Episode 3: The Mastodon

 

The Mastodon? If memories from my boyhood serve, The Mastodon wore a garish costume, just like the rest. His was brown and yellow with a deep-vee revealing thick, red body-hair. Or was that Ultimate Man? No. Ultimate Man had the crimson cape; he could fly, too. Mastodon couldn’t fly. And the deep-vee was the middle part of an ‘M’ on his chest... so, yeah, Mastodon.

“Why do you believe that you’re the Mastodon?” I say--because you can’t argue with a delusion. Believe me; I’ve tried.

Brian sits across from me leaning forward in his chair, gripping the armrest as if he’s still bearing the weight of his confession on his back. He’s breathing heavily and I’m wondering if he will faint.

But thinking about it, he really could be. He’s huge, broad-shouldered. About the right age, late forties/early fifties. He’s pudgy around the middle, but I’d buy him as an aging superhero--metahuman, or whatever. He even has red hair.

Brian runs a shaking hand across his brow.

“Can I get a lorazepam?” he says in his husky, thick-tongued drawl.

I nod and stand, take out my keys as I cross to the cupboard. We keep this cupboard locked, of course. There’s a book where I sign for every single dose I give out: morning, noon, evening, bedtime, PRNs. Some of the guys living in this house have twenty different prescriptions or more. Most of the meds are to treat the side effects of their various antipsychotics: diabetes, high blood pressure, eczema, constipation, nausea. Mental health or physical health? I often wonder which one I could live without. It’s a hell of a choice.

And then there’s the drugs they like--like lorazepam.

I finger through the file folder of med boards, take out Brian’s lorazepam PRN--plastic bubbles on one side, foil tags on the other. I pop one into a little dixie cup with dainty pastel flowers all over it. I read somewhere that snipers take this same drug to slow their heartbeats, steady their hands for accuracy; Brian takes it every day and if he has to ride the bus, he takes a little extra.

When I give the cup to Brian, he dumps it out into his enormous hand and stares at the pill, tiny white against a field of red palm.

“You don’t believe me,” he says.

I sit down across from him with a cultivated nonchalance and take a heavy breath. You can’t argue with a delusion, but here we go.

“I have my doubts,” I tell him. “Didn’t all those guys die back in the nineties? There was, what, some kind of reality dysfunction. All the heroes and neverdowells across the multiverse came together and were destroyed in some sort of quantum cataclysm. Right?”

He’s nodding like it were just the objection he was expecting, then he makes a fist around the little pill and brings it to his mouth.

“All of them but me,” he says and swallows.

Photo by Brenton Salo

Photo by Brenton Salo


Mornings are always busy around here. By seven, the guys are filtering into my office to get their first round of meds. A lot of them need to be woken up so they can get their meds on time--they have to take them, and they have to take them at the right times; it’s part of the contract they signed to get into the halfway house program. When I go into their rooms, I always knock and make a big show of warning them that I’m coming in; but they're always just sleeping.

Back in the office, I take up my customary position behind a counter near the med cabinet. Steven comes in doing broad, sloppy boxing moves. He’s trying to get in shape, he tells me.

I begin popping pills out from a stack of boards thicker than five volumes of an encyclopedia. I have the paperwork next to me--a grid of tiny boxes for every medication on every day. I put my initials down for each pill that goes in the cup. It takes a while, so Steven jogs in place for a bit and then goes back to punching.

Russell comes and stands in the doorway. These two argue sometimes because it takes so long for Steven to get his pills and Russell has to wait. Russell eyeballs Steven for a few seconds then says, “You’re doing it all wrong.”

Steven turns and looks Russell up and down, incredulous.

This is just what I need this morning. Steven’s been spiralling out of control lately, getting more and more agitated, short-fused. He goes on these long tirades filled with violent imagery and I have to tell him to leave the house and walk around the block to cool down; but that hasn’t been working lately. I keep warning my superiors that he’s decomping--that he needs his meds adjusted or something. They just tell me to document everything.

“What do you know about it?” Steven says, puffing out his chest.

Russell shrugs. “I used to be a boxer.”

“OK,” I say and push a dixie cup full of pills across the counter.

Steven turns on me like an angry dog turning on his master.

“Don’t say that! I hate it when you say that! It sounds like you’re saying ‘Oh gay’ and I’m not gay!”

I use my fake calm voice, “I’m just telling you that your pills are ready.”

He pours the cup into his mouth, then walks over to the water cooler and fills it up.

“You’re the gay one. You’re a fucking faggot,” he says through a mouth full of pills. He drinks the water, crumples the cup and drops it on the ground.

“Go for a walk,” I tell him, trying to sound authoritative, as if there were anything I could do to compel him to obey.

He huffs and shoulders past Russell.

“What’s his problem?” Russell says, moving in to take his place in front of the counter.

“You didn’t have to provoke him.”

“I used to be a boxer,” he says, raising his voice an octave to show that he’s being defensive. “I was just trying to help.”

Russell is all matted hair, and whiskers and food stains on his clothes. He wouldn’t look at all out of place sleeping under a doorway somewhere downtown.

I get to work on his meds.

When were you a boxer?” I say, just short of calling him a liar.

He pretends not to notice my tone.

“Oh, when I was younger. But I didn’t like it. I just can’t hurt people.”

I nod as if I agree. But I read his file. I know what he’s done. It’s not fair to judge because he was psychotic at the time. No one could seem further from that man I read about than the man standing in front of me now, though. But isn’t psychosis just that moment when the cork pops off and everything seething inside you comes spilling out?

Russell swallows his pills and says, “can I get a sharp knife?”

Staff keeps the kitchen knives in the office so the guys have to ask when they want to use one. They’re supposed to be practicing life skills, learning to be independent. This means, every now and then, they need a knife. But I still feel nervous whenever I give one out.

“I’m going to chop up some vegetables for an omelette,” Russell explains.

I retrieve the knife and hand it over. “Don’t forget to bring it back.”

“I won’t,” he says, but I know he will. I’ll most likely find it lying on the kitchen counter later this afternoon.

Photo by Brenton Salo

Photo by Brenton Salo

Everyone’s had their evening meds, and I’m waiting for my shift to end--for the night staffer to come in. The house is quiet. Brian taps on the office door.

“Can I get another lorazepam?” he says and slumps into a chair.

“OK,” I say--it does kind of sound like ‘Oh, gay.’ “What’s going on?”

Brian clears his throat. “I just been thinking about that boy.”

“What boy?”

“You know, that one that used to run around with The Dark Cowl. What was his name? Like a mouse or a bird or something. I never understood why The Cowl would put a kid in danger like that. We were supposed to be protecting kids, weren’t we?”

I raise my eyebrows as if to say, “Yep, it’s a crazy world. What are you going to do?” This is not something I want to get into right before quitting time. I move to the med cabinet to get his pill.

“You ever pick something up,” Brian continues, “and hold it in your hand and think, ‘this thing is very important. Too important for me. I’ll just mess it up.’ So you put it down?”

“Um,” I say, flipping through med boards. I have no idea what he’s talking about.

“On that day when they all died and I didn’t,” he goes on, lowering his voice like he’s talking in church, “I tried to talk the boy out of going with them for the final battle. I told him someone had to stay behind just in case. He said, ‘you do it, then.’ So I did. He was only fourteen and he died with the rest of them.”

I pop the pill into a cup and when I look up, Steven’s standing there in the doorway; his eyes are wild and shining. Brian gets up and rushes toward him. Then I see the knife in Steven’s hand--I never did find it, did I.

Brian is reaching out like he’s going to grab Steven. Steven brings up the blade and Brian folds over it, collapses, holding his stomach, curled up on the floor. Steven looks at me. Hate and vengeance all over his face. He’s rubbing the front of his pants. I can see an erection bulging there and I’m paralyzed.

“Fucking faggot,” he says and takes a step toward me.

I put my hands out in front of me. “Steven--” I begin to say, but he slaps me in the face so hard I jerk to one side, and see white sparks popping in the periphery of my vision.

“Bitch! Faggot!”

And then Russell’s in the doorway and his fists are up by his chin and he cocks back and he let’s fly. The blow connects with Steven’s brow and he reels backward and falls onto the ground.

I grab for the phone and pound out 9-1-1. I’m screaming at the dispatcher. Out of the corner of my eye, I see Steven getting to his feet. Russell’s fists are up again, but Steven ducks by him and out into the hall. I hear the front door open and slam shut.

“Lock the doors!” I scream, and Russell rushes to obey.

The dispatcher is all assurances of an ambulance and patrol cars. I drop the phone--no, I throw it down without bothering to hang it up.

Brian rolls over a bit and I can hear him crying softly. I kneel beside him. Blood is pooling on the carpet so I take my shirt off and try to bunch it up around the blade still wedged in his belly. His eyelids sag and when he speaks his voice is even thicker than usual.

“You look just like him. The boy. About the same age, right? Would have been fourteen at the time, right?”

I nod. “Yeah. You saved me.”

Next: The Last Request 06.05.2015

Hex11

An independent comic by Lisa K. Weber (artist) and Kelly Sue Milano (writer), Hex11 stands out against the sea of digital comic offerings over there at Comixology. It's beautiful, it's engaging and it's fun. 

Hex11 Cover

The story centers around a witch apprentice, Elanor, who stumbles into deadly combat with a powerful demon. She unwittingly binds the demon, and in so doing disrupts the machinations of a powerful, secretive corporation pulling the demon's strings. The shady corporation is not amused and deploys their magical, sociopathic assassin, in response. 

Maybe the above sounds like fairly typical genre fiction fair, but it's immediately captivating and stands apart, due to the craft employed by Hex11's creators.

The world of Hex11 is a sort of magical ghetto--the exact nature of which is yet to be revealed. It's a hemmed-in place, a labyrinth of dark allies; you almost never see the sky and when you do it's a grey haze. The feat accomplished by Weber (no relation to me--that I know of) is that she makes this world one you want to inhabit. Wonderful lighting turns the environment from foreboding to intimate. But I think her biggest strength as an artist is evidenced by the charming, unique and expressive characters she's designed and populated the world with. 

These great characters are well written, too--in particular, Hex11's likable protagonist, Elanor. At the beginning of the first issue, she does a little self-conscious complaining/dreaming right before she kicks some major ass--which makes her the ideal proxy for all us every-men/women who wish we could do the same. 

I could go on; but you get the idea. I like this book. I've subscribed to the news letter. At the time of this writing, Hex11 is going for 99 cents an issue on Comixology. When you consider the care and craft with which this book was written, that's a goddamn steal. So just go buy it. Do it now. 

Episode 2: Night Life, Part 2

An ice age thawed every time I blinked my eyes. When the paramedics got there they asked where the ‘EDP’ was. I guess they meant me. They put a needle in my arm and everything got worse. The blinks came more quickly. I dreamed with each blink, and each dream evaporated like a forgotten aeon.

It went on and on — the prophesied hell Chill spoke of.

Until it got better.

I recall a flash and the hallucinations were gone, washed away in a tsunami of consciousness. The surface of my brain was covered in fresh, new, pink skin; it made my scalp tingle.

It felt so good.

“You need to get out of here.”

White sheets. A curtain. Linoleum. Fluorescent lights. An emergency room, I reasoned. Kelly leaned over me, her hands on both sides of my face, forcing my head to turn and look up at her.

“I gave you a little bit of a treatment. Not a full one, because it’s one of my own and I need it. I would have given it to you back at the office, but my boss got there early and called 9–1–1. So get up and get out of here before they throw you in the State Hospital or whatever they do with junkies and crazy people.”

“What’s going on?”

She drew the IV needle from my arm without ceremony; the tube ran to a syringe in her hand. She disconnected the syringe and stuffed it into her pocket. “Get up!”

She pulled me to my feet, pressed my wallet into my hands. “Here. Let’s go.”

“Where did you get this?”

“Let’s go.”

And we left. Right out the sliding glass doors. No one seemed to notice.

In front of the hospital she said, “I don’t think anyone ever turned him down before. I can respect that you did. But you’ll die if you don’t do what he wants. Go find him. Make a deal.”

And she walked away–just as Beth pulled up.

Beth leaned into the passenger seat of her sedan and called to me through the open window, “Joey!”

“Beth? What are you doing here?”

I looked around for Kelly. She was gone.

“What are you looking for?” Beth said. “Are you hurt or something?”

“I’m fine,” I said and opened the passenger door. “What are you doing here?”

She made a face I knew, like we were married again, and she wasn’t happy about it.

“Nice to see you, too. Do me a favor and change your emergency contact information.”

“They called you?”

“Honestly, Joey, who else would they call? What happened? Are you okay?”

“I think so. No, yes. I feel great.”

She looked at me, studied my face. “Get in the car. I’ll give you a ride.”

Photo by Brenton Salo

Photo by Brenton Salo

She pulled up to my place. We sat, the car idling.

I reached for the door, then stopped. “I was thinking. I know you’re with what’s his name. I’m not trying to horn in on that. I just — when we were married, it felt like there was always something around the corner, something more I couldn’t get my hands on. I wanted… more. And I didn’t want to settle down, have kids, buy a house — because I thought, you know, what if? Maybe you felt like, I don’t know, you weren’t enough for me. But it wasn’t that at all. You were the best thing in my life, and I’m sorry. I’m sorry I let it all get so screwed up. It wasn’t you. It was me. It was all my fault.”

She was looking at her hands, limp on the bottom of the steering wheel.

“I know you see it that way,” she said; she looked over at me like I were a very sick child. “But you’re wrong. That’s not why I left you, anyway. Look. I loved you. I still love you. But you are not the man I want to be married to. I want the house, I want the kids, I want the life. I want all that. I don’t want you. You… don’t work with all that. What I’m saying is: it’s not that you want too much. You don’t want enough.”

This was a conversation we’d never had before.

In the absence of my reply, she shrugged and said, “Or you don’t want anything bad enough. I don’t know. Either way…”

I took a breath and opened the door.

“You’ve given me something to think about,” I said, dumbly. “I have a lot more time on my hands now, so, that’s good, I guess.”

She touched my leg. “Please… Please take care of yourself, Joey.”

I put my hand on hers. “Thanks for the ride.”

I was fired from my job, so, instead of going to work that night, I went to the diner and waited. I drank coffee and tipped the waitress over and over again, all night and into the next morning. I walked around town and came back. Ordered breakfast. Waited. Beer. Coffee. Waited and waited. At some point, whatever Kelly gave me began to wear off. That day became another. In the diner. Around town. Back again. The waitress seemed nonplussed by my behavior, like she’d seen it all before–the actions of some lame Sisyphus pushing his coffee cup to the edge of the table.

Finally, a breeze blew in from the door, and there he was. Mr. Chill. He walked over to my table. With every other step he took, I blinked one of my eternal blinks. He sat down, and I begged him to give me another chance. “Help me,” I said. That’s when he gave me the pills and the address and made an appointment with me for the “Morning.”

Photo by Brenton Salo

Photo by Brenton Salo

 

The address Chill gave me is to a brick townhouse. The hills in Northwest, a nice neighborhood with lots of iron gates and stone and ivy.

It’s after seven a.m. when I arrive. A man with eye sockets like plums answers the door. He wears an expensive-looking suit that seems especially tailored for his wiry frame. The tip of a tattoo on his neck peeks out from behind his collar. He looks me over and pops his knuckles one by one–a green, tattoo-ink letter on each finger: ‘N-I-T-E’ and ‘L-I-F-E.’ He steps aside and jerks his head toward the interior of the house. I go in. Knuckles puts his fist in his palm like it’s his at-ease stance and nods in the direction of the stairs. I climb to the sound of his cracking joints behind me.

At the top of the stairs, a doorway opens into an office. The decor is sparse. On one wall is a print of Goya’s Saturn Devouring His Son, and on the wall across from it is another painting I do not recognize depicting the same scene from the myth. A vague sense of apprehension tightens inside my chest.

Mr. Chill stands behind a dark and shiny wood desk in the center of the room. He’s facing the window, looking out at the dew-slick morning streets.

“It’s been morning for over seven hours, Joseph. I do not normally tolerate this kind of ineptitude.”

Chill turns around and smiles a forgiving smile.

“Consider this your warning,” he says.

I nod and look at the floor.

Chill sits down in the plush high-back chair behind his desk and watches me for several seconds. “Did you bring a resume?”

I shake my head.

His face is a facade of exaggerated disappointment. “What kinds of skills do you have?”

I shrug my shoulders. “I’m a janitor.”

“Do you have a high school diploma?”

“I went to OSU.”

“Oh?” Chill raises his eyebrows — a mockery of flattery. “What did you major in? Sanitary engineering?”

“Literature.”

“Mm. That explains it.”

He looks me over like he’s taking measurements for a suit — or a coffin.

I clear my throat. “What were those pills you gave me?”

“You want more?”

I look at Chill, right in the eyes. I can’t tell if he’s really offering them to me, mocking me or doing something else entirely. I decide to say nothing.

“You’re scared. I can see it. Good. I’m giving you another chance, Joseph. How long has it been since you last slept — since I gave you this gift? Have the hallucinations started yet?”

He waves away his own questions. “The pills were just a quick fix. What you really need is a treatment. A treatment will take care of all the side effects of sleeplessness — for a little while, anyway. But you are going to have to work for it. Every time, you’re going to have to prove you deserve it. You said ‘no’ to me once. You don’t get to say it again. Do you understand?”

I nod.

“Good.”

Chill takes a set of keys out of the desk drawer, sets them down and slides them over.

“Now, I can see you’re a coward. So I’m not going to ask anything too taxing of you for now.”

I pick up the keys and look at them.

“You’ll be my driver,” Chill says. “I expect you here at twelve a.m. everyday. You don’t get paid. You’re done when I tell you you’re done. You get your treatments exactly as often as I deem it necessary for you to receive them. Understand?”

“How — ”

“Do you understand?”

“Yes, but how — ”

“That is not my problem. Be here at twelve a.m. everyday, and you do everything I ask. That’s it. The day you don’t show — the day you tell me ‘no’ — you’re done. You get one warning about this shit. Do. You. Understand?”

I nod.

“Say it.”

“I understand.”

“Good.”

I hear Knuckles behind me. Pop. Pop. Pop. Chill nods at him.

“The kid’s here,” says Knuckles.

At the bottom of the stairs is a boy, maybe seventeen. He’s tall, handsome. He has a book bag on his shoulder. When he sees Chill he looks nervous the way teenagers do.

“There he is!” says Chill. “Have you had breakfast yet? I know a place.”

Photo by Brenton Salo

Photo by Brenton Salo

I drive them to that diner. On the way, Chill asks the kid questions, tells him interesting stories. By the time they get out of the car, the kid isn’t awkward anymore.

I go park and wait. I wonder what they’re talking about in the diner. But it doesn’t matter what–I know where it’s going. The kid has a problem. A sick mother. Hospital bills stacking up. No money for college. And he has a dream. He needs more time–all day and all night–to fix his problems or to make his dream come true. Chill can ‘help’ him with that. The kid will love him–probably already does. But Chill hasn’t started squeezing him yet.

After breakfast, I drive them to Grant High School; it’s where I used to go — a long time ago, now, long before time started killing me. The kid gets out.

“I’ll see you tomorrow night, Kevin,” says Mr. Chill, and pats the back of my seat to go.

Through the mirror, I watch the kid walk across the grass toward the big, brick building, and I can’t shake the sense that I’ve abandoned him to die.

“I have a job for you,” says Chill as I drive.

I glance at him in the rearview mirror and say nothing.

“That girl. The one who helped you. I’m done with her.”

I just keep driving.

When we get to the townhouse, I park and turn around in my seat. This will be the second time I’ve had to beg him.

“I’ll do anything, man. I’ll steal that box. Whatever you want. But I can’t — I can’t hurt that girl.”

Chill holds up his hand. “Are you saying ‘no?’”

“I’m saying, ‘please.’ I’m saying, ‘I’ll do the box job.’ I’ll do anything.”

He nods, licks his lips. “You are so pathetic. You know that’s why she picked you, right? And just to spite me. I asked her to find me a real player. Instead, she brings me you. The box job is off the table. You want a treatment, you do what I say. I can’t have two of you piece-of-shits undermining my operation.”

“Please.”

“It’s you or her. One of you gets the treatments, the other dies. If you’re merciful, you will put a bullet between her eyes. Or you can drown her in mop water. Whatever a low-life janitor does to commit murder. But do it tonight.”

Photo by Brenton Salo

Photo by Brenton Salo

I still have my keys from my old job. I find her in the breakroom, pouring coffee. She looks up at me, then drops her eyes to my hand — the fat, black .45-caliber Glock I hold against my thigh. She nods at the gun.

“Did he give you that?”

I blink and look away.

“He told you to kill me,” she says.

It’s not a question — she knows.

We stand there for a beat longer. I think about raising the gun. My hand twitches, but that’s all I can manage. She takes a sip of her coffee.

“He knows you won’t do it. He knows you can’t. He knows everything, even if he pretends he doesn’t. It’s this game he’s playing — to toy with me. You don’t even matter.”

Finally, I lift my eyes to her; they feel rusty. My head aches. I’m so goddamn tired. “What — what do you mean?”

“He knows you’re not going to do it. He just wants me to know I fucked up. That I’m on his shit-list, or whatever. So I’ll toe the line.”

She takes another sip of her coffee. “You should have done a better job of begging. You should have impressed him. What did you do, tell him to fuck off again? Whatever it was, he’s going to make you suffer now.”

My legs feel weak. There’s a chair beside me and I slump into it. My hand falls on the table; the gun rests on its surface, inert. I couldn’t pick it up again if I tried. “What do I do?”

Kelly sets her coffee on the table across from the pistol. Her voice is soft and small and she says, “You kill me.”

Her eyes are glossy.

“I’m done,” she says in the same small voice. “I can’t do this anymore. I’m done.”

She sits down across from me, clears her throat.

“Listen. It’s the only thing that makes sense. He thinks he can control us. But if you do it, if you actually kill me — that’s a freewill choice. It’s the only real choice you have.”

Her voice is small again.

“Please do it.”

Then confident.

“I want you to do it.”

I rub my temples. How much time do I have before the pills Chill gave me in the diner wear off completely? How much time until I lose my mind again. My stomach hurts. Every second matters now.

I push my chair back, stand and grip the Glock. She closes her eyes; crystal beads stream down her cheeks. For an infinite second, the tear drops hang at her chin, and I am trapped inside each. Trapped in thought. It’s just a second, but it tells me what to do.

“There’s a kid,” I say. “A high school student — Grant High School. His name’s Kevin.”

Kelly opens her eyes and looks at me. I’m holding the gun at my side.

“He’s next,” I tell her. “He’s going to do to Kevin what he did to us. Tomorrow night. He’s going to do it.”

I can see in her eyes that she knows exactly what I’m talking about. I can see her making her own choice.

I put the gun down on the table.

“His name’s Kevin,” I tell her again. “I don’t know how much time I have left before I lose it again. Not long, I guess. It’s okay. I’ve earned my death now. But you still have to earn yours. Remember, his name is Kevin.”

I know I’m rambling, but she nods like she gets it, so I leave.

My mind unravels as I walk. I can’t shake the sense that someone awaits me outside. So I walk like I have an appointment. A rendezvous with a stranger everyone knows.

I go to meet him.

In the dark.

Photo by Brenton Salo

Photo by Brenton Salo

Next: The Mastodon, 05.29.2015

 

ION GRIP

I've been working on an original comic series with an amazing artist named John Gajowski. It's called ION GRIP. What's it about? The short preview comic below explains. 

At the time of this posting, the first issue has been completed. I'm really proud of the way it turned out and I know John is, as well.

We have a lot of cool stuff planned for these characters and this world, so we're steaming ahead; but we're still looking around for the right publisher. I'll let you know as soon as we nail something down, though.

Excelsior! ...er... what?

Episode 1: Night Life, Part 1

The words croak out through dust in my throat, “Help me.”

Across the table, the man is like a cold breeze. His voice laughs. “Help you, Joseph? After all I’ve already done for you?”

I lean. Lean over my coffee. Lean into my palm, wavering. “Please.”

“Of course. Joseph. Of course. But for what?”

“Anything. Whatever you want.”

He nods. Cool. Mr. Chill. “That’s good. That’s very good. I’m glad you came around. But I mean ‘for what’ in a more philosophical sense.” He rephrases the question in a deliberate staccato: “What will you do with the life I save?’”

I blink at the gravel in my eyes. Shake my head.

Mr. Chill’s lips go tight. “That’s what I was afraid of. Do you even know what I gave you? I gave you a third more life. A third. Instead of sixteen hours in a day, you now have twenty-four. What are you going to do with a third more time on earth?”

I bat at the air by my face. Something’s there. I can’t see it but I can feel it. A spider web, maybe. “Whatever you want me to.”

Chill catches my hand and places it like a live grenade on the table between us, his own hand atop it. “Listen to me. I can’t help you if you don’t help yourself.”

He turns my hand palm up, leaves two tablets. White. The size of aspirin. But not aspirin.

“Take these,” he says. “It won’t solve anything, but you will feel better. In the morning you report to this address. You lost your job. I have one for you.”

Mr. Chill writes on a napkin with the pen the waitress left.

“Don’t be late,” he says, rising and shrugging into his white, cotton blazer.

I watch the napkin and the pills in my hand. “What time?”

He’s at the door now, ready to leave the diner. He doesn’t turn around. “Morning.”

And he’s gone.

For a minute longer, I watch the gifts Mr. Chill left me. I swallow the pills and chase them with the ice water in the translucent plastic cup on the table. Then I crumple the napkin into my coat pocket.

I want to fall asleep right there in the diner. I don’t. In two minutes, I feel better.

I first met Mr. Chill a few days ago. Three, four, Five? Not sure how many. I haven’t slept since.

I had a job. But I lost it. I’ve been losing a number of things as of late — sleep being the foremost on my mind. How did I get here? All I know for sure is that it all starts with Kelly Burbank.

Photo by Brenton Salo

Photo by Brenton Salo

Ms. Burbank is the kind of girl who makes you ashamed to be the man you are. I would talk to her sometimes. She’d be the only other person in the building most nights. Usually she’d say nothing, just hand me the wastebasket from under her desk.

Once, I said something like, “Burning the midnight oil, huh?” And she smiled. I couldn’t tell if it was a polite or an embarrassed smile. Was she embarrassed by my presumption or the clumsy cliche? I thought about that a lot.

Another time I asked her about her books. She said she was studying journalism. I told her about this program on public radio. She knew the one I was talking about, said she applied for an internship there, but didn’t get it. Instead, she works here at the publishing house, goes to class during the day, and they let her stay late to finish her work. Mostly editing. She told me all this, looking over her shoulder without turning her body toward me.

After our first real conversation, I started working out. Push-ups in my living room. Pull-ups in my bathroom door jam.

I asked her, one night, if she ever sleeps.

“Nope,” she said. “Don’t have time.”

I knew that meant she didn’t want to talk either, so I left her alone. I didn’t bother her for the rest of the week. On the following Monday, she came into the break room for coffee while I was cleaning the fridge. She leaned against the kitchen counter with her mug in both hands and said: “So what’s your story?”

“No story,” I said.

“Someone once told me: ‘people with shitty jobs are making the most interesting art.’”

“This job isn’t that bad.”

Photo by Brenton Salo

Photo by Brenton Salo

 

I met Mr. Chill a couple days later. I went to the diner down the street from the building I clean. I do that sometimes after work — sit, drink coffee, watch the world wake up around me. Chill came in like a regular and sat down across from me. I’d never seen him before in my life.

Cool Mr. Chill. He’s easy. Easy to talk to. Easy to listen to. Make eye contact with. Trust.

I told him my story. The real reason I’m where I’m at — the truth I’d never tell pretty Ms. Kelly Burbank. I didn’t do a good job telling it; but Chill put all the pieces together, gave it pith.

“So you needed more time. Weren’t ready to start a family and she was.”

“Something like that.”

“When did this happen?”

“We signed the papers almost six months ago.”

“Time goes by so fast.”

“Yeah.”

“Think of how much of it we waste. If you could do more in a day, wouldn’t that solve everything? If you had more time, you could have a family and everything else you want out of life. You wouldn’t have to choose.”

“Yeah. But where do I get more time?”

“Stop sleeping.”

I laughed. But he was serious.

Photo by Brenton Salo

Photo by Brenton Salo

What happened next is a blurry jumble. I went somewhere with him, but the rest of my memories of that night are swirling light trails burnt into my retina. I can hear Chill’s easy voice saying, “Just relax, this will only take a moment.”

Then I was at home.

I laid awake in the half light of my apartment. I couldn’t think of anything else to do, so I just laid there. I got up when I normally would, did some push-ups, ate some breakfast, went to work.

 

He didn’t tell me I would feel so tired.

 

“Long night?” Kelly asked, handing her wastebasket over.

“Yeah. I guess so.”

“You need to wake up.”

“You’re telling me.”

I went to the diner after work. Chill didn’t show; he had said he might.

At home I tried to do more push-ups, but my muscles were sore. I sat on the couch and watched TV. Kept getting this feeling like an hour or two had passed in the space of a single commercial. I’d blink and it would be the same cat scratching at the litter box, animated odor waves rising from the sand. That’s all it was, a Blink. But, God, it seemed so long.

Outside, traffic waxed and waned. People went to their jobs. Children went to school. They all came home again.

God I was tired.

 

At work, hours passed in geological time. During a single foot fall, I dreamed I was an astronaut trapped in a space capsule with no windows or doors. I floated weightless for hours until the impact of my foot against the linoleum roused me. The void still hummed outside the capsule until I turned the vacuum off.

I took my lunch break early, went to the diner and sat in a booth.

Eventually, Chill arrived and sat down across from me. “You don’t look good.”

“I’m tired.”

“That’s what happens when you don’t sleep.”

“Why did you do this?”

“You know why. To help you. To give you more time to get your life on track.”

“I can’t — ”

“Yes. There are side effects. But I can help you with those. We can help each other.”

I blinked and for the first time saw him as he truly was. Radiant, beautiful, an angel of light.

“Do you know what I do?” he said, and his brilliant aura disappeared. “We talked about you last time, I never got a chance to tell you about me. It’s Okay. But now it’s my turn to talk. About me.”

I rubbed grains of sand into my eyes and tried to open them wider. He went on talking.

“What I do is help people. Not just people like you who need a little bit of a push to get their lives on track. I also help other people. Wealthy people. Sometimes they have complicated problems. Tricky, delicate situations. Sometimes, simple problems. They want something. For example, there’s this box, discovered in a shipwreck at the bottom of the Adriatic. It dates back to the Byzantine empire, the only one of it’s kind left in the world. And it can calculate the position of the stars with unimaginable precision. Have you heard of this?”

I nod. “Discovery Channel, I think.”

“My mind reels at the implications of such an invention. I think about it all the time. Can you imagine? A man, just a simple man, without the aid of computers — not even a calculator — built this device. And it still functions today. I think, ‘What have I done that compares?’ It makes me want to use every second I have to the very best of my ability. Because a second is infinite, really. Infinite potential. But then — and this is what really bends my noodle — when you think about the very cosmos the box represents, you realize what a lark the last thousand or so years are since that box was built. No one remembers the man who built it. He’s dead anyway, and the box is just a toy to be sold on the black market. Do you get what I’m saying?”

I was starting to.

“Right now,” he went on, “this priceless piece of antiquity is on public display at the Museum of Science and Industry. My client wants it on the private market. See? Simple problem.”

Then Mr. Chill leaned across the table. “But how are we going to get it for him?”

I took it for a rhetorical question, but Chill just stayed there, inclining toward me as if he expected an answer.

Finally, I said, “I don’t know.”

Chill pulled back, threw his arms over the back of the booth.

“Well you should think about it. Because how you answer that question will determine whether I will continue to help you.”

“I don’t want your help anymore, I just want to get some sleep.”

Mr. Chill sighed. “No, you do not need to sleep. You need to wake up.”

“No. No. I need to sleep.”

“Technically, you can still sleep. For very, very short periods. Seconds at most. Not enough to keep you sane. Do you know what will happen to you?”

I didn’t nod. I didn’t blink. I said nothing. Just looked across the table at him.

“You will, very quickly, begin to lose your mind. You will dream and not know it. Waking dreams that will come in waves. Your brain won’t be able to write new memories properly. Your metabolism will stop functioning properly. Your immune system will shut down. You will be a raving mad, human husk in a week, tops, living out a torturous hell as you die.”

To that, I said, “Go fuck yourself.”

Photo by Brenton Salo

Photo by Brenton Salo

I didn’t go back to work right away. I wandered around downtown, went to a bar, got drunk, threw up.

The night was warm. I took my shoes off and I could feel the concrete vibrating against the soles of my feet. Living energy. The essence of the city. The aggregate heartbeats of every sleeping person in every building connected by this asphalt grid. This nervous system.

I blinked and it was gone, so I went back to work.

Maybe Mr. Chill was lying. Maybe I would fall asleep eventually. When that happened, when I got back to normal, I would need my job. At least, that’s what I thought at the time. Dawn was approaching. The professionals would be returning to smudge the glass and fill their trash cans and piss on the floor in front of the urinals. I had to hurry.

That’s when I heard the voices of children playing in the empty halls, always around a corner, or behind a door. And when I’d turn my back they’d be right behind me, shrill and shrieking. I chased the voices until I found them outside the sixth floor window. I pounded on the glass, trying to find a window that would open.

Kelly found me. I didn’t know she was still there.

She smiled the kindest smile I had ever seen. Not shy. Not embarrassed. Kind. I remember crumbling in a corner of the room and asking her if she could hear the children too.

She bent down and held my chin in her hand. “I can’t believe you told him to go fuck himself,” she said.

 

To be continued in Part 2 of Night Life... coming 05.22.2015

Photo by Brenton Salo

Photo by Brenton Salo

Podcast Preview

I'm excited to announce my new podcast, Lies and Half Truths: Tales Written and Performed by A. P. Weber. The first episode of season 1 launches here on this blog and on iTunes, Friday, May 15th. Listen to the preview below.

I'm really proud of the stories in this season and can't wait for you all to hear them. If you subscribe to the podcast, you will get a new episode every week till the end of season 1's run. So subscribe. You wont be sorry you did.  

I'd like to thank a few people for their invaluable contributions to this podcast. 

Josiah Martins, Josh Oaks, Merlin Reynolds and McKenzie and Tiffany Stubbert served as test listeners. They all provided helpful feedback and encouragement. Thank you!

Courtney Stubbert designed the album cover for this Podcast. His work is amazing.

Brenton Salo provides basically all the photos we're using for this site and podcast blog. He, too, is amazing. 

Finally, and most importantly, I like to thank my producer, Meg Weber. I say "my podcast," but I should  say, "our podcast" because she is integral to making this thing happen. Thanks, Babe. 

Photo by Brenton Salo

Photo by Brenton Salo

Black Science

Black Science. What a wonderful coupling of words. Science is objective, devoid of judgement or metaphysical values. But Black Science implies something forbidden. The forbidden has no meaning in science; science can’t tell us right from wrong any more than the bible can tell us how old the earth is. Far from shy away from this tension, the comic series Black Science–by writer Rick Remender and artists Matteo Scalera and Dean White–lives right at that intersection, that itch we postmoderns just can’t scratch. And yet, somehow, it manages to be a hell of a lot of fun.

Don’t worry, there’s no actual hard science in this book. The below section is about as deep as it gets; two characters, a father and son, are speaking about the comic’s pulpy version of the multiverse.

McKay Explains the Multiverse.

McKay Explains the Multiverse.

It’s easy to follow; the reader breezes past these fantastical explanations without missing a beat… but, a philosopher might be given to pause. This moment here is the merest tip of a hat at the central conflict in the story. And it’s a monumental one.

Black Science centers around a genius scientist named Grant McKay. Right off the bat, he let’s the reader know just what a heel he is.

black science 02

He’s not the easiest guy to sympathize with. He’s a pretentious, self-righteous, anarchist with a chip on his shoulder about authority. But you forgive him right away, because he’s suffering for his arrogance–he’s actively seeking redemption. And that’s the center of the story: man’s quest to do what’s right, in spite of a lack of explicit direction about what that actually looks like. And I should say “Man” with a capital “M” because every character in this book has complicated values, and even when they take on the role of the villain, you see how villainy is often an attempt at goodness filtered through an imperfect being.

black science 03

In the above scene, McKay is hurrying to protect his children–by murdering a colleague. It’s reminiscent of the Greek tragedies (i.e. how can Agamemnon fulfill all his moral obligations–to his family, to his promises, to his gods–when they conflict with each other on fundamental levels?) McKay is an idealistic man, but here we see him reprioritizing his values in light of the current circumstances. It shows a moral fluidity that so many of us possess and don’t think twice about.

In the end, Black Science is just a comic book. It’s exciting. It’s fun. The art is amazing. If you like science fiction, pick it up at a comic shop or buy it online. That said, there were times I had to put it down because it was stressing me the hell out. Without being heavy handed, or even remotely preachy, it poses real moral questions that don’t have good answers–even if you believe in God-breathed moral absolutes. It’s a book that embraces the difficulties humans have in knowing right from wrong and it does it without being nihilistic; the characters possess a certain nobility in their struggle to do what is right to the best of their abilities, even when their choices alternately cast them as heroes in one situation and villains in another. At least they are choosing, which is more than can be said for most of us in this mundane, singular universe.

                                                  See what they did there?

                                                  See what they did there?

All images in this post are property of Image Comics, a creator owned publisher.

Ben Biondo, Graphic Artist, Crazy Person

The other day, I found myself working next to a graphic artist named Ben Biondo. I determined two things about him within a couple of hours. One, he works crazy fast. Two, he’s crazy good.

I clicked around on Ben’s website–kind of covertly, because, God forbid I should flatter someone with my interest–and it revealed an intriguing story. He’s an artist discontent with past output. For awhile, he was updating his site with new work almost everyday; he’d finish something and throw it up there like a note dashed off and magnetized to the fridge. It’s all narrowing in on something. Something I needed him to explain.

We talked and I saw why certain people get good, while other people’s work stays stagnant and dissolves. I’m convinced, in many cases, this is determined by mental illness. Here’s a guy who won’t stop working. He works to relax, to celebrate the things he loves, to tell little, visual jokes. His early work is big and beautiful, layered with details; it’s paint in the real world–the sort of thing you wrestle with for a whole semester of art school. But that kind of piece can’t support the compulsion of an artist perfecting his craft. He has to finish something and move on. It’s neurotic.

When Ben articulated all this to me, I’ll admit to being a bit disappointed on at least a couple levels. I know I’ll never be as precise at my craft as he is at his. I’m just not focused enough. That’s the first sense in which I was disappointed–if only I had Ben’s particular brand of insanity. Here’s the other thing: what his work is focusing in on is purely aesthetic–he refuses to concern himself with high concepts. Ben doesn’t care if his pictures speak truth to power or grapple with one’s growing sense of mortality. He just doesn’t give a shit about any of that noise. I wish he did. He’s talented and if he ever wanted to jump in the deep end, I swear to God he’d make a splash.

Graphic the Valley: Some Thoughts on a Novel

I recently read Peter Brown Hoffmeister’s latest book, Graphic the Valley, and I have some thoughts about it. In the interest of full disclosure, I should tell you I know the guy. We’re not friends, but I do like him. One time, at the birthday party of a mutual friend, he and I got to talking about writing. Everyone was ordering expensive micro-brews from the bar like suckers–except Peter. He had a twelve-pack of some piss-water beer in his backpack. It’s hard not to admire a guy like that.

So, the book.

Graphic is a re-telling of the Samson and Delilah narrative in the biblicalBook of Judges. This serves only to structure the narrative and not as any sort of moral compass. In place of Israelites, we have the original inhabitants of the Yosemite Valley, and instead of Philistines, it’s the Indian tribe that sold them out to the American military. It’s an interesting reversal; if a straight allegory were to be made, the originals would be the Philistines, Samson would be fighting for the usurpers and the American Military might be a stand in for God. But the hero of Graphic has a more naturalistic claim on the land, rather than a divine one–his people were there first. Nature stands in the place of God throughout the book, in fact.

The core of the story’s conflict lies in the tension between two versions of the human ideal. On the one hand, you have man existing as a part of a natural ecosystem. On the other, you have man as a political or social animal; he finds his place in a social ecosystem. It reminds me of Nietzsche’s Genealogy Of Morals, the Apollonian and Dionysian dichotomy, the triumph of the herd over the charismatic strong man. I picture the Homeric heroes breaking like waves against interlocked Hoplite shields.

In one of my favorite passages, Graphic’s narrator (the stand in for Samson) talks about the encroachment of a fast food chain into the Yosemite Valley Park. He knows the restaurant represents some form of evil but can’t reconcile that fact with how good the french fries smell–even nature’s freedom fighter is powerless to resist the draw of refined civilized technique. Indeed, his quest is to rid the Valley of defiling civilization and yet he lives off the food scraps civilization leaves behind. He, like Samson, fails morally by not fully forsaking the enemy’s charms.

An act of God, nature itself, finally redeems the Valley–it’s a conceit at the end of the book, but, remarkably, it’s what makes the story ring true in regards to human nature. Even as the book judges us for the evils of our society, it recognizes that any one individual is powerless against those evils. It would take a miracle to untangle the mess humanity has made of itself and put us back in our proper place in nature.

 

Image and Design by Courtney Stubbert

Image and Design by Courtney Stubbert

The New Fiend - "The Mastodon"

The New Fiend is “a collaborative publication between Brenton Salo and Colin Smith.” Or, so says the first page of the latest volume. As for Salo and Smith, I’m not certain those are their real names. I’m pretty sure they’re a couple of jet-setting anarchists living in an abandoned nuclear silo hidden somewhere in the Cascades. They experiment with mind altering substances and run a think-tank of like-minded artistic geniuses who pool their collective mental processing power for the greater good of all humanity.

The New Fiend Volume V: An Issue of Identity

I submitted a short story called “Night Life” some time back. Salo contacted me through a custom bred carrier pigeon to let me know they accepted the piece, but that it wouldn’t fit with the theme of the upcoming issue. I sent the bird back with a cocktail napkin upon which I scrawled, “What’s the theme?” “Identity,” the next bird told me, so I shoved it in my coat, Gob Bluth style, and ran home to write something fitting.  I released the bird a couple days later with a draft of “The Mastodon” on a thumb drive.

I like this one.

My story closes out the issue, right before a gallery of evocative portraits by Smith. The other contributors are great, by the way; Quinn Amacher stands out from the get go, and Danielle Kordani’s work is remarkably brave. You can read/view the magazine–and all the back issues–for free online. You can also download a copy of it–you know, if you’re planning on going off the grid for an extended period of time, or whatever.