Revise, Revise, and then try Revising

[img_assist|nid=841|title=Aimee Labrie|desc=|link=node|align=right|width=86|height=100] Years ago, as a graduate student in writing at DePaul University, I took two fiction classes from Phyllis Moore. She had long, white hair, a gentle Southern voice, and a way of critiquing short stories that cut straight to the quick of the story’s problems. Her sweet-sounding critique had an iron backbone—it could make you consider never writing another word. Unless, that is, you could find a way to separate yourself from your writing; to not consider her critique of your work a personal assault. It took me awhile to get the hang of this skill. 

In my second class with her, I wrote a short piece about two estranged sisters. I thought it was pretty good—it had a lot of physical detail about Chicago (which I knew well). Phyllis thought it was okay, but a little too precious. She questioned every part of it. What was the deal with the paper dolls? How long had it been since these two sisters had seen one another? What happened to this phantom mother who is hinted at throughout the story? How much time is passing in the world of the story?

I wrote the story again, deleting the scene where the narrator reminisces about a bad haircut. I added a paragraph describing the sheet of ice covering the window of this South Chicago apartment, which then logically led to a flashback about the sisters ice-skating as kids. Phyllis read it again and, in her sweet way, asked me why the story still read as if it were written by someone who never had a sister in her life (how did she know that I’m an only child)? She said, “Oh, some of it is so precious…Get rid of all of that.” 

I wrote it again. She critiqued it. I rewrote. She said I was getting closer…but really, did I need the scene about the Singer sewing machine? I started to get angry. I looked at the story again. I forced myself to strip it bare—to ask the important questions: what is at stake? What does the narrator want? How will she fight to get what she wants? I turned it in to her again, daring her to find fault. She did. I revised. This back and forth continued until I was on the twelfth draft and the story had been cut from its original 5,000 words to a mere 2,500.

She read it carefully in front of me after class had ended while I kneaded my fingers together underneath my desk. She said, “Okay, baby doll…I think you got it.”  She sent my story in to Scribner’s Best of the Fiction Workshop, 1997.  The editor of that edition, Carol Shields, chose to include my story. I know she wouldn’t have if I had sent the first version. Or the seventh. Or the eleventh.

My teacher forced me to look very, very carefully at every piece of the story. Every sentence, every word, every description, every flashback—and to also look at what was missing.  She made me see too that the first few stabs at a story are just the beginning. The real writing, I learned from that experience, comes during the revision. It happens when you are forced to examine the story in the same way you would a new building; checking for leaks and unfinished parts, places where the structure is vulnerable or faulty. This does not mean that you need to go through a dozen drafts before the story is successful, but it does mean that the first draft is often just the beginning.

Aimee LaBrie received her MA in writing from DePaul University in 2000 and her MFA in fiction Penn State in 2003. Her collection of short stories, Wonderful Girl, won the Katherine Anne Porter Prize in Short Fiction in 2007 and was published by the University of North Texas Press.Other stories of hers have been published in Minnesota Review, Pleiades, Quarter After Eight, Iron Horse Literary Review, and numerous other literary journals. Her short story, “Ducklings” was nominated for a Pushcart Prize by Pleiades.

Novel Excerpt: Keep No Secrets

    You smell the scent.

    It’s happened before. The first time, when you and your wife Claire cut through the cosmetics department at the mall, your heartbeat soared with such trepidation that you clutched at your chest, startling her. Another time, alone in line at a coffee shop near your house, it came up behind you like a wind on a blustery day. Both times you experienced the same physical sensation – the fleeting but intense pounding of the muscle that signaled life – but it ended as soon as it began, when your mistaken assumption quickly (and with much relief) became apparent.

    Those other times, no touch came on the heels of the scent. Neither the girl at the cosmetics counter nor the woman who stood behind you in line at the coffee shop knew you intimately enough to touch you.

    This time is different. It happens so fast. So fast that your brain doesn’t have time to think, “Someone wearing the same cologne must have just walked the same path I’m about to walk.” No time to reassure yourself, “It’s nothing more than a scent.”

    It’s late. Almost midnight. You’ve just left the law library at the university, a spot you now frequent to escape the incessant demands at your office. You don’t resent the demands or the people who make them, but you appreciate the solitude you find at the vacant library, hidden from sight between the stacks. Most students and lawyers do all of their research online now.

    At this time of night, you could have stayed at your office and experienced the same quiet. It’s a government office; come five o’clock, your attorneys and staff would have been long gone except, possibly, the newest assistant prosecutor, Briana. She has her first trial the next day, a simple assault and battery, and she’s nervous about it. You stopped by her office on the way out and ended up staying another hour just to let her talk about the case. This helps your attorneys, to talk it out, to pick your brain for ideas.

   But you have another case on your mind, one that mesmerized the city when the crime first occurred two months before and will turn into a full blown circus once the imminent arrest is made. A husband murdered, his wife the prime suspect. On the surface, it sounds like so many other domestic murder cases, but your instincts told you something about this one was different. Perhaps it was the fact that the man was the victim, the woman the presumed perpetrator. Perhaps it was the manner in which the murderer had disposed of the body, or maybe, even, it was simply the pictures of the couple in their younger, happier days, but something made you decide it would be irresponsible not to handle it yourself. This decision didn’t sit well with some of the more experienced prosecutors, who hoped for their moment in the spotlight.

    So while the office would have been quiet, you’ve learned that your mind isn’t so accommodating, not when surrounded by the files and memos and post-it notes that clutter your desk. For better or worse, you’ve come to require the large, clean mahogany table at the law library.

    You walk across campus and enter the pedestrian tunnel that will take you to the other side of Forsyth Avenue, where you parked your car. Your footsteps become louder in the tunnel; your eyes glance at the blue light above the emergency phone attached to the tunnel wall, but other than the simple recognition of its existence, you don’t think twice about it. You’re not thinking at all, really, and it’s nice, the respite from the noise in your head.

    If a hand unexpectedly reached out of the dark and touched you at midnight on a deserted college campus, your first response would probably be fear. Your first instinct would be one of two – fight or flight. But not when the hand touching you has already left its mark. Not when, in the split second before you feel the touch and hear the voice, you smell the scent that has the power to weaken your knees and make any protective
response impossible.

    No, in this case, your response is altogether different. It’s still instinctive, but it’s not the response that will save your life.

   “Jack, it’s me,” comes a voice from the past, barely a whisper, its owner unseen, but known.

    You’re left with only one response. Just one.

    You turn, and without a beat, you submit.

Julie Compton is the internationally published author of two novels, Tell No Lies and Rescuing Olivia. An attorney by profession, she gave up law to pursue writing full-time when her family moved from Philadelphia to Florida in 2003. She now lives near Orlando, where she is writing Keep No Secrets, a sequel to Tell No Lies. Learn more at www.julie-compton.com. This excerpt appears in the latest PS Books title, Prompted, an anthology of work from Alison Hicks’ Greater Philadelphia Wordshop Studio that explores the human condition via poetry, personal essays, and fiction.

Local Author Profile: C.G. Bauer

[img_assist|nid=5973|title=Scars on the Face of God|desc=|link=node|align=right|width=133|height=200]What do you get when you take a story of ancient satanic text and mix corporate corruption, an ailing child, and an elderly church caretaker who has lost his faith? You get C.G. Bauer’s thrilling novel Scars on the Face of God. Set in a small town in Pennsylvania, it tells the story of Johannes “Wump” Hozer and his fight for justice against a company that has been polluting a small town. C.G. Bauer’s new novel is full of suspense and mystery, taking the reader on a roller coaster ride through modern horror laced with ancient hysteria.

Your novel “Scars on the Face of God” is inspired by the “Devil’s Bible.” How did you first come across the “Devil’s Bible?”

The movie The Devil’s Advocate (Al Pacino, Keanu Reeves) produced an ‘aha’ moment when Pacino’s Satan talks of ‘rewriting history.’ It made me ask if there was evidence of attempts to relate religious events in history from Satan’s viewpoint. An internet search produced the Devil’s Bible, aka ‘Codex Gigas,’ which translated means ‘The Giant Book.’ A 13th century religious artifact now on display in the National Library of Sweden, dubbed at one time the eighth Wonder of the World, and a spoil of one or more European wars, the enormous and lengthy (nearly 700-page) Devil’s Bible was written as a penance, according to legend, in one night by a Bohemian monk with the help of the Devil. It gave me chills thinking about how perfect a plot anchor it could be for a horror novel. I should note here that the setting of the novel is not a foreign county in medieval times but rather in 1964 in a German Catholic parish in fictitious Three Bridges, PA, a town I set just outside Philadelphia in Bucks County. How the allegedly demonic manuscript found its way to a small parish in the Archdiocese of Philadelphia is something readers will need to learn on their own.

Can you give us a quick blurb of your novel?
Church caretaker Johannes “Wump” Hozer, 65, survived a knockabout childhood as an orphan and a stint in prison (his nickname is from the sound a crowbar makes when it hits a man’s head) with the help of his beloved wife Viola. He’s lost his faith mostly because the Catholic Church has apparently ignored the repeated salacious behavior of the parish’s monsignor. On a second front he’s taking matters into his own hands, looking for satisfaction against a tannery that is dumping waste into the local water supply, something Wump is sure caused his son’s leukemia. What he doesn’t count on is resurrecting a 19th century hysteria that leads to confronting what may or may not be the anti-Christ. It’s old-school, personal horror laced with suspense and mystery, and I’m really happy with how the multiple plotlines worked so well together.

How did you come up with the idea for your novel?

An admission: Originally conceived, Scars was to be a mainstream novel. Kudos to my wife Terry for giving it traction as a paranormal/horror thriller by passing a comment about a few of the characters; something she saw in them that I hadn’t. A plot spoiler, so I won’t go into her comment here, but I found it potentially so intriguing that I needed to act on it, which sent the novel in a different direction. The clincher came after my epiphany around the Devil’s Bible. A classic example of an author learning what the story is about after having started to write it.

What type of research did you do for your book?
There was what I considered to be an abnormal cluster of impaired children living in my northeast Philadelphia neighborhood during my childhood. Couple that with having read Jonathan Harr’s nonfiction A Civil Action, which chronicles the alleged effects of dumping carcinogens into the environment by leather tanneries in a small town in Massachusetts. Additional research revealed that there was a proliferation of leather tanneries around the Philadelphia region in the late 19th and early 20th centuries. (Note: The tannery waste dumping issues and the impact they have on the novel’s Philadelphia setting are strictly fictitious.) A writer friend revealed that tanning leather could be hastened by using dog feces in the process, knowledge passed down from his grandfather who during poorer times had collected neighborhood dog droppings and delivered them to a local tannery; debatably one origin of the phrase “pay dirt.” For a somewhat livelier and colorful aside, I endowed my protagonist’s childhood with a similar pursuit.

More input from my wife, a social worker and my best muse: In mid to late 19th century there weren’t enough U. S. laws to protect children from abuse by their parents. [Alert to readers: graphic image coming.] Child protection groups cite anecdotally that orphanages were built in some urban environments because local sewer systems couldn’t handle the volume of infant bodies being discarded into them by poor families with too many mouths to feed. With too few laws to stop such barbarism it wasn’t uncommon for some of the outraged citizenry to invoke local animal rights and abuse statutes and penalties in attempting to stem this and other child mistreatment when it was discovered.

You’ve spent much of your life living in Philadelphia and Pennsylvania, among many other places. Why did you choose PA for your novel and how did your years of living here influence your novel?
I’m a product of Philadelphia Catholic schools and Penn State University, and I received excellent educations from both. I could say that this fits into the “write what you know” writing method but the story could have had been told in multiple eastern U. S. settings where growth of 19th and 20th century manufacturing had caused urban expansion to encroach unregulated into rural areas. So choosing this environment was frankly a comfortable thing for me, where I felt I could visualize the events better because of an inherent feel for and attachment to my home town. Plus there is one other key relationship the novel shares with the area: the fictitious orphanage that plays so prominent a role in the multiple plotlines is fashioned after St. Vincent’s Home in Tacony, truly a Philadelphia icon. It’s ceased its existence as an orphanage, is now part of a program of Catholic Social Services of the Archdiocese of Philadelphia known as St. Vincent Homes, providing services to Philadelphia’s abandoned, abused and neglected children and their families. Dating back to its life as an orphanage, it’s been providing these services for over 150 years.

How long did it take for you to write your novel?
The novel took three years to complete (I have a very demanding day job) then over a year to interest a publisher in it. Drollerie Press is a little-engine-that-could small press that delivers stories steeped in legend and fairy tale. Inspired by the legend around The Devil’s Bible, Scars was a natural fit for them. Available from Drollerie first as an eBook, the publisher released it as a trade paperback in December 2009. In its electronic format it’s a finalist for a 2010 EPIC Award (formerly known as the “Eppies”) in horror, awarded annually for excellence in electronic publishing.

Who is your favorite character in the book?

Hands down, narrator Wump Hozer is my favorite. Writing him in the first person provided for a strong, in-your-face voice. He’s a man’s man with a nearly debilitating burden, the recent loss of his son, a burden that drives him to confront utility company bureaucrats, tannery management, and Archdiocesan dignitaries. He’s aged gracefully, is sure he can still beat the snot out of men half his age and, if necessary, do the same to demons many centuries his senior. He’s very much in love with his wife of forty years and is quite attached to the nuns who run the local orphanage, and to the orphanage’s residents. He’s closest to one orphan in particular, the ambitious but slow-witted Leo, his gopher for parish custodial duties.

What do you hope people will experience while reading your novel?

I want them to continue to turn the pages. I want to thrill them with characters’ insights and discoveries. I want them to be so drawn into the story that they try to finish it in one sitting. I want them to experience a character’s pain, feel his adrenaline rush, her euphoria; his shock and awe; her surprise at an ‘aha’ or a twist; his and her sentimentality and humanity. I want readers to say, “Whoa. That was good. What else you got?” What they won’t experience: excess squeam. While displaying blood and guts was necessary and fun to do in spots, the novel isn’t terribly horrific in this regard. I’ll add here that no zombies or vampires were harmed in the creation of this work of fiction simply because no zombies or vampires are in it. Not that there’s anything wrong with them. I love zombies. My wife says she’s married to one.

Did you incorporate your personality into your novel? Are there any characters who share your personality?
My personality is surely in there. Hopefully it’s only the more interesting attributes. With Wump it’s his stubbornness and his short-fused responses to hopeless situations, where he tells his infinitely more powerful adversaries to go screw themselves. Not necessarily a smart thing to do but he does it anyway, daring them to make their move. He shows plenty of misplaced hubris but also a ballsey-ness I feel we all aspire to.

Where can readers find you?
My website, cgbauer.net. The novel is available in print and electronically from publisher Drollerie Press and the other usual outlets such as Amazon (AmazonSCARSlink)
and Barnes & Noble (BarnesSCARSlink), or order it through your local independent bookstore (IndieboundSCARSlink). It’s also available as a Kindle eBook at Amazon and in other electronic formats at eBook venues like Fictionwise, Books on Board, etc. My short fiction has appeared in the crime/pulp ezine Thuglit (issue #29) and has been podcasted by Well Told Tales (horror/crime/pulp; WTT #60; 9,000 free audio downloads of my short story “You’re A Moron”). As always, if the writing resonates for a reader, feedback and reviews are welcome—encouraged—in any venue the reader finds my work.

P.S. to PS: Thanks so much to the folks at Philadelphia Stories for giving this Philly boy the chance to chat about his work. Continued success to the magazine, a valued publication highlighting the Philly literary scene!

The Baby

As I turn 38 and keep stocking drawers full of dreams and half-completed projects, I’m pushing forward with one big initiative: I’m having an imaginary baby. Why not? My friend Laura and I share imaginary cocktails via instant messenger at work. I talk to my guardian angel a lot (if shadows are angels). I sometimes comfort myself with the idea of alternate universes where I’m adored and published, or in prison, maybe all of these. 

Reasons why I want this baby: 1) I’m selfish. 2) My routine bores me. 3) Imaginary babies are less creepy than imaginary boyfriends. 4) I’m pretty sure I have really good advice to give. Unlike the dreamy-eyed hippies I got for parents, I will be candid. Here’s the set up: each family is a mini kingdom uniquely composed of demanding princesses with half-baked ideas about ruling. Every time you leave the house, you run into princesses who refuse to admit their titles, but like to pull rank. The important thing to remember when dealing with royalty is that there is protocol. Like any good tourist, you must observe the customs to the best of your ability and when committing a faux pas, remain polite. The other good bit of advice: It’s okay to go to bed drunk without brushing your teeth. I’m having this child because I’ve earned it—the search was long and arduous—because I’ve found the right child for me, and because it makes the commute to work that much more pleasant.  And finally, because my child is fun and has good ideas.

Before my plan was formulated, my baby was hard to find. I looked for the baby in the eyes of men, sometimes in the eyes of women, but I did not find my baby. I only knew its ghostly absence in my arms weighing on me. I clutched a gaping space, not in my body, but on my body. Full of the absence of the baby I didn’t have, I carried the emptiness around like an  invisible baby front pack—you’ve seen them.  They’re called Baby Björns, by the way.

I’m an accomplished singleton: I make and eat delicious food alone. I’m an expert at solo lovemaking. I’m not an imaginative daydreamer, but I am close to my heart’s desires.  My heart is full of invisible people — the friends and family I bring with me everywhere I go, inspiring authors and heroes whom I love, the half-baked crushes that add intrigue to my daily life. They are a rich society that is known only to me, part anchored in the world, and part whispering wishes.

The real world is, well, tangible, and quite demanding. Case in point, my friends’ lively offspring whose charms have matching drawbacks—like the bossiness and the tears, and the abundant curry-colored shit overflowing the diaper and dripping onto the carpet. These are drawbacks I would only dream of tackling in a team formation. Thus my baby, imaginary, and loaded with optional features tailored to my lifestyle. No curry-colored shit for me.  I won’t deny that I long for the body warmth of a real baby, but for now, I will be satisfied with this: My baby tells me stories to put me to sleep at night and holds my hand when I cross the street, but walks at my pace and I don’t pack a stroller. This is ironic because I lust for the big-wheeled strollers ambitiously fit parents run behind. Just cause they look so sporty and nurturing, simultaneously. 

My baby wasn’t born all at once. Or rather, she has been born often and dissipates back into star-stuff as needed. This process, like the singing of a song, is repetitive and allows for fine tuning or the universe’s baby-sitting, depending. She’s kind of a lease baby, but these are advantageous terms. She’s sleek and plush, and shape-shifty, like a dream car or a good pet rolled into one. But human. Making an alien would be too weird.

What’s nice about parenting is that there are no licenses and no tests, it’s your business until it becomes the state’s. You can fuck up just until the damage is so extraordinarily obvious that law obliges third parties to call in licensed professionals. Abuse notwithstanding, what scares me about parenting is that there are always plentiful bystander judgments. You’re being observed, and you are found wanting. More than usual, I mean.

Thus again, imaginary baby. Who never cries herself to sleep.

The baby doesn’t have a real name yet, but that’s her doing. She’s to pick out her name.  She likes to change them up. Today she’s Roujika, but I bet she’ll go back to something a little less interesting in a few days. Emma seemed to stick for a while. I sometimes wish I had a boy so I could call him Rafael. I’m a sucker for Italian boy names.  But I really wanted a girl. Girls are easier, and I can relate. I’m not sure what I would tell a boy. I’d cram his head full of feminist ideas, encourage him to read books– he’d be reviled by jocks.  It would be tough going.

Obviously, I haven’t fully imagined my baby yet. Most parents enjoy a minimum of nine months to accustom themselves to the notion of parenting. So I’m taking my time getting to know my baby. For example, I’m pretty sure that my baby is a good sleeper like me, not an early morning person, but a child that likes the smell of coffee. Specifically I start the day in a leisurely fashion. My child only wakes once I have drunk one full hot cup of java.  A friend suggested that I have a baby whose nostrils, when I squeezed the baby’s head, produce coffee. Now that’s monstrous. I’m not looking for a coffee maker. I have a coffee maker. 

Having my baby wasn’t so hard. There was no need to locate an inseminator, no need for a pre-baby diet, special baby vitamins, or post baby regimen. No need to think about the sad fate in store for my breasts, inflating and deflating, sucked dry. My baby is body friendly. No c-section about it.

Ponder the word delivery. Delivery is a strange, ominous word. It implies imprisonment or the arrival of packages that require a signature. Your body is to deliver the goods, the giant, multi-pound, independent mechanism that wants you to spend all your money on its education.  Luckily, I have no educational costs, I home school my baby while I work.

The day, as I said, starts with coffee. We take a shower, the baby scrubs my back, and I help her shampoo. We moisturize. I get dressed on my own. The baby draws the clothes she wants to wear that week, they materialize, she puts them on, and we have a fashion show. Sometimes I suggest alternate colors or fabrics, but, by and large, we agree.  This takes place on Sundays; I don’t have time the rest of the week.  On Mondays, the baby helps me with my commute; she holds my bags and we comment about the people on the trolley: their weird hats, their unfortunate lipsticks, their sleepy eyes. We wonder what their professions might be. My baby girl, she wants to be an archeologist or a dentist—precision instruments for cleaning either way. She doesn’t get that from me. I suck at cleaning.

Once I get to work, the baby plays with my feet while I check my email. She sings songs, and draws, and generally has a good time ripping paper all day. When I need a break, or when I feel overwhelmed, we take five minutes and she holds me close and pets my hair.  At lunch, I tell her stories, other jobs, other places I’ve been. She likes it when I talk about Hong Kong. We agree it’s a cool city. At 3 p.m., I riffle through my candy drawer and the baby gives me looks because she knows I’ll complain about my thighs eventually. Luckily the baby doesn’t have much of a sweet tooth which is convenient when I’m sneaking chocolate and don’t feel like sharing. I don’t like saying no to her, so that works out. 

I haven’t introduced her to my coworkers. They might be alarmed that she’ll distract me or lower my productivity. In fact, it’s just the opposite. I work harder when the baby’s around-it’s easier to do things for someone else. I am working hard and saving up for vacation. I can’t wait to show her the world.

After work, we walk home together and enjoy the changing seasons.  There’s no fighting at bath time, and she likes to go to sleep early in the evening. Before I make dinner. She’s easy going. If I go out for drinks after work, she’ll let herself into the apartment, eat a little something and go to sleep on her own. The universe turns out to be a generous neighbor– It’s always Saturday night, and the universe is always available, knows infant CPR, and doesn’t eat my food or make prank calls from my landline.

This leaves me with a lot of time for dating, which apparently I should put more energy into. So she tells me, the baby, not the universe. 

Sylvie Beauvais received her Master’s of Liberal Arts in Creative Writing from the University of Pennsylvania in 2004. Her novella, Fly, Rapunzel was a finalist in Low Fidelity Press’s 2006 Novella Award Contest. She has been a writer and editor for start-ups and non-profits, but is now focused on publishing her fiction, non-fiction, and poetry.

Whore Tie

My grandfather’s name was Efthimios Vasilios Patouhas, but I called him Papa.  As a toddler I could only manage to spurt out [img_assist|nid=6105|title=The Open Doors by Brian Griffiths © 2010|desc=|link=node|align=right|width=167|height=250]the first syllable of the Greek word for grandfather, pappou. The repeated pa, pa, pa eventually became Papa.  I’m nearly four years older than my next sibling and decades older than some of my cousins, so the name stuck long before any of them came along.

   Every summer, Papa went back to Greece to run his bar.  He spent the winters living with Angie, his youngest daughter, in a trailer park off of Route 70 in Pennsauken. As a kid I would sleep over there, falling asleep watching old movies with my aunt. In the morning, I’d wake up to Papa and Angie whispering, so as not to wake me, and the smell of scrambled eggs and English muffins.

   “You’re too skeeny,” Papa would say through his thick Greek accent.

   I ignored him, in order to act offended, but then got myself to the table for my breakfast.  When I was chowing down, Papa’s complaint would change.

   “They don’t cook for you at home? Eat, eat. Bravo, bravo.”

      When he died in November 2006, I couldn’t attend the funeral, because it was in Greece and I was 7000 miles away, in New Jersey, in the middle of the school year, teaching “The Odyssey” to ninth graders. Logistics, like time, money, and distance kept me from a farewell. It was all for the best though, because I wanted to remember Papa in my own way.

    A few weeks after his death, when I talked to my Aunt Angie on the phone from Greece, she said, “When you get here you can look through his jewelry box.”

   “I only want the tie,” I told her. I didn’t have to explain which one I meant.

   “Okay, it’s still hanging in his room.”

   For two more years, until I could get to it, the tie hung on a hook in his room with all the others At last, in 2008, I boarded the plane for six weeks in the Mediterranean sun with only a long narrow piece of fabric on my mind. The thirteen hour trip exhausted me. I wanted nothing more than to collapse on the lumpy bed in the house that Papa had built but my mother and her siblings now owned. But not before going into Papa’s room to retrieve the tie.

   From the cool of the dark long windowless hallway I knocked tentatively on his closed bedroom door as if he were still in there. I opened it and looked in. I wasn’t ready to study the pain of the room just yet. I only wanted my souvenir of his journey. I opened the door further and saw the hooks full of ties by the master suite bathroom door. There on top was the tie, my tie, the one I was after.  It hung so neatly and was still knotted as if Papa had loosened it from around his neck, pulled it over his head, and hung it there the night before.

   I grabbed it and pulled it over my own head and retired into the adjacent room. I slept carefully, so as not to undo his handiwork.

   Efthimios was born the fifth child of eight in a rustic mountain village in December 1938. He was an identical twin, but he was unlike any of his siblings. He had a wandering and wondering spirit that lead him at the age of fifteen, to traverse 20 miles of dirt road that wound down through evergreens and Cyprus trees to escape the andartes, the Communist rebels who were stealing children from their homes to fight civil warfare among the rocks of the motherland.  By foot, by bus, by boat, by the grace of God he made it to Wilmington, Delaware and became an American, Tom Patouhas.

   During the day, he loved everything about being an American, especially the work and the money. He worked his way up and down the country from Delaware to Tennessee to Florida to Ohio. It was while working at Libbey Owens Ford Glass Manufacturing in Toledo, Ohio that he met Simela Spirides. In the 1960’s and ‘70’s, he was a short version of Errol Flynn with a mustache, and he always wore a three-piece suit when he went out. That’s probably why Simela, on first seeing him, told her girlfriend that she was going to marry him. She did and they soon had three kids. The first was my mom.

   During the night he liked everything about being Greek. Smashing plates, dancing on tables, and drinking until he felt like smashing plates and dancing on tables. He loved his “Johnny Walker with a splash of Coke”, smoking a half pack of cigarettes in half an hour, and laughing his wheezing squeezed-lung laugh at dirty jokes. This may be why he and my grandmother divorced after five years.  She later joined a convent.

   In 1996, when I turned twenty-one, I hung out at the same bar Papa did. It was the only bar in South Jersey that played Greek music, so all the Greeks gathered there to smoke and drink and break things. I worked full time, studied at college full time, and partied full time. Weekends began on Thursday at 10 p.m., Greek Night, at the 70 West Bar and Lounge, and ended Sunday, at 4 a.m., in the adjacent diner, with pancakes and eggs for breakfast.

   Papa bought me my first legal drink.

   “What you have?” he leaned in and asked over the blaring belly dance music cut with a techno beat.

   “Ummm.” I looked at the waiting barmaid, completely lost.

   “Johnny Walker with a splash of Coke, hun,” he said to her. “You drink whisky, no bad shit,” he said to me.

   My drink was delivered right to my hand. He lifted his and we toasted Yiamas!, to health. I lifted the short stout glass to my lips and swigged a few gulps. The liquid ran through me,  marking a path like a brushfire from my tongue to my stomach. For a second, I felt faint.  I swayed enough to put the glass on the counter. in case I dropped to the floor, but I recovered almost instantly.

   “Yeah?” Papa caught my attention out of the blaze in my brain.

   I turned up a weak smile, “It’s good.” I said,  and promptly left the drink on the bar to go dance and sweat out the flames.

   The Christmas I bought him the tie, I was working as a cashier in an expensive women’s undergarment chain that used to be classy before it became campy. I worked, cascading small, medium, and large undies into panty table waterfalls and layered the sleeves of fuchsia ostrich feather robes as they hung from padded hangers. I kept myself motivated through the late winter work nights by saving every penny to buy my summer vacation in the Greek sun.

   Two weeks before Christmas, the company that owned my store gave us a 40% off discount throughout all its stores. Since the conglomerate owned three-fourths of the mall, I was set to get some decent gifts at reasonable prices.

   By then, in his sixties, Papa still wore a three-piece suit when he went out to the bar. Usually, it was a tan ensemble – jacket, pants, and vest. I figured a smart tie would be the perfect gift to go with his pressed shirts, but I struggled picking it out. The sales guy hovered over me as I touched the silk of each tie on display and scrutinized the individual designs. Finally, I chose a tan one with a design of inch-high rectangles that had binoculars, lanterns, or four tiny license plates with horizontal or vertical striped backgrounds. I chuckled about the binoculars. Papa used a pair to watch pretty girls on the beach,  from the balcony of that home he’d built in Greece, with all those American dollars he’d made. I picked out a tan pair of socks and was done for that season.

   Christmas at my parents’ house was always a big deal. We had to all get dressed and wait for my grandfather and aunts and uncles to show up before the gift exchange could begin. That year I was sure everyone would love what I’d gotten them. It was my first real job and the real  money I’d ever had to spend on gifts.  I’d gone all out, or as far out as my budget allowed. Papa strolled in with my Aunt Angie and us five kids and my parents settled around the living room close to the tree to hand out packages.

   Papa had a system to his unwrapping. He made two piles, one to keep and one to return. There was no polite pretending he would use the electric toothbrush or the back massager. He held them aside so he could give them back to you to exchange at the store yourself. I worried the tie would end up in his reject pile.

   He unwrapped the socks first.

   “Oh, these are good. These are nice,” he said showing them to everyone in the room.

“Look, they’re the kind that won’t cut off my circulation.” 

     I beamed. “I got them at the mall,” I said.  “Now open this one, too.”

   “Oh, more for me?” He tore the paper from the box and lifted its lid. He nodded more approval. “It matches the socks,” he said holding them up next to each other. Both were placed in the “keep” pile.

   I was proud that my hard work and hard earned money had garnered such a fine gift.

   Weeks later, deep into the new year, I came home from a class to find Papa drinking coffee with my mother in her kitchen.

   “You know that tie you got me for Christmas?” he asked as I walked in and unloaded my book bag.

   “Yeah,” I half-listened as I rifled through the cabinets for a snack.

   “It’s my whore tie,” he said.

   “What is it?” I asked peeking out of the cabinet.

   “My whore tie.”

   “Why?”

   “Because, when I wore it to the bar, all the whores came around me.” He wheezed out that hysterical asthmatic laugh and exposed the gold that replaced his upper right canine tooth.

   That’s the Papa I remember when I see the tie, his whore tie, now hanging on an antique hook by my own bed, knotted still, exactly as it was when he last put it around his collar and headed out to the bar.

Elaine Paliatsas-Haughey is a writer of small important things and a teacher of small important people. She is grateful for a story-rich family, Michael, and the Rowan Writing Program. “Whore Tie” is dedicated in memory of Efthemia.

The Solitary Canoeist

This red cliff above
Neshaminy, and a wind
left here by the fat
of winter —

only one hawk, talons
curled into the juice
of her breast, made light
in reflection by

the curved note
a solitary canoe cuts
like grief below. But how
this tawny mud, this olive snake

and rise of late March
shakes off another hour
by the bleat of geese?
Another reluctant passion

alone. And now far upstream
the red boat and tick
of spring follows winter
and this man down.

Grant Clauser is a medical magazine editor near Philadelphia and freelance technology writer. He lives with his wife and two daughters in Hatfield, PA. Poems have appeared in various places including The Literary Review, Schuylkill Valley Journal, The Wisconsin Review, The Maryland Poetry Review, Painted Bride Quarterly and others plus a TV show about bass fishing.

The Gardener

Sometimes as he cuts back the spent blossoms
or lessens the height and girth of some shrub,
he sees himself cutting hair—handfuls.

Women’s hair, feathering, layering,
perhaps trimming snipping off split ends.
He becomes a sculptor, moves full circle

around the hair, preens and pats,
steps back to admire his work,
steps in to make strategic cuts.

The only gossip is that of blade and blossom
as he cuts away the frivolous chatter.
He prefers the silence of what is shorn.William Hengst is a long-time resident of Philadelphia who writes poetry and short stories and gardens professionally. Finishing Line Press recently published "Yard Man," a chapbook of his poems inspired by his gardening life.

A Supermarket in Pennsylvania

I saw my old psychiatrist at Trader Joe’s,
sampling organic hand lotion.
We last faced off

50 milligrams ago, when he talked
about stress, and I watched the clock’s hands
march, an army of gears ticking

like the rattle of pills. This 2-pill-day,
I gather dried fruit, herbs,
everything organic. My old shrink,

smaller and greyer, bags peppers
and free-range chicken
with his dark-haired wife.

Tense despite the lavender plant I hold,
my gaze flings to my love, the engineer,
weighing cranberries

versus apricots. He has seen me
through deflated 1-pill-days.
My old shrink has brown bags

happier than dopamine, and I want
to block his exit, show him my fruit bars
and engineer, whose perfect serotonin

levels mock health insurance. I am 8 years,
200 milligrams better. I buy only organic and
my lavender plant doesn’t talk back.

I see my shrink slip away, like an expired prescription—

We pay for the plant and dried cranberries,
which, I have told the engineer, taste best.

Kathryn Elisa Ionata is a student in the graduate creative writing program at Temple University. Her writing has appeared in Schuylkill Valley Journal of the Arts, The Philadelphia Inquirer, Hyphen, NYTimes.com, and other publications. She was the sixth runner-up in the 2008 Bucks County Poet Laureate Contest. She lives in Doylestown, PA.

Trails

So she could cope with the guilt
she renamed the dog before taking it
to the pound—which got me thinking
about guilt and how I’ve shaken it
most of my life, lost it on one
of the false trails I fashioned.
It wasn’t easy being rescued
all those times, forgiving
the home in homeless
and naming the streets
just off the streets. I found
real self pity needs strong family
ties and accountability can only be
absorbed by something thick
and hidden like a wallet,
something heartless
like a heart. So, I told her
not to forgive herself
just as the dog didn’t
for soiling every living space
in the house. Guilt is part
of a good home, I said,
sometimes the only thing
that can pick up a scent.

George Bishop was raised on the Jersey Shore before moving to Florida in 1985. Recent work has appeared in Merge Review, White Pelican Review and The Griffin. His chapbook, Love Scenes, was released by Finishing Line Press in November 2009.

The Jetty

With a lowball of Jack and fading ice
In one hand, he took me my by the other,
And without shoes on our feet,
Two streets and one block’s sidewalk
Traversed to reach the shore that stretched

Left and right for what seemed
To me, at five, forever. 
Wading perhaps too tame for the happy hour
Burning in my father’s veins,
We stepped up to the first black rocks

Of the jetty, stepping stones for giants
Taking respite at the beach,
But more treacherous for simple humans,
Sides obsidian-slick, all at once coming
To rough points obscured by reflection.

We ventured out upon that pathway
Into the sea, the closest we would ever get
To walking on water,
My father trying to lead the way,
His unsteady steps making an irrational path,

His stride outmatching mine.
Without warning tipped the balance of tide,
And then the waves were upon us,
My father shouting retreat
Even as we began to fall, his glass

Swallowed up, returned sand unto sand. 
Miraculously sobered, he swept me up,
But looking down, I saw his shins
Had taken the brunt, jagged runs in the skin,
Red sluicing into the wet fibers of leg hair,
The first time I had ever seen my father bleed.

 Morrow Dowdle spent her childhood on the Jersey shore, in the tiny town of Spring Lake.  She graduated from The Medical University of SC with a Master’s in Physician Assistant studies and returned to her home state, where she works as a family medicine PA for McGuire Air Force Base.