Sunday, April 29, 2018

What Is in A Name?



The following is a term paper I wrote, a textual analysis, for my Modern American Literature course. I received incredible feedback from my professor, far better than I was expecting, which gave me so much hope as I am about to graduate and pursue a career in writing. 





What Is in A Name?
A Textual Analysis of John Steinbeck’s
 East of Eden

Who are you? Who am I? Is that something we can answer for ourselves? Or is such a definitive title the domain of others, those outside of ourselves? And if so, to what end? And what purpose? And what difference does it make, who we are or what we are called? If you heard my name was Eve, what thoughts, preconceptions and premature conclusions would you draw, based on the name alone? And would I become, in your mind, a presentation of your expectations, simply because you have decided what and who I am, so that is all that you see in me and about me? Will you connect my arbitrary actions and behaviors with your own expectations and preconceived notions, further solidifying and proving your initial opinion of me? If I had a different name—Kate, perhaps—would I have been, to you, an entirely different person? Even with the exact same behaviors and interactions? What is in a name? In all the years since John Steinbeck wrote East of Eden, have we, as a society, gotten the message he was trying to relay?
“Names are a great mystery. I’ve never known whether the name is molded by the child or the child changed to fit the name.’” (Samuel Hamilton. pp. 261)  
The value and purpose of chosen names throughout East of Eden, should not be lost on the astute reader. Even the casual novice cannot ignore that specific names, such as Adam, bring with them explicit weight and connotation, even with only the most remote knowledge of Biblical lore. The author creates further context with myriad allusions to and express mentions of the garden of Eden and the associated myth and its particulars. This is done across the pages of what is a very long employment for the reader, with deft and skill such that one is pulled through the text, engaged, and concerned, even excited, to see how this real-world adaptation of the ancient fable will play out. Set in the new Eden, the recently conquered frontier lands of California; the author, John Steinbeck, lays out in great detail, a nineteenth and early twentieth century regaling of original sin, with all the inherent drama, crisis, and commotion.
To that end, Steinbeck employs names and titles, their stereotypes, and implications, as guideposts and direction to assist the reader on the long journey through several generations and locations of post-frontier era America. Within the context of a few, well-developed familial groups, readers are educated not only about the difficulties of Victorian society in the infancy of the western United States, but also brought deep into the drama of close relationships and, perhaps most importantly, forced to face the capacity for good and evil that is innate in every living human being. It could be expected to focus only on the Biblical references, the influence and/or value of virtue and malevolence. These themes are rife, with abundant context, reference from which to feast with one’s analytic appetites easily satisfied. Taking that route, however, would deprive the analyst of the opportunity to be rewarded with a study of the importance of and elucidation available through specially chosen names and titles, and how they effect not only character and human development, but also act as catalyst for drama and plot momentum.
 “Adam chuckled. “This naming is no simple business, I see.”’ (pp. 263)
Adam Trask, who this reader regards as central to the entire novel, has not only the Biblically significant of the father of human life, but also the many positive and desperately negative characteristics inherited from his namesake. He falls victim to a woman, one who in no way resembles mother Eve, other than in her ability to coax and manipulate. (This analysis in laboring under the outdated interpretation of the mother of humanity as a tool, or at the very least, victim, of the serpent.) Our character, one of the most nefarious and despicable creations of the feminine persuasion, Cathy, or Kate, is presented as purely and perfectly evil. Today she would be given the label of sociopath, lacking the capacity for empathy or true emotion. In the story, and in the era represented, she could only be called evil, wicked. In her case, this reader finds little in her given name to analyze, but rather, the substance and evidence lies in her labels and titles, which are in themselves another incarnation of the naming process, with equal significance in the analytic process.
“To you she was [beautiful] because you built her. I don’t think you ever saw her—only your own creation.’” (Samuel Hamilton to Adam Trask pp. 260)
How often are identities formed on nothing more than name, title, and word of mouth, combined with personal biases? How often do we look past the reality before us in favor of the actuality we have created, especially with regard to our perception of each other? How much of what we see is real and how much is actually what we have created? The story’s main antagonist, Kate, really is as bad as she is written. Nothing is spared in her portrayal as nasty, vile. The discrepancy comes in Adam’s perception of her—the view he has created, the idealized take on who she is, and he suffers for it. Just as one cannot fault a snake for striking when an unwise human or animal gets too close, one cannot fault Kate for being the monster she has always been. Her evil was apparent to others, even to Adam’s own brother, who tried to warn him. It was Adam who chose not to see, for various reasons, and though the results were disastrous, the fault cannot be with Kate alone. Often, we create our own victimhood by overlooking that which does not fit with the reality we prefer or desire.
Steinbeck gives us this evaluation of our own erroneous expectations to chew on, but then compounds it with the responsibility and potential harm we can inflict when we bring life into the world. Again, through names, labels, and titles, and the expectations we impose on the life we create, for good or ill.
 “…not their blood but your suspicion might build evil in them. They will be what you expect of them.”
“I think when a man finds good or bad in his children he is seeing only what he planted in them after they cleared the womb.’” (Samuel Hamilton. pp. 260)
This is true in the development of children, but also in relationships. It seems at first to be a contradiction, as we previously reasoned that Adam held great fault in his own suffering for holding Kate to higher expectations than were her natural disposition. The difference is that Adam did not truly interact with her, as one does in child-rearing or in building a relationship. He acted only with the dream in his mind, ignoring the things Kate actually said and did, talking over her, speaking for her, straight up not listening to the words coming out of her mouth. She was telling him, just as a snake that hisses, ‘I am going to bite you!’ He ignored the warning.
As a result of his suffering, Adam chose to be absent from his own opportunity for shaping his children’s lives. And though we can see how both boys were influenced by DNA and the personalities and traits of their parents, Adam’s greater involvement could have been the balance needed to aid his son Cal in developing better qualities and could have given his son Aron a stronger mind and character. As negatively as Adam was affected by his own father’s child-rearing style, one might expect that he would want to seize the opportunity to better for his own children. But the cycle of poor fathering continues, with his involvement coming too late, with the damage already done, personalities and dispositions already formed. It would be fair at this point, to acknowledge that Adam was in large part a result of his own father’s lies and imposed machismo and unrealistic expectations.
“I’m going away now.’” (Cathy. pp. 199)
But names and parental influence are not enough. We need to dig still deeper and explore the implications and ramifications of labels and titles that are liberally sprinkled throughout the text, with great meaning and significance. Steinbeck pulls no punches and wastes no sugar on special coatings. What is the difference between a church and a whorehouse? Maybe a few activities, but mainly, the title and associated expectations. Different labels, but with the same goal in mind: to take money and assuage men’s minds, fill their needs, and keep them coming back for more.
It is not only in such controversial subject matter that Steinbeck asserts the trouble with labels. Labels are just words, after all, but are ascribed to human beings, and bring with them a weight of responsibility and expectation that our story’s characters are constantly fighting against, echoing our own real-world human struggles with identity. East of Eden was written during a time of revolution in the United States and throughout the western world. Old expectations of race and gender roles were being challenged in response to war and legislation. All the old markers of one’s identity and how people identified each other were evolving drastically and rapidly, not always with great or positive effect.
Cathy, or Kate, was a woman, and a small one at that. Prevailing opinions of small women blinded most to the truly horrible power held in her tiny frame. Lee, a wise and educated American-born Chinese man was seen only as a foreigner, an Oriental. And because the title was too hard to fight, he acquiesced for ease and simplicity. Young Mary wants to be a boy, because with that label, she will be free to embrace her obvious skills and talents. As a little girl, her achievements are not appropriate or acceptable. Lee’s young mother comes to America, disguised as a man, and works hard, filling the role of any man, only to be discovered, raped, and murdered, for not fitting the title she had claimed.
Steinbeck’s work forces readers and critics, especially those who made up his contemporary audience, to see the fallacies and logical disconnects that they and their ancestors have labored under and how things must and will change. Just as the horse and buggy are left behind, in favor of the complicated but more efficient Ford, so must past stereotypes and expectations be put out to pasture in the name of progress. Identity is a construct, based on arbitrary, contrived assessments over time in a society. Only when we realize that blanket assumptions based on and used in conjunction with labels, names, and titles, can we begin to shed their often-negative consequences. Through his Biblical adaptation, Steinbeck implores us to see this human weakness, acknowledge it, and do something about it. A hundred or so years later, and we have yet to truly heed and implement that advice.


Steinbeck, John. East of Eden. New York. Penguin, 2002.


Tuesday, April 10, 2018

Purity & Padlocks: Draft One


This is the first draft of a one-act play I am working on for my theater literary genre class. Due Thursday. I know it could still benefit from a LOT of fleshing out, but I don't think I will have time before it's due. I hope to be able to come back to it this summer and shore it up. :-)


Purity & Padlocks

Setting: A death bed sits in the middle of a dim white hospital room with direct spotlight from above. Old woman in the bed holds a small wooden box, locked with a ridiculous amount of assorted locks.
Pre-teen girl with blonde ringlets, wearing long sleeved shirt and neat jeans walks quietly, somberly into the bedroom, pulls up a chair beside the bed, sits down.

The old woman stirs, looks up at the girl. Clutches the box tightly to her chest.
Old Woman: (loud whisper) I protected it. Always. I kept it locked. (begins gasping for breath)
Young Girl: I know you did, Grandma! Everyone knows! Don’t worry about that, it doesn’t matter right now!
Old Woman: (gasping) It’s the only thing that does matter! Make sure they know, I kept it safe. Promise me!
Young Girl: Alright. (softly) I’ll make sure.
Old Woman: Where is your box? The one I gave you as a baby? Show me.
Young Girl: I don’t have it with me right now, Grandma. I was in such a hurry to be with you. The doctor said to hurry.
Old Woman: How could you?! Something might happen it to it. I thought you understood! Nothing else matters as much! How can you be so foolish? Collapses into unconsciousness.
Nurse walks into the room, checks the old woman’s vitals. Turns to the young woman.
Nurse: Try not to upset her. She’s dying. It will be soon. This is not the time for conflict.
Young Girl: I wasn’t trying to upset her. It’s just that I was in such a hurry and forgot my box.
(Nurse lifts the small wooden box hanging from a heavy chain around her neck. The lid is broken, hanging from the box at an angle.)
Nurse: I used to take really good care of mine, like your grandma. But my mom broke hers open before I was born, so I did the same when I was like fifteen.
Young Girl: (Gasps in shock) What was inside it?! Do you still have it? Can I see?
Nurse: Mine was full of packing peanuts. I never asked my mom what was in hers. I keep meaning to just throw this darn box away, it’s really heavy, even empty. And it hurts my neck. But then I think of my old grandma and I just keep lugging it.
Young Girl: Packing peanuts? That can’t be right. If it’s just peanuts, why do I get a new lock every year? My mom, grandma, everyone has always told me it’s something super valuable in my box. I don’t think they’d lie to me.
Nurse: (Shrugs) I’m just telling you what was in mine, honey. Anyway, speak soft to your grandma, say nice things. I’ll check on her again in a bit but call me if you need anything.
Young Girl looks around the room nervously. Stares at old woman, then young girl shakes her head, walks to window, stares out. Spotlight moves slowly, dimmer, to the window. The beeping of a heart monitor can be heard.
Flash back sequence begins.

Brightly lit meadow area with a few leafless, withered trees. Young girl is grabbing desperately at a young boy who is holding a small wooden box with a tiny, aluminum lock.

Young Boy: Stop making such a big deal about it. It’s just a box. Everyone has one, they all open them eventually. Don’t you want to see what’s inside?
Young Girl: Well, yes. Of course I wonder what’s in there. But my grandma and my mom, and well, everyone I know, has always told me to keep it locked, safe. It’s dangerous.
Young Boy: (Laughs derisively) You really think your old bitch grandma and crazy mom NEVER opened their boxes? Come on, don’t be so naïve. Reaches for the box. Girl pulls away, backs up. The boy lunges and grabs the box from her hands.
Young Girl: Frantic. Give it back! Give it back! (Tries to take the box back as the boy jangles the small, inadequate lock. She fights to retrieve it. He yanks off the lock, beginning to laugh triumphantly.) Please! Please don’t! He pushes her to the floor.
Young Boy: Laughing. Didn’t your old grandma tell you to use better locks? Are you that stupid? How important can it be if you only use a crappy toy lock? Be honest already, (throws the tiny lock on the floor) you wanted me to open it for you. You wanted to see what’s in there but just didn’t want to do it yourself. You should be thanking me!
Young Girl: (Backing away, pulling herself with her arms, as the boy opens the lid, a light shining brightly from under the lid.) No. I didn’t want to open it. I didn’t! (She begins shaking, weeping, covers her face with her hands.)
Young Boy: (Laughing, reaches into the box, pulls out a piece of coal.) This?? (Holds up the piece of coal, laughing derisively.) This is what you were so worried about?? (Tosses it up in the air, catches it, shakes it in the girl’s face.)
Young Girl: (Sobbing, jumps up, trying to grab the coal but does not succeed.) Why?? Why would you do that? I thought you liked me. I thought you cared.
Young Boy: Well, you just learned a lesson, didn’t you? (Launches the piece of goal into the air, it sails away, out of sight. He drops the box, roughly on the ground, cracking it.)

Back in the hospital room…

The old woman stirs, moans. The young girl hurries to her side. Spotlight shines down on bed.
Young Girl: I’m here, Grandma. I’m here.
Old Woman: Frantic. Where’s your box? Where is your box??
Young Girl: Grandma, how can that matter right now?? I’m never going to see you again. I’m here, right here with you. Isn’t that enough??
Old Woman: The box! Nothing else matters! You don’t matter! I don’t matter! Where is the box?! I’m dying! Can’t you give me this one little thing? I just want to see the box!
Young Girl: I’m sorry, Grandma. I’m sorry. It’s gone.
Old Woman: Gasping, fading. Stupid. Stupid girl. Stupid…stupid…stupid. (Her head lolls to the side, her arms still clutching her own box, she goes still.)
Young girl: (stares at the dead face for a moment, sighs deeply.) I’m sorry, Grandma.
The girl walks slowly back to the window, opens the pane, forces out the screen, and climbs onto the ledge. Spotlight (red filter) follows young girl.
Nurse walks back into the room.
Nurse: What are you doing?? Stop!! Stop!! (She rushes toward the window, arms extended.)
Young girl jumps quickly out of the window. Nurse stops short at the window sill, staring down for a moment, shocked. Then turns, notices something on the floor, below the window. Leans down and picks up a small, broken wooden box without a lock. Stands examining the box, then throws it down aggressively.
Curtain closes.

Quick Response to Raymond Carver's Cathedral

This is a quick response to Raymond Carver's short story Cathedral that I wrote today for my American Lit class. 

I remember reading this story before, no idea which class it was, and as I started rereading it, I was thrilled to have forgotten the ending! So it was a new discovery, a fresh experience through more seasoned eyes. So many thoughts came to mind: First, being high, or experiencing euphoria. I went into pre-term labor with one of my babies and they gave me an incredibly potent, fast-acting shot of fentanyl. It worked within less than a second, and I rose, levitated, above the hospital bed, while the baby inside me tried to force her way out. It was one of the most amazing experiences, being outside of myself, outside of my life. 
Second, I think of the first time I jumped out of an airplane. The first 45 seconds were free-fall and I felt nothing but wind and speed, unable to consciously grasp any other sensations. Then the chute came up and I glimpsed the heaven that I don't believe in. The world was silent, the clouds danced around my tandem partner and I, but they couldn't come in, couldn't broach the safety, the intimacy, the sanctuary, that existed under that parachute. 
Finally, I think of my late father, watching him take his last strangled breath in a cold, sterile hospital room, surrounded by family, none of which could save him or carry even a piece of his burden. I tried to breath for him, like physically, literally. I didn't mean to, it was an involuntary reaction. I sucked in extra air, exhaled slowly, dramatically. He suffocated anyway. And in that moment, I did not exist. Not in my own body, anyway. Not in my own life. 
I've never been forced to sit down and contemplate these ideas and experiences before now, but in some way, Cathedral has brought me to this place. It didn't happen last time I read it, but then, of course, my dad was still alive and my sweet Mariah had yet to be conceived. Life is a series of moments, experiences, illusions, and the destruction or elevation of those illusions. And around every corner, if we open ourselves to it, we might find that there is an awakening, sitting there, waiting to open our eyes by forcing them shut. 

Monday, January 29, 2018

Numbers, Titles, Diploma

This is a response/application essay written for my senior seminar course. 
**********************************************************88
Picture this: The year is 1999. A young high school senior is walking outside, past the windows of her AP Biology class, while it is in session. Her long-suffering teacher shakes his head, as he notices her and her wayward companions out of the corner of his eye. The group of teenagers laugh, then move out to the parking lot to pile into a small blue two-seater. Their class time will be spent buying fountain drinks and gummy candy at the gas station.
            Return to this misguided student at the end of her senior year, walking in cap and gown, to the tune of Pomp and Circumstance, trailing a couple hundred of her classmates. Some of her fellow students have shiny golden cords adorning their matching robes, but not our student. She doesn’t realize it yet, but this lack of bling will be a thorn in her side for years to come, growing into a mental complex and obsession that will dramatically inform not only her later college endeavors, but also myriad other forks in her path through adulthood.
            ****
            My college experience and life in general was not initially influenced by the fact that I was less than one percent away from graduating high school with honors. It was only later, as I saw friends graduating from college while I took sporadic classes between marriage, divorce, and the other drama that characterized my early twenties. Having few accomplishments that I felt proud of, (other than jumping out of a couple of airplanes and having a strong credit score) I remembered the gold cords, and they became a beacon over the next two decades that would comprise my higher education experience. Reading the Menand piece was a revelation. Well, maybe not so much a revelation—as I was already well-aware of my obsession with my university G.P.A., but maybe we can call it an epiphany. I realized, as I read about Menand’s theory #1—the idea of college as a mechanism for sorting people—that I had desperately needed to be properly sorted, funneled into the right category. Having not ended up where I thought I would be by my mid-twenties, college became something of a second chance at proving myself.
            This was in spite of the fact that I had remarried (and happily so), brought three children into the world, and was running a successful small business. I didn’t need to go to college. No one expected me—as a Utah housewife—to take on any kind of capacity beyond child-rearing. I didn’t commit to full-time education with future employers in mind. I took the journey on full time with the singular goal of making myself worthy of my own life, and of the many sacrifices that had made my life possible. After years of taking one or two classes at a time, in between having babies and tending my home, it wasn’t until the final stages of my father’s battle with cancer that I enrolled with a full-time schedule. Part of that choice was a coping mechanism; school kept me busy and left little time to wallow in sadness or despair.
I can relate to Lahiri, thinking of how strongly I’ve consciously and unconsciously wanted to make my daddy proud of me, and to be worthy of his sacrifices as an immigrant. The funny thing is that he never explicitly pressured me in that regard. His emphasis was always on hard work and avoiding laziness—the ultimate sin. This translated in my mind, at that point in my life, to excelling in college. With that motivation in mind, I have focused, to a point of obsession, on realizing the one thing that would not only redeem the short-sightedness of my high school experience, but also sufficiently honor my dad: graduating with honors.
Some people have asked what I planned to do with the degree, most expecting it was only the latest in my vacillating array of momentary obsessions. And indeed, my answer to that question has changed, as has my declared major, many times over the last few years. I have struggled with committing to what I really love, or to instead go with something socially impressive, with a guaranteed payout in the real world. I was headed in the direction of radiology for a time, collecting a bunch of courses that now don’t even apply toward my final degree. I didn’t love what I was doing—but I loved the idea of impressing people with titles and medical knowledge.
Shortly after the first anniversary of my dad’s death, as the grass finally started growing in over his grave, I had the revelation that has led me to this last semester, and about to earn a degree in English, my true passion. It hit me just how much my dad had missed out on and given up, and I saw how in trying to honor him, I was making the mistake of trying to pattern my choices after his, rather than realizing the mistake he had made and avoiding it in my own life and pursuits. The way to really reverence his life, was to embrace my own passion in mine. To live fully, and happily, and to not miss a chance to do what I truly love, as I am fortunate enough to have that choice.
And now, back to the sorting. I’ve done it. Unless I flunk my final three classes, I will graduate with honors. And having been properly sorted into the right category, the one that the obsessive part of me has wanted for so long, I realize that what happens next doesn’t really matter. When people have recently asked what my plans are, what I’m going to do next… Well, I honestly don’t know. And that is scary, but also exciting. My singular focus has been on collegiate success, with no real, solid plans on what would follow. If I’m honest, I will admit that it just doesn’t make a difference what I do next. Having accomplished this one big thing, something inside me says that it’s enough. I could die feeling fulfilled.
Of course, the fluttering, competitive butterfly that is my mind, will inevitably find something else for me to conquer. But as of this moment, if you asked me where I was headed, I’d only be able to confidently say, “Up to the podium to collect my diploma.”

            

Tuesday, November 28, 2017

Essay as Dumpster Diving

So this was an off-the-cuff piece I wrote in my creative non-fiction class today. We were given the prompt "Essay as... (insert metaphor of choice).
Written, revised, and done in 15 minutes. Feeling good about creating quick content. Happy with how it turned out. Thanks for reading. :-)


Essay as Dumpster Diving

Writing essays can be like dumpster diving. You have a general idea of what you’re getting yourself into, but are unsure (in the beginning) of where you will end up, what you will find. Instead of the potential treasure you could find in a bin, you will see your subject matter unfold on the page, revealing literary treasures of another kind.
You’ll need certain tools to enter this trade, and a thick skin. You’ll need to know, or develop the ability to discern) what is valuable and what really is garbage. Sorting through the finds (revising and editing) is necessary. Some things that at first seemed valuable, will have lost their shine a day later. Your chosen words, sentences, even subject matter may not hold up when left to marinate for a few days. Thus, the necessity for sorting and culling, to keep only the really good, really useful material.
Sometimes it is an unrewarding and lonely endeavor. The hours are long and there are no guarantees of success, resolution, or even making a coherent point in your essay. You may spend an entire weekend sorting through hot, stinky bins, under a glaring summer sun, and find nothing more valuable than a weathered garden gnome. A fifty-page essay that you have struggled to create, while living on ramen noodles and store-brand Pop Tarts, with no heat and only occasional electrical service, may be a dud, earning you nothing but a full disk drive, a pile of rejection letters, and bills marked overdue.
But then again, the first pick of the day, in that first dumpster, might yield an enormous bag of lost and found coats, hats, gloves, and scarves that will keep you and your kids warm for the next five winters. It’s all a crap shoot, but if you don’t look in the bin, if you don’t sit down in front of your word processor or put pen to paper, you will have neither successful essay nor warm winter coat.



Wednesday, November 15, 2017

The Bonfire: My Fiction Final Portfolio Piece

Final Fiction Portfolio Piece


The Bonfire

Jared stood up, steadied his headdress of chicken feathers, sequins, and multi-colored pom-poms. He waved the twig—the one carefully chosen from the plum tree—and repeated the words from last week’s Pow-Wow. None of us knew what any of it meant, but for Jared, it meant we were to light the bonfire. Everyone knew their role; we had practiced this drill several times throughout the morning. Jose and Javier stood lookout by the old yellow shed. Pollito continued gathering dry grass and sticks from the walnut tree by the chicken coop--two old hens scurried ahead of him, running over their own green and white droppings. Chava held a large metal serving spoon of Crisco. I recognized it from the ornate utensils his mom always brought out at Christmas.
In my role as Pocahontas, I imitated the dance we had seen, with jingle bells tied to my ankles and wrists with yarn from Mama’s knitting basket. I wore felt, rather than leather, but the fringe I cut in the hem of my knee-length top furled and flew as I twirled—it didn’t make the same pelting sound as cow-skin, but Jared said that the few bits of leather we had were needed for more important items, like his loin cloth and the sheath he made for Dad’s knife. Still, he said that I looked very much like the chocolate-skinned Native girls—I even had my long, dark hair plaited down my back—and his approval was all I needed; all I really wanted. Mama had braided my hair this morning, not knowing why I wanted it, (normally I asked for pony tails) and it looked nice, especially with the bright pink ribbon she had woven through the strands. Jared said it was an authentic touch. I had to look up “authentic” in the Webster’s kid-friendly dictionary with all the bright colors and pictures. I took it as the best compliment he ever gave me.
“Alright, Braves, it is time. The sun is above.” Jared turned, looked at Chava. “The sacrifice!” He commanded and Chava walked ceremoniously to the pile of wood, newspaper, clumps of fresh and dry grass, and broken wine barrels.
“Now I will light the fire.” Jared lit the match, dropped it solemnly. Nothing happened.
I stopped dancing, we all stood still, staring at Jared. In our trial runs, we had never considered that the fire wouldn’t burst immediately into a satisfying blaze of lustrous glory. Jared frowned, escaping into deep thought, scratching his head with one dirt-filled fingernail. We were all concerned, but we trusted our chief to figure it out. “The ancestors are angry with you guys,” Jared suddenly thundered. He was standing on the willow stump, making him at least a head taller than all of us. The chicken feathers on his head swayed with his movements, and a few bugs fell from the headdress onto the stump.
“I think you’re doing it wrong,” Pollito hollered from the back end of the yard. He was pulling pieces from our broken-down plank fence. Pollito had gone to Cub Scouts for two whole years, so if we were going about this the wrong way, we trusted him to remedy the situation.
“Here, like this. You gotta light the newspaper.” Pollito had a flame growing a moment later and we all stared in wonder at his skill. Jared snapped his fingers at me and I took up my dance again, jingle bells ringing and jangling, just as I’d seen the Native American girls doing. Well, at least as close as I could remember. Lift one arm, then one knee, turn around. Lift, lift, turn. I had used masking tape to attach clusters of the bells—stolen from Mama’s craft box—to a thick piece of cherry branch, and shook it in the air.
Jared picked up the drum he had bought at the Pow-Wow, tanned leather stretched over wicker, and began to dance circles around me while pounding one balled fist on the drum. Boom! I was thinking it would sound better if he used the palm of his hand or a drum stick, but one didn’t tell the chief how to use a drum. Bam! So, I just danced faster, kicked my knee higher, as the flames burned brighter, pushing toward an ice-blue sky. Thwap!
Chava had stood silently, at the edge of the fire, holding out his spoon of hydrogenated vegetable oil. He was patient, but looked a little anxiously at Jared, who was yelling a song that no one understand and pummeling the leather drum. Whopp! The Crisco was starting to melt, the proximity to the growing inferno changing its chemical structure. Thwack!
The drum beat sped up, with no order or discernable rhythm, but Jared’s face was serene, hypnotized by his own musical creation. My feet lifted and dropped to match the increasingly frantic pace—lift, drop, twirl, jangle, lift, drop, twirl, jangle!
“Um, Chief?” Chava spoke quietly, but insistently. Boom! “What about the sacrifice. Jared turned, confusion written across his face for only a second. He had obviously forgotten all about the oil, but he recovered quickly, waving his arms in ritualistic upward motion, his face lifting to the sky. Thwap!
I didn’t remember the Native drummers beating their instruments as fast as Jared was pummeling the stretched leather; I wondered if he was making up for the Crisco. I supported his efforts with my feet, nearly skipping with each knee lift, growing dizzy with every twirl, the jangling of bells bouncing about the smooth inner surfaces of my skull. Faster, higher, faster, higher, faster!
“The sacrifice!” He bellowed with the authority of a mighty, but short, chief. Boom! The willow stump wobbled, but held, as Jared signaled wildly with hands, arms, legs, body, for Chava to give up the sacrifice, banging away at the drum. Wapp!
Clanging bells crashing into each other, metallic edges scratching and screeching. Soft felt rising and falling, folding, then filling with the gusts of air my body created. Whirl, twirl, spin!
Chava nodded, dark brown curls bobbing nervously on his pointed little head. Boom! Not all seven-year-old boys can perform a ritual with such sacred and solemn perfection, especially with only one autumn morning’s practice, but Chava was in his element. Bam! He had stayed up the night before, long after everyone had gone to sleep, to re-watch segments of Dances With Wolves on VHS. He kept the volume low, and lay a pillow on top of the video player to muffle the hum made by the old machine. He told us he almost got caught when his sister got up to pee in the middle of the night, but she didn’t even notice him. During his shower the next morning, he said he had imitated moves he had seen on the late-night movie and others that he remembered from the Pow-Wow. Thwap!
As he stood before us, tilting the kitchen spoon slowly, gracefully, my feet suddenly refused to move, the improvised rattle still in my raised fist, one knee raised to my waist, chest heaving, head spinning. Thwok!  Melting Crisco slipped in one viscous glop, landing nearly in the middle of the blaze. I remember Chava jumping backward, but in reality, he was probably blown back. Wapp!  It was at the same moment—undoubtedly foreordained by the fates, or ancestors, or someone—the Crisco hit the flame and ignited, that the leather pouch holding Tio Jesus’ gun powder burned through, exposing the particles, irreversibly, to the heat and flame. And then… Boom!
I’m on my back, in the grass, looking up. Cherry branches hang overhead, rustling in a gentle breeze. I hear nothing, not even my own breathing. My head feels full of cotton, my body stiff. With effort, I look to my left. In the grass, not far away, not moving, is Chava. At least, I’m pretty sure that’s him—most of him.

҉҉҉
The logs in my fireplace have been mostly consumed, a pile of ash and coals glowing dimly. I’m nursing the same bottle of light beer that I opened three hours ago, twirling the brown glass longneck in my hands for the millionth time, warm liquid sloshing, nearly spilling out the top. The cat, we are stuck in an indefinite trial relationship, has begun circling the couch. I pull my feet up after she nips yet again at my wool socks.
The envelope—plain white, business length, and postmarked Northern California--is still sitting on the coffee table, unopened. I should just open it, get it over with; it’s from Jared though, so I just leave it there, topping a pile of colorful junk mail. Why did he have to write? Things are already fucking awful right now. I don’t need this. Though I have no idea what “this” is.
I down the beer in one long gulp, set the empty bottle next to Jared’s letter, and escape to my bed, not bothering to turn out the downstairs lights. I also don’t bother with the covers, but just sprawl over the mattress, pulling a folded yellow afghan from the foot of the bed, covering only my torso. Outside, the wind is picking up as a forecasted storm approaches. The cherry branches are beating against my bedroom window, threatening to shatter the pane. Normally I would gather candles, a lighter, one of my kerosene lamps, or a flashlight on a night like this. Instead, I toss and turn, finally curling in on myself, hoping—almost seriously--that the dying embers in the fireplace will somehow catch a rogue gust of wind and burst into violent flame, consuming this house and me with it. Escape is my modus operandi; I’m forever running away from, rather than toward, anything too difficult, but always making just enough effort to convince myself that I tried addressing my issues.  Did I lock the doors?
The cat reads my mind, as happens regularly, and finds me in my bed. She meows, and it is a command. Only duty can bring the cat out of hiding on stormy night, and soon I have a robe on and am headed downstairs.
I walk around checking the windows and doors, the cat trailing behind, thinking I do not see her. This is her game, one of many, and no matter how it turns out, I know she always considers herself the winner. She darts behind available cover, peeks out, then leaps when I turn to look. I smile, though honestly, I’m not sure if she is double-checking my work, making sure I do the job right, or if she is in fact stalking me, like her great cat relatives, getting ready to pounce.
Whatever her intentions were, she is climbing onto my bed now, weaseling her way next to me under the heavy covers. She allows me one quick ruffle of the soft fur behind her ears—and I know not to expect more. She is comforted with my presence and by my side, in this bed, she doesn’t fear the storm, but she is far too independent and proud to confirm the fact with prolonged physical attention. I lay for hours, watching the pile of fluff next to me, every rise and fall of fur, her breathing occasionally punctuated with a soft purring sound and shift of paw or head. I am hypnotized. The sky continues to fall outside, but quietly. 
The morning brings a temporary calm, a welcome cease-fire, and I am able to venture outside, coffee in hand, to assess the damage. The cat, wet and angry, runs in between my legs, through the doorway. I don’t know how she got out or where she has been, and that is how our relationship works. The cherry tree that spent the night rapping at my window has lost only one branch, one that I meant to prune anyway. A few shingles had escaped from the roof, speckling the flower beds and lawn. Scanning the surrounding homes, I figure I fared as well or better than my neighbors. The storm appears to be biding its time, toying with us. Feeling defiant, or maybe willing the storm to free me from my troubles, I raise a middle finger to the sky, childish and melodramatic, and feel much better with the simple gesture.
The truth is that I am too much of a coward to actually try bringing about my own end; and deep down I do want to live—just not with this weight around my neck that I can’t remove, no matter how I try. My last therapist followed the familiar pattern and referred me to someone else, and my best friend no longer responds to messages or calls. I have reached that point of hopelessness where only the cat wants to hear me.
Perhaps, were I to tell the whole truth, things would get better. The therapist might have actually been able to assist in my recovery, my best friend might have understood, and the cat might have a name. But the truth is hidden, in my heart and likely in Jared’s letter that still sits on the coffee table.  “I’m sorry, Cat. I just don’t do long-term relationships.” She isn’t paying attention, but I keep talking anyway. “If you knew who I really am, you’d probably run away for real.” I’m certain she’d find the wilds of alleys and garbage cans more appealing than my tuna dinners and custom scratching post if she really knew I was someone to fear. But no, I can’t even tell the cat, and she never asks.  
            The phone rings, and as usual, I ignore it. The old-fashioned answering machine picks up and the caller’s voice comes on. “Lola, I just wanted to say I’m sorry about hanging up on you the other day. I was wrong. It was a jerk move and I shouldn’t have done it. You’re always there for me and I couldn’t be there for you. I’m really sorry. I don’t blame you for not answering, okay? I get it. But maybe we can talk this weekend? I love you, Lola, even if I am a terrible friend most of the time. Alright, well, I hope you’ll call me back. Bye.” I felt nothing listening to Tracy’s message. We had been best friends for almost twenty years, but the friendship has been dying for at least five of those years. I guess I’ve already finished grieving the loss.
            The rain come on suddenly, furiously, beating the roof above, and the windows around me; the wind is coming up fast and strong, and seems to be unable to choose a direction. The cat is looking nervously from one end of the room to other, as the pelting rain hits one side then the other. I wonder how long she’ll last before she escapes to the safety of the curtains or her hiding place under the sofa. While she contemplates her escape, I load the dishwasher. The cat is off the table and under the sofa skirt before I’ve filled the top rack.
            The storm continues to batter the roof and windows, while thunder has begun to roll in the distance. The bright morning is now shadows and gloom. The dishes are done, so I sweep the kitchen floor, whistle the cat’s favorite tune, and start filling the mop bucket with water. I’m adding cleaning solution to the bucket when suddenly the entire kitchen is lit up with a spot light from outside. The lightning came out of nowhere; there wasn’t a warning boom of thunder preceding it. I jump, embarrassed by my own fear, and feel floor cleaner soaking into my socks as soapy water sloshes on the counter and down to the floor. Now the sky outside has erupted into a full-blown tempest of biblical proportions and I hear the cat shrieking as she runs from the cover of the couch, to the coffee table, to the space behind a floor lamp, then back to the couch, moving with every blast of thunder. A riotous light show is being performed outside, a pyrotechnics extravaganza of flashes, arcs, and sizzling streaks of light racing across the sky, followed by furious bolts shooting down from black clouds in a hail of electric terror.
            I’ve abandoned the mop and bucket, leaving my wet socks with them, pulled in by the magnetic power of the terrifying display. I am hypnotized, unable to move. The commotion must be keeping my neighbors curled up warmly in their homes—I see no one else glued to the show the way I am. With the relentless light, I can clearly see neighboring windows, blinds closed, curtains drawn. Why am I the only one watching this? The show is spectacular, breathtaking. I almost feel guilty, like I don’t deserve this dramatic display being played out only for me. It is a weekday though—a lot of the neighbors are probably still at work.
 My mouth is dry, even as my eyes are watering. The rain is dancing, its back up performers are bolts of light and the roar of thunder. They are synchronized, choreographed, and I know the show is mine alone. I’m not an arrogant person, but I admit I am self-involved. Most of my life has revolved around myself, my internal damage and dysfunction. I’ve been addicted to my own pain, hyper focused on fixing my own broken parts, knowing subconsciously that only one thing can truly repair the wreck inside, but always being unable or unwilling to follow through. Has it ever really been about Chava—any of it? Or has it always just been about me, just as I now claim this entire heavenly spectacle for myself?
Another crack of thunder and immediate flash of lightning, but louder this time than any before; out of time with the rhythm of the performance up until now. Something has changed, and the echo reverberates through the house, from the rafters to the floor boards; framed pictures flutter on the walls, a gurgling belch rumbles down the pipes beneath my bare feet. The burst of light coming through the windows blinds me for a moment, leaving sparkly motes twinkling wherever I look. I remember the cat, and am finally able to pull myself from the window and think of someone else, something else. I find no sign of yellow-orange fur under the sofa, no purring behind drapes or tables or the owl chair. I scour every inch of the first floor, even as I begin to smell something acrid, bitter; the smell is getting stronger and I feel dizzy.
The cat is nowhere to be found, and maybe she got out—she has been sneaky like that since I first brought her home. But the doors and windows are all locked and I’m afraid she went looking for me, so I run upstairs, calling and whistling. “Cat?” I hear nothing but suddenly feel everything, what is here and what is not. The house has come alive around me, populated with shadows, and ghosts of a sunny day in California--when the grass is dead, and you only wear as much clothing as you have to. Kids running through sprinklers down my narrow hallway—disappearing behind the attic stairs; a group of wanna-be Indian dancers swaying and turning and hollering around my minimalist bedroom; fire trucks and barbecues and weekend sleepovers--appearing and vanishing in the corners of my pink-tiled bathroom. I think I hear a meow, or pawing at a door, or scratching on the floor, but everywhere I look, reality has become sullied with shadow and smoke. My head spins and I think I might collapse, so I flail my arms; one hand finds a wall. But still no cat. She got out! Please! Please! Let her be out and safe!
 “Cat! Cat! Get out!”
            The familiar taste of bile has risen to the back of my throat, assaulting my tongue, attacking my taste buds. I cover my eyes--like I used to do when my brothers and I would watch scary movies—movies that Jared snuck in from the neighbor’s.
“Cat! Cat!” The word is ripped from my throat, serrated edges shredding weakened flesh. My big toe hits the threshold of the bathroom doorway. “Cat!” My knee bangs into the towel cupboard—but I don’t put my hands down until I know I’ve reached the porcelain vanity; my eyelids are squeezed shut so tight that I think I feel the back of my skull pressing forward, sucking my brown irises past hollow sockets and into the past I have been running from, unsuccessfully, for two decades. I drink cold water from the bathroom sink, flushing the bile back down; shake my head, and finally force my unwilling eyes to rip open—like tearing out crooked seams from a summer quilt top--hoping that the host of apparitions have retreated.
            I am alone again, but now my nose, mouth, sinuses, and tortured eyes are keenly aware of a thick, caustic mist, spilling down the attic stairs.
“Cat…” I barely hear my own voice. “Cat… please… get… out…” My ears feel swollen, deep canals filled with a low grumbling, followed by the crackling chatter of sparking flames, tap-dancing across the floor above me, each skipping movement echoes through the ceiling, building to a crescendo and I beg the ceiling to just come down already. The firestorm consumes the contents of my dusty little attic, while its vibrations, the resonant clatter and occasional crash of seared wooden beams, claw insistently at the ragged edges of gray matter filling my skull—the snaking jumble of tissue retreats, turns on me; my own brain a traitor as it fails to shift into survival mode—instead pulling oxygen from my limbs to support itself, continuing its relentless attack on my psyche. Flashes of memory—brighter and more painful than the encroaching flames could ever be. Guilt blazes a circular path, around and around the recesses of my mind. Chava, his once brown little body, now a scorched heap of red and black limbs, swollen, hairless face, wearing nothing but one burnt shoe; he lays in a grassy mount at my feet--on the bathroom floor.
            The smoke billows down now, coming through A/C vents and old cracks in the ceiling; having decimated the attic, it seeks more fuel on the second floor. I am frozen amid the flames, crumpled into a useless, helpless pile of nothing at the columned base of the vanity. I am a destitute wanderer in a rich sea of dazzling orange waves, sparkling with recurrent golden crests—never ebbing, only flowing, closer and closer; as though to ease the dry existence I have struggled through—bringing a compassionate end to the desert aimlessness that has been my adult life. My only companion is a dead little boy who never quite pronounced my name right, no matter how much he fought his lisp. He loved Transformers and He-Man, and his dog, Vato. I never saw him wear any color but blue, and when the chips were down, Chava never shied from a fight. But Chava is dead, and I am a coward. My heart is thirsty and the thread of sanity that I have clung to is slipping into the proffered cup of salvation before me, held out by the delicate extension of a flaming tentacle--or is it a little brown hand reaching out, fingertips missing, skin peeled back to raw pink flesh?
            The silver I.D. bracelet gives it away, and I look to see if he’s still laying at my feet. No. There is only the pale pink tile that I once found charming. Chava’s mom, didn’t she wear that shade of lipstick? One that she bought monthly from the local Avon lady, yes. Her favorite. And didn’t she have a heart attack a few years ago? Did I hear that somewhere or is it the smoke clouding my mind? I am alone, for only a moment, then surrounded by voices, singing a tune that I never finished learning. An old Mexican dirge, a wailing song; the refrain echoes over grassy back yards filled with clucking hens and towering plum trees. As the singers combust, one by one, their notes become strangled, anguished, burning alive while they sing, uniting dynamically for a final chorus of suffering, unmatched by all the jarring harmonies of any legion of hell’s demons. And suddenly, I know why they are singing and for whom they sing.
            “Cat?” No more than a whisper, a plea. I loved you, Cat. Only you and only me. The cat would know I was lying. The cat knew well what I could never admit—I only loved misery.
            Watching movies or shows where people are burned to death—the agony depicted does no justice to the feeling of real-life flames licking one’s skin, crawling up a pant leg as the skin below is heated, then fused with the ruined fabric. I remember watching a true crime show where an expert said that many fire victims mercifully passed out due to smoke-inhalation, before actually succumbing to the effects of the fire. How am I even thinking right now?! As the flame reaches my thigh, I call bullshit on that expert. I am still very conscious and aware, even as I hear, somewhere deep in the tissues of my legs, blood and fluid simmering, boiling, drying up beneath dead and dying muscle and flesh. The room is filled with smoke, the inferno has slowly crept in, and I am laying in the bathtub, with what’s left of the plastic shower curtain melted onto my bare foot. Is it guilt alone that keeps my mind working, feeling, experiencing, suffering? Statistically, this is impossible. But I am not a statistic.
I am a woman who is still a child, a broken china doll that cannot be repaired. I’ve tried. I went through a dozen therapists, tried endless cocktails of happy pills, suffered through acupuncture, wasted thousands of dollars on magnetic therapy and various other alternative treatments. Yet here I am, worn and ruined, no will to live, to even try. The pain I feel is somehow cleansing, a kind of freedom that I haven’t known since the day I danced in fringed felt with bells jangling and feathers flying. The pain receptors in one spot burn and die and are followed by the excruciating, liberating stab of a new field of destruction.
I must be screaming; it’s inconceivable that a person wouldn’t be crying violently, loudly, while her body is being consumed. I hear nothing but the erratic beat of a stretched leather drum, accompanied by cheap jangly bells and the intermittent snaps of fresh green grass catching fire before quickly smoldering.  Reason would suggest that Chava--as awful as his death was--probably didn’t suffer long, if at all. I could never bring myself to seek access to a coroner’s report or to look for the internet’s expert opinion of how it would be to experience something so abrupt and forceful. Did he die immediately? Was there time in that split-second for him to feel fear? Or pain? Or anything? Even now, even as my consciousness wanes, as all feeling seems to have gone, and my eyes see only darkness, I can’t bring myself to consider his pain. And so, in the end, I am the coward I have always been. They say that if you take a deep breath, you’ll invite the flames into your lungs and the end will come quickly. It’s too late to make any kind of attempt at escape. I hope the cat got out.
I wake up to the worst pain I’ve ever felt, pain that I wouldn’t have imagined a person could live through. Yet here I am. I feel something foreign filling my throat, am deduce it must be a breathing tube. My eyes are working, though my surroundings are hazy and I can’t focus on any one object with any clarity. Scanning the room, I notice something missing at the end of what appears to be a hospital bed. The blanket draped over me lays flat at the end, conspicuously devoid of two lumps where my feet should be. Waves of pain roll over and through what is left of my body, and I have no energy left to contemplate what all of this means or to try remembering how I got here. I only know that I must be alive, in a hospital setting, and that I am still more incomplete than I was before lightning struck my house. Was that yesterday, a week ago? Maybe a month or longer? I have no way of knowing. Soon, I feel something coursing through my veins and faintly hear a beep coming from somewhere above and to my right. As it does, a pleasant warmth, far different from the burning tingle I’ve been feeling over every inch and surface, is flowing through my limbs and in and around my chest. My body lifts from the bed, and what was already hazy is now swimming around me. Then only blackness, merciful and complete.
Consciousness comes again, to the sound of voices above and around me. I feel nothing, not even pain. I think I must be paralyzed. My ears are working though, and working well. Faintly I hear what might be a meow. It is soft, and seems to be coming to me through layers, but, yes, it is a meow. I know that meow. I can’t turn my head, but looking out of the corner of my eye, I see her. Plastic sheets separate us, and she is in some kind of carrying case, but it is her: the cat. A man in scrubs is carrying the case, and inside, with bandaged paws and a missing ear, is the cat. I’ve never seen anything more beautiful in my life.
Three Months Later…
I’m still in the burn unit, and most days are pain or unconsciousness. My entire body is covered in protective gauze and mostly I can only move my eyes. For two days I have been without breathing assistance and that has been such a relief. The cat has been in to visit a few times, and each occasion is like all my favorite holidays rolled into one. I love that cat. There, I’ve owned it, and I mean it. She already knew, but then, she’s always been quicker than me.
One of the parade of doctors that flow in and out of my room daily told me last night that the cat saved my life. He didn’t have all the details, but he’d heard that the cat led firemen to me through the inferno. I don’t remember any of that; I only remember giving up. I’ve always known that the cat outmatched me for stubbornness. She’ll never let me live this down, and I’m just fine with that.
After the doctor told me about the cat, and how she was living with one of his scrub nurses until I was recovered, he said that an envelope had been found in my pocket, that it was a letter, and would I like to see it. I knew what it was, of course, but I don’t know how it got in my pocket. Maybe I’ll never know. Maybe it doesn’t matter. I must have passed out, as I do regularly these days, because when I came to, the room was dark, and I could see that lights were on in the parking lot outside my window. My favorite nurse, Jan, sat next to me, working on one of her many crossword puzzles. I’d become increasingly jealous of those puzzles, and of her hands. Only a week ago I learned that not only had I lost both of my legs above the knees, but that I’d also lost most of the fingers on my left hand—my dominant hand. Every stroke of Jan’s pencil was a bit of an insult, but her cheery personality and devoted attention made it easier to swallow.
She looked up, maybe sensing that I was awake. “Well hello there. Making your appearance for today, are you?” I’m not sure why she asked me questions—she knew I was still unable to answer. I didn’t mind though, as she treated me like a person and not like the freak that I’m sure I appeared to be in my condition. She stood and checked my vitals, entered some information into a computer mounted to the wall, and then gently stroked this one spot on my forehead that had not been burned. I looked forward to this simple gesture every time she was my nurse. The simple act of human connection—something I had chosen to forego for so long—was now what I lived for. Her gentle caress and the visits from the cat are not only a comfort during my short periods of wakefulness, but they also fill my dreams. When one decides to survive, one needs a few beacons of hope to cling to when the pain is acute--when recovery seems impossible and when each new day brings another catastrophe—infection, heart failure, and a long list of other ailments commonly experienced by severe burn patients. I may die tomorrow, or even tonight, but right now, soft fingers are my connection to life, and I embrace them with my mind.
Jan smiles at me, adjusts some tubes, and then pulls something from her pocket. “Lola, you’re looking lovely today.” She is a terrible liar. “Dr. Warner left this here for you. It was in your pocket when you were found and is mostly intact. He thought it might be important, so I said I’d read it to you if you wanted me to.” She looks into my eyes, searching for an answer. I guess she saw what she was looking for, because she unfolded the singed letter and began reading.
Hey Lola,
This is a really hard letter to write but my sponsor says I gotta to do it. So here I am. Well, here’s my letter. Anyway, my parole doesn’t let me leave the state. Did you hear about all that? Never mind. It’s not what I’m writing for. I want to tell you that you’re a good person. I want to tell you that I’m sorry, more than you can know, for not telling you this a long time ago. Like when you were in that looney bin. Sorry, shouldn’t call it that. It’s what it was though, and it’s my fault you ended up there. I should have told you. I wanted to tell you, but I was already in so much trouble and you weren’t talking to me, or anyone, and Mama said to just leave you the fuck alone. So I did. But Mama was wrong, as usual. She never did care much about reality, did she? Is that why you ran away? No, I know why you left. I’m just nervous. I keep telling myself to just write the damn words!
Fine! You didn’t do it, Lola! It wasn’t your fault. You thought I took the rap for you but you’re wrong. You were always wrong. Did you want to be a victim? Or have a crutch? I know that’s a dick thing to say, but come on! How have you not figured this out yet? I’m sorry. I keep saying the wrong thing. I just hate this, all of this. I hate that we don’t talk. Hell, I don’t even know you anymore. But I knew you back then. And anyway, I know you wanted to just be part of what we were doing. I get it. But I couldn’t let you. I was the man, ya know? Anyway, those were my vatos, my braves. My little sister was not taking over. That’s what my stupid brain thought you were trying to do with that gun powder. I saw you take it when Mama was gone and Papa was drunk. I don’t know why they kept that shit in the house. So stupid. Anyway, I saw you take it. I saw you put it in the fire pit. You really didn’t see me watching behind the chicken house? I thought for sure you did. But then you never said anything. You just went all quiet and crazy. And I didn’t know it was because of me, not right away. Honest. I didn’t. My sponsor says I need to be totally honest, so I am. It’s supposed to help me be a better person and stop drinking. Maybe it will help you too. Anyway, Jackie, he’s my sponsor, says it’ll be really good for you to know. So yeah, I sold some weed, ya know, from the patch behind the snow bush? So I sold it to Kenny down the road. Remember him? He’s dead now, but anyway, I sold it. He didn’t pay much, ripped me off. But it was enough to get some glycerin stuff from Luis over at the Maple apartments. Remember that shit hole? So Luis’ abuela had to take the stuff for her heart, but there was some he said was left over, expired or whatever. So he sold it to me. I read about it in one of those encyclopedias Mama bought from that guy she was sleeping with.
            The nurse has a nervous look on her face and it has come into her voice as well. She looks at me again, searching, then continues reading. I close my eyes, but she knows I am still listening.
It was this liquid stuff, in a glass bottle. I didn’t really know what I was doing, but I guess it worked. Anyway, I poured it on the pile of sticks when you were tying everyone’s feathers on over at the yellow shed. And I took out the bag of powder you put in there so you couldn’t take the credit for an awesome fire. Chato, the skinny one, not the porky one; he wanted it. I traded it for some girly pictures he stole from his dad. Anyway, you don’t care about that. You just need to know that your bag of powder didn’t kill that kid, Chava. It was me. For reals. I wasn’t lying, or taking the rap to be cool, or anything like that. His ma slapped my face. I’m okay with that. I deserved it. You should slap me too, or hate me, or want me dead. I’m okay with that. Just please stop blaming yourself and being all crazy about it. You’re not too old yet, ya know? You can still have a life. That’s what I’m trying to do. My sponsor, that’s Jackie—did I tell you about him yet? Shit, I did. Well, anyway, you’d like him, he makes good tamales. Anyway, he says I’ve got a pretty good shot at recovery. He’s gonna hook me up with a job at his friend’s garage. It’s the one by the old Chevron, you know the one. It used to be Lupe’s uncle’s joint.
Anyway, alright. That’s all I wanted to say. I hope your life goes better now. I’m really sorry.
Your brother,
Jared
            The nurse’s voice fades into the background as my vision is clouded with darkness again. I never last more than ten minutes, but the doctors say that is great for where I’m at and what I’ve been through. I held on as long as I could this time, longer than ever before. I needed every word, and clawed at the blackness with the fingernails of my mind. My dreams aren’t of cats or a kindly burn center nurse with a soft touch.
            No, I see grass that needs watering on a summer’s day, and half-dressed children spinning and dancing, with chicken feathers tied to their ankles and wrists, chanting words they don’t understand. But I understand, now. I understand so many things, yet I am more lost than ever.