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Joseph E Bird

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Fiction

The Coffee Shop

A new project is brewing. Get it? Coffee shop? Brewing?

I’m writing what in my mind is a television drama. I’m not writing a screenplay, but a series of short stories that I will call chapters. The chapters will stand on their own as stories, but will build one upon the other. Characters you meet in Chapter 1 will likely appear in later chapters as new characters come on the scene. The setting is a small-town coffee shop. I will offer you this opening scene of Chapter 1. More is to follow. Let me know what you think.

There’s different and then there’s different. He was the first kind. Not someone you would write a story about. Didn’t seem like a colorful character. Didn’t seem intriguing. Didn’t seem like he would stay out in bars late into the morning. Didn’t seem like he had a past he was running away from. The way he was dressed, he didn’t look like he was trying to impress anyone. He wore khakis and sneakers. That’s what I noticed first. His dark blue sport coat looked like heavy cotton. It was wrinkled and showing some wear in the elbows. His shirt was a light blue and an inexpensive tie was knotted loosely and slightly askew. He didn’t seem to care if anyone noticed him or not. He walked with long strides toward the counter, as if he had been to the coffee shop dozens of times, but I knew that he had never been there before. How did I know? I just knew.

“Good morning.”

That was Carl. He’s the unofficial greeter of the coffee shop. He’s the first customer every morning and founding member of the Breakfast Club, our coffee klatch.

The new guy nodded at Carl and gave a little grunt. He quickly discerned where he was to go to order and stood at the counter as Savannah steamed milk and chatted with a customer. Susan was making a sandwich. He drummed his fingers on the counter. And waited.

Savannah called out the drink order. “Caramel macchiato.”

Then it was on to music. “Which Beatle is your favorite?”

It was a question directed at me.

“Pete Best.”

The new guy gave me a look. Maybe a little bit of a smile. Maybe he had a better answer for the question. But really, there was nothing. No rise of the eyebrow, no squint of the eyes, no upturn of the lips. Nothing that would give you a hint about anything.

“Be with you in a second.” Susan spoke without looking his way.

“Sure.”

He watched her as she put the sandwich in the panini press and placed another bagel on the counter, spread the cream cheese, and placed thick slices of salmon on the cheese.

He watched her.

But then again, she was easy to watch.

Now this is going to sound bad. It’s going to make me seem superficial and judgmental. Susan is not your typical coffee shop owner. Not that there’s such thing as a typical coffee shop owner. But I’ve seen plenty of free-spirit, hippy-dippy, tattoos and piercings, anything-goes coffee shop owners who speak in a laid-back sing-song phraseology that makes them seem like they’re always high and maybe they are and who really cares anyway because we’re all brothers and sisters and I’ll have that mocha out for you in three shakes of a lambs tail. Groovy. And not in the retro-cool way that Savannah says it, but in the hey, we might as well be in San Francisco in the 60s smoking some Acapulco Gold, man, and digging the vibes, baby.

No. That’s not Susan.

She’s a runner. She looks like a runner. Fit, trim, and a kind of healthy that’s evident in what she wears – that day it was blue gym shorts and a white t-shirt – and everything she does. Even making a breakfast bagel. Her movements are quick and efficient. No wasted motion.

He continued to watch her, but not with any irritation that it was taking longer than it would at Starbucks to get his coffee. He seemed more relaxed than when he first strode into the coffee shop, and as he watched, his face seemed to let go of some of the stress, his eyes seemed to show less tension, and the lines in his forehead faded a little beneath his wavy brown hair that threatened to fall over his eyes with the kind of easy casualness that matched the clothes that he wore.

“What can I get for you?”

She had turned to face him and gave him her full attention and her full smile that included her eyes. As is the case with most customers who give their order to Susan, he smiled in return.

“Just a coffee. Large. Black.”

He brushed the hair from his eyes.

“And the name?”

He hesitated and then realized why she was asking.

“Jacob.”

“I’m Susan.” She wrote his name on the cup. “Haven’t seen you in here before.”

“That’s right. Going to spend a couple of months running the clinic across the street. This is my first day.”

You can learn a lot about a person by just observing and listening. Not so much to the words they say but how they say them. It takes a while to discern the patterns, to understand the nuances that people use. It can be very subtle. Take Susan, for example. She’s typically low-key and understated. She’s just the right amount of friendly that makes everyone feel welcome, but never fake or over-the-top. I can imagine it’s a practiced skill that walks the fine line of genuine warmth and appreciation for people – who also happen to be paying customers – without giving men a reason to think that she has a special interest in them, without leading them down a path of false hope, because she knows and other women know and I know because I pay attention to such things that men don’t need much encouragement to cause their fragile little egos to inflate and think that someone as lovely as Susan would overlook their own shortcomings – shortcomings that they are probably not too keen on assessing themselves – and finding in them a special connection that eludes all of the other coffee and espresso and latte drinkers. Susan knows all of this and knows how to gently control the irrational emotions of men without crushing their spirit.

All of this I know because I’ve seen her in action. And maybe it’s not a conscious effort on her part. Maybe it’s just instinct and a natural understanding of human behavior. But I know all of this because I observe. And I tell you this because I saw a little something as she was interacting with Jacob. Now I’m not saying it was love at first sight. I’m not saying it was love. I’m not even saying it was like. And if I were to point this out to Susan she would justifiably laugh at my proposition. But there was something. It wasn’t her smile because she smiles a lot. Sometimes it’s a professional courteous smile. Sometimes it’s a laughing smile. Sometimes just a pleasant moment. But with this smile, there was a slight arching of the eyebrows, just a little unconscious reflex that said there was something about this guy Jacob that was at least superficially appealing.

“Hope you enjoy your time here.”

“No offense, but I’m not sticking around here any longer than I have to.”

“Oh. Well.” Her expression changed. Her eyes widened as she glanced at me. I laughed a little to myself. She turned her back and pumped coffee from the carafe into his cup. She didn’t bother to write his name.

“Black coffee.”

She handed him the cup. He forced a smile.

Carl spoke. “Have a good day.” He’s not only the greeter but the well-wisher.

Jacob looked back and lifted his cup and was out the door.

“Pleasant man.” It was as mean as Susan would ever get.


copyright 2023, joseph e bird

haiku you

Many years ago, I got into some trouble. It started as a lark. A Halloween costume. Airline pilot. I had forgotten to pick up a few things at the mall before the party and I noticed the reaction I was getting from everyone. One thing led to another and before long, I was in the jump seat of a commercial airliner. Well, I thought, if I’m going to fly for the airline, I might as well get paid. So I started forging checks. I did this for a couple of years before they caught on.

So I moved to Atlanta, where I did the same thing. Only this time I was a doctor at a hospital. No actual doctoring, just supervising interns. More ill-begotten money.

Then I was a lawyer.

Eventually the whole thing came crashing down around me. I was caught.

I did hard time in prison. The clink. The hoosgow. Lock-up. I was on the chain gang, busting up rocks with a sledgehammer. The food was the worst. Nothing but gruel. But the dementors were the worst. I tried to stay away from the dementors, but they were everywhere.

So I started planning my escape.

Every night I would scrape away a little mortar in between the blocks of my cell. I replaced it with toothpaste so the screws wouldn’t notice. It took years, but I was finally able to remove the blocks and get out of that cell. I made my way to the laundry where I hid in a cart of dirty sheets and rode out of the rock. Free at last.

Oh. I almost forgot. Before I escaped, I had befriended the warden. He got me a job working in the prison library. That’s where I learned about haiku. Years later, I wrote this song. In haiku.

There was a woman
Isn’t that the way it is
And then she was gone

Seems so long ago
And time creeps into the night
So glad to see dawn

Chorus

Verses come and verses go
Did everything to forget you
Strum the major sing the minor
Even try to write haiku

Every song turns to thoughts of then
And what we were when we were new
Memories fade but oh so slow
And leaves me lonely feeling blue

Life behind these bars|
My prison with no way out
My life as a con

No parole for me
Dark are nights and darker days
Because baby’s gone

Chorus

I mark passing days
As the years grind without you
Pictures poorly drawn

Wish I wouldn’t dream
Pray to die before I wake
Lost in Babylon


So now you know my story, my sad tale of woe. Don’t believe everything you read.


copyright 2022, joseph e bird
photo by Hasan Almasi

cordite

photo by vadim kaipov

His hair was greasy under his hoodie and his clothes hung loosely from his skinny bones and had he not already shot me in the arm, I would have smacked him in the face and rolled him down the street. But I’m a realist. I didn’t want to get shot again.

“Sorry,” he said. “Tried to miss you.”

At first I didn’t feel much, just a sting, then I smelled the gunshot, kind of a chemically smell. Cordite, I would learn later, the modern replacement for gunpowder and the reason I didn’t see smoke drifting from the barrel of his gun. A 9mm, I guessed, but for all I knew it could have been a 45. I have no idea what those numbers mean. I’ve never owned a gun.

I looked at my arm and saw a hole in my jacket, my favorite jacket, and a growing circle of bright red blood, being pulled by gravity into an ever-lengthening oval.

“Get in the car.”

I heard him say it, a demand, really, and though I knew he might put another bullet in me, I didn’t comply with his wishes. Instead, I sat down on the guardrail and put my head between my knees and tried to fight off the world turning darker than it already was. If I passed out, the second bullet might be in the back of my head.


copyright joseph e bird, 2022

james

I’ve been writing less these days and playing more music. I’ve been a regular at the open mic night at Coal River Coffee, and though I have no misconceptions about my musical abilities, it’s been a blast performing songs that mean something to me. I never would have done this if not for the encouragement of James Townsend. James is an accomplished singer/songwriter, as you can see if you watch the Press Room Recordings below. He’s also an excellent writer. He’s writing a serial story about Billy the Kid and is currently writing a musical on the same subject.

Of the songs in the Press Room Recordings, my current favorite (my favorites change frequently) is Wars and Rumors.

Enjoy.

and so it goes

All stories, if continued far enough, end in death, and he is no true-story teller who would keep that from you.

— Ernest Hemmingway

The Martian

Remember the movie from a few years back starring Matt Damon? And all of those potatoes.

The movie was based on the book of the same name by Andy Weir. Here’s how it happened.

Andy Weir started writing his story and published it, serial style, on his website.

Then he self-published the complete novel.

Then a publisher purchased the rights and re-released it.

Then they made a movie.

And Andy Weir is rich and famous.

With no illusions of my story having the same outcome, I am nonetheless going to attempt to publish my story, Song of the Lost, serial style, on this site. You should see a tab at the top of the page named Song of the Lost. Everyday I’ll post a new chapter at the top of the page. Then when I post the next chapter, I’ll drop the previous chapter to the bottom of the page. Newcomers can read the chapters in order. Those who follow daily can see the new chapter at the top. That’s the plan, anyway. We’ll see how it works.

And please provide feedback with your virtual red pen. Tell me about typos, grammatical errors, plot holes, or anything that you don’t like. And feel free to tell me if something is working for you. So here we go.

Thanks.

i’m a skaz, you’re a skaz

In A Swim in a Pond in the Rain, George Saunders says this:

“If you’ve ever wondered, as I have, ‘Given how generally sweet people are, why is the world so messed up*?’ Gogol has an answer: we each have an energetic and unique skaz loop running in our heads, one we believe in fully, not as ‘merely my opinion’ but ‘the way things actually are, for sure’.

The entire drama of life on earth is Skaz-Headed Person #1 steps outside, where he encounters Skaz-Headed Person #2. Both, seeing themselves as the center of the universe, thinking highly of themselves, immediately misunderstand everything. They try to communicate but aren’t any good at it.

Hilarity ensues.”


Saunders is explaining Nikolai Gogol’s short story, The Nose. The story is absurd. It’s a form of Russian story-telling called skaz, where the narrator of the story becomes part of the story because of his own inept story-telling. Google it. Or better yet, read Saunders’ book.

I came across the passage and thought, yep, that’s how we are in real life. We’re all just skazzes. I find it funny because it’s true.


*Saunders used a description a little cruder than “messed up.” I took editorial liberty to clean it up a tad, though I personally am not offended by the cruder language. They’re just words, after all.

So, Mr. Chekhov.

No, not that Chekov.

Chekhov, as in Anton Chekhov, the Russian author.

In The Darling, Chekhov tells the story of a woman who is somewhat of a serial lover, losing herself to whomever she loves. When we first meet Olenko, we admire her utter devotion to the man she loves. When he dies, she repeats the pattern with her new love. And when he dies, she repeats it again with her new love, and we begin to have questions about her. We begin to see the flaws in her character. And yet, her biggest sin is loving too much and too easily.

In his book, A Swim in a Pond in the Rain, George Saunders offers this about Olenka:

“I feel about Olenko the way I think God might. I know so much about her. Nothing has been hidden from me. It’s rare, in the real world, that I get to know someone so completely. I’ve known her in so many modes: a happy young newlywed and a lonely old lady; a rosy beloved darling and an overlooked, neglected piece of furniture, nearly a local joke; a nurturing wife and an overbearing false mother.

And look at that: the more I know about her, the less inclined I feel to pass a too-harsh or premature judgment. Some essential mercy in me has been switched on. What God has going for Him that we don’t is infinite information. Maybe that’s why He’s able to, supposedly, love us so much.”

in the clearing stands a boxer

A publisher has expressed interest in my novel, Heather Girl. They like the story and the primary characters; however, they feel that I have too many sub-plots and secondary characters that take away from the main focus of the novel. There are a couple of sub-plots and secondary characters that I have no trouble eliminating. There are others that I’m hesitant to lose.

I’ve been reading a book recommended by Mr. Larry Ellis, A Swim in the Pond in the Rain, by George Saunders. In the book, Saunders examines short stories of Russian authors so that writers may learn and hone their craft. Saunders just told me something that is helpful in evaluating Heather Girl. It is this:

Imagine we’re bouncers, roaming through Club Story, asking each part [of the story], “Excuse me, but why do you need to be in here?” In a perfect story, every part has a good answer. (“Well, uh, in my subtle way, I am routing energy to the heart of the story.”)

Our evolving, rather hard-ass model of a story says that every part of it should be there for a reason. The merely incidental (“this really happened” or “this was pretty cool” or “this got into the story and I couldn’t quite take it out again”) won’t cut it. Every part of the story should be able to withstand this level of scrutiny…

The second paragraph confirms what I think needs to be cut.

The first paragraph makes me hesitate on other parts, those that I believe are routing energy to the heart of the story.

It’s fun, this building of a complete story.

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