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Joseph E Bird

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Fiction

Another random paragraph.

He awoke early on Wednesday morning.

He stood in the bathroom assessing himself in the mirror. It had been a very long time since had cared about such things. It had been at least three months since he had had a real haircut and he had quit shaving a month ago. No one at his office cared what he looked like, as long as the work got done. As he had taken to spending more time in the mountains, his appearance had gradually evolved into that of a typical trail monkey. He wore expensive hiking boots, nylon trail pants, and more often than not, cotton flannel shirts.

It was too late to cut his hair. He pulled it back and held it so that it was tight against his head. It made the right side of his face look better, but exposed more scarring on the left side. What he needed was a hairstyle somewhere between his scraggly, homeless look and the buttoned-down lawyer cut. Besides, the only way he could pull off that look now was to bind his hair in the back with a rubber band. And despite everything he had been through, he was not and never would be a pony tail guy.

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copyright joseph e bird, 2015

Bobcat Hollow

This is a passage from Chris Offutt’s book, The Good Brother.  In this scene, Virgil is about to leave the only town he has ever known.  He becomes aware of things he had never consciously noticed before.

He strolled the familiar sidewalk of Main Street, passing people whose faces he recognized – as Boyd put it, men he’d howdied but never shook.  Teenage boys outside the pool hall stood very close to each other.  As they got older, they would move further apart.  Old men in front of the courthouse owned a segment of space that surrounded them like a web.

And here, he visits his sister one last time.

He drove to his sister’s house at the head of Bobcat Hollow.  The dirt road crossed the creek several times, and in spring the two mixed freely.  At the top of the ridge, trees glowed with autumn colors, but near the creek, the leaves were still green.  Two dogs loped around the house and barked. A young billy goat with one horn stared at him, the only penned animal on the place.

It’s the understated writing; the deft observations; the cultural roots.

First Lesson

He sat in the break room, feet up on the table, guitar across his lap, and played the same riff over and over.  It was a tricky combination of finger-picking and a shuffle strum that would take him a while to learn.  He could make it easier: slow the rhythm, alter the chord progression, or change the tune altogether.  It was his own composition, after all.

He played it three more times, each time, a little faster and a little smoother.  There was no rush.  It wasn’t on his playlist for that evening; most of those songs he could play in his sleep.   But he knew when it was ready, when he was ready, it would be worth all the work.

The speaker on the wall of the break room crackled.

Customer needs assistance in electrical.

“That’s you, Chet,” Doyle said from his chair on the other side of the room.

He stopped playing and looked at Doyle.  “Chet?”

“You’re too young,” Doyle said. “Chet Atkins.  He was the guitar player when I was a kid.”

“They had guitars on the Mayflower?”

“Let me see that thing.”

Trevor dropped his feet to the floor and walked across the room to Doyle.

“Can you play?”

“No.”

Doyle held the guitar and ran his left hand up and down the neck, his fingers buzzing on the strings while his palm slid along the varnished maple.  With his right thumb, he strummed the strings, muted by his left hand.  He lifted his fingers and strummed again.  Even though he played no chord and there was no tune and no music whatsoever, Doyle couldn’t help but smile.

“I can teach you.”

Doyle looked up and down the guitar, admiring the curves and shine and worn strings and that distinctive aroma that all musical instruments possess.  Then the smile disappeared.  “I’m too old.”  He held the guitar by the neck and pushed it back to Trevor.

“You’re never too old.” Trevor put the guitar back on Doyle’s lap and arranged his arms and hands in the proper position.

“What are you doing?”

Trevor twisted Doyle’s left hand so that his fingers hovered over the fret board.

“Take this finger and put it here.”  He positioned his ring finger on the second fret of the fourth string.  Doyle’s fingers were thin and bony.  Had they been more plump, Trevor’s experiment might have failed, a realization that came upon him a bit too late.  He placed his middle finger on the second fret of the fifth string, and his index finger on the first fret of the third string.

Customer needs assistance in electrical.

“Now press,” he said.

“You better go,” Doyle said.

“See how your fingers are flat against the strings?”

Doyle nodded.

“Straighten them up.  More vertical.”

“It hurts.”

“Yeah.”  Trevor moved Doyle’s fingers slightly, making sure they weren’t touching any other strings.  “Now hold that.”  He stepped back.

Doyle looked hard at his fingers, willing them to stay in position.

“Now strum.”

He did.  Doyle played his first chord.  He strummed again.  And again.

“Got to go,” Trevor said.

Doyle strummed again.

“That’s an E chord, by the way.  You wouldn’t believe how many songs start out with that chord.”  He wasn’t sure if Doyle had heard him. He plucked the srings one by one.  His first arpeggio.

copyright 2015, joseph e bird


The preceding is the opening of my current unnamed work in progress.  It will likely change as the writing progresses and the inevitable editing occurs. More to follow.


Maxfield Martin

“Although the fig tree shall not blossom,
neither shall fruit be in the vines;
the labor of the olive shall fail,
and the fields shall yield no meat;
the flock shall be cut off from the fold,
and there shall be no herd in the stalls.”

Do you hear me? Do you understand? There will be bad times, brother.
In my eighty-one years, you better believe I’ve had them.
Three years ago I lost Nita.
We’re supposed to get wiser as we get older, and I guess I have.
Even so, loss is hard and lonely.

Here’s what I know.
Listen, now.

“Yet I will rejoice in the Lord, I will joy in the God of my salvation.
The Lord God is my strength and he will make my feet like hinds’ feet,
and he will make me walk upon mine high places.
To the chief singer on my stringed instruments.”

I didn’t always know that.
When you’re young, you think the fig will always bloom.
You think there will always be fruit and cattle in the stalls.
Now don’t be dense. You know what I mean. Even if you’re young, you know what I’m saying.

But this isn’t my story. It’s Trevor’s.
Trevor for sure didn’t know.
To this day, I don’t know if he’s taken hold of the truth.
It’s not profitable for a man to express his faith in these days and when you’re young like Trevor, you’re not inclined to go against everything the world says is right.
One has to be tried, tested, and hardened by fire.

That boy.
He’s a remarkable boy.

Do you hear voices?

Writers (and writing advisors) like to talk about voice.

“You must find your voice,” they say.

I hear it so often that it must be true.  I can think of a couple of authors that have an identifiable voice.  Cormac McCarthy. Kurt Vonnegut. I might be able to identify their writing in a random setting. I just looked up and down my bookcase to see if anybody else jumped out at me. Lots of good storytelling on those shelves, but not necessarily a strong authorial voice.

Here’s another spin on the idea of voice that might be more important than the author’s voice – the characters’ voices. In the hands of a good writer, the characters in the story will all sound a little different.  And I’m not talking about exaggerated regional (hillbilly/southern/yankee) dialect.  I’m not a fan of dropping (droppin’) the g off words or having your character say bar when, in fact, it’s a bear chasing him.  It’s more subtle than that.

It’s in the pacing.  Some people speak slowly, in measured words.  Others are rapid fire pontificators.  Some use certain words and phrases, you know what I mean?  Some are loud, others are low talkers.

Stephen King’s short story, A Death, which was just published in the New Yorker, illustrates this principle.  (Although the story is not in his horror genre, it does have a couple of graphic scenes that might spoil your appetite.  Don’t read it before eating.)  Pay particular attention to the character Trusdale.  You can literally (not literally, but almost) hear his voice. Same with Sheriff Barclay.  We hear the characters, not Stephen King.

Here’s the story.  Enjoy.

http://www.newyorker.com/magazine/2015/03/09/a-death-stephen-king

The Stolen Child

Author’s Notes:  This an excerpt from my novel Song of the Lost. It’s the story of James and Katherine who struggle for the lives while lost deep in the forest.  Chloe is Katherine’s estranged daughter who lives on the streets of Nashville. Although mentally challenged, she has occasionally expressed a latent musical genius.  She has been befriended by Brad McNear, a country music star in Nashville. In this scene, Chloe is hanging out a public library.


Chloe had two hours before the library would close and she went to her usual place, a table near the newspaper racks across from the reference desk. She wheeled her cart beside the table, took off the blanket, set her brass compass on the table, and took out her book of poetry. She had read the poems so many times that their rhymes and rhythms had shaped not only the songs which seemed to emanate from her spontaneously, but also her everyday speech patterns. She would have been regarded as special and lovely simply on her own natural countenance, but to those who took the time to talk to her, her poetic expression created an aura of special knowledge or prescience. In the sense that they conferred wisdom and understanding upon her, it was, of course, unwarranted. But in realm of simple clarity of truth, there was no one like her. For these reasons, Chloe Nielsen attracted people of kind and gentle heart.

Georgia Taylor, one of the librarians, was such a person.

“Hi, Chloe,” she said as she approached her table. She sat down beside her holding a book, which drew Chloe’s eyes. Its binding was old and worn, with frayed strings which at one time helped form the cloth that was glued over the cardboard cover. Along the spine in gothic letters that had faded into barely visible shadows was the name of the author: YEATS.

“Hi, Georgie,” Chloe said.

“It’s late for you to be here, isn’t it?”

Chloe nodded, then reached into her jacket pocket and pulled out the pass to the show at Willie’s. She handed it to Georgia.

“Oh. This is to Brad McNear’s show tonight. Where did you get this?”

“Brad gave it to me.”

Georgia leaned back in her chair. Her look was quizzical. “Do you know Brad?”

Chloe nodded. “We play music together sometimes.”

“You play music with Brad McNear.” It wasn’t a question, it was a statement of implied doubt.

“Sometimes. He recorded my song.”

Georgia could no longer feign her belief. “Are you making up a story, Chloe?”

Georgia had heard Chloe play and sing, but she had never witnessed her genius – only the three-chord cover songs that eventually disintegrated. She had never known that there was more. She gave up her pursuit of the truth.

“Well,” she said, “if you’re going over to Willie’s, be careful. The hustlers will be out trying to take advantage of the tourists. They prey on the vulnerable.”

“I know,” Chloe said.

Georgia looked at the ticket. “The show doesn’t start until eight,” she said. “You’ll have to be out of here by six. Where are you going to go until then?”

Chloe shrugged.

“Have you eaten?”

“I ate lunch at St. Mark’s.”

Georgia thought for a moment, then went to her desk. When she returned, she put a folded twenty-dollar bill into Chloe’s jacket pocket.

“There’s a sandwich shop between here and Willie’s. They’ll make you whatever you want. Get you a cup of coffee, too.”

“Can I have tea instead of coffee?”

“Of course. Just stay there until you can get in the club. They won’t care as long as you buy some food.”

“Ok.”

Georgia smiled, then slid the book in front of Chloe. “I thought you might enjoy this. I know you like poetry. This is William Butler Yeats. One of the great poets of the twentieth century. I’ve had this since I was a child. It means a lot to me. I want you to have it.”

Chloe ran her hand over the worn cover, tracing the edges with her fingers. She opened the book to a random page and felt the yellowed paper. She followed the words with her eyes, her lips moving as she did.
Georgia patted Chloe’s hand. “I hope you enjoy it as much as I have.”

“Thank you, Georgie. I will.”

Georgia went back to her desk; she had work to do before closing. Chloe opened the book of Yeats poetry to page one. She read the half title, the title page, the colophon, the table of contents, and the forward before stopping at the first poem, The Stolen Child. She glanced at the verses that seemed so long, with words that were strange and unknown. She read the first few lines, stopped, and read them again. The meaning wasn’t clear. What was this poem about? A lake, herons, rats? She read more, grasping a phrase here and there but failing to put it together into anything coherent. Until the last line of the first verse.

the world’s more full of weeping than you can understand.

That, she understood.

She spent the next hour pouring over the book, reading verses and even single lines at random. It wasn’t easy. But there was something in the difficulty that was beguiling. She doubted that she would ever understand it all. She knew she would never stop reading.

It was almost six and Chloe was the only one on the main floor. She looked up at the desk, looking for Georgia. She wanted to thank her again for the book, but she didn’t see her. Chloe packed up her cart, putting her book of Yeats underneath her book of Frost, then covered them both with her thin blanket. She walked around the first floor, looking behind the stacks for Georgia, but there was no one. She started for the double doors at the front of the library and walked by the main desk.

She almost missed it. It was just another book among a dozen others to be re-shelved. But her mind filtered the blur of images so that the one book stood out and caused her to stop and turn around. She took a step back to the desk, and stared, her mouth open.

The elevator door to the right opened and Georgia exited pushing a cart. Chloe didn’t move or otherwise acknowledge her presence.

“What is it Chloe?”

“Katherine,” she answered. “That’s Katherine,” she said as she pointed to the back of the book jacket.

“Yes. Katherine Loudendale. That’s a new bestseller.” She turned the book over, revealing the cover art of the blue sneakers. “In the Forest of the Night. The story of her survival in the forest.”

Chloe turned the book over. “Katherine. My mother.”

“Katherine Loudendale is your mother?”

“Yeah.”

Georgia stared at Chloe. Anyone would have recognized the look as incredulity, but Chloe was oblivious.

“She got lost in the woods,” Chloe said.

“It’s been on the news,” Georgia said. “She was on The Shelley Show.”

“Dad got me a compass so I wouldn’t get lost.”

Georgia put her arm around Chloe. “Do you want me to take you back to the shelter?”

“No, I’m going to go hear Brad McNear.”

“Maybe I should just take you home.”

“I should go.”

“I’m worried about you Chloe,” Georgia said, but she didn’t say why.

“I’m ok, Georgie. I’m not sick that I know of.”

Georgia sighed, then hugged her from the side. “Please be careful. And go to the sandwich shop and get something to eat, ok?”

“I will. Thank you for the book.”

“You’re welcome. Try to get some rest tonight.”

“Miles to go before I rest.”

“Robert Frost,” Georgia said.

 


Coyright 2015, Joseph E Bird

The well.

From the Chris Offutt story, A Good Pine.

“He couldn’t recall the last time he had laughed or cried.  Both came from the same well with different buckets, but his water table had dropped forever, the spout long sealed shut.”

 

Can you feel the wind?

Forget the movies, don’t think about the characters, or even the story.  Just enjoy F. Scott Fitzgerald’s mastery of the scene in The Great Gatsby.  You don’t just see it, you hear it and feel it.


“The only completely stationary object in the room was an enormous couch on which two young women were buoyed up as though upon an anchored balloon. They were both in white, and their dresses were rippling and fluttering as if they had just been blown back in after a short flight around the house. I must have stood for a few moments listening to the whip and snap of curtains and the groan of a picture on the wall. Then there was a boom as Tom Buchanan shut the rear windows and the caught wind died out about the room, and the curtains and the rugs and two young women ballooned slowly to the floor.”

F. Scott Fitzgerald from The Great Gatsby

 

The heart in conflict.

“… the young man or woman writing today has forgotten the problems of the human heart in conflict with itself, which alone can make good writing, because only that is worth writing about, worth the agony and the sweat.”

— William Faulkner, from his Nobel Prize acceptance speech, 1950

 

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