New Poetry by D.R. James: “Surreal Expulsion”

COAL BLACK TUNNEL / image by Amalie Flynn

 

Surreal Expulsion


PUT—for Marjory Stoneman Douglas High School


Fourteen chairs loiter, emptied, no young bodies
adjusting for the next lesson, hand-raising,
class-clown antic, contemplative talk, pat show
of teen contempt, rhythm beaten with pencil, palm,
bouncing knee, jouncing heal, wise-crack, step
in the impossible problem never to be solved.
Instead, more of the same news, the same vows
taxiing the hellish hallways of feigned intention
but never taking off—the same dazed moments
of the dead. Perhaps their freed spirits now see
through the coal-black tunnel of some eternity
right into the next school’s beehive of victims.
Perhaps they still shadow their three steady mentors
who stood staunch ground in the slow-motion flow
of high-speed ammo. The clip of names shoots holes
clean through law’s callous gut—

PUT_CCCCCCCCCCCCCCCAaron, Helena, and Alex,
Carmen, Peter, Cara, Chris, and Meadow,
PUT_CCCScott, Alaina, Martin, Alyssa, and Nick,
Jamie, Luke, Gina, and “Guac” Joaquin—

PUT_CCCCCCCCCCCCCCCCCCCCCCwhose roll call
claims only an absurd third of a minute, while
their totaled lives witnessed nearly 5 thousand
wheels of the moon through some 75 trillion miles.
But unlike the pull of that implacable moon,
the glib fever of ‘prayers and condolences’ can’t
turn the tide of memory’s radiating its fixed
fissures scored by shards of glass and bone.
Here, we’re left to settle the moonscape of Too Late
for those whose expelled footsteps befuddle us.
And lauding immortality soothes no better. We
know we relax at our children’s peril, run rash risk
of shoring up the open/closed-carry-frenzied fight,
take false hope in the bundles of white-washed bills.
Anthony Borges took five bullets to shield twenty
surviving friends, sacrificed his soccer stardom
because somehow he knew what he had to do.
His lacerated back and shattered femur scream
in a language we now must teach across America.




New Poetry by Sofiia Tiapkina: “To Forget or Not Maybe,” “Grasping the Sky,” and “Airless Embrace”

THE SILENT SKY / image by Amalie Flynn

 

to forget or not maybe

to forget or not maybe
to fight for memory or not
i’m here i’m she
lying on my back underneath me
blue cherries of bruises ten backs
all pierced by bullets all riddled
no one seems to cry here this defenseless death is unshared with any and all
i look around at people all around still people these old trees outside what a spring so wildly
blooms and dies with a scream
i rise from my knees or maybe just
think that i rise i was a teacher
what remains of the school now
walls shrubs suckle blood from the soil
i taught them to never
kill people and now
i’m face to face
with the killers of children hands and face changed the maples turned perfectly crimson too soon
broke my
spine and soul i would tell them if i still taught never kill anyone
i rise from my knees call out to god
god i accept everything i
understand the end of life
i accept it i am desecrated
why do you punish me
with this life
after death

 

Grasping the Sky

Inside us: a piece of
sky, blue and rusty,
smelling of winter and
gunpowder.
Who will see us as we crawl, chasing
the shadows of the clouds?
She reanimates the land.

The bombs, and bullets, and bodies took
its breath away and send it straight into cardiac arrest.
The scars of war are on her palms and tongue,
but she keeps going because without the land,
her heart will stop, too.

Land—земля—zemlia: a greenplace, a birthgiver, our bread.
She puts her hands around it and tries to close off
the wounds of horror and destruction and
deathdeathdeathdeath
that the inhumans opened with their hungry teeth.
Sometimes, when the blood stops rushing through her ears
or between her fingers,
she hears the echo of “brotherly nations,” “local misunderstanding,”
“child actors.”
The land moans under the weight of
countless bones.

We carry no
prophecies under our skin.

The silent sky
floods our mouths.
Who will hear us climb up
the lifeless mushrooms?

He rebuilds the house.
A new foundation in place of his ancestors’
home built with tears. The missile took
the walls, but the kitchen table is still
standing in the middle.

House—будинок—budynok: a warm place, a safehold, our nest.
He drinks tea at the kitchen table.
One year anniversary,
he feels the explosions
reverberating through his ribs.
His daughter would have turned three.
His wife would have put a pot of
lilacs by her crib.
He drinks tea at the kitchen table of a murdered house.
It’s hot and bitter, and for a minute, he forgets
a new future of new houses with
no one inside.

Everything we wanted
was in the sound
of the sky without
the stench of corpses.
Who will remember us if
the task ahead will take a generation?

They reconstruct their homeland.
Too many questions, too little time: where
do they fit between now and then;
how do they embezzle millions yet fight corruption
as never before; what are dignity and justice and fairness
if the debris of a shelled hospital hide
the broken pieces of mothers and newborns.

Homeland—Батьківщина—Bat’kivschyna: a free place, a seeing glass, our hope.
They won’t live to see it without blood and tears
soaking its black ground. How do they repair machine-gunned hearts?
How do they rebuild a cracked-open sky?
They reconstruct their homeland as the bombs
try to bring them to their knees. Too many
questions, too little time. But the question,
“Will we live?” is not one of them.
Millions of hands breaking the chains
shout the answer louder than
air raid sirens.

Inside us: a whisper
of summer, when sunflowers
grow from the ash.
Who will catch the birds
pecking out a path between
the sky and wheat fields?

No one. Our wings hold the glory of freedom.

 

airless embrace

i miss you like i miss the sky
cold so painfully blue
angels must have
dripped blueberry juice
from the clouds
i want to tether myself
to the sky-whispers
embrace them bury my
face into their warmth
but it doesn’t make you here
i stalk the shore scooping
up birds beaks
black with blood
you used your skirt
to wipe off the
red from their feathers
why did you
let go
the earth drinks soot
i’m thirsty for
the sound of
your smile
under the winter sun
on the shore
i pick the nightingales
curl my toes to find
the damper sand
the soft homes of crabs below
i hold the memory
of your hair
between my fingers
i miss you
until i fly out of
the soil’s arms
and the sky
catches me
in its thousand
blue hands




New Poetry from Tanya Tuzeo: “My Brother, the Marine;” “My Brother’s Shoebox;” and “My Brother’s Grenade”

WAR HAS DONE / image by Amalie Flynn

 

my brother, the Marine

the recruiters come weeks earlier than agreed—
arrive in alloy, aluminum with authority,
military vehicle blocks our driveway
announcing to the neighborhood
they’ve come for a boy here
who will have to go—
though he sits at the top step
and cries

i follow them,
strange convoy to Staten Island’s hotel
where all the boys are corralled—
farmed for war, becoming weapons
of mass destruction
when before they picked apples
at family trips upstate

a hotel lobby—last stop before using lasers
to blow off golden domes,
silence muezzins in the crush
of ancient wage and plaster—
Hussein’s old siberian tiger left thirsty,
watches other zoo animals
being eaten by the faithful—
just like a video game

i clamp onto my brother
beg him not to go, we could run away
he didn’t have to do this—
recruiters quickly camouflage me,
am dragged outside—my brother lost
did not say goodbye
or even look at me.

 

my brother’s shoebox

the room across the hall is inhabited again,
home now from another tour
like sightseeing from a grand canal
where buildings are art
and storied sculptures animate street corners—
my brother returns a veteran.

i want to remember who this person is,
or at least, find out what war has done.

he leaves with friends to drink—
that is still the same,
later tonight
he might howl at our parent’s window
or jump on my bed until the sheets froth,
uncaring and rabid.

but i don’t wait for him to come home
and begin searching the room
that is his again.

it is simple to find
where people hide things—
a shoebox under his bed
that wasn’t there all these years
furrowed by sand
and almost glowing.

i open to find drugstore prints,
rolls of film casually dropped
for a high school student to develop—
silver halide crystals take the shape
of shattered skulls
goats strung and slit
a school made of clay
blasted in the kiln of munitions
“KILL ZONE” painted across its foundation—
each 4×6 emulsion a souvenir
of these mad travels,
kept to reminisce and admire.

 

my brother’s grenade

my brother’s room in our family vacation home
has embossed wallpaper, indigo or violet
depending on the light that filters through the mountains—
and his grenade in the closet.

i saw it looking for extra blankets,
thought it was an animal resting in eiderdown
kept by my mother in one of her tempers
but it didn’t move
and so
i picked it up.

inhumanity held beneath iron’s screaming core—
a pleasant weight,
like the egg i threw across the street
detonating onto the head of boy
who said i kissed him but i didn’t,
is it like that for my brother?—
fisted mementos of thrill?

seasoned by cedar sachets,
neatly quilted metal shimmered as i turned it
forbidden gem, his holy relic—
i placed it back in the closet and began making dinner,
said nothing.

the slender pin preserves this household
where our family gathers
unknowing a bomb is kept here—
my brother roasts a marshmallow
until it catches fire, turns black,
plunges into mouth.




New Poetry by Michal Rubin: “I Speak Not Your Language” and “Omar Abdalmajeed As’ad of Jijlya”

MAN AND LAND / image by Amalie Flynn

I speak not your language

 I, born from the womb of
my mother’s remembrances
wrapped in the cocoon
of her story

PUT_CHARACTERS_HEREAAAAAAAAAAyou, amongst the trees, the earth
PUT_CHARACTERS_HEREAAAAAAAAAAbelow littered with unpicked olives
PUT_CHARACTERS_HEREAAAAAAAAAAthe story of Hagar and Yishmael
PUT_CHARACTERS_HEREAAAAAAAAAAis your womb

my skin a scroll,
an epic of what was
my skin like tombstones
etched with numbers

PUT_CHARACTERS_HEREAAAAAAAAAAthe remains of the broken down
PUT_CHARACTERS_HEREAAAAAAAAAAhome in the arid field pasture
PUT_CHARACTERS_HEREAAAAAAAAAAyour diary
PUT_CHARACTERS_HEREAAAAAAAAAAcarved in the stone

PUT_CHARACTERS_HEREAAAAAAAAAAYou laugh in pleasure
PUT_CHARACTERS_HEREAAAAAAAAAAyour small act of defiance
PUT_CHARACTERS_HEREAAAAAAAAAAyour urine naturally marks your
PUT_CHARACTERS_HEREAAAAAAAAAAterritory which
PUT_CHARACTERS_HEREAAAAAAAAAAI have marred

I feel its warmth running down
my sweaty shirt
my tongue tied in shame

PUT_CHARACTERS_HEREAAAAAAAAAAyou are telling your story

I speak not your language

and it’s 2pm
the radio announcer
reads out names of
lost relatives,
maybe they have survived

PUT_CHARACTERS_HEREAAAAAAAAAAyours, they live in a tent
PUT_CHARACTERS_HEREAAAAAAAAAAsomewhere
PUT_CHARACTERS_HEREAAAAAAAAAAwithout radio announcements
PUT_CHARACTERS_HEREAAAAAAAAAAyou guard the stones
PUT_CHARACTERS_HEREAAAAAAAAAAthat have survived

 

Omar Abdalmajeed As’ad of Jiljilya

Haaretz newspaper reports
3am
Omar Abdalmajeed As’ad is stopped by Israeli soldiers on his drive home, after spending time with friends.

the moon is smiling, oblivious to the rattled
heart    thumping against the white shirt
buttoned tightly over a late-night dinner
of rice and maybe thick lamb stew

3:05am
The soldiers demand that As’ad step out of his vehicle. They argue with him for 15 minutes.

Hebrew and Arabic mingle in a snake-like dance
or a sword fight with only one sword
and one victor

always
the same one wins

3:20 am
The soldiers walk As’ad to an abandoned yard, where they handcuff him, lay him on the ground, gag him and blindfold him.

the rancid aroma of cumin and cinnamon, the
leftover flavor of friends, permeates the thick
gag with a terrifying intimacy of living in a dream
of dying on the cold dusty ground

3:35am
Soldiers lead two more detainees to the yard. One of them notices As’ad is lying still on his stomach.

his full stomach is pressed against the small pebbles
as 78-year-old skin surrenders to the indentations
branding As’ad
declaring the kinship of man and land
as the almost full moon still is in oblivion

3:45am
Two more detainees are brought to the yard. No one is handcuffed apart from As’ad.

his hands bound to each other clutch fleetingly
moments stored in his wilting veins
toddlers joyfully
squealing    love   making
lamb stew   sweetness of pistachio-
filled baklawa

4am
The soldiers free one of As’ad’s hands and leave the yard.

not bound together the hands no longer harbor
As’ad’s stored moments
they “rest” upon the spillage of his life
leaving handprints
branding the earth
the kinship of land and man

4:09am
One of the detainees calls a doctor after noticing As’ad is unresponsive and his face has turned blue.

no flickering of the moonlight to mark
the moment As’ad’s blindfolded eyes   dimmed
the absence of air bluing
the wrinkled face

stillness

4:10am
A doctor arrives at the yard from a nearby clinic and tries to resuscitate As’ad.

the white shirt ripped    dusted
with the land      no longer white
and new hands part the sea
of stillness in a futile effort
to infuse life into
this body      an empty vessel

zip tie on its wrist

4:20am
As’ad is brought to the clinic and medics continue to treat him.

neon flares   no more  moonlight
frenetic world  life-sustaining measures    violent
clanking desperation against As’ad’s bare chest

desecrate the holy stillness
of dying at dawn  

4:40am

The doctor pronounces As’ad’s death

One commander will be
rebuked

two subordinate company and platoon commanders will be
dismissed

As’ad is buried in his village Jiljilya

*https://www.haaretz.com/israel-news/.premium-death-of-80-year-old-palestinian-was-moral-lapse-israeli-military-report-says-1.10581018




New Poetry by Rochelle Jewell Shapiro: “Each Night My Mother Dies Again”

FALLS ON NIGHT / image by Amalie Flynn

 

EACH NIGHT MY MOTHER DIES AGAIN

Each night the phone rings—
Your mother has passed.
Each night I expect to be relieved, but night falls on night.
Each night she is the mother who makes waffles,
batter bubbling from the sides of the iron, the mother
who squeezes fresh orange juice, and serves soft-boiled eggs
in enchanted egg cups. Each night I squint into her face
as she carries me over the ocean waves, her arms my raft.
Each night she refills Dr. Zucker’s prescriptions
for diet pills and valium. Each night she waters her rosebushes
with Dewar’s. Each night I see her hands shake,
her brows twitch. Each night she adds ground glass
to the chopped liver, rubbing alcohol to the chopped herring.
Each night she puts a chicken straight on the lit burner
without a pot. Each 2:00 a.m., Mrs. Finch from 6G phones—
Sorry to say your mother is naked
in the hallway again.
Each night my mother is strapped into her railed bed
at Pilgrim State, curled into a fetal position,
her hands fisted like claws.
Each night she calls to me
from her plain pine coffin, calls me
by the name she gave me, the name
she hasn’t forgotten.




New Nonfiction from Jon Imparato: “You Had Me at Afghanistan”

“I was lying in a burned‐out basement with the full moon in my eyes. I was hoping for replacement when the sun burst through the sky. There was a band playing in my head and I felt like getting high. I was thinking about what a friend had said. I was hoping it was a lie. Thinking about what a friend had said, I was hoping it was a lie.” —Neil Young

k.d. lang’s voice carries the Neil Young lyrics on a mellifluous ride; notes keep swirling up as I crash to the ground. I’m clutching a wet dishcloth as if it were a rope, thinking about what a friend had said, and I was hoping it was a lie. I’m staring at the fringe tangled on my terracotta‐colored sarong and my beaded anklet. I grab the heavy sweater I am wearing over my tank top to cover my face as I sob. My skin is the darkest it has ever been from traveling in five Asian countries during their summer. Being thrust into cold, rainy weather frightens me. I want to be back in oppressive heat. I am thinking about what a friend had said, I was hoping it was a lie. I have heard those lyrics my whole adult life, but now it means something entirely different. It means the unspeakable.

*

I am a radical on sabbatical. I have been working as the Artistic Director of the Lily Tomlin/Jane Wagner Cultural Arts Center for ten years. When I asked my boss for sabbatical, I was shocked when he said yes. I’m taking three months off from my job. I started out in Thailand, then Cambodia, Laos, Hanoi. (Or, as I like to call it, HanNoise. It is a city without a moment of silence, a never‐ending cacophony of traffic, people, and blaring intrusions of sound.) My final destination is Bali. I have learned on this trip that most of the travel agents have never left the town or village they live in. But for some reason I think I can trust this father‐daughter team. The daughter insists I call her Baby, and she calls me Mr. Delicious.

When I arrived in Bali, one of the first things I was told was that my name, Jon, meant “delicious” in Balinese. I had just come from Cambodia, where I gave a piece of my heart to a man whose long name I had a hard time pronouncing. At one point he was joking and said, “Just call me Delicious and I’ll call you Mr. Delicious because that is what we are to each other…delicious.”  We had a brief four-day affair, a travel affair; they are so transitory and carefree, no one expects anything except the momentary pleasures.

A young girl at the travel agency loves that my name means delicious, and she thinks this is hilarious. When I tell her it also means toilet in English, I then become Delicious Toilet.

“I think you like me, Mr. Delicious, I think you do.” “I like you fine, Baby; I will like you even more if you can get me onto a remote island.” Baby keeps flirting with me and asking me if I like her. She is oblivious to the fact that I am gay, and her flirting seems just to be on autopilot. Her flirting is learned; nothing about it is organic. Baby’s father is watching his daughter flirt. He is in on the game; all he wants is for Baby to make the sale. We are all in on the game; everyone is trying to get what they want.  Nonetheless I find myself charmed by Baby. All I want is a quiet island where I can write and stare at water while I do a slow brain drain. Both Baby and her father have assured me that I will be on a quiet, peaceful island, with a bungalow on the ocean.

I want to be face-to-face with the ocean. I want a wave confrontation. I take an hour boat ride and arrive on an island across from Lombock, Gili Trankang, right next to Bali. This is an island with seven hundred people, no cars, no motorbikes, and no police. This is not a lush resort but a Rasta party island. Visitors are met at the dock by tuk-tuk carriages pulled by very sad horses. There is poverty here, you just can’t escape it. The power goes out several times a day, hot water is never guaranteed, and most bungalows have saltwater showers, very strange to the skin. Imagine someone has spilled a margarita on you and rinsed you off. My bungalow is attached to an open café with a bar painted a bright red-orange, sunshine yellow, and a deep green. The stage faces the most beautiful turquoise, sea-green ocean. Yet trash is piled up on sandbanks. You must turn your head toward the beauty, and there is plenty of it. 

I am hanging out, having lunch with the reggae band and staff. They are quick to tell me that I will do very well on this island because it is filled with beautiful women. I nonchalantly say that I am gay and hope there are also lots of beautiful men. Suddenly I can feel the chill, as if a hurricane’s gust of wind suddenly changed direction. Some of them are cool, but many of them are not. I quickly learn that most of the people on the island are Muslim. I have been in the accepting bliss of Buddhists and Hindus, so for the first time I need to keep a low profile about being gay. In all these travels, this is the first time that I have encountered any homophobia. The Rasta world is full of wonderful male affection—everyone calls you his brother, yet there is a homophobic and sexist element to the Rasta world that can’t be ignored. It is ever-present and inescapable.

Of course, it takes hours for my room to be ready. Ganja is king here; everyone is stoned and moves at a snail’s pace from the herb and the heat. They have two speeds: slow and stop. I get in the water, and I have arrived! This is the ocean I have longed for: crystal clear, warm in a way that requires no adjusting to the temperature, the color is spectacular, and it feels like flower petals on my skin. I have arrived…yet I am not happy. I miss my New York friend Roberta something awful. She longs for water like this too.

We have always shared the ocean in a deep way; when we met, we found as many ways as we could to spend time at the ocean, and I want her here with me. I want to be stupid and silly with her, laugh and splash. The ocean floor is filled with mounds of pure white coral; you can scoop it up with your hands and have little pieces of coral rain down on you. Roberta would freak. The absence of my friend is stinging. I scoop up empty water and pour it over my head as I cry, my sobbing face plunged into the ocean and staring at the coral floor. I remember that I always take a while to get my footing on my first day in a new country. I’m thrilled to get an email from a friend I met in Cambodia, named Mags. Mags is seventy-two. She has short-cropped, maroon-purplish hair. Her hair spikes up like an eighties rock star. She wears long, flowing dresses with wild prints and tons of large jewelry from her travels. She is from Queensland, Australia. She moved to Phnom Penh, in Cambodia.  Mags checked into the gay hotel where I was staying. She convinced the hotel owner to let her live there. The only woman in a gay hotel where she holds court. We exchange our lives over scotch by the pool, and instantly we feel great love for each other. Everyone calls her Mum. Her daughter, Morag, will be arriving in three days. I can’t wait for them to arrive on this magical island. This lifts my spirits and just knowing I will soon have some friends on the island is a comfort.

*

I am at a place called Sama Sama. It means “same-same” but also signifies that we are all just a little bit different, but everyone is the same and welcomed. The Rasta band is really good, and there is a huge dancing-drinking-smoking scene going on. They play mostly Bob Marley covers. They tell me it is the happiest music on earth. Yet I am in my room, I am not happy. I am trying to read or do some writing, but the sound of the band is deafening. I’m mad at the happiest music, mad at Baby and her dad for sending me here, mad at feeling like an outcast, mad at the world. I finally give in and say to myself, “Get out of this bungalow and just embrace this bizarre scene.”

I’d made friends with one of the bartenders, named Zen, that afternoon and he seemed cool. I sit down at the bar and drink my scotch with all this Rasta joy bouncing and swirling around me. I am certain I am the only gay man on the island and feel like I don’t belong, like an island unto myself.

Suddenly, one of the most beautiful men I have ever laid my eyes on sits next to me. He is straight, no question about it. He is trying to get the bartender’s attention. I shout, “Hey, Zen, can you get my buddy a drink?”

The beautiful man says, “Thanks for the hook-up.” I learn he is from Canada. The best people I have met on my journey who aren’t native are Canadians. They are open and sturdy. I will refer to my friend as Huck for reasons I will explain later. We start talking and within a few minutes the conversation is off and running. Our ideas, opinions, and insights are crashing in on us like the waves a few feet away. This guy is smart, insightful, and profound, and we are in deep, exchanging who we are with each other. We talk politics for a good part of the conversation: He can’t stand Bush; Sarah Palin is an unquestionable joke—his views are so liberal. I tell him I often feel like I am what is left of the left, an old Lily Tomlin joke. He laughs and says he feels my pain. About an hour into the conversation, he hits a curveball in my direction that almost knocks me off my seat. He tells me he is a soldier on leave from Afghanistan, and he goes back to war in a few days.

Traveling around Southeast Asia, you can talk to people for the longest time and, unlike in America, they don’t ask you what you do. Your work doesn’t define you. I would never have thought this beautiful, sensitive man was a soldier. That information seems so incongruous to the man I am talking to. I am so thrown and confused by this news. I turn and say, “Okay, let’s break this sucker down.” Like an archaeologist, I keep digging. Who is this guy?

Our conversation goes deep and wide, fast, and furious. It moves with speed and intention but always with grace. We close the bar; he is now even more fascinating to me. It is 4:00 a.m. and I assume I am off to bed. Huck turns to me and says, “Here is how I see it. We are not done with this conversation, and I am not done with you. Let’s go get some weed and smoke a joint on the beach and talk until sunup.” I tell him I am so there.

As we walk on the dark dirt road, following the sad horses’ hoofprints, Huck says, “Where do you think we can score some weed?”

I point to an old man in his eighties with a Marley Rules T-shirt selling bottles of scotch, cigarettes, and Pringles. “I guarantee you he is our best bet.”

Huck turns and says, “Come on, little buddy.”

“Huck, I feel like Gilligan on Gilligan’s Island. Why are you calling me that?”

“Oh, it’s too late, that’s who you are. I like calling you that.”

Scoring takes all of five minutes. Huck returns with this sneaky smile on his face. “I not only got you enough weed for the week that you’re on this island, but I also got you papers and a lighter.”

I turn to him and say, “If you are trying to get down my pants, you had me at Afghanistan.”

Mind you, at this point I have not smoked weed for eight weeks, and this is the first time on my trip I even feel like getting high. We sit by an ocean lit by beach lamps that keep the waves sea-green while the ocean further down is a deep blue-black.

Huck and I continue to share our lives, and I learn that he had an epiphany in Afghanistan that has transformed him. After 9/11 he felt a deep need to fight against the Taliban. Canada never went into Iraq nor would he. But fighting the Taliban was something he felt he had to do. “Little buddy, this is the way I see it. I’m young, strong, and capable. If not me, then who? I don’t know how else to say this, but I had to go; it is my destiny. Believe me,” he said, “it is that complicated and that simple.” I don’t know if I agree with him. All I know is that I want him to be safe.

Now he sees how wrong the war is. Huck explains that we are fighting a losing battle. We will never build the army this country needs. He has developed a deep affection for some of the Afghanistan children, and he no longer thinks it is right to kill anyone. He is hoping for a replacement assignment where he could leave combat and become a search‐and‐rescue expert for the Canadian Army. Every now and then I just burst out, “God, you are beautiful!” He lowers his head, blushes, and says thanks. In return he says, “God, you are great.”

He knows I’m not coming on to him; it’s clearly beyond that. Yet my appreciation for his unquestionable beauty must be proclaimed from time to time. He proclaims how great I am in return, and we laugh.

Neither one of us had known this island existed, and we have no idea how we ended up here. It was never on either of our trajectories. Our conversation just glides from one thought to another. I will show him L.A., and he will show me Canada. We talk about books, his girlfriends, my boyfriends, the demise of the Bush administration, the hope of Obama, saving lives, and living them.

While we talk the night into day, the full moon stares us down, right in my eyes. It is a bluish‐ gray moon that looks as if a prop person hung it between two island trees. The sky begins to turn ever so slightly into its morning yellow as the moon seems to be replaced instantly by the sun. We both have the reggae band playing in our heads. Mine is tossing around over and over a reggae version of “Leaving on a Jet Plane.” Huck’s is “No Woman No Cry.” We joke that we will have the Sama Sama reggae band playing in our heads for weeks. As we say good night, he tells me he will be getting an enormous tattoo tomorrow and asks me if I would stop by the tattoo shack with the huge orange hammock on the porch.

*

Lying in bed, I had been feeling sorry for myself. I have just spent five days at a gay villa, and I am longing to be around my gay brothers. I feel resentful of the homophobia I know is coming at me from many of the straight men. The last person I ever thought would rescue me from that state of mind is a straight Canadian soldier.

I stay up trying to write a short story about the encounter of Huck and Jon. In the morning I finally go to bed at 9:00 a.m. because my encounter with Huck has my mind reeling.

*

I race over to the tattoo shack around noon. My feet can’t get me there fast enough. I want to be with Huck and yet am baffled by the intense urgency I feel. It has been gray and cloudy morning, but as I pick up my pace, the sun bursts through the sky shouting and waving hello, and I can’t wait to let the water feel me again.

At the tattoo shack there is a guy with the longest dreads I have ever seen dangling through a hammock, as if long, black snakes were sweeping the old wooden floor as the hammock sways back and forth. The tattoo artist is older and seems as relaxed as a human can get. Some obscure Tracy Chapman song is playing on a radio. Huck must have told the guy in the hammock that a friend was stopping by because he just points his finger to the back room. Huck is lying on the bed in just his swim trunks. He tells me he is getting really scared because this is going to take about four hours and it’s going to hurt. He is clearly freaked. The design is huge and will be on his left side, a place where people rarely get them. The tattoo artist tells him to be patient and to expect a lot of pain. In twenty-three years, he has never given anyone a tattoo of that size in that area. “It is all bone,” he keeps muttering and shaking his head. “It is all bone.”

I grab Huck’s leg and say, “Okay, Huck, here’s the deal. Do you really want this tattoo? If you do, I will hang out and keep you company. I am a really good nurse.”

He nods yes, then mutters, “Stay, please.” I become the tattoo nurse. I run back to my bungalow and get him some pills that will help him sleep. I make sure he drinks a lot of water, buy him Pringles (they are everywhere). I buy a fifth of scotch, tell him funny stories, put cold towels on his forehead, and basically make sure he is okay, documenting the ordeal with my camera.

The tattoo is of a devil-looking serpent coming out of the ocean. This image gives me chills. As the serpent with its sword rises, a huge splash of water hits the air. The other half is some sort of angel figure carrying a torch of glowing light. He told me it was his personal reckoning of the good and evil inside himself. The never-ending reminder to himself…that he chose to kill. He is utterly motionless. The tattoo artist is amazed, as I am, at Huck’s perfect stillness during four hours of intense pain. I think to myself, this is a soldier’s story. He understands all too well what a false move can mean. He knows how to be a statue or risk being killed.

*

Later, over lunch, I interview him for a short story I plan to write about him. I ask him for examples from combat when he had to be that still or it could cost him his life. He tells me not long ago he was searching a burned-out basement for weapons. He heard footsteps above and hit the basement floor. As he was lying there, he knew that if anyone heard him, he would be dead. It was a soldier’s strength. The determination I witnessed during those four hours while he was getting his tattoo was staggering. I learned once again that the will of the human spirit is indomitable.

The tattoo shack has a back room behind the tattooing room with a mattress on the floor. The room rents out for ten dollars a night. Huck is turned on his side, eyes closed; the drugs are working. The tattoo artist was taking a break to eat his lunch.  The door opens and a beautiful, young, blonde woman who reminds me of Scarlett Johansson walks in, says her name is Daliana, and she wants to rent the back room. Then she looks at Huck, looks at me, and whispers, “He is so hot.” I laugh and agree. She tells me she is from Canada, and I tell her, “Don’t rent that room, you can do better.” Huck turns and says, “Canada, where?” Canadians love meeting other Canadians. I tell Daliana to meet us later at Sama Sama to party.

The moment she leaves I can see Huck is having a really hard time keeping it together. The tattoo artist says, “Get ready for round two,” with this ominous tone in his voice. Huck’s body isn’t moving, but his face tells me he is in severe pain. He turns to me and says, “You are a lifesaver. Do you realize you are saving my life? Do you get that, little buddy?”

I say, “Huck, saving lives, come on. That is what we talked about last night. Isn’t that what this new friendship is all about? You went into the war to kill and had your epiphany that you are here to save lives. Now you have to stop calling me little buddy; it is way too Gilligan on this island.” He shakes his head no. He flashes me that look that says don’t make me laugh; it hurts. I tell him about John Irving’s A Prayer for Owen Meany. It’s one of my favorite books, and I have reread it on this journey. I explain that it is a book about the Vietnam War, God, the act of killing, and destiny. I think it’s an important book for him to read. I know it will speak to him.

He told me the night before that he thinks one of the reasons we’ve met is so I can help him read novels again. I will send him off with this book and hope it has a deep effect on him.

*

I am at a café on the dock with Huck and Daliana, who has become another amazing friend from good old Canada. She has also spent time with Huck. I’ve played matchmaker and set them up for the night. They share their own moments of exchanging their lives. We can hear the boat coming into the dock, dropping off new guests. About fifty people are walking down to the main sandy road. I hear someone yell my name. It’s Mags wearing the brightest orange dress. It looks like the sun is walking towards us, giving new meaning to the word sundress. To her right side is her beautiful daughter Morag.  People always tell you their kids are beautiful, but Morag had a casual effortless beauty. Everyone introduces themselves and they join us for a cold drink. Huck only has about ten minutes until he has to get on that boat, the boat that would begin his journey back to war. Daliana and I are both heartbroken to see our soldier off. As he gets up to leave, I hug him, kiss him on the cheek, and tell him how special he is and that he is the best, most unexpected surprise on my journey.

I am crying. Hard. My dad is a Korean War vet and had to live through the horrors of that war. Several bullets pierced various parts of his body while parachuting into combat. The first five years of my life were spent in and out of VA hospitals in Brooklyn, New York. My ex‐lover, James, was in Vietnam and has had to deal with the horrors of exposure to Agent Orange. I have a lifetime of connections to vets. It suddenly occurs to me that I have never met anyone serving in this current war.

I start to worry about Huck’s safety and think, Okay, gods, you have played with me enough, and it has been great fun, but now PLEASE turn your eyes to my friend. Play with him and keep him safe. If he comes out of this, he could do so much good.

Even thinking the word “if” scares me. Yet his bags are packed and he’s ready to go…and I can’t control what I can’t control. I can only say to my friends on this island: Don’t say a prayer for Owen Meany; say a prayer for my new friend Huck. I tell Huck I want to write about him on my travel blog, but I need to make sure he is cool with what I write. I show him the first entry, and he blushes and said, “It’s all good; just change my name.” It’s the weed. He asks me not to use his name and I tell him I will respect that. I say I am going to call him Huck because I just read The Adventures of Huckleberry Finn for the first time. He looks puzzled and asks why. I tell him that Huck was a character who initially can’t see his compassion for Jim, the runaway slave, as a man, as a human being. But on that raft, he sees him as a man with a full life, finds out he has a wife and kids, and instead of getting him killed, he saves his life. The epiphanies seemed to coincide.

*

I’m back in Los Angeles, and after three months away I could be walking on the moon. The cold weather hurts, the wet rain has no heat in it, and I am a stranger in a strange land—my own.

I can’t sleep so I roam and putter around my home like a visitor getting acquainted with his new surroundings—a sixth country. Lorraine, my oldest and dearest friend since I was fourteen, has come to see me.  She is a tough, smart, gorgeous Italian woman. She has the biggest eyes, brown, almond shaped, and everyone even strangers remark about them. I regale her with stories about the magic that happened. I go on and on about Huck and tell her she will die when she meets him. We are watching the Super Bowl and screaming about one of the most magnificent touchdowns in football history.

My cell phone rings. When I check the message, it is Daliana, there are five messages. She tells me that she needs to talk to me and not to mind her voice, as she has a cold. I tell Lorraine that it was not a “cold” voice but a crying voice. I mutter, “Lo, I’m scared; Lo, I’m scared.” I frantically check my email. She has sent a message saying to call her anytime, and she needs to talk to me.

We shared our love for Huck like two schoolgirls; this must be about him. Lorraine tells me to go into the living room and call Daliana.

When she picks up the phone, I yell “tell me he is okay. Tell me he has no legs. I don’t care if he can’t see, just tell me his brain is intact, tell me he is alive!”

She cries hard. The death cry, the hard, searing cry of sudden loss.
I say, “You got the information wrong somehow. It’s a lie!”

Through her deep sobs she keeps saying, “He is gone, our friend is gone.” 

I fall to the floor and feel grief and political rage collide head on. Like two boxers smashing each other’s brains out, each blow numbing the other.

My friend was killed by a roadside bomb. The term almost sounds friendly, “roadside” seems so harmless.  I am thinking about what a friend had said: I was hoping it was a lie.

I have heard those lyrics my whole adult life, but now it means something entirely different. It means Huck, it means Sean.