Thursday, June 30, 2011

Going Bananas

It's a hot day and I'm worried about the world and my own world. It's a hot day.


Friggin in the Southland

is tiresome. My fingers are
slick bones, numb tipped,
sensitive to women,

unable to hold employment.
Their raw, quick pain seeks to destroy
an imaginarily opera I’ve concocted.

I can’t hold the notes to completion
any more than the armless bitch
in the breastplate can deny

she’s chased away half the house
with halitosis. My sense of smell is sore
as fingerprints on a triggered bomb.

I gotta get outta here.
Don’t try to take my picture.
Don’t follow me with lotion.


Wednesday, June 29, 2011

Long and Lean

Though the poems presented here may seem new to a reader, they are not really all that new to me. Some are older than my step children. I can't wait to see what finally happens.


Someday

my shelter will move quickly
like the hands of smiles.
An enchantment of seekers
haunts distant hurricanes
pretending to waltz inside loneliness.

Subways ache to warm feet
hiding from a cotton moon.
Dodging comfort, half-slice heels
rest in the stern of tight shoes.
Days without words walk open armed.

Cloudy tumbleweeds, pushed along
by gusts of rabbit zagging wind, roll.
Dying memories behind dulling ears
dart from mind's weary scenario.
Tomorrow waits for passing thunder.

Tuesday, June 28, 2011

Banana Cheese

Like an elf (Synth Elf?) in a final Christmas Eve production run, I'm furiously working on new material. No kidding. It takes time, but it won't be very long before it makes its way here. Until then...


Bone Head

            The hair faded & thinned away. The skin wore down. The skull ate through. It was a funny contrast, the bleached orb swelling above his eyes. They called him Moonhead until the dome sharpened like a pencil.
            By the time it had shot-up nearly a foot, he had meeked away. He covered his head with dark plastic & walked blind in traffic. His face lost color under the bag.
            He took off the plastic & dove from a peak. He hoped to ram his pointed skull back into balance. After falling a distance, he began to fly upward, spinning like an airplane propeller past the clouds.
            “I think I see God,” he said.
            There was a bright flash. He was engulfed.


Monday, June 27, 2011

Monkey Flip

Kinda the usual fare this evening, but I swear, new content is coming. I'm hard at work on it now. It'll probably be fun.


All Wacked Out

I’m drunk with hallucination,
intimidated by angles. Your fantastic reign,
the whole psychic matter, freed
just enough skin to melt landscapes,
destroy the configuration of sleep.

Under cavernous worm-holes,
the spells of lonely monasteries extract
fastidious doldrums from naked wounds.
Trumpets rattle carcasses of desire.
Effacing gardens ensure malaise.

The brilliance of my own affairs,
de-pinned like hazy hand grenades,
guiltier than a notorious syphilitic plague,
often hides my secluded charms,
knocking out an entirely artless afternoon.

Third rate contempt frowns on memory.
Brainy guts divide mists of acid.
Image belts action into sacrifice.
Please don’t waste your death
plotting the repose of angry television.


Saturday, June 25, 2011

Boppin 2

Here's part 2 of my cover band essay.


The Residents

            The Residents rank as my co-favorite cover band because, like The Vanilla Fudge, the group really knows how to deconstruct a song and get to the psychological center of it. That, however, is where the similarities between the two groups end, for where The Fudge bursts out with a furious rock beat, The Residents occasionally have no discernable rhythm. Some of their songs sound as if performed by a group of third graders who have ingested LSD and been turned loose on a clown festival in the gymnasium. Others have a simple beauty and touch that is shocking. Then again, when the band wants to be mean, as in (I Can’t Get No) Satisfaction, the sounds of The Devil himself roar from the speakers.
            The cover of the first Residents album, 1974’s Meet The Residents, was itself, with a few alterations, a cover of The Beatles’, Meet The Beatles! cover. The fun begins with Boots, a cover of the Nancy Sinatra/Lee Hazelwood song, These Boots Are Made for Walking. Boots sounds like something composed by Frank Zappa and Moondog and performed by a barbershop quartet and a Salvation Army band. If that’s not enough, the actual 45rpm single of The Human Beinz’s Nobody but Me is mixed into a holiday piece entitled Seasoned Greetings. The remainder of the album exhibited a primitively proficient form of instrumental and vocal prowess that more or less informed the band’s output from then to now. When I first heard the record, in 1979, I’d already heard a goodly amount of progressive music, so I really didn’t think much of it except that it was interesting, though a bit half-baked.
            The follow-up to MTR, the mind blowing The Third Reich n Roll, was fully baked. Presented as two suites, Swastikas On Parade, and Hitler Was a Vegetarian, one per album side, TRR was made up of Residents versions of popular hits from the 60’s and early 70’s. Opening with Let’s Twist Again (sung in German), the band winds its way through such danceable classics as Double Shot, Hanky Panky, The Letter, and Wipe Out. Side Two begins with Judy In Disguise and twists from there, including my favorite, Good Lovin’. The music is all over the place throughout. Light My Fire falls between Rudy Vallee and Satan. Gloria sounds like Bob Dylan singing with an Asian band. The perfect ending to the album is a mash of Hey Jude and Sympathy for the Devil. I bought TRR and several other Residents albums via mail order after reading a Heavy Metal article by the great Lou Stathis, published in 1981, chronicling the history and music of the band.
            In the seven years following 1976, The Residents released eight albums without a single cover song. Some of these, Duck Stab/Buster & Glen, Eskimo, and The Commercial Album, are among my favorites. The songs Birthday Boy, and Sinister Exaggerator changed my mind about everything I had previously thought of music, as did the EP Diskomo.
            The release of George and James in 1984 brought a suite based on George Gershwin, on Side One, followed by a version of James Brown’s Live at the Apollo on Side Two. Subtitled The American Composer Series, several other pieces were planned, and one, Stars and Hank Forever, was actually released. These works, and associated singles Like Hit the Road, Jack and It’s a Man’s Man’s Man’s World, show The Residents examining the psychological natures of song lyrics and music in ways few others do. Nowhere is there a better example than 1989’s The King & Eye, a psychological study of the life and music of Elvis. Songs like Return to Sender (“I know it ain’t the post office; it’s you…”) and His Latest Flame particularly exemplify just where man is when it comes to women. In short, The Residents reveal the baby in man: his needs, longings, and selfishness.
            Ok, I readily admit that the band is not for everybody, and like any challenging endeavor, the music might not take on first listen. Some songs explore territory I am not interested in, and others are just too bellicose to tolerate. Face it, not a few people object to taking seriously songs that sound like third graders on acid, and though I like many songs that sound like that, thank god there are other pieces to examine. The suite Cube E, featuring two parts, Buckaroo Blues and Black Berry, explores two particular types of American folk music associated with cowboy concerns and those of slaves, all wrapped up in a score that recalls Aaron Copland. It’s difficult to find that sort of combo anywhere.
            There are many things I have failed to mention but figured anyone with a computer can find anything I left out, but trust me, many surprises await you. Many Residents’ songs, and in some cases entire albums, can be freely heard on Grooveshark. So, if you’re tired of everything else, give The Residents a chance.

Friday, June 24, 2011

Bananas Foster Brooks

I'll post stuff about The Residents tomorrow. Today a poem and picture.


The Unanswered Question

I saw a car I wanted,
along with a girl in the front seat.
Is she an option?  You know,
like anti-lock brakes,
or a sun roof?

Girls like her, with blonde hair
that blindingly reflects off red fenders
or passing windshields, & green eyes
large enough to refract head & shoulder
shots, ride in cars
like the one I want.

No need for small talk,
for all my talk will seem small to her.
I flip a quarter several times
to decide on some approach,
but will likely chicken-out
without even eying the sticker price.

Thursday, June 23, 2011

Banana Juice

All kinds of new content is on the way. Beware. Here's a poem and picture.


Trouble with the Dolls

Girls are turning into glass.
My girlfriend turned last week.
I hadn’t seen her in a couple of days,
so I was surprised by her appearance.
We tried, at first, to ignore it. We kissed.
Her lips were nipply cold.

I looked into her eyes,
all the way back through
the workings of her brain.
Carefully, I changed
the subject to love.
No position seemed to work.
“But I must feel,” I said.
“Don’t break me,” she said.
We haven’t made love since.

My breath will soon
fog my lover’s hips.
I’ll polish her with gentle,
dainty silk.  Foam padded
lingerie made of composite,
space-age materials guaranteed
to protect all holdings might
help, but she refuses to
indulge in what I like. Her
sharp tears nick my fingers.


Wednesday, June 22, 2011

Proudy Raise All Bananas

I don't remember where this came from, but it seemed like fun.


O All End

& thus concluded, fiction
(last) stirring, hanging,
yearned to extinction,
occasions livelier introspection,
closure, quietus to critics,
than academic detail.
Blessed exhaustion fascinates
reflection on the literary canon.
Many a Harvard professor,
tenured, curiously valedicted,
not to mention no few
Germans (their legendary
generosity), rewarded insiders
with a conviction of expression
stripped of all English renunciations.
From 1906 to 1927 such
texts nakedly decorated
psychoanalysis through bitter
scores of unhappy, persistent
20th century plots. Mere
mockery of Victorian etymology
rang like onomatopoeia in lesser
permanent groups’ collected achievements.
Teaching eventually rendered all laughable.
Slippages in grammar, disreputed
style, & misused, irrelevant
dissatisfaction mocked its own
buckling, comical automatisms.

Tuesday, June 21, 2011

A Bunch

I'll try to finish what I started later this week. Here's a poem and a picture.


The Bag Lady

The bag lady
jumped when Vito
screamed, then looked
around & laughed.
“Is that all?”  she said.
“A crawdad with a stinger?”

The lady pulled up
her coat sleeves, watching
as the stinger circled,
more flexible than she
anticipated.  “I got a pair
of gloves,” Vito said.

They trapped the scorpion
inside a jar.  Vito lifted
the rim & squirted lighter
fluid.  The scorpion struck
at the blue, plastic tip.
Its dance couldn’t stop
the carbon or the flames.

The bag lady
said grace & knifed open
the scorched thorax
& forked out the meat.
“I know it’s an insect,” she
said, “but with pepper
& hot sauce it’s just like
a first cousin.”


Monday, June 20, 2011

Boppin

Here's a brand new piece.


            Were the improbable question, “Who’s your favorite cover band?” to be asked of me, the instant answer would be: “The Vanilla Fudge and The Residents,” for I love each band equally and cannot narrow my choice between them. In fairness to others, nearly all artists at all levels of accomplishment have covered another’s composition. Among my favorites, The Beatles, The Stones, Frank Zappa, John Coltrane, The Smothers Brothers, etc., some have cranked out fine covers at various times throughout their careers (The Stones covered The Beatles’, I Wanna Be Your Man, early on, and many, mostly R&B remakes, throughout), others only in the beginning. Artists at times stick closely to some parent arrangement and adding  stylistic elements that identifies them, while others may totally reinvent an arrangement to go with a peculiar style. What’s so special about The Fudge and Residents is that they don’t just cover structures, licks, and inflections of the songs they redo, but they also, in ways few ever have, cover, structurally, instrumentally, and vocally, the psychological aspects of the songs’ contents.

 The Vanilla Fudge

            The first Fudge album landed on the beachhead of psychedelia in late 1967, as ready for the Fall of Love as were The Beatles for the Summer of the same. In fact, the opening song from Vanilla Fudge was a cover of Ticket to Ride, and the closer a cover of Eleanor Rigby (ending with the quote, “Nothing is real/Nothing to get hung about.”). What’s different about these covers (and they are all covers except for three short mood pieces entitled Illusions of My Childhood, parts 1—3, which introduce the three songs on Side Two) is the deconstructive arrangements of the song forms. While The Beatles begin Ticket with a six note guitar motive, Fudge organist/vocalist Mark Stein opens from a growling Hammond with two successive left-hand notes a perfect fourth apart. His right hand plots several airy figures which increase in intensity and harmonic complexity as the other bandsmen saunter in one after another to form the groove, played in a more R&B style than The Beatles’ take. The vocal execution is just as iconoclastic as the instrumental arrangement. The Beatles sing about a girl cutting out; Tim Bogert, bass player/vocalist, and lead vocalist on Ticket, sings about a guy who’s about to have an emotional breakdown. He really lets fly a few times as the band heads into two dynamic instrumental interludes.

            Perhaps the best known Vanilla Fudge song is the band’s cover of The Supremes’ You Keep Me Hanging On. Though the LP cut was listed as a little over seven minutes in length, the version I first heard was an edit of less than three minutes produced for radio. The song didn’t chart well, so I didn’t hear it often until a friend procured a copy of the single. Upon hearing the entire song in the summer of 1968, I was hot on buying the album (my parents bought it for me as a Christmas present that same year). Like other Fudge songs, Keep Me has a long introduction, and an incredible range of dynamic events within its structure. Dramatic (some have said, “melodramatic”) vocals from Mark Stein and the powerful drumming of Carmine Appice highlight the piece, but it is the band effort that makes it fly. Vince Martell, guitarist/vocalist, was able to fit some of R&R’s best faux raga into the frameworks of several songs.

            From the Jr. Walker & the All Stars song Shotgun, to the old Lee and Nancy hit Some Velvet Morning, there are many other Fudge covers to experience. Original pieces also poured out of the band from the third album until the fifth and final LP, released in 1969. Around forty years ago a critic from Rolling Stone popularly put forth the notion that The Vanilla Fudge played everything real slow. I don’t know how much of The Fudge’s music the critic listened to, but the statement about the tempo misses the point. The music might have any number of dynamic ranges and tempo changes within a single song. Sounds like the RS critic listened to a couple of intros and skipped the rest. That’s a shame. Don’t make the same mistake.

Vanilla Fudge albums:

Vanilla Fudge: Iconoclastic debut. To be honest, there are a couple of duds in there, but overall, still a mindblower.

The Beat Goes On: The history of western music as filtered through The Vanilla Fudge. Some of this is quite silly, but mostly in a good natured way. I thought most of it to be very humorous, but I don’t know whether or not that was intentional. If you have to skip one, this is the one.

Renaissance: This is the first Fudge album composed, with the exception of two covers, by the band. Like all Fudge albums this one is uneven, but emotionally naked in an entirely new way. Forget the confessional folkists that came along a couple of years later, the guys in The Fudge went into the very belly of human insecurity.

Near the Beginning: After an explosive version of the afore-mentioned Shotgun, the angelic harmonies the band became known for soar through the rest of Side One over Some Velvet Morning and Where Is Happiness. Side Two is covered by a single 40 minute excursion into solo and lead playing called Break Song, which is somewhat interesting at times, but like I said, it’s 40 minutes long.

Rock & Roll: Some really odd stuff makes up this album. A couple of the songs are innocently goofy, and a couple are just plain bad. Overall, though, the album is worth it if just for Need Love and Street Walking Woman. Like the best Fudge assaults, these songs bulldoze everything in their ways. Look out!

            Don’t take my word (ya wouldn’t anyway), go to Grooveshark or someplace where it is possible to listen to entire albums or playlists. The song titles I’ve mentioned represent The Fudge’s strongest works, so try one or two of those and see how you do.


Saturday, June 18, 2011

Bananas Never Sleep

I offer a poem and picture.


My Monster

The monster in the bathroom
wants to eat my brain.
I can’t keep him out of the tub.
He drinks all the commode water.

My wife’s scared too,
but she wants to resist him
more than me. She hates
claw marks on the toilet paper.

Some nights, when he pops
out from behind the dark
to scare the towels, I want him dead.
“You bastard!” I whisper as he slinks.

He stays out of sight in day,
but sounds like a drunk all night.
It’s impossible to get decent rest.
Often I sit up & pretend to watch

television to avoid a confrontation
over an infomercial. Sometimes I feel
sorry for him & want to become friends.
I ponder inviting him to the sofa to drink

some beers, watch the late movie.
We could talk about our troubles,
or ask friends over & really party.
My wife hates the idea. “What if

he breaks the china?” she says. “What if
he drinks too much & tears down the house?”
I say it couldn’t be worse than it’s already been.
The monster has no place to hide.


Friday, June 17, 2011

Rotting On the Branch

Well, it's today again. Here's a poem and picture.


The Bo Tree

Zen Vito.
He has found the meaning
of pure television.  With legs
crossed under him, his mind,
floating on thighs, is one
image, one waveform repeated
in alternating black & white scans.

“Wu!”  Vito says.
His toes wiggle roots
growing from his ankles
down a stubby sofa leg
across the floor into the soil
of potted plants.  “We are
living things,” he says.

Silent Vito.
He knows life as a test
pattern, the longest dream,
the universe.  “I am massive
enough to watch eternity,
smaller than a drop of light,” he
says.  The picture tube is warm;
its circuits make life.


Thursday, June 16, 2011

Yellow Fever

Yesterday's post was a piece I intended for The Weekly World Review. The paper went bust the week I finished, so the story sat here for a few years. Here's a longer story.


Life’s Work
            Sleet and snow fell on the last two dingy businesses buried in the ass of a particularly dead end alley.  Rumbling, destitute garbage trucks picked up the futile town’s trash.  Dr. Carl Dobbs, a seventy-five year old physician, cut rate DNC specialist, and easy touch for junkies, kept an office on the second floor of the hundred year old Meeker building.  Two floors down, in the basement, the employees of the other business, Genius Printing, celebrated with a party.
            Habitually unsuccessful, Gene and Gordon Ponce, the Genius brother owners, landed an exclusive deal with a national.  For service and loyalty, they promised the world to long-time printer Kile Benton and forlorn typesetter Marge Sausage.  The four knocked down shots and talked a big future.
            “Plenty awork, plenty amoney,” Gene said.  Gordon, the silent brother, said nothing.  “We’re gonna bathe in green, work like machines, get rich past our wildest dreams,” Gene rarely rhymed.  “Let’s have shot.”
            Another lemon?  A raw tongued lick?  Marge thought.  Good luck?
            “We all gotta work harder for the benefits.  We gotta plug-in, keep the juice going, keep that money flowing,” Gene rarely rhymed again.
            Marge shivered.  Not much heat at the Meeker.  Nearly endless winters produced Bob Crachett-like conditions throughout the building.  Marge wore thick clothes and warmed her hands by a tiny ceramic heater placed near her workstation.
           Slightly drunk, she dropped one last shot and wrapped-up in her coat to leave.  Wind slapped her exit like a silly laugh.  She walked over grey, sludge-covered streets.  Every step sloshed or splashed.  Heavy boots resisted the four blocks to the old U.S. Grant Hotel, a crumbling, four storey building where she lived in Suite 303.
            Only two other tenants, both long-timers, lived there.  Ming, the Super, occupied a ground floor suite.  A very old, seldom seen woman named Mrs. Calypso wiled away her final years in Suites 300 and 302 across the hall from Marge.  A prostitution business run from a corner of the lobby kept several rooms busy on fourth.
            Suffering a lack of confidence, the thirty-nine year old Marge moved to town twenty years before.  She chose Gyreton because that’s how far her money took her, by bus, from the old home place.  She stayed.  A sister from Bristol visited her twice in the first ten years, but they lost touch.  She never asked about her parents.
            During her first year in town, Marge worked for an attorney named Don Fulcher.  Work turned to play, play to sex.  They fucked like bunnies for nine months.  Twenty years older than she, Fulcher strung her along with promises of children and bliss, and kept her in a motel outside of town for convenience and his wife’s sake.  Nineteen and uncontrollably in love, Marge did everything asked.
            The affair came to a horrific, unexpected termination when Mrs. Fulcher’s private dick blew the whistle, and Mrs. Fulcher, with a double barrel blast from a 12 gauge, blew her husband through his plate glass office window during business hours.  A woman scorned.  Tisk, tisk.  She smiled at Marge and took herself out.
            Marge moped around for nearly four months until the Genius job opened.  Gene and Gordon advanced her money and got her a place at the Grant.  She settled in and worked with the loyalty of a machine.
            Ming greeted her wet, drunk, winded entrance to the Grant lobby.  “Good evening Ms. Sausage.  Ready to marry?  I make good husband,” he said.
            “You’ll have to catch me a little drunker than this,” Marge said.
            “Ha, ha.  This best time.  You just right.”
            “What about Mrs. Ming?”
            “Her?  She hate me.  Hate her, too.  Talk talk talk.  All day.  All time.  Drive me nut.  Wish I drunk.”
            “Whatever helps.”
            “I big help.  Marry me.  See.  I always help.”
            “Any mail?”
            “Just magazine.  Many good story.  You see.”
            “You read all my mail?”
            “Just magazine.  Look at picture,” Ming said.
            “Don’t forget my order.”
            “I remember.  Have good evening.”
            “You, too, Ming.”
            Marge whined as the elevator meandered up to the third floor.  She enjoyed the lift.  Extra weekend time transcended shitty weather, but her freezing apartment slapped that.  The heating/cooling system often inopportunely failed.  Pissed, Marge complained by phone to Ming.  He took care and she took a bath.
            She clicked on a light and settled with a magazine into her favorite chair and scanned an article on date rape while waiting for her boyfriend or best friend to call.  The boyfriend always cancelled out in bad weather.  He called and cancelled.
            He, Raymond, skipped a lot.  Nothing made him test the elements, even though he worked as a mailman, bound to deliver regardless of conditions, for chistsakes.  A mama’s boy, he never married.  Still lived with the old bat.  Little wonder, Marge often thought.  Worth the wait or not?  No choice.  Small towns, small games.  Only the lukewarm Raymond vied for her attention.  No electricity.  Involvement by default.
            Marge’s upside down twin, Sue, kept the world moving.  In fact, Marge saw Sue more frequently than the nearly sexless Raymond.  Single, but twice divorced, Sue’s narrow vivaciousness merged well with Marge’s hollow, depressive soul.  They disdained everything they coveted.  Bitches and gripes rattled in their guts.
            Dinner came with a 6:20 knock.  Marge searched for her purse.  She always ordered the special with a sweet tea for a total of $7.85, not counting the $2.15 tip she always gave the delivery boy, Jimmy.
            She opened the door to some guy besides Jimmy holding the bag.
            “Yes?”  she said.
            “Delivery for 303.  Special and tea,” the guy said.
            “I’m sorry.  Excuse me.  I expected to see Jimmy.  Could you put that on the table?”
            “Sure.  $7.85, please.”
            “Yes.  And here’s something for you.”
            “Thanks.”
            “Excuse me, but where’s Jimmy?  He always brings my dinner.”
            “I’m sorry to tell ya this, but he died last night,” the guy said.
            “How did he...?”
            “They said he had some kinda disease.  Don’t know what.  Had it a long time, they say.  Died last night.”
            “I’m so sorry.  He’s delivered here for years.  I’ll miss him.”
            “Everybody says that.  Thanks, and enjoy your meal.  Sorry about Jimmy.”
            “Thank you,” Marge said, and closed the door.
            Jimmy’s death shocked her.  Slow, honest, dim-witted to the core, Jimmy did everything right, and like a puppy took her teasing and chiding without comprehension of subtle cruelties.  His passing left a hole in her heart.
            Sue called with a hole in her head.  “Help me, Marge.  Let me come over,” she said.
            “What’s wrong?”
            “I got mugged.”
            “What?  Are you all right?”  Marge said.
            “Got a big bump on my head.  I’m a little dizzy.”
            “Maybe you should see a doctor.  Are you bleeding?”
            “Not now.  Can I come by?”
            “Yes.  Come right now.  How are you traveling?”
            “I’ll take the cab.”
            “I’ll call Ming for ice.”
            “Get a lot.  I’m thirsty, too,” Sue said.
            “Hurry over.”
            Marge called down to Ming and ate dinner while waiting.  She finished with his knock.
            “Here you ice,” Ming said from the doorway.
            Sue walked up behind him.  “Boo!”  she said.  Ming jerked around.
            “You scare man death,” he said.  “Wanna marry?  I excellent husband.  Take care of desire.”
            “Tempting, but no thanks.”  Sue flashed a twenty.  “Run down and get me some cigarettes.”
            “What kind?”
            “In the green pack.  Got that?”
            “I get everything.  You get everything, too, if we marry.”
            “Answer’s no, now beat it, Casanova,” Sue said.
            “You change mind.  We marry one day,” Ming said.
            “Whatta creep,” Sue said behind the closed door.
            “I turn him down everyday,” Marge said.  “How’s your head?”
            Sue pulled a bottle from her bag.  “Bruised, just like this champagne.  I’m ready to party, girl.”
            “I’m a little drunk now.”
            “We can get stoned as statues.  Let’s start with some scotch,” Sue said, producing another bottle.
            “I had some at work.  I was dozing when dinner came, right before you called.”
            “Party at work?”
            “We’re all gonna get rich.”
            “Where’s flamin Raymond?  His mama break down again?”
            “He never comes out on a night like this.  I didn’t want to fool with him tonight anyway.  My little delivery boy died last night.”
            “The tard?  Jimmy?”
            “He died last night.”
            “Shame.  What killed him?”
            “The boy today said he had a disease.”
            “Looked okay to me,” Sue said.
            “That’s what I thought, too.  Who knows?”  Marge said.
            “What’d you have for dinner?”
            “The special.”
            “Me, too.  Let’s drink and watch tv.”
            Ming brought Sue’s cigarettes and change.  She tipped him and turned down another marriage proposal, then twisted around the room tearing plastic off the package.  Marge poured drinks.  Sue turned on the tv.
            “I like the way this is shaping up,” Marge said, “but I still feel sorry for Jimmy.”
            “Can’t drown your sorrows without the sorrows,” Sue said.
            “How did you get mugged?”
            “The guy I’ve been going out with got all out of control when another guy called my apartment.  I told him I can’t control who calls.  He said he wasn’t a fool.  Gave me a little shove when he left.  Bumped my head.”
            “Drink up,” Marge said.
            They watched and drank.  Sue talked Marge into a drunken walk.  Drinks and bundles.  Ming laughed as they left.  Their faces glowed in the cold.  Gums numbed.  Marge slid down.
            “You all right?”  Sue said, stooping to help.  Marge looked up.  “Is it okay if I laugh?”  Sue said.
            “I’m fine,” Marge said from one knee.  “Help me up.”  Sue tugged her arm and she stood.  “I wish Jimmy didn’t die.  I treated him just like a little puppy.  He always came back no matter how hard I kicked,” she said, crying.
            “I’m sorry for you, Marge, but it wasn’t your fault.  You’ll find a new puppy.  What about Raymond?  He’d look good in a collar,” Sue said.
            “I don’t know about that.  He’s got a long tongue, especially when he’s down in his back, on all fours.”
            “He carrying a monkey or a mommy?”
            “What do you think?”
            “You’d miss him if he left.”
            “More the habit of him than anything else.  He’s dull as old wax.  Ya can’t buff nothing out of him.  I’m not even sure you could hear him if he fell in the forest,” Marge said.
            “Why don’t you dump him?”
            “He’s about the only game in town.”
            “There’s others.  Why settle?”
            “Like I said, it’s the habit of him.  But you’re right, he doesn’t make me happy, or much of anything else.  I need love.  I’m outta here.”
            “I’m staying,” Sue said.
            Marge dumped Raymond, with little fanfare, by telephone, on that same night.  The weekend froze.  She sent Ming after the Sunday edition of the NY Times.  Moving seemed possible.  She fantasized; schemed: work like a machine for a year, save, vacation in the big city, stay.  She liked the way it shaped up.
            Mad Monday rolled early.  Work, piled like uneven skyscrapers, hid most of Marge’s desk.  Up to their balls in layout, Gene and Gordon cut and pasted.  Marge cranked out sheet after sheet of press-ready copy.  “Atta girl!”  Gene said.  Gordon said nothing.
            Where did time go?  Marge walked to the diner, not nearly as tired as expected.  Running behind her usual time, she found the diner nearly deserted.  One elderly couple hobbled slowly out.  Old Dr. Dobbs sat alone at a table near the buffet line.  Marge mazed her way between the tables and joined him.
            Dobbs sniffed a bread crust and smiled.  “Have a seat, pretty lady, and tell the old doctor all about it,” he said.
            “Nice to see you again, doctor.  How have you been?”  Marge said.
            “Old, poor.  I’m coughing a lot.  How are you?”
            “Fine.  Working hard.”
            “I thought I hadn’t seen you around much lately.  Still in the print shop?”
            “Still there.  You still in the clouds?”
            “Yes, still overlooking the city, trying to be a young man again.  It’s hopeless, you know.  Thrived once.  Now I wonder if I’ll make it through a big lunch.”
            “Take your own advice and cut down.”
            “On food?”
            “On everything,” Marge said, “except coffee.  Drink more of that.”
            “I’ll try that.  Tell me...how’s your boyfriend?”  Dobbs said.
            “He’s history. We split a few days ago.”
            “I’m so sorry. You don’t seem very upset.”
            “There was so little of everything I hardly noticed the end.”
            Sue and Raymond’s marriage landed with a hollow clunk in Marge’s skull. What now but work? Genius made seven days a week’s worth of it for as many hours over ten each day as a person could possibly squeeze. Marge could almost squeeze a diamond’s worth anytime, and as the brothers had promised, stacks of dollars increasingly filled her bank account. But what of that, and what of time?
            As an old woman Marge often drank sweet tea. Her bulbous fingers smarted and drew clinched with arthritis from nearly countless hours of typing. She turned down Ming’s proposals thousands of times before his death, but never met the ancient lady across the hall, and never married.