Foreclosed
Withdrawal shoulders folds along mouths
staged tales fault us. They coffer
day’s issue, the chance randomness
arranged when we leave cautioned
a house our growth each door leads to.
All for themselves now, it’s dread
their kingdom announces
in counted nights yearning
for song under the old roof’s uses
while as out of an encapsuled globe
Xerxes himself would approve of,
we sit new rooms alone and suggested.
-
The enlisting sepulchre
Out of windows
gloomed light insurrects
incompatible suddenness
rotted with years
soundless worlds
pretend to.
It peals and strips
ripe notions to death
where drunk and various
pronouncements
soft eyes took care with
as ears proclaim
the glass between them—
our palms their hands
a mausoleum traces.
Andrew Cyril Macdonald considers the role of intersubjectivity in the poetic encounter with place. He celebrates the confrontations between self and locale and the challenge that occurs in the fomenting of identity and independence. You can find his work in such places as A Long Story Short, Blaze VOX, Cavity Magazine, Down in the Dirt, Mineral Lit Mag, ODD Magazine, Thorn, Green Ink Poetry, and Unique Poetry Journal among others. When not writing he is busy caring for seven rescued cats and teaching a next generation of poets.
“Honestly, the closest I can think of them, as well made as they are, with actors doing the best they can under the circumstances, is theme parks. It isn’t the cinema of human beings trying to convey emotional, psychological experiences to another human being.”
So, Martin Scorcese compares Marvel movies to theme parks. And honestly, what a mood.
True, this isn´t exactly the newsworthy material, Ricky Gervais discussed Scorcese´s top-notch diss of superhero culture movies during his monologue at the 2020 Golden Globe Awards.
But it recently popped up in my recommended videos because the Youtube algorithm works in mysterious ways and got to thinking – is it just about shallow screenwriting and the allure of cheap CGI action, the mindless fun?
And I realized that the problem of Marvel storytelling runs even deeper than the genius director conveyed to us out loud – that it heavily influenced the type of novels we get to read – and it´s not exactly Marvel´s fault … Not entirely.
ONE-DIMENSIONAL CHARACTERS
One-dimensional characters or flat characters do not change or grow from the start of the story to the end. Their purpose is to highlight the main character, to be a plot device, or a tool, and they typically are simpletons with a one point of view on life – they only see one dimension – hence one-dimensional characters, hold a simple and small perspective about life or the situation in the story. Their character is often used as a literary device to keep the narrative moving – many times when the script has written itself into a corner, or the writer has run out of effective ways to move the plot forward.
Now, Marvel, from the three-hundred and seventy-two movies total from which I´ve seen eighteen, does not suffer from one-dimensional characters on the hero side of the story. All the good guys go through trauma, they learn, they grow, they develop new opinions (ehm-ehm- some of them).
Marvel has been criticized for sucking at writing an effective villain but the problem is not the villains, the problem is the root of the Marvel storytelling – the good guys are good and the bad guys are bad.
One would think that they would take their own advice and write all the villains the way Loki is written – which is the reason (not the only one, yeah, Tom Hiddleston is awesome and all that) why audiences flock to him so much. He has a strong motivation, he´s smart and his character is a rainbow of personalities – just like a regular human being, which makes him likable and most importantly, relatable.
But Marvel is not the inventor of one-dimensional characters.
William Shakespeare is.
Benvolio from Romeo and Juliet, Gertrude from Hamlet, Shylock from The Merchant of Venice very effective plot devices with one stubborn character feature that poses an obstacle to the protagonist.
However, Shakespeare didn´t have Hollywood studios behind him to balance out the lack of personalities in his stories with raging beam in the sky and generic CGI armies. To give a complete experience to audiences, he had to support the narrative by creating strong protagonists, interesting antagonists, and villains with complex personalities (Lady Macbeth, Hamlet, Portia). And when you do that, your story not only allows for the one-dimensional character to make sense, it makes it even more immersive and realistic – because we all know that one blank person who is just sort of … there. Existing, with one opinion on all the debatable, morally grey, complicated stuff we deal with in life.
And that´s why people will never have such a raging allergy if a Marvel movie turns out bad and will keep watching them and paying for the next one and the next one and the next one.
Low stakes, low damage.
Now compare that to a show heavily driven by character development where there are no villains and heroes like the Game of Thrones.
Feel like re-watching it? No? Me neither. And no one can blame us. That show became un-rewatchable due to replacing the complexity of the human heart with a hero vs. villain storytelling and adding some explosive Marvel-type action as the final lethal, cyanide-like icing on the cake.
IN BOOKS
All the teenage apocalyptic series. Thank you for your time, good night.
….
I really didn´t want to get into this but there is no better example than the popular doomsday book series where children hunt each other in a world that no longer resembles a rational society. And they gave us all the subsequent movie franchises in which those very same teenagers are at least twenty-six years old, of course.
However, there is a silver lining on the horizon in a form of Shadow and Bone. I´ve never read the books but the popular fantasy book series The Grisha has been picked up by Netflix and the first book has been adapted in a form of a limited TV series.
And if the source material is as strong as the adaptation, we might just be plunging out of the lazy storytelling brought about by the likes of Twilight and 50 Shades of Grey.
DOES I AM CECILIA DO BETTER THAN THAT?
Cecilia used to think that being born to a small fortune, accompanied by chrysanthemums on the way from the hospital and surrounded by exploding fanfares of affection, would set her up for a never-ending life of lottery wins, parades without rain, and smooth slides on the slopes of adoration. She never realized how slippery that slope of adoration was. Maybe money was not the root of all evil. Family dysfunction was.
An Excerpt from I am Cecilia by Zara Miller
As promised last time in the first article, I would reveal a little bit behind the story and the inspiration behind writing this YA novel.
The hero vs. villain in the Marvel movies is something that was always on my mind and tried to avoid during writing. Blurring the lines in the protagonist/antagonist/villain/anti-hero characterization. Not just because it´s a lot of fun but because it makes for a rich experience.
When you find yourself disliking the hero yet rooting for them anyway, or loving the villain yet understanding that they have to be stopped – the writer is probably doing it right.
You can follow me on Instagram @zaramiller_author, or on LinkedIn under Zara Miller for more news and swoon-worthy fiction content. Looking forward to meeting you all!
Triaging "triage"
I find the way words drift & shift in meaning delightful.
Yesterday I checked on the spelling of "triage" in my, admittedly 30 years old, Concise Oxford Dictionary, & found the definition given there was "the refuse of coffee beans."
Since this was nothing like what I was expecting (& started to wonder if I had, in fact, the right word) I moved on to the ten years younger Shorter Oxford & found two definitions; "The action of sorting according to quality" which is much closer to current usage although apparently an older meaning since the second definition was "coffee beans of the third or lowest quality."
& putting them together I came up with a new job, a "triage specialist," who wanders the waiting areas of ER words, oops, wards, inspecting empty coffee cups to see if they can divine in the leftovers what the patient's ailment might be…
mean time
The red eyes of rabbits
Denise Levertov: The Springtime
The rabbit's eyes aren't blue.
Or are they?
The red-eye flight gets you in
early in the morning.
That means that unless you're
some sort of piston
pumping ramrod-straight
along a longitude
you'll need to wind your watch forward
to make up for the time you've lost.
Who knows what might have happened
in those over-looked hours?
geographies: the Mackenzie River valley
Peat forests are especially
carbon-dense, but their
curated selection depends
upon those attributes which
abound in the current season.
Data is king. Social plat-
forms abound. Yet there is
no one size fits all solution
when it comes to new in-
formation technologies.
For Veterans’ Day,
Donald J. Trump had
a sweatshop in Myanmar
run him up a Buddha
the size of the ones that
used to be at Bamiyan.
Had a hand at the end
of an elevator arm in
which he was carried
up from the stage to a
height approximately
equal to 2000 bodies
stacked one on top of
another. From where
he delivered a speech
that was amplified /
televised / digitalized /
YouTubized so that the
whole world could
know what the sound of
one hand crapping was.
Four Poems
By Chinese Poet Yuan Hongri
Translated by Yuanbing Zhang
Give You A Bottle of Nectar From The Kingdom of HeavenⅠ
Give you a bottle of nectar from the kingdom of heaven
Let your flowers of soul blossom
Let your bones be white and transparent
Let you bathe in music of the kingdom of heaven
There will be no more earthly night
Let you forget that fragrance of soul
That's in your home of soul
That giant's yourself that are sweet and free.
Ⅱ
The strings of heavenly gems
Embedded on your golden crown
You are the giant's king from the of the Kingdom of Gold
Your land is vaster than billions of seas.
3.6.2019
赠你一瓶天国的琼浆
一
赠你一瓶天国的琼浆
让你的灵魂之花绽放
让你的骨骼洁白透明
让你沐浴那天国的乐曲
再也没有尘世的黑夜
让你遗忘那灵魂的芬芳
那在你的灵魂的家园
那甜蜜自在的巨人的自己
二
这一串串天国的宝石
镶嵌在你的金冠之上
你是那黄金之国巨人的王
你的国土巨大胜过亿万座海洋
2019.3.6
Our Souls are Free and Magical
Our souls are free and magical
Which can reach many heavens without wings
Every Kingdom of Heaven has sweet memories
Oh, where there's no the word of death
To protect your childhood sun
The teenager's starry sky is light from the Kingdom of Heaven
And in the deep of your bones
old gods are smilling at you
Their words are music from the Kingdom of Heaven
3.6.2019
我们的灵魂自由而神奇
我们的灵魂自由而神奇
不需要翅翼而能抵达诸多的天国
每一座天国都有甜蜜的记忆
哦 在那儿没有死亡这个词语
保护好你的童年的太阳
那少年的星空是天国的光芒
而在你的骨骼深处 古老的
诸神向你微笑
他们的话语是天国的乐曲
2019.3.6
The Stars of The Dawn
When the sky gallops like the rivers
you stand in the street of the city on the world
look up at the sky and you could almost hear the singing of the stars
summoning you in the depths of space.
And the Heavens of the gods
are towering lofty cities like the mountains
on gold coast of time;
And on the mammoth ship of platinum
the rings of light twine around giant's necks of men and women
their eyes are like the stars of the dawn.
2016.4.28
黎明的辰星
当天空疾驰如江河
你站在人间之城的街道
向天仰望 仿佛听到群星的歌声
在太空的深处向你召唤
而诸神的天国
在时光的黄金海岸
矗立山岳般的巍峨之城
而白金的巨轮之上
巨人的男女 项佩光环
眼眸如黎明的辰星
2016.4.28
Only the Eternity is Equal to It
I am a singer from the heavens
my song is silent, only the soul can hear it.
Those ancient gods are the mountains behind me,
they gave me the flowers of millennium from paradise,
let my song mellow and sweet as the smile of the heavens;
let the face of time blush and lift the veil of death;
let the ancient earth reveal the true face of gold.
Oh, you'll see another you,
as old as the sun, as young as the dawn
his kingdom is huge and only the eternity is equal to it.
4.04.2015
唯有永恒与之齐名
我是一位来自天堂的歌者
我的歌曲无声 唯有灵魂听见
那些古老的诸神 是我身后的山岳
他们赠我千年的仙果
让我的歌声芳醇 甘美如天国的笑容
让时光的脸儿羞红 掀去死亡的面纱
让古老的大地 露出黄金的真容
哦 你将看到另一个自己
古老如太阳 年轻如黎明
他的王国之巨大唯有永恒与之齐名
2015.4.4
-
Bio
Yuan Hongri (born 1962) is a renowned Chinese mystic, poet, and philosopher. His work has been published in the UK, USA, India, New Zealand, Canada, and Nigeria; his poems have appeared in Poet's Espresso Review, Orbis, Tipton Poetry Journal, Harbinger Asylum, The Stray Branch, Acumen, Pinyon Review, Taj Mahal Review, Madswirl, Shot Glass Journal, Amethyst Review, The Poetry Village, and other e-zines, anthologies, and journals. His best known works are Platinum City and Golden Giant. His works explore themes of prehistoric and future civilization.
Yuanbing Zhang (b. 1974), is Mr. Yuan Honrgi's assistant and translator. He is a Chinese poet and translator, works in a Middle School, Yanzhou District , Jining City, Shandong Province, China. He can be contacted through his email- 3112362909@qq.com.
“From Chains to Freedom: A Journey of Freedom for the Black Male” is a quintessential example of Michael’s singular ability to distill his most private emotions onto paper in a way that instantly draws the reader into his shoes. In a recent interview with NPR, film director Barry Jenkins noted the potential for movies to become “empathy machines”; mechanisms by which total strangers are effortlessly pulled into the lives of others with very difference experiences than their own. To Michael J. Robinson, poetry is his “empathy machine”.
Take for instance, “Being Black”. There, he dives the reader straight into a world of sorrow, paranoia and pain (all based in reality and the poet’s own personal experiences) before yanking the reader back out of a bleak depth like a fish reeled from the ocean when “he remembers his mother’s kiss.” The line “He sees himself as others don’t” stands out as a note of defiance in this weary world.
“From Chains to Freedom” is not a comfortable read. “Comfort” is not the point. Removing the readers from their comfort zone is. Yet for all Michael J. Robinson’s description of a struggle shared by far too many and perpetuated far too long, the poet concludes on a remarkably hopeful note. Indeed, my favorite line out of the entire work comes from the second to last piece, titled “Some Place Special”: “There is a place where the sun speaks to the moon”. It’s this beauty amongst the pain, sorrow and death that would be dizzying or worse, exploitative, in less adept hands. But Michael J. Robinson doesn’t just know how to use his words, but he understands why he uses them.
I believe that makes all the difference because Michael’s ultimate message to his readers is that despite the pains of today, hope exists all around us should we heed it. Afterall, he reminds us, “there is a place where the sun speaks to the moon, while the mountains listen to the winds’ singing. Life is found in the trees as the sun whispers[…].
Fay Pappas is a practicing attorney and the former editor of Brushing, the literary magazine of Rollins College (Winter Park, FL). From Chains to Freedom can be ordered directly from author Michael Robinson by emailing him at mjrobinson@rollins.edu
A Cheap Trick
A cheap trick is something like this:
when I lived with my brother and our parents
sometimes I took a shoe or sneaker
and balanced it between the door and its frame
so there was an open gap to the vestibule.
(You can only do this occasionally. If you do it
too often it simply won't do.)
I then called out to my father to hurry and come quick
he had to see this; and when we saw him at the open space
we held our breath and he never even looked in he just pushed the door and the shoe dropped on his head.
My brother always was in stitches after this
and my father well
he was bitter but didn't speak of it.
Just so you don't think I'm a creep or something
I want you to know that my father was very serious:
he never once, not ever, told either of us a joke.
Shoppers All"I'm looking for a man
cut from granite
one of those Jesuses found in the bars
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That's how one of our members put it.
Everyone's looking - cooks, bakers,
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for adventure and who can blame them.
The sun comes up on schedule
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the back and forth of ping pong players.
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You control exactly what you want
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Maybe autumn, when the chestnuts are falling
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you'll want to be removing. Along the quay
Parisians lie in the sun or stop at booksellers.
It's exciting.
Take a moment. Be indiscreet. Cheat.
Everyone's doing it. Royals, too.
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The Right Stuff Redux
we were in the court
on the uncut grass
playing ball
we saw contrails above the roofs
we heard a boom
someone said the aircraft
broke the sound barrier
we were impressed
we all said "wow"
and then resumed the game
and threw the ball home
The town was called Halloway. More than a century ago it was a fishing village, and the fishermen went out each morning for cod and menhaden and lobsters and the streets were full of shrieking children and the sour smells of the harbor. There were mysteries about its past: rumors about an eccentric old woman being burned alive in the town during the Salem witch trials. Another rumor had it that, a generation later, after he was killed in an ambush by the Puritans, the head of a rebellious Indian chieftain was stuck on a pole outside the town’s palisade and left there as a warning for any other ambitious young natives.
A pleasanter rumor was that Halloway had been the last stop on the underground railroad for slaves trying to escape to Canada before the Civil War. But like the other rumors, there was no certain evidence to prove it one way or the other.
Then the fishing failed and the town fell on hard times. Many businesses closed, much of the younger generation moved out, and the town gradually shrank into itself, like an old man. Over several decades the small harbor silted up.
Then the war struck. Even this remote place was traumatized with the country at large for four long years, tragic telegrams coming even to this small community, until, like a gigantic Roman candle, the war burned out. Once it was over, young couples living in the big cities were eager to forget the war’s privations, and, like many another quaint seaside place, the town was discovered and for a time became a fashionable resort for the summer, with a trolley service and new streets planned and sewer lines and new telephone posts riding out far into the surrounding countryside like threads from an enterprising spider’s web.
But those times were ever a roller-coaster ride: the state was hit by another economic slump, the summer trade petered out, and the town was once again forgotten; two motels shut down, unfinished houses crumbled away with no one to occupy them, and to top it off, the local pastor murdered his wife and ran away with the church funds. The new roads ended in the middle of the surrounding woods, and the sewer lines stayed empty and waterless, hollow and echoey to the young local boys who stuck in their heads to explore their mysterious, fusty darkness.
It had finally been almost forgotten when elderly New Englanders discovered the little forgotten town near the sea, filled with untouched architecture going back half a dozen generations: a sweet little place, they thought, to retire to (the darker historical rumors were effectively suppressed by the local chamber of commerce). One of the retirees, a mailman from Burlington, Vermont, posted on the internet photographs of the town in its autumn splendor, though locals knew the deepest beauty in the region always came in the depths of winter, when the sun was disappearing like molten bronze through the stark, leafless woodlands.
A computer worker in far away California saw the photographs and promised himself to visit the lovely town next time he was back east. And when he did, he found himself not only in a pocket of natural loveliness, but also in an oasis in time, where people kept up old “analog” traditions on the verge of vanishing from the rest of the twenty-first century—scrimshaw, sampler weaving, knitting bees, building matchstick sailboats inside old whisky bottles, writing the entire U.S. Constitution on a kernel of dry yellow corn . . .
And, since he could work offsite wherever he wanted to, he decided to stay. And started posting his own pictures.
His friends in high tech soon learned how happy he seemed to be, and how perfect the peace and quiet, far away from the rat race of commuting, bad traffic and punishingly high housing costs where they were trying, with mixed success, to make a living. And, naturally, they grew envious . . . So, over the next few years, late into the night, the dark streets became increasingly lit by prim New England house windows behind which diligent techies worked, coding, testing, recoding, retesting, sending ghostly communications all over the world from this place which could be anywhere and so, in a sense, was nowhere.
Halloway had an Episcopal church with a white spire pointing heavenward and a small library with statues of John and Abigail Adams out front. Regularly you could hear, in the distance, the clang-clang of one of the trolleys from the service built long ago during the resort’s glory days.
Hickories, oaks, sycamores lined the streets, and deer were often found standing in the early morning on the front lawns, sniffing the dawn air as if listening to a far off call.
One day a young computer game programmer and his wife (who sold fashions on the internet and had a passion for Russian writers) moved to the curious old New England town.
As techies, neither was tethered to an office, so they had taken a deep breath and decided to move away from the “tent city of billionaires” (as the young woman called San Francisco, where they had been sharing an apartment with six other techies for an egregiously high rent—and where “never in the next millennium” would they ever be able to buy a home). But where to go? Then they had seen the idyllic little New England town and its many pictures on Instagram.
It offered an ideal combination of rustic seclusion and the stimulation and conveniences of the digital age—Netflix, Amazon, Skype chats! They would be able to live and work there comfortably while paying off their astronomical student loans. And it appealed to the earnest romantics in them.
A year after they moved to Halloway, they had a child. They named him Peter Myshkin Stephenson, after the hero of a famous Russian novel.
He was a curious little boy—in both senses of the term (as his great Aunt Marguerite noted on one of her visits from the city a hundred miles to the south): an “odd creecher,” full of wonder at this peculiar planet he had fallen to as if from outer space, full of doubt at people’s glib responses to his questions about why things were done the curious way they were in this world, full of objections to many things that seemed to strike many people as reasonable but struck him as ridiculous, and full of what he considered stupendously great ideas, a number of which, rather notoriously, backfired, such as his invention of a self-administering bathtub for their cat Max, or the self-propelling slingshot that turned rather too quickly into a boomerang and almost knocked the inventor’s eye out, or his revenge on Chace Fusillade, the son of their wealthy neighbor, for Chace’s burning of Petey’s homework assignment about Paul Revere, which paradoxically made Chace one of Petey’s best friends but made their parents enemies for life.
“Is Peter a complete idiot? The boy is impossible!” his mother lamented to his father, adding accusingly, “And where did he get that orange hair? We’re all blond in our family!”
The father—a quick, irritable man with a beard as thick as a hedgerow, and who looked older than his years and often acted younger—would roll his eyes and twist his mouth and say nothing, or smirk to himself, which made his witty, willowy wife hopping mad when she caught him. (His attitude was, what was the point in even trying to answer questions like that? There was no conceivable app!)
But the mother could never leave unanswerable questions alone. And soon they would be in the middle of one of their rows, which were becoming harsher over the years, as they blamed each other for their unhappiness in the old town far from the world they had tried to escape but had brought with them like an invisible monkey on their back: they had expected too much from Halloway, and Halloway, through perhaps no fault of its own, had let them down.
The Stephensons, it seems, still believed in happiness, and they blamed each other for not finding it.
Petey, alone in his room, exploring something in his home-made lab—the wing of a late summer moth, a crystal of purple mineral he had found in the garden, the mysterious result of mixing unknown chemicals in his little glass retort—would overhear these exchanges, which would build in intensity until the whole house seemed to shake with their fury – even when that fury was silent – and then, feeling frightened and ashamed, the young boy would sneak to a distant corner of the house where he didn’t have to know what was happening.
This place was often the bathroom, and he would look at himself, with alarm and scorn, in the mirror. What he saw was a moonlike, pudgy face, with two questioning eyebrows above blinky eyes and a pug nose covered with freckles and a small chin and two large, shapeless ears.
Was he stupid? Was he ugly?
The mirror stared back at him silently. “Well, what do you think?” it seemed to ask.
So: was it maybe true that it was entirely his fault that his parents were fighting like two mad dogs?
Maybe he really was an idiot. They valued above all things cleverness, good grades, cunning. His father made a big deal about outsmarting his rivals in the company, and both parents loved to play verbal one-upmanship games, sparring over dinner until his father, who was always a little behind his mother in the quick, blunt verbal rejoinders department, grew red in the face.
Petey’s grades in school were not bad. But then everybody’s grades were not bad. Even a true, genuine dope (everybody agreed on this one) like Charley Dunkin didn’t get really bad grades—just not bad enough.
On the other hand, if Petey truly were an idiot, how would he possibly even know it? This was a conundrum that gave him much food for thought, until his brain ached.
And then there was the other question: why was his face so round? Neither his mother nor his father had a round face. Even his grandparents had high cheekbones and long faces, like horses.
And where had his orange hair come from? He used to be quite proud of it, it was unique, no one else he knew had orange hair—but now he hated it.
And he hated himself. The mirror didn’t lie: he was fat, and he was ugly, and he was stupid . . .
He had been a mistake. He was sure of it. (The other day he had overheard Kelly in homeroom whispering to Melissa that Gretchen had been a mistake. No wonder nobody liked Gretchen, Kelly had whispered! Even her parents had never wanted her!)
The more he thought about it, the more convinced he became. It explained everything. Why had he been born so soon after they arrived in Halloway? Had they perhaps moved here so they could hide him from their families, so they would never even know he existed? He had never even seen his grandparents, except on Skype, and he sometimes darkly suspected they were in fact CGI . . .
He grew quieter around the house, and started saving his pestering questions for his teachers at school, and his reveries for the privacy of his room at the end of the corridor off the dining room, where he had a bed and a desk and a bookcase and his stuffed toys (Andy, Lionel, Monkey, and Lucile) and his telescope and chemistry set and his laptop and his charger, and a window that overlooked the backyard with the swing set and a great casement of sky speckled and sandy with stars on a cloudless winter night for as far as the eye could see (like last night, after the snow stopped and the moon rose like a face brooding over a stark, white world), and a door he could shut, turning his room into a place where he could dream up entire universes, inventing any possibility, worlds on worlds upon worlds, far from all perplexities and shame . . .
Chapter 2. To Otherwise
The trolley turned the corner, clanking through the freezing predawn, and, with its single headlight blinding bright, glaring like the head in the raised hand of the headless horseman, directed straight out of the fog toward Petey where he had been waiting, alone and half-frozen, under the old flickering streetlight.
It was a brand new trolley he had never seen before, shiny as if it had just been washed, which was of course impossible in this cold, or it would have been covered with a film of ice, and with a new route number and destination Petey had never seen before displayed above the windshield.
The bell clanged twice. The trolley squealed and groaned on the rails gleaming with ice and snow melt. There was no other traffic on the street and the night was pitch dark just before dawn.
The new trolley was painted bright yellow, and the new route number and destination appeared above the windshield in glowing capitals: “2 OTHERWISE.”
Petey had never heard of any place with the weird name of “Otherwise” – huh! It must be out near the ocean, or far in the other direction, where the old unfinished roads died out and the woods began. Someday, he would go to the end of the line and find out. But there was no time to do anything like exploring right now.
He hugged himself, his breath steaming in a shapeless white cloud in front of his face, and frowned ruefully. He has been waiting here for almost half an hour. Why was it so late? He mustn’t be late for school – not today!
The front, like that of most of the trolleys, looked very much like a face that was trying to hide a joke and doing a poor job of it.
Petey jumped in and clambered up the steps as soon as the trolley stopped. He asked the driver, who he could barely see where he sat in the dark cabin, whether this trolley went past his school.
“Yes, young man,” said the driver’s voice. “It does.”
Not entirely convinced, Petey slipped a school token into the coin box, trudged to a seat near the back and sat himself down.
There was no one on the trolley he knew, so he sat by himself and stared glumly out the window.
He had been late too often recently, so much that he’d been threatened with suspension if it ever happened again.
It was unfair; it wasn’t as though he was lazy. He’d had good reasons for being late. Once it had been because his mother had overslept after a particularly nasty late night quarrel with his father. Another time it had been because he’d had to make his own breakfast and prepare his own lunch. And the last time it had been because the cat had run away after the failed bathing invention and he’d gone looking for it. They never did find Max. He never came home again.
Now school was threatening him with suspension. He’d been suspended once, for breaking the principal’s window with a paintball gun while playing with Chace Fusillade. It had been an accident, he hadn’t meant it. But his father had beaten his bottom with a broken surge protector when he got home that night, shouting at him to “apologize! Apologize! Otherwise I’ll . . . !” And maybe for that very reason, he had clammed up.
When he was grown up, he sometimes thought, he would run away. Then they’d see. . . .
He listened to the trolley as it moved over the rails, seeming to say, in endless repetition, “Apo-lo-gize, apo-lo-gize, apo-lo-gize, oth-er-wise . . . ” and stared sleepily up at the winter sky.
It was a blue so dark it was almost black above the snowy ground, with the stars going out one after another like distant candles in a huge cathedral (he had been inside a cathedral once, in New York City), and there was a pasty pallor just above the horizon where the sun would soon be rising, and he felt his eyelids grow heavier and heavier as the trolley clanked in a lulling rhythm on the tracks. The sky just before dawn always seemed to be beckoning . . . “Must-not-be-late-for-school, must-not-be-late-for-school,” the tracks seemed now to be saying, over and over, “must-not-be-. . .” He felt his eyes becoming heavier and heavier. Whatever he did . . . he must not . . . miss . . . his school . . . stop. . . .
Soon he was fast asleep.
“Otherwise!” the trolley driver suddenly called out. “Last stop!”
Petey started awake—Oh no!—and rushed to the open door.
He halted.
If he got out now, how long would it take him to get the next trolley back?
On the other hand, if he just stayed on this trolley, it would have to go back eventually – wouldn’t it?
He looked around him. There was nobody in the trolley car but himself and the driver.
Suddenly the door closed.
Overcome with despair, the boy returned and plopped back down in his seat and stared into the blackness outside, imagining the principal’s face twisted in wrath as she suspended him and the reaction of his angry and “disappointed” (that awful word saved for only the most unforgivable humiliations) parents.
After a small torturous eternity that was in fact only ten minutes as the driver took his break, the trolley jolted awake and started moving again.
But something strange happened: instead of turning around, it continued going straight ahead.
The boy felt a little spike of panic, craning his neck toward the driver, though all he could see was the tall back of the seat inside the little cabin, and a jacket swinging from side to side on a hook near the front door. Then he turned back to the window and the darkness outside. He would never make it to school on time.
Then something happened to him. Oddly, now that there was nothing whatever he could do about being late for school (the sound of the trolley’s wheels on the track seemed to say, over and over again, “nothing you can do about it, nothing you can do about it”), the despair collapsed over him like a great wave and almost immediately washed away, leaving behind it the strangest tingling feeling – a curious combination of helplessness and a feeling of resignation, a sense of irresponsibility, and a peculiar feeling that he recognized, after a moment, was—yes!—relief.
He even felt a little thrill.
What would happen next?
Where were they going?
What would he find there, in this place with the strange name “Otherwise”?
And the yellow trolley carried him ahead into the darkness.