and I get refill number three or four and the wine is making my bones loose and it's giving my hair a red sheen and my breasts are blooming and my eyes feel sultry and wise and the dress is water.
I peeled the skin off a grape in slippery little triangles, and I understood then that I would be undressing every item of food I could because my clothes would be staying on.
While she cut the mushrooms, she cried more than she had at the grave, the most so far, because she found the saddest thing of all to be the simple truth of her capacity to move on.
I knew if I ate anything of hers again, it would lkely tell me the same message: help me, I am not happy, help me -- like a message in a bottle sent in each meal to the eater, and I got it. I got the message.
It is all about numbers. It is all about sequence. It's the mathematical logic of being alive. If everything kept to its normal progression, we would live with the sadness-cry and then walk-but what really breaks us cleanest are the losses that happen out of order.
That at the same time of this very intimate act of concentrating so carefully on the details of our mother's palm and fingertips, he was also removing all traces of any tiny leftover parts, and suddenly a ritual which I'd always found incestuous and gross seemed to me more like a desperate act on Joseph's part to get out, to leave, to extract every little last remnant and bring it into open air.
I am the drying meadow; you the unspoken apology; he is the fluctuating distance between mother and son; she is the first gesture that creates a quiet that is full enough to make the baby sleep. My genes, my love, are rubber bands and rope; make yourself a structure you can live inside. Amen.
We're all getting too smart. Our brains are just getting bigger and bigger, and the world dries up and dies when there's too much thought and not enough heart.
Glen Hirshberg's stories are haunting, absolutely, but not only because of the content -- the stories themselves haunt, they stick around, they linger, inhabiting a little corner of the reader's brain and resurfacing to evoke mystery or sadness or longing. It's a pleasure to dive into Hirshberg's storytelling skills in American Morons.
Listen. Look. Desire is a house. Desire needs closed space. Desire runs out of doors or windows, or slats or pinpricks, it can’t fit under the sky, too large. Close the doors. Close the windows. As soon as you laugh from nerves or make a joke or say something just to say something or get all involved with the bushes, then you blow open a window in your house of desire and it can’t heat up as well. Cold draft comes in.