and I wonder if it is the car in which he died. Pre’s hair is blond, his skin tan, his body fatless like mine, his mustache thin. The caption in the lower left reads NOT ALL CASTLES LOOK LIKE CASTLES and I thought Welcome to my castle as I stood naked in the middle of this bare room, just a bed and desk, a small closet to hang clothes in and my poster the only decoration, the only thing I’d thought to bring to this room while our grandfather stayed in mine, our grandfather whom my parents take to doctors every week, whom we have not seen in years, whose bones are also frail, whose mind is frailer. I thought of owning my own trailer and living somewhere where I could train year-round and not be in anyone’s way, and this makes my stomach feel less empty as I start my stretches.

• • •

Breadcrumb #589

ZACH KLEBANER

A silly seeker, I’ve been absorbed.
Constructed polemics have failed,
images of communion run constant. 

Amidst juxtaposed ambience
I envisage visionary conquest,
liturgy is inevitable. 

At last, we meet—
A palpable shift: a symphony sparked, 
I assimilate under impetus. 

In a singing chamber
You whisper prophecies,
a thermal set of axioms. 

I lean in to my province
Of Heavenly springboards
like Macbeth’s parapraxes. 

By now, I am a lieutenant 
in this enchanted isle. 
my progress has been published. 

I can’t impose selectively,
The ascension calls
as ascension’s do. 

I am arrested
By your pedagogy, 
by your mythic masonry. 

And together we will soar again
Like winged nomads
through the sky of hagiography.

• • •

Breadcrumb #588

AMANDA CLAIRE BUCKLEY

There’s blood on the news, but damn if they show it. At this hour? Even the veins pinking the whites of the anchors’ eyes are censored. It’s unreasonable. We have a 24-hour news cycle and yet no one’s ever bloodshot. No ruddy noses from winter winds. No blotched cheek from greenroom booze. If there’s blood on the news, it’s more of a suggestion. Innuendo. A wink before a duck behind the curtain. An irritating fade-to-black. They keep the blood behind the lens, beneath the foundation, shrouded in the teleprompter’s parentheticals. 

No, you can’t show blood on the news unless it’s dried or reenacted. Unless it’s blue. 

The FCC has rules. The stations follow them.  

At any hour, someone is eating dinner. At any hour, there are children. 

I’ve got a little belly where a baby is growing like a leech and my computer sits on top of it. My oven is preheating. I’m watching press briefings on CNN while searching Twitter for spin. I’m not watching CNN by choice. I mean, yes, I chose CNN, but only because earlier in October there was a primary debate on the channel. I swiped a friend’s cable password so I could watch.  Since then, it’s just been what’s on and I’ve had more time on my hands than I’m used to so—I don’t know—I’ve been glued to it. Studying it. Binging it—as much as someone can binge something cyclical, something limitless, something too broad to fit in one open mouth. 

It’s something to do. Something to pass the time. Something to balance other tasks with. 

The news and the reaction to it seem to happen simultaneously. A commentary to the commentary follows each story and then the third-stage analysis breaks back into a new life, another headline. It’s Gatsby-esque: everything beats against the current, borne back ceaseless into a cannibalistic past. Times don’t change much, but my goodness these times are electric. 

Everyone wants my attention. Everyone is lying. 

My waitressing job has started cutting my hours. No more weekends. I’m stuck with the Tuesday night shift, and I feel useless. 

I’m making eggplant parmesan. I’ve become a vegetarian since the whole baby thing. Look, I’m not sold on the choice. I miss meat, miss the tendons and the sinews. Meat is something I’ve ingested my whole life. But something about this leech in me—it’s got me thinking. Something about this unborn shrimp eating another living creature feels premature. Morally wrong. A child shouldn’t have to consume death before it’s alive. 

I don’t know where I got that idea from, but I can’t let it go. 

They say—that is recipes from the internet say—to salt the slices of eggplant before you cook them, so the flesh holds up in the oil, in the pan, and then in the oven. 

I did not think ahead enough to salt my eggplant. 

I’m not even sure I own an oven-safe dish. I’m more of a microwaver, honestly. 

Everything seems to happen simultaneously. 

I have a small TV from Target. I bought it back when I was working the weekend shift. I’ve set it up on my kitchen table so I can watch CNN while I cook. By cook I mean wait. My oven is still preheating.  I’ve only recently learned that increasing the temperature doesn’t lessen the cooking time. It just burns the food. Burning is different than cooking. Who knew?

I know I could do better. I try to do better. 

When my friends cook with me, they think ahead. They salt the eggplant. When they salt the eggplant, I can see, if I’m patient, the water in the flesh rise to the top of the pale green like little mirrored beads. Pearls.

I’ve got a little belly where a baby is growing like a leech and my computer sits on top of it.

There’s blood on the news, but instead of blood they say “assault.” 

FCC rules imply that explicit details to violent and sexual crimes are okay to air only if they are integral to reporting the story justly. For instance, it was deemed just to report on the minutia of Jeffrey Dahmer’s murders because the method of violence was sensational. Brett Kavanaugh’s hearing was sensationall. Bill and Monica were sensational. So were CK and Cosby. Weinstein. We heard all of the details. The kinks, the stains. Who owns a stain? Is all evidence public property?

When people say “sensational,” they mean “newsworthy.” When they say “newsworthy” they mean “earth shattering.” When they say “earth shattering” they mean “something we haven’t heard before.” 

For the most part, the anchors stick with “assault.” It’s so wide. 

On the news, everyone repeats themselves and hopes you don’t notice. 

When they say “assault” on the news, they can mean so many things. 

They shuffle their papers in their hands and move on. 

It’s kind of the same as how when I say I “hooked up” with someone I want to mean what you think I mean and nothing else. It’s a word with a funhouse definition—different depending on where you stand, who you are. I say “hooked up” when I want you to fill in the gaps with your desired color of paint. I want you to use broad strokes and easy shapes. I say “hooked up” when I’d rather not say I was paralyzed by a hand on my thigh. I say “hooked up” when it was little more than a kiss. I say “hooked up” when I’d rather not say I was asked three times before I removed my shirt. I say “hooked up” when I’d rather not say I said stop too soon–too late. I say “hooked” up when I got on my knees willingly, when I got on my knees unwillingly. I say “hooked up” when I’d rather not say anything at all, when I wish I could say more.  

I don’t like appearing naïve. It’s nice to imply expertise. That’s how you get the good sections. That’s how you get the weekend hours. 

I wish I knew how to cook. Really cook. Not burn. Cook. 

“Hooked up” could be a kind of “sex,” but “sex” can be a kind of “assault.” 

I don’t like how thin the line between the two is. 

I don’t know why we can’t keep the two apart. I can’t keep the two apart.

Sometimes there’s both “assault” and “rape” on the news. The news depicts both the way they depict blood which is to say they’re not depicted at all but suggested. Saying the word “rape” on the news is like taking a train cross-country with the windows blacked out: it’s a far way to travel–from here to there, safe to unsafe–still, the landscape of the nation remains a mystery. Saying the word “rape” tells you enough without telling you which states the train passed through. 

Saying “harassed” on the news is like saying “assault” on the news is like saying “rape” on the news is like saying “neutralized.” I heard the word “neutralized” on CNN the other day when, I think, they meant “stoned.”

I asked a friend if they’ve heard of the Kurds. My friend was visiting during the October debates and we were salting the eggplant because they had thought ahead. They brought an oven-safe dish. They tried to teach me how to make a meal without touching the microwave. I hovered in the corner near the dustpan and broom. They hadn’t heard of the Kurds. Neither had I. Not until CNN told me I ought to know about them. Not knowing made me feel small. 

What else in the world do I not know? What do I need to know? I check the headlines. I follow the money. What knowledge is critical to my safety? What streets should I avoid? What else am I forgetting? 

Hevrin Khalaf. That was the woman. I didn’t know a single thing about her until she died. Until she was “neutralized.” I hope people know about me before I die, but it’s unlikely anyone will ever know about me at all. 

I am disappointed in myself. 

I have too much time on my hands. 

I wipe my hands on my jeans instead of using a hand towel. 

I miss the rush of Saturdays. 

Someone on the news keeps saying “neutralized” when they mean “stoned” when they mean “war crime.” They are only quoting a statement. I know they can’t say what they really mean. Not on the news. Not on CNN. Not on Fox. Not on MSNBC. 

I don’t know what I look like when other people stare at me. 

In the grocery store. On the subway. Do they see that I’m growing? Am I overgrown?

I don’t know what a “war crime” looks like. I don’t know if I’ve ever lived through one. 

Where I’m from, there’s only traffic. Endless traffic. Honestly, I think, sometimes, traffic might be the worst thing I’ve lived through.

Does a “stoning” break through the blacked-out windows of the train? 

The steam from the pot of boiling water on the stove—the water for the pasta for the eggplant parmesan—fogs the mirrors in the bathroom of my apartment. My entire apartment changes when I cook. Everything gets smaller. The walls get closer together. The days start to feel repetitive. Everything shrinks until I can’t tell one room from the other. 

I’m one of the lucky ones. I have a TV. I stack headlines between the doorframes of my house. I line them up like cars stuck, bumper to bumper, in rush hour. If something “earth shattering” happens, I will know it occurred. 

I put my hands on either side of my hips. My hips have not really grown wider despite my gut gaining depth. I move my hands forward, holding steady as not to change the distance between them. I put my hands against the stove and say to myself, “This is how big you are.” I compare myself to the stove. I compare myself to how I think I look. I say, “This is how big you are compared to the stove.” 

On the news, they tell me how big the stove is in relation to other stoves.

I want to get a true sense of the space I take up. What is the accurate and just size of my life?

I wear the same coat no matter how big I am. No matter how pregnant I get, the days are the same length.  

I think through the portions of my meal thoughtfully. Not too little. Not too much.

Everywhere there are period commercials with the blue stuff. 

On sitcoms (have you noticed?) babies are born goo-less.

• • •

Breadcrumb #587

MEGAN WILDHOOD

We are asked to peel potatoes.
We are told to put the skins,
which my sister can produce in one
long spiraling strip, into a dented metal bowl

 between us. We will save them for soup.
I think. I do not think the popular thing is true;
death is not a part of life.
(My sister finishes flaying her spuds, bounds off

 into the unmowed yard.)
It is harder than that;
It is not as if life and death amicably separated
like an out-of-love couple so that they may find 

more satisfying companions.
(Dad reaches inside for breath enough to call his girl back
but she’s been eagerly received by our land’s high, hard tresses,
blonde like Mom was even up to this day last year.) 

I will not outlive my grief.
When Mom laughed, she laughed from her soul,
they said. I remember it like that now.
Her grief howled like wind in tunnels, too. 

I will not outlive my grief.
But maybe it is not impossible to live;
extremes can exist back to back.
I give you the zebra, I give you grief, I give you a naked potato 

in accidentally sliced fingers. Dad is still looking into where
his girl disappeared, past it now, to the yard of stones
showing sayings. Death is a part from life, he whispers,
(grazing the pane with his fingertips). It will always be as hard as that.

• • •

Breadcrumb #586

SANYA KHURANA

While I worked at my loom, pedalling methodically, two bare brown feet on my right pedalled not mechanically, but rhythmically. They moved buoyantly and seemed to dance. But the hands — the hands, which weren’t at work, were surprisingly festered with fresh open blisters, tender white skin trying to form over them in vain. The hands looked like they had been scrubbing, slaving, scraping. But the feet were beautiful. Although they had corns and hard, cracked carcasses, they were strong with beautiful rippling muscles.

As I was observing this pair of brown feet, I heard the clicking sounds of master’s sandals nearing and all the white feet began to pedal faster. But not the brown feet. The two brown feet began to fumble in their dance, like a graceful aerial dancer whose ribbon tears, sending them spiralling to the floor. Along with the sounds of master’s sandals came one more pair of new white feet.

Master came directly to the brown feet and ordered them to walk to the other room and work with hands so that this new pair of white feet could work with the machine. I glanced up and saw the tender, dry brown lips try to protest by fluttering like paper. But before the lips could part like two pages that engulfed words of promise, master slapped the book shut.

I glanced up and saw the tender, dry brown lips try to protest by fluttering like paper.

“GO,” he yelled. And the two brown feet scurried out.

I saw through the glass partition between the machine and handiwork rooms: two brown hands and two white hands working on a king size bedsheet. It didn’t look strange that brown and white were working together like one pair of hands, grappling together at a web of threads in myriad colours. The needle in the clean and soft white hands nodded sturdily. They were beautiful hands, like the hands of a piano-player. And the two colours of the hands looked beautiful as they danced together, like the juxtaposed keys of a piano creating graceful music. But the brown hands seemed to be dancing to a different music. The needle in the sore brown fingertips trembled like a leaf, dancing like the shivering brown lips. 

Brown hands, white hands, yellow and cracked nails, clean and trimmed nails were working on the same sheet. Within a few weeks, it was ready. I could see it through the glass door. It was resplendent with an intricate, kaleidoscopic all-inclusive Persian border and a prosaic, western center. It was scintillating with a spectrum of colours. Seeing this the smiling white lips said, “in this bedsheet’s design, your thread is wound up in mine.”

The brown and white hands began to shake out the imprints of their palms from the bedsheet. And although the bedsheet had already braided the brown and white hands in such a tight plait, the brown hands continued to quiver. It was easy to smooth out the imprints from the sheet, but the matter of the mind different. The brown hands had hand been whipped and slashed and crushed by so many white hands that the mind was much more creased than the sheet and a gentle white hand’s pat wasn’t enough to ease it.

If only those brown feet would return to the loom at my right and I could point out to them that our pedalling was parallel. If only I could show them that although brown hands, white hands, brown feet, white feet in semblance seem apart, their temperament, their nature and their skill have the same heart.

• • •