I’ve been telling stories since I was three years old. The best years of my childhood were spent guiding my friends on narrated adventures in my backyard (which I would later learn is called “live-action role-playing”). Unfortunately, not all of the stories I told were, in truth, my stories, spun out of my own head, nor written by my own hand… The truth is I didn’t master handwriting until I was 12 (and before the widespread use of personal computers, this was a serious set-back), and a good majority of the stories I told were based on movies and TV shows I had watched, memorized, and faithfully replicated in my own little voice.
In retrospect, I suppose I had to start with the oral tradition before I could move into transcription. There was a good several years of my life where I was able to recite the entire poem, The Owl and the Pussycat, by heart and without prompting, not because I fancied myself a poet, but because my grandfather used to read it to me every night that I stayed over at his house, and it became stuck in my head. It took me a long time to figure out how to tell my own stories, or at least to perfect my own voice when I told them, but if I hadn’t practiced with the masters, I wouldn’t have learned that every idea comes from something before it, that “new” stories are essentially built upon pre-existing narrative structures, and that it is physically and metaphysically impossible for creative impulses to exist in a vacuum.
My father worked for IBM for 30 years, so we were among the first in our neighborhood to own personal computers in 1994, which served me well in my transcription practice. One of the first writing programs I used to transcribe my stories was appropriately called “Creative Writer,” which you could tell was purposefully designed for small children because it was full of colorful cartoon characters that cracked lame jokes and stale puns, as well as weird-shaped buttons that made squishy fart-noises when you clicked on them. Other than that shameless bit of pandering in the software’s design, “Creative Writer” basically functioned like Microsoft Word, with many spacing and font options for each project, plus much fancier-looking clip-art to use as needed.
Thankfully, I took to typing much faster than I took to handwriting. My middle-school teachers were disappointed that I continued “hunting and pecking” for the keys I needed, despite their pathetic attempts to cover my hands with a thin (but not thin enough) box over the keyboard. I’m pretty sure they only wanted me to master QWERTY-style so that I could become somebody’s secretary, and if I’d been allowed to curse, I would have gladly advised them to “fuck that noise,” but the truth is that I wasn’t allowed to curse until I got to high school and then all bets were off.
Instead of embracing social milestones for most teenage girls—like learning about makeup, armchair-studying fashion in magazines, and/or getting a boyfriend—I spent the vast majority of my high school and college years absorbed in story-driven computer games, like “StarCraft,” and writing fanfiction for multiple other writers’ stories. The important thing, again, was getting as much practice as possible; I wrote before classes, I wrote at lunch, I wrote at the library, I wrote after dinner, and I wrote well into the small hours of the night, and yet still managed to get up in time for school.
Jordan was one of my best friends since I was three, and she introduced me to Green Windows in 2015. These workshops have allowed me to challenge my time-use, to focus on staying positive, and to hone my narrative voice, as well as to listen for that which resonates with me, even if I don’t immediately understand why… It feels to me as if we are essentially building on pre-existing structures and adding our own flourishes in order to express the ideas we generate, with the goal of learning how to share them with others. While most of my computing experience is centered on word-processor use, I figure if the process of writing is at all like I hear coding can be, then Green Windows must be one hell of a hack-a-thon.
Below is a piece from a previous workshop. Enjoy!
EXCERPT FROM “THE HEARTSCAPE FACTS” THREADS ON WWW.MAPPING-THE-HEARTSCAPE.COM, DATED 02/02/1998
By Rachel Golden
Frank Riordan, the guitarist for Heartscape, is not just musically competent – he’s also an astrophysics prodigy. When he was 16, he was placed in an advanced mathematics course where he composed a 10-page essay on the practicality of faster-than-light travel as featured in the classic film, Barbarella. Within a year, this work earned him the attention of the Canadian Space Agency, which offered to pay for his university tuition if he helped them develop a perpetual motion machine. He even took time to help a fellow musician—Philip Taylor Kramer, the bassist from the band Iron Butterfly—on a Top Secret time-travel experiment in the U.S., but good luck getting him to break his non-disclosure agreement with the CSA and NASA.
HighPriest: OMG MIND BLOWN!
Diogenes: Holy shit. I don’t even.
LunarRover: Sounds plausible. I mean, the guy is a genius, after all.
Diogenes: Where to start? I mean, it’s total bullshit, but I have to say it’s the most entertaining bullshit I’ve read this week. Kudos to whoever posted this – you’re a funny bastard.
Howitzer: Dude, it’s not bullshit—don’t ever say Frank Riordan isn’t a goddamn genius, because he totally is. Anything else is fightin’ words!
LunarRover: Whoa, down boy!
Diogenes: Are you seriously polishing his balls right now, Howie?
Howitzer: They never found Kramer’s body! He fucking disappeared off the face of the earth! How the hell do you know Riordan didn’t help him with a time-travel experiment?
Diogenes: The same way I know that Riordan didn’t write a goddamn paper on FTL travel in Barbarella. The premise of undertaking such an endeavor is absolutely impractical, completely insane, and totally stupid!
LunarRover: Jane Fonda is a total fox, BTW.
Diogenes: Don’t get me wrong, I love the shit out of that movie and yes, Jane Fonda is a total fox, but good goddamn, it’s called SCIENCE FICTION for a reason!
RocketSauce: But at least the post is funny, right? You did say it was funny, and that whoever posted it was a “funny bastard,” right? Yes?
Diogenes: Thanks, Rocket. You actually made me smile today. Congratulations are in order, for that is no easy feat.
RocketSauce: Fuckin’ sweeeeeeeeeeeeeeeeeeet!
BigNo: Wow, and here I thought Diogenes might actually secretly be Frank Riordan, posing as an average poster and getting his jollies by trolling the crap out of everyone.
LunarRover: No, no, that’s me.
RocketSauce: HOLY SHIT LUNAR ARE YOU FRANK RIORDAN?!!!!!??!!
LunarRover: No, I’m the average poster that’s getting his jollies by trolling the crap out of everyone. I like to think it’s basically my job.
Howitzer: OMG, if Frank Riordan actually posts on this site, I’m going to freak the fuck out and literally shit myself.
RocketSauce: You and me both, man!
BigNo: Gotta say, Howie, you are a class act.
HighPriest: I think you mean, “clact ass.”
BigNo: No, I don’t, King Pothead. Get your eyes checked.
LunarRover: …the hell does that even mean?
BigNo: It means HighPriest has been hitting the bong too hard and needs to drink some coffee.
HighPriest: Fuck you too, Biggie.
InfinityPrincipal: All right, all right, enough of this. This all has gotten simply too silly. Thread is locked. Now for a complete change of mood…
I recall being an unusually keen and observant child, and there seem to be a myriad of stories and memories confirming such. For instance, I was told that from birth until about the age of two, I seldom spoke beyond uttering the Korean words for mother and father, or other short, one-word phrases. Over time, my parents grew concerned and considered taking me to a pediatric developmental specialist, but one day, I requested a glass of water in a full, complete sentence. While I myself have no recollection of this happening, it also doesn't surprise me in the least. I like to collect and gather bits and pieces of things before deciding what to do with them. I especially love stories and storytelling---stories are how I understand myself, others, and the world around me.
I was also a child who experienced extremely intense emotions and did not know what to do with them. I had intrusive thoughts that I knew were troubling and abnormal. There was a lot of yelling in my household, both around me and directed at me. My mother in particular would fly into fits of unpredictable and unrelenting rage. One reason I really enjoyed school and learning was because I could see my friends, my teacher, and get away from my traumatic home environment.
And in my mind, school comprised of two distinct parts: writing, and everything else that wasn't writing. The act of writing itself brought me such great joy. As silly as the stories and poems were, sometimes unoriginal in their content, they were something I got to make myself. I never wanted to stop. Writing was a place where I could let my creativity and odd thoughts be, and sharing my work with others felt fulfilling. I was proficient in other subjects, sure; advanced, even, but I quickly grew impatient waiting to review yet another example for concepts I already understood. I did like reading to an extent but often felt dissatisfied and crushingly disappointed with most of the books I encountered. They simply couldn't hold my interest.
Life continued on and I found myself writing poetry on occasion. Different topics, but usually something abstract and vague. However, my reintroduction to poetry came during my sophomore year of high school. I had just left therapy and was still struggling with depression and thoughts of suicide. After talking to a friend about my feelings, he admitted that he didn't understand what I was going through but wanted to, so he suggested that I try writing a poem. I wrote this very personal poem on the topic and ended up competing in a youth slam where I received a perfect 30. Scores aside, what moved me most was the overwhelming support I received afterwards. People I didn't know showed me love, said they liked my poem. Some of them even thanked me, saying they were going through something similar or knew someone who was. It was the first time I felt heard and realized my voice was powerful. As a sad young person, it meant the world to me.
Thereafter, I became very involved in an organization called Youth Speaks, who also hosted the slam I first competed in. I attended countless writing workshops, open mics, slams, and shows, all free, and served on their youth advisory board for three years. I loved every moment of it and had the chance to apprentice under teaching artists who mentored me. From time-to-time, I performed poems, helped out at events, and sometimes facilitated a workshop here and there. In college, I found my place in CalSLAM, a student-led writing organization, and June Jordan's Poetry for the People program.
During this time, I was also named the first Oakland Youth Poet Laureate and received an award for my writing. Since then, I haven't really prioritized my own writing but I'm hoping to change that. My last year of college, I felt extremely burnt out and all I wanted to do was write again. I veered away from the career path I was set on and at this point in my life, I'm thinking of pursuing my writing professionally.
Where does Green Windows fit into all of this? Everywhere. I met the founder, Peggy, through the various organizations and spaces I've been involved in. She has been one of my fiercest proponents, one of my greatest mentors, and one of my most thoughtful friends and sources of overall support. We see each other in passing at the Oakland Public Library, an opportunity she encouraged me to apply for, and in our work with youth.
Peggy invited me to write with Green Windows sometime last year and it has been my most favorite writing group of any I've ever participated in. Peggy's passion and skill as a writer/facilitator are unrivaled, and I love Green Windows for the community it brings together. I've never written with such a dynamic, diverse group of writers not only from different walks of life but also across styles and genres. This alone has helped my writing grow. Every writer that graces the space is serious about their craft, and hearing others' work as well as receiving feedback on mine has allowed me to develop and challenge myself in invaluable ways. My writing is the best it's ever been and I know that this is in part due to the work at Green Windows.
So how might I describe my actual writing process? I find that I write in small bursts and need to have several projects going on at a time. I'm quite touch-and-go and my focus shifts quickly. Some ideas float around and some are forgotten but I try to capture those thoughts before they're beyond summoning. Sometimes I know exactly how to start, what to write, what I want to say, and other times I start with a freewrite, tapping into something my conscious mind is too busy to notice there. My style has been changing and that's exciting. I'm excited to try something new. I have a lot of stories, a lot of thoughts, a lot of feelings and curiosities, and my writing allows me to explore them all together.
this poem does not contain the word queer
by Steph Yun
i've always wanted to buy one of those flavored lubes;
greens & blues
little need for them, really;
i can lick
just fine, but
this pretty sex store
all recessed lighting &
gave out samples
when i was 17
oh what fun we could have
on skin &
sweat, a palette in
surrender of its usual
to feast on the body before me
but whose body
do i dream of
there is something curious about everyone saying that they
already knew. everyone, that is, but you. you once developed
a great interest in breasts and their form before you felt ready,
even before fully understanding that in time, you would grow
the lust dissipated somewhat, and for a short while, you disregarded
all the bodies and persons similar in some ways to you. you fell in
love with a nice boy, and all the nice 아줌마 that remind you of
your mother in a certain way said you were lucky to find a good man
you smiled, knowing they saw their daughters and nieces in you but never with you.
I've always loved stories. I've always loved secrets. I literally sat at the feet of my elders while they cajoled, caroused and shared their stories as only they could. Bedtimes were tortuous, because I would strain to listen to the adults while they exchanged their lore in hushed tones at night.
I am fortunate to have a large, diverse, family with expressive, larger-than-life personalities. My father doubled down on his stories, my grandfather spoke piecemeal and cryptically, my mother weaves together tales of tenacity and enduring humor so effortlessly. I have a lot of cultural capital from which to draw my experiences, and for that I am truly blessed.
In my adolescence, I became enchanted with Dungeons and Dragons, along with art house cinema. I learned about the importance of compelling characters being presented in unconventional ways. Often as the Storyteller for our sessions, I had to captivate my audience quickly and unite the players with a common bond that was worth their time and imagination. I can't say that I was always successful, however my strongest friendships are with those that humored me and indulged my fantasy creations.
My writing became more refined throughout college, where I learned about structure and identifying theses. A wise professor advised me to “make your subjects personal.” Since I've received that guidance, I've been able to write passionately about most everything. To this day, I feel as if I write with an edge, or chip on my shoulder.
I feel fortunate to have been introduced to Green Windows by my wife. I didn't know what to expect or if I really wanted to expose my writing, but I took a chance anyways. I found the environment encouraging, welcoming, and I was blown away by the authenticity and vulnerability of the participants. While struggling to find my writing voice, I was encouraged by the growth of others and the creative ways they approached the writing prompts.
Through Green Windows, I've been able to find my unique voice and express myself with conviction. The writing prompts and welcoming atmosphere have inspired me to dig deep and get raw with my writing, drawing upon my unique experiences and perspectives. This process has made me realize that everyone is a vital repository of great stories and truths. I am humbled by the journey and am excited to see where it takes me each month.
Professionally, I've been a psychiatric nurse for about 3 years. I'm tasked with listening to my clientele and discerning truth from delusion or projection, for the purposes of positive health outcomes. I am fortunate to have the trust of my patients who have shared in varying degrees, heartbreaking, nihilistic, zany, grandiose, dangerous, and relatable stories. My role constantly reminds me of the power of trust, secrets, and having a secure place to tell your story. For a person like me, this feels perfect.
At any rate, I will share another piece of myself in the form of a Green Windows writing project. Thanks for listening. I hope you enjoy it.
by Philip Staley
“I'm a kung fu preacher from Wichita, don't fuck with me!” Silas McClellan teetered unsteadily as he always did, propped up at the figurative intersection of angst and bad choices. Kay noted that he had a much larger crowd today. Normally, she would dismiss his ramblings for scrimshaw, slipshod, nonsense, but these were different and hungrier times.
Old Silas had a penchant for pouring cheap alcohol in his myriad wounds and drinking the rest; and we're not talking about the kind they sell at liquor stores. His crazed eyes were red-rimmed and golden, a harsh indicator of his pock-marked liver. The combination of these things lent him a demonic, blood-orange visage.
Kay Kellen had to consider the changes in this part of town, long in shadows and hope. People were disappearing in such disturbing fashion, that even the city's undesirables complained. She had “the sight” or the “undervision”, as it was known in occult circles; to see and interact with the fearsome denizens of worlds best left unexplored.
Additionally, this sight was instrumental in piercing the veil of superstition in the cityscape and the isopropyl alcohol fueled ramblings of amateur and tormented, doomsday preachers. The gang members, ne'er do wells, and other ruffians who composed the Murderers' Row of Junktown approached too. They paid rapt attention to the nuggets of superstitious truth that now affected their collective interests.
Often ignored, Silas McClellan rumbled along in that deep speech, the hate and vitriol of his words punctuated by that horrible, phlegm-racked cough. Occasionally, he spit out blood and blamed the Devil; his captive audience hanging on his threadbare words.
Kay shifted uncomfortably, noticing the small apparitions now creeping amongst the assembled like pickpockets in a town square. Naught creatures who were here to lap up the conveniently assembled packets of fear. The psychic investigator liked the idea of these times, for once feeling useful. However, bathing in this apparent destitution made all previous instances shudder from the abrupt juxtaposition.
Aged in spirit well beyond her 29 years, Kay Kellen rolled up her sleeves and approached the doomsday prophet, eyes blazing with that otherworldly fire and the resolve of the forgotten.
When I started writing fiction I had neither a personal computer nor a cellphone, and that wasn’t yet considered “weird.” The world has changed and keeps on changing at head-spinning velocity. But one thing has been a constant: the importance of getting words down, owning them, treating them like living matter.
It’s been a winding journey with lots of detours.
In the long-ago year of 1994, I won a literary prize.
And soon after I became discouraged and quit writing for four years. During that time I did a stint in jail, got heartbroken and lost most of my money. The rooms I lived in became smaller and the city seemed to grow hands, which would wrap themselves around my neck.
I returned to writing because I had no other choice.
At the time I was a transplant living in San Diego. There happened to be a writing group that met twice a week not far from my apartment. The lady who ran it used the principles of Natalie Goldberg. Set a timer, receive a prompt, get your pen moving. I let my grudges go long enough to eke out words. I discovered I still had a hunger, possibly even a mania. That was “weird.”
Let me stop right there and take a detour to the burning of the Library of Alexandria, the crown jewel of the ancient world. Its succumbing to flames meant the loss of thousands of books and scrolls, irreplaceable Knowledge (yes, I do mean the big “K”). It is impossible to even guess the sheer volume of genius that got turned to powder. If it never happened might we now have the cure to cancer? Could we have landed on the moon 50, maybe 100 years earlier? Slavery abolished sooner? The power of the written word. It’s such that even in death, from out of oblivion, it can beguile.
Back to me. Eventually I went back to school. Grad school for creative writing. After I got out, a story of mine was nominated for a literary prize and a prominent agent from New York contacted me. Soon after, I became discouraged again and began to forget how to write.
How does this happen?
With the speed of a fire.
There is no road that goes absolutely straight. Pitfalls and the unexpected are guarantees. The fairy tale – itself an invention to deal with human folly – is that there are clear signposts and plainly seen adversaries. Kill the dragon, get the damsel, live happily ever after. Except sometimes the dragon comes as a friend, and the damsel’s beauty is just cover, and more often you’re your own worst enemy.
Permit me another detour. The fires this year in Sonoma were on a cataclysmic scale. In some areas it would be difficult to tell apart California embers from the aftermath of Hiroshima. What’s bizarre is that there is also a good kind of fire. Fires in nature, when appropriately scaled, make room for more sunlight and the growth of stronger trees. You burn away the undergrowth, where a lot of creepy things hang out.
As I forgot how to write I also forgot who I was. I couldn’t sleep; maybe because it was like going to bed with a stranger: myself. Everything was an irritant. Headaches were routine. A complete meltdown appeared to be just around the corner. Before the call from the agent, I’d already sunk low. My father had died only a few months earlier and I had lost my job. I wanted to disappear. When I finally put pen to paper again it felt like trying to make a fire using stones. Perhaps there are experts who can do this, not me.
What followed were a lot of grueling workshops. Then one day, I found myself at Green Windows. The AWA method it used felt like reacquainting with an old friend. I subsequently learned that Pat Schneider, who founded AWA, was the spiritual precursor to Natalie Goldberg. It seemed like a circle had closed. At Green Windows there is a particular energy when writing with the group – a synergy – that can’t be duplicated when ruminating alone and pushing your pen in a fearful way. You have to let go, be reckless, and you need to feel like that’s not only permitted, but radically encouraged. I’ve heard pieces written there that had more vitality than much of the “polished prose” I’ve come across. There would, of course, be more travails ahead, more testing of my faith. But what I’ve come to understand is this:
Everyone must take his own journey.
And face his own fire.
What remain, even in the ashes, are words.
So stay weird, stay weird.
These days I do professional critiquing and editing for other writers. You write a draft in a white-hot fever (ideally!) and then a cooler approach is taken to looking at craft elements: plot, action, themes, character, etc. I view my job as not about condemning weaknesses or changing a writer’s voice. It’s about bringing out the best in a writer. Sometimes a person can’t see her own potential, until she is shown what’s possible. There are no limits in this endeavor, just new and ever wider frames of reference. You can find my services here: https://www.fiverr.com/fiction_magic/critique-your-fiction-and-do-developmental-editing I’m happy to offer a discount to anyone who’s been to an AWA workshop.
Below is a short video I find great solace in. It features two poems by Charles Bukowski. The street-wise scribe had much to reveal about courage and inspiration.
And below the video is a bit of my writing done at Green Windows. It’s raw, unedited, and written as my pen managed to stay ahead of my inner critic. The only item I’ve added post-write is the title.
by Joseph Kim
Slivers of rotting dog meat covered the helmet, all the better to blend in with the carrion that infested the city ruins. Wild dogs, rats and roaches were now the chief rulers of a megalopolis that had once spanned over a hundred square miles. From horizon to horizon only twisted rebar, crumbling concrete and mangled steel could be seen.
But Cassandra had the helmet in her crosshairs. It had moved. Something or someone was under it, crouched behind the wreckage of the sixth floor of a former Stock Exchange building. In the building opposite, Cassandra held her rifle, trying not to blink and waiting to shoot between heartbeats.
It had to be him – whatever he’d become. He was the enemy now. Could never be trusted. He had flipped. His message had read:
Come to the city center.
In the center we will play.
Remember Chutes and Ladders?
It was the game they’d once played. A beaten-up board game retrieved by her on a scouting mission, to entertain him while he spent lonely hours down in the bunker surrounded by Women Folk, no other boys to play with. Boys were all raised separately. The idea was it tamed their natural aggressive tendencies by removing the “wolf pack” element. They played the game awkwardly at first, trying to understand the strange 20th century obsession, but in time they found joy in it, an escape. Such a simple world where the stakes were clean and innocent. Not life or death, like now where she was obligated to kill her own son.
I remember a few years ago, I was going through childhood stuff as I started to move the last of my things out of my parents’ basement, and I found poems I wrote when I was probably in the 5th grade. I wrote a few that were what I thought poetry was supposed to sound like, a few that were what I thought cute girls were supposed to write about, and then there was this other one. I was really passionate about the wild world as a kid. I was part of a project that same year where my friend and I raised money to help protect snow leopards. I used to keep a sticker collection, like most 90’s babies, and the front cover was a tree frog. I had a budding monkey stuffed animal collection, and anytime I could, I escaped to the woods behind my house, where no one could hurt me.
I’m a trauma therapist for children and families at an elementary school. A lot of what motivated me to get into the work I do was my own trauma as a kid. I was sexually abused by an older neighbor who also bullied me in front of other kids from age 5 to 10, and my family had a lot of dysfunction, to say the least. School, the woods, books, writing, my own fantasy world: These were what kept me alive. I was that kid who could read and walk through the hallways from classes--to this day, my peripheral vision is on fleek.
This poem I found was about big construction vehicles rolling through a beautiful, pristine rainforest; ugly, metallic machines attacking the sweet greens and damp brown of the earth and bright red of a flying bird leaving its disappearing nest. The animals began to run until the snakes hissed back. The snakes hissed back and led a revolt and the animals turned around and took down those big machines with all the power of them standing up for the protection of their home.
I read this poem, and I knew that the part inside me that, 15 years later, started my own personal revolt against my abuser and the environment that broke my heart and my innocence, started it with this poem and the teacher that asked me to write it and wanted to hear me read it.
I read this poem, and I knew that I wanted to be the person who would ask others to write about how they would start their revolts and then help them start them.
Today, I’m lucky to get to hear those stories and to help re-write them so that the suffering, the cycle of abuse, stops. I try to remember to never underestimate the power of a poem, a metaphor, a story.
When I found Green Windows last year, I was ready to write more of my story, and Peggy and the group of amazing people she manifested every month kept me coming back and writing more. The writing below is an excerpt from a book I’m writing based on my own story and all the stories I’ve heard throughout my lifetime.
Excerpt from Frontera
by Lena Nicodemus
Mama helped Jo learn to stitch when she was old enough to hold the needle and the circular frame. It went in and out to the speed of their singing of songs that neither were old enough to fully understand. Jo would often overshoot the needle and accidentally stab herself in the pad of her index finger.
“Ow!” She would pull her hand back as the costura became tinged with a little red dot of blood.
“Los errores son parte del aprendizaje,” Mama said then, something Abuela had taught her, something that Jo would tell her own children someday as a bookmark for moments of flawless idiosyncrasy.
When the phone rang for the last time, it was months after the accident, and Grandma May lay flat on her bed with the orange curtains pulled closed at any time of day. Stale café and pan sat cold on her nightstand, next to a picture of Grandma May and Grandpa George with Mama, who looked up at her two smiling parents with no expression.
“Vente, vente,” Grandma May beckoned. “Vente por aca.”
Her hands are wrinkly and dry. Jo opens the nightstand drawer & takes out the oil, rose, and sandalwood, with corn oil to make it last longer. She rubs Grandma May’s hands. She closes her eyes. She remembers the Sunday school teacher telling them the story of when the ladies, implicitly whorish, washed Jesus’ feet. Jo imagined washing the Sunday School teacher’s feet while he read the story over and over on a loop, incessant and dull. She imagined playing that game where you dart a blade between the webbing of a hand, and doing that to the Sunday School teacher’s feet. She would take the dullness of that blade and slide it between each of his toes as she made him breathe in and out and keep quiet.
The phone rings, and the attic is oddly silent.
The phone rings, and Jo becomes aware of her mother’s radio two floors down, reverberating through the dry, wooden floorboards. The phone rings, and there’s no one on the other line.
The birds of paradise at the edge of the property swivel in the air, being put off by the helicopter blades.
Tomás holds the curling edges of the burning books until they get too hot and he drops them, one by one.
The kiddie pool full of the ceniza of 1000’s of words and letters by underpaid and over-emotional authors starts to melt from the heat. He goes for the phonebooks as well, burning “Aguilar” to “Zafón” and “air-conditioning repair” to “yard waste removal.” There is a book with leather skin, a book with a note written in blue on the inside cover.
Please call me when this is over.
I love you, I miss you. Please come home.”
The signature is illegible, the P.S. unreadable.
The title of the book is “Frontera”. “Border”.