30.8.09

Punk Lit. 1983 or Waving the White Flag

Punk Lit. 1983 or Waving the White Flag



I'm going to end up like one of

those old weirdos who lives

in a network of tunnels

burrowed

through trash -

yet I do not fear this.

--Will Self


The Interview

“Well, Annabelle,” I said. “To be honest, I’m appalled at your misandry.”

She shot me a look of incredulity. Incredulity because being an interviewer of the feminine persuasion, she’d never been taken to task for being a smug, man-hating dyke. And honestly, I think my penis must’ve acquired two inches of length and another in girth because I felt that for once, I had achieved a victory for all men against women of her manner.

“Do you even know what misandry is?” I questioned, adding quickly before she could answer, “You probably don’t, I assume, because you’re so busy throwing about the word ‘misogyny’ when it comes to males. Misandry is... a hatred of men as profound as misogyny is to the fairer of our two biological sexes. I’ve always been more of a misanthropist, if you ask me.”

“I think you’re fucking disgusting!” she yelled.

“Today is my twenty-fifth birthday,” I told her, sipping my five dollar coffee outside of a big name coffee shop. I was annoyed that I was there, and I was annoyed that she’d be so nonchalant about crushing my balls under her shoes; spitting in my face, even (as if metaphor and hyperbole are ever out of place!).

She, so august in her demeanor as to suggest that I was not engaging her in discussion, no no, I was ogling her breasts; mentally undressing her, and thinking only of the many ways I could have her right there on that metal table. In reality, yes, I had noticed the small mounds that represented her breasts, perfectly formed underneath her sweater, and I even noticed the fullness of her lips, but there was nothing about her inherently attractive.

Part of me believes I was supposed to be thankful for being brought out into the cold to engage in conversation with an intelligent but humorless woman known for tearing down the most innocuous of men for the most trivial of reasons. I was supposed to be thankful for the opportunity to gaze into her cold, unforgiving eyes. I was supposed to be thankful for the wish granting chance to buy her coffee and suck her phantom cock by way of responsive ingratiation.

Sitting there, pencil in mouth, legs crossed with the crossing leg rocking against her knee like Peggy Bundy, she studied me with a dull, uninspired kind of intensity. Was she bored? I’m sorry, Annabelle, am I boring you?, I asked. She laughed, straightened her legs and asked me what I was going to do in celebration of the event of my twenty-fifth birthday.

Dumb question, bitch. I told her that I was going to booze it up with my friends, and then I was going to Books + to read selections from my first novel (the one we were supposed to talk about in the interview) ¡Existe el amor solamente para matarnos or Love and Men have no Business Doing Business which wasn’t so much a novel as it was a miscellany of short stories and essays weaved together sans any unified thematic through-line, but was sold as such because of its epic length (I was going for something like DFW’s Infinite Jest or Proust’s Remembrance of Things Past or even Rétif de la Bretonne’s Les Nuits de Paris but failed spectacularly): 100 different stories/essays/lots of filler over 300 pages. It’s a scattershot product that will probably never pay dividends despite the local and internet attention.

“I really thought you were going to wax rhapsodically about banging sluts in bookstore bathrooms after a signing,” She said from beneath a smirk.

“Rhapsodically. You’re funny, sweetie. There’s nothing emotionally or nostalgically overpowering about such acts. They are what they are. Or what they are not. Those are jokes. I have a girlfriend. You should meet her.”

“Not interested in threesomes.”

Oh how presumptive she was! My dear Annabelle. I quickly changed the subject to something a bit more-- biographical. I talked about being born in London in 1983 to a couple of expatriates: my mother American and my father from Ireland. She listened holding a face draped in boredom. I lit a cigarette.

“That was twenty-five years ago today,” I said, blowing smoke in her direction.

“You are so fucking rude.”

“That I am, ma’am.”

To continue, I talk about not being Jewish and about how in Britain in the early ‘80’s circumcision wasn’t a regular practice, which meant that, well, you can only guess-- this, of course, only revolted her further, so she leaned forward and very calmly and curtly asked that I refrain from discussing my penis because it makes her queasy and it doesn‘t reflect well on me as an individual of the intellect that I so fervidly claim to wield. I asked her if she was a citizen of Lesbos and she laughed loudly, rising from her chair with the intent, I think, to walk away, but instead leaned down into my ear and delivered a litany of complaints against me, the worst of the male species.

She began with the charge that my book was a self-indulgent, nonsensical, culturally offensive, misogynist, ill-informed, disgusting piece of shit, and that I was a purveyor of all that is wrong with “literature,” classic and current-- adding that my place in the canon of erotica would be characterized not by the fact that I am a romanticist possessing the noblest, most sensitive of sexual graces-- a visionary; aesthete-- rather, I am an immature man-boy who uses women as artifice and a means to climax; reducing them to symbol and object, denying them the humanity and dignity they rightly deserve as beautiful, flower-like persons that are the source of all human life on the planet.

...

Annabelle left me to marinate in that; the steamy sauce of self righteous pseudo-feminist conjecture. She picked up her purse and I laughed mockingly as she exited stage whatever on me, nose high in the air. (...) I expect a glowing report on our-- rapport. On how I charmed her; oh how we laughed!

...

I know for a fact she didn’t read my book. That’s okay. Her preconceived, biased feminist perspective gave her no reason to read it. Especially because my reputation had preceded me. Yeah, I fucked a girl in the bathroom at a Borders and was busted for it. Lewd and lascivious behavior, I believe it was. It was worth it. It’s not like I had to pay a penny of that court bullshit, anyway.

And though I won’t claim to never having exploited or used women, I will defend the stories in my book. They are, for the most part, fictional exercises in poor taste and bad judgment on the part of desultory young men who choose to not have a future in the traditional sense. Yes, most of the stories are centered on sexcapades, orgies, and emotionless trysts, but what is youth without rampant, nay, rampaging indiscretion?

Today is my 25th birthday

The bar was full of people. None of them were patting my back to congratulate me on my twenty-fifth year on this nature forsaken planet. They weren't telling me how good or bad my book is. They weren't telling me that I was a sexist or defending me as a latent women's libber. It was just people trying to get drunk and forget about the perceived or actual (or both) misery of their lives. I could feel that. I could relate to that. So I toasted to all of them whether they heard me or not.

Kelly, my girlfriend, and also the one who suggested the title of my book (the part en español), was running late, so I ate some stale peanuts that tasted as if the salt had been sucked from them by some impudent fucker with zero sense of bar etiquette and watched the hockey game on the HD tube. Every now and then I directed my sights away from the TV to ask for another pint or to look through the gaggle behind me for a hint of curly, bright red hair-- Kelly, O where for art thou?

When she arrived she sat next to me and put her arm around my neck. She was already a little drunk. She asked me how the interview with the bitch went. I said that it went resplendently well and that Annabelle and I hit it off like long lost sisters, celebrating in our flowering femininity. She laughed and tried to call up a studious mien.

“Don’t be... fatuous, MJ. Doooooon’t.”

She stumbled into laughter. Great. Now I had to catch up. She asked me if I’d seen The Big Lebowski. I told her that I’d seen it an innumerable amount of times. With her. She said the word fatuous slowly, giggling about what a funny word it was. I agreed, then bought a bottle of cheap wine and took her to a table.

Punk Lit. 1983

I woke up next to Kelly. We were twisted together in the sheets and spread. I had no idea where I ended and she began. She was snoring softly. Sunlight cut through the thin curtains. The alarm clock was at 12:42 P.M., and for the first time since we started dating, I noticed how utterly stark white her bedroom was. Indeed, her entire apartment was this way. Pale as her skin.

There was a voice message on my phone from Annabelle. She said that she was posting our interview on the blog at that very moment. I considered panicking, but instead reached for my cigarettes, lit one-- the last one-- and then tossed the empty pack into the sink. Happy birthday to me.

Kelly padded with exhaustion into the living room around 2 P.M., running her fingers through her long, matted red hair. I was typing away on my novel using an old typewriter because I felt that it gave me legitimacy as a writer (haha). She yawned, zombied her way next to me, and asked if there was coffee. No, I said. And I smoked the last cigarette. Shit, she said, and walked away, presumably to curse the day I was born-- twenty-five years ago yesterday.

I continued typing. She called from the kitchen, asking if I had any plans to walk to the corner store. I said yes. She left money on the counter and went to take a shower. I typed some more. We were beginning to really piss each other off. The day before my birthday she ranted at me about how she didn’t understand boys, and I pointed out to her that if she has those kinds of issues, dating a boy eleven, almost twelve years younger than herself doesn’t reflect well on her situation.

Fact is, we both agreed to an open relationship-- I guess you kind of have to when you’re married as she was-- and just because I fuck random girls doesn’t mean that I give myself, heart and soul to them. And I don’t expect any different from them. I felt like Kelly was smothering me, pinning me to the floor, “Look, Michael, I made you. I got you that deal. I helped you title the fucker, and I want a lot more commitment from you.”

Blah, blah, blah.

The Borders thing infuriated her to no end. And my cavalier attitude made her angrier. We didn’t talk for several days. The drunk thing at my birthday party was her way of “getting me back.” Before we had sex last night, she told me that she fucked an even younger guy she met at a punk space. A real punk she said. Not one who bangs ugly girls at bookstores.

“I hope for your sake he fucked better than Sid Vicious played bass,” I laughed while thrusting into her. She dribbled whiskey onto her chin, trying to keep from laughing. I don’t think we’d ever actually kissed while fucking. She always had a bottle of booze attached to her lips.

The first time I ever hurt myself over a girl was at the age of eight. Playground drama. My first crush-- her name was Erin, I believe-- told me that she didn't want to play with me anymore. For a boy my age, I suppose this wasn't the most devastating event that could touch my young life (certainly not on par with being grounded so that I couldn't go see the new TMNT movie, or with the pain of knowing that I will probably never have a little brother or sister to be mean to), but it was a definite rejection; the first I'd ever experienced.

It was so sudden; inexplicable. Thus, in a fit of juvenile depressed anger, I somehow got my hands on a metal curtain rod, and proceeded to bang it against the monkey bars. The clangs shook me to my elbows, and when I'd had enough of that feeling, I flung the rod into the bushes. I was still running high on endorphins, so the realization that the curve of the rod had sliced open the heel of the palm of my hand didn't come until I saw the red stuff gushing rather freely.

The night Kelly and I met we had a battle of the scars reminiscent of that scene in Lethal Weapon 2. For most of my scars I made up stories because how I really got them wasn't all that interesting, and recounting truthfully wasn't going to get me where I'd hoped to go with her. But the one true story was the one about the scar on the heel of the palm of my right hand. Chalked it up to women. She blamed men; this beautiful redhead, for all of her scars which were invisible to the naked eye; alas, they were emotional.

We woke up on opposite sides of the bed. At first I wanted to joke with her about how one of us had awakened on the wrong side of the bed, but instead I blurted it out. I said, "The title of my novel is 'Punk Lit. 1983,' a reference to the year of my birth and a tribute to my 'don't give a fuck, DIY lifestyle.'" All I heard was the snap of her panties against her skin and a sigh. After more elongated silence, she laughed.

I finally faced her for the first time that morning. She had the whiskey bottle to her lips, head knocked back, finishing the remnants of last night's sex. It made a thud as it landed on the mattress. "That was my orgasm." I laughed and under the guise of false admission, claimed that I didn't know what the hell was wrong with her.

You know. You fucking know, she said. She told me that I was such a fucking bullshit artist, and that I was so bad at it, but had the perception that I was so good at it that I believed my own bullshit. She said that I wasn't a sexist or any of that, no, I was worse, I was a fucking asshole. "Yeah, Michael, you're so fucking cool. You wrote a shitty book that makes zero fucking sense. 'Johnny Rotten's Angry Letter to the Sex Pistols’ Moronic Fans' was such a brilliant piece of clever bullshit. Golf claps for the clever little monkey. You know what? I'm sick of this. You don't include me in anything. I'm just your redheaded slut, aren't I?"

FUCK YOU, MIKE.

That was the gist of her outburst. But it got better,

"When that slick mohawked fucker was pounding away at my pussy, I imagined you sitting at that bar, eating those nasty fucking peanuts because you never learn your fucking lesson, and I laughed. I moaned a little, but that's because the kid's big dick was no laughing matter. Ugh. ... Ugh! You disgust me. I should just have my husband kick your ass, how’s that? You think you’re so much better than all those dressed punks, but you’re all talk. And pencil. One of these days you’ll be exposed for the pussy you are, and I can’t wait. I will cheer on any hotheaded lunk who decides to bash your smirky face in!”

Once she was dressed, she stormed out into the hall yelling expletives over her shoulder. I walked into the living room and sat on the floor, shifting through the ashtray, finding and lighting the first one-sixth of a cig I could find. I picked up the copy of my book and leafed through to the Johnny Rotten story.

(...) And Vicious, well, he wasn’t a vicious bloke at all, he was the nicest of the bunch (not as nice as Matlock, that pansy, but Matlock doesn’t fuckin’ count 'cause he was a cunt). Ever heard of irony, you ill-educated twits?

Blah, blah, blah. It certainly wasn't as funny as I remembered it being. Maybe she was right. It's an old story and I suppose it displays the number one flaw of my attempt at satire. Especially when real people are involved. In this case, Johnny Rotten. I failed to achieve the goal: to accurately capture the essence of the individual I was satirizing. Absurdity is a useful tool in satire, and at its most genius, satire manages to represent real aspects of a personality and highlight the absurdities in an egregious manner.

In short, let's just say that it's not on the same level with Philip Roth's Our Gang, dated as it is. Moreover, I don't think much positive can be culled from the story except for the fact that I can look back on it in a constructively critical manner. I picked myself up from the carpet and threw the book on the coffee table. I pulled my jacket from the crevice of the couch and made my way out the door.

Kelly consumed my thoughts as I tramped downstairs to the gate. My culpability became more and more apparent to myself-- the sadness a byproduct of the guilt that accompanied this particular dawning-- I slowed to a more pensive kind of promenade.

The sun was up. The air was cold. I was past the gate and on my way down the street to the corner store where I would pick up a pack of smokes. I stopped at the light. A small red headed child was in the back seat of a passing car. Kelly. Oh Kelly. She was in my head again; no sooner gone than returned; pissed at the presumption I'd made. So why was she pissed? Because the mutual openness of our relationship was not voiced. There was never an agreement. No documents were signed in ink or blood. I merely assumed that we were engaged in an open affair after she admitted to me that she was married.

Separated, of course, but definitely, legally married.

The Borders episode simply set everything off. My friend Strange was signing his new book, Fucking Assholes and the Bitches who Fuck Them, and I was there for emotional support and the free booze that would come after. I was sitting in the adjoining coffee shop when I noticed a very cute Asian girl in a skirt standing in line with Strange's book under her arm. I politely moved in and asked if I may be so bold as to make a suggestion. She smiled and said, “sure dude, cool.”

“You could have coffee or whatever it is that you kids get at places like this these days, or you could throw caution to the wind, follow me, and I could show you something you’ve never seen.”

She looked at me blankly, laughed, and said, “I’ll bite.”

We ended up in a men’s bathroom stall, my jeans at my ankles and her skirt hiked. She was silent and I think I perspired heavier with each thrust. Apparently my grunts were heard by someone masturbating in the stall next to ours (at least that’s what I’ll surmise, considering the asshole was gripped by enough moral turpitude to rat us out), and he reported us to security, who interrupted our coitus (boring as it was), notified the police, and the rest is tickets and threats of jail time and a bunch of other bullshit I slept through.

Kelly had a lot of questions for me after she bailed me out. All I could tell her is that I had never been with an Asian girl before. Over and over. Smiling. Occasionally laughing. She accused me of being smug and proud and stupid. “So that’s your reason? ‘Oh, I’ve never fucked an Asian girl before, here’s my chance!’” Pretty much, I intimated with a shrug.

“If this is because I’m married, it does nothing to prove anything. It only shows that you are capable of displaying zero maturity. Maybe I am wasting my time.”

Oh sweet beautiful drama!

“You could’ve said that I’m ‘incapable of displaying maturity,’ but if being verbose gets your point across more forcefully, point fucking taken!”

“And to think that I love you.”

“Oh, that’s fucking noble,” I say. “Thanks for bailing me out, you’re a real fucking sweetheart. ‘Say baby, I’m married, but that’s okay, because we’re separated and as soon as we can afford a divorce, it’s DONE.’ Look, I never asked for anything. I think you’re fun as shit, woman, but you gotta let me fuckin’ be.”

We didn’t see one another again until the night of my birthday.

I stepped into the corner store and the guy behind the counter slapped my pack of cigs onto the counter and smiled, “That’s what you like, right?” Yes, my good man, I said. Yes. I joked that I’d soon be in flavor country. It’s a big country, right? Indeed, he grinned, not really having any idea what I was going on about.

As I was exiting, a dumpy older woman was dragging a screaming child in. I was a bit startled by it, so I stopped and looked back. The child went limp once the threshold was crossed which prompted the lady to verbally blast full bore into it. In Spanish. It reminded me of the days my own mother would stop and critique my tantrums. No screaming. No threats. Just smiling critiques. Laughter, even. This particular woman, however, lacked the maternal wit necessary to counteract the child's behavior.

(I don't know. It always pissed me off when my mother would reduce my-- what I felt like were-- earth shattering fits to sporting events with the same amount of gravitas as a blue collar comedy routine.)

Waving the White Flag

Annabelle called again. I answered. She wanted to know if I’d read our interview. I said no. She cackled deviously and suggested that perhaps I should. I said in so many words that I was busy, but she wasn't buying it. "Writers are never really busy," she barked.

So I humored her. I went to her blog. I still had the phone to my ear. She assumed my silence meant I was reading. I was really just looking at all the pretty colors on the background. My eyes glazed over in the onslaught of secondary and tertiary colors. When I came to the Interviews section, I clicked on the link to the interview, not-so-cleverly titled Meet Michael John Healey, The Biggest Asshole in Town.

“You forgot ‘celebrated author’ in that appraisal you call a title.” I remarked.

“Yeah right. You asked for it, dirtbag.”

So much for objective journalism. I sighed.

I began reading bits aloud to her. She giggled uncontrollably at every line of invective, rejoicing in how deliciously evil it all was, reveling in tearing me apart with bad publicity.

So I launched a defense that would prove ineffective. Yes. Ineffective against her plodding rhetoric that countered my position that these stories were nothing more than disparate pieces of an oeuvre that only borrowed from actual events and that were, at bottom, stories. Fucking stories! Fiction!

“Whether or not something is fiction,” she starts, “matters not in the least. It’s a convenient excuse at most. But it’s mostly bullshit.”

“How is it bullshit? It’s true! Can you read?”

“If that’s some critique of women...”

“It’s not. It’s a question! Jesus. None of those stories, in their entirety are true, and if you actually read them, you’d get the feeling... the idea that it’s not so much women I dislike, it’s people in general. If anything the female characters are smarter and more in control than any of their penis-having counterparts.”

And so on...

We argued the point until I gave up. Waving the white flag, conceding to defeat. The sheer weight of her petty, thin assertions and argument wore me down, and clasping my hands together and shaking them in supplication to the mouthpiece of my phone, I let her have the upper hand. She cackled and hung up.

When I was sixteen I thought I was in love with a young woman two years my senior. Nearly ten years on, it doesn’t seem like such a difference, but I was so young and naive and brazen. I thought this woman beautiful and her pallor was a gift from the Bavarian heavens.

I wrote sappy poetry and played the role I believed was accepted amongst my peers (the concept of subtext was completely foreign to me at the time). But I was a virgin, and deep down, what I really wanted was sex. But I never admitted that to myself. No, I was confident only in my role as the “nice guy,” the one who would surely be emotionally, physically, and romantically ravaged once my friend-- this fraulein-- once she realized that I was the only one there, waiting, and that I would do anything to make her happy.

But she was more interested in partying and fucking random people. I'd made myself a relic. The last of a "dying breed (as the girls would say in a drawl, fanning away the southern heat)," but mostly, a stick in the mud. At sixteen no less! I hadn't the life experience nor the hindsight of a real failed relationship from which to draw hope. I was a wrinkly old conservative inside a sixteen year old body that feigned at romance because I'd never been properly laid-- which was all I ever really wanted anyway. I wasn't mature enough to be a true romantic.

And so my Bavarian beauty and I parted ways. I surrendered to pure logic, and I assure you, she was armed with plenty of it.

I still have her naked photos.

Night fell on the city, and there I was, in the living room, television off, typing away on my laptop (instead of the typewriter, because laptops can do so much more: I can switch windows and write while watching porn) when Kelly managed her way in; drunk. The door was unlocked, but she struggled with her key in the lock for what seemed an eternity. I should’ve laughed, but I was far more disconcerted than amused.

The word count was near 10,000 last I checked, and I checked often, expecting the result to change despite my indecision. Despite the light from the screen, I could feel her point at me. She began to laugh, saying that she read the interview and that I'd made an ass of myself as usual. I didn't argue. In fact, I barely acknowledged her. I continued to type; commenting on Annabelle's blog, in defense of myself. Two words, I typed. Lydia Lunch. Kelly started yelling. “Pay attention to me!”

Taking my eyes off the screen, they met with hers. What? I asked. What? What do you want from me?

Silence.

She sobbed obstreperously in the hope that it would move me. It didn’t. “I think I’m gonna be sick,” she said, and ran into the bathroom. Emptily, I stared into the space she occupied only moments before.

The Response

Lydia Lunch, I believe, once made a statement about exploitation and porn and women, and seeing as you’ve characterized my literature as little more than deviant, pornographic pap, I think it applies. It goes something like this: there wouldn’t even be a market for porn if there weren’t men out there sexually unimaginative enough to need and desire visual aid. Women in pornography are no more exploited than the men who consume it. (...) I was paraphrasing heavily in my comment, but the truth is that I could’ve dedicated pages of comments just on the nature of pornography itself. Not that I truly believed my book was pornographic.

I closed the laptop and lit a cigarette. The sense of righteousness that I normally felt after a long diatribe was not there. Instead I felt fatigued and wasted. I decided that it was time for me to stop forcing myself to write. For the last few weeks I’d been staying up ‘til 4 or 5 A.M., cranking out only sentences at a time. Then erasing them. Then writing new ones. Then erasing them. Then wanting to chuck the whole fuckin’ story in the recycle bin.

On top of the fridge I had half a bottle of cachaça, a couple bottles of cheap brandy, off brand absinthe, and some wine. Couple of boxes. Kelly’s thing. I drink exclusively from the bottle. I’ve been called a snob, but a real snob would actually use glasses intended for wine-- just the price one pays for being “the biggest asshole in town.”

I got up, went to the kitchen, took a dirty glass out of the sink-- there are never clean ones in the cabinet because, well, I don’t do dishes-- and rinsed it under the tap, set it on the counter, and grabbed a bottle of brandy. I’ve always loved brandy because it tastes great in cocktails and even better straight. It is smooth and it’s cheaper than good whiskey.

Cheap whiskey, awful by virtue of name alone, is a rancid, gut rotting bitch-goddess. Brandy can be cheap and still fairly decent. For example, I only drink Christian Brothers or Presidente. Obviously such utterances in certain company will bring me a deluge of excoriation from the connoisseurs, but the thrust of my drinking habits revolve not around the idea that an alcoholic beverage should be gustatorily delightful, but on the idea of economic necessity. It is not uncommon to see me in a liquor store, weighing alcoholic content against dollar value.

Leaving the glass to lounge on the counter, I took the bottle and wandered into the hallway. I popped the cork-like top and took a swig. The bathroom door was open, the room dark. I expected to flip on the light and find Kelly hugging the toilet, asleep, or in the tub, passed out.

But I slapped the switch and the light came on and she wasn’t there. In fact, it was fairly clean. The seat was down and there were no signs that vomit had recently hit the bowl. I turned off the light and stepped into the bedroom. She was in bed, curled into the fetal position on top of the unmade covers.

In that moment I remembered the depth of my feelings for her. Maybe I wasn’t hell-bent on making it work, but I wasn’t an unfeeling brute. Our misunderstandings and arguments don’t cancel out the fact that we’ve done some cool, fun shit together (our trips to the plaza where we’d make fun of little kids falling on their asses while trying to ice skate, our long discussions about what we might do once we get a little bit of cash, nighttime trips to the local video store, etc.). Or that we've also done irresponsible and reckless things (drunk driving and tossing the empty bottles out the sunroof, for example), but all in all, being with her has been one of the best experiences in my life. Staring at her back, I didn’t know if she was asleep or pouting or just thinking. I called her name. No answer.

I crawled into bed with her, bottle and all. I called her name again and took another gulp of the brandy. She let out a moan of exhaustion. Are you sick, I asked. She moaned some more and stretched her legs out. I told her that I planned on getting shit-faced since I couldn’t manage to work on my novel. She said that she didn’t know why she came back because I was the biggest jerk-bag in the universe.

“My head is pounding,” she groaned, turning to look at me. “And that shit stinks. Ugh, I feel like that tattoo of a girl’s name from that story in your book. She goes out and gets obliterated and then wakes up the next morning to find that she’s on some dude’s hairy ass.”

“I’m familiar with the story. I wrote it.”

“It sucks, you know. You’re no fuckin’ Kafka.”

I gave it to her. I’m no Kafka and she’s no Lydia Lunch. But I didn’t say it. I just put my arm around her and closed my eyes.


© Patrick Patterson-Carroll

(2009)

Movie Review: "Metropolitan"

"Metropolitan" (1990)

Written and Directed by Whit Stillman

Starring: Edward Clements, Chris Eigeman, Carolyn Farina, Taylor Nichols

Whit Stillman is relatively unknown to most who lack "indie" sensibilities when it comes to cinema. Often he is mentioned by "buffs" in the same breath as Noah Baumbach and Wes Anderson. Until recently, I'd never seen "Metropolitan" or the subsequent movies in Stillman's "series": "Barcelona", and "The Last Days of Disco."

After viewing "Metropolitan" it is doubtful I'll be watching any other projects with his name attached to them. Because while the cinematography was modest (something I generally like)-- minimalist in style, with only cuts and fades to black with occasional title cards (that added nothing to the story)-- the meat of the movie, the stuff that matters: acting, story, characters, etc. failed to move me at all.

The story, which was really nothing more than a bunch of privileged fuckheads attending fancy "tie" parties and talking a load of "bollocks," only served one purpose, and that was giving such thinly attributed characters a reason to exist. The performances, save Eigeman's (who is good, though awfully typecast as the witty cynic in almost everything he does) are awful.

For example:

One character rambles endlessly about how their clique should relabel themselves as UHB (urban haute bourgeoisie) as opposed to "preppy," which I suppose is an underserved social "epithet."

Yeah, "Fuck me" is what I said, too.

Another is a "middle class" Princeton alum who tries to fit in even though apparently he's poor. Makes no fuckin' sense but whatever. Apparently his parents are split and he lives with his mother in a large apartment on the west side. He's a socialist and surprisingly isn't taken to task for it. Questions early on, but after that, it's all about some girl he's obsessed with.

Eigeman's character is an "aristocrat" who hates aristocrats with titles and fucks women he loathes.

The female characters are even thinner than the males and exist primarily as ciphers for the latter. Por ejemplo: Eigeman's character is calling one of the girls (and I don't even remember her name because she was such a non-factor) a slut, and she just playfully slaps him (bad acting). Of course, the exposition to that is that they'd been fucking. Ugh.

I really wouldn't have given a shit if some crazy fucker walked into a scene and just mowed down the whole cast with an AK. Fucking useless wastes of cum. That would've made this shitfest watchable.

And that's the thing. It was fucking boring. It even took me two hours to watch the fucker because I stopped it to go and buy cigs. A testament to my never wanting to give up on movies. Comedy? Stillman, surely you jest.

27.8.09

The Loving Wall

The Loving Wall

from

"¡Existe el amor solamente para matarme! or Love and Me Have No Business Doing Business"

by Stuart González

Paul got an efficiency apartment in Montrose. $375 a month plus bills totaling near $500. He made $1,000 a month after taxes, which was manageable, but he was still poor. The place, tucked away in a corner covered with folliage that sits between an alley and a small street only a block away from the hookah bar on Westheimer, was owned & operated by a couple of gay artists who were famous for their annual Halloween bashes. If he could manage not to get evicted in a month's time...

Sitting alone in a beach chair, he sipped on a beer and exhaled. "Small place," he said aloud. Not even an echo. Small, empty place. With only a chipped, cracked coffee table and a smelly bean-bag chair taking up the rest of the space (most of it), Paul couldn't fathom bringing a girl home.

He didn't even have food. Two beers and a banana were the only contents of the mini-fridge, which buzzed annoyingly in the corner. Every now and then he'd hum along with it or he'd add the lyrics to Gimme Shelter.

Outside he smoked a cigarette with one of the owners. He couldn't think of anything to say to the guy because he knew nothing about art. What could he say? "Oh yeah, I like Picasso." He couldn't even name one of the man's paintings. All he knew is that they all looked like someone spilled water on them.

Instead,

"What do you smoke?"

"Marbs."

"Cowboy Killers."

"Lights."

"Oh."

Back inside his apartment he'd ponder going to the movies. Pondering movies made him think of posters. There weren't any on his walls. In fact, he had nothing to put on his walls. Well, there were the postcards his sister had sent when she was studying abroad in Europe, but he didn't think anyone would want to see pictures that he couldn't explain. He hated explaining things to people.

He considered calling his sister, but decided against it. She talks about boys a lot and cries as if their parents were dying or something. It's unbearable to him.

In the bathroom he noticed that the tub one of those old ones. A classic, as people with extensive knowledge of bathtubs would say. "Maybe one day I'll take a bubble bath," he said aloud.

Then, a knock on the door. Paul stepped onto the wooden floor from the bathroom, which is slightly elevated a step from the rest of the apartment and walked to the door. Peering into the peephole, he saw a young woman with curly brunette hair flowing down her shoulders.

Another knock.

After opening the door, they stood staring at one another.

"Hi," she said.

"Hi."

"I live upstairs. Randy told me you'd be in. Says you're new to the neighborhood."

"Yeah. Kinda."

"Well, I'm Monica, and I go to St. Thomas."

"Paul. I went to Rice."

"Ooh. Smart guy, huh?"

He didn't want to tell her that he flunked out. It was embarrassing. She asked to come in and he looked around behind him and agreed. He offered her a beer, but she didn't drink. She was only nineteen. The thought came into his head to laugh, but instead he offered her his banana. It put deviant thoughts into his head, which he liked. She laughed and asked for water. He gave her some from the tap in a paper cup.

"Paul," she started, "do you have a girlfriend?"

"Nope. You got a boyfriend?"

"No. Never had one. Parents didn't let me date in high school."

"Sucks. Why not?"

"Because high school boys haven't the resources to get married."

"I see."

Now Paul really wanted to fuck her. Innocence is overrated, nymphomania undervalued, and loneliness is observed seriously as a virtue called solitude. He hated it. This is why he wanted her to leave.

And after a while, she did. They exchanged numbers.

The first night in the apartment was trying. The newness of it was fading and he'd already masturbated twice to the thought of bedding Monica. On what bed, he'd never know, such is the nature of fantasy. But laying back in the bean-bag chair, staring at the empty wall in front of him, he realized that he had never felt as comfortable as he did in that moment. Relaxation had settled over him. He fell asleep.

In the morning he awoke face down on the wooden floor, a pool of slobber trailing from his mouth.

He stepped outside and had a cigarette. Still wearing what he wore the day before. He hadn't taken a bath. He hadn't brushed his teeth. The only thing on his mind was the ennui of the "day off," and how it would eat away at him. This is what he knew, and it was only half past nine.

Monica bounded down the staircase next to him. They exchanged greetings. She told him she was off to class.

"I'm off today," he said. "Anything cool to do around here during the day?"

"You could hang out and flirt with girls on campus at UST or you could go to the hookah place on Westheimer. Just a block north."

Cool, he thought. But hookah during the day is useless. Kind of like drinking. She skipped off out of his sight and he wondered if he should've stopped her to ask where the campus was, but shrugged it off and went back inside. Pulling the last beer from the fridge with a sigh, he knew he couldn't go all day in such a fashion.

From the bean-bag chair he had a great view of the wall in front of him. He finished the last swallow of the beer and tore into the banana. The formless wall was quiet. Plain. Mysterious. Inviting. Plainly, mysteriously, invitingly sexy. It was the only thing about the new apartment that didn't bore him.

In that moment he considered Monica. Compared to the wall, Monica had all of the requisite anatomical qualifications, the aesthetic qualities necessary for attracting the male of the species. But what she lacked was a cool, calming effect. She was animate, talkative, a "mellow harsher."

He stood up, approached the wall, caressed it with his hands and beautiful words. Silence. He put his lips to it, feeling the coldness.

"This could be love."

© Stuart González

23.8.09

Cinema-rama: Stuart González

Hi, Stuart here.

Patrick asked me to pick five films off the top of my head that "speak to me." Well, it's an ambiguous enough request, right? Right. And while I don't share Patrick's thoughts and opinions on film I respect his right to hold them... but seriously, man, David O. Russell is not good. Did you even WATCH I *heart* Huckabees? Whatever. "There's glass between us." I think Jude Law should've choked that bitch then and there. Anything to end that nauseating, meaningless pseudo-intellectual claptrap, that suffocating morass of zen buddhist bullshit philosophy and existentialism (still perverted by intellectual midgets the world over) (¡¡¡¡¡¡!!!!!!)...

So here are five films that I think are cool:

The Lost Boys
(1987)
Mac & Me (1988)
Flatliners
(1990)
The Doom Generation (1995)
SLC Punk
(1998)

I must confess that this list was carefully thought out. These are, in my estimation, the best films that came out between the end of the Falklands War and 9/11. Okay... fine. Between 1987 and 2001. Why? Because he didn't ask me about established classics or anything A.T.S.S (After The Sixth Sense) A.K.A. The worst movie ever.

So. I picked The Lost Boys because it was so obviously the inspiration for the brilliant and regrettably/predictably understated Twilight series. The books. They rule. Not the movies. Those are shit. Robert Pattinson isn't that pretty. And he hates Mexicans.

I picked Mac & Me because it is a nostalgic reminder of my early childhood. Except our family was a lot poorer and McDonald's always made me puke. A lot of 80's film critics dismissed it as a poor man's ET but that's bullshit. Mac & Me did what ET failed to do: highlight the Reagan era in a positive, go AMERICA (¡!), yay capitalism (¡!) light.

I picked Flatliners because come on (¡!) it's a veritable all-star affair. Pre-24 Kiefer Sutherland, Julia Roberts before she got old, Oliver Platt (underrated actor), Kevin Bacon (the guy's in everything!), and a young Hope Davis. Anyway, this movie rocks on concept alone. Sure, perhaps it's not "scientifically sound," but who importa? Huh? ¿Quién le importa? Nadie. So shut it. It's the movies and movies is magic, man!

I picked The Doom Generation for no other reason than it was the first time I ever saw Rose McGowan on screen. So what is it? Writer/Director Gregg Araki calls it a "heterosexual film," but I think of it more as a hedonist affair with sex between consenting adults. Essentially, the film is centered on an insular, loosely defined dystopian society where everything costs $6.66 and all convenience store proprietors rock sawed-offs. Between the nubile, sexy McGowan, her dumb-ass boyfriend, and a psychotic miscreant (who fucks them both): lots of booze is consumed, many cigarettes are smoked and many enemies are made.

The dialogue is ridiculously corny and sometimes funny (whereas the shit that spews from mouths in Tank Girl is not), but the bloodshed is regular, and sex scenes take up a good half hour of the picture's 82 minute runtime (for retards, that is 1 hr 22 minutes). So it's a Clinton era classic to be sure.

The cinematography is artful and raw both at once, and the set and costume design are a great compliment. The film would almost qualify as a noir if it weren't for the lack of a real plot.

Anyway, the bonus is that 90's "indie queen" Parker Posey shows up, and if you aren't paying attention, you miss it. She brandishes a sword in one of the greatest bar scenes that don't involve drunks ever.

I picked SLC Punk because I am a punk at heart. Sure, I don't dress like it... mainly because my dad made some comments about zoot suits when he saw me in uniform, but also because it's so expensive to look punk. It's a prevailing irony. You can't be a punk on a budget, you end up getting lumped with the grunge guys.

Anyway, SLC is one of those films that really makes me laugh. You could probably say that it takes itself too seriously and completely vaporizes all the "soft-targets" of the punk subculture, but you can also say that this movie also teaches us things about Utah that we could never possibly want to know. I bet the filmmakers holed themselves in this little room: "Yeah... NYC Punk is a little obvious, though, right? I mean, it is the birthplace of the movement (if you're not a European pansy)."

So yeah. Take all these stereotypes of the punk ethos, throw them somewhere miserable and ridiculous like Salt Lake City and "bombs away!"

Laughter ensues.

Makes for a great subversive movie experience.

So fuck off if you disagree.

21.8.09

Book Review: "¡Existe el amor solamente para matarme! or Love and Me Have No Business Doing Business"

¡Existe el amor solamente para matarme! or Love and Me Have No Business Doing Business by Stuart González


197 pages


Self Published, 2006


Though he'll call it a novel, González's exhausting, tongue twistingly titled tome (alliteration!) isn't so much a novel as it is a novella, and it's not really a novella inasmuch as it is a collection of loosely connected vignettes, all written between the summer of '05 and winter '06.


Within its pages lie stories about a brother and sister living together who are actually one person; about a man who falls in love with his empty bedroom wall; about a young woman who travels to Europe and is unimpressed with the supposed sexual virility of the men she encounters; about a tattoo of a girl's name that gets soused one night and wakes up on a man's hairy ass; about Spanglish becoming the official language of the southwestern US; about a painter who manages to accurately depict god; Ronald Reagan and Ayn Rand were secret lovers... etc.


Easily the best of these is "The Manhood of Europe" about a college grad named Sarah Leigh who backpacks across Europe with the sole intent of having sex with one man in each country.

Sarah got her man. She got him in every country. In Albania and Poland. In Italy and Germany. In France and Spain. In Denmark. She had them all. Men typical of their nations. Stereotypical. Some were greasy. Some pale. Some dirty. Too dirty. Some clean. Too clean. Some hirsute. Some androgynous. ... And most...

[...] her epiphany came as she ground her hips into a Scottish guy's hips in Glasgow. A room solely consisting of shadows and blue light. It was simple. She felt no joy. It was too easy. She could conquer, oh yes, and easily at that, but one cannot rape the willing. She wasn't doing anything new, even for a woman. And despite the much touted and spoken of romanticism that supposedly gripped Europe, she felt she must be in the wrong place (78).

González points out here that perhaps lust isn't all it's cracked up to be. Of course he's wrong, but he must be given points for trying. After all, it's not like from there it descends into piety, highlighting the finer points of celibacy. In fact, he's very good about doing the exact opposite of preaching: moral indifference.

On a bus in London, Sarah sat next to an older man. She was traveling from Greenwich to Westminster and she was reading "What We Talk About When We Talk About Love." When she took her eyes from the pages to look out the window, she noticed the man shifting his eyes from her face to the book in her hand.

"Raymond Carver is no Hemingway," said he, chuckling.

"And Italians don't fuck nearly as good as Chicanos," Sarah responded.

"Yes... yes. Very well," he said, and eased himself out of the seat with the aid of a cane. He tipped his hat to her (83).

This kind of humor, prevalent in the book, seems sharpest in this story. González likes absurdity. He likes shock. He hates Raymond Carver. A lot. In fact, every story has a line about how Carver sucks. Good one, Stu.

Cop this book.

descendingastaircase@gmail.com

Bottle of Scotch outta be sufficient.

18.8.09

Movie Review: "He Died With A Felafel in His Hand"

Written and Directed by Richard Lowenstein, based on the novel (of same title) by John Birmingham.

Starring: Noah Taylor, Emily Hamilton, Sophie Lee, and a bunch of other Australian unknowns.

This is a film that I'd often skipped over in my Netflix (instant view) perusals. I don't know if it was the title or the kitschy cover photo or what, but for some reason I couldn't will myself into clicking "play." After actually viewing the film, I cannot understand why. Because it's a good-- if somewhat standard-- piece of indie cinema.

The pieces are all there: desultory, quirky characters, youthful malaise, girls kissing (with implied lesbian sex), and of course, a guy dying with a felafel in his hand. The drawback to following or falling into a formula is that it gets predictable (obviously), and even verges on self-parody, but part of what saves this film is that it isn't American. Those cutesy, "hip," exhaustingly mundane portraits of people that require little of actors other than to embody a quirkiness unnatural in even the quirkiest of people are either not there, or are dulled/relegated to background noise.

Lowenstein achieves the latter here. Sophie Lee's portrayal of a fringe paganist/feminist beauty is really the only character that gets to the point of being grating. Less annoying/prevalent stock characters exist: a violent but loyal alpha male (who loves to buy hookers), a heroin addict who moon tans, creative stoners, an intelligent but sexually confused young woman, a closeted homosexual who picks the wrong time to "come out," a conspiracy theorist, an actress/drama queen, etc. etc.

But the film is focused on Noah Taylor's character, Richard. He's a writer. And he is the constant as he shifts from house to house, flatmates to flatmates, avoiding the inevitable: payment. He owes rent. He owes on damages. He owes on credit cards. The guy just fucking owes. Kind of hits home for me as I too, am drowning in debt.

However, Richard has a plan. He's written a story for Penthouse Magazine that is bound to get him 25 grand. So he moves about Australia with the idea that he is, in fact, a writer.

Taylor plays Richard quietly, detached. He's not incendiary or garrulous, funny or amiable. He just is. Deadpan and matter-of-fact. In some scenes he's in the background or foreground, strumming away at his guitar, quietly singing while other characters engage one another. In others he broods in front of a typewriter, a single phrase typed onto a "scroll" not dissimilar from the one Jack Kerouac used for On the Road.

Introspective is a good word for his performance. He's likeable and relatable. He carries the film along because he has to. He plays so distantly from even Emily Hamilton's character, the bookishly attractive would-be-love-interest who he refers to as his "best friend" in one scene. And despite this air of separation between all the characters, Lowenstein manages to make a watchable film of it. A film that has kept me talking about it for the last couple of days.

Stuart González gives me the Q&A treatment.

Name and number?

Me: Patrick Patterson-Carroll. And man, I will not have sex with you.

That makes me kind of sad. You work?

Me: In so many words, yes. I have a job.

And what do they make you do?

Me: I have an official title. Theater Technician. It means that when my boss is too busy, I run the theater. Sometimes it's work. Sometimes it's just babysitting. I get plenty of time to write. Just not a whole lot of money to piss away on drink and dame.

I just yawned.

Me: Big enough so my dick got's ta fit!

¡Ay papi chulo! Why do you write?

Me: Because I ain't so pretty.

For the record, I find you pretty fuckable.

Me: Thanks, man.

Read any good books lately?

Me: "Nights of Paris" by Restif de la Bretonne. I read half of "The Picture of Dorian Gray" and that is one of my favorites.

You must be one of those who finds Wilde quite witty.

Me: Sure.

Why?

Me: I don't know. I read his shit, and it's like, it seems very tame by today's standards, but he was really going against the grain in a lot of subtle ways. I mean, he wasn't freaky like de Sade, but his wit contrasts greatly with the prevailing attitudes.

I disagree.

Me: Of course.

You must be shocked, being that you're the contrarian. But I think Wilde was a self-loathing homosexual who hated women, and used his wit as a way to mask those latent sensibilities. Well, he couldn't hide his hatred of women.

Me: I disagree with some of that.

Fuck you. Still into Asia Argento?

Me: Of course. She's perfect in every way. Ever seen "Scarlet Diva"? Which reminds me, when I take my laptop back to Conn's for a repair, I need to remove the nude photo of her from the log-in screen.

LOL. Worst sexual experience?

Me: I'm going to say the worst was an experience that didn't lead to actual penetration. In fact, it didn't lead to anything other than making out in an SUV.

So Strange and I went out to Cedar Springs to hit some clubs, get drunk, and maybe meet some girls. We were winding down the night and met a couple of girls outside. I got the "pretty one," though being drunk, who fuckin' knows? So this girl and I, we were trading affections. Kissing. Licking each other's ears and shit. So anyway, we get into the backseat of her SUV, and Strange is caressing the "ugly one" or something. I don't know. To be honest, I didn't want to look at it.

The girl tells me that messing with her nipples is pointless because they aren't sensitive. In fact, she was kind of bossy for a desperate woman. I wasn't kissing hard enough. I wasn't being "aggressive enough" for her liking.

Long story short, we end up at this Chinese Restaurant on Lower Greenville. Strange starts talking politicks, and it spirals into some brainless bullshit about how she (the girl I was making out with) thinks GW is awesome and that the war is righteous and that we're a bunch of liberal pussies, etc. My penis got pretty soft at that point.

You don't think Republican girls are hot in the sack?

Me: I don't know if I've ever been involved with one. But I don't care about a woman's political affiliation. As long as I don't have to hear about how horrible I am for being who I am.

You're a despicable human being.

Me: Now who's editorializing?

I think conservative chicks fuck the best.

Me: No one asked you.

Favorite movie?

Me: "How Tasty Was My Little Frenchman"

Now you're just being purposefully obscure.

Me: I had a French roommate. He was very amused by my smoking habits and my sexual proclivities. He'd ask me about "ze black girlz" and if I "liked zem" "to... fuck zem." My answer, of course, was "I've never been there, but I'd like to go there." And I did eventually. I guess the cool thing about him was that we "got" each other. He thought my description of "the ripple" was beyond amusing.

"The Ripple"??

Me: It's not important.

I don't believe you can speak Portuguese.

Me: I can't. I can read it and kind of write it. I just started, man.

Why Portuguese?

Me: Because Spanish is only impressive to people because I'm a gabacho. And besides, girls just laugh when I use the clicking consonants thing. You'd think they'd be like, "Whoa, hey! That's neato! Khoisan languages!" But no. It's just a laugh followed by, "Got something stuck to the roof of your mouth?"

You cunning linguist, you.

Me: Now I remember why I always wanted to choke you.

Hell is other people.

Me: Indeed.

Top five records?

Me: We Are the Romans-- Botch, The Tyranny of Distance-- Ted Leo + Pharmacists, Kamaal the Abstract-- Q-Tip, Mos Def and Talib Kweli are Black Star, Calculating Infinity-- The Dillinger Escape Plan

Who's the better writer, me or you?

Me: A better question is whose sister is more attractive. Hint: I don't have a sister.

I notice this blog doesn't get a lot of comments, and one person said you were a pussy drinker.

Me: I notice you make a lot of dumb ass observations.

I hope Adam Strange is cooler than you.

Me: He is. And is more punk.

So what's England like?

Me: Cold. Stark. All the pretty girls are foreign.

Man, you really got comment checked by a girl? About booze? I thought you were the big drinker?

Me: I kind of liked that. There's something about a woman who calls you out, but doesn't make you look stupid. Besides, you don't even like Everclear in your Four Horsemen.

I don't boast, either. Okay, words to live by?

Me: Double. Down.

This has been an illuminating conversation.

Me: Fucking liar.


Patrick is a 25 year old writer who is working on a "novel." He edits this blog and laughs at his own genius. Women want him, men want to be him. At least that's the fantasy world he resides in when not existing within the boundaries of reality.

16.8.09

Stuart González: Poems and Lies

"No Puedo Tocar La Guitarra"

My love, I cannot play the guitar.
I cannot sing you a beautiful song.
Painful admission, though it is, tristeza ilimitado
So ask the dirty hippie busker,
who gigs in the street,
he knows all the timeless tunes,
from "California Girls" to
"Canned Heat." The song by
Jamiroquai, not the band
from Canada.

"Latin Lovers"

Quid pro quo.
This for that.
Veni, vidi, vici.
I came and did some other stuff.
Victori Spolia.
I won, and now I take some shit.

"Having Sex with Myself"

Just another Saturday night.
Blogging.
Bored.
Boxers down around my ankles.
So I jerk off to those singles ads on myspace.
That one girl has a mondo rack.
Oh baby.

"Skipping Church"

They say the bible is good literature, but I disagree,
it's pretty fucking boring, especially for me.
I don't like the stories, I don't endorse what they
suggest,
I'd rather jerk off or have sex with hookers,
than be "put to the test."

If god is so powerful and all knowing,
he should smite me for all the fun I'm
sowing.

So this Sunday I'm skipping church,
I don't care what mom says,
al infierno contigo
and that's where I'll go.

"To that girl I accidentally felt up"

Was it good for you?
It was good for me.

"Hope Springs Eternal, Jenny Lane"

Jenny Lane was my girlfriend. She had blonde hair and lots of tattoos. We dated for two years. 2004 and 2005. About 731 days. Things were okay. Nothing special really happened. Our sex-life was largely disappointing. At least to me. Maybe she enjoyed it, but she never said so one way or the other. All she would do during intercourse is moan in monotone with occasional squeaks. It was weird. She even put her finger in my ass a couple times.

One day she walked in on me jerking off to Asian porn. I thought she was gonna be mad, but she just smiled. I think she chuckled a little, too. I can't remember. Anyway, a few days passed and we were sitting on the porch drinking wine. Innocent stuff. Out of nowhere she says, "so you like Asians now?"

"I've always liked Asians," I said.

"Really?" she asked.

"No doubt."

We said nothing else that night. The next morning she woke me up with a handjob. It was nice but all I could think about was that Asian chick with the braces that I was wanking it to days before. After an hour and no cum, Jenny gave up. I wanted to laugh, but she was pretty upset.

She started smoking again. Being that I'm a militant non-smoker, I'd always felt proud that the power of my cock (my story and I'm sticking to it, god damn it) got an equally militant chain-smoker to quit. This lapse bugged me, so I approached her about it and she tore into me. Literally. We were rolling on the floor. She laid her dainty fists into my face without mercy.

Hijole mama!

When she got off me, she lit another cig and glared at me. All I could say while nursing a soon to be blackened eye was, "What the fuck, Jenny?" Over and over again.

We broke up the next day. She said that she was going to fuck the next guy she meets who isn't all tied up in an Asian chick fetish. My parting words to her were,

"Hope springs eternal, Jenny Lane."

All writings by Stuart González.

Stuart González is a self-published writer who currently lives with his family in Dallas. He has a degree in Literature from Rice University which he has done nothing with. He is unmarried, unemployed, and currently working on a collection of poetry.

15.8.09

Q&A with writer Stuart González

Hello, my name is...

Stuart González.


Age?


SG: Chasing after 30 like it's a large breasted cougar in a low-lit bar.


Employed or Unemployed?


SG: I write. What do you think?


Good point. Unemployed. Okay. So, for the edification of our female readers (haha), single or taken?


SG: Definitely taken. Taken with ideas. Bad ones. Ones that wear ripped stockings and such...


So, what did you write?


SG: What didn't I write? In college I wrote essays about Lydia Lunch, Philip Roth, George S. Schuyler, Jonathan Borofsky, Albert Camus, and myself. I wrote lots of book reports in high school. I have a myspace, a fb, a lj, and at one point I had a black planet account. I like bootay.


But what did you write that people know you for?


SG: I ghost wrote everything by Stephanie Meyer.


I just puked in my mouth a little.


SG: Don't editorialize.


Seriously...


SG: Okay, I wrote a self-published novel with an egregious, ridiculous title: ¡El amor existe solamente para matarme! or Love and Me Have No Business Doing Business and I couldn't even give it away.


What's it about?


SG: It's not about love. I don't know. It might not even exist.


But what would it be about if it did?


SG: Good question. I think it would be about a guy kind of like Charlie Sheen's character in Two and a Half Men, you know? A guy who has no real job, but lives la vida extravagante because of kickbacks from some shitty kid's book he wrote years back (instead of jingle writer). Except, instead of being a drunken womanizer, he'd be a chain-smoking, cocktail drinking homosexual with style. I fucking hate those bowling shirts Sheen wears. Talk about puking in your mouth.


Isn't that part about being a homo and having style redundant?


SG: Don't be ignorant.


Right. Is that it?


SG: I guess.


Speaking of cocktails, what's your favorite?


SG: Four Horsemen. Jim, Jack, Johnnie, and Jameson or Jose.


...And Hell follows...


SG: Fuck that. I'm trying to get drunk, not die.


Fair enough. So are you reading anything worth mentioning these days?


SG: Just finished the Twilight series. Good shit. Bella is my heroine. If she were real I wouldn't fuck her and leave... I'd marry her.


...


SG: ...


Isn't she jailbait?


SG: Dude. It's fiction.


Right. If I open a pack of cigarettes and you take one, how many do I have left?


SG: Trick question. I don't smoke, and you're gonna get cancer, dude.


If you could say one thing to any person, living or dead, what would you say, and who would you say it to?


SG: "Are your tits as soft as they look?" -- to Eva Angelina


Best movie you've seen recently?


SG: "Paris, I Love You" was interesting. Nick Nolte is almost as godly as Gary Busey. Sometimes I mix them up, but they're both in my top 20.


Best music to make love to?


SG: Nothing. Music is overrated. The only thing I want to hear is my girl moaning or screaming or sighing in disappointment.


Really? So... you don't like a soundtrack with your casual sex?


SG: Music is best when I'm doing nothing. Ever stared at a white wall while listening to Division of Laura Lee? Or laid in bed and counted the oscillations of the ceiling fan with Morris Day and the Time funking out from the shitty speakers of your boombox?


Can't say I have.


SG: It's funny how people put so much stock in music and assign it such grandiose meaning. It's not that great. Just a bunch of notes and words and shit. And musicians are bigger assholes than athletes and writers. Actors are the biggest assholes. But at least they don't try to sing... most of them, anyway.


So no top fives?


SG: My top five records are: 5. Temple of Low Men-- Crowded House, 4. Ice Cream Castle-- The Time (with Morris Day), 3. Revolver-- The Beatles, 2. London Calling-- The Clash, 1. To The Extreme-- Vanilla Ice


So what's pissing you off right now?


SG: Being poor.


How do you feel about Sotomayor?


SG: She looks like my mom. So I kinda get pissed. But I think it's cool that she's an intelligent latina inspiring hope for the younger latinas. Ever heard of the reconquista? Slowly but surely, man. Slowly but surely.


Hahaha! So, are you working on anything you want to talk about? Hint: time to pimp yo shit.


SG: I'm writing a screenplay right now. It's about a guy who spends his entire day at a bar jabbering-- to anyone who will listen-- about his disjoint philosophies on everything from life and women to politics and cars. It's called, The Barstool Conversationalist. I'll be publishing a collection of poems soon. All of them are in Spanglish and dedicated to my mother.


And finally, I wrote a section of your short story. So technically, it is mine as well.


Thank you.

Stuart González is the author of "¡El amor existe solamente para matarme or Love and Me Have No Business Doing Business". He likes porn and drinking and eating. He lives in Dallas.

14.8.09

Two Excerpts and a Poem.

Two Excerpts from "The Best Way to Do Shots"

The Old Sage.

At a bar once, I bumped into a guy while coming out of the restroom who told me he was from South Africa, and he said that he got his secret from an old Irish guy. “Eat a stick of margarine before going to the pub,” the old guy told him. You’ll still be standing sixteen shots later. You’ll be as drunk as a coed after one plastic cup of trash-can punch, but you’ll still be standing. I asked the guy if he’d done that. He told me that if he were to tell, it wouldn’t be any fun. We got to ten shots before I quit and declared him the winner.

The Boastful Bimbo.

There was a birthday party a couple of years back where I met a girl who claimed that not only would she not have a hangover the next morning because she always drank a glass of water between every shot, she added that she could drink any guy in the room “under the table.” Under the carpet and into the very foundation of the building, even! No exceptions. She was falling all over herself after four shots, and ended up leaving with a guy that she kept insisting looked like Brad Pitt. I thought he looked more like Benicio Del Toro myself, but who cares? I don’t know if she woke up with a hangover or not.

A Poem.

In Portuguese.

The linguistic dabbler that I am.

"A ladra de meu coração"

a ladra de meu coração,
você não pode correr tão facilmente,
porque na chuva você se queda,
lembra-se,
eu te ajudei com o que você queria,
só olha querida, olha e escuta,
tenho que dizer-te
"o que comença deve acabar"
não é difícil para entender mas
eu te darei uma chance para reaprender
o que você perdeu enquanto a chuva
derramou//
querida,
ladra de meu coração,
a respeito de nossa vida juntos,
se você deixa, eu espero que
você manta tudo perto de seu coração

By Patrick Patterson-Carroll

9.8.09

Strokes

“HARDER!! FUCK ME HARDER!!!”

“So do you think you can handle it,” Mr. Johnson, the older gay man asks me, with a sinister smile on his lips.
“Ya, no problem,” truthfully I’ve been pretty unnerved since I walked into the building.
“Good. You can start tonight at midnight.” And a light shudder runs down my back.
“And, I’ll start you out at 12.”
“Thank you Mr. Johnson, I’ll do my best to make you proud.” I say in honest appreciation.
Man, 12 bucks an hour for sitting behind the counter of a porn shop. Fucking Sweet!
The buxom blonde on the screen screams at the top of her lungs as her co star rams into her with a cock that quite frankly would be intimidating to an 80 year old four ruble an hour three tittied Russian prostitute.
“You get use to the trailers,” Mr. Johnson says as he shows me around the store. I comment on how sad it is that even in this day and age we keep our porn segregated. Asians to the left. Blondes to the right.
Mr. Johnson laughs with a genuine smile and I think maybe I can handle this.

Shortly before midnight I come in and meet Justin the clerk that I’ll be training with. He’s a young white guy who looks to be in his mid twenties. He starts going over the how to use the register, when a short, balding gentleman in what appears to be bandage straps, leather pants and a village person style leather chaps walks up to the counter.
“Hey Justin, who's the new meat?”
“Hey Stu, this is John, he’s just starting tonight. You want your ticket now.”
“Sure, babe you know I’ll take it anyway you want to give it.”
“Here you go, babe.” John says as he prints out a ticket.
John turns to me. “The theater is in back, I’ll take you on a tour later, but all you need to know now is that it’s a four screen open theater that plays four different movies, all gay porn. And we change them out at four when we turn on the lights kick everyone out and clean, that’ll be your job tonight.”
I try not to imagine what I’m going to see when I go in there, but any chance of that happening is thrown out the window when I notice the security cameras under the counter are in the theater and I now have four screens of exactly what goes on in there.
I try to look away, but I’m struck by the fact that no matter where I look in this place there is either a giant cock or some random chick getting fucked in would have to be very uncomfortable positions.
Justin senses my uneasiness and smiles at me.
“First time in a porn shop?”
“No, it’s just…”
“I know. You get use to it. So where’d you work before?”
“Well, I go to school, so I normally need to take overnight jobs like this. My last was at the Valero on Munger and Brian, but I got tired of getting robbed.
“Well, I hope not too tired.”
Justin just smiles as he turns away to help a customer, and I stand there awkwardly displayed on the raised counter like a desperate school girl at her first jiggle joint.

“You’re new.”
“Ya.”
“You straight.”
“Ya.”
“Wanna fuck.”
“Uh.”
“He’s on the clock, Jess, leave him alone.”
The pretty blond in a blue mesh top and black leather miniskirt smiles and winks at me as she walks away towards the thuggish looking black guy standing at the door.
“That’s Jess. If you got the cash, she’ll fuck you three ways to Sunday.”
As I watch her walk away and start to wonder just how much she charges, a little old lady complete in a blue church dress and pink shawl watch to the counter.
“One for the theater.”
“Uh, sure.”
“Thank you, sweety.”
I print the ticket and hand to this sweet little old lady and smile at her. She smiles back and winks at me and she heads into the back.
“That’s Bea. He comes through at least once a month. You handled that well, though. Good job.”
All I think as Justin goes back to his counter is, He.

The sun is shining through the glass doors as I clock out. In the past eight hours I’ve learned the difference between a twink and a bear, what ATM means in the porn business (Ass To Mouth), and exactly how much bleach you need to mop and whipe down a gay porn theater, and the number of a really hot prostitute.
“So you think you can handle it?” asks Mr. Johnson.

8.8.09

Two poems and a toast

“The Stenographer’s Wedding”

“The bride and groom would like to exchange their own vows...”
My Johnny, says the bride, we’ve been waiting for this moment
since our first kiss,
My Anne-Marie, responds the groom, we’ve been waiting for this
moment since the first time I requested that you “pull my finger”
and though we’ve both had our reservations, continues the bride,
and though I’ve had my reservations, continues the groom,
I wouldn’t trade our relationship, our partnership, our LOVE,
says the bride,
for all the blood diamonds in the world
I wouldn’t be a man, admits the groom, if I didn’t admit that I’ve
been having an internet affair with a Thai transvestite.
....

...

..


.

Kiss the bride?

---


“The Kiss of the Socialite”

of all the colors
on the palette
the most beautiful
is the most empty
of all the words
in our rich lexicon
the ones monosyllabic
are the most stark
(because style trumps substance)
and internet sex videos are
dark with glowing eyes
and nipples and pudenda obscured by shadow
with male figures brutish lumpish
pounding away ingloriously
ready the loveless kiss of the socialite
beautiful empty nymph
I “pucker up” for nothing.
(2009)
"Whatever happens tonight, just remember: when you wake up 'I was drunk' is always the best excuse."
Poems © Patrick Patterson-Carroll

6.8.09

Paying the Rent

"Yeah, but does it pay the rent?"

By Patrick Patterson-Carroll

Got beat up a couple of times for her. Yeah. We’d hang out. Drink a little, maybe sex for the nightcap and then, bam. She wants money. All women want money. Whether you’re dating them or plain fuckin’ ‘em or you’re married. My mother always used to say that prostitution is the world’s oldest profession. Fuckin’ A.

So I never had the money. Not once. First time just springed it on me, “Yeah honey, you owe me.” Then the pimp comes over. Big black guy. Punches me a couple of times and says, “You’re lucky she’s not top shelf.” Well, I tell him that I think I’m in love. He laughs and says that I’ve been watching too many movies. Fuck him.

Next time, she asks me at the beginning. I’m broke. I just want to talk, but unfortunately, that would cost me as well. I beg of her to have her pimp beat me up in lieu of payment. She shakes her head and starts to head for the door. But something made her look back to me. Puppy dog eyes I was giving her. Couldn’t resist.

Pimp beats me up, she says, “You got twenty minutes, whatcha want?”


“I want this to be over,” she says, sighing.

Over? I’m not even a page in on this story and she’s already bored. Cindy, my ex-girlfriend. If you could only look at her. Elbow on table, hand crumpled against cheek, cigarette burning away. “You always write like that,” she observes, ashing her cig.

“Like what?” I ask.
“Like that. Colloquial. Casual. Seamy underbelly and such. But you’re from Plano, so who the fuck are you kidding?”
“It’s just a story. They’re all just stories, Cindy.”
“Who was that that said... ‘write what you know’?”
“I don’t know.”

So what? My mother never says “prostitution is the world’s oldest profession” either. I heard it in a movie or saw it on the internet. I don't know. I just like the way it sounds. That’s what I like about modern literature and that whole “anything goes” kind of attitude. You can throw all this pop cultural shit in, and it only adds to the cadence, the euphonious blah blah of it all, as my professor would say. And sure, I don’t know shit about shit, and I graduated from the University of Wikipedia, but if I can slop a few sentences together with some pizzazz, no one cares.
I’ve written four stories in my creative writing class, and I’m just trying to find a style. Maybe Bukowski meets Palahniuk. That seems all the rage these days. Nihilism. Debauchery. Mainly, I’m trying to find a way to make a living as a scribe.

“Maybe you just hate the way I read,” I offer, handing her the stapled together pages upon which the story is typed.
“Maybe,” she says, “But it’s more like I think you try way too hard, writing about things that have very little to do with the life you lead and have led. You know?”
"Fiction has its own reality."
"Who told you that shit?"
"Mr. Memphis."
"Well, he's full of it. Fiction is informed by reality."

She always does this. Anything to contradict me. I wanted to get married. She says, "let's call it quits." I told her she was breaking my heart, she tells me that it’s irresponsible to lay my emotional responses on her doorstep. I say she doesn’t get it. She says she gets it well enough. I suggest that we never see each other again. She counters with an offer for friendship.

And here we are. Six in the morning at a diner. I think I've had twenty cups of coffee. She says I'm in love with hyperbole. I say she's in love with pointing out the flaws of my character. She says "hey, we're both right about that fiction thing." What? Out of nowhere. We're both right? Didn't even need to come from an unbiased third party! How nice of her to extend her understanding hand. We're both right. Great.

She smiles because she knows the truth. See, we still live together. My parents have cut me off (long story), and the rent's due. Of course, she can cover it. But she won't because we're split. Obviously. So she's been playing this game with me for the last couple of days. Extreme criticism. Merciless mocking. "You're wasting your time," she says. "Sometimes you have to defer those dreams and live 'in the now.'"

This is me. Living in the now. Professor Memphis says I've got something. Last class he told me that I should "push the envelope more," "explore the edge," and a whole lot of other platitudes that lent kitsch to his persona. Sometimes he reads his own writings aloud in class and I sit there, like everyone else, and think, "there's a reason this guy is teaching."

So we all sit around watching him. Listening to him read another bitter piece of misogyny. He has a lot of those. A lot of the girls in class cringe. Another guy laughs a lot. Not a big surprise, though. He's already made some ridiculous comments about god and the bible and the "way things are." Had all the ladies in the room in an uproar. I noticed Mr. Memphis grin. Like, "yeah, I stirred up some shit."

When he finishes his story, he asks for comments. Says it's a "piece" from the novel he's working on and that we should "be thoughtful in both criticism and compliment." There's lots of silence. I can hear some asses shift uncomfortably in their seats. I say, "I think it's an interesting piece of writing. Though I must say that it suffers from a lack of context. We don't even know where this is coming from and why."

He grabs his chin and rubs the stubble. "Hmm," he intones. Then he charges out of the gate. He says that context is for modernist purists too attached to strict convention. That context defeats the purpose of stream of consciousness. That context is a tool of the uncreative. That context should be as much of a consideration when we set out to write as not offending our readers. I start thinking about Cindy. She'd laugh her ass off. I cough. There's no "bullshit!" furtively lurking in its confines, though. It's not that clever. At least I guess that's what he'd say.

Next I read my piece. After two laughter riddled false starts, I get into the story. I'm emoting, projecting, acting it out! I feel so alive in front of the class. Their dropped jaws are a mirror reflecting back to me my personality. I'm starting to feel, as I approach the conclusion of the story, like I'm getting somewhere. That maybe he'll tell me that I'm finally publishable.

I finish. Just as with the professor's story, I am confronted with silence. Only this time it's pale-faced with something that perhaps best resembles disgust. "Comments?" Memphis asks the class. When nothing is offered, he looks at me and claps slowly. "It's brilliant," he says. The best thing he's heard in awhile and it's made even more amazing by the fact that he had two excellent writers the semester before.

"He's full of shit, you know," Cindy says.

Yeah. He is. He went through this very gushy song and dance about how my story reminded him of something that "met at the crossroads" somewhere between William T. Vollmann and Elmore Leonard. Then, because he quickly realized Leonard is perceived as more of a genre writer, he amended his position. Irvine Welsh and Vollmann! Yeah. That's much more of a canonical combination!

Cindy laughs over her French Toast. She says that the first sign of bullshit smoke blowing into certain bodily crevices is overwrought comparison to established writers.
"But doesn't everyone do that?"
"I've never compared you to anyone."
"You hate my writing!"
"Not true. I just haven't seen a whole lot of it."

Tonight I sit in the living room, tapping away at Cindy’s laptop. Nothing feels mine anymore. I’ve got to get my own place, but more than that, I have to start my novel now if I’m ever going to start one. Cindy laughs at me, occasionally poking her nose over my shoulder, reminding me that it’s better I write something I know about. Like being a spoiled fuck-up whose parents have disowned him. Very supportive.

Half a page and I’m ready to quit. It’s so much easier to just write what sounds good. I am not interested in doing the memoir thing because writing about parents is cliché. Although guys like Augusten Burroughs and Dave Eggers have made the convention marketably viable, and most importantly, they have given it a legitimacy amongst the kinds of people I want to impress.

I step outside into the dark, warm night. I need to think. Figure something out. I've got two paragraphs and the ends are wide open. Some writers can function like this. I cannot. And to make matters worse, I am sans cigarette because I quit a couple of weeks ago. Cindy joins me, smiling as she wraps her lips around an unfiltered clove. She blows some smoke out past the tree that reaches out to the balcony.

"You're disgusting," I say, lashing out.
"Hey asshole, you can sleep out here tonight if you want. It's up to you. No one told you to quit. No one told you to fuck up your whole deal with your parentals. I bust my ass. You write bullshit, and because some moronic teacher thinks you're on to something, you're making yourself even more of a basketcase."

Memphis tells me to meet him after class. So I'm thinking that he's got some ideas, some options. Like, maybe I can get some of these stories published or entered into contests. After all, cash prizes are always good. The very possibility of them gives me something of a hard-on. Especially since Cindy isn't fucking me.

Instead, after an hour of lecture and a discussion on a reading assignment which will lead to our fifth writing assignment, he looks me in the eyes and says nothing. Deep in thought. A familiar uncomfortable silence. "What are you doing tonight?" he asks. I stammer some, knowing that I don't really have any plans.

"You ever heard of 'The Safari'?" he asks me as he closes his briefcase, which I've always jokingly imagined was filled with shredded paper, a la Lionel Hutz.

"The Safari? Can't say I have." He explains that "The Safari" is something that a group of his students turned him on to a couple of semesters ago. This, coming at the height of his failing marriage, was a view of the city he'd never seen before. It "opened his eyes" to the realities, and by extension, the possibilities of living in the big city.

This explanation does little to describe exactly what "The Safari" is, but he promises that if I follow him to his car, all will be revealed in due time. Normally, I'd never agree to such a cryptically veiled proposition, but curiosity getting the better of me, I walk alongside him while he whistles "Rule Britania" for no particular reason.

Outside the sun bears down on the parking lot. Ninety + degree weather forces him to loosen his tie. We get to his car. It's a Volvo with a child safety seat in the back. Let's go for a ride, he suggests. I stare at the back seat. He laughs. "Fucking bitch," he mutters.

Inside it's hotter than outside, such is the nature of dark colored vehicles in Texas. Both windows are rolled down. He looks at me and smiles. He asks me if I'm ready to live like all the greats. Sure, whatever that means, I say.

We sip lager from dirty pint glasses at a hole in the wall down the street from the school. The perfect place, Memphis insists, to reveal to me what exactly "The Safari" is and what it entails. "Brace yourself," he begins in earnest, "because I realize that though your subject matter leans toward the transgressive, what this means, and what I will subsequently be requesting of you might be a bit too much."

An "uh-huh" escapes my lips as I swallow the last drop of the lager, and my annoyance threatens to take root. He grabs my arm. "The Safari," he says, "is a nightly drive through prostition heavy areas of town... particularly through the gay parts. In other words, we look for trannies, and... if the surroundings appear amenable, we might... you know... engage."
"Engage?"
"Engage."
"As in... proposition?"
"Yes."

He's smirking at me. This guy is something else. But still, I have to consider it. I mean, I'm not going to have sex with guys; freaks with artificial hormone enhanced tits and soft faces, but it might be interesting. I say to Memphis that I might need some time to mull it over. He motions the bartender for a couple more and asks me what I mean.

"What I mean is that I'm not just going to jump into something without all the proper mental checks. Is it logical? Is it safe?"
"Come on, kid! Think of it like this. You got potential. Potential. But that only gets you so far. Your stories could be so much better if you experience your chosen subject matter. Think Hunter Thompson. Gonzo, man. Delve into the lifestyle."
"Maybe this isn't all I want to write about..."
"Okay, but what have you been writing about?"
"Prostitution. Not fucking trannies!"

He's not very convincing. He's just name-dropping. It's starting to annoy me a little. My annoyance, my reluctance is annoying him, and the air around us is becomming quite smothered in the beer soaked breath of tension.

"If you don't want this kind of confrontation," he suggests, "perhaps you should just write what you know. You wanna be William T. Vollmann or Tucker Max? Because believe me, there is a great, wide valley of difference between the two. You can straddle that fault in the middle or you can hop to one side or another."

Write what you know. Ha! Yeah, I've never heard that one before. It's been the chorus in the shadows since Cindy dumped me. Speaking of. She's texted me. The message is:

Hey, rents due on the 5th. Just a friendly reminder.

Bitch. I realize that the rent is due on the 5th of every month. She's just adding iodine to the wound. No. Wrong. That would be a step toward healing. What she's doing is rubbing dirt in it and spitting on top for effect.

Memphis and I get back into his Volvo. The setting sun has allowed the interior to cool. This is good. He says the two-mile radius around the freeway is a good place to start. There are strips of nightclubs and flop houses, all seemingly pointing in the direction of the freeway. That's what he calls it. Just: the freeway. As if this city isn't littered with them. The man needs a map. He's been speaking in code ever since we left the school.

He reaches into the glove compartment and pulls out a notebook and a wad of cash. The man takes notes! "How long have you done this?" Couple years, he says. Caught his wife cheating, the whore, and since then he's been staking and partaking.

He starts the car and we begin south. We're quiet, but the car's tires banging over potholes is loud enough to cover the both of us. I glance down at the notebook in my lap. I'm somewhat afraid of what I'll find between its covers. I sigh, knowing that it's better to go into things sans preconceived notions. Memphis, sneaking peeks at me between mirror checks, pushes his glasses up to the bridge of his nose and grunts at me.

"Hey," he says. "Look, I know what you're thinking. You're thinking, this guy is not only insane, but he might be gay. Yeah, might be. Hole's a hole. You know?"
"I don't care about that," I respond.
"I don't care what you care about man, what I care about is exposing you to the experiences that you ignorantly write of. That's all. This is real. Don't fucking judge me. If you're going to be that way, you can get out, because once I cross this next intersection, we are on the side of town governed by depravity. In city council, this district is represented by people who are much like characters out of a de Sade novel. Or de Sade himself.”
“Oh. Well. I do want to write.”

More silence. I open the notebook. The inconsistent bars of street light that bounce over us make reading any of the words difficult, but if I squint, I notice sketches of “women” in compromising positions, dangling off curbs, leaning into car windows, and guiding men into dilapidated “trick-pads” by hand. Yeah, I did read Vollmann. Once. Very bizarre.

Besides pinpointing the man’s fetish, these images serve to cultivate suspicion that Memphis is better at drawing than he is at writing.

We pull up to a STOP sign. Unlike most, he makes a complete stop, but instead of continuing across the street, he unbuckles his belt and looks around. His attention quickly becomes fixed on a lanky silhouette of a figure about twenty feet down the sidewalk, disappearing and reappearing in the battle between street light and shadow.

My cell rings. He whips his head around to meet me eye to eye. I pull the phone from my pocket. The display says Cindy. Fuck. I turn it off.

Memphis rolls down the window and whistles at the figure. As it steps off the curb, I recognize it as a dark, tall "woman" with makeup rolling off her face in beads. Long jet black hair. Can't tell the color of her eyes. She seems to recognize him, asking if it is indeed "Kev." “Indeed,” he answers. She leans into the window.

“How goes the night?” Memphis asks.
“Yeah, had to punch this drunk asshole’s lights out. Fucker was too grabby, and he just didn’t pay for that,“ she says with speed, voice cracking. Unsteady. She motioned to me. “Who’s your friend?”
“A pupil. He’s a writer. Doing research. I’m taking him on the Safari.”
“Oh?”
“Yep. Anything good going on tonight?”
“There’s some gloryhole action down the street at Fred’s. Got a cig?”

He tells her that he doesn’t smoke, but for a kiss he’ll give her the money to buy a whole carton of them “smoky, smelly shits.” She laughs and says, “Well, Carma is not a bitch, honey.” She grabs the back of his head and they share a prolonged kiss. Some seconds later, his spectacles foggy, mouth recovering oxygen in gasps, he hands her $70. A fifty and a twenty.

He looks at me. I smile, jot down what I just witnessed, and he says, “We’re going to Fred’s.”
Fred’s is not an abbreviation or some clever diminution of a longer name. It’s not a bar or a club. It’s not even a dive. It’s someone’s fucking house. There’s no alcohol unless you’ve brought your own. Depending on who you speak to or who’s around on any given night, you can purchase crack, pot, heroin, and really bad coke. The main draw of the place, apparently, is that seven days a week you can buy women, men, men dressed as women, and women dressed as men (a real oddity), all with the sole purpose of, well, doing whatever you want for the right price short of killing them, which has happened before.

A knot is forming in my throat, but a tickle in my pocket distracts me. It’s my phone. The battery signal is blinking red. It’s dying. I have a missed call and two unread texts; all from Cindy, no doubt. This place is dirty, redolent of the vilest of human bodily excretions, and frankly, fucking scary.

Moving on quivering knees, I can hear workmen-like grunts, women moaning without any indication of ecstasy, and cries of possible agony. Depressing enough. Fear and regret have taken residence in my gut and are letting their ridiculously dysfunctional in-laws move in as well! And they are not on the fucking lease! And it's dawning on me that oh shit (!) she really does expect me to put in on the rent. The hairs on the back of my neck are tingling and I'm feeling queasy.

I bump into a guy carrying a can of beer. He's drunk. He says it's okay, but who sent me. I say "Carma" as if it's a question. He pats me and tells me I'm funny, but he might have to lock me in the closet if I don't stop fucking around. Carma. Carma? Carma! “The fucking chick on the co...” Vomit. Puke! Shit’s all over my shoes. He backs up and laughs.
“You’re okay, kid.”

Except, I’m not. And I’ve lost Memphis. “Where is he?” I ask a woman on a couch. Who? “The guy I came in with,” I say, wiping bits of god knows what from my chin. “He’s tall, white and wears glasses.”

Her eyes glaze over. Great description. And I call myself a writer. If depression is an ocean, I’m floating on the corpse of a gay poet who threw himself overboard a ferry, and things are not looking good. I lay myself on the dirty couch situated at the ingress of the hall and rest my head against the cushion-less back. People have probably been raped on this thing.

Before I can doze off to sleep, Memphis grabs my arm and shakes me. Yeah, I’m awake man. I sit up and he’s just smiling, his teeth shiny and off-white. “Guess what I just did?” Yeah, just tell me because at this point I’d rather be spooning apple sauce into my terminal great aunt’s mouth. I’m pretty sure she won’t, you know, beat me or mouth rape me. Of course, I say none of this and blurt out an exhausted “what.”

“Glory hole, baby! Look, you gotta do this. I paid. My treat. Just remember, a hole’s a hole, and if the idea of a possible guy sucking you off makes you squeamish, I find that picturing Evan Rachel Wood or some other famous, nubile sweetie works.”
“Hell no!”
“Why not? This is experience, man!”
“Can’t I just smoke crack instead?” I plead somewhat seriously.

He lifts me up from the couch and tells me that yeah, I can’t possibly mean that because crack is overrated, addictive, and generally leads to doing the exact inverse of the glory hole. We move quickly, slipping through my barf en route. “Man, I came in like a minute. She was good.”
“Sure it was a girl?”
“Shut the fuck up, man. You’re testing my goddamned patience.”

He’d never been as stern with me before. We get to a door. He knocks and it opens. A guy waves us in. It stinks in here worse than in the rest of the house; dark save for the emissions of light from a small fluorescent light above. A guy is up against the wall. His pants are around his ankles, his ass checks are flexing; he occasionally thrusts into a small hole which his dick and balls are in, presumably being serviced on the other side. He moans. He spasms. He pounds his fist against the wall and grunts, ostensibly the universal signal that he’s about to cum or is cumming (?).

Two guys are ahead of me, bouncing in place on tip-toes. Memphis starts rubbing my shoulders. He tells me that what’s about to happen will do wonders for all the tension. Yes, I realize that; who wouldn’t? But given the circumstances, I would rather not indulge. I like beds, privacy, knowing who is performing the act on me, and most importantly, I prefer that said performer is female.

The next guy is gasping and gesticulating animatedly like he’d never been blown before. I start to think that maybe this won’t be so bad. I wonder if they’d let me wear a condom. It wouldn’t feel good at all, but this way I can avoid herpes and whatever else is being passed around in this place. Hell, it’s probably too late. Just laying on that couch probably infected me with body lice or something. I am feeling kind of itchy. Jesus. These guys are cumming fast and loud. Now the guy in front of me is filling the hole with his dick.

Oh man. Memphis has disappeared. Again. The guy pulls his dick out of the opening, cum dripping from the tip, quiet. I told Memphis that crack would be better. The guy in the corner quietly throws him a towel. It’s my turn. I step up to the hole, exhale deeply and unzip and unbutton my jeans. Surprisingly I’m half hard. I turn to the guy in the corner and jokingly ask for a condom. No response. A rough hand is eagerly feeling around the uneven curve of the cut hole seemingly done with a butter knife, it was so poorly done.

I insert my half rigid, half floppy cock and put both palms on the wall. I hear a voice on the other end exclaim somewhat disappointedly. Now, my penis is probably in some man’s hand. Feels like a man hand. At least compared to Cindy. Oh man, Cindy. How am I going to get that money? The hand is jerking my cock. I’m getting a little harder, and I’m thinking, yeah, it’s long and thinner than normal. I have no girth. I know that. The two girls I’ve fucked know that, they’re just kind enough not to say anything.

Okay. I’m still being stroked. And I’m starting to feel it. Fuck it. I’m going to get hard, and this woman-- probably a man-- is going to suck me to fruition. Good. Whatever. I’ll have something to write about. I feel a tongue on the tip of my dick, but I also feel-- a hand in my hair? Yep. A hand. In my hair. Yanking my head back.

“You’re the motherfucker who puked on my floor and didn’t clean the shit up, aren’t ya? You son of a bitch. You’re going to clean it up! With your fucking tongue!”

And so I’m yanked away, hard dick erect from my jeans, in pain, and hoping that I still have a head of hair after this. Hell, I hope I’m still alive to recall this. He throws me onto the wooden floor face first, sits on my back, and rubs my face in my own vile regurgitation.

It’s all awful. The taste, the smell, the cold, soggy, slippery wetness of it all. I begin to vomit more, mixing the warm with the cold. The guy is yelling and telling me that he doesn’t give a shit if I Jimi Hendrix on his floor, he’s not going to stop until I have lapped every bit of the disgusting shit up.

***
I wake up sore in a hospital room. Cindy is sitting in a wooden chair, flipping through a book. I ask her what the hell happened to me. She tells me that I was attacked. Left in a dumpster. No shit. I can feel the swell of my face. I can detect, through a battered nose, even, the faint whiff of garbage. “All I can remember,” I choke, “is that I was made to ingest my own vomit. My own fucking vomit, Cindy.”

She slams down the book and looks at me. Somehow I don’t think she’s going to offer me anything in the way of sympathy. She picks her purse up from the floor and pulls out some printed paper. It has marks and notes on it. She says that she really thinks I can make it as a writer, but I have to stop being so stubborn and myopic.

“I can’t support you if you don’t support yourself. Get a real job. Write in your spare time. All I ask is that you contribute something. And you have no business going back to that class.”
Part of me wants to argue the point. To say that writing is a real job, and that one of the reasons why I’m so frustrated with her is that she refuses to see that. But the hurting part of me is a little more insistent and dependent on having her sympathy. Yeah, I’ll continue to write, but I’ll also quest to get back on her good side. If that means waiting tables or, I don’t know, selling drugs, fine. More than anything, I just want her to give me a nice bath, rub all my aches, and maybe, just maybe, give me a blowjob I’ll never forget.
© Patrick Patterson-Carroll
(2009)