Electric Review - Dennis Franz, Van Morrison, Shana Morrison, Anoushka Shankar / John Stewart

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January/February/March 2010 

Archive Review Page


 

In Memoriam: 

 

JOHN STEWART

(1939 - 2008)

 

Going beyond the songwriting and guitar-picking, Stewart's real trademark was the way that he related to his fans, this man who opened the doors to his heart and invited us to venture inside. Personally, I will always remember the way he coaxed a song into full bloom: Crystalline threads of poetry delicately weaving breath and lips into bright gales blowing the effervescence of humor and grace and mercy. Anyone who saw Stewart in concert was touched in some profound way - be it by the bold American stories told in pieces like Mother Country or Pirates of Stone County Road or by the wayward romance of Because of a Dancer or She Believes in Me. Moreover, those who saw him sing were blessed to witness an authentic and honest man at one with himself and his earthly mission: A mission only to make music and then share these swelling pools of angel-blood with the ears of this world. ~ John Aiello


      January 20, 2008

 

(earlier)

Tonight found

This map

To John

Stewart's house

 

(who)

Is John Stewart?

 

 (song)

Writer of lost

Guitar moons

(who)

I visited

Upon occasion

 

(funny)

I hadn't seen

This map

In years

(yet)

Something told me

(not)

To throw

The crumpled

Paper away

(something)

Told me

It was

Strongly important

 

(two)

Hours later

(read)

The news

(Stewart)

Dead of massive

Brain attack

 

(the music)

In thirsty

Veiled pools

(fights)

Back tears

 

(I'll)

Keep hold

Of this map

And know that

It proves

(spirits)

In the wind

(never)

Stop talking

 

(never)

Will we cease

(our)

Singing again

 

~ John Aiello

To read a previous review/interview with John Stewart, go here

BARE REALITIES
 

ON FRANZ AS "SIPOWICZ"

By John Aiello

On March 1, NYPD Blue hung up its badge after 12 splendid seasons at the center of ABC's play-list.

This brings to a wistful end an era in which America was blessed to witness the life and times of Andy Sipowicz (played by the brilliant Dennis Franz). This iconic NY cop has been notable not so much for his heroic presence, but instead, for the ordinary mask he wore.

You see, Sipowicz is representative of the commoness of the human condition. Often over-looked by its peers, his face this holy personification of the vulnerable: lost in a search for that secret self which each of us hides behind.

You see, Sipowicz is cast in raw emotion. He is passion tempered with doubt. He is openness cloaked in wary eyes and cloaked again in the deep keen perceptions of caution and pain. Sipowicz is the idea of justice rolling against an unjust wheel. This is a life about confession - striving to outlive old memory this lone alien in an endless fight against iron-cold ideas of loneliness, self-deception and denial. Each version of Sipowicz the genuine motion of mind moving through dark scars of silence -- careful slow deliberate lost within the delicious reflex of hunger and need.

Above all else, Dennis Franz's "Andy Sipowicz" built the poetic features of this immortal and archetypal character from the best of the worst, separating skin from husk and husk from mask until only bone wrapped in flames of flesh remained. Here, hiding behind the many voices of this fictive man, we come upon the true essence of faith and hope and grace. Here, among these ancient devices of characterization, plot and pace, we come upon the bare realities of our lives.

AN INTERVIEW WITH DENNIS FRANZ

Given the fact that "NYPD Blue" has been on for 12 years, can you describe how your character has changed and evolved over that time.

Well, 12 years out of anybody's life is quite a long time. It's a long time in the terms of the character's life, a long time in Dennis' life. And over the course of that period Andy Sipowicz has learned to accept himself - something he was not either able to or prepared to do early on. Over the course of this 12 years, Andy has now acknowledged that he is no longer a young rogue cop, he's not filled with the same questions and anxieties he was filled with when the series began. He's grown as a human being and accepted tragedy. He's aged, accepting the aging process. Now he knows he can't compete with the younger generation and the police work that's being done. Now he's able to look at himself and accept his eventual mortality.

Can you attempt to analyze the idea of Franz as "Sipowicz" -- discussing the metamorphosis that takes place here.

Well, Andy and I share a similar compassion for people and our fellow man. Sipowicz is perceived as a tough hard cop. But under that, he's a very compassionate human being. And that's similar to a lot of cops that I know. Andy's no exception there: he has a rough exterior but he cares tremendously. I share that with him. I respect people and expect that kind of respect back. We also share a similar outlook on criminals - we have very little tolerance for them. And we have our priorities: his is law enforcement. Mine is this entertainment business. It's hard to look at yourself realistically and see how you fit into the whole thing. But Franz and Sipowicz share that sense of recognition with our professions.

Describe a bit about what you will miss when the series wraps up in a few weeks.

I'll miss the camaraderie we have developed over the last 12 years. In a long-running series you hear a lot about the family feeling created among the cast. It's become cliched -but it's true nonetheless. And "NYPD Blue" is no exception. I'll miss the relationships I have built with these actors. And the creative energy of so many people focused in the same direction. I'll miss being with these people and the devotion we have to this work. I've had a false sense of permanence with this series. Over this length of time, the tendency is to think it will never end. There's a sense of security there. But now I have to acknowledge that it's ending and let it go somehow. (pauses) I'll also miss the comments from the people on the street who love the show and who have felt its impact on the culture. I won't miss the shooting schedule though and the 6 AM calls though. I also won't miss having to squeeze all my free time into a few days, knowing I have to come back to these responsibilities. I'm the type of guy who can't mix business with pleasure, who can't remove myself from the seriousness of a situation and relax. So I'll have some more time for myself soon.

Where do you go from here? Another series? Feature films? Directing and producing?

The next step is going to be more of a focus on feature film. At this time, I am not interested in considering another TV series. This one was a wonderful experience which will be hard to top. And itâ's caused me to turn down several good feature film opportunities because of the schedule I've kept. But no, I'm not one of these actors who feels a pressing need to direct, and I have no plans to do it.

What's season 12 been like with all these new people thrust into the mix?

Well, these changes have taken place since year one. When Caruso left that was a big change. From the first jump of the series we had to deal with change and we've been able to adapt nicely. Actually, it's given us new opportunities for different characters and story lines and energies. In a perfect world, you would be able to hold onto everyone. But it's not realistic. Fortunately for us, the changes with NYPD have been progressive and have taken the show to new levels. This is a wonderful cast filled with ideas and they come ready to work - full of deep energy.

As of today (this interview was completed on January 25th via telephone), 6 episodes are left to air. Can you tell me what your thoughts are as you reflect on this monumental ending...

Well, we're actually into the shooting of the final two episodes, so there's actually only 2 and half weeks of work left. And that is a hard acknowledgment, it's hard for me to recognize that. As I mentioned before, there's a sense of permanence with something like this. A feeling that there is no end in sight. Sometimes we thought it would go on forever. And the reality that this 12 year life is ending didn't really sink in until three weeks ago when we filmed a particular scene* ... (Franz declined to describe the scene since the episode hadn't yet aired). There was Sipowicz going through this major life change, surrounded by the cast. And that suddenly hit me hard. It hit me real hard. I was so emotional. Choked up. I could hardly talk all day. That single scene got me to realize I'll be cleaning out my trailer and saying good-bye soon. Collecting my memories. Realizing what a wonderful experience this has been.

* The scene that Franz refers to will no doubt go down in the lore of NYPD Blue history: The February 1st episode ends with Sipowicz dressed in his pressed blue uniform, descending the stairs, on his way to the ceremony where he will be formally decorated as a sergeant. Upon reaching the bottom stair, he notices that the whole precinct is standing at attention, falling into a simultaneous salute. Sipowicz's eyes tear up and his lips begin to tremble, choked narrow with emotion. As quick as that, the true genius of Franz as Sipowicz becomes apparent: the actor consumed by the experience of his character, drenched in the scene that has become a breathing part of his personal history - and his life. ~John Aiello

 This interview with Dennis Franz was conducted on January 25, during the last week of shooting on the set of NYPD Blue. A version of it was originally published by the TNT Drama Lounge.

 Click on underlined text to see a 2003 interview with Franz. Scroll to bottom of page to read.


ON ROBERT BLAKE

Earlier this month, Robert Blake was acquitted of murder charges in the death of his wife, Bonny Lee Bakley. During these past 4 years, Blake has invested every breath and every dollar in defending himself against the largely circumstantial case the State had brought against him after Bakley was shot and killed in Los Angeles in 2001.

Now, just past 70, Blake is left to try and somehow resurrect his career -- a career that began when he was child and then spanned decades of memorable characters and brilliant biting portrayals (of which "Baretta") is but one.

This particular piece was written after Blake's arrest, following a discussion I had with another writer about "Tell Them Willie Boy Is Here." The 1969 film contains some of Blake's finest (and least remembered) work -- a cinematic triumph of spirit and will this testament to one of the great Thespians of our times.

Finally, Eric Ward's beautifully understated portrait captures Blake's most publicly accepted face: in the shadows of "Baretta," peering out through the walls of a cruel and stagnate future. ~John Aiello

ON ROBERT BLAKE

Looking into

The candles

Of your eyes

(dead)

Men on trial

(sing)

Hymns to ghosts

(Looking)

Into the

Silver candles

(of)

Your eyes

(saw)

The whole

World burn

(Good Men)

Tried with words

(multi)

The media

Of the wolf

(this animal)

Roams in packs

(newspapers)

Cold television

Static dreams

(saw)

Your photographed image

On screen

(it weeps)

The wings

(of)

The dying

(and)

The dead

(good)

Men tried

For their crimes

(but)

No proof

No evidence

No blood

(nothing)

Tangible with reason

(holds)

You here

(just)

A prisoner

Of words

(tried)

By ghosts

(in)

The courtrooms

(of)

The dead

(and)

The damned

(I saw)

You here

(just)

Electric phantoms across

Your mouth

(mopping)

Up the smell

Of old bone

(with)

The gasoline flames

(of)

This last

Living breath

~JOHN AIELLO

APRIL 2003 & 2005

© John Aiello. 2003 and 2005. All rights reserved.


BLOOD FANATICS

(In analysis of the concept of war extending tribal times through our present age)

And who

(was)

This face

(emerging)

From a thirsty

Ash-black panel

Of shadows

(in)

To the

Iron teeth

Of the shade?

(emerged)

From the misty

(diamond)

Blue mouths

Of storms

(animals)

In lamb

Eyed wool

(pollute)

The guise

Of God

(these)

Embittered lies

(killing)

Young man blood

(sipping)

From war

Time pools

(the gristle)

Of our

Blood feeds

(the)

Hollow holes

Of the machine

(empty)

In electric space

(where)

The gentle

Human skin

(of)

Their souls

(used)

To sleep.

~John Aiello

August 2004 & March 2005.

Obviously, criminal defense attorney J. Tony Serra cares about our planet and its ultimate direction - his every living breath perfectly exemplifying this fact. And even though you may not agree with the perspective Mr. Serra presents in the following essay, our goal is to make you passionate about its subject matter. Don't just sit idle and comatose. At least take a position and point-of-view. Establish the deep continuity of thought. Absorb the cause and effect of footsteps as you realize that any present action always blood-related to future generations of act and action. Don't sit idle and comatose. At least seek to understand what is going on in your world. ~The Editor.

LUST FOR JUSTICE:

CONTEMPLATING TERRORISM

By J. Tony Serra

September 11th ushered in, as a dominant legal theme, the concept of terrorism. The legal domain has utilized the phrase previously. SLA was alleged as domestic terrorism, but now the idea of terrorism is omnipresent. It is on everyone's lips and we're being marshaled, we're being prepared as a culture to address it. I'm talking about the United States of America, to wage war on everyone and anyone that poses an alleged terrorist threat, and I guess what that means is anyone who, in any fashion, would do violence to us or to our cause or purpose or ally or resource. Accordingly, I find myself in a very ambivalent mood in reference to the concept.

Remember that we are brought to respect revolution, to achieve freedom, to achieve independence, to achieve liberty. We had our own war revolution. The French had their war revolution. Most South American countries had their own revolutions. We believe in overthrowing despotic, oppressive governments by revolution. It's in our history. The concept of none dare call it treason if you win. It is imbedded in our mind from childhood forward. So holding that thought for a minute in abeyance: that we don't deny the value of an armed revolution, we embrace it as part of our history and as part of the manifest method of changing unconscionable oppressive government.

Secondly, this might be naive, but I think implicitly when people go to West Point or Annapolis and study war or history of war and ways of making war, they are taught that (they must be) in order to win a war, you have to kill innocent people. That must be the way to wage war. That's the way it's always been waged, as horrible as it sounds. From tribal history, was kills the women and children of the enemy. We. America, the United States as culture, we unleashed the atomic bomb on Japan. We are the ones that mercilessly inundated Berlin. We just bombed the hell out of them. We killed everyone with the blockbusters back then. We killed countless civilians in the Second World War. I'm talking about man, woman and child, innocents, not soldiers, not military installations, not tank versus tank. I'm talking about killing innocent people - Britain did it in their colonization of half the world. The way you win is to kill innocent people. I don't like it. I don't subscribe to it. It's abhorrent to me but I think that's the way war is waged.

So let's take these two above precepts I've just naively and obliquely referred to and apply them to terrorism. The United States Marines, I'm told, in the Second World War in the conquest of one of these Pacific Islands (It could be Iwagema), sent up two hundred and seventy Marines to take a hill where the Japanese had fortified themselves. Something like twenty or thirty survived. The rest were killed. It was a suicide mission. They knew when they charged, that most would die. So you see, we also use and cultivate in the ranks of our soldiers, suicide warriors like the Japanese kamikaze. We have them. They are called Marines. We honor them and respect them and love them and cherish them and it's because they are willing to sacrifice their lives, for allegedly, our defense. They go through training. Some people will call it brainwashing. They are trained to surrender their lives and they are willing to do it, just like the so-called terrorist straps bombs to himself, walks into a bus, walks into a temple, walks into a church and blows himself up. It's not dissimilar. Terrorism is not dissimilar to the way war has always been waged with suicide warriors, with infliction of death on innocent people and with an objective of freeing yourself from oppressive authority that constricts your liberty. You see, ideologically, I can't draw much distinction between what the terrorists are doing and what we've done symbolically and actually over the course of our history: we, being the United States of America, and we, being the human race.

The issue is very complex for me. I'm one, Jewish; two, American; three, a pacifist; four, anti-military; five, somewhat anti-authority. So when I say I can empathize ideologically with acts of terrorism by analogizing them to our own revolutionary past and our own mode of making war, it's not to say in any respect, I endorse killing civilians. I abhor it. It's horrible. I just say that the human race is very brutal, very "survival of the fittest,' very naturally selective - especially when waging war. And those who commit suicide as warriors are following in the footsteps of all warriors in all times that have preceded them with the same acts of sacrifice - these acts of violence against innocent people.

It is obvious that it has to end: it has to stop. It's not the right way. It's horrific. The right way is not to continue in acts of mass destruction, but we're doing just that. Also, the United States of America is doing that with our airplanes and our bombs and our armaments. It won't happen in my lifetime, but total cessation of all violence has to occur or this planet ultimately will self-destruct: not necessarily in acts of atomic weaponry, but in the aftermath of war which will ultimately taint and degenerate and pollute our planet.

So, I'm sorry to say that I'm not feeling so patriotic about going out and killing everybody. Sorry to say, I can understand and empathize with suicide bombers; sorry to say I understand it in its historical context. I'm sorry to say that if we fight fire with fire, we will burn. Simply, it's the improper path.

We are all going to be watching. Let's hope war doesn't burn us all.


J. Tony Serra is a noted defense attorney who practices in San Francisco, California.

"Lust For Justice: Terrorism." © J. Tony Serra. 2005. All rights reserved. J. Tony Serra and The Electric Review.



"PIPER AT THE GATES OF DAWN"

VAN MORRISON LIVE ON STAGE

A Meditation

I.

And the

Cold harshness

Of time

(dissolves)

When we hear

Him sing

(live)

On stage

(angels)

Married to

Their wings

(sing)

Of God

(he wears)

A bonnet

Of blood

(crown)

Of clouds

(limits)

Without bounds

(sings)

Ripe roses

At dawn


"WILD VEILS"

         AN INTERVIEW WITH SHANA MORRISON

By John Aiello

"And this voice (that) came spilling from beyond (wild) veils are blowing (blood) and God (in) thick musty clots (this voice) spilling over the misty cliffs at dawn (roared) out the 'shape' (silken) into fists of thunder (sacred) into cups of color (shining) against the infinite (music) at dawn (came) and relieved them (one) by one (and) the captives were released from death (blood) and God (flash) a series of knives (faith) is this (piece) of skin (eyes) upon the face-"

--John Aiello On Shana Morrison in concert--

"And I'm looking for the answers/Or the question/Reaching back through generations/With a vision"

-"Connection" Shana Morrison/Narada Michael Walden-


Read the full text of each of these stories on Van and Shana Morrison on the Features & Profiles Page in the July 2004 Archives



THE FICTION CORNER


Periodically, The Electric Review will feature new, original works of short fiction and poetry as a means of circulating the efforts of promising new writers: Our goal here is to help expose these works to publishers and to our international community of readers. ~The Editor


PRESENTING CALIFORNIA WRITER

 

KATE CAMPBELL'S

 

      Songs from the Caldera

 

I.

 

Circus Chimera

A soft wind lifts dust from dry fields and blows it around the setting sun, muting the evening light. Temperatures cool on the hard, flat belly of California's Imperial Valley. Lizards and snakes crawl from their hideouts, searching for prey. Heat waves shimmer on the asphalt ahead of the car carrying Juana, Sandra and Maria to the rag-tag carnival set up on the edge of Calexico. It's plopped in an uneven lot, rutted from trucks that wait to cross the Mexican border. The girls sing songs in low voices, giggling as they bump along in the back seat.

The day's heat, 117 degrees in late July, has kept the sisters indoors, watching TV and playing board games in front of the air conditioner under their grandmother's watchful eye. Tonight, after their father gets home from his meat cutting job at the Brawley beef packing plant, and the heat throttles down, the family ventures out.

When they get to Circus Chimera, their father finds other meatpackers who've brought their children to the traveling show, too. They sit and drink lemonade in broken green plastic chairs, set randomly beside a faded red and white food trailer, its torn awning limp in the breathless night. The children are turned loose as the hot vice of summer loosens it grip. An old thermometer hangs loosely from the side of the trailer. It has cooled to 107.

The sisters buy tickets from a battered booth and climb into the air-filled bounce house, slowly lifting and falling, sweaty legs stuck to blue plastic. Around them the rides whirl and flash. The air smells of axel grease and cotton candy. Knees bend. Ankles flex. Up and down. Up and down. Yellow and red shadows swirl around them. They bump against each other, fall in a jumble, giggle, roll. They pull sweaty shorts away from damp legs and loosen stuck panties. They jump again and again, mouths open, legs spread. Falling, falling. Giggling, giggling.

Carlos had struggled in the mid-day heat, a strip of torn T-shirt tied around his forehead to catch the sweat, to set up the children's attraction, drinking beer, pumping hot air. Now he leans against the side of a trailer and watches the girls, light headed from the heat. Sweat pours from his armpits, stains his tank top, releases an oily beer odor as he lips a cigarette. He'd crossed the desert on a moonless night behind a coyote, tripping over a barrel cactus that embedded its spiney tips into his chest. He did not cry out. He'd fled Magdelena, when his neighbors, led by the priest, chased him from Mexico for touching a child. He'd floated down the sewage in the New River into America on a dime store inner tube, crawling, hiding by day, finding this work as a roustabout with Circus Chimera.

He watches the girls now, sees a flash of pink and a small brown belly. He sees even, white teeth, flashing brown eyes, long, black hair, loosened from barrettes, tousled. His tongue darts to his dry lips. He licks the salt of his own sweat and sees his chance. He fingers his crotch, lifts his long, black hair gathered loosely in a ponytail that, in the heat, hangs heavy on his neck. His eyelids drop to slits.

He comes to the edge of the jump house and calls to the girls through the mesh enclosure.  They stop to listen. He calls again. Do you want candy? They ask what kind? Fresa. They come closer; shoulder each other to be in front. He pokes pink pieces through the mesh, calls them ninas bonitas. They laugh and bounce on their bottoms.

He says they should see the snakes in the trailer next door. It's cool and dark inside, he says, and promises to lift them up to see the black widow spider. He says he will let all three of them in for a dollar. The girls, tired of the heat and the excitement of jumping, reach in their pockets, pool their change, give him seventy-five cents, go inside. It's cool and black. They shiver, feel a little dizzy.

Carlos picks up Sandra before her eyes can adjust to the dark and quickly runs his hands over her hips, gauging her heft and sets the eight-year-old down. Then he picks up eleven-year-old Juana, he says so she can see better. Not meaning to, he pinches the skin in her armpits, making her squirm and hard to handle. With his right hand shoved down the back of her shorts, he feels from behind for what he needs - soft flesh; full vulva; deep, wet crack, he wiggles his fingers. Juana gives out a startled yelp and swings her elbow at his head. She bucks and kicks. Carlos holds her close, sets her down. The girls run from the trailer into the hot orange light of Circus Chimera, little Maria stumbling on the metal steps as they escape. The fathers hear them, push over the plastic chairs, grab the girls, charge the trailer.

Carlos welcomes what will happen next. Air-conditioned cell, color TV, guards lazed by the heat. For a moment he's relived the pressure of picking up and laying down of his lust. In the dark, before he is beaten, the fathers breaking his nose and loosening a few teeth, and the Calexico police arrive, Carlos licks his dirty fingers, satisfied with the dainty taste. Later, he waits like a sissy for trial in the sweet, sticky honey pot of the Imperial County jail, bleeding from his ass like a girl, puncturing his arms with plastic forks just to feel the sizzling jolts of pain.

Something stirs in the Sonoran Desert. Then there is silence, shooting stars, flowers blooming in the dark and dying before first light, deer pointlessly butting chain-link fences along canals where they once could drink water. Lizards with long, black tongues lick crystallized piss from rocks where the desperate and hungry relieve themselves on their way north. Carnival freaks with greasy hands reach out from the shadows of the dime toss and Tilt-a-Whirl to sample local sweets and, in the heat, flick their tongues and don't give a fuck.

 

II.

      Safe from Suffering

 

Playing in the garage, my father sweeping.

My kitten playing in boxes, chasing string.

Fog gushes in from the bay, mixes with

eucalyptus oil, swirls into a stew of

odors the summer I turned seven.

 

My father smells like Old Spice aftershave.

He's not drunk today.

 

He found the kitten, small and gray,

in a box outside the grocery store and

brought it home to me. I keep it in my room,

at the end of my bed and call him Smoke.

He follows me, won't go away.

 

The calm of chores and making nice.

A summer lull.

 

The lawn is mowed. The grass is raked.

My mother stays inside. Vacuumed air.

Lemon oil. Laundry soap. Bay leaves boiling in a pot.

My father whistles, swats cobwebs.

I ask questions he's not always there answer.

 

Marguerite daisies by our front door push their

faces to the light. I pick them, go inside.

 

My mother scolds that flowers are for

looks. To show the neighbors. They make

pleasantness on the street. If they're picked,

they die. Besides, she says, they're not

mine to take, anyway.

 

Go outside.

Play.

 

Next door, the Colemans come out,

try to start their car. They greet my father,

who smiles his funny, tight-lipped grin.

He squints, pulls his spirit closer. I see it dart

back inside. They get out, raise the car's hood.

I go get the screw driver. Stand aside.

 

My father leans in, tinkers, says it's the idle.

The hum goes smoother. I put the tool away.

 

The Colemans get back inside, gun the engine.

The car begins to roll, slow, pulling out,

Mr. Coleman looking the other way.

My father waves. I see the cat.

 

I yell. I run. The crunch under the wheel convulses me.

I fall, skid on fresh-clipped grass.

The Colemans stop and he gets out. My Kitten

skitters down the gutter, dragging his hind legs

 

My father, calm and quick, goes into the garage, gets a

hammer, hits Smoke in the head, he says So he won't suffer.

He says it's for the best, and guileless, prepares me

for his own future. Empty bottle, broken neck.

 

My father grabs my kitten's smashed hind legs,

carries his dangling body into our briefly tidy garage.

 

 

III.

 

Potato Salad Sisters

 

I should have known when you told me.

Fifty pounds of potato salad is more

than you can make in your tiny, greasy kitchen,

with its tomato-red counter tops,

out of date since 1950.

 

I should have known that since I inherited Mom's big,

heavy pots, that I've taken care of all these years -

made turkey dressing in, beans for baseball barbecues -

that I would be the one to do the salad job.

All those years you drank and dated dangerous men,

while I took care of business.

 

When you came struggling through my front door

with your sacks of onion, celery and potatoes,

I should have known, smelled the salty

San Francisco air, should have remembered

I'm the big sister, and it's still like

we're little girls again, sharing a room,

fighting over paper dolls.

 

I should have known we'd soon

be stirring the resentment pot.

 

I should have known you would deny secretly

soothing the salad dressing with sour cream,

that you would buy cheap mustard and beg

tang from the horseradish in mine, that you would turn

away, squeamish, while I sprinkled raspberry

vinegar on boiled, naked spuds.

 

You put your hands in Mom's big pot and mushed

as I spooned dressing. You said you wanted it wet

as your tight pussy and wiped a mayonnaise-coated

hand across your fat tit. I scraped the bowl

and licked the spoon. You cracked a shell and said

you love my hard-boiled-egg farts. I frowned.

 

All those years I raised our sons while you ran wild.

We swatted flies on my back patio, talked about our

grandchildren, diced sweet pickles, warty little puds.

You said all men really want is meat.

I said yours is tough and stringy, even if it's free.

We laughed, you choked and I should have known.

 

Tomorrow, the men at work will rave about your salad, you said.

I said nothing, but should have known that you'd take

all the credit and I'd end up delivering it.

 

 

IV.

 

Roadside Distraction

 

Sam's stomach lifted and shifted as he came over the rise in County Road 32A. He traveled the road, cracks shaped like alligator skin, to and from work every day. Way up ahead he saw a car pulled to the side with the trunk open. He noticed because strange vehicles were rare on the back roads around Courtland, a delta farming town south of Sacramento. A summer breakdown, with no wind or shade or water, meant a quick case of heat stroke. Like everybody, he automatically stopped to see if he could help.

 

Courtland, with its tidy cottages, crumbling post office and trailer park where Mexican field workers and their families live, was a hazy outline far off in the distance. The is town nestled along the levee, below the level of the Sacramento River that flows lazy in late summer, riffled by an occasional jet ski or an otter plunging in to cool off. Fruit ripens on backyard pear trees and chickens cluck deep in their throats as the afternoon warmth builds in their ramshackle coops.

 

Through the heat shimmers rising from the asphalt Sam watched a figure look into the open car trunk. He mentally calculated how long it would take to help change a flat. Maybe 20 minutes, a half hour. His hands were dirty anyway from working in the vineyards. He'd spent most of the day running the irrigation crews near Lodi - checking sprinklers, adjusting drip lines. This won't take long, he thought. Worst case, he'd give the driver a lift into town.

As if flying a plane, he glided down the road in his new pickup, a sensible white F-150 with a utility box bolted across the bed, shovels rattling. The stranded car got bigger, its outline sharper. With the sun in his eyes and the wheat swaying in the hot puffs of Delta breeze, Sam didn't really know what color the car was, much less the make or model, didn't care. The temperature was topping 104 degrees and pushing higher in the late afternoon. The car's details didn't matter. A cold beer did.

 

Nothing much ever happens on this road, he thought.  An occasional bale of hay got bucked from a truckload or a farmer got to driving too fast while talking on his cell phone and drifted into a ditch. Sometimes the guy died. Depended. The sheriff never came out this way, no dip-stick ambulance driver could find this place. It was no man's land, he thought as he blasted down the country road in the dog days of summer.

 

She stepped from the back of her car to the edge of the road like an explosion, bursting through the whites and beiges and sun-baked yellows of the simmering afternoon in a dress the color of ripe Bing cherries. The breeze billowed her skirt.

 

He downshifted in an automatic reaction, almost whistled, and pulled in behind her car, sending hot gravel flying. Before he could turn off the engine, she was at the driver's side window, leaning toward him, smelling of vanilla, brown hair shining like cinnamon and spun sugar in the sunlight. He cut the engine, pushed the hazard button.

 

"Can you help me?" she asked and Sam nodded not knowing what he was agreeing to. "It's my dog, Freckles. She's having puppies. Come and look."

 

Sam grabbed the door handle and pushed out, leaving the keys in the ignition. She was hanging onto the window frame and he almost knocked her over. He stepped down and started to move around her, glancing at her feet. Little, he thought, and in white sandals with bows on the toes, not from around here.

 

"What are you doing out here on this tractor road?"

 

"I'm trying to get to the vet in Courtland. It's Saturday and my regular vet in Elk Grove isn't open," she said, puffing a little in the heat. "The girl on the phone in Courtland told me to bring Freckles right in. She said take Road E2 off of Highway 99 and go west. I'm lost."

"You sure are," Sam said. "This is the back way."

 

"She said the vet would wait for me," the girl said, craning her neck, looking away. "I put Freckles in the back seat, but she stopped breathing. I pulled over and rubbed cold water on her. She started breathing again, but now she's whimpering like she's really hurt. She's in the back seat."

 

Sam and the girl took the few steps to the car and looked in.

 

"That's a big dog," Sam said, marveling at the size of the pit bull stretched out across the back seat. "I'm surprised you could lift her in there."

 

"Oh, my God," the girl said, recoiling. "The puppy's half out. It's dead. I know its dead. It's dead!"

 

Sam put his hand on the woman's shoulder and felt the sun's heat on her skin, the closeness of her bones. She started sniffling and stepped away from the car, back toward the truck, as if to protect herself from the sight.

 

Sam leaned in, stretching across the seat, hitting his knees against the car's frame, teetering on his toes as he reached for the dog. He talked softly. "Nice girl, good girl. Pretty Freckles, pretty girl." Then he pulled the limp puppy from between its mother's legs. The dog turned the instant the pup was removed and clamped her jaws full force onto Sam's hand. He dropped the puppy.

 

The pain from the bite buckled his knees. He hollered like he was falling from a cliff, the sound echoing in his ears, riffling the wheat in the field beside the car. With its jaws firmly locked on Sam's hand, Freckles died. He turned to look for the girl behind him but she wasn't there.

 

She sprayed gravel as she peeled out in Sam's new truck, fishtailing as she drove down the lumpy road, waving goodbye out the window with her slender hand and blood-red fingernails. He looked over the car's front seat and saw wires dangling below the ignition. There were no keys. The horn was beyond reach. It hit him that the car was stolen, probably the dog too. Looking back at his hand clamped in the locked jaws of the dead dog, he saw four bold letters stamped in gold on its thick leather collar.

 

Just before he passed out, Sam saw there wasn't much blood seeping from the punctures, although his hand was swelling, and it occurred to him he might not make it to work tomorrow. When he fainted, Sam fell across the car's backseat on top of the dog, his dirt caked work boots hanging out the passenger side door.

 

In the dark he felt their hands, moving over his body. The smell of stale beer and body odor brought him to his senses. They spoke Spanish. Sam understood some of what they said from his work in the fields. The men felt in his pockets and took his wallet. They rolled him over and found Sam's hand in the dog's mouth. They reached over Sam's body and hit the animal's jaw with a tire iron. It sprang open like a trap. The men pulled Sam out of the car by the belt loops on his pants, cradling his head as they gently lowered him to the ground, saying hurry up. Darse prisa! Darse prisa!

 

Sam looked at the ring of brown faces above him. His head was lifted, water was forced to his lips. Someone carefully placed his wallet on his chest.

 

"Como te llamo, Senor?"

 

Sam choked, cleared his throat, and whispered, "Bitch's name is Rita."

 

 

Portfolio by Kate Campbell. © 2007. All rights reserved.  


NOTE TO READERS:  

These are original works of fiction. Any similarity that may exist between the characters represented here and actual individuals, either living or dead, is purely coincidental. 


  California writer Kate Campbell is a journalist and photographer who has been working in fiction and poetry for the past several years. As a journalist, her writing has appeared in major daily newspapers and regional magazines. In addition, her photography has also been widely published, while her first short story appears in American River Review's 2007 issue. Campbell, who grew up in San Francisco, now lives in Sacramento, where she is grudgingly coming to grips with the heavy clay soil in her garden and the ever-present dust on her furniture. She's currently at work on a full-length novel.


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