At 1am, 2am, the across-the-road-guy decides to start shooting stuff. Cans or nothing maybe. Ten shots each time. After each ten you think he's all out. After the first ten shots I wonder whether he's shooting our dog Snoopy—I guess he's said he would—but he wouldn't shoot Snoopy 1000 times, at least I doubt it. Sky says the guy told his landlord, the blueberry lady, that he would have been down in…
Two sides of what used to be one wooden box hang on the walls of the Smart Gallery in Chicago. At first glance they are unremarkable: vaguely Italian-looking landscapes populated by two vaguely Italian-looking lovers, all flowing hair and slit silk. In the panel on the left, a woman lies improbably across some rocky ground—perhaps sleeping or dead—while a man leans on his staff and peers over her with a neutral expression. In the panel on the right, in front of a section of silvery sea, the same woman stands apart from the man who reaches toward her. His mouth is open. Her hands cross upwards into two woody stems and blossom into the unmistakable broccoli-floret silhouette of a tree: Daphne, turning into a laurel to escape the god Apollo.
On the day I was born, the air was a supple stew—heavy with overripe fruit and armpits, ocean salt, and slow-roasted goat meat. Of course, I don’t remember that day, but I was born in the Tanzanian city of Dar es Salaam—just ‘Dar’ to the locals—and the viscosity of the air is the first thing that visitors remark on. It is what they remember most.
The morning of Claire's funeral, I lie naked on the table and wait for her mourners to arrive. Thomas scrapes a knife against whetstone in the kitchen. When he appears above me, the blade glints harsh in his hand. It's all I can see. To minimize the pain, he explains with a paternal smile. I smile too.